The immersive ugliness of our everyday environments in America is entropy made visible. We can't overestimate the amount of despair that we are generating with places like this. And mostly, I want to persuade you that we have to do better if we're going to continue the project of civilization in America. By the way, this doesn't help. Nobody's having a better day down here because of that.
我們每天身處的環境 醜陋無比 雜亂無章顯而易見 我們無法想見 在這樣環境下所產生的絕望 最重要的,如果我們想延續美國的文明 我們必須做得更好 順便一提,這並沒有用 下面經過的人沒有人會因此覺得生活變好了
There are a lot of ways you can describe this. You know, I like to call it "the national automobile slum." You can call it suburban sprawl. I think it's appropriate to call it the greatest misallocation of resources in the history of the world. You can call it a technosis externality clusterfuck. And it's a tremendous problem for us. The outstanding -- the salient problem about this for us is that these are places that are not worth caring about. We're going to talk about that some more. A sense of place: your ability to create places that are meaningful and places of quality and character depends entirely on your ability to define space with buildings, and to employ the vocabularies, grammars, syntaxes, rhythms and patterns of architecture in order to inform us who we are.
有很多方式可以定義這點 你們知道的,我喜歡稱這為 「全國汽車貧民窟」 你可以稱之為郊區擴展 我認為也可稱之為 「史上最大的資源分配不當」更為恰當 你也可以稱它為是一個蔓延於外部的腐敗 這對我們是一個巨大的難題 而且有個突出且顯著的癥結 在於這些地方已經不值得被關心 對此我們將深入討論 空間感 來自於自身創造一個有意義、有品質和有特色環境的能力 這完全取決於我們定義空間與建築物的能力 與如何運用建築的詞彙、語法 語序、節奏和模式 來闡述我們自身的存在意義
The public realm in America has two roles: it is the dwelling place of our civilization and our civic life, and it is the physical manifestation of the common good. And when you degrade the public realm, you will automatically degrade the quality of your civic life and the character of all the enactments of your public life and communal life that take place there. The public realm comes mostly in the form of the street in America because we don't have the 1,000-year-old cathedral plazas and market squares of older cultures. And your ability to define space and to create places that are worth caring about all comes from a body of culture that we call the culture of civic design. This is a body of knowledge, method, skill and principle that we threw in the garbage after World War II and decided we don't need that anymore; we're not going to use it. And consequently, we can see the result all around us. The public realm has to inform us not only where we are geographically, but it has to inform us where we are in our culture. Where we've come from, what kind of people we are, and it needs to, by doing that, it needs to afford us a glimpse to where we're going in order to allow us to dwell in a hopeful present. And if there is one tremendous -- if there is one great catastrophe about the places that we've built, the human environments we've made for ourselves in the last 50 years, it is that it has deprived us of the ability to live in a hopeful present.
公共空間在美國有兩種功能: 它是我們文明的搖籃,民之生活所在 也是大眾利益的實體展現 當公共場所的品質降低 市民的生活品質及 所有公眾之間互惠互利的行為也會隨之降低、減少 在美國,最常見的公共空間的形式就是街道 因為我們沒有古老的千年大教堂廣場 或是老舊文化的市集 我們對定義與創造一個我們值得關心的空間的能力 這些都來自於所謂的大眾設計文化 但是二次世界大戰後我們將相關的知識、技巧和原則 都丟進了垃圾堆中 並決定不再需要它,再也不使用了 然而,我們可以看到後果就在你我身邊 公共場所不僅要提供地理位置的標示 同時也要陳述文化的定位 我們來自哪裡,是什麼樣的人 還要向公眾展示未來的走向 以讓我們活在充滿希望的的當下 如果說我們所有的建設中 最大最大的敗筆就是 那就是在過去的50年中,我們建立的環境 剝奪了我們享受當下的權利
The environments we are living in, more typically, are like these. You know, this happens to be the asteroid belt of architectural garbage two miles north of my town. And remember, to create a place of character and quality, you have to be able to define space. So how is that being accomplished here? If you stand on the apron of the Wal-Mart over here and try to look at the Target store over here, you can't see it because of the curvature of the Earth. (Laughter) That's nature's way of telling you that you're doing a poor job of defining space. Consequently, these will be places that nobody wants to be in. These will be places that are not worth caring about.
