(Applause)
(掌声)
Thank you very much. I have a few pictures, and I'll talk a little bit about how I'm able to do what I do. All these houses are built from between 70 and 80 percent recycled material, stuff that was headed to the mulcher, the landfill, the burn pile. It was all just gone. This is the first house I built. This double front door here with the three-light transom, that was headed to the landfill. Have a little turret there. And then these buttons on the corbels here -- right there -- those are hickory nuts. And these buttons there -- those are chicken eggs.
非常感谢。 我有一些图片, 而且我会谈些 我怎么能够做成我现在所从事的事情。 这些房子都是用 百分之七十到八十的回收材料建成的, 像是处理到土壤上,垃圾掩埋,燃烧坑。 这些都过去了。 这是我建造的第一个房子。 这个双门带着一个三个透光口的门楣, 是从垃圾填埋场获得的。 那是个小塔楼。 看阶梯状的屋檐边得几个按钮 - 就在那里 - 那些是山核桃果。 那里的按钮, 是鸡蛋。
(Laughter)
当然,你要先吃早餐,
Of course, first you have breakfast, and then you fill the shell full of Bondo and paint it and nail it up, and you have an architectural button in just a fraction of the time.
然后你用Bondo将蛋壳填充,画上图形并且固定好, 然后你在很少的时间内 就完成了一个建筑用的按钮了。
This is a look at the inside. You can see the three-light transom there with the eyebrow windows. Certainly an architectural antique headed to the landfill -- even the lockset is probably worth 200 dollars. Everything in the kitchen was salvaged. There's a 1952 O'Keefe & Merritt stove, if you like to cook -- cool stove. This is going up into the turret. I got that staircase for 20 dollars, including delivery to my lot.
这是内部的样子。 你能看到那里三个透光口的门楣 和眉窗 - 当然是古典的建筑。 从垃圾填埋场获得的。 甚至这个锁可能也值200美元。 厨房里所有的东西都是回收来的。 这是1952年的O'Keefe & Merritt的灶台, 如果你喜欢烹饪的话 - 很好的灶台。 登上楼。 我用20美元买的楼梯, 包括运费。
(Laughter)
(笑声)
Then, looking up in the turret, you see there are bulges and pokes and sags and so forth. Well, if that ruins your life, well, then, you shouldn't live there.
然后,在塔楼向上看, 你看到凹凸不平的设计。 如果这破坏了你的生活, 你不应当住在那里。
(Laughter)
(笑声)
This is a laundry chute. And this right here is a shoe last -- those are those cast-iron things you see at antique shops. So I had one of those, so I made some low-tech gadgetry, where you just stomp on the shoe last, and then the door flies open and you throw your laundry down. And then if you're smart enough, it goes on a basket on top of the washer. If not, it goes into the toilet.
这是洗衣房, 右面的最后是鞋楦。 那些铁制东西是古董店中的才能看到的东西。 所以我弄了其中的一个, 所以我做了几个简单的小玩意 就在你踩在鞋楦的那个地方, 门就打开,你可以将你要洗的衣服扔下去。 然后如果你够聪明的话,会到洗衣机上面的篮子里。 否则,会到马桶里。
(Laughter)
(笑声)
This is a bathtub I made, made out of scrap two-by-four. Started with the rim, and then glued and nailed it up into a flat, corbeled it up and flipped it over, then did the two profiles on this side. It's a two-person tub. After all, it's not just a question of hygiene, but there's a possibility of recreation as well.
这是我做的浴缸, 用二乘四的废料做成的。 先是弄出个轮廓 然后粘起来固定成一个平面, 支撑起来,再翻过来, 然后再在这一边弄两个面。 这是一个两人用的浴缸。 毕竟,这不仅仅是卫生的问题, 而也是一种娱乐的可能。
(Laughter)
(笑声)
Then, this faucet here is just a piece of Osage orange. It looks a little phallic, but after all, it's a bathroom.
