ABOUT THE SPEAKER
Michael Bierut - Designer, critic
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.

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. 


More profile about the speaker
Michael Bierut | Speaker | TED.com
TEDNYC

Michael Bierut: How to design a library that makes kids want to read

Michael Bierut: Kako dizajnirati knjižnicu koja će djeci probuditi želju za čitanjem

Filmed:
1,850,983 views

Kada je Michael Bierut prihvatio zadatak izrade logotipa za školske knjižnice, nije mu bilo ni na kraj pameti da će se uključiti u zahtjevni projekt koji će potrajati godinama. U ovom često urnebesnom govoru, prisjeća se njegovog opsesivnog pohoda da donese energiju, učenje, umjetnost i grafike u ova čarobna mjesta u kojima školski knjižničari mogu inspirirati nove generacije čitatelja i mislioca.
- Designer, critic
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.

00:12
So there's this thing calledzvao
the lawzakon of unintendedneplanirane consequencesposljedice.
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Postoji jedna stvar zvana
zakon nenamjernih posljedica.
00:17
I thought it was just like a sayingizreka,
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Mislio sam da je to samo izraz,
00:19
but it actuallyzapravo existspostoji, I guessnagađati.
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ali, valjda doista postoji.
00:20
There's, like, academicakademski papersnovine about it.
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Čak su o tome pisani i akademski članci.
00:23
And I'm a designerdizajner.
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A ja sam dizajner.
00:24
I don't like unintendedneplanirane consequencesposljedice.
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Ne volim nenamjerne posljedice.
00:27
People hirenajam me because they have
consequencesposljedice that they really intendnamjeravati,
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Ljudi me zapošljavaju jer imaju
stvarno namjerne posljedice,
00:31
and what they intendnamjeravati is for me
to help them achievepostići those consequencesposljedice.
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a ono što je meni namijenjeno
je da im pomognem ostvariti te posljedice.
00:35
So I liveživjeti in fearstrah
of unintendedneplanirane consequencesposljedice.
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Tako da živim u strahu
od nenamjernih posljedica.
00:38
And so this is a storypriča about
consequencesposljedice intendednamijenjen and unintendedneplanirane.
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A ovo je priča o namjernim i
nenamjernim posljedicama.
00:44
I got calledzvao by an organizationorganizacija
calledzvao RobinRobin HoodHood
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Zvala me organizacija zvana Robin Hood
00:47
to do a favormilost for them.
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da im učinim uslugu.
00:48
RobinRobin HoodHood is basedzasnovan in NewNovi YorkYork,
a wonderfulpredivan philanthropicfilantropski organizationorganizacija
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Imaju sjedište u New Yorku, i doista su
prekrasna filantropska organizacija
00:52
that does what it sayskaže in the nameime.
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koja radi kako joj i ime govori.
00:54
They take from richbogat people,
give it to poorsiromašan people.
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Uzima od bogatih,
daje siromašnima.
00:56
In this casespis, what they wanted to benefitkorist
was the NewNovi YorkYork CityGrad schoolškola systemsistem,
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U ovom slučaju, htjeli su pomoći
školskom sustavu grada New Yorka,
01:01
a hugeogroman enterprisepoduzeće that educatesobrazuje
more than a millionmilijuna studentsstudenti at a time,
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ogromnom poduzeću koje obrazuje
više od milijun učenika istovremeno,
01:07
and in buildingsgrađevine that are like this one,
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i u zgradama poput ove,
01:09
oldstar buildingsgrađevine, bigvelika buildingsgrađevine,
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starim zgradama, velikim zgradama,
01:11
draftyizložen promaji buildingsgrađevine, sometimesponekad buildingsgrađevine
that are in disrepairzapuštenost,
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zgradama punih propuha, ponekad
i u zapuštenim zgradama,
01:14
certainlysigurno buildingsgrađevine
that could use a renovationrenoviranje.
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zasigurno zgradama
kojima bi koristilo preuređivanje.
01:17
RobinRobin HoodHood had this ambitionambicija
to improvepoboljšati these buildingsgrađevine in some way,
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Robin Hood ima za cilj
poboljšati te zgrade na neki način,
01:20
but what they realizedshvatio was
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ali ono što su shvatili je
01:21
to fixpopraviti the buildingsgrađevine would be
too expensiveskup and impracticalnepraktičan.
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da će popravak zgrada biti
preskup i nepraktičan.
01:26
So insteadumjesto they triedpokušala to figurelik out
what one roomsoba they could go into
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Tako da su pokušali zaključiti
u koju prostoriju mogu ući
01:30
in eachsvaki of these buildingsgrađevine,
in as manymnogi buildingsgrađevine that they could,
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od svake od tih zgrada,
u koliko god zgrada su mogli,
01:33
and fixpopraviti that one roomsoba
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i popraviti tu jednu sobu
01:36
so that they could improvepoboljšati
the livesživot of the childrendjeca insideiznutra
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tako da bi poboljšali živote
djece koja su unutra
01:39
as they were studyingučenje.
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dok uče.
