Michael Bierut: How to design a library that makes kids want to read
マイケル・ビェルート: 子供たちの読む気を引き出す図書室のデザイン方法
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.
呼ばれる事象があります
思っていたのですが
好きではありません
consequences that they really intend,
私を雇うのであり
to help them achieve those consequences.
力を貸して欲しいと望んでいるのです
of unintended consequences.
意図せざる結果を恐れています
consequences intended and unintended.
「意図せざる結果」についてお話します
called Robin Hood
a wonderful philanthropic organization
拠点とする素晴らしい慈善団体で
give it to poor people.
貧しい人々に与える活動をしています
was the New York City school system,
ニューヨークの公立学校全体でした
more than a million students at a time,
百万人以上の児童の教育を担っています
that are in disrepair,
中には荒れ果てた建物もあり
that could use a renovation.
to improve these buildings in some way,
何らかの形で建物を直そうと考えましたが
莫大な費用がかかり
too expensive and impractical.
what one room they could go into
それぞれ1部屋だけを選び
in as many buildings that they could,
the lives of the children inside
快適にしようと
was the school library,
図書室の改装です
called the Library Initiative.
というものです
図書室に足を運びます
have to pass through the library.
and soul of the school is.
心臓であり魂なのです
当初10人だったのが20人以上に膨らみ
where they brought in
to rethink what a library was.
図書室のあり方を再考するというものです
by improving these libraries.
壮大な事業が始まったのです
"Could you make a little contribution?"
協力を要請する電話があり
to be the graphic designer
頼まれました
That means I get to design a logo.
それが私の仕事です
compared with architecture
and then you're out,
それで終わりですし
他人に尽くして高揚感を得たがるものなので
good about myself when I do these favors.
all based on this one idea.
3つのロゴをお見せします
pick any of the three.
these would be new school libraries
ニューヨークの公立学校のための
a new idea that needs a new name.
名前だって新しくしようと考えました
that these were musty old libraries,
払拭したいという思いがありました
that everyone is bored with,
退屈な場所というイメージです
新しくワクワクする―
do talk, do make loud noises.
it's like a shush-free zone.
無縁の空間となります
OK, option number two.
次にオプション2です
今出しますね
Meet you after school down at OWL.
「放課後OWLでね」
Now, what does OWL stand for?
ではOWLとは何の略なのか?
(世界図書館)も
Learn(学ぶ) もアリでしょう
could figure out other things it could be
言葉を当ててもらえばいいでしょう
It's like the eye of the owl.
まるでフクロウの目
was based actually on language.
is the past tense of "read,"
現在形も過去形も同じ綴りですが
this place The Red Zone?
呼びませんか?
「Redしよう」
interested in spelling and I don't know.
readをredとするのはまずいかもしれない
is more important than spelling,
機転が重視されます
one of those instances.
それに当たるだろうと思いました
and the question should be,
the question was more like,
こんな感じでした
with old libraries, musty old libraries.
子供が飽き飽きしていることを
子供たちは見たこともないのだと
have never really seen a library.
if they're there at all,
ぐちゃぐちゃに荒れているので
to bore anyone at all.
about giving it a new name.
やめなさいと
「図書室」にしました
the Library Initiative.
出来上がり
ミッション完了だと思いました
there's your logo.
ここでの意図せざる結果とは
an unintended consequence,
なかったことです
they didn't really even need my design
手書きしてもいいし
you could write it by hand,
使われ出しましたが
sending emails around,
just right out of the thing.
on the real rollout of this thing --
of their own library. Right?
このロゴを設置しました
with different architects.
Now these architects were my client.
建築家とのやりとりも始まりました
Put it on the door."
Put it off to the side."
repeated all over to the top."
と繰り返すだけでした
"Here's your logo. Here's your logo."
リチャード・ルイスから
from one of the architects,
グラフィック担当として
and he says, "I've got a problem.
電話がありました
Can you solve it?"
と言いました
that there's a space
an architectural issue to me,
so I'm, "Go on."
