zoom视频会议官网
第二部分：房间的创造力 (Part Two: The Creativity of Rooms)
In Part One I shared thoughts on how virtual spaces can often leave little room to embody our most human selves. The lack of a public sphere that parallels our shared public experiences on a city street, a public square, and a sporting event leaves an emptiness that can only be filled by the return of such spaces to our increasingly private lives during the pandemic. Part Two of the essay focuses on the design of rooms in virtual spaces. By looking at the architecture and design of our cherished physical rooms, we can learn how to make our Zoom “rooms” more fulfilling.
在第一部分中，我分享了有关虚拟空间通常如何留出很少空间来体现我们最人类的自我的想法。 缺乏公共场所，无法与我们在城市街道，公共广场和体育赛事上共享的公共体验相提并论，这使得这种空虚只能通过在大流行期间将这些空间恢复为我们日益私人化的生活来填补。 本文的第二部分重点介绍虚拟空间中的房间设计。 通过查看我们珍爱的物理房间的体系结构和设计，我们可以学习如何使Zoom“房间”更加充实。
Take your eyes from the screen for a moment and look around wherever you are. Are you in a room? The majority of our day takes place inside rooms. Our private rooms have taken on greater significance now as they envelope our entire spatial being within a “shelter in place” reality. As the number of rooms we experience shrinks and the time in those few rooms expands, things we often take for granted in those rooms come into sharper focus: colours, natural light, materials, furnishings, and textures.
将您的眼睛从屏幕上移开一会儿，环顾四周。 你在房间吗 我们大部分时间都在房间内进行。 现在，我们的私人房间具有更大的意义，因为它们将我们的整个空间都包裹在“就地庇护”现实中。 随着我们所体验的房间数量的减少和那几个房间的时间的增加，我们在这些房间中通常认为理所当然的事情变得更加突出：色彩，自然光，材料，家具和质感。
The unspirited design of our virtual video conferencing rooms is becoming visceral for many of us the more time we spend inside them. Undoubtedly “Zoom fatigue” will be on the shortlist for Oxford Dictionary’s 2020 Word of the Year, with the phenomenon well described by National Geographic, the BBC, and others. While I agree with many of the arguments about the physiological taxes video conferencing applications place on the body, they fail to acknowledge that virtual spaces can be informed by and redesigned like our physical spaces.
随着我们在虚拟会议室中度过的时间越来越长，虚拟会议室的无趣设计变得越来越内脏。 毫无疑问，“缩放疲劳”将在《牛津词典》的2020年度最佳单词候选名单中出现，该现象在《 国家地理》 ， 英国广播公司和其他机构中都有很好的描述。 尽管我同意视频会议应用程序对人体施加生理税的许多论点，但他们没有意识到虚拟空间可以像我们的物理空间一样被告知和重新设计。
We’ve known for millennia that room design has profound effects on our sociability, productivity, creativity, spirituality, governance, and contentment. So if we are searching for greater fulfillment in our daily lives, we should stick a probe into room design itself to search for clues into how the spaces we inhabit affect our being. Our physical rooms have a lot to teach us about how we can improve our virtual ones.
几千年来，我们已经知道，房间设计对我们的社交能力，生产力，创造力，灵性，治理和满足感都有深远的影响。 因此，如果我们要在日常生活中寻求更大的成就，就应该对房间设计本身进行探索，以寻找有关我们居住的空间如何影响我们的存在的线索。 我们的实体房间可以教给我们很多有关如何改善虚拟房间的知识。
Zoom, BlueJeans, WebEx and their brethren design virtual rooms for pure utility. Our video conferencing rooms have been stripped away nearly entirely of distractions, at the same time removing many of the aesthetic properties and layers of intentionality that characterize a compelling room. The Zoom “Personal Meeting Room” is a high density picture of nothing much; it at once leaves everything and nothing to the imagination. To pull a concept from David Brooks’ Second Mountain, video conferences are a “big box of possibilities” where often the promise is far greater than the results. Perhaps the blank nature of the applications is aspirational–merely providing a base for others to build upon. But the trouble with this model is that most hosts and participants struggle to create meaningful gatherings in the real world, and doing so in a virtual one is even harder. We approach Zoom like we do most of our gatherings–arriving with the blind hope that getting people into a room together is going to yield something magical. And we all know that is all too rarely true, right? It’s probably on the order of 10–20% of the meetings and gatherings that we participate in where we leave feeling like not only the time spent was worthwhile, but also that true human connection(s) were formed in the process.