这个水龙头 是桑橙树的一部分。 这看起来有些像生殖器, 但毕竟这只是个浴室。
(Laughter)
(笑声)
This is a house based on a Budweiser can. It doesn't look like a can of beer, but the design take-offs are absolutely unmistakable: the barley hops design worked up into the eaves, then the dentil work comes directly off the can's red, white, blue and silver. Then, these corbels going down underneath the eaves are that little design that comes off the can. I just put a can on a copier and kept enlarging it until I got the size I want. Then, on the can it says, "This is the famous Budweiser beer, we know of no other beer, blah, blah, blah." So we changed that and put, "This is the famous Budweiser house. We don't know of any other house ..." and so forth and so on. This is a deadbolt. It's a fence from a 1930s shaper, which is a very angry woodworking machine. And they gave me the fence, but they didn't give me the shaper, so we made a deadbolt out of it. That'll keep bull elephants out, I promise.
这是一个建立在百威啤酒瓶基础上的房子。 这看上去并不像是啤酒瓶, 但是从设计上是完全无误的。 啤酒花的设计直到屋檐下, 然后白色的部分直接从瓶子的红色,白色,蓝色和银色部分分离出来。 这些阶梯顺着屋檐向下 都是从瓶子外观想到的小设计。 我只把瓶子放在复印机上 持续地放大直到得到我想要的尺寸。 然后,瓶子上写着, “这是著名的百威啤酒,我们不知道有其他的啤酒,怎么样...怎么样。” 所以我们改变成,“这是著名的百威房子。 我们不知道有其他这样的房子,”怎么样...怎么样。 这是门拴。曾经是1930年成型机的围栏, 用木工机器。 他们给了我这个围栏,但是他们没给我成型机, 所以我们用它做了个门拴。 这可以将强壮的大象拦在外面,我保证。
(Laughter)
并且确定的是,我们不会跟强壮的大象有矛盾。
And sure enough, we've had no problems with bull elephants.
(笑声)
(Laughter)
这个淋浴是模仿一瓶酒。
The shower is intended to simulate a glass of beer. We've got bubbles going up there, then suds at the top with lumpy tiles. Where do you get lumpy tiles? Well, of course, you don't. But I get a lot of toilets, and so you just dispatch a toilet with a hammer, and then you have lumpy tiles. And then the faucet is a beer tap.
泡沫从那里上去,然后是有着泡沫的破碎的瓷砖。 我们是从哪里得到这些瓷砖的呢?当然,你得不到。 但是我有很多卫生间,所以你就用锤子打坏一个卫生间, 然后你就有破碎的瓷砖了。 那里的水龙头
(Laughter)
是一个啤酒栓子。
(笑声)
Then, this panel of glass is the same panel of glass that occurs in every middle-class front door in America. We're getting tired of it. It's kind of clichéd now. If you put it in the front door, your design fails. So don't put it in the front door; put it somewhere else. It's a pretty panel of glass. But if you put it in the front door, people say, "Oh, you're trying to be like those guys, and you didn't make it." So don't put it there. Then, another bathroom upstairs. This light up here is the same light that occurs in every middle-class foyer in America. Don't put it in the foyer. Put it in the shower, or in the closet, but not in the foyer. Then, somebody gave me a bidet, so it got a bidet.
然后这种玻璃面板 跟美国中产阶级家的正门所用的 玻璃面板一样。 我们觉得现在这有点俗。 所以如果你将它放到正门,你的设计就失败了。 所以不要放到正门,而是放到其他的什么地方。 这是块很好的玻璃面板。 但是如果你放到正门, 人们会说,“你在模仿其他人,不是你设计的。” 所以不要放到那里。 楼上还有一个浴室。 浴室的灯是跟 在每一个美国中产家庭的门厅里的灯一模一样。 所以不要放到门厅里。 要放到浴室里,或者壁橱里, 但是不要放到门厅里。 有人给了我一个浴盆,所以我就放了个浴盆。
(Laughter)
(笑声)
This little house here, those branches there are made out of Bois d'arc or Osage orange. These pictures will keep scrolling as I talk a little bit.
