Liz Diller: Architecture is a special effects machine

譯者: Juyao Dong 審譯者: Joyce Chou

Aside from keeping the rain out and producing some usable space,

除了遮風避雨以及創造有用空間外

architecture is nothing but a special-effects machine

建築只不過是個

that delights and disturbs the senses.

能令人開心或惱人的特效機器

Our work is across media. The work comes in all shapes and sizes.

我們的工作是跨媒體的。這工作裡伴隨著各式的形狀和大小。

It's small and large. This is an ashtray, a water glass.

它有大有小。這是個煙灰缸，這是水杯。

From urban planning and master planning

從市郊計劃和宏觀計劃

to theater and all sorts of stuff.

到劇院以及各種其它東西

The thing that all the work has in common

所有這些都共有的特點是

is that it challenges the assumptions about conventions of space.

它們挑戰了人們關於傳統空間的種種假設。

And these are everyday conventions,

這些是日常慣例，

conventions that are so obvious that we are blinded by their familiarity.

這些慣例太常見，以致於我們太熟悉而忽略。

And I've assembled a sampling of work

我做了抽樣的工作

that all share a kind of productive nihilism

資料都包含了有效率的虛無主義

that's used in the service of creating a particular special effect.

這個概念被用來創造一些特殊的效果。

And that is something like nothing, or something next to nothing.

這效果就像是沒有，或近乎沒有。

It's done through a form of subtraction or obstruction or interference

這是從我們自然幻想的世界中，

in a world that we naturally sleepwalk through.

在各種干擾或影響之下實現的。

This is an image that won us a competition

這副圖幫我們贏得2002年

for an exhibition pavilion for the Swiss Expo 2002

在離日內瓦不遠的Neuchatel湖

on Lake Neuchatel, near Geneva.

舉辦的瑞士世博會的展廳的競賽

And we wanted to use the water not only as a context,

我們不希望水只是背景而已

but as a primary building material.

而是一種主要的建築材料。

We wanted to make an architecture of atmosphere.

我們想建一座大氣建築。

So, no walls, no roof, no purpose --

所以，沒有牆，屋頂，沒有用途 --

just a mass of atomized water, a big cloud.

只有一片霧化的水氣和一大片雲朵。

And this proposal was a reaction to the over-saturation

這個提案只是對最近國內和世界各地

of emergent technologies in recent national and world expositions,

對於新興技術的過份飽和所做的反應。

which feeds, or has been feeding, our insatiable appetite

這些新技術滿足了我們對更精湛的數位科技

for visual stimulation with an ever greater digital virtuosity.

帶來的視覺刺激的不懈追求。

High definition, in our opinion, has become the new orthodoxy.

在我們的目標裡，高識別度是新的正統觀念。

And we ask the question, can we use technology, high technology,

而我們問了一個問題,我們能否應用高科技，

to make an expo pavilion that's decidedly low definition,

將一座的明顯識別度低的展廳，

that also challenges the conventions of space and skin,

去挑戰傳統空間和外觀設計，

and rethinks our dependence on vision?

並來重新思考我們對其視覺的依賴？

So this is how we sought to do it.

所以這是我們想出來的辦法。

Water's pumped from the lake and is filtered

水從湖裡泵上並過濾

and shot as a fine mist through an array of high-pressure fog nozzles,

通過一排高壓水霧的噴嘴，打出液體噴霧的效果

35,000 of them. And a weather station is on the structure.

共三萬五千個噴嘴。還建有一座氣象站。

It reads the shifting conditions of temperature, humidity,

用來檢測環境溫度，濕度，

wind direction, wind speed, dew point,

風向，風速，霧點等變化，

and it processes this data in a central computer

把這些數據透過中央電腦處理

that calibrates the degree of water pressure

來調節水的壓力

and distribution of water throughout.

和水霧的分散程度。

And it's a responsive system that's trained on actual weather.

這是一個依據實際天氣變化的可靠的系統。

So, this is just in construction, and there's a tensegrity structure.

