walas認為創造是一種

Ⅰ 幫忙翻譯一下一段英文

不像歐洲建築業多依照個人的意願來調整設計——不這么做的（建築）實驗即使是Jean Prouve的那些成功例子也無法保持長期進展，美國的主要建築商創造了一種徹底的行業化理念。在這里，最重要的不是住宅的建造，而是嚴格按照經濟實用原則設計辦公室，以及創立公司形象。市場的需求集中於兩種基本類型：城區高層建築以及公司總部做過園林規劃的大規模建築群。後者中一個先驅性例子是Mies van der Rohe 設計的位於芝加哥市的伊利諾斯州立理工學院；這是他從位於密歇根州瓦倫市的通用汽車技術中心這樣一個Saarinen設計的類似建築群中得來的靈感。隨後接踵而來的四棟建築揭開了新型摩天大樓設計的序幕。1984年Pietro Belluschi建造了公正儲蓄貸款協會（E.S.L.A)在俄勒岡州波特蘭市的行政總部；其加固混凝土框架的外部掛上了一層玻璃和鋁合金的外殼，使得沒有哪個部分在圖紙上超過兩厘米（註：不知道是不是這個意思）。Wallace K.Harrison 和 Max Abramovitz 於1950年在紐約完成了聯合國的秘書處大樓。這是基於Le Corbusier大體設計的一個能容納3400雇員的辦公建築：一棟前後兩面均為巨幅玻璃，兩側是無窗白色大理石牆的細長大樓。1951年，在紐約為摩爾-歐文斯-梅瑞爾合作社（S.O.M）工作的Gordon Bunshaft為利華兄弟公司（註：其實就是聯合利華，1929年就合並了）設計了利華之屋（Lever House）：一個技巧性地將細長塔樓和矮平底層結合起來的綠色玻璃盒子。同一年裡Mies van der Rohe 在芝加哥為建築巨頭Herbert S.Greenwald建造了著名的湖濱公寓。在他1938任職阿莫公司，然後是伊利諾斯州立理工學院，Mies van der Rohe有了在城市外圍建造大學新校區的機會。他將他在德國形成的建築理念運用到了美國的設計中；他變得比在建造戰前幾棟建築時更加嚴格也更加喜歡使用對稱。由於防火條例不允許將主框架暴露出來，因此Mies把鋼鐵，玻璃和磚塊混合起來形成了一種具有美感的對內部結構的藝術重現。因此他（的理念中）特別關注連接不同元素並將其轉換。

（絕對原創，請給好評並加分，謝謝。）

Ⅱ 《機器人總動員》(WALL-E)有哪些隱喻

《機器人總動員》是2008年一部由安德魯・斯坦頓編導，迪士尼電影發行的電腦動畫科幻電影，它獲得了包括奧斯卡金像獎在內的幾十個獎項，隱喻的大量運用起到了關鍵性的作用。亞里士多德說，所有的人在交談時都運用隱喻。

《機器人總動員》目標受眾本是兒童。但這部與寂寞和科幻為伍的故事吸引的不止是兒童，還有相信愛情且渴望正能量的人們。高聳入雲的垃圾叢中，一個小機器人日復一日地整理垃圾。他的名字叫WALL-E（Waste Allocation Load Lifters―Earth），地球垃圾處理運輸員。人類留下處處瘡痍，滿目垃圾。此情此景，讓我們想到動輒幾天連續的霧霾天，人類用雙手創造自己最後的失樂園，無奈留下小機器人堅守的末日似乎也已不再遙遠。科幻片中的未來，人類自己的未來，其可能的相似性讓我們理解了其中的隱喻。