这个小房子, 这些树枝是用桑橙树做成的, 这些图片持续滚动 在我说话的时候。
In order to do what I do, you have to understand what causes waste in the building industry. Our housing has become a commodity, and I'll talk a little bit about that. But the first cause of waste is probably even buried in our DNA. Human beings have a need for maintaining consistency of the apperceptive mass. What does that mean? What it means is, for every perception we have, it needs to tally with the one like it before, or we don't have continuity, and we become a little bit disoriented. So I can show you an object you've never seen before. Oh, that's a cell phone. But you've never seen this one before. What you're doing is sizing up the pattern of structural features, and then you go through your databanks: Cell phone. Oh! That's a cell phone. If I took a bite out of it, you'd go, "Wait a second.
为了做我在做的事情, 你必须明白 是什么制造了建筑业的废料。 我们的房屋变成了商品, 我要简单地说下这个。 但是造成废物的第一个原因可能就在我们DNA里埋藏着。 人类需要保持连续性 为了别人的感知。 这是什么意思呢? 这是说,对于我们的每个感觉, 这需要和之前的相吻合, 否则我们将失去连续性, 并且我们将变得失去方向。 所以我给你们看一个你们之前没见过的东西。 这是个手机。 但是你之前从没见过。 你现在做的 就是扩大这个结构, 然后从你的数据库中知道这是个手机。 这是个手机。 如果我拿走一部分, 你会说,“等一下。
(Laughter)
那不是个手机。
"That's not a cell phone. That's one of those new chocolate cell phones."
那是新型巧克力手机的一种。”
(Laughter)
(笑声)
You'd have to start a new category, right between cell phones and chocolate.
你需要创造一个新的类别, 在手机和巧克力之间。
(Laughter)
这是我们处理信息的方式。
That's how we process information.
所以你可以这样理解建筑业,
You translate that to the building industry. If we have a wall of windowpanes and one pane is cracked, we go, "Oh, dear. That's cracked. Let's repair it. Let's take it out and throw it away so nobody can use it and put a new one in." Because that's what you do with a cracked pane. Never mind that it doesn't affect our lives at all. It only rattles that expected pattern and unity of structural features. However, if we took a small hammer, and we added cracks to all the other windows --
如果我们有一面玻璃窗,其中的一扇窗子坏了, 我们说,“天啊。这个坏了。修吧。 扔掉这个,这样没人能够再用它并装上个新的。” 因为这是你处理破窗户的方式。 但是这并不影响我们的生活。 这只是影响了我们期待的图案 和结构的统一。 但是,如果我们拿一个小锤子, 在其他窗户上都加上裂缝,
(Laughter)
我们就有了图案。
then we have a pattern. Because Gestalt psychology emphasizes recognition of pattern over parts that comprise a pattern. We'll go, "Ooh, that's nice." So, that serves me every day. Repetition creates pattern. If I have 100 of these, 100 of those, it makes no difference what these and those are. If I can repeat anything, I have the possibility of a pattern, from hickory nuts and chicken eggs, shards of glass, branches. It doesn't make any difference. That causes a lot of waste in the building industry.
因为完全形态心理学强调对于图案的认知 而不是组成图案的部分。 我们会说,“这很好。” 所以,这是我每天所做的。 重复创造了图案。 如果我有一百个这些,一百个那些, 这并不影响这个或那个是什么。 如果我可以重复任何事,我就能够创造图案, 从山核桃果和鸡蛋,玻璃片,树枝中。 这并没改变什么。 这造成了建筑业中很多的废料。 第二,Friedrich Nietzsche在1885年
The second cause is, Friedrich Nietzsche, along about 1885, wrote a book titled "The Birth of Tragedy." And in there, he said cultures tend to swing between one of two perspectives: on the one hand, we have an Apollonian perspective, which is very crisp and premeditated and intellectualized and perfect. On the other end of the spectrum, we have a Dionysian perspective, which is more given to the passions and intuition, tolerant of organic texture and human gesture. So the way the Apollonian personality takes a picture or hangs a picture is, they'll get out a transit and a laser level and a micrometer. "OK, honey. A thousandth of an inch to the left. That's where we want the picture. Right. Perfect!" Predicated on plumb level, square and centered. The Dionysian personality takes the picture and goes:
写了本书叫“悲剧的产生”。 在书里他说 文化在两种看法中徘徊。 一方面,我们有阿波罗的看法, 非常清楚而且规定好的 并且是理智的 而且是完美的。 另一方面,我们有酒神的看法, 更多得强调感情和直觉, 对自然的结构和人类习俗的容忍。 所以用阿波罗特性的方式拍照片, 或者挂个照片, 是很细致 微妙的。 “好的,亲爱的。向左千分之一英尺。 这是我们拍照片的地方。对。好极了。” 建立在好的基础,正方正中。 酒神的特性 只是找个照片……
(Laughter)
(笑声)
That's the difference. I feature blemish. I feature organic process. Dead center John Dewey. Apollonian mindset creates mountains of waste. If something isn't perfect, if it doesn't line up with that premeditated model? Dumpster. "Oops. Scratch. Dumpster." "Oops" this, "oops" that. Landfill, landfill, landfill.