01:40
And what they camedošao up with
was the schoolškola libraryknjižnica,
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I dosjetili su se
školske knjižnice,
01:43
and they camedošao up with this ideaideja
calledzvao the LibraryBiblioteka InitiativeInicijativa.
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došli su na ideju
zvanu Inicijativa za knjižnice.
01:46
All the studentsstudenti
have to passproći throughkroz the libraryknjižnica.
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Svi učenici moraju proći kroz knjižnicu.
01:48
That's where the booksknjige are.
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Tamo su knjige.
01:49
That's where the heartsrce
and soulduša of the schoolškola is.
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Tamo je srce
i duša škole.
01:52
So let's fixpopraviti these librariesknjižnice.
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Pa hajdemo popraviti knjižnice.
01:53
So they did this wonderfulpredivan thing
where they broughtdonio in
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I ono što su oni uradili
je prekrasno, doveli su
01:56
first 10, then 20, then more architectsarhitekti,
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prvo 10, pa 20, i onda još arhitekata,
01:59
eachsvaki one of whomkome was assigneddodijeljena a libraryknjižnica
to rethinkpromisliti what a libraryknjižnica was.
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kojima su dodijelili po jednu knjižnicu
sa zadatkom da promisle što je knjižnica.
02:03
They trainedobučen specialposeban librariansknjižničari.
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Obučili su specijalne knjižničare.
02:05
So they startedpočeo this mightymoćni enterprisepoduzeće
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I tako su započeli to moćno poduzeće
02:07
to reformreforme publicjavnost schoolsškola
by improvingpoboljšanje these librariesknjižnice.
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za reformu javnih škola
poboljšavanjem knjižnica.
02:10
Then they calledzvao me up and they said,
"Could you make a little contributiondoprinos?"
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I onda su me nazvali i rekli:
"Možeš li malo pridonijeti?"
02:13
I said, "Sure, what do you want me to do?"
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Odgovorio sam: "Naravno,
što želite da uradim?"
02:16
And they said, "Well, we want you
to be the graphicgrafika designerdizajner
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Pa su rekli: "Pa, želimo da
budeš grafički dizajner
02:18
in chargenaplatiti of the wholečitav thing."
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zadužen za cijelu stvar."
02:20
And so I thought, I know what that meanssredstva.
That meanssredstva I get to designdizajn a logologo.
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Pomislio sam, znam što to znači.
To znači da ću morati dizajnirati logotip.
02:23
I know how to designdizajn that. I designdizajn logoslogotipi.
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Znam kako dizajnirati.
Dizajniram logotipove.
02:26
That's what people come to me for.
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Zbog toga mi ljudi dolaze.
02:27
So OK, let's designdizajn a logologo for this thing.
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Dakle, OK, hajdemo dizajnirati taj logo.
02:29
EasyLako to do, actuallyzapravo,
comparedu odnosu with architecturearhitektura
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Vrlo lako, kad se usporedi s arhitekturom
02:32
and beingbiće a librarianknjižničar.
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i knjižničarima.
02:33
Just do a logologo, make a contributiondoprinos,
and then you're out,
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To je samo logo, doprinesi,
i gotov si,
02:36
and you feel really good about yourselfsami.
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i osjećat ćeš se jako dobro.
02:38
And I'm a great guy and I like to feel
good about myselfsebe when I do these favorsusluge.
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A ja sam super tip i volim se osjećati
dobro kada činim takve usluge.
02:41
So I thought, let's overdeliveroverdeliver.
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Pomislio sam, napravit ću i više.
02:43
I'm going to give you threetri logoslogotipi,
all basedzasnovan on this one ideaideja.
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Dat ću vam tri logotipa,
sva tri prema istoj ideji.
02:46
So you have threetri optionsopcije,
pickodabrati any of the threetri.
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Tako da imate tri opcije,
izaberite bilo koju.
02:48
They're all great, I said.
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Sve su odlične, rekao sam.
I osnovna ideja je bila ta da će
to biti nove školske knjižnice
02:50
So the basicosnovni ideaideja was
these would be newnovi schoolškola librariesknjižnice
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02:53
for NewNovi YorkYork schoolsškola,
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za njujorške škole,
02:54
and so the ideaideja is that it's a newnovi thing,
a newnovi ideaideja that needspotrebe a newnovi nameime.
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a to znači da je ideja nova stvar,
nova ideja kojoj je potrebno i novo ime.
02:58
What I wanted to do was dispelrastjerati the ideaideja
that these were mustypljesniv oldstar librariesknjižnice,
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Ono što sam ja htio napraviti je odbaciti
ideju pljesnivih starih knjižnica,
03:03
the kindljubazan of placesmjesta
that everyonesvatko is boreddosadno with,
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onakvih koje su dosadile svima,
03:07
you know, not your grandparents'Djed i baka libraryknjižnica.
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znate, knjižnice kakve
imaju djedovi i bake.
03:09
Don't worrybrinuti about that at all.
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Oko toga se ne morate brinuti.
