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

مایکڵ بیروت: نەخشە بلیمەتەکەی میترۆکانی لەندەن

Filmed:
1,052,555 views

(مایکڵ بیروت) ئەفسانەی دیزاین چیرۆکی پێشکەشکردنی یەکێک لە بەناوبانگترین نەخشەکان لە جیهاندا دەگێڕێتەوە _نەخشەی میترۆکان لە لەندەن.
- 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 history of civilization,
in some ways, is a history of maps:
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مێژوی شارستانیەت،
زۆربەی کات :مێژوی نەخشەکانە،
00:16
How have we come to understand
the world around us?
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چۆن لەو جیهانە تێبگەین کە لە دەوروبەرمانە؟
یەکێک لە بەناوبانگترین نەخشە بەر دەستەکان
لە ڕاستیدا نەخشە نییە.
00:19
One of the most famous maps works
because it really isn't a map at all.
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00:23
[Small thing. Big idea.]
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[شتێکی بچووک. بۆچوونێکی گەورە.]
00:27
[Michael Bierut on
the London Tube Map]
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[دەربارەی نەخشەی
لەندەن لەگەڵ مایکڵ بیروت]
00:29
The London Underground
came together in 1908,
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میترۆی لەندەن لە ساڵی 1908 دیزاین کراوە ،
00:32
when eight different
independent railways merged
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کاتێک هەشت سکەی ئاسن پێکەوە بەستران
00:35
to create a single system.
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بۆ پێکهێنانی یەک سیستەم.
پێویستیان بە نەخشەیەک بوو بۆ
وێناکردنی ئەو سیستەمە
00:37
They needed a map to represent that system
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00:39
so people would know where to ride.
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تا خەڵکی بزانن لە کوێ سەر دەکەون.
00:41
The map they made is complicated.
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ئەو نەخشەیەی دیزاین کرابوو ئاڵۆز بوو.
00:44
You can see rivers,
bodies of water, trees and parks --
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دەتتوانی ڕووبارەکان،
دارەکان و پاڕکەکان ببینیت،
00:47
the stations were all crammed together
at the center of the map,
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وێستگەکان هەموو لە
ناوەڕاستی نەخشەکەدا بوون،
00:50
and out in the periphery, there were some
that couldn't even fit on the map.
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لەلایەکدا هەندێکیان نەیاندەتوانی،
لە نەخشەکەدا شوێنیان ببێتەوە.
00:53
So the map was geographically accurate,
but maybe not so useful.
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بۆیە نەخشەکە لەڕووی جوگرافیانەوە ورد بوو،
بەڵام لەوانەیە بەسود نەبووبێت.
00:58
Enter Harry Beck.
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هاری بیک هاتە ناو باسەکەوە.
00:59
Harry Beck was a 29-year-old
engineering draftsman
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هاری بیک وێنەکێشی ئەندازیاری بوو
لە تەمەنی ٢٩ ساڵیدا
01:03
who had been working on and off
for the London Underground.
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بەشێوەیەکی ناڕێک
لە میترۆی لەندەن کاری دەکرد.
01:06
And he had a key insight,
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بیرۆکەیەکی لا دروست بوو
01:07
and that was that people
riding underground in trains
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ئەویش ئەوەیە خەڵکی لە کوێ
دەتوانن سواری میترۆکان ببن
01:11
don't really care
what's happening aboveground.
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بۆیەش گرینگی بەوە نادەن زەوی چی بەسەر دێت.
01:13
They just want to get
from station to station --
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تەنیا دەیانەوێ لە وێستگەیەکەوە
بڕۆنە وێستگەیەکی تر--
01:16
"Where do I get on? Where do I get off?"
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"لەکوێ دەتوانم سەرکەوم؟ لەکوێ دابەزم؟''
01:18
It's the system that's important,
not the geography.
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سیستەمەکە گرنگ بوو نەک جوگرافیا.
01:21
He's taken this complicated
mess of spaghetti,
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بۆیە ئەو ئەو نەخشە ئاڵۆزەی هەڵگرت
کە وەک سپاگێتی بوو،
01:24
and he's simplified it.
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و سادەی کردەوە.
01:25
The lines only go in three directions:
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بەجۆرێک هێڵەکان بە سێ ئاڕاستەدا دەڕۆشتن:
01:27
they're horizontal, they're vertical,
or they're 45 degrees.
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بە شێوەی ستونی، یان ئاسۆی،
یانیش بە گۆشەی 45.
01:31
Likewise, he spaced the stations equally,
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و هەستا بە دابەشکردنی،
وێستگەکان بەپێی توانا،
01:34
he's made every station color
correspond to the color of the line,
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و هەستا بە دروستکردنی ڕەنگی وێستگەکە
کە بگونجێت لەگەڵ ڕەنگی هێڵەکە،
01:38
and he's fixed it all
so that it's not really a map anymore.
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و هەمووی جێگیرکرد بەجۆرێک لە