大家怎麼看待這件事情呢？歡迎評論！

Ⅲ 求一首歌的歌詞

[ti:the sound of silence]
[ar:the best of simon garfunkel]
[by:孤魂野鬼]
the sound of silence--the best of simon garfunkel
hello darkness my old friend.嘿,黑夜啊,我的老朋友.
i've come 2 talk with u again.我又來找你聊天了.
because a vision softly creeping.因為有個幻影無聲無息地爬過.
left its seeds while i was sleeping.趁我熟睡時留下了種子.
and the vision that was planted in my brain.這幻影在我腦海里種下了根.
still remains.縈繞不去.
within the sound of silence !於寂靜無聲的此刻!
in restless dreams i walk alone.在無數浮躁的夢中我煢煢獨行.
narrow streets of cobble stone.行走在鵝卵石鋪就的狹窄街道上.
'neath the halo of a street lamp.頭頂上街燈的光暈將我籠罩(我睡在街燈下).
i turned my collar 2 the cold damp.我翻起衣領以抗禦此夜的寒冷及潮濕.
when my eyes were stabbled by the flash of a neon light.當我的眼睛被霓虹燈的閃爍刺痛時.
that split the night.(霓虹燈的閃爍)也劃破了夜空.
and touched the sound of silence.打破了黑夜的沉靜.
and in the naked night i saw.在無遮燈照耀下(在裸露的光線中)我看到-
ten thousand people maybe more.數以萬記的人,或許更多.
people talking without speaking.有的人在說著無聊的話語.
people hearing without listening.有的人在漫不經心的聽著別人說.
people writing songs that voices never share.有的人在寫著那些從不會被傳唱的歌.
and no one dare.但沒有人敢於去-
disturb the sound of silence.打破這份靜默.
"fool" said i "u do not know."我說道:"愚蠢的人啊,你們不知道"
"silence like a cancer grows."靜默會像癌細胞那樣擴散.
"hear my words that i might teach u."聽我的話,我才能教導你.
"take my arms that i might reach u."抓緊我的手,我才能救你.
but my words like silent rain-drops fell.但是我的話卻如寂靜無聲的雨點落下.
and echoed in the wells of silence.徒然回響在沉靜的天井中.
and the people bow prayed.人們仍然頂禮膜拜著.
to the neon god they made.自己塑造的霓虹燈神像(文明).
and the sign flash out its warning.霓虹燈突然閃爍出(文明的)警兆.
in the words that it was forming.(文明)警告的語句漸漸成型.
and the sign said "the words of the prophers.are written the subway walls tenement halls".都被寫在地鐵的牆上及出租公寓的走廊上.
and whispered in the sounds of silence.這告誡也在無聲的靜默中被輕聲傳送.

Ⅳ 英語造幾個句子。。。

He put forward a new theory.

The concert concluded with the National Anthem

I find it difficult to draw a conclusion on that

He was depressed by his defeat Our men were heavily defeated in the battle

I shall be attending the meeting.

I am going to expose all this humbug

Don't expose your skin to the sun

We must face the challenge bravely

He's a prime suspect in the murder case.

He is not the man to blame

We must stop polluting the environment.,

A general must know how to handle his soldiers

That is the only weak link in his reasoning

Don't link the resalt to me.

I hope to announce the winner shortly

He contributes all to his family

She keeps herself apart from other people.

Her father is strict with her.

I am sure all I do makes sense

I can give a spin to the ball

I absolutely reject the management's line on this.

Ⅳ 求《肖申克的救贖》的經典台詞！

1．It takes a strong man to save himself, and a great man to save another.

強者救贖自己，聖人普度他人

2．Hope is a good thing, maybe the best of things, and no good thing ever dies.

希望是美好的，也許是人間至善，而美好的事物永不消逝。

3．I find I'm so excited. I can barely sit still or hold a thought in my head. I think it the excitement only a free man can feel, a free man at the start of a long journey whose conclusion is uncertain. I hope I can make it across the border. I hope to see my friend, and shake his hand. I hope the Pacific is as blue as it has been in my dreams. I hope.

我發現自己是如此的激動，以至於不能靜靜地坐下來思考。我想只有那些重獲自由即將踏上新征程的人們才能感受到這種即將揭開未來神秘面紗的激動心情。我希望跨越千山萬水握住朋友的手，我希望太平洋的海水如同夢中的一樣藍：我希望……

4．Fear can hold you prisoner. Hope can set you free.

懦怯囚禁人的靈魂，希望可以讓你自由。

5．Prison life consists of routine, and then more routine.

