Paula Scher: Great design is serious (not solemn)

翻译人员: Xu Jiang 校对人员: Angelia King

My work is play.

我的工作就是发挥。

And I play when I design.

而且当我在设计的时候我就是在发挥。

I even looked it up in the dictionary, to make sure

我甚至曾在字典里查了这个词，来确定

that I actually do that,

我确实这样做了，

and the definition of play,

以及发挥的定义准确无误。

number one, was engaging in a childlike

第一点，是要积极投身于如同孩童一般的

activity or endeavor,

活动或者用心去做。

and number two was gambling.

第二点是要有冒险精神。

And I realize I do both

并且当我在做设计的时候，

when I'm designing.

我意识到我是两者兼顾的。

I'm both a kid and I'm gambling all the time.

我始终如一的保持一颗童心并充满冒险精神。

And I think that if you're not,

而且我认为，如果你不这样的话，

there's probably something inherently wrong

很有可能是什么东西跟你不对路，

with the structure or the situation you're in,

或跟你的处境不符，

if you're a designer.

如果你是个设计师。

But the serious part is what threw me,

然而严肃的部分正是让我困惑的，

and I couldn't quite get a handle

而且我也无法很好的解决

on it until I remembered an essay.

直到我记起了一篇文章。

And it's an essay I read 30 years ago.

那是一篇我30年前读过的文章。

It was written by Russell Baker,

作者是Russell Baker，

who used to write an "Observer" column in the New York Times.

他曾经在纽约时报一个“观察者”专栏。

He's a wonderful humorist. And I'm going to read you

他是一个非常棒的幽默作家。现在让我来向你们读读

this essay,

这篇文章。

or an excerpt from it

或者说是一篇节选。

because it really hit home for me.

因为它真的击中了我的要害。

Here is a letter of friendly advice.

这是一封很友好的劝告信。

Be serious, it says.

严肃起来，信里写道。

What it means, of course, is, be solemn.

当然，这意味着要郑重其事起来。

Being solemn is easy.

郑重其事很简单。

Being serious is hard.

严肃却很难。

Children almost always begin by being serious,

孩子们常常都由认真开始，

which is what makes them so entertaining

也就是让他们感到愉快的东西

when compared with adults as a class.

当他们作为一个团体同成人相比时。

Adults, on the whole, are solemn.

成年人，整体上来说，都是郑重的。

In politics, the rare candidate who is serious,

在政治上，很严肃的参选人很稀少，

like Adlai Stevenson,

比如 Adlai Stevenson，

is easily overwhelmed by one who is solemn, like Eisenhower.

会很轻易的被郑重其事的参选人打败，比如Eisenhower。

That's because it is hard for most people

这是因为对于大多数人来说

to recognize seriousness, which is rare,

认识到罕见的严肃是很难的，

but more comfortable to endorse solemnity,

但展示郑重却更加令人适宜。

which is commonplace.

这也是老生常谈了。

Jogging, which is commonplace,

慢跑，很常见，

and widely accepted as good for you, is solemn.

也被广泛的认为对你有好处，就是郑重的。

Poker is serious.

而扑克却是严肃的。

Washington, D.C. is solemn.

华盛顿特区就是郑重的。

New York is serious.

而纽约却是严肃的。

Going to educational conferences to tell you anything

去参加那些将会告诉你未来所有事情的

about the future is solemn.

教育会议是郑重的。

Taking a long walk by yourself,

独自一人走很长一段路，

during which you devise a foolproof scheme for robbing Tiffany's,

在此期间，琢磨出一套抢劫蒂凡尼珠宝店的完全方案，

is serious.

这是严肃的。

(Laughter)

（笑声）

Now, when I apply Russell Baker's definition

现在，当我接受了Russell Bake的关于

of solemnity or seriousness to design,

郑重的或是严肃的去设计的定义的时候，

it doesn't necessarily make any particular point about quality.

质量就不再意味着一些特殊的含义了。

Solemn design is often important and very effective design.

郑重的设计通常都是一些很重要而且很实用的设计。

Solemn design is also socially correct,

郑重的设计也会被社会大众认为是正确的，

and is accepted by appropriate audiences.

同时也会被相应的观众所认可。

It's what right-thinking designers

这就是那些想法正确的设计者

and all the clients are striving for.

和所有的客户所努力的。

Serious design, serious play,

严肃的设计，严肃的娱乐，

is something else.