Zoom，BlueJeans，WebEx和他们的弟兄为纯实用程序设计虚拟房间。 我们的视频会议室几乎被所有干扰物所剥夺，同时消除了许多吸引人的房间的美学特征和意图层。 Zoom“个人会议室”是一张高密度的图片，仅此而已。 它一下子让一切变得虚无。 为了从戴维·布鲁克斯(David Brooks)的《 第二山 》( Second Mountain)中汲取灵感，视频会议是一个“巨大的可能性”，其中的希望往往远大于结果。 也许应用程序的空白性质是抱负，只是为其他应用程序提供了基础。 但是这种模式的麻烦在于，大多数主持人和参与者都难以在现实世界中创建有意义的聚会，而在虚拟环境中进行聚会则更加困难。 我们像参加大多数聚会一样对待Zoom，带着盲目的希望，使人们聚在一起，会产生神奇的效果。 我们都知道这很少是真的，对吧？ 我们参加的会议大概有10％到20％左右，我们离开的感觉不仅是值得的，而且在此过程中形成了真正的人脉关系。
In most ways the virtual rooms we join are entirely unfulfilling by standards of “memorable rooms.” As compared to our physical rooms, minimal attention is paid to the design of our virtual rooms by the application creators, nor how the room is set up by those convening the calls. Zoom Personal Meeting Rooms are blank canvases when we arrive, and equally blank when we exit. Perhaps part of the empty feeling that comes from spending time in these blank rooms comes from not only their lack of fulfilling design, but their transient, disposable existence, and the fact that we must mentally leave the more layered rooms we physically occupy and displace ourselves virtually to be fully present in the meager construct as alluded to in Part One. So part of the solution resides in remaining physically present in our own rooms while being virtually present in another one, but there is also an opportunity to think about how our Zoom rooms can be designed to embody some of the principles that make our offline rooms fulfilling spaces to gather.
在大多数情况下，我们加入的虚拟房间完全无法满足“难忘房间”的标准。 与我们的物理房间相比，应用程序创建者对虚拟房间的设计没有多少关注，而召集呼叫的人如何设置房间。 Zoom个人会议室到达时是空白的画布，退出时同样是空白的。 在这些空白的房间里度过的时间，空虚的感觉也许不仅是由于他们缺乏充实的设计，还因为它们短暂而随意的存在，以及我们必须在精神上离开我们实际居住和移位的更分层的房间这一事实。几乎完全存在于第一部分中提到的微薄结构中。 因此，解决方案的一部分在于保留物理上存在于我们自己的房间中，而实际上又存在于另一个房间中，但是也有机会考虑如何设计我们的Zoom房间，以体现使离线房间充实的一些原理。可以收集的空间。
While it’s an impossible task to summarize all the ways that Zoom and other video conferencing applications are being deployed to bring groups together, the three layout views remain consistent on all gatherings: speaker, gallery, and mini. Everyone (including ourselves) is displayed in rectangular boxes. A Zoom room view can accommodate up to 49 participants viewable at one time. Regardless of the selected view, a Zoom Room is a room of rooms: a layout that situates the physical rooms of participants within a virtual room. This virtual room becomes the space for shared experience. Our video conferencing rooms do not have to be casualties of an antispatial and disembodied cyberspace. Instead, I propose we think of our virtual rooms as intentionally designed objects like our physical rooms — spaces where the design has profound effects on the outcomes of the gathering itself.