03:10
This is going to this newnovi, excitinguzbudljiv thing,
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Ovo će biti sasvim novo, uzbudljivo,
03:13
not a boringdosadan libraryknjižnica.
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ne neka dosadna knjižnica.
03:14
So optionopcija numberbroj one:
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I opcija broj jedan:
03:15
so insteadumjesto of thinkingmišljenje of it as a libraryknjižnica,
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umjesto da razmišljamo o
mjestu kao knjižnici,
03:18
think of it as a placemjesto where it is like:
do talk, do make loudglasno noiseszvukovi.
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razmislimo o mjestu gdje su pravila:
pričaj, buči.
03:22
Right? So no shushingušutkavanje,
it's like a shush-freeŠuti-slobodan zonezona.
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Jel? Nema šuštanja,
to je zona-bez-šuštanja.
03:26
We're going to call it the ReadingČitanje RoomSoba.
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To ćemo nazvati Čitaonica.
03:28
That was optionopcija numberbroj one.
OK, optionopcija numberbroj two.
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I to je opcija broj jedan.
OK, opcija broj dva.
03:31
OptionMogućnost numberbroj two was, wait for it,
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Opcija broj dva je bila, pazi sad,
03:35
OWLSOVA.
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SOVA.
03:36
I'll meetsastati you at OWLSOVA.
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Vidimo se u SOVI.
03:37
I'm gettinguzimajući my bookrezervirati from the OWLSOVA.
MeetSusret you after schoolškola down at OWLSOVA.
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Knjigu ću posuditi u SOVI.
Vidmo se u SOVI poslije škole.
03:41
I like that, right?
Now, what does OWLSOVA standstajati for?
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To mi se sviđa, jel.
E sad, što znači SOVA?
03:43
Well, it could be One WorldSvijet LibraryBiblioteka,
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Pa, moglo bi značiti
Svijet Odgonetaka Vizija i Analiza.
03:45
or it could be OpenOtvoren. WonderPitam se. LearnNaučiti.
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ili Sanjati. Odgonetnuti.
Vjerovati. Analizirati.
03:48
Or it could be -- and I figurelik librariansknjižničari
could figurelik out other things it could be
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Ili bi moglo -- vjerujem da bi knjižničari
mogli shvatiti što sve SOVA može biti
03:52
because they know about wordsriječi.
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jer se oni razumiju u riječi.
03:54
So other things, right?
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Sad druge stvari, jel.
03:55
And then look at this.
It's like the eyeoko of the owlsova.
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I pogledajte sada ovo.
Poput sovinog oka.
03:57
This is irresistibleneodoljiva in my opinionmišljenje.
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Po mom mišljenju, neodoljivo.
03:59
But there's even anotherjoš ideaideja.
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Ali postoji još jedna ideja.
04:01
OptionMogućnost numberbroj threetri.
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Opcija broj tri.
04:02
OptionMogućnost numberbroj threetri
was basedzasnovan actuallyzapravo on languagejezik.
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Opcija broj tri se zasniva na jeziku.
04:04
It's the ideaideja that "readčitati"
is the pastprošlost tensevrijeme of "readčitati,"
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To je ideja da je riječ "read" (čitati)
ista kao u prošlom vremenu "read" (čitao),
04:08
and they're bothoba spelledpir the sameisti way.
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obje se pišu jednako.
04:10
So why don't we call
this placemjesto The RedCrveni ZoneZona?
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Zašto ne bi ovo mjesto nazvali
The Red Zone (Crvena zona)?
04:13
I'll meetsastati you at the RedCrveni ZoneZona.
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Naći ćemo se u Red Zoni.
04:14
Are you RedCrveni? Get RedCrveni.
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Jesi li Red? Budi Red.
04:17
I'm well RedCrveni.
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Ja sam poprilično Red.
04:19
(LaughterSmijeh)
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(Smijeh)
04:20
I really lovedvoljen this ideaideja,
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Ova ideja mi se svidjela
04:21
and I somehownekako was not focusedusmjerena on the ideaideja
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i nekako nisam bio fokusiran na mišljenje
04:24
that librariansknjižničari as a classklasa are sortvrsta of
interestedzainteresiran in spellingpravopis and I don't know.
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kako su knjižničari kao skupina ljudi
zainteresirani za pravilno sricanje i to.
04:30
(LaughterSmijeh)
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(Smijeh)
04:31
But sometimesponekad clevernesspamet
is more importantvažno than spellingpravopis,
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Ali ponekad je pamet
važnija od sricanja.
04:35
and I thought this would be
one of those instancesslučajevi.
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i mislio sam da će i ovo biti
jedan od takvih slučajeva.
04:37
So usuallyobično when I make these presentationsprezentacije
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Pa obično kada radim ove prezentacije
04:39
I say there's just one questionpitanje
and the questionpitanje should be,
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smatram da postoji
jedno pitanje koje glasi
04:42
"How can I thank you, MikeMike?"
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"Mike, kako ti mogu zahvaliti?“
04:44
But in this casespis,
the questionpitanje was more like,
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A u ovom slučaju,
pitanje je zvučalo više kao
04:46
"UmHm, are you kiddingšale?"