這是還在建構中，那裡有一個張拉整體結構。

It's about 300 feet wide, the size of a football field,

大約300英尺寬，一個足球場的大小，

and it sits on just four very delicate columns.

坐落在四支非常精美的柱子上。

These are the fog nozzles, the interface,

這是水霧的噴嘴，和交界處，

and basically the system is kind of reading the real weather,

這個系統實際上是在監控實際的天氣，

and producing kind of semi-artificial and real weather.

來創造一個半人工的真實氣候，

So, we're very interested in creating weather. I don't know why.

我們很衷情於創造天氣。我也不知道為什麼。

Now, here we go, one side, the outside

這裡是一邊，這是外邊。

and then from the inside of the space

這是從裡面看

you can see what the quality of the space was.

你能看出這一個空間的質感。

Unlike entering any normal space,

不同於任何其它的正常的空間，

entering Blur is like stepping into a habitable medium.

進入Blur大樓就像是進入一個適合居住的環境。

It's formless, featureless, depthless, scaleless, massless,

它沒有形式、特徵、深度、尺度、質量，

purposeless and dimensionless.

也沒有目的、維度。

All references are erased,

除去所有的輪廓

leaving only an optical whiteout and white noise of the pulsing nozzles.

只留下一個光學上的乳白景象和間歇的噴嘴聲。

So, this is an exhibition pavilion

這是一個展覽大廳

where there is absolutely nothing to see and nothing to do.

裡頭沒有展覽品，也沒有活動

And we pride ourselves -- it's a spectacular anti-spectacle

我們很自豪，這是一個壯觀的"新世界"

in which all the conventions of spectacle are turned on their head.

在這裡所有傳統的概念都被打破了。

So, the audience is dispersed,

觀眾們被分散

focused attention and dramatic build-up and climax

集中的注意力、累積的戲劇效果和高潮

are all replaced by a kind of attenuated attention

被因霧氣而持續產生的憂慮感所取代

that's sustained by a sense of apprehension caused by the fog.

而造成注意力的減弱

And this is very much like how the Victorian novel used fog in this way.

這就很像維多利亞小說裡使用霧氣的方式。

So here the world is put out of focus,

所以當沒有焦點的時候，

while our visual dependence is put into focus.

我們視覺的依賴就會成為焦點。

The public, you know, once disoriented

大眾一但迷失方向

can actually ascend to the angel deck above

反而能走到較高角度的甲板上

and then just come down under those lips into the water bar.

然後再回到水的邊緣。

So, all the waters of the world are served there,

所有的水世界都在這裡

so we thought that, you know, after being at the water

我們想，在水邊玩過了

and moving through the water and breathing the water,

在水裡穿梭過了，也呼吸過了，

you could also drink this building.

你還能喝這座建築。

And so it is sort of a theme,

它有點像是個主題，

but it goes a little bit, you know, deeper than that.

但它又比這更深一層。

We really wanted to bring out

我們真的很想把我們對

our absolute dependence on this master sense,

這些主觀的依賴感完全展現出來，

and maybe share our kind of sensibility with our other senses.

並把我們的感觀和其它感覺連結起來。

You know, when we did this project it was a kind of tough sell,

我們做這個計畫的時候，是很棘手的

because the Swiss said, "Well, why are we going to spend, you know,

因為瑞士政府說：「那麼，我們為什麼要花

10 million dollars producing an effect

一千萬來建造一個效果，

that we already have in natural abundance that we hate?"

而這個效果在平常就已經多到讓我們厭煩了？」

And, you know, we thought -- well, we tried to convince them.

我們試圖說服他們。

And in the end, you know, they adapted this as a national icon

最終，他們接受這個做為國家標誌的提案

that came to represent Swiss doubt, which we -- you know,

它代表了瑞士人的疑惑，

it was kind of a meaning machine

它像是個有意義的機器

that everybody kind of laid on their own meanings off of.