却是另外一回事。

For one thing, it often happens

一方面，严肃的设计通常

spontaneously, intuitively,

自发性的，直观的，

accidentally or incidentally.

偶然的或者顺便的就发生了。

It can be achieved out of innocence, or arrogance,

它可以通过无辜，或是傲慢，

or out of selfishness, sometimes out of carelessness.

或是自私，有时会是粗心大意。

But mostly, it's achieved through all those kind of crazy

但大部分情况下，它是通过各种形式的

parts of human behavior that

毫无意义的人类行为

don't really make any sense.

来实现的。

Serious design is imperfect.

严肃的设计不会完美。

It's filled with the kind of craft laws that come from something being

它充满了那种原始的

the first of its kind.

工艺法。

Serious design is also -- often -- quite unsuccessful

严肃的设计通常也会非常的不成功

from the solemn point of view.

如果从郑重的角度来看的话。

That's because the art of serious play

这是因为严肃的艺术发挥

is about invention, change, rebellion -- not perfection.

关乎创造，改变，反抗——而不是完美。

Perfection happens during solemn play.

完美只可能在郑重其事的艺术发挥中才会发生。

Now, I always saw design careers

现在，我时常认为设计生涯

like surreal staircases.

就如同超现实的楼梯。

If you look at the staircase, you'll see

如果你看看这个楼梯，你会看到

that in your 20s the risers are very high

在你二十多岁的时候每一步阶梯都很高

and the steps are very short,

而且横跨度很短，

and you make huge discoveries.

因此你总能取得巨大的发现。

You sort of leap up very quickly in your youth.

在你年轻的时候你的飞跃迅速。

That's because you don't know anything and you have a lot to learn,

那是因为你还不是无所不知，你有很多东西要学，

and so that anything you do is a learning experience

因此你所做的一切都是学习的经验，

and you're just jumping right up there.

和你在飞跃的过程。

As you get older, the risers get shallower

随着你的年纪增长，楼梯渐渐变得矮了，

and the steps get wider,

横跨度却变得宽了，

and you start moving along at a slower pace

同时你也开始放慢了步伐

because you're making fewer discoveries.

因为你的发现越来越少了。

And as you get older and more decrepit,

而且随着你变得更老，更加力不从心，

you sort of inch along on this

你步履艰难的在这个

sort of depressing, long staircase,

令人沮丧的，长长的，

leading you into oblivion.

最终会带你通往灭亡的楼梯上行走。

(Laughter)

（笑声）

I find it's actually getting really hard to be serious.

我发现想严肃起来真的很难。

I'm hired to be solemn, but I find more and more

我的老板要求我要郑重，但我越来越发现

that I'm solemn when I don't have to be.

当我不必这么做的时候我依然很郑重。

And in my 35 years of working experience,

在我35年的工作经验中，

I think I was really serious four times.

我认为我真真正正的严肃过四回。

And I'm going to show them to you now,

现在我就把它们展示给你们，

because they came out of very specific conditions.

因为它们皆出自非常特殊的情况下。

It's great to be a kid.

做个孩子真的很棒。

Now, when I was in my early 20s,

那时，当我20岁出头的时候，

I worked in the record business, designing record covers for CBS Records,

我在唱片公司工作，为CBS唱片公司设计唱片封面，

and I had no idea what a great job I had.

当时我并不知道我拥有一个多么棒的工作。

I thought everybody had a job like that.

我认为每个人都有一份像我这样的工作。

And what --

并且--

the way I looked at design and the way I looked at the world was,

我看待设计的方式和我看待世界的方式就是，

what was going on around me

我周围正在发生什么

and the things that came at the time I walked into design

和我走进设计室的时候遇到的各种事

were the enemy.

都是我的对手。

I really, really, really hated

我真的，真的，真的非常讨厌

the typeface Helvetica.

字体。

I thought the typeface Helvetica

我曾认为字体

was the cleanest, most boring, most fascistic,

是最干净，最枯燥，最法西斯，

really repressive typeface,

非常独裁的字体，

and I hated everything that was designed in Helvetica.

并且我讨厌一切用字体设计的东西。

And when I was in

当我还在

my college days,

上大学那会儿，

this was the sort of design

这却是一种

that was fashionable and popular.

时尚而且流行的设计。

This is actually quite a lovely book jacket by Rudy de Harak,

这是一个由Rudi de Harra*设计的非常可爱的书皮，

but I just hated it, because it was designed with Helvetica,

但我非常讨厌它，就是因为它用了字体，

and I made parodies about it.

