walas认为创造是一种

Ⅰ 帮忙翻译一下一段英文

不像欧洲建筑业多依照个人的意愿来调整设计——不这么做的（建筑）实验即使是Jean Prouve的那些成功例子也无法保持长期进展，美国的主要建筑商创造了一种彻底的行业化理念。在这里，最重要的不是住宅的建造，而是严格按照经济实用原则设计办公室，以及创立公司形象。市场的需求集中于两种基本类型：城区高层建筑以及公司总部做过园林规划的大规模建筑群。后者中一个先驱性例子是Mies van der Rohe 设计的位于芝加哥市的伊利诺斯州立理工学院；这是他从位于密歇根州瓦伦市的通用汽车技术中心这样一个Saarinen设计的类似建筑群中得来的灵感。随后接踵而来的四栋建筑揭开了新型摩天大楼设计的序幕。1984年Pietro Belluschi建造了公正储蓄贷款协会（E.S.L.A)在俄勒冈州波特兰市的行政总部；其加固混凝土框架的外部挂上了一层玻璃和铝合金的外壳，使得没有哪个部分在图纸上超过两厘米（注：不知道是不是这个意思）。Wallace K.Harrison 和 Max Abramovitz 于1950年在纽约完成了联合国的秘书处大楼。这是基于Le Corbusier大体设计的一个能容纳3400雇员的办公建筑：一栋前后两面均为巨幅玻璃，两侧是无窗白色大理石墙的细长大楼。1951年，在纽约为摩尔-欧文斯-梅瑞尔合作社（S.O.M）工作的Gordon Bunshaft为利华兄弟公司（注：其实就是联合利华，1929年就合并了）设计了利华之屋（Lever House）：一个技巧性地将细长塔楼和矮平底层结合起来的绿色玻璃盒子。同一年里Mies van der Rohe 在芝加哥为建筑巨头Herbert S.Greenwald建造了著名的湖滨公寓。在他1938任职阿莫公司，然后是伊利诺斯州立理工学院，Mies van der Rohe有了在城市外围建造大学新校区的机会。他将他在德国形成的建筑理念运用到了美国的设计中；他变得比在建造战前几栋建筑时更加严格也更加喜欢使用对称。由于防火条例不允许将主框架暴露出来，因此Mies把钢铁，玻璃和砖块混合起来形成了一种具有美感的对内部结构的艺术重现。因此他（的理念中）特别关注连接不同元素并将其转换。

（绝对原创，请给好评并加分，谢谢。）

Ⅱ 《机器人总动员》(WALL-E)有哪些隐喻

《机器人总动员》是2008年一部由安德鲁・斯坦顿编导，迪士尼电影发行的电脑动画科幻电影，它获得了包括奥斯卡金像奖在内的几十个奖项，隐喻的大量运用起到了关键性的作用。亚里士多德说，所有的人在交谈时都运用隐喻。

《机器人总动员》目标受众本是儿童。但这部与寂寞和科幻为伍的故事吸引的不止是儿童，还有相信爱情且渴望正能量的人们。高耸入云的垃圾丛中，一个小机器人日复一日地整理垃圾。他的名字叫WALL-E（Waste Allocation Load Lifters―Earth），地球垃圾处理运输员。人类留下处处疮痍，满目垃圾。此情此景，让我们想到动辄几天连续的雾霾天，人类用双手创造自己最后的失乐园，无奈留下小机器人坚守的末日似乎也已不再遥远。科幻片中的未来，人类自己的未来，其可能的相似性让我们理解了其中的隐喻。