每個人都能各自表述他們的定義

Anyway, it's a temporary structure that was ultimately destroyed,

總之，這是一座臨時建築，最終還是要被拆掉

and so it's now a memory of an apparition, actually,

所以它現在其實是一種幻像的記憶。

but it continues to live in edible form.

但它還是存在在可感知的形式裡。

And this is the highest honor

在瑞士，建築的最高榮譽

to be bestowed upon an architect in Switzerland -- to have a chocolate bar.

就是能被授予一塊巧克力。

Anyway, moving along.

繼續這一話題。

So in the '80s and '90s, we were mostly known for independent work,

在八九十年代，獨立工作是最被熟知的，

such as installation artist, architect,

比如裝置藝術家，建築師

commissioned projects by museums and non-for-profit organizations.

為非盈利組織或博物館所做的計畫。

And we did a lot of media work,

我們還做了很多媒體工作，

also a lot of experimental theater projects.

還有一些實驗性的劇院計畫。

In 2003, the Whitney mounted a retrospective of our work

在2003年，Whitney組織了一次回顧性的展覽，

that featured a lot of this work from the '80s and '90s.

展出我們八九十年代的工作。

However, the work itself resisted the very nature of a retrospective,

但這些工作本身和回顧的性質是相牴觸的

and this is just some of the stuff that was in the show.

這是其中一些展品。

This was a piece on tourism in the United States.

這是關於美國旅遊的一個作品。

This is "Soft Sell" for 42nd Street.

這是對第42街的"軟推銷"，

This was something done at the Cartier Foundation.

這是建在卡地亞基金會前。

"Master/Slave" at the MOMA, the project series, a piece called "Parasite."

在現代藝術「主人與奴隸」，是「寄生」系列中的一部。

And so there were many, many of these kinds of projects.

有許許多多這樣的例子。

Anyway, they gave us the whole fourth floor, and, you know,

總之，他們給了我們完整的第四層樓，

the problem of the retrospective

關於回顧的最大問題是

was something we were very uncomfortable with.

這是一個我們很不習慣的話題。

It's a kind of invention of the museum

這有點像是博物館的發明

that's supposed to bring a kind of cohesive understanding

其實應該帶來大眾對某一作品的實體

to the public of a body of work.

統一的理解。

And our work doesn't really resolve itself into a body in any way at all.

但我們的工作並不能表現任何一種實體

And one of the recurring themes, by the way, that in the work

有一個不斷重複的主題是，

was a kind of hostility toward the museum itself,

是作品本身中蘊含對博物館的抵制。

and asking about the conventions of the museum, like the wall, the white wall.

其本身在質疑博物館的故有形式，比如說白牆。

So, what you see here

你現在看到的

is basically a plan of many installations that were put there.

其實是一個把很多裝置組裝在一起的計劃。

And we actually had to install white walls

而且我們其實是需要裝白牆的

to separate these pieces, which didn't belong together.

來分隔這些不同的作品。

But these white walls became a kind of target and weapon at the same time.

但同時這些白牆似乎也變成了目標和武器。

We used the wall to partition the 13 installations of the project

我們用這些白牆來分隔計畫裡的十三個裝置

and produce a kind of acoustic and visual separation.

從而產生一種聽覺和視覺的區隔。

And what you see is -- actually,

你看到的，其實是

the red dotted line shows the track of this performing element,

紅點連成的線顯示了這個表演元素的路線,

which was a new piece that created -- that we created for the --

這是個新作品，我們創作它是為了

which was a robotic drill, basically, that went all the way around,

這作品是個機器鑽頭，基本上可以到處移動，

cruised the museum, went all around the walls and did a lot of damage.

在博物館裡，穿梭在牆旁，大肆破壞。

So, the drill was mounted on this robotic arm.

這個鑽頭是焊在機械手臂上的。

We worked with, by the way, Honeybee Robotics. This is the brain.