続きを聞きました
the top shelf has to be low enough
「本棚の高さを
とどめなくてはならないが
大きな古い建物で天井が非常に高い
and the ceilings are really high,
かなりの面積が空いているので
all this space up there
「えっ 私はロゴデザイナーであって
you know, I'm a logo designer.
think of anything?"
took pictures of the kids in the school
「じゃあ 児童の写真でも撮って
the top of the thing,
in east New York, take these pictures?"
写真を撮ってくれないか?」
of, like, the heroes of the school,
美しく壁を飾っています
図書室を見下ろし
of the real library, right?
気分になるでしょう
hand-selected by the principals
校長や司書が選んだ—
this heroic atmosphere in this library,
華々しい雰囲気になりました
and the joy of the children above.
下には落ち着きあるスペースです
in the other schools see this
他校の司書も皆これを見て
it can't be the same mural every time,
使えないと思いました
and then she did another one,
写真を撮ってもらいましたが
named Lynn Pauley,
イラストレーターに電話すると
paintings of the kids.
子供たちの絵を描いてくれました
at a place called Automatic Design.
チャールズ・ウィルキンにお願いしたところ
描いてくれました
asking for words,
考えてもらった言葉の
楽しさ溢れる小さなシルエットを
delirious kind of constellation
of things that are in books.
児童と直接話をして
about their favorite books
壁の装飾部分に載せました
as a frieze up there.
清水裕子とコラボで
manga-style statement,
漫画風に描き上げました
というメッセージが
クリストフ・ニーマンは
into the faces and characters
シーンや場所などに
that you find in the books.
描き上げてくれました
of objects and words
不思議な作品を提供してくれました
and will fascinate students
子供たちを魅了し続けることでしょう
a series of dimensions to these artists,
壁の寸法をとってアーティストに伝え
any problem with that."
もう最高でした
It just was the greatest thing.
招待状が郵送されてきて
made of construction paper,
ご招待します」とあるのです
to the opening of our new library."
学校に出向いて
say, you'd go to PS10,
児童代表が迎えてくれたり
there'd be a student ambassador,
specifically for the opening,
特別に書れた詩の朗読があったり
with certificates,
was just a delirious, fun party.
パーティーばかりだったので
こんな格好で立っていると
obviously not belonging,
と聞かれるので
"What are you doing here, mister?"
と答えると
that designed this place."
"You took the pictures up above."
「本棚の上の写真ですね?」
The sign over the door?"
"OK. Nice work if you can get it."
「そんなことを仕事にできたらいいですね」
going to these little openings
とても満足のいくものでした
kind of largely ignored or humiliated,
恥ずかしい思いをするものでしたが
going to the openings,
私の事務所の人たち―
to get the people in my office
get the illustrators and photographers,
こんな提案をしてみました
the five boroughs of New York
図書室を見て歩こう」
going to be 60 of these libraries,
6箇所ほど 見学できたと思います
maybe half a dozen in one long day.
図書室を管理する司書たちに会えたこと
was meeting these librarians
took possession of these places
本の面白さを伝えようと
upon which they were invited
そこが自分の舞台であるかのように
and bring the books to life,
this really exciting experience
目の当たりにするという
see these things in action.
ワクワクする体験でした
because it got dark early,
日が早く暮れました
お会いできて光栄でした
So really nice having you here.
how I turn off the lights?"
見ていきませんか?」
this special way that I do it."
every light one by one by one by one,
the kids' faces,
I turn off every night,
「これがいつも最後に消す明かりです
覚えておきたいのです」と言いました
why I come to work."
about designing that logo
付けるだけだと考えていました
私にはできると考えたいですが
the experience to that extent,
目の前の仕事に集中していただけでした
as far as I could reach with my own hands.
司書でした
the chain of consequences
連鎖反応が
could do her work really well.
するようになりました
are affected by these libraries.
図書室から影響を受けます
for more than 10 years now,
10年以上も続いています
a generation of children to books
子供世代の関心を本へと向け―
今回 感動を覚えたのは
are the best consequences.
最良の結果であるという発見でした
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