而且生搬硬套的模仿了它。

I just thought it was, you know, completely boring.

我只是认为它，你知道的，非常的枯燥。

(Laughter)

（笑声）

So -- so, my goal in life

因此——因此，我的人生目标

was to do stuff that wasn't made out of Helvetica.

就是不用字体来做一些设计。

And to do stuff that wasn't made out of Helvetica

而且不用字体做设计

was actually kind of hard because you had to find it.

确实很困难，因为你到处碰到这种字体设计。

And there weren't a lot of books about the history of design

在70年代初，并没有很多

in the early 70s. There weren't --

关于设计历史的书。也没有——

there wasn't a plethora of design publishing.

也没有过多的设计出版。

You actually had to go to antique stores. You had to go to Europe.

你得去古董店，你得去欧洲。

You had to go places and find the stuff.

你得去很多地方来找你想要的东西。

And what I responded to was, you know,

我的回应是，你知道的，

Art Nouveau, or deco,

Art Nouveau，或者deco，

or Victorian typography,

或者维多利亚排版，

or things that were just completely not Helvetica.

或者一些完全不用字体的东西。

And I taught myself design this way,

我教会了我自己用这种方式设计，

and this was sort of my early years,

这就是我的早年经历，

and I used these things

我用这些东西

in really goofy ways

以一些很拙劣的方式

on record covers and in my design.

放在唱片封面上和我的设计里面。

I wasn't educated. I just sort of

我没有学过这个。我只是

put these things together.

把这些东西拼凑在一起。

I mixed up Victorian designs with pop,

我把维多利亚式的设计混合进了流行元素，

and I mixed up Art Nouveau with something else.

同时也把新艺术派风格掺杂进了一些其他元素。

And I made these very lush,

我把这些专辑封面都弄得非常华丽，

very elaborate record covers,

非常精巧，

not because I was being a post-modernist or a historicist --

这并不是因为我曾是个后现代主义者或是历史批判主义者——

because I didn't know what those things were.

只是因为我根本不知道那些东西到底是些什么。

I just hated Helvetica.

我只是讨厌字体设计。

(Laughter)

（笑声）

And that kind of passion

而且这种激情

drove me into very serious play,

促使我去非常严肃的发挥，

a kind of play I could never do now

一种我从来没有尝试过的发挥

because I'm too well-educated.

因为我受过非常良好的教育。

And there's something wonderful about

那种年轻生命里

that form of youth,

存在着一些很有意思的东西，

where you can let yourself

在这种青春鼓舞下你可以让你自己

grow and play, and be

成长并且发挥，同时

really a brat, and then accomplish things.

让自己成为一个初出茅庐者，然后设计出与众不同的东西。

By the end of the '70s, actually,

直到70年代末，事实上，

the stuff became known.

我的这些作品才崭露头角。

I mean, these covers appeared all over the world,

我的意思是，那些封面风靡全球，

and they started winning awards,

而且开始拿了不少奖，

and people knew them.

与此同时，人们知道了我的作品。

And I was suddenly a post-modernist,

而我也突然变成了一个后现代主义者，

and I began a career as -- in my own business.

那时，我创办了自己的生意。

And first I was praised for it, then criticized for it,

起初，我因为它受到嘉奖，后来又因为它饱受批评，

but the fact of the matter was, I had become solemn.

但关键在于，我变得郑重起来。

I didn't do what I think

大约14年间我都没有

was a piece of serious work again for about 14 years.

照我所想的一个严肃的艺术品应该做的去做。

I spent most of the '80s being quite solemn,

80年代的大部分时间我都相当的郑重，

turning out these sorts of designs

设计出这样的艺术

that I was expected to do

就像我所期望的那样

because that's who I was,

因为那就是我，

and I was living in this cycle of going from serious to solemn

我就在从严肃到郑重的圈子里生活

to hackneyed to dead, and getting rediscovered all over again.

直到陈腐直到死亡，然后再重新开始。

So, here was the second condition

好的，下面是我的第二个状态

for which I think I accomplished some serious play.

此时我认为完成了一些很严肃的发挥。

There's a Paul Newman movie

这是一部我很钟爱的Paul Newman保罗纽曼的电影

that I love called "The Verdict."

名字叫做“The Verdict大审判”。

I don't know how many of you have seen it, but it's a beaut.

