(Applause)
(掌聲)
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.
謝謝大家。 我帶來一些照片, 我將會談談 我怎麼做到我所做的這些事。 這裡所有房子使用的建材 都使用了百分之七~八十的回收材料, 那些原本被送往粉碎機、掩埋場、焚化爐的東西。 這些都是過去式了。 這是我所建造的第一棟房子。 這個雙開式大門有著三個透光口的門楣, 那是從掩埋場撿回來的。 上面有個小塔樓。 而在腳座上的那些釦狀物 -- 在這邊 -- 那些是山胡桃的果核。 而這裡的釦狀物, 那些則是雞蛋。
(Laughter)
當然,你要先把早餐吃完,
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.
然後在蛋殼裡塞滿補土,接著上色,再把它固定上去。 於是,你可以在短時間內 就完成一個建築式的釦狀物。
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.
接著這是裡面的樣子。 那裡是有三個透光口的門楣 和眉窗 -- 很有古典的建築。 也是從掩埋場撿回來的。 甚至這個鎖可能也值 200 美元。 廚房裡的每樣東西都是撿回來的。 有個 1952 年的 O'Keefe & Merritt 火爐, 如果你喜歡下廚的話,這是個很棒的爐子。 從這裡可以爬上塔樓。 我花了 20 美元買到這個樓梯, 還包含運費。
(Laughter)
(笑聲)
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.
接著,看看塔樓的上面, 那裡凹凹凸凸還有傾斜之類的設計。 喔,如果這會影響你的生活, 那你就不該住在那裡。
(Laughter)
(笑聲)
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.
這是洗衣房的照片, 右邊這裡是個鞋楦。 那些是那種你在古董店裡才看得到的鑄鐵製品。 而我有一個, 所以我在那裡做了一個簡單的小機關, 只要你踩鞋楦那裡, 門就會打開,你可以把髒衣服丟下去。 如果你夠聰明的話,它會掉在洗衣機上面的籃子裡。 否則它就會掉進馬桶裡。
(Laughter)
(笑聲)
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.
這是我做的浴缸, 用二乘四的破片做的。 從只有一個圓框開始, 把它黏住,再固定成一個平面, 支撐起來,然後翻個面, 然後在這個方向做出兩個面。 這是個雙人浴缸。 畢竟,這不只是衛生問題, 這也有用來娛樂的可能性。
(Laughter)
(笑聲)
Then, this faucet here is just a piece of Osage orange. It looks a little phallic, but after all, it's a bathroom.
而這邊的水龍頭, 是桑橙樹的一部分。 看起來有點像男性生殖器, 但畢竟這裡是浴室嘛。
(Laughter)
(笑聲)
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.
接著,這是用百威啤酒罐蓋的房子。 它看起來並不像是啤酒罐, 但設計的概念是完全相同的。 冒出來的酒花一直延伸到屋簷下, 而那齒狀設計則用了罐子上的紅、白、藍和銀四種顏色。 而這些由屋簷往下的腳座 是從罐子來的小設計。 我把一個罐子放在影印機上, 把它放大到我想要的尺寸。 於是,罐子上寫著, "這是知名的百威啤酒,我們不知道還有其他啤酒,如何... 如何..." 於是我們把它改成,"這是知名的百威房屋。 我們不知道還有其他的房子" 之類的內容。 這是一個門栓,本來裝在一台 1930年代成型機的圍欄上, 那是一台很危險的木工機器。 他們給了我圍欄,但是沒有給我成型機, 所以我們把它做了一個門栓。 我保證這可以擋住公牛或大象之類的東西。
(Laughter)
當然,我們不會遇到公牛或大象跑來家裡。
And sure enough, we've had no problems with bull elephants.
(笑聲)
(Laughter)
淋浴間特地做得像是一杯啤酒。
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.
有往上跑的氣泡,然後最上面是用凸起的磁磚做成的泡沫。 在哪裡可以買到凸起的磁磚? 當然,你找不到的。 不過我有很多馬桶,只要把一個馬桶用鐵鎚敲碎, 你就會有一堆凸起的磁磚了。 而那裡的水龍頭,
(Laughter)
則是一個啤酒栓頭。
(笑聲)
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.
