Five years ago, I experienced a bit of what it must have been like to be Alice in Wonderland. Penn State asked me, a communications teacher, to teach a communications class for engineering students. And I was scared. (Laughter) Really scared. Scared of these students with their big brains and their big books and their big, unfamiliar words. But as these conversations unfolded, I experienced what Alice must have when she went down that rabbit hole and saw that door to a whole new world. That's just how I felt as I had those conversations with the students. I was amazed at the ideas that they had, and I wanted others to experience this wonderland as well. And I believe the key to opening that door is great communication.
We desperately need great communication from our scientists and engineers in order to change the world. Our scientists and engineers are the ones that are tackling our grandest challenges, from energy to environment to health care, among others, and if we don't know about it and understand it, then the work isn't done, and I believe it's our responsibility as non-scientists to have these interactions. But these great conversations can't occur if our scientists and engineers don't invite us in to see their wonderland. So scientists and engineers, please, talk nerdy to us.
I want to share a few keys on how you can do that to make sure that we can see that your science is sexy and that your engineering is engaging. First question to answer for us: so what? Tell us why your science is relevant to us. Don't just tell me that you study trabeculae, but tell me that you study trabeculae, which is the mesh-like structure of our bones because it's important to understanding and
treating osteoporosis.
And when you're describing your science, beware of jargon. Jargon is a barrier to our understanding of your ideas. Sure, you can say \"spatial and temporal,\" but why not just say \"space and time,\" which is so much more accessible to us? And making your ideas accessible is not the same as dumbing it down. Instead, as Einstein said, make everything as simple as possible, but no simpler. You can clearly communicate your science without compromising the ideas. A few things to consider are having examples, stories and analogies. Those are ways to engage and excite us about your content. And when presenting your work, drop the bullet points. Have you ever wondered why they're called bullet points? (Laughter) What do bullets do? Bullets kill, and they will kill your presentation. A slide like this is not only boring, but it relies too much on the language area of our brain, and causes us to become overwhelmed. Instead, this example slide by Genevieve Brown is much more effective. It's showing that the special structure of trabeculae are so strong that they actually inspired the unique design of the Eiffel Tower. And the trick here is to use a single, readable sentence that the audience can key into if they get a bit lost, and then provide visuals which appeal to our other senses and create a deeper sense of understanding of what's being described.
So I think these are just a few keys that can help the rest of us to open that door and see the wonderland that is science and engineering. And because the engineers that I've worked with have taught me to become really in touch with my inner nerd, I want to summarize with an equation. (Laughter) Take your science, subtract your bullet points and your jargon, divide by relevance, meaning share
what's relevant to the audience, and multiply it by the passion that you have for this incredible work that you're doing, and that is going to equal incredible interactions that are full of understanding. And so, scientists and engineers, when you've solved this equation, by all means, talk nerdy to
me. (Laughter) Thank you. (Applause)
五年前，我曾有过一个 有如漫游爱丽丝仙境的经历。 宾夕法尼亚州立大学让我这个教沟通学的老师 给工程系的学生上沟通学课。 我被吓到了。（笑声） 我真的被吓坏了。这些学生发达的大脑， 还有他们所读的巨著，及他们使用的又长又生僻的词语通通都吓到我了。 不过随着对话的展开， 我的经历就如爱丽丝一样，顺着那个兔子洞 下去，看到了那扇通往一个全新世界的大门。 这就是我和那些学生们对话时的感受。 我对他们的想法感到惊奇， 而且我希望其他人也能体验这种在仙境中的感觉。 我相信打开那扇门的关键 就是要有很好的交流与沟通。
为了改变世界，我们迫切需要从我们的 科学家和工程师那里得到良好的沟通。 我们的科学家和工程师们解决的都是 我们所面临的最大的难题，从能源 到环境再到卫生保健，等等。 如果我们不明白也不理解的话， 他们的工作对我们就没有什么意义了，并且我相信 我们作为非科学家们有责任与他们进行互动交流。 可是如果我们的科学家和工程师们不把我们领进门 去看看他们的仙境的话，我们之间也就不可能有很好的交流。 所以科学家和工程师们，请跟我们说说高科技是什么吧。
我想来分享几个有用的方法，告诉你们如何才能保证 让我们也觉得你们的科学\"性感\"迷人、 你们的工程学魅力四射。 第一个要回答我们的问题： 高科技又怎样？ 告诉我们，为什么你们的科学与我们有关。 别光告诉我你们研究骨小梁， 要告诉我你们研究骨小梁
是因为这种骨骼的网状组织 对认识和治疗骨质疏松症很重要。