我不知道你们中间有多少人看过它，但它真的很棒。

And in the movie, he plays

在这部电影里，他饰演了

a down-and-out lawyer

一位想成为专办交通事故损害赔偿的

who's become an ambulance chaser.

落魄的律师。

And he's taken on --

他采取-

he's given, actually -- a malpractice suit to handle

实际上--他开始了一次不法行为的诉讼来解决

that's sort of an easy deal,

其实还算容易的一次交易，

and in the midst of trying to connect the deal,

在这诉讼交易联系中，

he starts to empathize

他开始强调重视

and identify with his client,

和鉴别他的客户，

and he regains his morality and purpose,

他重新拾回了他的道德和目标，

and he goes on to win the case.

他继而赢得了这次诉讼。

And in the depth of despair,

在绝望的深渊，

in the midst of the movie, when it looks like he can't pull this thing off,

在电影中间部分，当一切看其来他不能够放下这件事，

and he needs this case,

他需要这个官司，

he needs to win this case so badly.

他特别需要赢这场官司。

There's a shot of Paul Newman alone,

这是保罗纽曼单独一人的镜头，

in his office, saying,

在他的办公室，他说道，

"This is the case. There are no other cases.

“这个案件就是了。没有其他的案件了。

This is the case. There are no other cases."

这就是了。没有其他的了。"

And in that moment of

在那个时刻

desire and focus,

充满了渴望和关注，

he can win.

他能赢。

And that is a wonderful

那是个绝妙的

position to be in to create some serious play.

角色来创作一些严肃的演技。

And I had that moment in 1994

在1994年我曾有过这样的时刻，

when I met a theater director

当我遇到一个剧场导演

named George Wolfe,

名叫乔治沃尔夫，

who was going to have me design

他打算让我设计

an identity for the New York Shakespeare Festival,

纽约莎士比亚节的象征画，

then known,

后来，

and then became the Public Theater.

成为公共剧场的象征画。

And I began getting immersed

我开始沉浸在

in this project

这个项目中

in a way I never was before.

我从来没有过这样。

This is what theater advertising looked like at that time.

这就是那个时候剧场广告的样子。

This is what was in the newspapers and in the New York Times.

这就是在报纸上和纽约时报上的。

So, this is sort of a comment on the time.

所以说，这算是那时的评论。

And the Public Theater actually had much better advertising than this.

公共剧场实际上有比这个更好的广告。

They had no logo and no identity,

它们没有标志，没有象征画，

but they had these very iconic posters

但是他们有这些很具有讽刺意味的宣传画，

painted by Paul Davis.

这些宣传画是由保罗戴维斯做的。

And George Wolf had taken over from another director

乔治沃尔夫是从另一位导演那里接手的，

and he wanted to change the theater,

他想改变剧场，

and he wanted to make it urban and loud

他想让它变得更城市化，更喧闹，

and a place that was inclusive.

成为一个广泛的地方。

So, drawing on my love of typography,

所以，运用我对伙伴印刷的热爱，

I immersed myself into this project.

我将我自己沉浸在这个项目中。

And what was different about it was the totality of it,

它不同的地方是它的总体艺术性，

was that I really became the voice, the visual voice, of a place

是我真的成为了代表一个地方的声音，视觉上的声音，

in a way I had never done before,

这是我从未有过的方式，

where every aspect --

无论什么方面--

the smallest ad, the ticket, whatever it was --

最小型的广告，车票，无论是什么--

was designed by me.

都是由我设计的。

There was no format.

没有格式化。

There was no in-house department that these things were pushed to.

没有部门内部的压力。

I literally for three years made everything --

我真的花了三年时间创造了这一切--

every scrap of paper, everything online,

每张剪报，网站上的一切，

that this theater did.

剧场的一切。

And it was the only job,

这就是我唯一的工作，

even though I was doing other jobs.

即便我也做其他的事情。

I lived and breathed it in a way I haven't

我生活在，呼吸在我从来没有过的

with a client since.

跟客户的亲密联系中。

It enabled me to really express myself and grow.

它使我真正地将我自己表述出来，并成长起来。

And I think that you know

我认为大家知道

when you're going to be given this position,

当你要被授予这个职位的时候，

and it's rare, but when you get it and you have this opportunity,

这很不寻常，但是当你得到它，你就有了这个机会

it's the moment of serious play.

来展示发挥严肃艺术的时刻。

I did these things, and I still do them.