总结部署Zoom和其他视频会议应用程序以将组聚集在一起的所有方式是一项艰巨的任务，但是在所有聚会上， 三个布局视图仍然保持一致：演讲者，画廊和小型会议。 每个人(包括我们自己)都显示在矩形框中。 缩放室视图可同时容纳多达49位参与者。 不管选定的视图如何，“缩放室”都是一个房间的房间：一种布局，将参与者的物理房间放置在虚拟房间内。 这个虚拟房间成为共享体验的空间。 我们的视频会议室不必是反空间和无形的网络空间的牺牲品。 相反，我建议我们将虚拟房间视为像物理房间那样的故意设计的对象，在这些空间中，设计对聚会本身的结果产生深远的影响。
意向设计室 (Rooms of Intentional Design)
In her essay, How Room Designs Affect Your Work and Mood, Emily Anthes tells the story of how the polio vaccine may never have happened had it not been for Jonas Salk awakening to the fact that the place where he was doing all his invention at the time, a basement laboratory, was constraining his creativity.
艾米莉·安特斯(Emily Anthes)在她的论文《房间设计如何影响您的工作和情绪》中讲述了如果乔纳斯·索尔克(Jonas Salk)并非意识到自己在麻省进行所有发明的地方，脊髓灰质炎疫苗可能永远不会发生的故事。那时，地下室的实验室限制了他的创造力。
In the 1950s prizewinning biologist and doctor Jonas Salk was working on a cure for polio in a dark basement laboratory in Pittsburgh. Progress was slow, so to clear his head, Salk traveled to Assisi, Italy, where he spent time in a 13th-century monastery, ambling amid its columns and cloistered courtyards. Suddenly, Salk found himself awash in new insights, including the one that would lead to his successful polio vaccine. Salk was convinced he had drawn his inspiration from the contemplative setting. He came to believe so strongly in architecture’s ability to influence the mind that he teamed up with renowned architect Louis Kahn to build the Salk Institute in La Jolla, Calif., as a scientific facility that would stimulate breakthroughs and encourage creativity.(7)
在1950年代，屡获殊荣的生物学家和医生乔纳斯·索尔克(Jonas Salk)在匹兹堡一个黑暗的地下室实验室中治疗小儿麻痹症。 进展缓慢，因此，Salk清醒了头脑，前往意大利的阿西西(Assisi)，在那里他在一座13世纪的修道院里度过了一段时光，在它的圆柱和隐蔽的庭院中漫步。 突然，萨尔克(Salk)发现自己陷入了新的见解，包括将导致他成功的脊髓灰质炎疫苗的见解。 萨尔克深信他是从沉思中汲取灵感的。 他开始坚信建筑具有影响思想的能力，于是他与著名的建筑师路易斯·卡恩(Louis Kahn)合作在加利福尼亚州拉霍亚建立了萨尔克研究所(Salk Institute)，这是一个科学设施，可以激发突破并鼓励创造力。(7)
While part of the breakthrough for Salk could be attributed to a change of context, the rooms of the Assisi monastery and its relationship to external spaces had profound effects on Salk’s creativity. And most of us understand this at a gut level. We draw a curtain back to reveal more light. We head to the coffee shop for the ambiance. We go to a retreat centre for inspiration. The architecture of space clearly affects our lived experiences within them. For anyone who has visited the Salk Institute in San Diego, Fallingwater outside Pittsburgh, or the Bauhaus in Dessau, it is nearly impossible to avoid being spirited away by the spaces. And so it is all the more shocking that there seems to be a general negligence in the virtual room architecture of our video conferences.
虽然萨尔克(Salk)的部分突破可以归因于环境的变化，但阿西西修道院的房间及其与外部空间的关系对萨尔克(Salk)的创造力产生了深远影响。 而且我们大多数人都从直觉上理解这一点。 我们拉开窗帘以露出更多的光。 我们前往咖啡厅寻求氛围。 我们去一个静修中心寻求灵感。 空间的体系结构显然会影响我们在其中的生活体验。 对于参观过圣地亚哥的Salk研究所，匹兹堡外的Fallingwater或德绍的包豪斯的人来说，几乎不可能避免被这些空间所吸引。 因此，令人震惊的是，视频会议的虚拟会议室架构似乎普遍存在疏忽。
As I was thinking about the architecture of virtual rooms, I was pleasantly surprised to stumble upon an ode to room design in The New York Times Style Magazine, The 25 Rooms That Influence the Way We Design. Before short-listing the rooms, the six-person jury has to first discuss the benign but essential question, “what is a room?” and then determine why certain rooms exert influence.
