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
Small Thing Big Idea

Michael Bierut: The genius of the London Tube Map

Michael Bierut: El genio del plano del metro de Londres

Filmed:
1,052,555 views

La leyenda del diseño Michael Bierut nos cuenta la historia del éxito accidental de uno de los mapas más famosos del mundo: el plano del metro de Londres.
- 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
The historyhistoria of civilizationcivilización,
in some waysformas, is a historyhistoria of mapsmapas:
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La historia de la civilización es
de alguna forma una historia de mapas:
¿cómo hemos llegado a entender
el mundo a nuestro alrededor?
00:16
How have we come to understandentender
the worldmundo around us?
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00:19
One of the mostmás famousfamoso mapsmapas workstrabajos
because it really isn't a mapmapa at all.
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Uno de los mapas más famosos funciona
porque, en realidad, no es un mapa.
00:23
[SmallPequeña thing. BigGrande ideaidea.]
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[Cosa pequeña.]
[Idea grande.]
00:27
[MichaelMiguel BierutBierut on
the LondonLondres TubeTubo MapMapa]
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[Michael Bierut habla
del plano del metro de Londres]
00:29
The LondonLondres UndergroundSubterráneo
camevino togetherjuntos in 1908,
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El metro de Londres se formó en 1908,
00:32
when eightocho differentdiferente
independentindependiente railwaysvias ferreas mergedfusionado
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cuando se unieron
ocho vías férreas independientes
00:35
to createcrear a singlesoltero systemsistema.
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para crear un solo sistema.
Necesitaban un mapa
para representar ese sistema
00:37
They needednecesario a mapmapa to representrepresentar that systemsistema
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00:39
so people would know where to ridepaseo.
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para que la gente supiese por dónde ir.
00:41
The mapmapa they madehecho is complicatedComplicado.
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El mapa que hicieron es complicado.
Se pueden ver ríos,
cuerpos de agua, árboles y parques.
00:44
You can see riversríos,
bodiescuerpos of wateragua, treesárboles and parksparques --
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Todas las estaciones estaban apiñadas
al centro del mapa,
00:47
the stationsestaciones were all crammedabarrotado togetherjuntos
at the centercentrar of the mapmapa,
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00:50
and out in the peripheryperiferia, there were some
that couldn'tno pudo even fitajuste on the mapmapa.
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y había algunas en la periferia
que ni cabían en el mapa.
Así que el mapa era
preciso geográficamente,
00:53
So the mapmapa was geographicallygeográficamente accuratepreciso,
but maybe not so usefulútil.
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pero quizás no tan útil.
Entra Harry Beck.
00:58
EnterEntrar HarryAcosar BeckArroyo.
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Harry Beck era un delineante
de ingeniería, de 29 años,
00:59
HarryAcosar BeckArroyo was a 29-year-old-edad
engineeringIngenieria draftsmandibujante
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que había estado trabajando
interrumpidamente
01:03
who had been workingtrabajando on and off
for the LondonLondres UndergroundSubterráneo.
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para el metro de Londres.
01:06
And he had a keyllave insightvisión,
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Y él tuvo una idea clave: a la gente
que viaja en trenes subterráneos
01:07
and that was that people
ridingequitación undergroundsubterráneo in trainstrenes
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no le importa mucho lo que está pasando
sobre el nivel de la tierra.
01:11
don't really carecuidado
what's happeningsucediendo abovegroundsobre el suelo.
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01:13
They just want to get
from stationestación to stationestación --
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Quieren ir de estación
a estación, nada más:
01:16
"Where do I get on? Where do I get off?"
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"¿Dónde subo? ¿Dónde bajo?"
Es el sistema que importa,
no la geografía.
01:18
It's the systemsistema that's importantimportante,
not the geographygeografía.
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Beck tomó ese lío de espaguetis
01:21
He's takentomado this complicatedComplicado
messlío of spaghettiespaguetis,
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y lo simplificó.
01:24
and he's simplifiedsimplificado it.
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Las líneas solo van en tres direcciones:
01:25
The lineslíneas only go in threeTres directionsdirecciones:
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son horizontales, verticales,
o de 45 grados.
01:27
they're horizontalhorizontal, they're verticalvertical,
or they're 45 degreesgrados.
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Asimismo, él repartió las estaciones
de manera uniforme,
01:31
LikewiseIgualmente, he spacedespaciado the stationsestaciones equallyIgualmente,
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hizo que el color de cada estación
corresponda al color de la línea
01:34
he's madehecho everycada stationestación colorcolor
correspondcorresponder to the colorcolor of the linelínea,
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y organizó todo en algo que
ya realmente no es un mapa.
01:38
and he's fixedfijo it all
so that it's not really a mapmapa anymorenunca más.