監獄生活充滿了一段又一段的例行公事。

6．These walls are kind of funny like that. First you hate them, then you get used to them. Enough time passed， get so you depend on them. That's institution alized.

監獄里的高牆實在是很有趣。剛入獄的時候，你痛恨周圍的高牆；慢慢地，你習慣了生活在其中；最終你會發現自己不得不依靠它而生存。這就是體制化。

7．I guess it comes down to a simple choice: get busy living or get busy dying.

生命可以歸結為一種簡單的選擇：要麼忙於生存，要麼趕著去死。

8．I have to remind myself that some birds aren』t meant to be caged. Their feathers are just too bright. And when they fly away, the part of you that knows it was a sin to lock hem up DOES rejoice. Still, the place you live in is that much more drab and empty that they』re gone. I guess I just miss my friend.

我不得不提醒自己，有些鳥是不能關在籠子里的，他們的羽毛太漂亮了，當他們飛走的時候...你會覺得把他們關起來是種罪惡，但是，他們不在了你會感到寂寞，可是我只是想我的朋友了...

9．There』s not a day goes by I don』t feel regret. Not because I』m in here, or because you think I should. I look back on the way I was then. Then a young, stupid kid who committed that terrible crime. I want to talk to him. I want to try and talk some sense to him, tell him the way things are. But I can』t. That kid』s long gone and this old man is all that』s left. I got to live with that. Rehabilitated? It』s just a bull**** word. So you go on and stamp your form, sonny, and stop wasting my time. Because to tell you the truth, I don』t give a ****.

我無時無刻不對自己的所作所為深感內疚， 這不是因為我在這里 (監獄)，也不是討好你們(假釋官)。回首曾經走過的彎路，我多麼想對那個犯下重罪的愚蠢的年輕人說些什麼，告訴他我現在的感受，告訴他還可以有其他的方式解決問題。可是，我做不到了。那個年輕人早已淹沒在歲月的長河裡，只留下一個老人孤獨地面對過去。重新做人？騙人罷了！小子，別再浪費我的時間了，蓋你的章吧，我沒有什麼可說的了。

10．Hope is a dangerous thing. Hope can drive a man insane.

希望是件危險的事。希望能叫人發瘋

11． I have no idea to this day what those two Italian ladies were singing about. Truth is, I don』t want to know. Some things are better left unsaid. I』d like to think they were singing about something so beautiful it can』t expressed in words and it makes you heartache because of it I tell you, those voices soared higher and farther than anybody in a great place dares to dream. It was as if some beautiful bird had flapped into our drab little cage an d made these walls dissolve away, and for the briefest of moments, every last man is Shawshank felt free.

到今天我還不知道那兩個義大利娘們在唱些什麼，其實，我也不想知道。有些東西還是不說為妙。我想她們該是在唱一些非常美妙動人的故事，美妙得難以用言語來表達，美妙的讓你心痛。告訴你吧，這些聲音直插雲霄，飛得比任何一個人敢想的夢還要遙遠。就像一些美麗的鳥兒撲扇著翅膀來到我們褐色牢籠，讓那些牆壁消失得無影無蹤。就在那一剎那，鯊堡監獄的每一個人都感到了自由。

12． Here』s where it makes the most sense. You need it so you don』t forget. Forget that there are palace in the world that aren』t made out of stone That there』s a---there』s a---there』s something inside that』s yours, that they can』t touch.

這就是意義所在。你需要它，就好像自己不要忘記。忘記世上還有不是用石頭圍起來的地方。忘記自己的內心還有你自己的東西，他們碰不到的東西。

13． That』s the beauty of music. They can』t take that away from you.

這就是音樂的美麗。他們無法把這種美麗從你那裡奪去。

Ⅵ 高分懸賞，請翻譯一段文字。

盡力翻譯，不會的用中文留給你。

In China, the Northern Royal Building is breathtaking views and silk-stocking, but the southern traditional houses are smart ,simply but exquisite. As to provide the South civil dishes restaurant, Its interior design at the same home to southerners and refined style, 以木質條形和磚牆為裝飾，伴隨著大大小小的陶瓷，青石陳設, To display the new Chinese style.