通常典型的居住環境是像這樣的: 這裡是離我居住地方以北兩英里外的垃圾建築環帶 請記住,要創造一個地方的特色和品質 要必須先能夠定義空間 我們在這裡如何完成呢? 如果你站在這邊Wal-Mart 的位置上 並試想Target商店在這裡 你是不可能看到的,因為地球是圓的(眾笑) 大自然就已經告訴我們這不是個定義空間的好方法 因此,這樣的空間是沒有人想待的 這將會沒變成不值得也沒人關心的地方
We have about, you know, 38,000 places that are not worth caring about in the United States today. When we have enough of them, we're going to have a nation that's not worth defending. And I want you to think about that when you think about those young men and women who are over in places like Iraq, spilling their blood in the sand, and ask yourself, "What is their last thought of home?" I hope it's not the curb cut between the Chuck E. Cheese and the Target store because that's not good enough for Americans to be spilling their blood for. (Applause) We need better places in this country.
美國約有38000個這樣的地方 是不被關心的 當我們有夠多這樣的空間,我們就要有一個不值得捍衛的國家了 請你們想想那些 在伊拉克這樣的地方的年輕男女 正在拋頭臚灑熱血 如果問問他們在最後對家鄉最後的記憶 我希望不是恰克起司餐館和Target 賣場之間的行人道 因為那不值得美國人為之灑熱血 (掌聲) 我們的國家必須有更棒的公共空間
Public space. This is a good public space. It's a place worth caring about. It's well defined. It is emphatically an outdoor public room. It has something that is terribly important -- it has what's called an active and permeable membrane around the edge. That's a fancy way of saying it's got shops, bars, bistros, destinations -- things go in and out of it. It's permeable. The beer goes in and out, the waitresses go in and out, and that activates the center of this place and makes it a place that people want to hang out in. You know, in these places in other cultures, people just go there voluntarily because they like them. We don't have to have a craft fair here to get people to come here. (Laughter) You know, you don't have to have a Kwanzaa festival. People just go because it's pleasurable to be there. But this is how we do it in the United States.
這是一個很好的公共空間 這是一個值得關心的地方。它的定義明確。 強調了戶外的公共空間 極度重要的是 那充滿活力的氛圍,像層半透膜籠罩四周 這是一個奇特的形容:這裡有商店,酒吧,小酒館,想去的地方 事物不斷進出、滲透。是流動的 啤酒端進端出,服務生進進出出 這樣一個地方有活力,讓人們喜歡沉浸於此 通常在其他的國家, 人們會因為喜歡那種生命活力而主動來到這地方 我們不必去辦一個工藝品博覽會來吸引人潮 (笑聲) 我們也不需要一個寬扎節(非洲節日) 人們自然會出現,因為那裡令人愉快 但在美國我們要如何去創造這樣的空間呢?
Probably the most significant public space failure in America, designed by the leading architects of the day, Harry Cobb and I.M. Pei: Boston City Hall Plaza. A public place so dismal that the winos don't even want to go there. (Laughter) And we can't fix it because I.M. Pei's still alive, and every year Harvard and M.I.T. have a joint committee to repair it. And every year they fail to because they don't want to hurt I.M. Pei's feelings.