那就是不同之处。 我描述污点。 我描述有机过程 - 正好是John Dewey。 阿波罗的看法创造了大量的废料。 如果有什么东西不完美, 如果跟预期的模型吻合,扔掉。 “呃,有划痕,扔掉。 这个,那个。垃圾。垃圾。垃圾。” 第三件事是值得商榷的 -
The third thing is arguably -- The Industrial Revolution started in the Renaissance with the rise of humanism, then got a little jump start along about the French Revolution. By the middle of the 19th century, it's in full flower. And we have dumaflaches and gizmos and contraptions that will do anything that we, up to that point, had to do by hand. So now we have standardized materials. Well, trees don't grow two inches by four inches, eight, ten and twelve feet tall.
工业革命开始于文艺复兴 和人文主义的兴起 然后导致了法国革命。 19世纪中期,这些在蓬勃发展。 然后我们有了各种各样的东西 可以做任何事情 那些我们,直到那个时候, 需要自己动手做的东西。 所以现在我们有标准化的东西。 树不是长在两英寸乘四英寸的范围内 不是八英尺,10英尺和12英尺那样高。 我们创造了大量的废料。
(Laughter)
We create mountains of waste. And they're doing a pretty good job there in the forest, working all the byproduct of their industry -- with OSB and particle board and so forth and so on -- but it does no good to be responsible at the point of harvest in the forest if consumers are wasting the harvest at the point of consumption. And that's what's happening. And so if something isn't standard, "Oops, dumpster." "Oops" this. "Oops, warped." If you buy a two-by-four and it's not straight, you can take it back. "Oh, I'm so sorry, sir. We'll get you a straight one." Well, I feature all those warped things because repetition creates pattern, and it's from a Dionysian perspective.
他们就被扔在 森林里, 和工业的副产品 - 还有定向结构刨花板和碎木板等等 - 但是这并没有 对采伐森林负责 如果消费者们浪费掉这些用以消耗的伐木, 那就是现在发生的事情。 如果有一些事情不符合标准, “垃圾。这个, 变形了。” 如果你要二乘四的而不是直的, 你可以将它取回来。 “对不起。我们会给你做个直的。” 我把这些变形了的东西, 因为重复创造图案, 这是从酒神的角度来说。
The fourth thing is labor is disproportionately more expensive than materials. Well, that's just a myth. And there's a story: Jim Tulles, one of the guys I trained -- I said, "Jim, it's time now. I got a job for you as a foreman on a framing crew. Time for you to go." "Dan, I just don't think I'm ready." "Jim, now it's time. You're the down -- oh!" So we hired on. And he was out there with a tape measure, going through the trash heap, looking for header material, or the board that goes over a door, thinking he'd impress his boss -- that's how we taught him to do it. The superintendent walked up and said, "What are you doing?" "Oh, just looking for header material," waiting for that kudos. He said, "I'm not paying you to go through the trash. Get back to work." And Jim had the wherewithal to say, "You know, if you were paying me 300 dollars an hour, I can see how you might say that. But right now, I'm saving you five dollars a minute. Do the math."