另外当你们描述科学原理时，要注意术语的使用。 术语是我们理解你们想法的一个障碍。 当然了，你们可以说“空间性与瞬时性”，可是为什么不说 \"空间与时间\"呢？这对我们来说容易理解多了。 让你们的想法简单易懂并不等于简化它， 相反，正如爱因斯坦所说，让一切 尽可能的简单，而不是简化。 你不必非得改变你的观点才能清楚地 传达出你的科学理论。 可以考虑用一些例子、故事、 还有类比。这些都是使你们的谈论内容 吸引我们、让我们兴奋的方法。 还有在用幻灯片演示你们的研究成果时，不要使用点句式。 你想过为什么点句式符号叫\"子弹\"点儿吗？（笑声） 子弹是干什么的？子弹能杀人， 也能灭了你的演示报告。 像这样的幻灯片不仅仅乏味无聊，而且太过依赖 我们大脑的语言区，使我们不知所措。 而这张由Genevieve Brown制作的示例幻灯片 效果就好多了。它向我们说明骨小梁的特殊结构 超级强大，甚至连埃菲尔铁塔的独特设计 都受到了它的启发。 这里的窍门就是使用简单、易读的句子， 让观众即使有点儿不明白也能够掌握要点， 然后接下来提供一些能够刺激我们感官的图像， 并且能让我们对所描述的内容 有更深层次的理解。
以上这些就是我觉得能够帮助 我们大家打开那扇大门的钥匙，感受科学与工程学 仙境的好方法。 那么因为与我共事过的工程师们教会我 接触我内心存在的学术狂人， 我想用一个方程式来总结一下我的观点。（笑声） 用你们研究的科学，减去你们的点句式 和术语，除以相关内容， 就是要分享和观众有关的内容， 再乘以你对自己正在从事的 这份神奇工作的激情， 它就会等于：具备充分理解的、 效果惊人的互动交流。 因此，科学家和工程师们，当你们解决了这个方程式以后，就想尽一切办法，跟我说说高科技吧。（笑声） 谢谢。（掌声）
（二）
I'd like to tell you a story about death and architecture.
0:15
A hundred years ago, we tended to die of infectious diseases like pneumonia, that, if they took hold, would take us away quite quickly. We tended to die at home, in our own beds, looked after by family, although that was the default option because a lot of people lacked access to medical care.
0:32
And then in the 20th century a lot of things changed. We developed new medicines like penicillin so we could treat those infectious diseases. New medical technologies like x-ray machines were invented. And because they were so big and expensive, we needed large, centralized buildings to keep them in, and they became our modern hospitals.
0:50
After the Second World War, a lot of countries set up universal healthcare systems so that everyone who needed treatment could get it. The result was that lifespans extended from about 45 at the start of the century to almost double that today. The 20th century was this time of huge optimism about what science could offer, but with all of the focus on life, death was forgotten, even as our approach to death changed dramatically.
1:14
Now, I'm an architect, and for the past year and a half I've been looking at these changes and at what they mean for architecture related to death and dying. We now tend to die of cancer and heart disease, and what that means is that many of us will have a long period of chronic illness at the end of our lives. During that period, we'll likely spend a lot of time in hospitals and hospices and care homes.
1:37
Now, we've all been in a modern hospital. You know those fluorescent lights and the endless corridors and those rows of uncomfortable chairs. Hospital architecture has earned its bad reputation. But the surprising thing is, it wasn't always like this.
1:53
This is L'Ospedale degli Innocenti, built in 1419 by Brunelleschi, who was one of the most famous and influential architects of his time. And when I look at this building and then think about hospitals today, what amazes me is this building's ambition. It's just a really great building. It has these courtyards in the middle so that all of the rooms have daylight and fresh air, and the rooms are big and they have high ceilings, so they just feel more comfortable to be in. And it's also beautiful. Somehow, we've forgotten that that's even possible for a hospital.
2:24
Now, if we want better buildings for dying, then we have to talk about it, but because we find the subject of death uncomfortable, we don't talk about it, and we don't question how we as a society approach death. One of the things that surprised me most in my research, though, is how changeable attitudes actually are. This is the first crematorium in the U.K., which was built in Woking in the 1870s. And when this was first built, there were protests in the local village. Cremation wasn't socially acceptable, and 99.8 percent of people got buried. And yet, only a hundred years later, three quarters of us get cremated. People are actually really open to changing things if they're given the chance to talk about them.
3:03
So this conversation about death and architecture was what I wanted to start when I did my first exhibition on it in Venice in June, which was called \"Death in Venice.\" It was designed to be quite playful so that people would literally engage with it. This is one of our exhibits, which is an interactive map of London that shows just how much of the real estate in the city is given over to death and dying, and as you wave your hand across the map, the name of that piece of real estate, the building or cemetery, is revealed. Another of our exhibits was a series of postcards that people could take away with them. And they showed people's homes and hospitals and cemeteries and mortuaries, and they tell the story of the different spaces that we pass through on either side of death. We wanted to show that where we die is a key part of how we die.
