Good morning. When I was a little boy, I had an experience that changed my life, and is in fact why I'm here today. That one moment profoundly affected how I think about art, design and engineering.
早安。 當我還小時, 我經歷一個改變我人生的經驗, 也是為何我會站在這裡的原因。 那個經驗 深深地影響我如何看待 藝術,設計和工程。
As background, I was fortunate enough to grow up in a family of loving and talented artists in one of the world's great cities. My dad, John Ferren, who died when I was 15, was an artist by both passion and profession, as is my mom, Rae. He was one of the New York School abstract expressionists who, together with his contemporaries, invented American modern art, and contributed to moving the American zeitgeist towards modernism in the 20th century. Isn't it remarkable that, after thousands of years of people doing mostly representational art, that modern art, comparatively speaking, is about 15 minutes old, yet now pervasive. As with many other important innovations, those radical ideas required no new technology, just fresh thinking and a willingness to experiment, plus resiliency in the face of near-universal criticism and rejection. In our home, art was everywhere. It was like oxygen, around us and necessary for life. As I watched him paint, Dad taught me that art was not about being decorative, but was a different way of communicating ideas, and in fact one that could bridge the worlds of knowledge and insight.
我很幸運地在世界最偉大的城市之一, 在一個充滿愛和有天賦藝術家的家庭中 長大成人。 我的父親,約翰·費倫,在我 15 歲時過世 跟我的母親,瑞,一樣, 是一位兼具熱情和專業的藝術家。 他是約紐畫派 (New York School) 抽象表現主義畫家, 融合他的當代思維, 創造了美國現代藝術, 引領美國的時代精神 進入到 20 世紀的現代主義。 這不是很偉大嗎?數千年以來, 人類藝術一直大部分都是寫實主義, 而現代藝術,相對來說, 大約只有 15 分鐘的生命 而仍然在漫延中。 就像其它重要的創新一樣, 這些全新的想法不需要新的技術, 只要重新思索和有嘗試的意願, 加上能面對幾乎一面倒的評判 和拒絕的韌性。 在我們家裡,到處都是藝術, 就像氧氣一樣, 圍繞著我們,是生命的必需品。 當我看著我父親作畫, 他告訴我 藝術不是裝飾用, 而是想法交流的另一種形式, 事實上,它是連結世界的 知識和眼光的橋梁。
Given this rich artistic environment, you'd assume that I would have been compelled to go into the family business, but no. I followed the path of most kids who are genetically programmed to make their parents crazy. I had no interest in becoming an artist, certainly not a painter. What I did love was electronics and machines -- taking them apart, building new ones, and making them work. Fortunately, my family also had engineers in it, and with my parents, these were my first role models. What they all had in common was they worked very, very hard. My grandpa owned and operated a sheet metal kitchen cabinet factory in Brooklyn. On weekends, we would go together to Cortlandt Street, which was New York City's radio row. There we would explore massive piles of surplus electronics, and for a few bucks bring home treasures like Norden bombsights and parts from the first IBM tube-based computers. I found these objects both useful and fascinating. I learned about engineering and how things worked, not at school but by taking apart and studying these fabulously complex devices. I did this for hours every day, apparently avoiding electrocution. Life was good.
在這個充滿藝術氣息的環境, 你或許認為我會不得已的 加入這個家族的事業。 但我並沒有。 我跟其它的小孩一樣, 從基因中就被設定好 是會讓父每抓狂的。 我對成為藝術家一點興趣也沒有, 更不用說畫家了。 我喜愛的是電子和機械, 拆解,組裝成新的, 讓它們能運作。 幸運地,我的家族裡有搞工程的, 和我父母一樣, 他們是我的人生導師。 他們都有一個共通點, 就是非常非常努力地工作。 我的爺爺擁在布魯克林有一座 餐具櫃的金屬工廠。 在週末,我們會一起去特克蘭街 (Cortlandt Street), 那是約紐的電子商街, 我們在成堆的 電子零件中挖寶, 用幾塊錢把一些寶買回家, 像是諾頓投彈瞄準器, 和 IBM 第一台真空管電腦的零件。 我覺得這些東西有用又有趣, 我學會了工程學和其原理, 不是在學校, 而且在拆解和研究 這些絕妙的複雜設備。 我每天花上數小時做這些事, 還好我沒有觸電身亡, 生命是美好的。
However, every summer, sadly, the machines got left behind while my parents and I traveled overseas to experience history, art and design. We visited the great museums and historic buildings of both Europe and the Middle East, but to encourage my growing interest in science and technology, they would simply drop me off in places like the London Science Museum, where I would wander endlessly for hours by myself studying the history of science and technology.