第四件事 是劳动力不成比例得比材料贵得多。 这只是个事情。 现在是个故事:Jim Tulles,我训练的一个人, 我说,“Jim,现在是时候了。 我为你找了个构架队的工头职务。你现在可以去了。” “Dan,我不认为我准备好了。” “Jim,现在是时候了。你要走了。” 然后我们开始了。 他在外面用他的皮尺 在垃圾堆里寻找顶梁的材料 - 就是门上的木板 - 想着他能令老板刮目相看 - 这是我们教他的。 主管走过去说,“你在做什么?” “只是找些顶梁的材料”, 等待赞誉。 他说,“不,不。我不是雇你在垃圾里找东西。回去工作。” 他很必要地说, 他说,“你知道,如果你付我 300美元一小时, 我能够想像你会这样说, 但是现在,我每分钟为你节省了5美元。 自己算算吧”
(Laughter)
(笑声)
"Good call, Tulles. From now on, you guys hit this pile first." And the irony is that he wasn't very good at math.
“好的,Tulles。从现在开始,你们先从这堆开始。” 具有讽刺意味的是他并不擅长数学。
(Laughter)
(笑声)
But once in a while, you get access to the control room, and then you can kind of mess with the dials. And that's what happened there.
有些时候当你去控制室时, 你要处理电话。 这就是在那里发生的故事。
The fifth thing is that maybe, after 2,500 years, Plato is still having his way with us in his notion of perfect forms. He said that we have in our noggin the perfect idea of what we want, and we force environmental resources to accommodate that. So we all have in our head the perfect house, the American dream, which is a house, the dream house. The problem is we can't afford it. So we have the American dream look-alike, which is a mobile home. Now there's a blight on the planet.
第五件事是可能2500年后, 柏拉图关于完美形式的表述仍然适用。 他说我们对于想要什么的完美的想法 就在我们的脑子里, 我们利用自然资源来实现它。 所以我们想象着完美的房子, 美国梦,是个房子 - 梦想中的房子。 问题是我们负担不起。 所以我们的美国人的梦都差不多, 是个活动房子。 现在星球上有些阴影。
(Laughter)
这是动产抵押
It's a chattel mortgage, just like furniture, just like a car. You write the check, and instantly, it depreciates 30 percent. After a year, you can't get insurance on everything you have in it, only on 70 percent. Wired with 14-Gauge wire, typically. Nothing wrong with that, unless you ask it to do what 12-Gauge wire's supposed to do, and that's what happens. It out-gasses formaldehyde -- so much so that there is a federal law in place to warn new mobile home buyers of the formaldehyde atmosphere danger. Are we just being numbingly stupid? The walls are this thick. The whole thing has the structural value of corn.
就像家具,就象汽车。 你付款后马上就贬值百分之三十。 一年之后,保险就没了, 只有百分之七十。 一般是用标号14的电线。 这没什么错, 除非你要求用标号12的线, 这是正在发生的事情。 由于大量的甲醛释放导致 联邦法律 向新的移动房屋的购买者 警告存在的甲醛危险。 我们是否这么蠢呢? 墙只有这么厚。 整个就只有玉米的结构价值。
(Laughter)
(笑声)
"So ... I thought Palm Harbor Village was over there." "No, no. We had a wind last night. It's gone now."
“所以我认为Palm Harbor村庄在那里。” “不。昨晚上刮了风。 现在没了。”
(Laughter)
(笑声)
Then when they degrade, what do you do with them?
然后质量降低了,你该怎么办呢?
Now, all that -- that Apollonian, Platonic model -- is what the building industry is predicated on, and there are a number of things that exacerbate that. One is that all the professionals, all the tradesmen, vendors, inspectors, engineers, architects all think like this. And then it works its way back to the consumer, who demands the same model. It's a self-fulfilling prophecy. We can't get out of it. Then here come the marketeers and the advertisers. "Woo. Woo-hoo." We buy stuff we didn't know we needed. All we have to do is look at what one company did with carbonated prune juice. How disgusting.
现在, 阿波罗,柏拉图的模型, 是建筑业的前提, 然后还有一些事情加剧着这个。 一个是所有的从业者, 所有的零售商,供应商, 检验者,工程师,建筑师 都这样想。 最后又回到了消费者 他们需要同样的模型。 这是一个自我加固的循环。我们走不出去。 然后就是商人和广告商。 “啊。啊。” 我们买了我们并不需要的东西。 我们所需要做的就是看着 一个公司如何销售西梅味的汽水。 真恶心。
(Laughter)
(笑声)
But you know what they did? They hooked a metaphor into it and said, "I drink Dr. Pepper ..." And pretty soon, we're swilling that stuff by the lake-ful, by the billions of gallons. It doesn't even have real prunes! Doesn't even keep you regular.