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"Um, šališ se, jel'da?“
04:49
Because, they said,
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Jer, rekli su,
04:50
the premisepretpostavka of all this work
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poanta cijelog ovog posla
04:52
was that kidsdjeca were boreddosadno
with oldstar librariesknjižnice, mustypljesniv oldstar librariesknjižnice.
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je da su djeci dosadile
stare, pljesnive knjižnice.
04:56
They were tiredumoran of them.
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Dosta im ih je bilo.
04:57
And insteadumjesto, they said, these kidsdjeca
have never really seenvidio a libraryknjižnica.
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A umjesto, rekli su, ta djeca
nikad doista nisu ni vidjela knjižnicu.
05:01
The schoolškola librariesknjižnice in these schoolsškola
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Školske knjižnice u tim školama
05:02
are really so dilapidatedtrošan,
if they're there at all,
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se tako rijetko posjećuju,
ako i uopće,
05:06
that they haven'tnisu boreddosadno anyonebilo tko.
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da nikome nisu ni dosadile.
05:08
They haven'tnisu even been there
to borerodila anyonebilo tko at all.
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Uopće ni ne postoje
da bi nekome i dosadile.
05:11
So the ideaideja was, just forgetzaboraviti
about givingdavanje it a newnovi nameime.
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Tako da sam razmislio,
jednostavno zaboraviti dati novo ime.
05:14
Just call it, one last try, a libraryknjižnica.
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Nazvati ih, jednom za kraj, knjižnica.
05:18
Right? OK.
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Jel'da? OK.
05:20
So I thought, OK, give it a little oomphoomph?
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Pa sam mislio, OK, dati malo "oomph“?
05:23
ExclamationUskličnik pointtočka?
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Uskličnik?
05:24
Then -- this is because I'm cleverpametan --
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I zatim – a ovo je zato što sam bistar --
05:26
movepotez that into the "i,"
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pomaknut ću ovo u „i,"
05:28
make it redcrvena,
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obojiti u crveno,
05:30
and there you have it,
the LibraryBiblioteka InitiativeInicijativa.
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i eto vam,
Knj!žnična Inicijativa.
05:32
So I thought, missionmisija accomplishedostvariti,
there's your logologo.
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I mislio sam, misija završena,
evo vam logo.
05:34
So what's interestingzanimljiv about this logologo,
an unintendedneplanirane consequenceposljedica,
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A ono što je zanimljivo
je ta nenamjerna posljedica,
05:37
was that it turnedokrenut out that
they didn't really even need my designdizajn
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tako da je ispalo da oni
uopće nisu trebali moj dizajn
05:41
because you could typetip it any fontfonta,
you could writepisati it by handruka,
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jer možete ga napisati u
bilo kojem fontu, čak i rukom,
05:44
and when they startedpočeo
sendingslanje emailse-mail around,
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tako da kad su počeli
slati e-mailove uokolo,
05:46
they just would use ShiftPomak and 1,
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pritisnuli bi Shift i 1,
05:47
they'doni bi get theirnjihov ownvlastiti logologo
just right out of the thing.
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stvorio bi im se vlastiti logo
gotovo iz ničega.
05:50
And I thought, well, that's fine.
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I pomislio sam, pa, to je u redu.
05:52
Feel freebesplatno to use that logologo.
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Slobodno koristite taj logo.
05:53
And then I embarkedukrcan
on the realstvaran rolloutuvođenje of this thing --
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I onda mi je sinulo
što je stvarni ishod ove cijele stvari --
05:56
workingrad with everysvaki one of the architectsarhitekti
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rad sa svakim od tih arhitekata
05:58
to put this logologo on the frontispred doorvrata
of theirnjihov ownvlastiti libraryknjižnica. Right?
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kako bi postavili logo na ulazna vrata
njihove knjžnice. Jel'da?
06:02
So here'sevo the bigvelika rolloutuvođenje.
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I evo taj veliki ishod.
06:03
BasicallyU osnovi I'd work
with differentdrugačiji architectsarhitekti.
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U principu, radio bih s
različitim arhitektima.
06:06
First RobinRobin HoodHood was my clientklijent.
Now these architectsarhitekti were my clientklijent.
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Prvo mi je Robin Hood bio klijent.
Sada su mi klijenti ovi arhitekti.
06:09
I'd say, "Here'sOvdje je your logologo.
Put it on the doorvrata."
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Rekao bih "Evo vam logo.
Stavite ga na vrata.“
06:11
"Here'sOvdje je your logologo. Put it on bothoba doorsvrata."
140
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1953
"Evo vam logo.
Stavite ga na oba vrata.“
06:13
"Here'sOvdje je your logologo.
Put it off to the sidestrana."
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2016
"Evo vam vaš logo.
Stavite ga na stranu.“
06:15
"Here'sOvdje je your logologo
repeatedponovljen all over to the topvrh."
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"Evo vam vaš logo
ponavljan mnogo puta.“
06:17
So everything was going swimminglyglatko.
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I sve je išlo jako dobro.