我們用這種叫蜜蜂的機械。這是主機。

Honeybee Robotics designed the Mars Driller,

蜜蜂機械設計了火星鑽頭，

and it was really very much fun to work with them.

用這些東西工作，真是件很有樂趣的事。

They weren't doing their primary work, which was for the government,

他們沒有做他們的主要工作，為政府工作，

while they were helping us with this.

他們在幫我們做事。

In any case, the way it works is that

不管怎樣，其工作的原理就是

an intelligent navigator basically maps the entire surface of these walls.

一個智慧導航系統記錄下所有這裡的牆面

So, unfolded it's about 300 linear feet.

全部展開大概有300英尺。

And it randomly generates points within a three-dimensional matrix.

它在三維空間裡隨意地生成點。

It selects a point, it guides the drill to that point, it pierces the dry wall,

它選擇一個點，引導鑽頭去點的位置，再鑿穿那面牆，

leaving a half-inch hole before traveling to the next location.

留下一個半英尺的洞，然後再去下一個點，

Initially these holes were lone blemishes,

最開始這些洞是孤立的瑕疵，

and as the exhibition continued

但在展覽進行中

the walls became increasingly perforated.

牆上有越來越多的孔。

So eventually holes on both sides of the wall aligned,

所以漸漸地，牆兩邊的洞就排成一排了。

opening views from gallery to gallery.

然後人們能從一個展廳看到另一個展廳裡。

Clusters of holes randomly opened up sections of wall.

一個個隨意打的洞打開了一些牆面。

And so this was a three-month performance piece

這是一個為期三個月的展覽作品

in which the wall was made into kind of an increasingly unstable element.

這裡的牆已經變成越來越不堅固的元素了。

And also the acoustic separation was destroyed.

同時聽覺的區隔也被破壞了。

Also the visual separation.

視覺的也是。

And there was also this constant background groan, which was very annoying.

還有背景中持續不斷的嗡嗡聲，這很令人討厭。

And this is one of the blackout spaces

這是其中的一個不透光的空間

where there's a video piece that became totally not useful.

這裡的影像完全沒了用處。

So rather than securing a neutral background for the artworks on display,

所以與其讓牆充當展示作品的素凈背景，

the wall now actively competed for attention.

現在牆開始主動得到人們的注意力，

And this acoustical nuisance and visual nuisance

這種聽覺和視覺上的擾動，

basically exposed the discomfort of the work

基本上釋放了作品對於回顧

to this encompassing nature of the retrospective.

這個概念的本質的不適應。

It was really great when it started to break up all of the curatorial text.

它開始打破策展準則，這是一件特別好的事。

Moving along to a project that we finished about a year ago.

下一個案子是我們一年前做的。

It's the ICA -- the Institute of Contemporary Art -- in Boston,

在波士頓的當代藝術協會(ICA)

which is on the waterfront.

位在碼頭區內。

And there's not enough time to really introduce the building,

我們沒有時間真正介紹這棟建築。

but I'll simply say that the building negotiates

我想簡單說這棟建築是關於兩方面的妥協

between this outwardly focused nature of the site --

一方面要著重於外部的自然環境--

you know, it's a really great waterfront site in Boston --

你們知道，波士頓有很棒的海旁用地--

and this contradictory other desire to have an inwardly focused museum.

矛盾的是，另一方面內部空間卻著重於博物館。

So, the nature of the building is that it looks at looking --

所以，這棟建築的本質是它的外觀--

I mean that's its primary objective,

我是說這是這棟建築的首要目的。

both its program and its architectural conceit.

包括它的實用目的和它的設計效果。

The building incorporates the site,

建築要融入其環境中，

but it dispenses it in very small doses

但又不被影響很多，

in the way that the museum is choreographed.

這個博物館是精心設計的。

So, you come in and you're basically squeezed by the theater,

所以你進來的時候，你基本上是被劇院壓扁的，

by the belly of the theater, into this very compressed space

在劇院的中段，進入這個特別壓迫的空間

where the view is turned off.