但是你认为他们干了什么呢?他们用个比喻 说道,“我喝着Pepper博士……” 很快的我们就开始畅饮这种饮料, 数几十亿加仑。 它并不含有真正的西梅 - 更不会使你正常的。
(Laughter)
(笑声)
My oh my, that makes it worse. And we get sucked into that faster than anything.
这是更糟的了。 我们在这个事情上停滞不前的速度比在任何其他事上都要快。
Then, a man named Jean-Paul Sartre wrote a book titled "Being and Nothingness." It's a pretty quick read. You can snap through it in maybe --
一个人叫Jean-Paul Sartre写了这本书 叫“存在和不存在”。 只是一个快速阅读。
(Laughter)
两年内能够读完,
maybe two years, if you read eight hours a day. In there, he talked about the divided self. He said human beings act differently when they know they're alone than when they know somebody else is around. So if I'm eating spaghetti, and I know I'm alone, I can eat like a backhoe. I can wipe my mouth on my sleeve, napkin on the table, chew with my mouth open, make little noises, scratch wherever I want.
如果一天读8个小时。 书中他谈论了分裂的性格。 他说人们在独处的时候和跟同别人在一起时 会表现得不一样。 所以如果我在吃意大利面,我知道只有我一个人的时候, 我可以狼吞虎咽。 我可以用袖子擦嘴 - (虽然)餐巾纸就在桌上, 张着嘴咀嚼,发出声音, 想吃什么就吃什么。
(Laughter)
(笑声)
But as soon as you walk in, I go, "Oops! Lil' spaghetti sauce there." Napkin in my lap, half-bites, chew with my mouth closed, no scratching. Now, what I'm doing is fulfilling your expectations of how I should live my life. I feel that expectation, and so I accommodate it, and I'm living my life according to what you expect me to do. That happens in the building industry as well. That's why all subdivisions look the same. Sometimes, we even have these formalized cultural expectations. I'll bet all your shoes match. Sure enough, we all buy into that ...
但是当你进来时, 我会这样,“意大利面汁在那里。” 将餐巾纸放在腿上,半口嚼, 闭着嘴吃饭,不随意挑东西吃。 我现在做的 就是满足你们的期望 关于我如何来过我的生活。 我感觉到这种期望, 所以我会实现它, 我的生活是根据你们对我的期望而定。 这在建筑业也是一样。 这是为什么我们的小区看上去都一样。 有时我们甚至 有固定文化的需求。 我打赌你们的鞋都相配。 当然,我们都这样,
(Laughter)
对于封闭式小区,
And with gated communities, we have a formalized expectation, with a homeowners' association. Sometimes those guys are Nazis, my oh my. That exacerbates and continues this model.
我们也有固定的看法 对于户主协会。 有时那些人像是纳粹, 天啊。 这个加剧并且继续着这种模型。
The last thing is gregariousness. Human beings are a social species. We like to hang together in groups, just like wildebeests, just like lions. Wildebeests don't hang with lions, because lions eat wildebeests. Human beings are like that. We do what that group does that we're trying to identify with. You see this in junior high a lot. Those kids, they'll work all summer long -- kill themselves -- so that they can afford one pair of designer jeans. So along about September, they can stride in and go, "I'm important today. See? Don't touch my designer jeans! I see you don't have designer jeans. You're not one of the beautiful -- See, I'm one of the beautiful people. See my jeans?" Right there is reason enough to have uniforms. And so that happens in the building industry as well.