美國最失敗的公共空間我猜應該是 建築先驅哈利科布與貝聿銘所設計的 波士頓市政廳廣場 這樣慘澹的地方,連酒鬼都不想去 (笑聲) 由於貝聿銘還活著,所以我們很難去修改他的設計 每年,哈佛和M.I.T.組了一個聯合委員會致力於改善它 不過為了不傷害貝聿銘的心靈,這項計劃每年都失敗
This is the other side of the building. This was the winner of an international design award in, I think, 1966, something like that. It wasn't Pei and Cobb, another firm designed this, but there's not enough Prozac in the world to make people feel OK about going down this block. This is the back of Boston City Hall, the most important, you know, significant civic building in Albany -- excuse me -- in Boston. And what is the message that is coming, what are the vocabularies and grammars that are coming, from this building and how is it informing us about who we are?
這是這建築的另一側 這是一個國際設計比賽的得獎作品,我想好像是1966年得的 這不是哈利科布與貝聿銘的設計,而是另一間設計公司 但想人們走在這條街上,我想再多的百憂解(一種治療精神抑鬱的藥物)都不夠使人心情愉快 這是波士頓市政廳的背面 這對於奧爾巴尼市- 對不起,是波士頓是極為重要且顯著的建築 這要表達什麼 這座大樓傳達了什麼詞句和語言 它要如何提醒人類自我的定位
This, in fact, would be a better building if we put mosaic portraits of Josef Stalin, Pol Pot, Saddam Hussein, and all the other great despots of the 20th century on the side of the building, because then we'd honestly be saying what the building is really communicating to us. You know, that it's a despotic building; it wants us to feel like termites. (Laughter) This is it on a smaller scale: the back of the civic center in my town, Saratoga Springs, New York. By the way, when I showed this slide to a group of Kiwanians in my town, they all rose in indignation from their creamed chicken, (Laughter) and they shouted at me and said, "It was raining that day when you took that picture!" Because this was perceived to be a weather problem. (Laughter)
如果我們在外牆上貼上史達林,波爾布特,海珊 或是其他20世紀獨裁者的馬賽克肖像 這棟建築應該會更好 因為那樣我們至少可以感覺這建築所要表達的訊息 一棟獨裁者的建築 它想讓我們覺得自己是隻做工的小白蟻(笑) 這是個規模較小的 我的家鄉-紐約的Saratoga Springs文化中心的背面 順便說一下,當我向我家鄉的 Kiwanians 同濟會志工展示這一組幻燈片時 他們都生氣的把注意力從奶油雞轉過來(眾笑) 他們對我喊說: 你拍這照片的那天一定是下雨了 這被歸認是天氣的問題。 (眾笑)
You know, this is a building designed like a DVD player. (Laughter) Audio jack, power supply -- and look, you know these things are important architectural jobs for firms, right? You know, we hire firms to design these things. You can see exactly what went on, three o'clock in the morning at the design meeting. You know, eight hours before deadline, four architects trying to get this building in on time, right? And they're sitting there at the long boardroom table with all the drawings, and the renderings, and all the Chinese food caskets are lying on the table, and -- I mean, what was the conversation that was going on there? (Laughter) Because you know what the last word was, what the last sentence was of that meeting. It was: "Fuck it." (Laughter) (Applause)
你們看,這個建築活像個DVD播放機(眾笑) 音頻插孔,電源 這個,大家都知道這些東西對建築業非常重要,對吧 我們聘請公司來設計這些東西 來看看發生了什麼事: 凌晨三點的設計會議 離最後期限只剩下八小時 四個建築師希望能在時間內把設計趕完 會議廳裡的長桌 擺滿了許多圖紙和效果圖 還有一些中餐外賣餐盒 我的意思是,究竟他們的對話是什麼? (眾笑) 你們應該猜得出來,通常在會議要結束的時候會出現的句子 是:“他媽的” (眾笑)(鼓掌)
That -- that is the message of this form of architecture. The message is: We don't give a fuck! We don't give a fuck. So I went back on the nicest day of the year, just to -- you know -- do some reality testing, and in fact, he will not even go down there because (Laughter) it's not interesting enough for his clients, you know, the burglars, the muggers. It's not civically rich enough for them to go down there. OK.
