Michael Bierut: How to design a library that makes kids want to read
Michael Bierut: Come progettare una biblioteca che invoglia i bambini a leggere
Michael Bierut is a partner in the New York office of Pentagram, a founder of Design Observer and a teacher at Yale School of Art and Yale School of Management. Full bio
Double-click the English transcript below to play the video.
the law of unintended consequences.
legge delle conseguenze non preventivate.
un modo di dire,
sull'argomento.
le conseguenze indesiderate.
desidera delle conseguenze,
consequences that they really intend,
li aiuti a realizzare queste conseguenze.
to help them achieve those consequences.
delle conseguenze non preventivate.
of unintended consequences.
desiderate e indesiderate.
consequences intended and unintended.
called Robin Hood
da un'organizzazione chiamata Robin Hood
a wonderful philanthropic organization
una stupenda organizzazione filantropica
per dare ai poveri.
give it to poor people.
il sistema scolastico di New York City,
was the New York City school system,
più di un milione di studenti per volta,
more than a million students at a time,
a volte edifici in rovina,
that are in disrepair,
si potrebbero ristrutturare.
that could use a renovation.
in qualche modo questi edifici,
to improve these buildings in some way,
too expensive and impractical.
troppo costoso e inattuabile.
in quale stanza sarebbero potuti andare
what one room they could go into
in più edifici possibile,
in as many buildings that they could,
le vite dei bambini al suo interno
the lives of the children inside
fu la biblioteca scolastica,
was the school library,
chiamata Progetto Biblioteca.
called the Library Initiative.
devono passare dalla biblioteca.
have to pass through the library.
and soul of the school is.
coinvolgendo
where they brought in
poi ancora più architetti,
una biblioteca per rivederne il concetto.
to rethink what a library was.
migliorandone le biblioteche.
by improving these libraries.
"Potresti dare un piccolo contributo?'
"Could you make a little contribution?"
che tu sia il designer
to be the graphic designer
Significa che devo disegnare un logo.
That means I get to design a logo.
per questa cosa.
compared with architecture
dare un contributo e hai finito,
and then you're out,
quando mi adopero per altri.
good about myself when I do these favors.
tutti basati su questa singola idea.
all based on this one idea.
scegliete una delle tre.
pick any of the three.
these would be new school libraries
le nuove biblioteche
nuova che aveva bisogno di un nuovo nome.
a new idea that needs a new name.
that these were musty old libraries,
erano vecchie biblioteche stantie,
that everyone is bored with,
dove si fa rumore.
do talk, do make loud noises.
è una zona con divieto di zittire.
it's like a shush-free zone.
OK, opzione numero due.
OK, option number two.
(gufo)
Meet you after school down at OWL.
Ci vediamo dopo scuola alla OWL.
Per cosa sta OWL?
Now, what does OWL stand for?
Biblioteca Mondiale
(Apri Domandati Impara)
può venire in mente dell'altro
could figure out other things it could be
È come l'occhio del gufo.
It's like the eye of the owl.
si basava sul linguaggio.
was based actually on language.
di 'read'
is the past tense of "read,"
The Red Zone (La Zona Rossa)?
this place The Red Zone?
(Sei Pronto?)
(Preparati)
(Sono colto)
una specie di interesse per lo spelling.
interested in spelling and I don't know.
is more important than spelling,
è più importante dello spelling,
one of those instances.
queste presentazioni
e la domanda sarebbe:
and the question should be,
la domanda era del tipo:
the question was more like,
questo lavoro
dalle vecchie biblioteche stantie.
with old libraries, musty old libraries.
mai visto veramente una biblioteca.
have never really seen a library.
sempre che esistano,
if they're there at all,
per annoiare qualcuno.
to bore anyone at all.
di lasciar perdere il nuovo nome.
about giving it a new name.
ultimo tentativo, biblioteca.
al posto della "i",
il Progetto B!blioteca.
the Library Initiative.
missione compiuta, ecco il logo.
there's your logo.
una conseguenza non preventivata,
an unintended consequence,
non serviva il mio disegno
they didn't really even need my design
con qualsiasi font o a mano,
you could write it by hand,
sending emails around,
just right out of the thing.
nel vero lancio di questa cosa --
on the real rollout of this thing --
della loro biblioteca. Ok?
of their own library. Right?
con diversi architetti.
with different architects.
ora lo erano questi architetti.
