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: Le génie du plan du métro de Londres

Filmed:
1,052,555 views

La légende du design Michael Bierut raconte l'histoire du succès accidentel de l'un des plans les plus importants du monde : le plan du métro 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 historyhistoire of civilizationcivilisation,
in some waysfaçons, is a historyhistoire of mapscartes:
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L'histoire de la civilisation
est une histoire de cartes :
00:16
How have we come to understandcomprendre
the worldmonde around us?
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comment avons-nous compris
le monde qui nous entoure ?
00:19
One of the mostles plus famouscélèbre mapscartes workstravaux
because it really isn't a mapcarte at all.
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Une des cartes
les plus célèbres fonctionne
car ce n'est pas du tout une carte.
00:23
[SmallPetit thing. BigGros ideaidée.]
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[Petite chose. Grande idée.]
00:27
[MichaelMichael BierutBierut on
the LondonLondres TubeTube MapCarte]
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[Michael Bierut au sujet
du plan du métro de Londres]
00:29
The LondonLondres UndergroundUnderground
camevenu togetherensemble in 1908,
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Le métro de Londres a pris forme en 1908,
00:32
when eighthuit differentdifférent
independentindépendant railwayschemins de fer mergedfusionné
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lorsque huit voies ferrées
indépendantes ont fusionné
00:35
to createcréer a singleunique systemsystème.
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pour créer un seul système.
00:37
They needednécessaire a mapcarte to representreprésenter that systemsystème
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Il fallait un plan
pour représenter ce système
00:39
so people would know where to ridebalade.
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afin que les gens sachent où aller.
00:41
The mapcarte they madefabriqué is complicatedcompliqué.
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Le plan qu'ils ont créé était compliqué.
00:44
You can see riversrivières,
bodiescorps of watereau, treesdes arbres and parksles parcs --
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On y voit les rivières,
les plans d'eau, les arbres, les parcs --
00:47
the stationsstations were all crammedentassé togetherensemble
at the centercentre of the mapcarte,
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les stations étaient toutes
resserrées au milieu du plan
00:50
and out in the peripherypériphérie, there were some
that couldn'tne pouvait pas even fiten forme on the mapcarte.
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et à la périphérie, il y en avait
qui n'étaient même pas sur le plan.
Le plan était géographiquement correct
mais peut-être pas si utile.
00:53
So the mapcarte was geographicallysur le plan géographique accurateprécis,
but maybe not so usefulutile.
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00:58
EnterEntrez HarryHarry BeckBeck.
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Arrive Harry Beck.
00:59
HarryHarry BeckBeck was a 29-year-old-Age
engineeringingénierie draftsmanRapporteur pour avis
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Harry Beck a 29 ans
et est dessinateur industriel.
01:03
who had been workingtravail on and off
for the LondonLondres UndergroundUnderground.
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Il a travaillé par intermittence
pour le métro de Londres.
01:06
And he had a keyclé insightperspicacité,
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Il avait une idée clé :
01:07
and that was that people
ridingéquitation undergroundsouterrain in trainsles trains
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les gens empruntant le métro
01:11
don't really carese soucier
what's happeningévénement abovegroundhors sol.
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se fichent un peu
de ce qu'il se passe à la surface.
01:13
They just want to get
from stationgare to stationgare --
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Ils veulent juste aller
d'une station à une autre --
01:16
"Where do I get on? Where do I get off?"
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« Je monte où et je descends où ? »
01:18
It's the systemsystème that's importantimportant,
not the geographygéographie.
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C'est le système qui importe,
pas la géographie.
01:21
He's takenpris this complicatedcompliqué
messdésordre of spaghettispaghetti,
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Il a pris ce plat de spaghettis
compliqué et chaotique
01:24
and he's simplifiedsimplifié it.
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et l'a simplifié.
01:25
The lineslignes only go in threeTrois directionsdirections:
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Les lignes vont dans trois directions :
01:27
they're horizontalhorizontal, they're verticalverticale,
or they're 45 degreesdegrés.
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horizontalement, verticalement
ou avec un angle de 45 degrés.
01:31
LikewiseDe même, he spacedespacées de the stationsstations equallyégalement,
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Il a également espacé
les stations de la même façon,
01:34
he's madefabriqué everychaque stationgare colorCouleur
correspondcorrespondent to the colorCouleur of the lineligne,
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la couleur de chaque station
correspond à la couleur de la ligne
01:38
and he's fixedfixé it all
so that it's not really a mapcarte anymoreplus.
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et il a tout arrangé pour que ce ne soit