這就是這個建築傳達的訊息 該訊息是:“他媽的”!我們管不了那麼多了! 我選了一個天氣特別好的一天回去,想要 你知道的,做點現狀考察 事實上,他根本不會去那裡 因為對他的客戶來說那地方太無聊了 像小偷、強盜啦 那裡冷清到連他們都不想去 OK
The pattern of Main Street USA -- in fact, this pattern of building downtown blocks, all over the world, is fairly universal. It's not that complicated: buildings more than one story high, built out to the sidewalk edge, so that people who are, you know, all kinds of people can get into the building. Other activities are allowed to occur upstairs, you know, apartments, offices, and so on. You make provision for this activity called shopping on the ground floor. They haven't learned that in Monterey. If you go out to the corner right at the main intersection right in front of this conference center, you'll see an intersection with four blank walls on every corner. It's really incredible.
美國主要大街的模式﹣ 其實,這種市中心街區的規劃在全世界是相當普遍的 這並不是說很複雜 多層的建築,建在人行道邊 這樣的話,不管是誰都可以進入到這大樓裡 你知道,通常公寓,辦公室等 都會在樓上 一樓就做成商場 不過在蒙特雷,他們還沒有學會這招 如果你從會議中心走出去的主要路口的街角 你會看到每一個角落都有面灰白的高牆 這真是令人難以置信
Anyway, this is how you compose and assemble a downtown business building, and this is what happened when in Glens Falls, New York, when we tried to do it again, where it was missing, right? So the first thing they do is they pop up the retail a half a story above grade to make it sporty. OK. That completely destroys the relationship between the business and the sidewalk, where the theoretical pedestrians are. (Laughter) Of course, they'll never be there, as long as this is in that condition. Then because the relationship between the retail is destroyed, we pop a handicapped ramp on that, and then to make ourselves feel better, we put a nature Band-Aid in front of it. And that's how we do it. I call them "nature Band-Aids" because there's a general idea in America that the remedy for mutilated urbanism is nature. And in fact, the remedy for wounded and mutilated urbanism is good urbanism, good buildings. Not just flower beds, not just cartoons of the Sierra Nevada Mountains. You know, that's not good enough. We have to do good buildings.
無論如何,這就是我們所建造的市中心裡的商業大廈 這也是紐約州格倫斯福爾斯市的做法 想複製這種模式,對吧? 他們首先做的就是將零售商店都昇高了半層樓,要讓大家多走幾步路 沒錯,這完全破壞了商家與人行道間的關係 也就拉遠了與行人的關係 當然這樣空間是不會一直存在的 由於建築物和行人的關係被破壞掉了 我們又建了個這殘障坡道 好讓自己感覺好點兒,就像在建築的前面貼了個大自然的繃帶, 我們是如何做到這一點 我稱他們為“自然創可貼”,因為這在美國很普遍 補救破碎城市的最好方法就是種植花草 但事實上,最好的挽救辦法應該是良好的城市規劃以及優質的建築 不只是花壇,不只是有內華達山脈的掛圖 你們知道的,這樣不夠好 我們要好的建築
The street trees have really four jobs to do and that's it: To spatially denote the pedestrian realm, to protect the pedestrians from the vehicles in the carriageway, to filter the sunlight onto the sidewalk, and to soften the hardscape of the buildings and to create a ceiling -- a vaulted ceiling -- over the street, at its best. And that's it. Those are the four jobs of the street trees. They're not supposed to be a cartoon of the North Woods; they're not supposed to be a set for "The Last of the Mohicans."