06:19
I just was sayingizreka,
"Here'sOvdje je your logologo. Here'sOvdje je your logologo."
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Samo sam govorio,
"Evo vam vaš logo. Evo vam vaš logo.“
06:22
Then I got a call
from one of the architectsarhitekti,
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Zatim me nazvao jedan od arhitekata,
06:24
a guy namedpod nazivom RichardRichard LewisLewis,
and he sayskaže, "I've got a problemproblem.
146
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tip imenom Richard Lewis,
koji mi reče, "Imam problem.
06:27
You're the graphicsgrafika guy.
Can you solveriješiti it?"
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2016
Ti si grafičar.
Možeš li ga riješiti?“
06:29
And I said, OK, sure."
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Rekoh "OK, naravno.“
06:30
And he said, "The problemproblem is
that there's a spaceprostor
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Objasnio mi je: "Problem je u tome
što postoji prostor
06:33
betweenizmeđu the shelfpolica and the ceilingstrop."
150
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između police i stropa.“
06:35
So that soundszvukovi like
an architecturalarhitektonski issueizdanje to me,
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A meni to zvuči kao arhitektonski problem
06:37
not a graphicgrafika designdizajn issueizdanje,
so I'm, "Go on."
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a ne grafičarski, rekao sam "Nastavi.“
06:39
And RichardRichard sayskaže, "Well,
the topvrh shelfpolica has to be lownizak enoughdovoljno
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I Richard reče "Pa, donja
polica mora biti dovoljno niska
06:43
for the kiddijete to reachdohvatiti it,
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da ju dijete može dosegnuti,
06:44
but I'm in a bigvelika oldstar buildingzgrada,
and the ceilingsstropovi are really highvisok,
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a ja sam u velikoj staroj zgradi
gdje su stropovi doista visoki,
06:47
so actuallyzapravo I've got
all this spaceprostor up there
156
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2072
tako da ovdje gore
imam sav taj prostor
06:49
and I need something like a muralpoput zida."
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i treba mi nešto poput murala.“
06:51
And I'm like, "WhoaOpa,
you know, I'm a logologo designerdizajner.
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A ja onak, „Vau,
znaš, ja sam ti dizajner logotipova.
06:54
I'm not DiegoDiego RiveraRivera or something.
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Nisam Diego Rivera ili netko takav.
06:56
I'm not a muralistzidni slikar dolazi."
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Nisam muralist.“
06:58
And so he said, "But can't you
think of anything?"
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No on je nastavio "Ali
možeš li nešto smisliti?“
07:00
So I said, "OK, what if we just
tookuzeo picturesSlike of the kidsdjeca in the schoolškola
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Tako da sam rekao "OK, što ako
jednostavno fotkamo djecu u školi
07:05
and just put them around
the topvrh of the thing,
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i postavimo po cijelom tom
dijelu iznad te police,
07:08
and maybe that could work."
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možda bi to upalilo.“
07:09
And my wifežena is a photographerfotograf,
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A moja supruga je fotografkinja,
07:11
and I said, "DorothyDorothy, there's no budgetbudžet,
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pa sam joj rekao "Dorothy, nema budžeta,
07:13
can you come to this schoolškola
in eastistočno NewNovi YorkYork, take these picturesSlike?"
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možeš li doći u školu u istočnom
New Yorku, snimiti te fotografije?“
07:16
And she did,
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I učinila je to,
07:17
and if you go in Richard'sRichard je libraryknjižnica,
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tako da kada odete u
Richardovu knjižnicu,
07:19
whichkoji is one of the first that openedotvori,
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a ona je jedna od prvih otvorenih,
07:21
it has this gloriousslavna friezefriz
of, like, the heroesheroji of the schoolškola,
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ima tu veličanstvenu fresku
tih, tih heroja škole,
07:24
oversizedogroman, looking down
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uvećani, gledaju dolje
07:26
into the little dollhouseKuća lutaka
of the realstvaran libraryknjižnica, right?
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u malu kućicu za lutke
koja je prava knjižnica, ne?
07:29
And the kidsdjeca were great,
hand-selectedručno odabrane by the principalsravnatelji
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I klinci su fantastični, osobno
izabrani od strane ravnatelja
07:32
and the librarianknjižničar.
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i knjižničara.
07:34
It just kindljubazan of createdstvorio
this heroicherojski atmosphereatmosfera in this libraryknjižnica,
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Na neki način to je stvaralo
herojsku atmosferu u toj knjižnici,
07:37
this very dignifieddostojanstven settingpostavljanje belowispod
and the joyradost of the childrendjeca aboveiznad.
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to vrlo ponosno uređenje niže
i dječje veselje gore.
07:41
So naturallyprirodno all the other librariansknjižničari
in the other schoolsškola see this
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I naravno svi ostali knjižničari
iz drugih škola su to vidjeli
07:45
and they said, well, we want muralszidne slike too.
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1936
i rekli, pa i mi isto želimo murale.
07:47
And I'm like, OK.
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A ja sam onak, OK.