最后一个是社交性。 人类是群居物种。 我们喜欢在群体中, 就像牛羚,就像狮子。 牛羚不会和狮子呆在一起 因为狮子吃牛羚。 人类也是这样。 我们做群体所做的事情 为了表示我们的归属。 这些在初中很常见。 那些孩子,他们会工作一个夏天, 很辛苦, 为了能够买 一条品牌牛仔裤, 这样在9月 他们能够大步走进去, “今天我感觉我很重要。 看,不要碰我的品牌牛仔裤。 我知道你没有品牌牛仔裤。 你不属于那些漂亮的人之一。 看,我属于那些漂亮的人之一。看见我的牛仔裤吗?” 确实有理由统一着装。 这在建筑业也一样。
We have confused Maslow's hierarchy of needs, just a little bit. On the bottom tier, we have basic needs: shelter, clothing, food, water, mating and so forth. Second: security. Third: relationships. Fourth: status, self-esteem -- that is, vanity -- and we're taking vanity and shoving it down here. And so we end up with vain decisions, and we can't even afford our mortgage. We can't afford to eat anything except beans;
我们有一点 混淆了 马斯洛的需求层次。 最底层的 是我们最基本的需求 - 庇护处,衣服,食物,水,交配等等。 第二层,安全。第三层,关系。 第四层,身份,自尊 - 这是虚无的。 我们将虚无的放到最低下。 所以我们得到了 一些没有意义的决定 和我们无法偿还的贷款, 我们无法负担的除了豆子之外的东西。
that is, our housing has become a commodity. And it takes a little bit of nerve to dive into those primal, terrifying parts of ourselves and make our own decisions and not make our housing a commodity, but make it something that bubbles up from seminal sources. That takes a little bit of nerve, and, darn it, once in a while, you fail. But that's okay. If failure destroys you, then you can't do this. I fail all the time, every day, and I've had some whopping failures, I promise -- big, public, humiliating, embarrassing failures.
那就是,我们的房子 变成了商品, 然后一点点地 侵入了我们最初的, 可怕的部分 要自己做决定 不要让房子成为商品, 而是成为一种有创造力的东西。 这需要一些勇气, 弥补它,当你失败时。 但这没问题。 如果失败毁灭了你, 你不能干这个。 我一直都在失败,每天, 而且我还有些惨败的经历,我保证, 一些很大的,众所周知的,丢人现眼的, 尴尬的失败经历。
Everybody points and laughs, and they say, "He tried it a fifth time, and it still didn't work! What a moron!" Early on, contractors come by and say, "Dan, you're a cute little bunny, but you know, this just isn't going to work. What don't you do this? Why don't you do that?" And your instinct is to say, "Well, why don't you suck an egg?"
所有人都指着我嘲笑, 他们说,“他都试了第五次了,还是不行。 真是个笨蛋。” 之前,承包人过来说, “Dan,你是个可爱的孩子, 但是你知道,这行不通的。 为什么不做这个,为什么不做那个?” 你的本能反应是, “为什么你不吃个鸡蛋。”
(Laughter)
但是你不会这么说,
But you don't say that, because they're the guys you're targeting.
因为他们是你需要的人。
And so what we've done -- and this isn't just in housing; it's in clothing and food and our transportation needs, our energy -- we sprawl just a little bit. And when I get a little bit of press, I hear from people all over the world. And we may have invented excess, but the problem of waste is worldwide. We're in trouble. And I don't wear ammo belts crisscrossing my chest and a red bandana. But we're clearly in trouble. And what we need to do is reconnect with those really primal parts of ourselves and make some decisions and say, "You know, I think I would like to put CDs across the wall there. What do you think, honey?" If it doesn't work, take it down. What we need to do is reconnect with who we really are, and that's thrilling indeed.
所以这就是我们所做的 - 不仅仅是房子; 也有衣服和食物 和交通需求,我们的能源 - 我们搞得有点大了。 当我有点压力时, 我倾听来自世界各地的人。 我们可能已经是发明过剩, 但是废料问题 是全球性的。 我们有困难了。 我不会胸前穿叉着弹药带 头上戴着红头巾, 但是我们确实是遇到困难了。 我们需要做得 是重新连接 我们最基本的部分 做出些决定 说道,“你知道,我认为我要 将CD放到墙那边。 你觉得呢,亲爱的?” 如果不行,就取下来。 我们需要的是重新连接起真正的我们, 这是令人激动的。
Thank you very much.
非常感谢。
(Applause)
(掌声)