当我在思考虚拟房间的体系结构时，我很惊讶地偶然发现《纽约时报风格》杂志 “影响我们设计方式的25个房间”中对房间设计的颂歌。 由六人组成的陪审团在筛选房间之前，必须首先讨论良性但必不可少的问题：“什么是房间？” 然后确定为什么某些房间施加影响。
Tom Delavan: My colleague Kurt and I were discussing what qualifies as a room, and we thought, “Well, a room has walls, or something that could define a wall.”
汤姆·德拉文(Tom Delavan) ：我的同事库尔特(Kurt)和我正在讨论什么才是合格的房间，我们认为，“好，房间有墙，或者可以定义墙的东西。”
Simon Watson: For me, a room is a place for people to inhabit together in solidarity, I suppose…It’s a place where people can gather; it’s what we humans do.
西蒙·沃森(Simon Watson) ：对我来说，一个房间是人们可以团结在一起居住的地方，我想……这是人们可以聚集的地方。 这就是我们人类所做的。
Gabriel Hendifar: Or is it just about some spatial organization that communicates intention, whether that intention has a ceiling or not? A room is something that’s been organized to serve some function, whether that is spiritual or shelter, residential or commercial.
加布里埃尔·亨迪法(Gabriel Hendifar) ：还是只是一些传达意图的空间组织，无论意图是否有上限？ 房间是为了某种功能而组织的，无论是精神上还是住所上，住宅上还是商业上。
Toshiko Mori: Well, also, Stonehenge has a reference to astronomy. It’s [sic] human enclosure, with references to the world outside earth. So, the ceiling in this case is a sky. I think that’s the beauty with it, that it actually exists between ground and sky.
森敏俊(Toshiko Mori) ：嗯，巨石阵也提到了天文学。 这是人类的封闭空间，指的是地球以外的世界。 因此，这种情况下的天花板是天空。 我认为这就是它的美，它实际上存在于地面和天空之间。
While I agree that a room is defined as a delimited space by physical structure(s) and functional intention, I disagree that a room can be defined solely by the spatial organization of people. Let’s take the prototypical village image of a community gathered in a circle, usually around a campfire. It’s spatial by the arrangement of the people, but I think we can all agree that it is not a room. A room needs spatial boundaries that define interiority. Without the ability to define whether you are inside or outside a room, there is no room at all, just space.
虽然我同意通过物理结构和功能意图将房间定义为界定的空间，但我不同意只能由人的空间组织来定义房间。 让我们以一个社区的原型村庄形象为例，这个社区通常围着篝火围成一圈。 它是由人们的安排决定的空间，但是我认为我们都可以同意这不是一个房间。 房间需要定义内部空间的空间边界。 无法定义您是在房间内还是房间外，根本就没有房间，只有空间。
As I waded through the twenty-five rooms selected by The New York Times jury and their justification for the selections, I could not help but feel like we were missing a massive opportunity for better architecture of our virtual rooms. We have large data sets on the influence of architectural decisions on human behaviour in public and private spaces, and yet little of this thinking and analysis seems to have been applied to our virtual rooms. Forgive me, for I am not an architect, but there were a few architectural concepts that stood out to me from the NYT jury’s selected physical rooms that I think can provide guidance towards more fulfilling virtual rooms. Hopefully you find them inspiring as well.