我做了这些事，我仍然继续做着。

I still work for the Public Theater.

我仍然为公共剧场工作。

I'm on their board, and

我是董事会成员，并且

I still am involved with it.

我积极参与其中。

The high point of the Public Theater, I think, was in 1996,

我认为，公共剧场最辉煌的时刻是在1996年，

two years after I designed it,

我设计完成之后的两年，

which was the "Bring in 'da Noise, Bring in 'da Funk" campaign

也是"Bring in 'da Noise, Bring in 'da Funk"比赛的时候，

that was all over New York.

那比赛遍布纽约。

But something happened to it, and what happened to it was,

但是发生了一些事，那就是

it became very popular.

它非常受欢迎。

And that is a kiss of death for something serious

对于一些严肃的事情来说那意味着死亡之吻

because it makes it solemn.

因为它庄重。

And what happened was

象征画也发生了变化，

that New York City, to a degree,

纽约市，从某种程度上说，

ate my identity

复制了我的象征画，

because people began to copy it.

因为人人都开始模仿它。

Here's an ad in the New York Times

这是纽约时报上的一则广告

somebody did for a play called "Mind Games."

有人为一场叫“头脑游戏”的戏剧设计的。

Then "Chicago" came out, used similar graphics,

然后芝加哥出现了，适用了更多的图形，

and the Public Theater's identity was just totally eaten and taken away,

然后公共剧场的象征画算是完全地被夺走了，

which meant I had to change it.

也就是说我要修改它了。

So, I changed it so that every season was different,

所以，我修改了它，这样每一季都不同，

and I continued to do these posters,

我继续设计这些宣传画，

but they never had the seriousness

因为它们从来没有

of the first identity

我在第一次创作象征画的艺术严肃性，

because they were too individual, and they didn't have that heft

因为它们太个体化了，他们没有同等价值

of everything being the same thing.

让每件事都变成相同的。

Now -- and I think since the Public Theater,

现在，我想着既然公共剧场，

I must have done more than a dozen

我需要做比那些主流机构所作的

cultural identities for major institutions,

还要多，在文化象征画上，

and I don't think I ever -- I ever

我从来没有想过，--我

grasped that seriousness again --

又一次把握住严肃性设计--

I do them for very big, important institutions

在纽约市我为非常大型的，重要的机构设计

in New York City.

。

The institutions are solemn,

机构是很庄重的，

and so is the design.

设计也是一样。

They're better crafted than the Public Theater was,

它们比公共剧场要更容易制造，

and they spend more money on them, but I think

它们花更多的钱，但是我认为

that that moment comes and goes.

那样的时光会过去。

The best way to accomplish serious design --

完成严肃的设计最好的方式是--

which I think we all have the opportunity to do --

我认为我们都有机会去做--

is to be totally and completely unqualified for the job.

那就是完完全全地不能胜任这份工作。

That doesn't happen very often,

这并不经常发生，

but it happened to me in the year 2000,

但是2000年却发生在我身上，

when for some reason or another,

基于某些原因，

a whole pile of different architects

整个的不同设计师团队

started to ask me to design

开始要我跟他们一起设计

the insides of theaters with them,

剧场内部，

where I would take environmental graphics and work them into buildings.

我会设计环境型图案并将他们融入建筑中。

I'd never done this kind of work before.

我从来没有做过这样的工作。

I didn't know how to read an architectural plan,

我不知道如何看懂建筑计划，

I didn't know what they were talking about,

我不知道他们都在讲什么，

and I really couldn't handle the fact that a job --

我真的不能接受这个事实--

a single job -- could go on for four years

这份工作能够持续四年的时间，

because I was used to immediacy in graphic design,

因为我习惯了平面设计的直接，

and that kind of attention to detail

那种对细节的关注

was really bad for somebody like me, with ADD.

对于我这样有多动症的人来说是很不好的。

So, it was a rough -- it was a rough go,

很艰难--很艰难的过程，

but I fell in love with this process

但是我爱上了这个过程

of actually integrating graphics into architecture

就是将图片和建筑结合在一起的过程，

because I didn't know what I was doing.

因为我不知道我在做什么。

I said, "Why can't the signage be on the floor?"

我说，“为什么这个标志不能放在地面上呢？”

New Yorkers look at their feet.

纽约人看看他们的脚。

And then I found that actors and actresses

然后我发现演员们

actually take their cues from the floor,

实际上从地面上找寻线索，

so it turned out that these sorts of sign systems

所以这些信号系统

began to make sense.