大家怎么看待这件事情呢？欢迎评论！

Ⅲ 求一首歌的歌词

[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.我又来找你聊天了.
because a vision softly creeping.因为有个幻影无声无息地爬过.
left its seeds while i was sleeping.趁我熟睡时留下了种子.
and the vision that was planted in my brain.这幻影在我脑海里种下了根.
still remains.萦绕不去.
within the sound of silence !于寂静无声的此刻!
in restless dreams i walk alone.在无数浮躁的梦中我茕茕独行.
narrow streets of cobble stone.行走在鹅卵石铺就的狭窄街道上.
'neath the halo of a street lamp.头顶上街灯的光晕将我笼罩(我睡在街灯下).
i turned my collar 2 the cold damp.我翻起衣领以抗御此夜的寒冷及潮湿.
when my eyes were stabbled by the flash of a neon light.当我的眼睛被霓虹灯的闪烁刺痛时.
that split the night.(霓虹灯的闪烁)也划破了夜空.
and touched the sound of silence.打破了黑夜的沉静.
and in the naked night i saw.在无遮灯照耀下(在裸露的光线中)我看到-
ten thousand people maybe more.数以万记的人,或许更多.
people talking without speaking.有的人在说着无聊的话语.
people hearing without listening.有的人在漫不经心的听着别人说.
people writing songs that voices never share.有的人在写着那些从不会被传唱的歌.
and no one dare.但没有人敢于去-
disturb the sound of silence.打破这份静默.
"fool" said i "u do not know."我说道:"愚蠢的人啊,你们不知道"
"silence like a cancer grows."静默会像癌细胞那样扩散.
"hear my words that i might teach u."听我的话,我才能教导你.
"take my arms that i might reach u."抓紧我的手,我才能救你.
but my words like silent rain-drops fell.但是我的话却如寂静无声的雨点落下.
and echoed in the wells of silence.徒然回响在沉静的天井中.
and the people bow prayed.人们仍然顶礼膜拜着.
to the neon god they made.自己塑造的霓虹灯神像(文明).
and the sign flash out its warning.霓虹灯突然闪烁出(文明的)警兆.
in the words that it was forming.(文明)警告的语句渐渐成型.
and the sign said "the words of the prophers.are written the subway walls tenement halls".都被写在地铁的墙上及出租公寓的走廊上.
and whispered in the sounds of silence.这告诫也在无声的静默中被轻声传送.

Ⅳ 英语造几个句子。。。

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《肖申克的救赎》的经典台词！

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

强者救赎自己，圣人普度他人

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

希望是美好的，也许是人间至善，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.

我发现自己是如此的激动，以至于不能静静地坐下来思考。我想只有那些重获自由即将踏上新征程的人们才能感受到这种即将揭开未来神秘面纱的激动心情。我希望跨越千山万水握住朋友的手，我希望太平洋的海水如同梦中的一样蓝：我希望……

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

懦怯囚禁人的灵魂，希望可以让你自由。

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

监狱生活充满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.

监狱里的高墙实在是很有趣。刚入狱的时候，你痛恨周围的高墙；慢慢地，你习惯了生活在其中；最终你会发现自己不得不依靠它而生存。这就是体制化。

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

生命可以归结为一种简单的选择：要么忙于生存，要么赶着去死。

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，有些鸟是不能关在笼子里的，他们的羽毛太漂亮了，当他们飞走的时候...你会觉得把他们关起来是种罪恶，但是，他们不在了你会感到寂寞，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 ****.

我无时无刻不对自己的所作所为深感内疚， 这不是因为我在这里 (监狱)，也不是讨好你们(假释官)。回首曾经走过的弯路，我多么想对那个犯下重罪的愚蠢的年轻人说些什么，告诉他我现在的感受，告诉他还可以有其他的方式解决问题。可是，我做不到了。那个年轻人早已淹没在岁月的长河里，只留下一个老人孤独地面对过去。重新做人？骗人罢了！小子，别再浪费我的时间了，盖你的章吧，我没有什么可说的了。

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

希望是件危险的事。希望能叫人发疯

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.

到今天我还不知道那两个意大利娘们在唱些什么，其实，我也不想知道。有些东西还是不说为妙。我想她们该是在唱一些非常美妙动人的故事，美妙得难以用言语来表达，美妙的让你心痛。告诉你吧，这些声音直插云霄，飞得比任何一个人敢想的梦还要遥远。就像一些美丽的鸟儿扑扇着翅膀来到我们褐色牢笼，让那些墙壁消失得无影无踪。就在那一刹那，鲨堡监狱的每一个人都感到了自由。

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.

这就是意义所在。你需要它，就好像自己不要忘记。忘记世上还有不是用石头围起来的地方。忘记自己的内心还有你自己的东西，他们碰不到的东西。

13． That’s the beauty of music. They can’t take that away from you.

这就是音乐的美丽。他们无法把这种美丽从你那里夺去。

Ⅵ 高分悬赏，请翻译一段文字。

尽力翻译，不会的用中文留给你。

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, 以木质条形和砖墙为装饰，伴随着大大小小的陶瓷，青石陈设, To display the new Chinese style.

1回字纹
瓷器的一种纹样，因纹样如中国文字“回”字而得名。它象征着吉祥，江南民间称之为“富贵不断头”。回字纹等传统纹样在餐厅中有多处运用。
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.戏剧脸谱
戏剧中的脸谱是一种平面艺术，不拘于现实生活中的自然形态，大胆地进行夸张、装饰，其流线与色彩是一种非常好的设计资源。
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
陶器与瓷器是中国本土的文化之一，室内设计中融入陶瓷，给人一种穿越时空的感觉，仿佛置身于古代的文化氛围之中。同时，摆设大大小小，形状不一的陶瓷顿然能让餐厅“热闹”起来。
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.中国印章
从古至今，人们一直在使用印章，印章不仅是身份的象征，也不仅是起到凭信的作用，更是一种雕刻艺术。印章是由印与章组成，“印”运用在菜谱的文字中，“章”则运用在前台造型上。
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 请求帮助理解一个关于艺术的英语句子