視野關閉的地方。

Then you come up in this glass elevator right near the curtain wall.

之後你乘坐這個玻璃電梯上升到幕牆附近。

This elevator's about the size of a New York City studio apartment.

這個電梯的大小基本上相當於紐約小型公寓房間。

And then, this is a view going up,

這裡視線就開闊了，

and then you could come into the theater,

之後你就能進入劇場，

which can actually deny the view or open it up and become a backdrop.

這裡能透過布幕打開或者切斷視野。

And many musicians choose to use the theater glass walls totally open.

很多音樂家選擇讓劇場的玻璃全部開著。

The view is denied in the galleries

視野在展覽是被阻斷的，

where we receive just natural light,

我們只能用自然光，

and then exposed again in the north gallery with a panoramic view.

然後在朝北的展廳重新開放全景。

The original intention of this space,

這個空間的最早創意，

which was unfortunately never realized,

雖說很可惜從來沒有實現，

was to use lenticular glass

是想使用雙凸透镜

which allowed only a kind of perpendicular view out.

透過它只能看到一種垂直的景象。

In this very narrow space that connects east and west galleries

在這個連接東和西的狹小的空間裡，

the intention was really to not get a climax,

這創意不是想創造什麼高潮，

but to have the view stalk you,

而是有一個跟隨你的景色，

so the view would open up as you walked from one end to the other.

當你走出前一個景色時，後一個就展現開來了.

This was eliminated because the view was too good,

這個創意被否決了，因為景色實在是太好了，

and the mayor said, "No, we just want this open."

於是市長說「 不，我們只想讓它開著。」

The architect lost here.

建築的想法在這裡派不上用場。

But culminating -- and that's where this hooks into the theme of my little talk --

但最後，這是我把這個聯繫到我演講的主題上，

is this Mediatheque,

是媒體中心，

which is suspended from the cantilevered portion of the building.

這是懸掛在建設的懸臂部分。

So this is an 80-foot cantilever -- it's quite substantial.

這是一具80英尺高的懸臂，它很大很結實。

So, it's already sticking out into space enough,

它已經在空間中很突出了，

and then from that is this, is this small area called the Mediatheque.

從它上面出來的這個小區域是媒體中心。

The Mediatheque has something like 16 stations

媒體中心上面有16個工作站

where the public can get onto the server

大眾能從這裡連到服務器上

and look at digital artworks or also curated artworks off the web.

來觀看數位藝術或網上的藝術策劃。

And this was really a kind of very important part of this building,

這其實真的是建築中很重要的一部分，

and here is a point where architecture --

有一種說法，沒有技術的建築

this is like technology-free -- architecture is only a framing device,

就只是一個有架構的裝置，

it only edits the harbor view, the industrial harbor

它只規劃了海景，這座工業港

just through its walls, its floors and its ceiling,

景色就穿過了它的牆，地板和天花板，

to only expose the water itself, the texture of water,

只顯示水，水的質感。

much like a hypnotic effect created by electronic snow

很像是一個電擊產生的催眠效果

or a lava lamp or something like that.

或者是熔岩燈什麼之類的。

And here is where we really felt that there was a great convergence

就是在這裡，我們才真正感受到了

of the technological and the natural in the project.

這個案子裡技術和自然的融合。

But there is just no information, it's just -- it's just hypnosis.

但這裡並沒有信息，只是假設。

Moving along to Lincoln Center.

下個例子是林肯中心。

These are the guys that did the project in the first place, 50 years ago.

50年前，有一群人首先做了這個案子。

We're taking over now, doing work that ranges in scale

我們現在接手了，做大規模的改變

from small-scale repairs to major renovations and major facility expansions.

從小規模的修復，到大的改造和主要設施的擴建。

But we're doing it with a lot less testosterone.

但我們用很少的人力。

This is the extent of the work that's to be completed by 2010.