变得有意义了。

They integrated with the building in really peculiar ways.

它们同整个建筑结合起来，通过特别的方式。

They ran around corners,

它们在角落，

they went up sides of buildings,

它们在建筑的四周，

and they melded into the architecture.

它们同整个建筑合并在一起。

This is Symphony Space on 90th Street and Broadway,

这是在第90大街和百老汇上的交响乐空间，

and the type is interwoven into the stainless steel

类型是不锈钢

and backlit with fiber optics.

和背光光纤交织在一起。

And the architect, Jim Polshek,

建筑师，Jim Polshek,

essentially gave me a canvas

基本上给了我一块油画布

to play typography out on.

要我做活版印刷。

And it was serious play.

这是个严肃的活。

This is the children's museum in Pittsburgh, Pennsylvania,

这是在宾夕法尼亚州的匹斯堡儿童博物馆，

made out of completely inexpensive materials.

全是由不昂贵的材料建成。

Extruded typography that's backlit with neon.

挤压排版背光霓虹灯。

Things I never did before, built before.

我从来没有做过的东西。

I just thought they'd be kind of fun to do.

我只是觉得做起来会很好玩儿。

Donors' walls made out of Lucite.

捐赠者的墙用璐彩特制成。

And then, inexpensive signage.

然后，便宜的标志。

(Laughter)

（笑声）

I think my favorite of these

我想我最喜欢的

was this little job in Newark, New Jersey.

是在新泽西纽沃克的一个小工程。

It's a performing arts school.

那是个艺术学校。

This is the building that -- they had no money,

一栋建筑--他们没钱建，

and they had to recast it, and they said,

他们必须改造它，他们说到，

if we give you 100,000 dollars, what can you do with it?

如果我们给你10万，你会怎么做?

And I did a little Photoshop job on it, and I said,

我用Photoshop设计了一下，我说，

Well, I think we can paint it.

嗯，我们可以重新刷墙。

And we did. And it was play.

我们就这么做了。也成功了。

And there's the building. Everything was painted --

还有另外一栋建筑。所有的东西都刷过了--

typography over the whole damn thing,

活版印刷整个的建筑，

including the air conditioning ducts.

包括空调管道。

I hired guys who paint flats

我雇用刷公寓的人

fixed on the sides of garages

来整理周边的车库

to do the painting on the building, and they loved it.

给整个建筑刷上颜色，他们很喜爱这个工作。

They got into it -- they took the job incredibly seriously.

他们投入进去--他们很严肃地对待这个工作。

They used to climb up on the building and call me

他们原先是爬到屋顶上，然后给我打电话

and tell me that they had to correct my typography --

告诉我他们需要校正我的活版印刷--

that my spacing was wrong, and they moved it,

我的排版错了，他们要移动，

and they did wonderful things with it.

他们做得很棒。

They were pretty serious, too. It was quite wonderful.

他们很严肃。完成的很好。

By the time I did Bloomberg's headquarters

当我设计彭博总部的时候，

my work had begun to become accepted.

我的工作刚刚被人认可。

People wanted it in big, expensive places.

人们希望它在很大型，昂贵的地方。

And that began to make it solemn.

那开始让它变得庄重。

Bloomberg was all about numbers,

彭博全部都是关于数字，

and we did big numbers through the space

我们将数字贯穿于空间，

and the numbers were projected on a spectacular LED

数字被设计在特别的LED上，

that my partner, Lisa Strausfeld, programmed.

我的合作伙伴，Lisa Strausfeld，设计了程序。

But it became the end

但是，它成为了这次严肃的

of the seriousness of the play,

艺术展的结局，

and it started to, once again, become solemn.

开始了，又一次的，庄重。

This is a current project

目前这个项目

in Pittsburgh, Pennsylvania,

在宾西法尼亚州的匹斯堡，

where I got to be goofy.

这也是我变得愚蠢的地方。

I was invited to design

我被邀请来设计

a logo for this neighborhood, called the North Side,

一个叫做北边地方的标志，

and I thought it was silly for a neighborhood to have a logo.

我认为邻居有个标志是很好笑的。

I think that's rather creepy, actually. Why would a neighborhood have a logo?

我认为这相当不自然。邻居为什么要有个标志呢？

A neighborhood has a thing -- it's got a landmark, it's got a place,

邻居有--地标，有个地方，

it's got a restaurant. It doesn't have a logo. I mean, what would that be?