而那一片玻璃 和美國一般家庭 所使用的大門玻璃一樣。 我們已經看膩了,那太老套了。 所以如果你把它裝在大門上,你的設計就失敗了。 所以不要裝在大門上,裝在其它位置上。 這是片很漂亮的玻璃。 但是如果你把它裝在大門上, 人們會說,"喔,你跟其他人一樣,沒創意。" 所以不要裝在那邊。 接著是樓上的另一個浴室。 上面的燈和美國一般家庭 裝在玄關的燈一樣。 所以不要裝在玄關。 裝在浴室或壁櫥裡, 就是不要裝在玄關。 有個人送我一個坐浴盆,所以這裡有個坐浴盆。
(Laughter)
(笑聲)
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.
這個小房子, 那些枝幹是用桑橙樹所做, 在我說下去的同時, 這些照片會繼續播放。
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.
為了要做到我所做的, 你必須要了解, 建築工業中廢棄物的來源。 房子變成了一種商品, 我等等會提到這個。 但是首先造成廢棄物的來源可能藏在我們的DNA之中。 人類有著對於維持整體感覺 一致性的需求。 這是什麼意思呢? 意思是說,我們的每一個感覺, 它必須對應到它之前的樣子, 否則我們就失去了連貫性, 於是我們就會失去方向感。 我給你看一個你從沒看過的東西。 喔,這是一支手機。 但是你從來都沒看過這一支。 你正在做的是 衡量它的結構外觀模式, 然後從你的記憶資訊中找出 -- 是手機。 好,這是一支手機。 如果我把一部分拿掉的話, 你會說,"等等。
(Laughter)
那不是手機。
"That's not a cell phone. That's one of those new chocolate cell phones."
那是一個新型的巧克力手機。"
(Laughter)
(笑聲)
You'd have to start a new category, right between cell phones and chocolate.
於是你就會在手機和巧克力之間, 開啟了一個新的類別。
(Laughter)
這就是我們如何去處理訊息。
That's how we process information.
所以你將這個套用在建築工業上,
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 --
如果在一整片玻璃牆上,有一片破了, 我們會說,"喔,天啊。那片破了。我們把它修好吧。 把它拿出來丟掉,別人就不會用到破的,再換上新的一片。" 因為那是你處理破窗戶的方式。 別在意嘛,它並不影響我們的生活啊。 它只是讓我們期待的模式 和建築整體一致性出現一點瑕疵。 但是,如果我們拿一個小槌子, 把所有的窗戶都敲碎,
(Laughter)
這樣就有了共同的模式。
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.
因為形態心理學加重了我們在辨識 包含模式的物件時的辨識能力。 我們就會說,"喔,真是太好了。" 於是,這時時刻刻都影響著我們。 重複性會創造出模式。 如果我有上千個這種東西和那種東西, 這些和那些將不會有任何不同。 如果我能重製任何東西,我就有創造模式的可能, 不論是從山胡桃核、雞蛋、碎玻璃或是樹的枝幹。 這將不會有任何的不同。 這會導致建築工業產生大量廢棄物。 第二點,Friedrich Nietzsche 在大概 1885 年的時候
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:
寫了一本書叫做 "悲劇的誕生"。 在裡面他提到 文化會在兩種看法之間盤旋。 一方面,我們有日神精神, 那是講究明確、規劃、 理智、 和完美的。 另一方面,我們還有酒神精神, 那是較講究感情、直覺、 對身體的結構與人類姿態有較大的包容性。 所以用日神精神照相, 或是掛一張圖畫, 會用上工程經緯儀、 雷射水平儀或測微器之類的東西。 "好,親愛的。往左邊移千分之一英吋。 那就是我們想要的照片。對,真完美。" 架構在一個很好的基礎上,正中方正。 而酒神精神照相則是, 照相,然後換個地方 ...
(Laughter)
(笑聲)
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.
這就是差異所在。 突顯缺陷。 突顯生命的過程 -- 這就是 John Dewey 所強調的。 日神精神的心態造成了大量的廢棄物。 如果某個東西不夠好, 如果它和預期的失敗模組一樣就丟掉。 "唉啊,刮到了,丟掉。 這裡不好,那裡不好。垃圾、垃圾、垃圾。" 第三點是具爭論性的 --
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.
文藝復興時期出現工業革命, 人文主義隨之興起, 到了法國大革命時又更加興盛。 在十九世紀中期到達巔峰。 我們有了許多小工具, 一些小裝置可以讓我們 依據自己想要的, 自己動手做。 所以現在我們有制式化的材料。 當然,樹不會自己長成2英吋乘4英吋的形狀, 或是8、10和12英呎高。 我們創造出大量的廢棄物。
(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.