3:53
Now, the strangest thing was the way that visitors reacted to the exhibition, especially the audio-visual works. We had people dancing and running and jumping as they tried to activate the exhibits in different ways, and at a certain point they would kind of stop and remember that they were in an exhibition about death, and that maybe that's not how you're supposed to act. But actually, I would question whether there is one way that you're supposed to act around death, and if there's not, I'd ask you to think about what you think a good death is, and what you think that architecture that supports a good death might be like, and mightn't it be a little less like this and a little more like this?
Thank you!
我想跟大家讲述一个关于死亡和建筑的故事。
0:15
一百年前，人类往往死于像肺炎这样的传染病， 一旦感染上这些疾病， 就会很快夺走我们的生命。 而我们往往死在自己的床上， 在家里由亲人照顾， 虽然这是一个默认选择， 因为许多人缺乏医疗护理。
0:32
在20世纪，许多状况经已 发生不少改变。 我们发明了很多新药，例如盘尼西林， 因
此可医治那些传染病。 也发明出一些新的医疗技术， 像 X 光机。 但是这些仪器体积太庞大且太昂贵， 它们需要安置在大型的中心建筑， 而这些建筑就变成现代的医院。
0:50
二战之后， 许多国家设立普及的医疗保健系统， 以便大家需要治疗时也得到照顾， 结果是人类寿命从世纪初的约45岁 大幅提高至现今的近乎两倍。 20世纪是人类对科学发展 感到很乐观的时代， 但是由于对生命的关注， 卻忽略了死亡。 甚至我们应对死亡的方法 也发生巨大变化。
1:14
现在我是一名建筑师， 过去的一年半，我一直在关注这些变化， 以及它们对那些跟死亡相关的建筑有何意义。 现在人类往往死于癌症及心脏疾病， 这意味着我们当中许多人 在生命最后一段时间 会长时间受慢性病的侵袭。 在那段时间里， 我们会大部分时间在医院、 疗养院及护理中心。
1:37
现在我们都去过现代的医院。 你们看到那样的荧光灯、无尽的走廊， 及那几排一点也不舒服的椅子。 医院建筑的名声已经很坏。 但是奇妙的是，并不总是如此。
1:53
这是1419年由Brunelleschi 兴建的孤儿院， Brunelleschi是他那个时代 其中一个最具影响力的建筑师。 当我看着这个建筑， 再想想我们今天的医院， 让我惊奇的是这栋
建筑的追求， 这真是一个极棒的建筑。 在这中间有个庭院， 这样所有的房间都有阳光和新鲜空气， 这些房间很大，有很高的天花板， 住进去更舒服。 它也很美。 莫名其妙我们就忘了，这居然是医院。
2:24
如果我们想在更好的建筑里离世， 我们要好好谈论它， 但是我们发现死亡的话题让人不舒服， 我们就不想谈， 我们都不去查问 我们作为一个社会怎样迎接死亡。 然而，在研究中最让我感到惊奇 的其中一件事， 就是态度实际是怎样变化的。 这是英国的第一个火葬场， 建于1870年代。 在它初建之时，当地村庄很多人抗议。 火葬并不被广泛接受， 99.8%的人选择埋葬。 但是，仅一百年后， 我们四分之三的死者选择火葬。 人类抱着开放态度来接受改变， 前提是有机会谈论它们。
3:03
因此这个关于死亡和建筑的对话 就是我想要开始的，当我六月份第一次 在威尼斯举行展览， 名为「魂断威尼斯」。 这个展览还是相当好玩的， 所以大家都可以参与其中。 这是我们其中一个展览品， 一副交互式的伦敦地图， 展示这座城市里 留给死人或者垂死之人的房地产数量， 当你用手划过地图， 那个房地产、建筑物或 公墓的名字就会显现。 另一个展品是一系列明信片， 大家可以拿走的。 它们展示了众人的家园、医院、 公墓，以及停尸间， 他们讲述着 我们穿过死亡不同空间的故事。 我们想展示的是人类在哪里死亡， 就是大家怎样死亡的核心部分。
3:53
最奇怪的事就是参观者们对这个展出的反应， 尤其是视听作品。 我们让众人跳跃、跑动、起舞， 通过不同方式活跃展出的氛围， 在一些特定的节点上，他们会停止， 记住他们在参观死亡展览， 也许那不是你们想去做的。 但实际上，我想要问一下， 是否有一种方式， 你们想要围绕死亡，采取一些行动， 如果没有，我就要你们好好想一想， 什么是好的死亡， 以及你们所认为支持好的死亡的 建筑应当是怎样的， 可不可以少一点像这样，多一点像这样？
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