有饭馆。没有标志。我的意思是说，标志能是什么?

So I had to actually give a presentation

我实际上要给市政府

to a city council

和邻居机构

and neighborhood constituents,

作个演讲，

and I went to Pittsburgh and I said,

我去了匹斯堡，说到，

"You know, really what you have here

“你知道，你在这里拥有的

are all these underpasses

都是隧道，

that separate the neighborhood from the center of town.

这些隧道将邻居从镇中心分离开。

Why don't you celebrate them, and make the underpasses landmarks?"

为什么你们不庆祝他们，将隧道标记出来呢？”

So I began doing this crazy presentation

我开始了这个疯狂的演讲

of these installations --

向这些装置--

potential installations -- on

潜在的装置-

these underpass bridges,

关于隧道的桥梁，

and stood up in front of the city council --

站在市政府的面前--

and was a little bit scared,

我有点害怕，

I have to admit.

我要承认。

But I was so utterly unqualified for this project,

但是，我确确实实不适合这项工程，

and so utterly ridiculous,

很不适合，

and ignored the brief so desperately

忽略了主体，

that I think they just embraced it with wholeheartedness,

我认为他们只是全心全意地接受它，

just completely because it was so goofy to begin with.

只是因为它开始是很笨的。

And this is the bridge they're actually

这就是他们实际

painting up and preparing as we speak.

建造的，我们说准备这个桥梁。

It will change every six months, and it will become an art installation

每六月改变一次，变成在匹斯堡的北边的

in the North Side of Pittsburgh,

一种艺术装置，

and it will probably become a landmark in the area.

它可能会成为这个地区的地标。

John Hockenberry told you a bit about

约翰霍肯伯里告诉了大家关于

my travail with Citibank,

我去花旗银行的经历，

that is now a 10-year relationship, and I still work with them.

到现在已经是10年的工作关系了，我还在为他们工作。

And I actually am amused by them and like them,

我实际上喜欢他们，他们能引人发笑，

and think that as a very, very, very, very, very big corporation

想想那是一家非常，非常，非常大的大公司，

they actually keep their graphics very nice.

他们的确将他们的图片保存的很好。

I drew the logo for Citibank

在第一次会议上，我在一张纸巾上画了花旗银行的标志

on a napkin in the first meeting.

。

That was the play part of the job.

那是工作的一部分。

And then I spent a year

然后，我花了一年的时间

going to long, tedious,

参加长期的，乏味的，

boring meetings,

无趣的会议，

trying to sell this logo through

希望将这个标志卖给

to a huge corporation

一家大公司

to the point of tears.

卖在点子上。

I thought I was going to go crazy at the end of this year.

我想我今年年底要疯了。

We made idiotic presentations

我们做些无聊的演讲

showing how the Citi logo made sense,

展示花旗银行的标识如何有意义，

and how it was really derived from an umbrella,

它如何真的从一把伞演变出来，

and we made animations of these things,

我们将这些稍作变化，

and we came back and forth and back and forth and back and forth.

我们反反复复，反反复复。

And it was worth it, because they bought this thing,

这很值得，因为他们买了这个标识，

and it played out on such a grand scale,

它也发挥了重要的作用，

and it's so internationally recognizable,

它变成国际上都皆知的标识，

but for me it was actually a very, very depressing year.

但是对于我来说，这实际上是一个非常，非常沮丧的一年。

As a matter of fact, they actually never bought onto the logo

实际上，他们从来没有买标识

until Fallon put it on

直到法伦适用了标识

its very good "Live Richly" campaign,

它很棒的"富有地生活“竞争，

and then everybody accepted it all over the world.

然后，全世界每个人都接受了它。

So during this time I needed

这个时候，我需要

some kind of counterbalance

一些平衡

for this crazy, crazy existence

为这个疯狂的事实

of going to these long, idiotic meetings.

我去参加那些冗长的无聊的会议。

And I was up in my country house,

我在我乡村的房子里，

and for some reason, I began painting

基于某些原因，我开始绘制

these very big, very involved,

这些非常大的，

laborious, complicated

复杂的，包括了

maps of the entire world,

整个世界的地图，

and listing every place on the planet, and putting them in,

列出这个星球上每一个地方，然后画进去，

and misspelling them, and putting things in the wrong spot,

再拼错地名，放进错误的地方，

and completely controlling the information,

完完全全地控制信息，

and going totally and completely nuts with it.