但是令人難過地,每個暑假, 這些機械離我而去, 因為我父母帶我出國旅遊, 體驗歷史,藝術和設計。 我們在歐洲和中東參觀 博物館和歷史建築。 但為了鼓勵我在科學 和工藝上的興趣, 他們會讓我去像是 倫敦科學博物館之類的地方。 我在那裡可以待上一整天, 研究科學工藝的歷史。
Then, when I was about nine years old, we went to Rome. On one particularly hot summer day, we visited a drum-shaped building that from the outside was not particularly interesting. My dad said it was called the Pantheon, a temple for all of the gods. It didn't look all that special from the outside, as I said, but when we walked inside, I was immediately struck by three things: First of all, it was pleasantly cool despite the oppressive heat outside. It was very dark, the only source of light being an big open hole in the roof. Dad explained that this wasn't a big open hole, but it was called the oculus, an eye to the heavens. And there was something about this place, I didn't know why, that just felt special. As we walked to the center of the room, I looked up at the heavens through the oculus. This was the first church that I'd been to that provided an unrestricted view between God and man. But I wondered, what about when it rained? Dad may have called this an oculus, but it was, in fact, a big hole in the roof. I looked down and saw floor drains had been cut into the stone floor. As I became more accustomed to the dark, I was able to make out details of the floor and the surrounding walls. No big deal here, just the same statuary stuff that we'd seen all over Rome. In fact, it looked like the Appian Way marble salesman showed up with his sample book, showed it to Hadrian, and Hadrian said, "We'll take all of it." (Laughter)
在我大約九歲的時候, 我們去了羅馬。 在炎熱夏天的某一天, 我們參觀了一棟像鼓一樣的建築, 外觀上一點也不起眼。 我爸說這是萬神廟 (Pantheon), 眾神的廟宇。 就像我說的,從外面看來一點也不特別, 但當我們走進去時, 我馬上被三件事情震驚到: 第一,跟外頭的熱度相比, 裡面是透心涼快。 裡頭非常的暗,唯一的光源, 來自天花板的一個大洞。 父親解釋,那不是一個大洞, 它叫作「眼睛」 (oculus), 能見到天堂的眼睛。 這個地方有些什麼特別之處, 我不知道是什麼,就是覺得特別。 當我們走到房屋的中央時, 我透過「眼睛」向上觀看天空, 這是我到過的第一個教堂, 在上帝與人間, 提供一個無遮蔽的視野。 但我很好奇,下雨時會怎麼樣? 父親或許稱它是「眼睛」, 但它實際上是一個天花板的大洞。 我低頭看到地板排水孔, 鑲在石頭地板中。 當我更加適應裡頭的黑暗, 我能更加看清楚地板和 周圍牆壁的細節。 沒啥特別的,跟我們在羅馬其它地方 看到的雕像一樣。 事實上,看起來像是亞壁古道 (Appian Way)。 大理石雕刻的商人 拿著他的目錄給哈德良看。 (註:哈德良為羅馬帝國五賢帝之一) 哈德良說「我們全買了。」 (笑聲)
But the ceiling was amazing. It looked like a Buckminster Fuller geodesic dome. I'd seen these before, and Bucky was friends with my dad. It was modern, high-tech, impressive, a huge 142-foot clear span which, not coincidentally, was exactly its height. I loved this place. It was really beautiful and unlike anything I'd ever seen before, so I asked my dad, "When was this built?" He said, "About 2,000 years ago." And I said, "No, I mean, the roof." You see, I assumed that this was a modern roof that had been put on because the original was destroyed in some long-past war. He said, "It's the original roof."
