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The firm Ennead clad the Utah Natural History Museum in Salt Lake City in copper and zinc,
Ennead公司用銅和鋅包裹了位于鹽湖城的猶他自然歷史博物館，
ores that have been mined in the area for 150 years and that also camouflage the building against the ochre hills
在這里，開采這些礦產的歷史已經有150年了，這也將這座建筑巧妙的隱藏于了礦山之中，
so that you have a natural history museum that reflects the region's natural history.
這樣我們就擁有了一個真正反映了當地自然歷史的自然歷史博物館。
And when the Chinese Pritzker Prize winner Wang Shu was building a history museum in Ningbo,
當中國建筑師王澍（普利茨克獎獲得者）在寧波建造一個歷史博物館的時候，
he didn't just create a wrapper for the past,
他不僅僅是包裝了歷史，
he built memory right into the walls by using brick and stones and shingles salvaged from villages that had been demolished.
他將從村莊廢墟中存留下來的磚石木瓦加入到了外墻當中，也以此將回憶注入了建筑當中。
Now, architects can use glass in equally lyrical and inventive ways.
現今的建筑師們可以用同樣抒情而富有創(chuàng)造性的方式去使用玻璃。
Here in New York, two buildings, one by Jean Nouvel and this one by Frank Gehry face off across West 19th Street,
在這里，紐約，有兩棟樓，一棟是Jean Nouvel設計的，圖中的這個則是Frank Gehry的作品，它們面朝西十九大道，
and the play of reflections that they toss back and forth is like a symphony in light.
而它們所創(chuàng)造的光與影的前后交錯就如同光世界的交響曲。
But when a city defaults to glass as it grows, it becomes a hall of mirrors, disquieting and cold.
但當玻璃成為一個城市的默認材料，不斷地被增加用量，城市就會變成巨大的鏡廳，讓人感到不安、冰冷。
After all, cities are places of concentrated variety where the world's cultures and languages and lifestyles come together and mingle.
畢竟城市理應是一個充滿了多樣的世界文化、語言和生活方式的大熔爐。
So rather than encase all that variety and diversity in buildings of crushing sameness,
所以我們不應該將這些多樣性局限在這一模一樣的外表下，
we should have an architecture that honors the full range of the urban experience. Thank you.
我們應該讓建筑充分反映豐富多彩的城市體驗。謝謝大家。