行道樹有很重要的四種作用: 它呈現了整個公共空間和行人的關係 保護在車道旁的行人 為行人建立一個遮陽板 柔化生硬冰冷的建築物 以及建立了極佳的拱形隧道,就在街道上 這些是行道樹的四個工作 他們不是那種卡通裡出現的北方林木 他們不應該是「最後的莫希幹人」的樹林
You know, one of the problems with the fiasco of suburbia is that it destroyed our understanding of the distinction between the country and the town, between the urban and the rural. They're not the same thing. And we're not going to cure the problems of the urban by dragging the country into the city, which is what a lot of us are trying to do all the time. Here you see it on a small scale -- the mothership has landed, R2-D2 and C-3PO have stepped out to test the bark mulch to see if they can inhabit this planet. (Laughter)
你知道,先今的郊區發展最失敗的地方 在於破壞了鄉村與城鎮、郊外與城市的界線 不該是這樣一回事 大眾一直試著把鄉村拖進城市裡 這也不是問題的解決良方 這裡你可以看到一個小規模的母艦降落 然後R2-D2 和 C-3PO小艇滑出試試看樹皮覆蓋的花床 然後看看它們能否可以適應這裡星球(眾笑)
A lot of this comes from the fact that the industrial city in America was such a trauma that we developed this tremendous aversion for the whole idea of the city, city life, and everything connected with it. And so what you see fairly early, in the mid-19th century, is this idea that we now have to have an antidote to the industrial city, which is going to be life in the country for everybody. And that starts to be delivered in the form of the railroad suburb: the country villa along the railroad line, which allows people to enjoy the amenity of the city, but to return to the countryside every night. And believe me, there were no Wal-Marts or convenience stores out there then, so it really was a form of country living.
在美國工業化城市有著這樣的創傷: 我們用著極為厭惡的理念來開發城市、 以及城市的生活和一切 這始於19世紀中葉工業運動的開始 導至今天大家都為了在工業化的城市生活中喘息 慢慢地遷移至郊區 隨著火車鐵軌擴散,形成鐵路旁的聚落 鄉村別墅沿著鐵路線而起 人們白天享受城市裡的便利 但晚上則回到鄉村別墅 相信我,當時還沒有沃爾瑪或便利商店 是真正道地的鄉村生活
But what happens is, of course, it mutates over the next 80 years and it turns into something rather insidious. It becomes a cartoon of a country house, in a cartoon of the country. And that's the great non-articulated agony of suburbia and one of the reasons that it lends itself to ridicule. Because it hasn't delivered what it's been promising for half a century now.
但是之後的80年不斷變化 郊區發展變得相當地恐怖 所有的房子都看起來像卡通裡鄉村小屋,位在卡通世界裡的村落 這就是郊區主要且無法表達的痛苦 也是讓一切成為一個笑話的主因 因為近半世紀來的郊區發展並沒有提供人們所想要的機能
And these are typically the kind of dwellings we find there, you know. Basically, a house with nothing on the side because this house wants to state, emphatically, "I'm a little cabin in the woods. There's nothing on either side of me. I don't have any eyes on the side of my head. I can't see." So you have this one last facade of the house, the front, which is really a cartoon of a facade of a house. Because -- notice the porch here. Unless the people that live here are Munchkins, nobody's going to be using that. This is really, in fact, a television broadcasting a show 24/7 called "We're Normal." We're normal, we're normal, we're normal, we're normal, we're normal. Please respect us, we're normal, we're normal, we're normal.