但天花板令人驚奇, 看起來像是巴克敏斯特·富勒的球形屋頂。 (註:巴克敏斯特·富勒是美國建築家) 我以前見過這種的, 巴克是我父親的朋友。 現代的,高技科,令人印深刻, 巨大的,142 英呎,沒有任何樑柱, 不是巧合的,剛好就這麼高。 我喜歡這個地方。 它真的很美,而且跟其它地方不一樣。 我就問我父親 "這是何時建造的?” 他回答 "大約兩千年前左右。” 我說 "不,我指的是屋頂。” 看,我以為這是一個現代的屋頂, 原有的屋頂因被戰火摧毀, 而再另外蓋一個。 我父親說 "這是原本的屋頂。”
That moment changed my life, and I can remember it as if it were yesterday. For the first time, I realized people were smart 2,000 years ago. (Laughter) This had never crossed my mind. I mean, to me, the pyramids at Giza, we visited those the year before, and sure they're impressive, nice enough design, but look, give me an unlimited budget, 20,000 to 40,000 laborers, and about 10 to 20 years to cut and drag stone blocks across the countryside, and I'll build you pyramids too. But no amount of brute force gets you the dome of the Pantheon, not 2,000 years ago, nor today. And incidentally, it is still the largest unreinforced concrete dome that's ever been built. To build the Pantheon took some miracles. By miracles, I mean things that are technically barely possible, very high-risk, and might not be actually accomplishable at this moment in time, certainly not by you.
從此刻我的人生就改變了, 就像昨天一樣記得很清楚。 第一次,我認知到兩千年前的人類 是如此聰明的。(笑聲) 這事在我腦中揮之不去。 我的意思是,在埃及吉薩的金字塔 前一年我們去看過了, 當然是很壯觀,完美的設計, 但只要我有夠多的預算, 兩萬到四萬個工人,花十到二十年, 在各地把石塊切割運過來, 我也可以造一座金字塔。 但只是靠蠻力, 無論是兩千年前或是今天, 你無法建一個萬神廟的穹頂。 而且它是現在最大的 未經強化過的混泥土穹頂。 建造萬神廟需要一些奇蹟。 我所謂的奇蹟,是指 在技術上近乎是不可能的, 高風險的,就算是今天, 也不見得可以完成的, 當然也不可能是由你完成的。
For example, here are some of the Pantheon's miracles. To make it even structurally possible, they had to invent super-strong concrete, and to control weight, varied the density of the aggregate as they worked their way up the dome. For strength and lightness, the dome structure used five rings of coffers, each of diminishing size, which imparts a dramatic forced perspective to the design. It was wonderfully cool inside because of its huge thermal mass, natural convection of air rising up through the oculus, and a Venturi effect when wind blows across the top of the building. I discovered for the first time that light itself has substance. The shaft of light beaming through the oculus was both beautiful and palpable, and I realized for the first time that light could be designed. Further, that of all of the forms of design, visual design, they were all kind of irrelevant without it, because without light, you can't see any of them. I also realized that I wasn't the first person to think that this place was really special. It survived gravity, barbarians, looters, developers and the ravages of time to become what I believe is the longest continuously occupied building in history.
舉幾個萬神廟的奇蹟: 要建造這樣一個的架構, 必須要有非常強力的混凝土, 而且要控制好重量, 隨著建造的高度, 要調整混凝土的密度。 達到需要的強度和輕量,穹頂的結構使用了 五圈的鑲板, 每一個的尺寸逐漸縮小, 依設計來看, 分散掉絕大部分的壓力。 穹頂下異常的涼爽, 因為其內部巨大的空間, 上升氣流可經由 ”眼睛” 排出 的自然對流, 和外部空氣吹過圓頂的 文丘里效應 (Venturi effect)。 我第一次發現 光是物質的。 經 "眼睛" 進來的一道光束, 是如此美麗及可觸摸的, 我第一次發現 光線也可以被設計的。 更甚,這裡所有形式的設計, 視覺設計, 全都脫離不了光線, 因為沒有了光,你啥也看不到。 我也發現我不是第一位 認為這個地方是如此的特別。 它撐過重力、野蠻人、掠奪者、建造者, 還有時間的蹂躪, 成為我認為是 史上最長壽的建築。
Largely because of that visit, I came to understand that, contrary to what I was being told in school, the worlds of art and design were not, in fact, incompatible with science and engineering. I realized, when combined, you could create things that were amazing that couldn't be done in either domain alone. But in school, with few exceptions, they were treated as separate worlds, and they still are. My teachers told me that I had to get serious and focus on one or the other. However, urging me to specialize only caused me to really appreciate those polymaths like Michelangelo, Leonardo da Vinci, Benjamin Franklin, people who did exactly the opposite. And this led me to embrace and want to be in both worlds.