Now these architects were my client.
Và sulla porta."
Put it on the door."
Mettetelo su entrambe le porte."
Mettetelo a lato."
Put it off to the side."
riprodotto fino in cima.
repeated all over to the top."
Ecco il vostro logo."
"Here's your logo. Here's your logo."
da uno degli architetti,
from one of the architects,
che mi dice: "Ho un problema.
and he says, "I've got a problem.
Can you solve it?"
Sai risolverlo?"
that there's a space
che c'è dello spazio
un problema da architetto,
an architectural issue to me,
quindi dico: "Continua."
so I'm, "Go on."
the top shelf has to be low enough
deve essere abbastanza basso
and the ceilings are really high,
e i soffitti sono davvero alti,
con tutto questo spazio là in alto
all this space up there
come un murale."
sono un disegnatore di loghi.
you know, I'm a logo designer.
think of anything?"
pensare qualcosa?"
delle foto dei bambini a scuola
took pictures of the kids in the school
the top of the thing,
a New York a fare queste foto?
in east New York, take these pictures?"
degli eroi della scuola,
of, like, the heroes of the school,
che è la biblioteca stessa.
of the real library, right?
selezionati dai dirigenti
hand-selected by the principals
di atmosfera epica in questa biblioteca,
this heroic atmosphere in this library,
e la gioia dei bambini al di sopra.
and the joy of the children above.
in the other schools see this
delle altre scuole vedono questa cosa
i murales anche noi."
it can't be the same mural every time,
lo stesso murale ogni volta,
e poi un altro ancora,
and then she did another one,
di nome Lynn Pauley,
named Lynn Pauley,
paintings of the kids.
dipinti dei bambini.
Charles Wilkin, della Automatic Design.
at a place called Automatic Design.
chiedeva loro le parole,
asking for words,
costellazione euforica
delirious kind of constellation
che sono nei libri.
of things that are in books.
ha intervistato i bambini,
dei loro libri preferiti
about their favorite books
come fregio là su.
as a frieze up there.
con Yuko Shimizu
frase in stile manga:
manga-style statement,
illustratore geniale,
into the faces and characters
nei volti e nei personaggi,
e nei posti che si trovano nei libri.
that you find in the books.
installazione criptica di oggetti e parole
of objects and words
e che affascinerà gli studenti
and will fascinate students
a series of dimensions to these artists,
una serie di misure a questi artisti
come vi pare.
any problem with that."
Era semplicemente grandioso.
It just was the greatest thing.
in realtà fu --
fatto di cartone,
made of construction paper,
della nostra nuova biblioteca".
to the opening of our new library."
facciamo alla PS10,
say, you'd go to PS10,
un rappresentante degli studenti,
there'd be a student ambassador,
per l'inaugurazione,
specifically for the opening,
attestati alle persone,
with certificates,
divertente e delirante.
was just a delirious, fun party.
ovviamente non a mio agio,
obviously not belonging,
"Come mai è qui, signore?"
"What are you doing here, mister?"
che ha progettato questo posto."
that designed this place."
"Hai progettato gli scaffali?"
"Hai fatto le foto là sopra".
"You took the pictures up above."
The sign over the door?"
L'insegna sopra la porta?"
"Ok. Bel lavoro per chi lo capisce."