07:48
So then I think, well,
it can't be the sameisti muralpoput zida everysvaki time,
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I mislim si, pa,
ne može biti svaki put isti mural,
07:51
so DorothyDorothy did anotherjoš one,
and then she did anotherjoš one,
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pa je Dorothy napravila
još jedan, pa još jedan,
07:54
but then we neededpotreban more help,
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i onda nam je zatrebalo pomoći,
07:56
so I calledzvao an illustratorilustrator I knewznao
namedpod nazivom LynnLynn PauleyPauli,
184
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pa sam pozvao poznanicu, ilustratoricu,
zvanu Lynn Pauley,
07:59
and LynnLynn did these beautifullijep
paintingsslike of the kidsdjeca.
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i Lynn je napravila
prekrasne slike djece.
08:02
Then I calledzvao a guy namedpod nazivom CharlesCharles WilkinWilkin
at a placemjesto calledzvao AutomaticAutomatsko DesignDizajn.
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Zatim sam nazvao Charlesa Wilkina
iz Automatic Design-a.
08:06
He did these amazingnevjerojatan collagesKolaži.
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On je pravio fantastične kolaže.
08:08
We had RafaelRafael EsquerEsquer
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Imali smo Rafaela Esquera
08:11
do these great silhouettessiluete.
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koji je pravio krasne siluete.
08:13
He would work with the kidsdjeca,
askingtraži for wordsriječi,
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On bi radio s djecom,
tražio ih riječi,
08:15
and then basedzasnovan on those promptstraži,
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i bazirajući se na tim izvorima,
08:17
come up with this little,
deliriousu deliriju kindljubazan of constellationkonstelacija
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napravio je taj nekakav mali,
delirični obilik zviježđa
08:19
of silhouettessiluete
of things that are in booksknjige.
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silueta, stvari koje su u knjigama.
Peter Arkle je intervjuirao djecu
08:21
PeterPetar ArkleUvijek ga pomješam sa interviewedintervjuiran the kidsdjeca
194
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08:23
and had them talk
about theirnjihov favoriteljubimac booksknjige
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o njihovim najdražim knjigama
08:25
and he put theirnjihov testimonysvjedočanstvo
as a friezefriz up there.
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i njihova kazivanja je stavio
gore u fresku.
08:27
StefanStefan SagmeisterSagmeister workedradio with YukoYuko ShimizuShimizu
197
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Stefan Sagemeister je radio s Yuko Shimizu
08:30
and they did this amazingnevjerojatan
manga-stylemanga stilu statementizjava,
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a oni su napravili prekrasnu
pouku u stilu mange
08:32
"EveryoneSvi who is honestpošten is interestingzanimljiv,"
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„Svi iskreni su zanimljivi.“
08:34
that goeside all the way around.
200
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1856
koja je univerzalna.
08:36
ChristophChristoph NiemannNiemann, brilliantsjajan illustratorilustrator,
201
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Christoph Niemann, briljantni ilustrator,
08:39
did a wholečitav seriesniz of things
202
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je izradio čitavu seriju stvari,
08:40
where he embeddedugrađen booksknjige
into the faceslica and characterslikovi
203
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u kojima je uvezao knjige
s licima i likovima
08:43
and imagesslika and placesmjesta
that you find in the booksknjige.
204
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i slikama i mjestima
koja možete naći u knjigama.
08:46
And then even MairaMaira KalmanKalman
205
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A tad je čak i Maira Kalman
08:48
did this amazingnevjerojatan crypticgrobni installationmontaža
of objectsobjekti and wordsriječi
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izradila prekrasne kriptične
instalacije predmeta i riječi
08:52
that kindljubazan of go all around
and will fascinatefasciniraju studentsstudenti
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koje nekako idu svuda okolo
i fascinirati će učenike
08:55
for as long as it's up there.
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dokle god su tamo postavljene.
08:57
So this was really satisfyingzadovoljavajući,
209
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Dokle god su tamo postavljene,
08:59
and basicallyu osnovi my roleuloga here was readingčitanje
a seriesniz of dimensionsdimenzije to these artistsizvođači,
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i uglavnom moja uloga ovdje je bila
čitanje niza dimenzija tim umjetnicima
09:05
and I would say,
211
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i govorio bih
09:06
"ThreeTri feetnoge by 15 feetnoge, whateveršto god you want.
212
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"Tri stope puta 15 stopa, štogod želiš.
09:09
Let me know if you have
any problemproblem with that."
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Javi mi ako bude kakvih problema s tim.“
09:11
And they would go and installinstalirati these.
It just was the greatestnajveći thing.
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A oni bi krenuli i to instalirali.
I to je bilo najbolje od svega.
09:14
But the greatestnajveći thing, actuallyzapravo, was --
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A zapravo, od svega najbolja
stvar je zapravo bila to da --
09:16
EverySvaki oncejednom in a while,
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Svako malo
09:18
I'd get, like, an invitationpoziv in the mailpošta
madenapravljen of constructionizgradnja paperpapir,
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u pošti bih dobio pozivnicu
napravljenu od građevinskog papira,
09:21
and it would say, "You are invitedpozvan
to the openingotvor of our newnovi libraryknjižnica."