因為這次的造訪, 我開始了解到, 相對於我在學校所學到的, 藝術和設計的世界 實際上,並不會不相容於 科學工藝的世界。 我發現當這兩個結合時, 你可以創造出在單一領域中 無法達到的效果。 但在學校裡,除了少數例外, 它們是被區分開來的, 現在也還是這樣。 我的老師們都告訴我要認真 專注在其中一個領域, 但是,力促我只精通一個領域, 讓我對憧景那像博學的人們 像米開朗基羅、達文西 本傑明·富蘭克林, 他們都不只是精通單一領域。 這讓我更加嚮往 同時身處在兩種領域。
So then how do these projects of unprecedented creative vision and technical complexity like the Pantheon actually happen? Someone themselves, perhaps Hadrian, needed a brilliant creative vision. They also needed the storytelling and leadership skills necessary to fund and execute it, and a mastery of science and technology with the ability and knowhow to push existing innovations even farther. It is my belief that to create these rare game changers requires you to pull off at least five miracles. The problem is, no matter how talented, rich or smart you are, you only get one to one and a half miracles. That's it. That's the quota. Then you run out of time, money, enthusiasm, whatever. Remember, most people can't even imagine one of these technical miracles, and you need at least five to make a Pantheon. In my experience, these rare visionaries who can think across the worlds of art, design and engineering have the ability to notice when others have provided enough of the miracles to bring the goal within reach. Driven by the clarity of their vision, they summon the courage and determination to deliver the remaining miracles and they often take what other people think to be insurmountable obstacles and turn them into features. Take the oculus of the Pantheon. By insisting that it be in the design, it meant you couldn't use much of the structural technology that had been developed for Roman arches. However, by instead embracing it and rethinking weight and stress distribution, they came up with a design that only works if there's a big hole in the roof. That done, you now get the aesthetic and design benefits of light, cooling and that critical direct connection with the heavens. Not bad. These people not only believed that the impossible can be done, but that it must be done.
所以像萬神廟這種史無前例的創新和精妙 是如何達成的呢? 有些人,像是哈德良 (Hadrian), 需要有傑出的創新願景, 他們也需要說故事和領導的才能, 來實現這個願景, 還有在科學工藝上的專精, 專業能力和技術, 來延伸現有的創新。 我相信,提供這種的規則改變者, 需要你至少五個奇蹟。 但問題是,無論你多聰明, 或是多有錢, 你只能頂多有一個半的奇蹟。 就是只有這麼多了。 你會耗盡你的時間、金錢、熱情, 還有其它的一切。 記得,大部分的人都沒有辦法 想像任何一種工藝上的奇蹟, 而你卻需要至少五個奇蹟來建造萬神廟。 在我的經驗中,只有少數的夢想家 能遊走在藝術設計 和科學工藝之間, 他們能夠注意到 何時其它方面的奇蹟 已經足夠來實現這個夢想。 對於他們願景的明確了解, 他們喚起勇氣和意志力, 創造剩下需要的奇蹟, 他們通常把其它人認為 不可跨越的障礙, 化為願景的特色。 以萬神廟的”眼睛”為例, 要堅持這樣的設計, 你勢必無法使用 在羅馬拱門上發展出來的結構技術。 然而,相對於 重新去思考重量和壓力的分佈, 他們用一種僅適用於天花板有一個洞的 全新設計。 完成後,不僅兼具美學, 設計上還帶來光線和涼風效果, 還有能直接連通天堂的管道。 很不賴吧。 這些人們不只是相信 不可能的事可以被完成, 而且是一定要完成。
Enough ancient history. What are some recent examples of innovations that combine creative design and technological advances in a way so profound that they will be remembered a thousand years from now? Well, putting a man on the moon was a good one, and returning him safely to Earth wasn't bad either. Talk about one giant leap: It's hard to imagine a more profound moment in human history than when we first left our world to set foot on another.