1回字紋
瓷器的一種紋樣，因紋樣如中國文字「回」字而得名。它象徵著吉祥，江南民間稱之為「富貴不斷頭」。回字紋等傳統紋樣在餐廳中有多處運用。
1 hui-pattern
Porcelain of a complementary pattern, the pattern of Chinese characters such as the "hui" named after the word. Its profound implication, the Jiangnan folk call it "the head of wealth." A paper and other traditional patterns of multiple use in a restaurant.

2.戲劇臉譜
戲劇中的臉譜是一種平面藝術，不拘於現實生活中的自然形態，大膽地進行誇張、裝飾，其流線與色彩是一種非常好的設計資源。
2. Drama Face
Face of Chinese drama is a kind of graphic art, in real life in any of the natural shape, and courageously carry out an exaggeration, decoration, its line and color flow is a good design recourse.

3.陶瓷，青石
陶器與瓷器是中國本土的文化之一，室內設計中融入陶瓷，給人一種穿越時空的感覺，彷彿置身於古代的文化氛圍之中。同時，擺設大大小小，形狀不一的陶瓷頓然能讓餐廳「熱鬧」起來。
3. Ceramics , Qing stone
Ceramic is one of China's local culture, design integration into the ceramic through time and space gives people a feeling, as if exposure to the culture of the ancient atmosphere. At the same time, large and small display, the shape of the ceramic different restaurants to "lively" up.

4.中國印章
從古至今，人們一直在使用印章，印章不僅是身份的象徵，也不僅是起到憑信的作用，更是一種雕刻藝術。印章是由印與章組成，「印」運用在菜譜的文字中，「章」則運用在前台造型上。
4. Chinese Stamp
Since ancient times people have been using a chop, chop more than status symbol, not only played the role of Pingxin, but also a carving art. Seal by the Indian chapter of the Indian recipes use in the text above, the chapter is carved on the use of modeling in the future

Ⅶ 請求幫助理解一個關於藝術的英語句子

wall power就是指前面那一整句說的影響作品價值的各種因素，所以power在這里指的是一種吸引力或影響力，而這種power是當作品掛在牆上給人看的時候體現出來的，因此藝術品市場上形象地稱之為wall power，你去國外藝術論壇上有時可以看到一些年輕藝術家在討論「如何增加自己作品的wall power」。目前這個詞還沒有中文譯名，你應該創造一個形象生動又容易上口的詞來翻譯它，最好不要超過四個字。

我試譯一下：
單獨一件藝術作品的價值無疑會受到以下因素的影響：尺寸（越大越好）、品相、來歷、知名度，通常稱為壁心引力。

感覺不太好，你自己再想個更好的。

Ⅷ 英語翻譯,謝謝~

區域活力的旅遊業可變換地方感
旅遊業可commoditize景觀所瓜分太空成為一個多元化的主題環境中，從而創造一個新的地方感。例如，夏威夷島是所謂''大島， ''夏威夷的瓦胡島是''的聚會場所， ''和厲害的是''花園島。毛伊島，以前稱為''谷島， ''已最近已更名為''魔術島， ''想來
增加神秘感的，島上彌漫最高平均旅遊消費在夏威夷鏈。地區也趨於淡化，有區別的，由視覺媒體，並賦予其新的地名，可能根本與歷史或文物。例子mediatized地點是薩爾斯堡的現場音樂之聲，侏羅紀公園卡烏阿的拿帕裏海岸沿岸，並魔戒站點在紐西蘭。旅遊頻道和foodtv也帶動了願望，要看一看的地方，如''葡萄酒的國家， '' '的誕生地，文明， ''或''過去荒無人煙的戈壁灘上。 ''突出的一點是，如何經濟價值，可加上區域內的媒體和旅遊業，通過營銷的形象和主題，改變了地方感。
1.2 。旅行壞了區域界限
獨特特徵的消費旅遊是同時發生的生產和消費，在一個固定的地理空間和時間。這就是說，它是消費者在旅行時，以該產品，也是一個居住的地方。認為在任何特定時間，有一些300000空中飛行的乘客超過了美國，等於大幅市在2億人次，每天的。 （ urry 2002 ）這種連接重新排序的觀念地區從地方到區域到全球。作為界限變得更加滲透，邊疆減少和國民身份認同變得更加相關地區或世界。實際上，合作，通過這種機製作為的eurail通行證及歐元美元擴大比較優勢和競爭優勢，以規模較大的地區。旅遊局也降低了社會和環境的界限，讓更多的人可以看到自己是世界公民和全球管理者所設想的那樣在buckminster更充分的飛船地球。
1.3 。空間安排的變動和流向正在轉化
由旅遊和通訊業成為一個時空壓縮
由去年年底，三分之二的美國家庭擁有的電腦和手機，這導致了更多的移動生活方式。現代生活中，為新游牧民族，就意味著壓縮了時間和空間，使師之間的家庭，工作場所，休閑和旅遊離家出走變得毫無意義。人們現在可以工作，在企業沒有圍牆，並應考慮其數字化辦事處，並與他們就休假，在一個存在描述鮑曼（ 2000年）作為'液體現代性， '即更加流暢，並加快了。