完完全全的着迷了。

They would take me about six months initially,

起初花了我六个月的时间，

but then I started getting faster at it.

然后我绘图变得越来越快。

Here's the United States.

这是美国。

Every single city of the United States is on here.

美国的每一个城市都在上面。

And it hung for about eight months

它在库珀休伊特展示了大概八个月，

at the Cooper-Hewitt, and people walked up to it,

人们前来看它，

and they would point to a part of the map

他们指着绘制地图上的一部分说

and they'd say, "Oh, I've been here."

“哦，我到过这里。”

And, of course, they couldn't have been because it's in the wrong spot.

当然，他们不可能到过这里，因为那是个错误的位置。

(Laughter)

（笑声）

But what I liked about it was,

但是我喜欢的是

I was controlling my own idiotic information,

我掌控着我自己错置的信息，

and I was creating my own palette of information,

我创造了我自己的信息调色板，

and I was totally and completely

我完完全全地

at play.

在玩儿。

One of my favorites was

其中我最喜爱的一个是

this painting I did of Florida after the 2000 election

我在2000年竞选后画的佛罗里达州

that has the election results rolling around in the water.

在水中游荡的是竞选结果。

I keep that for evidence.

我将它作为证据。

(Laughter)

（笑声）

Somebody

一些人

was up at my house and saw the paintings

来到我的屋里，看到那些油画

and recommended them to a gallery,

推荐我把它们送去某个画廊，

and I had a first show

而我在大约两年半以前

about two-and-a-half years ago, and I showed these paintings

有过第一次展览，我展示了那些油画

that I'm showing you now.

就是我现在展示给你们的这些。

And then a funny thing happened -- they sold.

然后一件有意思的事情发生了——它们被卖掉了。

And they sold quickly,

卖得还非常快，

and became rather popular.

最后甚至非常畅销。

We started making prints from them.

我们开始印刷这些油画。

This is Manhattan, one from the series.

这是曼哈顿，那些系列里的一幅。

This is a print from the United States which we did in red, white and blue.

这是一幅我们用红，白，蓝三色绘制的美国系列中的一幅。

We began doing these big silkscreen prints,

我们又开始用大型的丝网来印刷，

and they started selling, too.

它们也开始畅销。

So, the gallery wanted me to have another show

因此，两年后，画廊想让我

in two years,

再办一次展览，

which meant that I really

这意味着，我不得不

had to paint these paintings

以我从未有的

much faster

更快速度

than I had ever done them. And I --

来创作绘画。而我

they started to become more political, and I picked areas

的绘画开始变的更加政治化，我选择的领域

that sort of were in the news

有来自于新闻消息的

or that I had some feeling about,

或者是我有灵感的，

and I began doing these things.

我开始做这些事情。

And then this funny thing happened.

然后就发生了这件有趣的事。

I found that I was no longer at play.

我发现我不再是在发挥了。

I was actually in this solemn landscape

我处在了一种完全是为了展览

of fulfilling an expectation

而充满期待的

for a show,

郑重其事的境地之中，

which is not where I started with these things.

这与我的初衷完全不一样。

So, while they became successful,

因此，当这些作品变得异常成功时，

I know how to make them,

我知道了如何去制作它们，

so I'm not a neophyte,

因此我并不是一个新手，

and they're no longer serious --

但它们也不再严肃了——

they have become solemn.

它们变得非常的郑重。

And that's a terrifying factor --

这是一个非常可怕的事情——

when you start something and it turns that way --

当你开始去做某件事情，但却事与愿违——

because it means that all that's left for you

因为它意味着你所要做的

is to go back and to find out

就是回过头去，找出

what the next thing is that you can push,

你要做的下一件事情是什么，那些你能努力争取的，

that you can invent, that you can be ignorant about,

或是你能有所创造的，或是你能完全无视的，

that you can be arrogant about,

或你能妄自尊大的，

that you can fail with,

或是那些你也许会失败的，

and that you can be a fool with.

或是会让你看起来很愚蠢的。

Because in the end, that's how you grow,

因为最终，这就是你成长的方式，

and that's all that matters.

而这正是最关键的地方。

So, I'm plugging along here --

所以，我在这里不知疲倦的努力工作——

(Laughter)

（笑声）

and I'm just going to have to blow up the staircase.

而且我马上就要去炸掉这座楼梯。

Thank you very much.

非常感谢。