這些是我們常見的建築﹣獨門獨院 沒有其他的房子圍繞在附近 因為這種房子想要強調他的存在感 “我是在樹林中的小木屋,四周一片空曠" "我的頭上沒有眼睛,我什麼也看不到" "所以你們在我的後方加了一扇門" 這棟房子的前面長的實在很卡通 因為-你們注意一下這裡的門廊 除非住在這裡的人們是孟奇金,否則沒有人會想要去使用© 就好像是有人每天24小時都在播放一個叫“我們很正常”的節目 我們是正常的,我們是正常的,我們是正常的,我們是正常的,我們是正常的 請尊重我們,我們很正常,我們很正常,我們很正常。
But we know what's going on in these houses, you know. We know that little Skippy is loading his Uzi down here, getting ready for homeroom. (Laughter) We know that Heather, his sister Heather, 14 years old, is turning tricks up here to support her drug habit. Because these places, these habitats, are inducing immense amounts of anxiety and depression in children, and they don't have a lot of experience with medication. So they take the first one that comes along, often. These are not good enough for Americans. These are the schools we are sending them to: The Hannibal Lecter Central School, Las Vegas, Nevada. This is a real school! You know, but there's obviously a notion that if you let the inmates of this thing out, that they would snatch a motorist off the street and eat his liver. So every effort is made to keep them within the building. Notice that nature is present. (Laughter)
而且我們都知道到這些房子裡會上演哪齣戲碼 我們知道小斯基正在這裡替他的烏茲槍上膛 準備來當這裡的老大(笑) 我們知道他的姐姐希瑟14歲 正技巧性的在支持自己的用藥習慣 因為這些地方,這些棲息地 給孩子們帶來極多焦慮和抑鬱 他們沒有很多的對應經驗 所以他們往往在第一次與人相處時會表現這樣的情緒 這些對我們的下一代很不好 我們將孩子們送到這些學校 在內華達州拉斯斯維加,漢尼拔鎮中心的學校 這是一個真正的學校! 但有個很明顯的問題,如果犯人跑出來了 他們會在街上擄拐駕駛者、吃掉他的肝臟 因此,我們盡一切努力蓋棟建築把他們關起來 請注意,大自然還是存在的 (笑聲)
We're going to have to change this behavior whether we like it or not. We are entering an epochal period of change in the world, and -- certainly in America -- the period that will be characterized by the end of the cheap oil era. It is going to change absolutely everything. Chris asked me not to go on too long about this, and I won't, except to say there's not going to be a hydrogen economy. Forget it. It's not going to happen. We're going to have to do something else instead. We're going to have to down-scale, re-scale, and re-size virtually everything we do in this country and we can't start soon enough to do it. We're going to have -- (Applause) -- we're going to have to live closer to where we work. We're going to have to live closer to each other. We're going have to grow more food closer to where we live. The age of the 3,000 mile Caesar salad is coming to an end. We're going to have to -- we have a railroad system that the Bulgarians would be ashamed of! We gotta do better than that!
無論我們是否喜歡這樣,我們都須改變 我們正在進入一個劃時代的劇變,我指的是美國 該時期的特點是石油不再便宜 這絕對會改變一切 克里斯要求我這點不要講太長,我也不會講太多 只想告訴你,不會有氫經濟的出現 忘記它。這是不會發生的。 我們應該做點別的努力 我們得縮小規模,重新規劃,重新調整 基本上是這個國家的所有的一切,而且我們快來不及了 我們將有 - (鼓掌) - 我們的工作和生活將更貼近 我們彼此的生活將更接近 我們需要在我們的生活所在地生產更多的糧食 遠從3000英里以外來的凱撒沙拉時代即將結束 我們將必須有一個鐵路系統,一個讓保加利亞人會感到羞恥的系統! 我們必須做得更好
And we should have started two days before yesterday. We are fortunate that the new urbanists were there, for the last 10 years, excavating all that information that was thrown in the garbage by our parents' generation after World War II. Because we're going to need it if we're going to learn how to reconstruct towns. We're going to need to get back this body of methodology and principle and skill in order to re-learn how to compose meaningful places, places that are integral, that allow -- that are living organisms in the sense that they contain all the organs of our civic life and our communal life, deployed in an integral fashion.