当我仔细阅读《纽约时报》陪审团选定的25个房间及其选择的理由时，我忍不住感到好像我们错过了一个更好的虚拟房间架构的巨大机会。 我们拥有关于建筑决策对公共和私人空间中人类行为的影响的大量数据集，但这种思想和分析似乎很少应用于我们的虚拟房间。 原谅我，因为我不是建筑师，但是从NYT评审团选择的实体房间中，有一些建筑概念对我很突出，我认为这些概念可以为更充实的虚拟房间提供指导。 希望您也能激发他们的灵感。
内部/外部 (Interiority/Exteriority)
Whether it is the ability to see the sky by looking up at Stonehenge or from within the Pantheon, or the way to see out with the garden facing design of the Shokin-tei tea pavilion and the Teshima Art Museum, the ability to be both inside a room and conscious of the outside at the same time–to see differently–is what makes these rooms remarkable. This relationship places a room in space and creates a porousness where the inside feels richer by framing perspectives on what is outside the room. According to a study by environmental psychologist Nancy Wells, rooms that provide views of natural settings empirically improve focus.(8)
无论是通过仰望巨石阵或从万神殿内部观看天空的能力，还是通过Shokin-tei茶馆和Teshima美术馆的面向花园设计的视野，都可以在内部观看的功能一个房间并同时注意外部(换个角度看)是使这些房间与众不同的原因。 这种关系将房间放置在空间中，并通过在房间外部构筑透视图，从而使内部感觉更加丰富。 根据环境心理学家南希·韦尔斯(Nancy Wells)的一项研究，可以看到自然环境的房间从经验上提高了注意力。(8)
Could we have a relationship between interiority and exteriority in our Zoom rooms? Sure, we could. While our Zoom rooms now are singular spaces, why not have adjacent spaces of contemplation, engagement, and inspiration that simultaneously exist alongside the current room? To some extent the breakout rooms of Zoom are the closest thing the application has to adjacent spaces. However, breakout room design remains entirely unchanged despite a shifting purpose. And our only current way to see out of our Zoom rooms is to turn away from the screen.
我们的Zoom房间能否在内部和外部之间建立联系？ 当然可以。 虽然我们的Zoom房间现在是单数空间，但为什么不存在与当前房间同时存在的相邻的沉思，参与和灵感空间？ 在某种程度上，Zoom的突破空间是应用程序与相邻空间最接近的空间。 然而，分组讨论室的设计尽管用途有所变化，但仍保持完全不变。 目前，我们从Zoom会议室中看到的唯一方法就是远离屏幕。
模块化 (Modularity)
After Jean-François Lemoine was in a car crash that left him with limited mobility, Rem Koolhaas & OMA designed an elevator office for Lemoine’s home in Bordeaux. The interior core of the house, forever set up as an office, ascends and descends to fit perfectly into any of the three floors. And with a modular core, the room changes shape and function depending on where the elevator platform resides.
让-弗朗索瓦·勒莫因(Jean-FrançoisLemoine)发生车祸后，行动不便，雷姆·库哈斯(Rem Koolhaas)和OMA为勒莫因在波尔多的家设计了一个电梯办公室。 房子的内部核心(永远设置为办公室)会上升和下降，以完美地适合三层楼中的任何一层。 借助模块化核心，房间可根据电梯平台所在的位置改变形状和功能。
By thinking of a room as a series of building blocks, we can imagine new spaces of modularity within our virtual rooms. In fact, the Zoom grid is already a modular construct with each participant framed in their respective rectangles. What if we deployed a few of those rectangles in the grid for something other than participant headshots? Certain rectangles could change, ascend, or descend at different moments of the call with images or videos that create inspiration, context, and meaning for our conversations. Our Zoom rooms could become uniquely designed for each call, and bring the kind of modularity of space OMA evoked in the physical Lemoine home with the elevator office.