wall power就是指前面那一整句说的影响作品价值的各种因素，所以power在这里指的是一种吸引力或影响力，而这种power是当作品挂在墙上给人看的时候体现出来的，因此艺术品市场上形象地称之为wall power，你去国外艺术论坛上有时可以看到一些年轻艺术家在讨论“如何增加自己作品的wall power”。目前这个词还没有中文译名，你应该创造一个形象生动又容易上口的词来翻译它，最好不要超过四个字。

我试译一下：
单独一件艺术作品的价值无疑会受到以下因素的影响：尺寸（越大越好）、品相、来历、知名度，通常称为壁心引力。

感觉不太好，你自己再想个更好的。

Ⅷ 英语翻译,谢谢~

区域活力的旅游业可变换地方感
旅游业可commoditize景观所瓜分太空成为一个多元化的主题环境中，从而创造一个新的地方感。例如，夏威夷岛是所谓''大岛， ''夏威夷的瓦胡岛是''的聚会场所， ''和厉害的是''花园岛。毛伊岛，以前称为''谷岛， ''已最近已更名为''魔术岛， ''想来
增加神秘感的，岛上弥漫最高平均旅游消费在夏威夷链。地区也趋于淡化，有区别的，由视觉媒体，并赋予其新的地名，可能根本与历史或文物。例子mediatized地点是萨尔斯堡的现场音乐之声，侏罗纪公园卡乌阿的拿帕里海岸沿岸，并魔戒站点在新西兰。旅游频道和foodtv也带动了愿望，要看一看的地方，如''葡萄酒的国家， '' '的诞生地，文明， ''或''过去荒无人烟的戈壁滩上。 ''突出的一点是，如何经济价值，可加上区域内的媒体和旅游业，通过营销的形象和主题，改变了地方感。
1.2 。旅行坏了区域界限
独特特征的消费旅游是同时发生的生产和消费，在一个固定的地理空间和时间。这就是说，它是消费者在旅行时，以该产品，也是一个居住的地方。认为在任何特定时间，有一些300000空中飞行的乘客超过了美国，等于大幅市在2亿人次，每天的。 （ urry 2002 ）这种连接重新排序的观念地区从地方到区域到全球。作为界限变得更加渗透，边疆减少和国民身份认同变得更加相关地区或世界。实际上，合作，通过这种机制作为的eurail通行证及欧元美元扩大比较优势和竞争优势，以规模较大的地区。旅游局也降低了社会和环境的界限，让更多的人可以看到自己是世界公民和全球管理者所设想的那样在buckminster更充分的飞船地球。
1.3 。空间安排的变动和流向正在转化
由旅游和通讯业成为一个时空压缩
由去年年底，三分之二的美国家庭拥有的电脑和手机，这导致了更多的移动生活方式。现代生活中，为新游牧民族，就意味着压缩了时间和空间，使师之间的家庭，工作场所，休闲和旅游离家出走变得毫无意义。人们现在可以工作，在企业没有围墙，并应考虑其数字化办事处，并与他们就休假，在一个存在描述鲍曼（ 2000年）作为'液体现代性， '即更加流畅，并加快了。

Ⅸ 下面的英语句子，翻译+语法分析亲

这一句可简缩为——Qin Shi Huang ordered that walls should be destroyed and a new wall should be built.(我认为第一个逗号可删去）——这一句为主句，时态为一般过去时。
从句——1.that divided his empire（定语从句，一般过去时）
2.that walls should be destroyed and a new wall should be built.（宾语从句）
connecting：作a new wall的后置定语
remaining：ing形式作pieces的前置定语（若此处换为left，则必须作后置定语）
creating：非谓语动词，与其后面部分一起作主句的目的状语。
翻译：秦始皇命令：阻碍他的帝路的墙必须被破坏，而应该用剩下的石块木块筑成一面新墙，以此来创造保护他的帝国不受北方侵袭的防驻事业。