這是2010年完工後的樣子。

And for the purposes of this talk,

為了這次的演講，

I wanted to isolate just a part of a project that's even a part of a project

我想從案子裡分出一個部分，再從這部分拿一部分出來

that touches a little bit on this theme of architectural special effects,

這部分和特殊建築效果有一定關聯。

and it happens to be our current obsession,

而且它恰好是我們現在執著做的事，

and it plays a little bit with the purging and adding of distraction.

它用了一點清除和增加干擾的概念。

It's Alice Tully Hall, and it's tucked under the Juilliard Building

這是Alice Tully廳，它被塞在Juilliard大樓下

and descends several levels under the street.

又是在這街下的地下好幾層。

So, this is the entrance to Tully Hall as it used to be,

這是它改造前原來的入口，

before the renovation, which we just started.

我們剛剛開始它的改造。

And we asked ourselves, why couldn't it be exhibitionistic,

我們問自己，為什麼它不能是展覽性的呢，

like the Met, or like some of the other buildings at Lincoln Center?

就像大都會歌劇院，或像林肯中心裡的其它建築那樣呢？

And one of the things that we were asked to do

我們有一件要做的事就是在街上定位出來，

was give it a street identity, expand the lobbies and make it visually accessible.

擴建大廳，讓人們在路上就能看到它。

And this building, which is just naturally hermetic, we stripped.

我們扒光了這個本來密不透風的建築。

We basically did a striptease, architectural striptease,

我們基本上是讓這棟建築跳了一場脫衣舞，

where we're framing with this kind of canopy --

我們用這樣的罩篷做了框架，

the underside of three levels of expansion of Juilliard,

在Juilliard大樓下面三層

about 45,000 square feet -- cutting it to the angle of Broadway,

有一個四萬五千平方英尺的空間，鄰近百老匯，

and then exposing, using that canopy to frame Tully Hall.

並再用這種罩篷搭了Tully廳的框架。

Before and after shot. (Applause)

改造之前和之後。

Wait a minute, it's just in that state, we have a long way to go.

等一下，它現在只是這樣，我們還有很多要做。

But what I wanted to do was take a couple of seconds that I have left

但我想做的就是用最後剩下的幾秒鐘，

to just talk about the hall itself,

來談談這個大廳，

which is kind of where we're really doing a massive amount of work.

這是我們真正做了很多工作的地方。

So, the hall is a multi-purpose hall.

這個大廳是個多功能大廳。

The clients have asked us to produce a great chamber music hall.

客戶要求我們做一個好的小音樂廳。

Now, that's really tough to do with a hall that has 1,100 seats.

但很難要去規劃一座有1,100個座位的大廳。

Chamber and the notion of chamber has to do with salons

小音樂廳的概念是用於沙龍和小型演出的。

and small-scale performances. They asked us to bring an intimacy.

他們希望我們讓建築具備親切感。

How do you bring an intimacy into a hall?

該如何把親切感帶進大廳？

Intimacy for us means a lot of different things.

親切感對我們而言有很多不同的理解。

It means acoustic intimacy and it means visual intimacy.

包括聽覺和視覺的親切感。

One thing is that the subway is running and rumbling right under the hall.

有一件事是地鐵正好在下面穿過，

Another thing that could be fixed is the shape of the hall.

另一件能做的事是改變大廳的形狀。

It's like a coffin, it basically sends all the sound,

它像個棺材，基本上是把所有的聲音，

like a gutter-ball effect, down the aisles.

像保齡球一樣，沿著走廊傳下去。

The walls are made of absorptive surface,

牆是用吸音材料做的，

half absorptive, half reflective,

半吸收，半反射，

which is not very good for concert sound.

這對於音樂會的音效並不是很好。

This is Avery Fisher Hall, but the notion of junk -- visual junk --

這是Avery Fisher大廳, 但關於垃圾，視覺垃圾的概念

was very, very important to us, to get rid of visual noise.

這對我們除去視覺雜物來說是很重要的。

Because we can't eliminate a single seat,

因為我們不能減少座位,

the architecture is restricted to 18 inches.