他們在森林裡 進行著工作, 去製造工業中的副產物 -- 定向纖維版、刨花板之類的 -- 但是這並不好, 如果消費者浪費了這些被採收的樹材, 他們要對這片森林負起責任。 而這就是正在發生的事情。 所以如果某樣東西不符合標準, "唉啊,丟掉,這裡也不好,唉啊,歪掉了。" 如果你買了一個2乘4的東西,而它不是直的, 你可以把它送回店裡。 "很抱歉,我們會換一個直的給你。" 我突顯那些歪掉的東西, 因為重複性就會創造出模式, 這是源自於酒神精神。
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."
第四點, 人工比材料費用貴上非常多倍。 不過這只是概念啦。 舉個例子:Jim Tulles 是我訓練出來的一個人, 我說,"Jim,時候到了。 我要讓你擔任骨架小組的領班。是你表現的時候了。" "Dan,我覺得我還沒準備好。" "Jim,是時候了。你行的。" 後來我們被僱用了。 於是他帶著量尺 穿梭在垃圾堆裡找尋門楣的材料 -- 就是門上面的那個板子 -- 希望藉此給他的雇主好印象 -- 這是我們教他的。 於是監工跑來問他,"你在幹什麼?" "喔,只是想找一些門楣的材料," 他正期待被稱讚。 他說,"不,不。我可不是付你錢來翻垃圾的。回去工作。" 於是他不得不說, 他說,"你知道嗎,如果你每小時 要付我300美金, 我能理解你為什麼會那麼說, 可是現在,我每分鐘替你省下5美金。 好好算算吧。"
(Laughter)
(笑聲)
"Good call, Tulles. From now on, you guys hit this pile first." And the irony is that he wasn't very good at math.
"幹得好,Tulles。從現在起,你們先從這邊開始。" 諷刺的是,他數學不太好。
(Laughter)
(笑聲)
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.
但是一旦你獲得了控制權, 那麼你就可以將規則打亂。 這就是一切的開始。
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.
第五點,也許在2500年後, 柏拉圖那種完美形式的概念仍然存在我們的身旁。 他說,在我們的腦中 存在著我們想要的完美想法, 而我們大量使用環境資源去實現它。 所以在大家的心中都有理想的家, 美國人的夢想是一個家 -- 夢想中的家。 問題是,我們負擔不起。 所以我們有類似的美國夢, 就是一種移動式的家。 可是現在有種破壞性的因素。
(Laughter)
叫做動產抵押,
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.
就像是家具、像是車子一般。 你買下之後,它立刻就貶值了30%。 一年之後,保險殘殖就不是原始價格了, 只剩下原來的七成。 一般來說它會用14號的電纜線。 這並沒什麼問題, 除非你把它用在原本應該使用12號電纜線的地方, 這就是現在的狀況。 它會大量釋放出甲醛氣體, 因此有了條聯邦法律出現 來警告想買移動房屋的人, 關於甲醛氣體的危險性。 我們真的笨到沒有知覺嗎? 那些牆壁有這麼厚。 可是整個結構的價值就跟玉米一樣。
(Laughter)
(笑聲)
"So ... I thought Palm Harbor Village was over there." "No, no. We had a wind last night. It's gone now."
"我想我們大概到了棕櫚港邊的村落。" "不,不。是昨晚刮了一陣風。 現在已經停了。"
(Laughter)
(笑聲)
Then when they degrade, what do you do with them?
當他們失去價值的時候,你要怎麼辦呢?
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.
現在,這些東西, 那些日神精神、柏拉圖精神的典範, 就是這些建築工業的基礎所在, 有許多事情會讓這個狀況更加嚴重。 其中之一是那些專業人員, 那些零售商、供應商, 稽核員、工程師、建築師, 都是這種思維。 於是它也造就了 那些想買同樣東西的消費者。 像是種自我約束一樣。我們無法擺脫它。 然後是市場銷售人員和廣告人員。 "喔、喔。" 我們買了一堆我們不知道是否需要的東西。 我們只是看見某間公司 如何去販賣西梅汁汽水。 真是噁心。
(Laughter)
(笑聲)
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.
但是你知道他們做了什麼嗎? 他們只是做了隱喻, 然後說,"我喝的是 Dr. Pepper( 一家可樂的品牌 ) ..." 很快,大家就會喝下一大堆, 幾十億加侖的數量。 裡面甚至沒有真正的西梅 -- 不會讓你保持健康。
(Laughter)
(笑聲)
My oh my, that makes it worse. And we get sucked into that faster than anything.