通过将房间视为一系列构建模块，我们可以想象虚拟房间中模块化的新空间。 实际上，“缩放”网格已经是一种模块化结构，每个参与者都以各自的矩形框起来。 如果我们在网格中为参与者头像以外的其他内容部署了一些矩形，该怎么办？ 某些矩形可能会在通话的不同时刻发生变化，上升或下降，而图像或视频会为我们的对话创造灵感，上下文和含义。 我们的Zoom室可以针对每个呼叫进行独特的设计，并带来带有电梯办公室的实体Lemoine住宅中唤起的OMA空间模块化。
文物 (Artefacts)
For many rooms what gives them interest is the artefacts selected for the interior and the arrangement of them. Whether it is the flea market procured antiquities of Cy Twombly’s apartment in Rome or the pool in Philip Johnson’s Four Seasons Dining Room, artefacts become objects of attention and surfaces of sensemaking. And yet rarely are artefacts visible in our Zoom rooms. Or if there are artefacts present, they are often too small to draw our attention.
对于许多房间来说，使他们产生兴趣的是为其内部和布置选择的人工制品。 无论是跳蚤市场上采购的Cy Twombly在罗马的公寓还是菲利普·约翰逊(Philip Johnson)的“四个季节的餐厅”中的游泳池等古董，手Craft.io品都成为人们关注和感性的对象。 但是，在我们的Zoom房间中几乎看不到任何人工制品。 或者，如果存在文物，它们通常太小而无法引起我们的注意。
Perhaps you’ve already been on a video conference where physical artefacts have been shared as part of the proceedings. By introducing our own personal artefacts or those provided by the room host for the group, a Zoom room can be transformed from its prior emptiness into one that spurs reflection or evokes history, culture, and expression.
也许您已经参加过电视会议，在会议中分享了人工制品。 通过介绍我们自己的私人手Craft.io品或房间主持人为小组提供的人工手Craft.io品，可以将Zoom Room从其先前的空虚状态转变为刺激反射或唤起历史，文化和表达的空间。
I only use these examples above to suggest some of the massive possibilities that await more intentionally designed virtual spaces, especially by those with the well-honed talents of designing spirited human spaces in the physical world. This is the beginning of a conversation that I hope will gain momentum.
我仅使用以上示例来说明一些等待更故意设计的虚拟空间的巨大可能性，特别是那些拥有在物理世界中设计充满活力的人类空间的高才人才。 我希望这是对话的开始，希望会有所发展。
意识的房间 (Rooms of Consciousness)
With all that can be explored in the spatial design of our virtual rooms, we need not depend on their architecture alone to animate the creativity of our participants. The animating force can also come from the state of consciousness that is created during the video conference itself.
在我们虚拟房间的空间设计中可以探索的所有事物中，我们不必仅仅依靠它们的建筑来激发参与者的创造力。 动画效果还可以来自视频会议本身产生的意识状态。
In his essay “The Storyteller” Walter Benjamin laments an end to the art of storytelling; we have lost the ability to exchange experiences with one another by abandoning our oral traditions. Stories should arouse “astonishment and thoughtfulness” by “having counsel”(9)–conveying usefulness in the practical and open-ended form of a moral or maxim.
沃尔特·本杰明(Walter Benjamin)在他的论文《讲故事的人》中感叹讲故事艺术的终结。 我们放弃了口头传统，失去了彼此交流经验的能力。 故事应该通过“请顾问”(9)引起“惊讶和体贴” —以实用或开放的道德或格言形式传达有用性。
I am sure many could argue that their bullet points on a shared Zoom screen are “practical,” but they are rarely delivered in a way that provokes individual interpretation and creativity. We tend to approach our video conference meetings much as we would our in-person ones with clear desired outcomes and an agenda that helps us get from A to B. Benjamin’s point is that by approaching our gatherings linearly, we forgo the opportunity for greater meaning to be created. The conditions for reception, not just the agenda, must also be right.