而且應該在大前天就要開始行動 我們很幸運,在過去的10年有新的城市規劃專家出現 挖掘出那些二次世界大戰後的就被我們的上一代 扔在垃圾堆的資料 但是如果我們想學會如何重建城鎮,我們將需要這些訊息 我們需要其中的方法、原則、技術 好重新學習如何營造有意義的生活環境 - 密不可分的生活機能 這讓 - 地方活起來,擁有公民生活的所有機制、 讓人們互利互惠的行為緊緊相連
So that, you know, the residences make sense deployed in relation to the places of business, of culture and of governance. We're going to have to re-learn what the building blocks of these things are: the street, the block, how to compose public space that's both large and small, the courtyard, the civic square and how to really make use of this property. We can see some of the first ideas for retro-fitting some of the catastrophic property that we have in America. The dead malls: what are we going to do with them? Well, in point of fact, most of them are not going to make it. They're not going to be retro-fitted; they're going to be the salvage yards of the future.
所以,你知道,住宅有了意義 跟在地的業務、文化和治理有密不可分連結 我們將重新學習這些東西的建設基石 這條街。這區塊。如何組合有大有小的公共空間、 庭院、市民廣場 還有如何真正活用這些地方 我們已經可以看到些前衛思想 在改造許多在美國如災難般的建築 面對死氣沉沉的商場,我們該怎麼改造 那麼,事實上,大部分是難以改造的 他們難以被改造 他們的未來該被拯救
Some of them we're going to fix, though. And we're going to fix them by imposing back on them street and block systems and returning to the building lot as the normal increment of development. And if we're lucky, the result will be revivified town centers and neighborhood centers in our existing towns and cities. And by the way, our towns and cities are where they are, and grew where they were because they occupy all the important sites. And most of them are still going to be there, although the scale of them is probably going to be diminished.
雖然有些地方我們想要修復 我們想要重新利用街道和街區系統來改善 並返回到正常的建築用地作為增量發展。© 如果我們幸運的話,結果會出現重生的鎮中心和鄰里中心 在我國現有的城鎮和城市 順便一提,我們的城鎮和城市一直在那,且在所在地成長 因為他們佔據了所有重要地點 且大多數的城市仍然會在那裏 雖然它們的規模可能會受到削弱
We've got a lot of work to do. We're not going to be rescued by the hyper-car; we're not going to be rescued by alternative fuels. No amount or combination of alternative fuels is going to allow us to continue running what we're running, the way we're running it. We're going to have to do everything very differently. And America's not prepared. We are sleepwalking into the future. We're not ready for what's coming at us. So I urge you all to do what you can. Life in the mid-21st century is going to be about living locally. Be prepared to be good neighbors. Be prepared to find vocations that make you useful to your neighbors and to your fellow citizens.
我們有相當多的工作需要努力 我們是不會被氫能車和替代燃料所拯救 沒有大量或其他的替代能源 能允許我們保持現有的生活水平 我們必須徹底改變一切 而美國還沒準備好 我們像是在夢遊中走到未來 我們還沒做好接受未來的準備 因此,我呼籲大家做點什麼 21世紀中的生活應該是緊密的、在地的 準備做個好鄰居 找個讓自己有用的職業 對您的鄰居和同胞有貢獻的事
One final thing -- I've been very disturbed about this for years, but I think it's particularly important for this audience. Please, please, stop referring to yourselves as "consumers." OK? Consumers are different than citizens. Consumers do not have obligations, responsibilities and duties to their fellow human beings. And as long as you're using that word consumer in the public discussion, you will be degrading the quality of the discussion we're having. And we're going to continue being clueless going into this very difficult future that we face. So thank you very much. Please go out and do what you can to make this a land full of places that are worth caring about and a nation that will be worth defending. (Applause)
最後一件事 - 我對此不安了好幾年 但我認為這對觀眾是很重要的一點 請,請,停止稱自己為“消費者”。好嗎? 消費者不同於公民 消費者對於他們的人類同胞 沒有義務、責任 而且只在你在群體討論時使用了消費者這詞 你將有辱討論的品質 且將毫無章法的繼續活著 我們將面對困難的未來 所以非常感謝你 請利用您的能力,讓這塊土地被關心 讓我們的國家值得被捍衛(鼓掌)