Ⅸ 下面的英語句子，翻譯+語法分析親

這一句可簡縮為——Qin Shi Huang ordered that walls should be destroyed and a new wall should be built.(我認為第一個逗號可刪去）——這一句為主句，時態為一般過去時。
從句——1.that divided his empire（定語從句，一般過去時）
2.that walls should be destroyed and a new wall should be built.（賓語從句）
connecting：作a new wall的後置定語
remaining：ing形式作pieces的前置定語（若此處換為left，則必須作後置定語）
creating：非謂語動詞，與其後面部分一起作主句的目的狀語。
翻譯：秦始皇命令：阻礙他的帝路的牆必須被破壞，而應該用剩下的石塊木塊築成一面新牆，以此來創造保護他的帝國不受北方侵襲的防駐事業。

Ⅹ 誰有walls and barriers的譯文啊 求

Walls and Barriers
Eugene Raskin

1My father's reaction to the bank building at 43rd Street and Fifth Avenue in New York City was immediate and definite: 「 You won't catch me putting my money in there!" he declared." Not in that glass box!"

2Of course, my father is a gentleman of the old school, a member of the generation to whom a good deal of modern architecture is unnerving; but I suspect—I more than suspect, I am convinced—that his negative response was not so much to the architecture as to a violation of his concept of the nature of money.

3In his generation money was thought of as a tangible commodity—bullion, bank notes, coins—that could be hefted, carried, or stolen. Consequently, to attract the custom of a sensible man, a bank had to have heavy walls, barred windows, and bronze doors, to affirm the fact, however untrue, that money would be safe inside. If a building』s design made it appear impregnable, the institution was necessarily sound, and the meaning of the heavy wall as an architectural symbol dwelt in the prevailing attitude toward money, rather than in any aesthetic theory.

4But that attitude toward money has of course changed. Excepting pocket money, cash of any kind is now rarely used; money as a tangible commodity has largely been replaced by credit, a bookkeeping-banking matter. A deficit economy, accompanied by huge expansion, has led us to think of money as a proct of the creative imagination. The banker no longer offers us a safe, he offers us a service—a service in which the most valuable elements are dash and a creative flair for the invention of large numbers. It is in no way surprising, in view of this change in attitude, that we are witnessing the disappearance of the heavy-walled bank. The Manufacturers Trust, which my father distrusted so heartily, is a great cubical cage of glass whose brilliantly lighted interior challenges even the brightness of a sunny day, while the door to the vault, far from being secluded and guarded, is set out as a window display.

5Just as the older bank asserted its invulnerability, this bank by its architecture boasts of its imaginative powers. From this point of view it is hard to say where architecture ends and human assertion begins. In fact, there is no such division; the two are one and the same.

6It is in the understanding of architecture as a medium for the expression of human attitudes, prejudices, taboos, and ideals that the new architectural criticism departs from classical aesthetics. The latter relied upon pure proportion, composition, etc., as bases for artistic judgment. In the age of sociology and psychology, walls are not simply walls but physical symbols of the barriers in men』s minds.