歷史故事就先到此為止。 近代有什麼創新的事物, 是結合了獨特的設計 和先進的技術, 可以讓人們在千年之後 依舊會記得呢? 把人送上月球是很了不起的, 然後再把他平安地帶回地球,也是一樣。 談到人類的一大步: 很難想像在人類的歷史上, 有什麼可以比得上 我們第一次遠離我們自己的世界 踏上另一個世界的那一刻。
So what came after the moon? One is tempted to say that today's pantheon is the Internet, but I actually think that's quite wrong, or at least it's only part of the story. The Internet isn't a Pantheon. It's more like the invention of concrete: important, absolutely necessary to build the Pantheon, and enduring, but entirely insufficient by itself. However, just as the technology of concrete was critical in realization of the Pantheon, new designers will use the technologies of the Internet to create novel concepts that will endure. The smartphone is a perfect example. Soon the majority of people on the planet will have one, and the idea of connecting everyone to both knowledge and each other will endure.
那在登月之後,會是什麼呢? 有人可能會說今天的萬神廟 是網際網路, 但我真的認為這是錯的, 或是說這只是一小部分而已。 網際網路不是萬神廟, 比較像是混凝土的發明, 對於建造萬神廟 是很重要,不可或缺的, 而且可以流傳後世, 但只有它是不夠的。 正如混凝土的技術 對萬神廟的建造是很關鍵的, 創新者使用網際網路 創造能流傳後世的全新事物。 智慧型手機是一個絕佳的例子。 很快速地,地球上大部分的人們 都會有一支, 把人們聯繫起來 和訊息連結的想法會流傳下去。
So what's next? What imminent advance will be the equivalent of the Pantheon? Thinking about this, I rejected many very plausible and dramatic breakthroughs to come, such as curing cancer. Why? Because Pantheons are anchored in designed physical objects, ones that inspire by simply seeing and experiencing them, and will continue to do so indefinitely. It is a different kind of language, like art. These other vital contributions that extend life and relieve suffering are, of course, critical, and fantastic, but they're part of the continuum of our overall knowledge and technology, like the Internet.
那下一步呢? 同等於萬神廟的下一個指標在哪? 想想看, 我不會接受一些似是而非 或重大突破的事物作答案, 例是治癒癌症。 為什麼?因為萬神廟 是建造在很多實體的設計之上, 每一個都來自由簡單的觀察 和不斷地體現, 而且可以無窮盡的流傳下去。 這像是藝術一樣難以用語言表達, 這些拓展生命及釋放痛苦的貢獻, 當然是不可缺少的重要, 而且很華麗, 但它們只是 我們全部知識技術的一部分, 網際網路也是。
So what is next? Perhaps counterintuitively, I'm guessing it's a visionary idea from the late 1930s that's been revived every decade since: autonomous vehicles. Now you're thinking, give me a break. How can a fancy version of cruise control be profound? Look, much of our world has been designed around roads and transportation. These were as essential to the success of the Roman Empire as the interstate highway system to the prosperity and development of the United States. Today, these roads that interconnect our world are dominated by cars and trucks that have remained largely unchanged for 100 years. Although perhaps not obvious today, autonomous vehicles will be the key technology that enables us to redesign our cities and, by extension, civilization. Here's why: Once they become ubiquitous, each year, these vehicles will save tens of thousands of lives in the United States alone and a million globally. Automotive energy consumption and air pollution will be cut dramatically. Much of the road congestion in and out of our cities will disappear. They will enable compelling new concepts in how we design cities, work, and the way we live. We will get where we're going faster and society will recapture vast amounts of lost productivity now spent sitting in traffic basically polluting.