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u kojoj bi pisalo, "Pozvani ste
na otvorenje naše nove knjižnice.“
09:24
So you'dti bi go to the libraryknjižnica,
say, you'dti bi go to PSPS10,
219
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Tako da bih otišao u knjižnicu,
recimo, odeš u PS10,
09:27
and you'dti bi go insideiznutra.
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i uđeš.
09:28
There'dTu bi be balloonsbaloni,
there'dcrveno be a studentstudent ambassadorAmbasador,
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Bilo bi balona,
predstavnik učenika,
09:31
there'dcrveno be speechesgovora that were readčitati,
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držanje govora,
09:33
poetrypoezija that was writtennapisan
specificallyposebno for the openingotvor,
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poezija napisana
posebno za otvorenje,
09:36
dignitariesdostojanstvenici would presentpredstaviti people
with certificatesCertifikati,
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visoki uzvanici bi ljudima
dodijeljivali certifikate
09:39
and the wholečitav thing
was just a deliriousu deliriju, funzabava partystranka.
225
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a cijela stvar je bila jedna
delirična, zabavna zabava.
09:41
So I lovedvoljen going to these things.
226
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I volio sam ići.
09:43
I would standstajati there dressedobučen like this,
obviouslyočito not belongingpripadnosti,
227
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Stajao bih tamo tako odjeven,
vrlo očito ne pripadajući,
09:46
and someonenetko would say,
"What are you doing here, misterGospodine?"
228
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a netko bi rekao
"Što vi tu radite, gospodine?“
09:49
And I'd say, "Well, I'm partdio of the teamtim
that designedkonstruiran this placemjesto."
229
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A ja bih odgovorio "Ja sam dio tima
koji je dizajnirao ovo mjesto.“
09:52
And they'doni bi said, "You do these shelvespolice?"
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A oni bi rekli "Vi ste izradili police?“
09:54
And I said, "No."
"You tookuzeo the picturesSlike up aboveiznad."
231
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2407
Odgovorio sam "Ne.“
"Vi ste snimili fotografije koje su gore.“
09:56
"No."
232
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"Ne.“
09:57
"Well, what did you do?"
233
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"No, što ste radili?“
09:59
"You know when you camedošao in?
The signznak over the doorvrata?"
234
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"Znate kad ste ušli?
Onaj znak iznad vrata?“
10:01
"The signznak that sayskaže libraryknjižnica?"
235
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"Znak na kojem piše knjižnica?“
10:03
(LaughterSmijeh)
236
591080
1016
(Smijeh)
10:04
"Yeah, I did that!"
237
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"Da, ja sam to napravio!“
10:05
And then they'doni bi sortvrsta of go,
"OK. NiceLijepo work if you can get it."
238
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A onda bi oni nekako izgovorili,
"Dobro obavljen posao, ako ga skužite.“
10:10
So it was so satisfyingzadovoljavajući
going to these little openingsotvora
239
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4096
I bilo je tako zadovoljavajuće
ići na ta mala otvorenja
10:14
despitebez obzira na the factčinjenica that I was
kindljubazan of largelyu velikoj mjeri ignoredzanemarena or humiliatedponižen,
240
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unatoč činjenici da sam
većinom bio ignoriran ili ponižavan,
10:18
but it was actuallyzapravo funzabava
going to the openingsotvora,
241
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ali doista je bilo zabavno
ići na otvorenja,
10:20
so I decidedodlučio that I wanted
to get the people in my officeured
242
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pa sam odlučio da želim
dovesti ljude u moj ured
10:23
who had workedradio on these projectsprojekti,
get the illustratorsilustratori and photographersfotografi,
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koji su radili na tim projektima,
ilustratore i fotografe,
10:26
and I said, why don't we rentnajam a vankombi
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i rekao sam, zašto ne
unajmimo kombi
10:28
and drivepogon around
the fivepet boroughsčetvrti of NewNovi YorkYork
245
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da se vozimo po
pet četvrti New Yorka
10:30
and see how manymnogi we could hithit at one time.
246
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2016
i da vidimo koliko možemo
posjetiti odjednom.
10:32
And eventuallyeventualno there were
going to be 60 of these librariesknjižnice,
247
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I eventualno bit će
60 tih knjižnica,
10:35
so we probablyvjerojatno got to see
maybe halfpola a dozentucet in one long day.
248
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a mi smo uspjeli vidjeti
možda 6-7 u jednom dugom danu.
10:39
And the bestnajbolje thing of all
was meetingsastanak these librariansknjižničari
249
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A najbolje od svega je bilo
upoznavanje tih knjižničara
10:42
who kindljubazan of were runningtrčanje these,
tookuzeo possessionposjed of these placesmjesta
250
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koji su vodili ta mjesta,
posjedovali ta mjesta
10:45
like theirnjihov privateprivatna stagefaza
uponna whichkoji they were invitedpozvan
251
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kao da su njihova osobna
pozornica na koju su pozvani
10:48
to mesmerizehipnotizirati theirnjihov studentsstudenti
and bringdonijeti the booksknjige to life,
252
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kako bi opčinili njihove učenike
i knjige vratili u život,
10:52
and it was just
this really excitinguzbudljiv experienceiskustvo
253
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i to je doista bilo
jedno uzbudljivo iskustvo
10:55
for all of us to actuallyzapravo
see these things in actionakcijski.