建築被侷限在18英吋裡。

So it's a very, very thin architecture.

是個特別特別狹小的建築。

First we do a kind of partial box and box separation,

一開始我們做了盒狀的空間來區隔，

to take away the distraction of the subway noise.

消除地鐵的干擾雜音。

Next we wrap the entire hall -- almost like this Olivetti keyboard --

之後我們把整個廳包起來，幾乎就像是Olivetti的鍵盤

with a material, with a wood material

用的是一種木質材料

that basically covers all the surfaces:

基本上蓋住了所有表面。

wall, ceiling, floor, stage, steps, everything, boxes.

牆，天花板，地面，舞台，台階和所有東西

But it's acoustically engineered to focus the sound into the house

但其聲學設計是要把聲音集中獻給觀眾

and back to the stage. And here's an acoustic shelf.

再傳回舞台。這是一個聲貨架。

Looking up the hall. Just a section of the stage.

向上看大廳裡，只是舞台的一部分。

Just everything is lined, it incorporates --

所有東西都是排列整齊的，

every single thing that you could possibly imagine

任何一件你能想像得到的東西都是

is tucked into this high-performance skin.

用這種高性能的表面覆蓋的，

But one more added feature.

還有另一樣特點。

So now that we've stripped the hall of all visual distraction,

現在我們已經把大廳裡所有形成視覺干擾的元素都除去了，

everything that prevents this intimacy

所有阻礙親切感的東西，

which is supposed to connect the house, the audience,

大廳應該是能把觀眾們

with the performers, we add one little detail,

與表演聯繫起來的，我們加入了另一個細節，

one piece of architectural excess, a special effect: lighting.

一個額外的建築設計，特殊效果：光，

We very strongly believe that the theatrics of a concert hall

我們相信一個音樂廳的戲劇性

is as much in the space of intermission and the space of arrival

表現在中間休息時間

as it is when the concert starts.

和開場的時候。

So what we wanted to do was produce this effect,

我們想做的就是創造這麼一種效果

this lighting effect,

光影效果，

which made us have to bioengineer the wood walls.

為此我們對木質牆做了生物工程改造。

And what it entails is the use of resin, of this very thick resin

它牽涉到樹脂的使用，一種很厚的樹脂

with a veneer of the same kind of wood that's used throughout the hall,

它表面有一層薄板，用和整個大廳的木質材料類似的材料

in a kind of seamless continuity

用一種無縫的連續性

that wraps the hall in light, like a belt of light: rather than separating,

把整個大廳包起來，像一條光做的帶子，

like a proscenium would separate the audience from performers,

不像台口是把觀眾和表演者分開，

it connects audience with players.

這些光把觀眾和表演都聯繫起來。

And this is a mockup that is in Salt Lake City

這是鹽湖城的一個模型

that gives you a sense of what this is going to look like in full-scale.

它大概能讓你知道完成後會是什麼樣子。

And this is a guy from Salt Lake City,

這是一個鹽湖城的小伙子

this is what they look like out there.

那裡的人基本都長這樣。

(Laughter)

（笑聲）

And for us, I mean it's really kind of a very strange thing,

對我們而言，這真的是一件很奇怪的事，

but the moments in the hall that the buzz kind of dies down

但當站在那個廳裡，聽到雜音一點點消失，

when the audience is waiting for the performance to begin,

當觀眾等待演出開始，

very similar to the parting of curtains or the raising of a chandelier,

當幕布或燈光的升起的時，

the walls will just exude this glow, temporarily stealing attention from the stage.

這些牆將會發出光彩，暫時從舞台上偷走一點注意力。

And this is Tully in construction now.

這是Tully廳在建造中的樣子。

I have no ending to say, except that I'm a couple of minutes over.

除了說我多講了幾分鐘外，我沒什麼結語想說。

Thank you very much.

非常感謝。

(Applause)

（掌聲）