那下一個會是什麼? 這有些違反直覺, 但我猜是一個自1930年代末期 經由每個世代的修改的 一個願景: 自動駕駛車輛。 你或許想,拜託, 怎麼會是一個比較潮的 巡航定速系統? 但你仔細看, 大部分我們的世界是設計在道路和運輸之上, 道路之於 羅馬帝國的興起, 就像州際高速公路 之於美國的 繁榮和現代化。 現今,這些串連我們世界的道路 主要都是汽車和卡車在使用, 而這個基本上一百年來 都沒有改變。 或許現今不是很明顯, 但自動駕駛車輛會是關鍵的科技 讓我們重新設計我們的城市, 更進一步地,改變文化。 為什麼呢? 一旦普及之後, 每年可以減少 美國上萬的生命的死亡, 全球有上百萬的生命。 汽車引擎的油耗和空污, 會大量的減少。 大部分在進出城市 交通擁塞將會消失。 這些會引發新的思維 重新設計我們的設計,職場, 以及我們的生活。 我們可以更快速到達目的地, 社會可以拾回大量的 資源損耗, 現在花在車陣中的時間只是在污染世界。
But why now? Why do we think this is ready? Because over the last 30 years, people from outside the automotive industry have spent countless billions creating the needed miracles, but for entirely different purposes. It took folks like DARPA, universities, and companies completely outside of the automotive industry to notice that if you were clever about it, autonomy could be done now. So what are the five miracles needed for autonomous vehicles? One, you need to know where you are and exactly what time it is. This was solved neatly by the GPS system, Global Positioning System, that the U.S. Government put in place. You need to know where all the roads are, what the rules are, and where you're going. The various needs of personal navigation systems, in-car navigation systems, and web-based maps address this. You must have near-continuous communication with high-performance computing networks and with others nearby to understand their intent. The wireless technologies developed for mobile devices, with some minor modifications, are completely suitable to solve this. You'll probably want some restricted roadways to get started that both society and its lawyers agree are safe to use for this. This will start with the HOV lanes and move from there. But finally, you need to recognize people, signs and objects. Machine vision, special sensors, and high-performance computing can do a lot of this, but it turns out a lot is not good enough when your family is on board. Occasionally, humans will need to do sense-making. For this, you might actually have to wake up your passenger and ask them what the hell that big lump is in the middle of the road. Not so bad, and it will give us a sense of purpose in this new world. Besides, once the first drivers explain to their confused car that the giant chicken at the fork in the road is actually a restaurant, and it's okay to keep driving, every other car on the surface of the Earth will know that from that point on.
但為何是現在?為何現在才能實現? 因為過去三十年, 在汽車業以外的人們, 花費上億的金錢 創造出必要的奇蹟, 但當初是為了不同的目的。 這讓像是 DARPA、大學、公司企業, (註:DARPA 是美國國防高等研究計劃署) 完全置身在汽車業界之外的人們, 如果夠聰明,就會了解到 自動汽車現在可以被實現。 什麼是自動汽車需要的五個奇蹟呢? 第一個,你需要知道 現在你確切的時間和位置。 這個可以經由 GPS 解決, 全球定位系統, 是由美國政府發展的。 你需要知道道路在哪裡, 道路規則是什麼,你要往哪裡去。 這些可以由導航系統, 車內導航系統, 和網路上的地圖來達成。 你需要近端即時通訊 配合高效能的電腦運算, 來了解附近車輛 的動態。 為手機發展的無線技術 加上一點些微的改造, 就可以完成的解決這件事。 你或許想到 在社會和法律上 都可以接受的 一些道路限制。 像是高乘載車道 和其它的延伸。 但最終,你需要能辨認 人群、號誌和物體。 機械視覺、特殊感應器、高效能的電腦運算 可以做到這些, 但這還是不太夠, 尤其是當你的家人在車上。 偶爾,人類需要給予一些決定。 你或許需要喚醒乘客 詢問他們 剛剛那個在路中間的顛簸是怎麼回事。 這還不賴,我們已經有一些 新世界的輪廓了。 此外,一旦駕駛 向那困惑的汽車解釋 路上那隻在叉子上的巨大的雞 只是一家餐廳, 它就會安心的繼續行駛, 而地表上的所有其它汽車 也將從此了解這件事。
Five miracles, mostly delivered, and now you just need a clear vision of a better world filled with autonomous vehicles with seductively beautiful and new functional designs plus a lot of money and hard work to bring it home. The beginning is now only a handful of years away, and I predict that autonomous vehicles will permanently change our world over the next several decades.