"OK. Nice work if you can get it."
going to these little openings
a queste piccole inaugurazioni
ignorato o umiliato,
kind of largely ignored or humiliated,
andare alle inaugurazioni,
going to the openings,
le persone
to get the people in my office
get the illustrators and photographers,
gli illustratori e i fotografi,
non noleggiamo un furgone
the five boroughs of New York
di New York
riusciamo a fare.
di queste biblioteche,
going to be 60 of these libraries,
una mezza dozzina in una lunga giornata.
maybe half a dozen in one long day.
incontrare questi bibliotecari
was meeting these librarians
took possession of these places
in possesso di questi posti
da dove erano stati invitati
upon which they were invited
and bring the books to life,
e animare i libri,
davvero emozionante
this really exciting experience
queste cose in funzione.
see these things in action.
una lunga giornata facendo a fare questo
perché diventava buio presto,
because it got dark early,
È stato bello avervi qui.
So really nice having you here.
volete vedere come spengo le luci?"
how I turn off the lights?"
this special way that I do it."
una ad una,
every light one by one by one by one,
i volti dei bambini,
the kids' faces,
che spengo ogni sera,
I turn off every night,
il motivo per cui vengo al lavoro."
why I come to work."
questo progetto,
about designing that logo
un nome nuovo.
vorrei prendermi il merito
provata fino a quel punto,
the experience to that extent,
sul limite che potevo raggiungere da solo.
as far as I could reach with my own hands.
la catena di conseguenze
the chain of consequences
poteva fare il suo lavoro molto bene.
could do her work really well.
l'influenza di queste biblioteche.
are affected by these libraries.
for more than 10 years now,
ai libri una generazione di bambini
a generation of children to books
non preventivate sono le migliori.
are the best consequences.
ABOUT THE SPEAKER
Michael Bierut - Designer, criticMichael Bierut is a partner in the New York office of Pentagram, a founder of Design Observer and a teacher at Yale School of Art and Yale School of Management.
Why you should listen
Michael Bierut studied graphic design at the University of Cincinnati's College of Design, Architecture, Art and Planning, graduating summa cum laude in 1980. Prior to joining Pentagram in 1990 as a partner in the firm's New York office, he worked for ten years at Vignelli Associates, ultimately as vice president of graphic design.
His projects at Pentagram have included work for the New York Times, Saks Fifth Avenue, The Cathedral of St. John the Divine, Harley-Davidson, The Museum of Arts and Design, Mastercard, the New York City Department of Transportation, the Robin Hood Foundation, Mohawk Paper Mills, New World Symphony, the New York Jets, the Brooklyn Academy of Music and MIT Media Lab. As a volunteer to Hillary for America, he created the ubiquitous H logo that was used throughout the 2016 presidential campaign.
He has won hundreds of design awards and his work is represented in the permanent collections of the Museum of Modern Art and the Metropolitan Museum of Art in New York, and the Musée des Arts Décoratifs, Montreal. He served as president of the New York Chapter of the American Institute of Graphic Arts (AIGA) from 1988 to 1990 and is president emeritus of AIGA National. Bierut was elected to the Alliance Graphique Internationale in 1989, to the Art Directors Club Hall of Fame in 2003, and was awarded the profession’s highest honor, the AIGA Medal, in 2006. In 2008, he was named winner in the Design Mind category of the Cooper-Hewitt National Design Awards. In spring 2016, Bierut was appointed the Henry Wolf Graphic Designer in Residence at the American Academy in Rome.
Bierut is a senior critic in graphic design at the Yale School of Art and a lecturer at the Yale School of Management. He writes frequently about design and is the co-editor of the five-volume series Looking Closer: Critical Writings on Graphic Design published by Allworth Press. In 2002, Bierut co-founded Design Observer, a blog of design and cultural criticism which now features podcasts on design, popular culture, and business.
Bierut's book 79 Short Essays on Design was published in 2007 by Princeton Architectural Press. A monograph on his work, How to use graphic design to sell things, explain things, make things look better, make people laugh, make people cry and (every once in a while) change the world, was published in 2015 by Thames & Hudson and Harper Collins. This accompanied the first retrospective exhibition of his work, part of the School of Visual Art's Masters Series, which was on view at the SVA Chelsea Gallery in New York City for five weeks in autumn 2015. His next book, Now You See It, is due out from Princeton Architectural Press this fall.
Michael Bierut | Speaker | TED.com