天啊,可能還會更糟糕。 我們很快就會被它緊緊抓住。
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 --
Jean-Paul Sartre 寫了本書, 名叫 "存在與虛無"。 我只是快速看過一次。
(Laughter)
如果你一天看八小時,
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.
大概兩年就可以看完吧。 在裡面他談到人格分裂的現象。 他提到,人們在獨自一個人的時候, 會表現得和有人在身旁時不一樣。 當自己一個人在吃義大利麵的時候, 我可以狼吞虎嚥。 我可以用袖子擦嘴 -- 把餐巾丟到桌上, 張開嘴咀嚼,發出聲音, 隨時都可以抓癢。
(Laughter)
(笑聲)
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 ...
但是當你走進來的時候, 我會變成,"喔,這裡有義大利麵醬汁。" 把餐巾放在腿上,小口小口的吃, 閉著嘴咀嚼,不會抓癢。 我所做的是, 去滿足你對於 我的生活方式的期待。 我可以感覺到那種期待, 然後我就會那麼做, 於是我是依據你對我的期待來過生活。 這種事也發生在建築工業上。 這就是為何每個區域的房子看起來都差不多。 有時候我們 甚至會有制式化的文化期待。 我相信大家左右腳的鞋子是一樣的。 當然,我們都是如此,
(Laughter)
在封閉的社群中,
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.
我們對於有屋一族 有著一種制式化的期待。 有時候這些人會是納粹, 天啊。 這會讓這種模式更加強烈持續著。
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.
最後一樣是合群。 人類是群居的生物。 我們喜歡和群體一起生活, 像是牛羚,像是獅子一般。 牛羚不會跟獅子在一起, 因為獅子會吃牛羚。 人類也是如此。 我們會表現得和 我們想加入的群體一般。 這現象在國中很常見。 這些孩子們,整個暑假都會打工, 把自己給累個半死, 只為了賺足夠的錢 去買一件名牌牛仔褲, 於是在九月開學之後, 他們很有自信的走進學校, "我今天很引人注目。 看,別摸我的名牌牛仔褲。 我知道你沒有名牌牛仔褲。 你不屬於帥哥美女一族。 看,我是帥哥美女一族。看見我的牛仔褲了嗎? 這兒有著足夠的理由去擁有一致的服裝。 這也是建築工業所發生的狀況。
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;
我們被 馬斯洛的人類需求層次理論 給混淆了。 在最下層, 我們有著最基本的需求 -- 居所、衣服、食物、水、交配等。 第二層,安全感。第三層,歸屬感。 第四層,身份、自尊 -- 這是種虛榮心。 我們把虛榮心給放到最下面來了。 結果導致 我們做了沒意義的決定, 我們甚至連貸款都還不起, 我們無法負擔比豆子更貴的食物。
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.
因為,我們居住的房屋 變成了一種商品, 它已經一點一點地 跑到了最重要的部位, 令自己最恐懼的地方, 所以,我們要做屬於自己的決定, 不要讓房子被商品化, 讓它從最底層需求向上提升。 這會令你覺得不舒服, 甚至有時你會失敗。 不過不要緊。 如果失敗會毀了你, 那麼你就無法做這件事。 我每天都在失敗, 我曾經有過很慘的經驗, 一些很大的、公開的、丟人的, 難堪的失敗經驗。
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?"
每個人都嘲笑我, 他們說,"他已經試了五次還是不行。 真是白痴。" 早期,承包商會來跟我說, "Dan,你是個可愛的孩子, 但這是行不通的。 你怎麼不這樣做,怎麼不那樣做?" 你的直覺反應會想說, "滾一邊去吧。"
(Laughter)
不過你不能這樣說,
But you don't say that, because they're the guys you're targeting.
因為他們是你想說服的目標。
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.
我們所做的 -- 並不只是蓋一棟房子, 它像是衣服、食物, 我們對於交通工具,能源的需求一般 -- 我們將它向外延伸了一點。 當我覺得有點壓力時, 我可以聽見整個世界的人的想法。 我們也許做得有點過火, 但是廢棄物過多 是全球性的問題。 我們有大麻煩了。 我不會在胸前掛上兩條彈藥帶, 和紅色絲巾, 不過我們真的有大麻煩了。 我們必須做的是, 重新去連結 那些我們真正原始的自我, 並且做出一些決定, 然後說,"你知道嗎,我認為我想要 在那面牆上掛一排 CD。 你覺得如何,親愛的? 如果不好,就把它拿下來。 我們要做的是,重新連結真正的自我, 雖然那將是令自己恐懼的事情。
Thank you very much.
謝謝大家。
(Applause)
(掌聲)