plus vraiment un plan.
01:42
What it is is a diagramdiagramme,
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C'est un diagramme,
01:44
just like circuitrycircuits,
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comme un circuit,
01:45
exceptsauf the circuitrycircuits here
isn't wiresfils conductingconduire electronsélectrons,
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sauf que le circuit ne contient pas
des câbles conducteurs d'électrons
01:49
it's tubestubes containingcontenant trainsles trains
conductingconduire people from placeendroit to placeendroit.
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mais des tunnels de métro
avec des trains conduisant des gens
d'un endroit à un autre.
01:53
In 1933, the UndergroundUnderground decideddécidé, at last,
to give HarryHarry Beck'sBeck mapcarte a try.
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En 1933, la compagnie
de métro a enfin décidé
de laisser sa chance au plan d'Henry Beck.
01:59
The UndergroundUnderground did a testtester runcourir
of a thousandmille of these mapscartes, pocket-size-format de poche.
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Le métro a fait un essai
avec mille plans, format de poche.
02:02
They were gonedisparu in one hourheure.
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Ils sont partis en une heure.
02:04
They realizedréalisé they were ontosur something,
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Ils ont réalisé être sur un gros coup,
02:05
they printedimprimé 750,000 more,
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en ont imprimé 750 000 autres
02:08
and this is the mapcarte that you see todayaujourd'hui.
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et c'est le plan
que vous voyez aujourd'hui.
02:10
Beck'sBeck designconception really becamedevenu the templatemodèle
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Le dessin de Beck est devenu le modèle
02:13
for the way we think of metroMétro mapscartes todayaujourd'hui.
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de notre vision actuelle
des plans de métro.
02:15
TokyoTokyo, ParisParis, BerlinBerlin, São PauloPaulo,
SydneySydney, WashingtonWashington, D.C. --
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Tokyo, Paris, Berlin, São Paulo,
Sydney, Washington --
02:20
all of them convertconvertir complexcomplexe geographygéographie
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ils convertissent tous
une géographie complexe
02:23
into crispCrisp geometrygéométrie.
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en une impeccable géométrie.
02:25
All of them use differentdifférent colorscouleurs
to distinguishdistinguer betweenentre lineslignes,
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Ils utilisent des couleurs différentes
pour distinguer les lignes,
02:28
all of them use simplesimple symbolssymboles
to distinguishdistinguer betweenentre typesles types of stationsstations.
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ils utilisent des symboles simples
pour distinguer les types de stations.
02:32
They all are partpartie
of a universaluniversel languagela langue, seeminglyapparemment.
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Ils semblent tous faire partie
d'un langage universel.
02:35
I betpari HarryHarry BeckBeck wouldn'tne serait pas have knownconnu
what a userutilisateur interfaceinterface was,
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Je parie que Henry Beck ne savait pas
ce qu'était une interface utilisateur,
02:39
but that's really what he designedconçu
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mais c'est ce qu'il a conçu
02:41
and he really tooka pris that challengedéfi
and brokecassé it down to threeTrois principlesdes principes
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et il a relevé le défi
et l'a divisé en trois principes
02:45
that I think can be appliedappliqué
in nearlypresque any designconception problemproblème.
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applicables à presque
tout problème de conception.
02:47
First one is focusconcentrer.
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Un : la concentration.
02:49
FocusMise au point on who you're doing this for.
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Se concentrer sur la cible.
02:51
The secondseconde principleprincipe is simplicitysimplicité.
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Deux : la simplicité.
02:53
What's the shortestle plus court way
to deliverlivrer that need?
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Quelle est la voie la plus courte
pour répondre à ce besoin ?
02:56
FinallyEnfin, the last thing is:
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Pour finir :
02:58
ThinkingPensée in a cross-disciplinaryinterdisciplinaire way.
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une pensée pluridisciplinaire.
03:00
Who would'veaurais thought
that an electricalélectrique engineeringénieur
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Qui aurait pensé
qu'un ingénieur électricien
03:03
would be the personla personne to holdtenir the keyclé
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serait la personne qui détiendrait la clé
03:05
to unlockdéverrouiller what was then one of the mostles plus
complicatedcompliqué systemssystèmes in the worldmonde --
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pour déverrouiller ce qui était
l'un des systèmes
les plus complexes au monde ?
03:10
all startedcommencé by one guy
with a pencilcrayon and an ideaidée.
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Tout a commencé avec un gars
avec un crayon et une idée.
Translated by Morgane Quilfen
Reviewed by eric vautier

▲Back to top

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

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