نەخشەیی کەوت.
01:42
What it is is a diagram,
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هێڵکاری بیانی،
01:44
just like circuitry,
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ڕێک وەک سوڕی کارەبا،
01:45
except the circuitry here
isn't wires conducting electrons,
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جگە لە چەرخەکان کە وایەر نەمان
کە ئەلکترۆنەکان دروست بکات،
01:49
it's tubes containing trains
conducting people from place to place.
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بەڵکو بۆری کە میتڕۆکانی لە خۆدەگرت
بۆ ڕۆشتن لە شوێنێکەوە بۆ شوێنێکی تر.
01:53
In 1933, the Underground decided, at last,
to give Harry Beck's map a try.
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لە 1993، سەبوای هات، لە کۆتاییدا،
هاری کاتی تاقیکردنەوەی نەخشەکەی هات.
01:59
The Underground did a test run
of a thousand of these maps, pocket-size.
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میتڕۆ هەزاران تاقیکردنەوەی
لەو نەخشە بچووکانە کرد.
02:02
They were gone in one hour.
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لەیەک کاتژمێردا ڕۆیشتن.
02:04
They realized they were onto something,
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بۆیان دەرکەوت کە لە
دۆزینەوەی شتێک نزیکن،
02:05
they printed 750,000 more,
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زیاتر لە ٧٥٠٠٠٠ دانەیان لێ چاپ کرد،
02:08
and this is the map that you see today.
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ئەمە ئەو نەخشەیە کە ئەمڕۆ دەیبینیت.
02:10
Beck's design really became the template
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دیزاینەکەی بیک بوو بە مۆدێلی ڕاستەقینە
02:13
for the way we think of metro maps today.
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تێڕوانینمان بۆ نەخشەی میترۆی سەردەمە.
02:15
Tokyo, Paris, Berlin, São Paulo,
Sydney, Washington, D.C. --
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تۆکیۆ، پاریس، بەرلین، ساوپاولۆ،
سیدنی، واشنتۆنی پایتەخت،
02:20
all of them convert complex geography
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هەموویان جوگرافیایەکی ئاڵۆزیان هەیە
02:23
into crisp geometry.
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بۆ تەلارسازی سەرەنجراکێش.
02:25
All of them use different colors
to distinguish between lines,
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هەموویان ڕەنگی جیاواز بەکاردێنن
بۆ جیاکردنەوە لە نێوان هێڵەکان،
02:28
all of them use simple symbols
to distinguish between types of stations.
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و هەموویان کۆدی سادە بەکاردێنن
بۆ جیاکردنەوە لە جۆری وێستگەکان.
02:32
They all are part
of a universal language, seemingly.
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وەک ئەوەی دیارە ئەوانە هەموویان
بەشێکن، لە زمانێکی جیهانیی.
02:35
I bet Harry Beck wouldn't have known
what a user interface was,
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گرەو دەکەم کە هاری بێک نەیدەزانی
ڕووە بەکارهێنراوەکە چییە،
02:39
but that's really what he designed
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بەڵام بەڕاستی ئەوەی دیزاین کرد
02:41
and he really took that challenge
and broke it down to three principles
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بەڕاستی ئەم پێشبڕکێیەی کرد
و دابەشی کرد بۆ سێ بنەما
02:45
that I think can be applied
in nearly any design problem.
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پێم وایە دەتوانرێت لە هەر کێشەیەکی
دیزاینە جێبەجێ بکرێت.
02:47
First one is focus.
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یەکەمیان وردبوونەوە.
02:49
Focus on who you're doing this for.
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سەرەنج بدە بۆ کێ ئەمە دیزاین دەکەیت.
02:51
The second principle is simplicity.
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دووەم بنەما سادەییە.
02:53
What's the shortest way
to deliver that need?
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کورترین ڕێگە بۆ
پێشکەشکردنی ئەم پێویستیە چییە؟
02:56
Finally, the last thing is:
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کۆتا شت:
02:58
Thinking in a cross-disciplinary way.
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بیرکردنەوە بەشێوەی هەمەچەشنی پسپۆڕی.
03:00
Who would've thought
that an electrical engineer
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کەس ناتوانێت درک بەوە بکات
کە ئەمە تەلارسازێکی کارەباییە
03:03
would be the person to hold the key
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ئەمە ئەو کەسە دەبێت کە کلیلەکەی دەبێت
03:05
to unlock what was then one of the most
complicated systems in the world --
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بۆ کردنەوی ئاڵۆزترین
سیستەم لە جیهاندا لەو کاتە
03:10
all started by one guy
with a pencil and an idea.
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هەموو شتێک دەستی پێکرد لەلایەن یەک
کەسەوە لەگەڵ قەڵەم دارێک و بیرۆکەیەک.
Translated by Rebin Aswad
Reviewed by Koya University

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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