254
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da vidimo te stvari u akciji.
10:57
So we spentpotrošen a long day doing this
255
645840
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Tako da smo proveli dug dan radeći to,
11:00
and we were in the very last libraryknjižnica.
256
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i bili smo na zadnjoj knjižnici.
11:02
It was still winterzimski,
because it got darkmrak earlyrano,
257
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I još je bila zima,
jer je rano pao mrak,
11:05
and the librarianknjižničar sayskaže,
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i knjižničarka reče
11:06
"I'm about to closeblizu down.
So really nicelijepo havingima you here.
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"Zatvorit ću.
Jako je lijepo bilo imati vas ovdje.
11:09
Hey, wait a seconddrugi, do you want to see
how I turnskretanje off the lightssvjetla?"
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Hej, pričekajte trenutak, želite vidjeti
kako gasim svjetla?“
11:12
I'm like, "OK."
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A ja onako, "OK.“
11:13
And she said, "I have
this specialposeban way that I do it."
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I rekla je "Imam
poseban način kako to radim.“
11:16
And then she showedpokazala me.
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I onda mi je pokazala.
11:17
What she did was she turnedokrenut out
everysvaki lightsvjetlo one by one by one by one,
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Gasila ih je, svako svjetlo,
jedno po jedno, jedno po jedno
11:20
and the last lightsvjetlo she left on
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a zadnje svjetlo koje je ostalo gorjeti
11:22
was the lightsvjetlo that illuminatedosvjetljen
the kids'dječji faceslica,
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je ono koje je
osvjetljivalo dječja lica,
11:25
and she said, "That's the last lightsvjetlo
I turnskretanje off everysvaki night,
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i rekla je "To je zadnje svjetlo
koje gasim svake večeri,
11:28
because I like to remindpodsjetiti myselfsebe
why I come to work."
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jer se volim podsjetiti
zašto dolazim na posao.“
11:31
So when I startedpočeo this wholečitav thing,
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Dakle, kad sam počeo
s ovom cijelom stvari,
sjećate se, bilo je samo
dizajnirati taj logo
11:34
rememberzapamtiti, it was just
about designingprojektiranje that logologo
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11:36
and beingbiće cleverpametan, come up with a newnovi nameime?
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2001
i biti bistar, smisliti novo ime?
11:38
The unintendedneplanirane consequenceposljedica here,
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Nenamjerna posljedica ovdje,
11:40
whichkoji I would like to take creditKreditna for
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za koju ću si dati priznanje
11:41
and like to think I can think throughkroz
the experienceiskustvo to that extentopseg,
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i volim misliti da duboko razmišljam
o tom iskustvu do te mjere
11:45
but I can't.
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ali ne mogu.
11:46
I was just focusedusmjerena on a footnoga aheadnaprijed of me,
as fardaleko as I could reachdohvatiti with my ownvlastiti handsruke.
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Bio sam fokusiran na korak ispred,
onoliko koliko sam mogao dosegnuti rukama.
11:50
InsteadUmjesto toga, way off in the distanceudaljenost
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A umjesto toga, jako daleko,
11:52
was a librarianknjižničar
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je bila knjižničarka
11:54
who was going to find
the chainlanac of consequencesposljedice
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koja će otkriti
lanac posljedica
11:57
that we had setset in motionpokret,
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koje smo pokrenuli,
11:58
a sourceizvor of inspirationinspiracija
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izvor inspiracije
12:00
so that she in this casespis
could do her work really well.
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tako da će ona, u ovom slučaju,
svoj posao jako dobro obavljati.
12:03
40,000 kidsdjeca a yeargodina
are affectedpogođeni by these librariesknjižnice.
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Knjižnice utječu na
40.000 djece godišnje.
12:06
They'veSu been happeningdogađa
for more than 10 yearsgodina now,
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Događaju se
duže od 10 godina
12:09
so those librariansknjižničari have kindljubazan of turnedokrenut on
a generationgeneracija of childrendjeca to booksknjige
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tako da su ti knjižničari približili
knjige generaciji djece
12:13
and so it's been a thrilluzbuđenje to find out
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i doista, bilo je prekrasno otkriti
12:16
that sometimesponekad unintendedneplanirane consequencesposljedice
are the bestnajbolje consequencesposljedice.
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da su ponekad nenamjerne posljedice
najbolje posljedice.
12:20
Thank you very much.
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Hvala vam lijepa.
12:21
(ApplausePljesak)
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(Pljesak)
Translated by Senzos Osijek
Reviewed by Tilen Pigac

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ABOUT THE SPEAKER
Michael Bierut - Designer, critic
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.

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. 


More profile about the speaker
Michael Bierut | Speaker | TED.com

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