7In a primitive society, for example, men pictured the world as large, fearsome, hostile, and beyond human control. Therefore they built heavy walls of huge boulders, behind which they could feel themselves to be in a delimited space that was controllable and safe; these heavy walls expressed man』s fear of the outer world and his need to find protection, however illusory. It might be argued that the undeveloped technology of the period precluded the construction of more delicate walls. This is of course true. Still it was not technology, but a fearful attitude toward the world, which made people want to build walls in the first place. The greater the fear, the heavier the wall, until in the tombs of ancient kings we find structures that are practically all wall, the feat of dissolution being the ultimate fear.

8And then there is the question of privacy—for is has become questionable. In some Mediterranean cultures it was not so much the world of nature that was feared, but the world of men. Men were dirty, prying, vile, and dangerous. One went about, if one could afford it, in guarded litters, women went about heavily veiled, if the went about at all. Ones』 house was surrounded by a wall, and the rooms faced not out, but in, toward a patio, expressing the prevalent conviction that the beauties and values of life were to be found by looking inward, and by engaging in the intimate activities of a personal as against a public life. The rich intricacies of the decorative arts of the period as well as its contemplative philosophies are as illustrative of this attitude as the walls themselves.

9We feel different today. For one thing, we place greater reliance upon the control of human hostility, not so much by physical barriers, as by the conventions of law and social practice—as well as the availability of motorized police. We do not cherish privacy as much as did our ancestors. We are proud to have our women seen and admired, and the same goes for our homes. We do not seek solitude; in fact, if we find ourselves alone for once, we flick a switch and invite the whole world in through the television screen. Small wonder, then, that the heavy surrounding wall is obsolete, and we build, instead, membranes of thin sheet metal or glass.

10The principal function of today』s wall is to separate possibly undesirable outside air from the controlled conditions of temperature and humidity which we have created inside. Glass may accomplish this function, though there are apparently a good many people who still have qualms about eating, sleeping, and dressing under conditions of high visibility; they demand walls that will at least give them a sense of adequate screening. But these shy ones are a vanishing breed. The Philip Johnson house in Connecticut, which is much admired and widely imitated, has glass walls all the way around, and the only real privacy is to be found in the bathroom, the toilette taboo being still unbroken, at least in Connecticut.