第五個奇蹟,已近乎完成, 是需要一個明確的願景, 一個佈滿自動汽車的美好世界, 吸引人和功能完善的設計, 加上許多資金和努力, 可以把它開回家。 只需幾年的時間就可以實現了, 我預期自動駕駛汽車 將會永遠的改變我們的世界 延續好幾十年。
In conclusion, I've come to believe that the ingredients for the next Pantheons are all around us, just waiting for visionary people with the broad knowledge, multidisciplinary skills, and intense passion to harness them to make their dreams a reality. But these people don't spontaneously pop into existence. They need to be nurtured and encouraged from when they're little kids. We need to love them and help them discover their passions. We need to encourage them to work hard and help them understand that failure is a necessary ingredient for success, as is perseverance. We need to help them to find their own role models, and give them the confidence to believe in themselves and to believe that anything is possible, and just as my grandpa did when he took me shopping for surplus, and just as my parents did when they took me to science museums, we need to encourage them to find their own path, even if it's very different from our own.
總而言之,我開始相信 促成下一個萬神廟的各項要素 已經在我們的周圍, 等待有願景的人們, 同時具備寬廣的知識, 跨領域的技術, 及極端的熱情, 讓這個夢想成真。 但這樣的人才並不會 自動地無中生有。 他們必須從小時候 就被良好的教養和鼓勵。 我們需要愛護並幫助他們 去發掘他們的熱情。 我們需要鼓勵他們全力投入, 幫助他們了解到 失敗為成功之母, 並且要持續不懈。 我們需要幫助他們找到他們的典範, 給予他們自信,相信自己, 相信任何都是可能的, 就像我祖父帶我去購買雜貨, 就像我父母 帶我去科學博物館, 我們需要鼓勵他們去找到他們自己的道路, 即使這是非常困難。
But a cautionary note: We also need to periodically pry them away from their modern miracles, the computers, phones, tablets, game machines and TVs, take them out into the sunlight so they can experience both the natural and design wonders of our world, our planet and our civilization. If we don't, they won't understand what these precious things are that someday they will be resopnsible for protecting and improving. We also need them to understand something that doesn't seem adequately appreciated in our increasingly tech-dependent world, that art and design are not luxuries, nor somehow incompatible with science and engineering. They are in fact essential to what makes us special.
但有一個注意事項: 我們需要定期的把他們 從現代的奇蹟拉開來, 電腦、手機、平板、 電玩、電視, 帶他們到外面, 讓他們感受到 我們的世界、星球和文化 的美好設計。 如果不這樣做,他們不會了解 這些資產的珍貴, 而有一天會輪到他們 來保護和改善。 我們也需要他們能了解 有些事物在現代科技快速發展下 沒有被得到應有的看待, 藝術和設計, 不是奢侈品, 也不是不能和 科學科技相容的。 事實上,它是讓我們與眾不同的必要。
Someday, if you get the chance, perhaps you can take your kids to the actual Pantheon, as we will our daughter Kira, to experience firsthand the power of that astonishing design, which on one otherwise unremarkable day in Rome, reached 2,000 years into the future to set the course for my life.
如果有一天你有機會, 或許你可以帶你的孩子 去真正的萬神廟, 像我帶我的女兒奇拉, 去第一手體驗到 令人震驚的設計, 在羅馬的某一個不起眼的日子, 觸及到 2000 年的未來, 造就我現在的人生。
Thank you.
謝謝。
(Applause)
(掌聲)