And I play when I design.

我發揮在設計上

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

我甚至去查了字典

that I actually do that,

以確信我確實這麼做

and the definition of play,

關於"Play"的定義

number one, was engaging in a childlike

第一、如同孩童般地積極投入活動

activity or endeavor,

或是努力去達成

and number two was gambling.

第二、必須具有冒險精神

And I realize I do both

我認為我兩者兼具

when I'm designing.

當我在設計的時候

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

我像是一個孩子也像是一個賭徒

And I think that if you're not,

而且我認為如果你不是這樣

there's probably something inherently wrong

那一定是有不對的地方

with the structure or the situation you're in,

或與你的處境不相符

if you're a designer.

如果你是一位設計師

But the serious part is what threw me,

然而，"認真"困擾著我

and I couldn't quite get a handle

而我卻不太能完全掌控

on it until I remembered an essay.

直到我想起了一篇短文

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

一篇我在30年前讀過的文章

It was written by Russell Baker,

作者是Russell Baker

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

他曾經在紐約時報撰寫過"觀察者"專欄

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

他是個相當棒的幽默作家。我將要向大家

this essay,

朗讀這篇文章

or an excerpt from it

或者說是一篇節選

because it really hit home for me.

因為它真的令我深有感觸

Here is a letter of friendly advice.

這是一封很友好的勸告信

Be serious, it says.

嚴肅起來,信裡寫道

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

當然,這意味著要開始鄭重其事

Being solemn is easy.

鄭重其事很簡單

Being serious is hard.

認真卻不是件容易的事

Children almost always begin by being serious,

小孩通常幾乎都是由認真開始

which is what makes them so entertaining

認真使他們顯得有趣

when compared with adults as a class.

當他們與成年人比較時

Adults, on the whole, are solemn.

整體而言，成年人是鄭重其事的

In politics, the rare candidate who is serious,

在政治上,認真的參選人很罕見

like Adlai Stevenson,

像Adlai Stevenson

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

會很輕易的被鄭重其事的候選人擊敗,就像Eisenhower.

That's because it is hard for most people

這是因為對於大多數人而言

to recognize seriousness, which is rare,

了解稀少的認真是件困難的事

but more comfortable to endorse solemnity,

但對於鄭重其事

which is commonplace.

早已司空見慣

Jogging, which is commonplace,

慢跑，很常見

and widely accepted as good for you, is solemn.

對身體好這點廣泛被接受，這是鄭重的

Poker is serious.

而撲克牌是認真的

Washington, D.C. is solemn.

華盛頓特區是鄭重的

New York is serious.

紐約是認真的

Going to educational conferences to tell you anything

在學術研討會上告訴你任何東西

about the future is solemn.

任何關於未來的，是鄭重其事的

Taking a long walk by yourself,

當你獨自一人走一段長路的同時

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

策劃一個笨拙的搶劫Tiffany's的計畫

is serious.

這是認真的

(Laughter)

(笑聲)

Now, when I apply Russell Baker's definition

現在，我將Russell的定義運用在設計上

of solemnity or seriousness to design,

鄭重或是認真地設計

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

品質則不再具任何特殊含意

Solemn design is often important and very effective design.

鄭重的設計通常重要且實用

Solemn design is also socially correct,

也通常被社會大眾認可

and is accepted by appropriate audiences.

被適當的觀眾接受

It's what right-thinking designers

這是所謂觀念正確的設計者和顧客

and all the clients are striving for.

所努力追求的

Serious design, serious play,

認真的設計和發揮

is something else.

卻是另一回事

For one thing, it often happens

一方面，認真的設計通常

spontaneously, intuitively,

發生的自然地、主觀地、

accidentally or incidentally.

偶然地、或是附帶地就發生了

It can be achieved out of innocence, or arrogance,

這可能透過無辜、傲慢、

or out of selfishness, sometimes out of carelessness.

自私，或是有時的粗心大意達成

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

但大部分的情況，他是透過各種的

parts of human behavior that

人類瘋狂的行為

don't really make any sense.

那些沒甚麼意義的行為,來實現的

Serious design is imperfect.

認真的設計是不完美的

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

它充滿著那種原始的

the first of its kind.

工藝法則

Serious design is also -- often -- quite unsuccessful

從鄭重的角度來看，

from the solemn point of view.

認真的設計通常也不會太成功

That's because the art of serious play

這是因為認真發揮的藝術

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

是創造、改變、反抗，而不是完美

Perfection happens during solemn play.

完美是在鄭重其事的設計才會發生的。

Now, I always saw design careers

現在，我將設計生涯

like surreal staircases.

視為超現實的樓梯

If you look at the staircase, you'll see

如果你看著這個樓梯，你會看到

that in your 20s the risers are very high

在你二十多歲時，整個階梯是很高的

and the steps are very short,

而每一步卻是很短的

and you make huge discoveries.

