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The firm Ennead clad the Utah Natural History Museum in Salt Lake City in copper and zinc,
Ennead公司用铜和锌包裹了位于盐湖城的犹他自然历史博物馆，
ores that have been mined in the area for 150 years and that also camouflage the building against the ochre hills
在这里，开采这些矿产的历史已经有150年了，这也将这座建筑巧妙的隐藏于了矿山之中，
so that you have a natural history museum that reflects the region's natural history.
这样我们就拥有了一个真正反映了当地自然历史的自然历史博物馆。
And when the Chinese Pritzker Prize winner Wang Shu was building a history museum in Ningbo,
当中国建筑师王澍（普利茨克奖获得者）在宁波建造一个历史博物馆的时候，
he didn't just create a wrapper for the past,
他不仅仅是包装了历史，
he built memory right into the walls by using brick and stones and shingles salvaged from villages that had been demolished.
他将从村庄废墟中存留下来的砖石木瓦加入到了外墙当中，也以此将回忆注入了建筑当中。
Now, architects can use glass in equally lyrical and inventive ways.
现今的建筑师们可以用同样抒情而富有创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,
在这里，纽约，有两栋楼，一栋是Jean Nouvel设计的，图中的这个则是Frank Gehry的作品，它们面朝西十九大道，
and the play of reflections that they toss back and forth is like a symphony in light.
而它们所创造的光与影的前后交错就如同光世界的交响曲。
But when a city defaults to glass as it grows, it becomes a hall of mirrors, disquieting and cold.
但当玻璃成为一个城市的默认材料，不断地被增加用量，城市就会变成巨大的镜厅，让人感到不安、冰冷。
After all, cities are places of concentrated variety where the world's cultures and languages and lifestyles come together and mingle.
毕竟城市理应是一个充满了多样的世界文化、语言和生活方式的大熔炉。
So rather than encase all that variety and diversity in buildings of crushing sameness,
所以我们不应该将这些多样性局限在这一模一样的外表下，
we should have an architecture that honors the full range of the urban experience. Thank you.
我们应该让建筑充分反映丰富多彩的城市体验。谢谢大家。