Ⅹ 谁有walls and barriers的译文啊 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.
墙和障碍
尤金·拉斯金
1My父亲对第43大街的银行大楼和在纽约市的第5 大街的反应是立即和明确的："你将不抓住我把我的钱放进那里！" 他声明。"不在那个玻璃箱子里！"
2Of 课程，我的父亲是一个老学校的绅士，对很多现代建筑正吓坏谁的一名代的成员；但是我怀疑我多于嫌疑犯，我确信的-他的否定响应作为对他的钱的性质的概念的破坏对建筑与其。
3In他这一代人钱被认为是有形的商品金条，钞票，硬币-可能被举起，带，或者偷。从而，吸引明智的人的风俗，一家银行必须有沉重的墙，闩上窗子和青铜门，肯定事实，无论怎样不真实，钱将在里面是安全的。如果一种大楼的设计使它似乎难攻破，当一个建筑的符号居住在流行的对钱的态度时，机构一定是声音并且沉重的墙的意思，而不是在任何审美理论。
4But对钱的态度已经当然改变。除了零用钱，任何种类的现金现在被很少使用；尽管有形的商品基本上已经被信贷，一件簿记银行业事情替换钱。赤字经济，伴随巨大的扩大，已经使我们认为钱是一种有创造性的想象的产品。银行家不再给我们提供一个保险箱，他给我们提供一种服务-最有价值的元件是的一种服务猛冲和许多的发明的一个有创造性的鉴别力。它决不惊人，由于在态度方面的这种变化，我们正目睹沉重围以墙的银行的消失。那些制造商相信，我的父亲如此衷心地不信任，作伟大立方体笼是玻璃的谁的辉煌点燃内部挑战更亮度的晴天，当时这这个地下室的门，没被隔离并且被保卫，被作为一种橱窗陈设开始。
5Just更老的银行认定它的不易破坏性，通过它的建筑的这家银行夸耀它的想象力。从这种观点中说建筑在哪里结束是难的，人断言开始。实际上，没有这样的划分；这两个完全相同。
6It给人态度，新建筑的批评离开经典美学的偏见，禁忌和理想的表示在对建筑理解内作为一媒介。后者信任纯比例，组成，等等，作为艺术判断的依据。在社会学和心理学的时代，除了在人的心里的障碍的物理象征，墙是不仅仅墙。
7In 原始社会，例如，人想象世界大，可怕，敌对，并且在人以外控制。因此他们建造巨大的大石头的沉重的墙，在其后面他们能感到他们自己在可控制和安全的限定的空间内；这些沉重的墙表达人对外部世界和找到保护的他的需要的恐惧，无论怎样幻觉。可能表明时期的不发达的技术排除更精美的墙的建设。这当然是真实的。仍然这不是技术，而是对世界的一个可怕的态度，这使人们想要首先建造墙。越大，恐惧，墙越沉重，直到在古代国王的坟墓中我们找到几乎是全部墙的结构，取消的伟绩作为最后的恐惧。
8然后有隐私的问题-为变得可疑。在一些地中海文化里这不是那么多被惧怕的自然的世界，而是人的世界。人脏，撬开，卑鄙，和危险。一着手去做，如果一个人支付得起能，在保卫的垃圾，女人蔓延重掩饰，如果确实着手去做。一堵墙包围了一的房子，并且房间不在外，但是在露台里，对于面向，表示生命的美丽和价值将通过看起来内在被发现的流行的信念，并且通过与一个公众生活对照从事个人的亲密的活动。时期的装饰的艺术的富有的纷乱和它的沉思的哲学像墙本身一样说明这个态度。
9We 今天感到不同。原因之一，我们把更大的信赖放当控制人敌对时，与其由于物理障碍，如同由法律和社会实践的大会-以及机动化的警察的可用性。我们珍爱隐私没有做我们的祖先多。我们很荣幸让人看见并且欣赏我们的女人，并且我们的家也一样。我们不寻找孤独；实际上，如果我们就这一次单独找到自己，我们轻击一个开关并且在通过电视屏幕里邀请全世界。小奇迹，然后，沉重的环境墙是过时的，并且我们相反建造瘦的金属片或者玻璃的膜。
10The 今天的墙的主要功能是从我们已经在里面建立的温度和湿度的被控制的条件中分开也许不良的外界空气。虽然在高的能见度的条件下显然有仍然对吃，睡，并且穿不安的许多人，但是玻璃可以完成这个功能；他们要求将至少给他们足够的筛选感的墙。这些怕羞是消失繁殖。在康涅狄格的菲利普·约翰逊房子，被非常欣赏并且广泛地模仿，一直在周围有玻璃墙，唯一真正隐私发现在仍然不间断的浴室，服装禁忌内，至少在康涅狄格内。
11To 重复，这不是我们的先进技术，而是我们关于确定我们将怎样建造我们的墙的世界改变我们自己的概念。玻璃墙表示人的信念，他确实能并且掌握自然和社会。"打开计划"和无遮挡的视野通过扩大的科学的努力与他对全部问题的最后的解决方案的信任一致。这或许是为什么这是在我们，我们住并且在玻璃房子里工作中的被最"发展"和"有远见"。即使惧怕投石头已经被从我们当中分析。