因此你能有重大的發現

You sort of leap up very quickly in your youth.

你在年輕的時候迅速地飛躍

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

那是因為你甚麼都不知道，而且你有很多要學

and so that anything you do is a learning experience

所以你做的任何事，都是個學習的經驗

and you're just jumping right up there.

這是你飛躍的過程

As you get older, the risers get shallower

隨著年紀增長，階梯隨著縮短

and the steps get wider,

而每一步隨著變寬

and you start moving along at a slower pace

同時你開始放慢腳步

because you're making fewer discoveries.

因為你能獲得的發現越來越少

And as you get older and more decrepit,

隨著你年紀越來越大、越來越衰老

you sort of inch along on this

你舉步維艱地

sort of depressing, long staircase,

走在這個令人沮喪的長階上

leading you into oblivion.

最終會帶領你走向死亡

(Laughter)

（笑聲）

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

我發現變得認真的確相當艱難

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

我的老闆要求我要鄭重，但我卻發現越來越多時候

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

我不需要鄭重，但我卻依然鄭重

And in my 35 years of working experience,

在我三十五年的工作經驗中，

I think I was really serious four times.

我曾有四次相當地認真

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

現在我將要把它們展示給你們

because they came out of very specific conditions.

因為他們發生在相當特殊的條件下

It's great to be a kid.

當個小孩真好

Now, when I was in my early 20s,

在我二十歲出頭的時候，

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

我在一間唱片公司工作，為CBS唱片的專輯設計封面

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

當時我並不知道我擁有的是這麼棒的工作

I thought everybody had a job like that.

我以為每個人的工作都像我的一樣

And what --

而且...

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

我看待設計和看待世界的方式就是，

what was going on around me

我周遭正在發生的事

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

和我走進辦公室所遇到的各種事

were the enemy.

都是我的敵人

I really, really, really hated

我真的、真的、非常討厭

the typeface Helvetica.

無襯線字體

I thought the typeface Helvetica

我認為無襯線字體

was the cleanest, most boring, most fascistic,

是最枯燥、最無聊、最法西斯、

really repressive typeface,

非常獨裁的一種字體

and I hated everything that was designed in Helvetica.

我討厭所有無襯線字體的設計

And when I was in

當我還在

my college days,

大學階段的時候，

this was the sort of design

這正是一種

that was fashionable and popular.

既時尚又流行的一種設計

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

這是一個Rudi de Harra設計的很可愛的書皮

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

但我就是討厭它，因為它用了無襯線字體

and I made parodies about it.

然後我為此做了諷刺性的模仿

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

我就只是覺得它，你知道的，非常地枯燥

(Laughter)

(笑聲)

So -- so, my goal in life

因此，我人生的目標

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

就是不用無襯線字體做設計

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

而不用無襯線字體做設計的確不容易

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

因為你很難找到不是無襯線字體的設計

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

而且在七零年代初期，

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

並沒有很多關於設計史的書

there wasn't a plethora of design publishing.

也沒有過多的設計出版

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

你必須要去骨董店、去歐洲

You had to go places and find the stuff.

你必須要到好多地方去找

And what I responded to was, you know,

而我的應對是

Art Nouveau, or deco,

新藝術派、Deco、

or Victorian typography,

或是維多利亞式印刷術、

or things that were just completely not Helvetica.

或者，就是那些完全不用無襯線字體的設計

And I taught myself design this way,

我教我自己用這樣的方式設計

and this was sort of my early years,

這就是我初期的設計

and I used these things

我運用這些東西

in really goofy ways

以一些拙劣的方式

on record covers and in my design.

在我設計的專輯封面上

I wasn't educated. I just sort of

我並沒有學過這樣

put these things together.

我只是把這些東西拼湊在一起

I mixed up Victorian designs with pop,

我將維多利亞式的設計混合進流行元素

and I mixed up Art Nouveau with something else.

同時也把新藝術派風格加入一些其它的元素

And I made these very lush,

我把這些專輯封面弄得相當華麗

very elaborate record covers,

非常精巧

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

這並不是因為我是後現代主義者或是歷史批判主義者

because I didn't know what those things were.

我根本不瞭解那些東西倒底是些什麼

I just hated Helvetica.

我就只是討厭無襯線字體設計

(Laughter)

(笑聲)

And that kind of passion

而且這種激情

drove me into very serious play,

促使我非常認真地去發揮

a kind of play I could never do now

一種我從來沒去嘗試過的發揮

because I'm too well-educated.

因為我受過非常良好的教育

And there's something wonderful about

那種年輕生命裡

that form of youth,

存在著一些很有意思的東西

where you can let yourself

在這種青春鼓舞下你可以讓你自己

grow and play, and be

成長並且發揮

really a brat, and then accomplish things.