我敢肯定，许多人可能会争辩说，他们在共享的“缩放”屏幕上的要点是“实用的”，但很少以引起个人解释和创造力的方式来交付它们。 我们倾向于视频会议的方式与面对面的会议一样，希望取得清晰的预期结果，并制定有助于我们从A到B的议程。Benjamin的观点是，通过线性方式进行聚会，我们放弃了更大意义的机会被创建。 接待的条件，不仅是议程，也必须是正确的。
This process of assimilation, which takes place in depth, requires a state of relaxation which is becoming rarer and rarer. If sleep is the apogee of physical relaxation, boredom is the apogee of mental relaxation. Boredom is the dream bird that hatches the egg of experience. A rustling in the leaves drives him away. His nesting places — the activities that are intimately associated with boredom — are already extinct in the cities and are declining in the country as well. With this the gift for listening is lost and the community of listeners disappears. For storytelling is always the art of repeating stories, and this art is lost when the stories are no longer retained.(10)
深度发生的这种同化过程需要放松的状态，这种状态变得越来越少。 如果说睡眠是身体放松的最高境界，那么无聊就是精神放松的最高境界。 无聊是孵化经验之卵的梦想鸟。 叶子里沙沙作响的声音驱赶了他。 他的巢穴-与无聊息息相关的活动-在城市已经绝种，并且在该国也正在减少。 这样一来，聆听的天赋就消失了，听众社区也消失了。 因为讲故事总是重复故事的艺术，而当不再保留故事时，这种艺术就会消失。(10)
Much like the bird sitting on its nest, we need boredom in order to reflect upon, assimilate, and retain the wisdom within the story told to us. In the case of video conferences, time is often our enemy and silence the grim reaper. We are rushed to get through agendas and feel it a necessity as host to fill in any blanks that may happen on a virtual gathering. Contrary to our intuition and discomfort, there are transformative experiences to be had by slowing down the pace of our video conferences (alongside great storytelling, of course) in order to stimulate active listening.
就像坐在鸟巢上的小鸟一样，我们需要无聊才能反思，吸收并保留告诉我们的故事中的智慧。 就视频会议而言，时间通常是我们的敌人，而沉默无能。 我们急于通过议程，并感到有必要作为主持人来填补虚拟聚会中可能发生的任何空白。 与我们的直觉和不适相反，放慢视频会议的速度(当然还有出色的讲故事)，以激发积极的聆听，可以带来变革性的体验。
Just like designing a room in the physical world, designing it in the virtual one is inherently a creative act. While design decisions of what is in a room and how that room functions are often overlooked in our video conferences, the stakes for these decisions are high. If we are to create virtual gatherings that do more than produce–that transform our relationships, governments, businesses, public organizations, and education institutions–we need to deploy a wider toolset. By looking to the principles of the great rooms in our lives and the temperaments by which we approach our engagement within them, we can encourage more of the creativity, innovation, inclusion, and culture change that we seek.
就像在物理世界中设计房间一样，在虚拟环境中设计房间本质上是一种创造性的行为。 在我们的视频会议中，尽管经常会忽略关于房间中的内容以及房间功能如何的设计决策，但这些决策的风险很大。 如果我们要创建虚拟的聚会，而不仅仅是聚会，可以改变我们的关系，政府，企业，公共组织和教育机构，则我们需要部署更广泛的工具集。 通过关注生活中大房间的原则以及我们与之互动的气质，我们可以鼓励我们寻求的更多创造力，创新，包容性和文化变革。
This concludes Part Two of a four–part essay. I hope you will join me for Part Three where I explore how we can author history and meaning in our Zoom rooms with a few of the practical management tips you might have been hoping for all along.
至此，全文分为四部分。 我希望您能与我一起参加 第三部分 ，在这里我将探讨我们如何在Zoom室中编写历史和意义，以及您一直以来一直希望得到的一些实用管理技巧。
尾注 (Endnotes)
(7) Emily Anthes, “How Room Designs Affect Your Work and Mood”, Scientific American, April 2009.
(7)艾米莉·安特斯(Emily Anthes)，“ 房间设计如何影响您的工作和情绪 ”，《 科学美国人》 ，2009年4月。
(8) Ibid.
(8)同上。
(9) Walter Benjamin, Illuminations (Schocken Books, 1998), 86.
(9)沃尔特·本杰明(Walter Benjamin)，《 照明》 (Schocken Books，1998年)，第86页。
(10) Ibid, 91.
(10)同上，91。
翻译自: https://uxdesign.cc/part-two-humanizing-the-spaces-of-video-conferences-zoom-et-al-704497aba2f1
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