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Es un diagrama,
01:42
What it is is a diagramdiagrama,
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igual que la circuitería,
01:44
just like circuitrycircuitería,
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excepto que la circuitería aquí
no son alambres que conducen electrones,
01:45
exceptexcepto the circuitrycircuitería here
isn't wiresalambres conductingconductible electronselectrones,
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sino tubos que contienen trenes
01:49
it's tubestubos containingconteniendo trainstrenes
conductingconductible people from placelugar to placelugar.
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que llevan a la gente de un lugar a otro.
En 1933, se decidió, por fin,
01:53
In 1933, the UndergroundSubterráneo decideddecidido, at last,
to give HarryAcosar Beck'sBeck's mapmapa a try.
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darle una oportunidad
al mapa de Harry Beck.
01:59
The UndergroundSubterráneo did a testprueba runcorrer
of a thousandmil of these mapsmapas, pocket-sizetamaño de bolsillo.
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Hicieron una prueba con miles
de estos planos de tamaño de bolsillo.
Desaparecieron en una hora.
02:02
They were goneido in one hourhora.
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Sabían que tenían buena idea.
02:04
They realizeddio cuenta they were ontosobre something,
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Imprimieron 750 000 más.
02:05
they printedimpreso 750,000 more,
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Y este es el mapa que ven hoy.
02:08
and this is the mapmapa that you see todayhoy.
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El diseño de Beck de verdad
se convirtió en la plantilla
02:10
Beck'sBeck's designdiseño really becameconvirtió the templatemodelo
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02:13
for the way we think of metrometro mapsmapas todayhoy.
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de cómo pensamos de un plano de metro hoy.
Tokio, París, Berlín, São Paulo,
Sídney, Washington, D.C...
02:15
TokyoTokio, ParisParís, BerlinBerlina, São PauloPaulo,
SydneySydney, WashingtonWashington, D.C. --
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todos sus planos convierten
la geografía compleja
02:20
all of them convertconvertir complexcomplejo geographygeografía
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02:23
into crispcrujiente geometrygeometría.
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en geometría nítida,
todos emplean diferentes colores
para distinguir entre las líneas,
02:25
All of them use differentdiferente colorscolores
to distinguishdistinguir betweenEntre lineslíneas,
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todos usan símbolos sencillos para
distinguir entre tipos de estaciones.
02:28
all of them use simplesencillo symbolssímbolos
to distinguishdistinguir betweenEntre typestipos of stationsestaciones.
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Todos son parte de un lenguaje
universal, según parece.
02:32
They all are partparte
of a universaluniversal languageidioma, seeminglyaparentemente.
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02:35
I betapuesta HarryAcosar BeckArroyo wouldn'tno lo haría have knownconocido
what a userusuario interfaceinterfaz was,
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Apuesto a que Harry Beck no habría sabido
lo que era una interfaz de usuario,
pero en realidad eso es lo que diseñó.
02:39
but that's really what he designeddiseñado
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02:41
and he really tooktomó that challengereto
and brokerompió it down to threeTres principlesprincipios
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Y asumió el reto y lo descompuso
en tres principios
que yo creo que pueden aplicarse
a casi cualquier problema de diseño.
02:45
that I think can be appliedaplicado
in nearlycasi any designdiseño problemproblema.
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02:47
First one is focusatención.
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El primero es el enfoque:
02:49
FocusAtención on who you're doing this for.
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enfocarse en para quién es el proyecto.
02:51
The secondsegundo principleprincipio is simplicitysencillez.
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El segundo principio es la simplicidad:
¿Cuál es la manera más eficaz
de resolver el problema?
02:53
What's the shortestmás corto way
to deliverentregar that need?
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02:56
FinallyFinalmente, the last thing is:
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Y finalmente, lo último es:
pensar de una manera interdisciplinaria.
02:58
ThinkingPensando in a cross-disciplinaryinterdisciplinario way.
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03:00
Who would'vehabría thought
that an electricaleléctrico engineeringeniero
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¿Quién habría pensado
que un ingeniero eléctrico
03:03
would be the personpersona to holdsostener the keyllave
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sería la persona que tendría
la clave para descifrar
03:05
to unlockdesbloquear what was then one of the mostmás
complicatedComplicado systemssistemas in the worldmundo --
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lo que entonces era uno de los sistemas
más complicados del mundo?
03:10
all startedempezado by one guy
with a pencillápiz and an ideaidea.
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Y todo empezó con un hombre
con un lápiz y una idea.
Translated by Camille Martínez
Reviewed by Sebastian Betti

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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