像一個頑童般,然後設計出與眾不同的東西

By the end of the '70s, actually,

事實上，直到70年代末

the stuff became known.

我這些作品才嶄露頭角

I mean, these covers appeared all over the world,

我的意思是,那些封面開始風靡全球

and they started winning awards,

並且陸續贏得獎項

and people knew them.

我的作品變得廣為人知

And I was suddenly a post-modernist,

我也突然變成一個後現代主義者

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

那時，我開創了自己的事業

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

起初，我因此受到讚賞,後來又因此飽受批評

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

但關鍵在於，我變得鄭重了

I didn't do what I think

大約有14年的時間，我並沒有

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

照我所想的認真的設計應當的去做

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

80年代大部份時間，我相當鄭重

turning out these sorts of designs

設計出這樣的設計

that I was expected to do

就像我所期望的那樣

because that's who I was,

因為那就是我

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

我活在從認真到鄭重的循環裡

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

直到腐敗、直到死亡，然後再重新開始

So, here was the second condition

好，接下來是第二種情況

for which I think I accomplished some serious play.

此時我認為完成了一些很認真的發揮

There's a Paul Newman movie

這是一部我鍾愛的保羅紐曼的電影

that I love called "The Verdict."

片名叫做"大審判"

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

我不知道在場你們多少人看過這部片，但這部片相當棒

And in the movie, he plays

在這部電影裡,保羅紐曼飾演

a down-and-out lawyer

一個落魄的律師

who's become an ambulance chaser.

一個專攬車禍官司的律師

And he's taken on --

他承擔...

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

事實上，他被指派了一件不法行為的訴訟案件

that's sort of an easy deal,

是件還算容易的一次案子

and in the midst of trying to connect the deal,

在嘗試聯繫的過程中

he starts to empathize

他和客戶開始

and identify with his client,

重視與確認

and he regains his morality and purpose,

他重拾他的道德和目標

and he goes on to win the case.

繼而贏得了此次訴訟

And in the depth of despair,

在絕望的深淵裡,

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

在電影中，當他看起來不能夠放下這件事,

and he needs this case,

他需要這場官司,

he needs to win this case so badly.

他極度需要贏得這場官司

There's a shot of Paul Newman alone,

這是保羅紐曼一個人單獨的鏡頭,

in his office, saying,

在他的辦公室，他說，

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

"就是這個案件了, 沒有其他的案件了.

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

這就是了, 沒有其他的了."

And in that moment of

在那個時刻

desire and focus,

充滿了渴望及專注

he can win.

他能贏.

And that is a wonderful

那是個絕妙的角色

position to be in to create some serious play.

身在其中並認真的發揮

And I had that moment in 1994

在1994年，我曾有過那樣的時刻

when I met a theater director

當時我遇到一位劇場導演

named George Wolfe,

名叫喬治沃爾夫

who was going to have me design

他打算讓我設計

an identity for the New York Shakespeare Festival,

紐約莎士比亞節的象徵畫,

then known,

後來,

and then became the Public Theater.

成為公共劇場的象徵畫.

And I began getting immersed

我開始沉浸在

in this project

這個案子裡

in a way I never was before.

我從來沒有這樣過

This is what theater advertising looked like at that time.

這就是那時候劇場廣告的樣子

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

當時刊登在各大報及紐約時報上

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

這算是當時的評論

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

事實上，公共劇場有比這更好的廣告

They had no logo and no identity,

公共劇場沒有標誌、沒有象徵畫

but they had these very iconic posters

但是他們有這些很具象徵性的海報

painted by Paul Davis.

作者是Paul Davis

And George Wolf had taken over from another director

喬治沃爾夫從另一位導演手中接手劇院

and he wanted to change the theater,

他想要改變劇院

and he wanted to make it urban and loud

他想要讓劇院更城市化、更喧鬧

and a place that was inclusive.

讓劇院更加包羅萬象

So, drawing on my love of typography,

所以，運用我對印刷排版的熱愛

I immersed myself into this project.

我自我陶醉在這個案子裡

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

它不同的地方就是它的藝術總體性

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

我真正代表一份聲音，可以看見的聲音

in a way I had never done before,

這是我從未嘗試過的方法

where every aspect --

無論在各個方面

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

最小型的廣告、門票，不論是甚麼

was designed by me.

都是由我設計的

There was no format.

沒有制式化的格式

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

沒有來自部門內部的壓力

I literally for three years made everything --

我花了整整三年來完成所有東西

every scrap of paper, everything online,

每張簡報、網站上的一切、

that this theater did.

以及劇場上的一切。

And it was the only job,

這就是我唯一的工作

even though I was doing other jobs.

即便我在做其他的事情

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

我處在一個

with a client since.

與客戶從未有過的關係中

It enabled me to really express myself and grow.

它使我真正地表達自我，並成長

And I think that you know

我認為大家知道

when you're going to be given this position,