11To repeat, it is not our advanced technology, but our changing conceptions of ourselves in relation to the world that determine how we shall build our walls. The glass wall expresses man』s conviction that he can and does master nature and society. The 「open plan」 and the unobstructed view are consistent with his faith in the eventual solution of all problems through the expanding efforts of science. This is perhaps why it is the most 「advanced」 and 「forward-looking」 among us who live and work in glass houses. Even the fear of the cast stone has been analyzed out of us.
牆和障礙
尤金·拉斯金
1My父親對第43大街的銀行大樓和在紐約市的第5 大街的反應是立即和明確的："你將不抓住我把我的錢放進那裡！" 他聲明。"不在那個玻璃箱子里！"
2Of 課程，我的父親是一個老學校的紳士，對很多現代建築正嚇壞誰的一名代的成員；但是我懷疑我多於嫌疑犯，我確信的-他的否定響應作為對他的錢的性質的概念的破壞對建築與其。
3In他這一代人錢被認為是有形的商品金條，鈔票，硬幣-可能被舉起，帶，或者偷。從而，吸引明智的人的風俗，一家銀行必須有沉重的牆，閂上窗子和青銅門，肯定事實，無論怎樣不真實，錢將在裡面是安全的。如果一種大樓的設計使它似乎難攻破，當一個建築的符號居住在流行的對錢的態度時，機構一定是聲音並且沉重的牆的意思，而不是在任何審美理論。
4But對錢的態度已經當然改變。除了零用錢，任何種類的現金現在被很少使用；盡管有形的商品基本上已經被信貸，一件簿記銀行業事情替換錢。赤字經濟，伴隨巨大的擴大，已經使我們認為錢是一種有創造性的想像的產品。銀行家不再給我們提供一個保險箱，他給我們提供一種服務-最有價值的元件是的一種服務猛沖和許多的發明的一個有創造性的鑒別力。它決不驚人，由於在態度方面的這種變化，我們正目睹沉重圍以牆的銀行的消失。那些製造商相信，我的父親如此衷心地不信任，作偉大立方體籠是玻璃的誰的輝煌點燃內部挑戰更亮度的晴天，當時這這個地下室的門，沒被隔離並且被保衛，被作為一種櫥窗陳設開始。
5Just更老的銀行認定它的不易破壞性，通過它的建築的這家銀行誇耀它的想像力。從這種觀點中說建築在哪裡結束是難的，人斷言開始。實際上，沒有這樣的劃分；這兩個完全相同。
6It給人態度，新建築的批評離開經典美學的偏見，禁忌和理想的表示在對建築理解內作為一媒介。後者信任純比例，組成，等等，作為藝術判斷的依據。在社會學和心理學的時代，除了在人的心裡的障礙的物理象徵，牆是不僅僅牆。
7In 原始社會，例如，人想像世界大，可怕，敵對，並且在人以外控制。因此他們建造巨大的大石頭的沉重的牆，在其後面他們能感到他們自己在可控制和安全的限定的空間內；這些沉重的牆表達人對外部世界和找到保護的他的需要的恐懼，無論怎樣幻覺。可能表明時期的不發達的技術排除更精美的牆的建設。這當然是真實的。仍然這不是技術，而是對世界的一個可怕的態度，這使人們想要首先建造牆。越大，恐懼，牆越沉重，直到在古代國王的墳墓中我們找到幾乎是全部牆的結構，取消的偉績作為最後的恐懼。
8然後有隱私的問題-為變得可疑。在一些地中海文化里這不是那麼多被懼怕的自然的世界，而是人的世界。人臟，撬開，卑鄙，和危險。一著手去做，如果一個人支付得起能，在保衛的垃圾，女人蔓延重掩飾，如果確實著手去做。一堵牆包圍了一的房子，並且房間不在外，但是在露台里，對於面向，表示生命的美麗和價值將通過看起來內在被發現的流行的信念，並且通過與一個公眾生活對照從事個人的親密的活動。時期的裝飾的藝術的富有的紛亂和它的沉思的哲學像牆本身一樣說明這個態度。
9We 今天感到不同。原因之一，我們把更大的信賴放當控制人敵對時，與其由於物理障礙，如同由法律和社會實踐的大會-以及機動化的警察的可用性。我們珍愛隱私沒有做我們的祖先多。我們很榮幸讓人看見並且欣賞我們的女人，並且我們的家也一樣。我們不尋找孤獨；實際上，如果我們就這一次單獨找到自己，我們輕擊一個開關並且在通過電視屏幕里邀請全世界。小奇跡，然後，沉重的環境牆是過時的，並且我們相反建造瘦的金屬片或者玻璃的膜。
10The 今天的牆的主要功能是從我們已經在裡面建立的溫度和濕度的被控制的條件中分開也許不良的外界空氣。雖然在高的能見度的條件下顯然有仍然對吃，睡，並且穿不安的許多人，但是玻璃可以完成這個功能；他們要求將至少給他們足夠的篩選感的牆。這些怕羞是消失繁殖。在康涅狄格的菲利普·約翰遜房子，被非常欣賞並且廣泛地模仿，一直在周圍有玻璃牆，唯一真正隱私發現在仍然不間斷的浴室，服裝禁忌內，至少在康涅狄格內。
11To 重復，這不是我們的先進技術，而是我們關於確定我們將怎樣建造我們的牆的世界改變我們自己的概念。玻璃牆表示人的信念，他確實能並且掌握自然和社會。"打開計劃"和無遮擋的視野通過擴大的科學的努力與他對全部問題的最後的解決方案的信任一致。這或許是為什麼這是在我們，我們住並且在玻璃房子里工作中的被最"發展"和"有遠見"。即使懼怕投石頭已經被從我們當中分析。