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: O gênio do mapa do metrô de Londres

Filmed:
1,052,555 views

A lenda do design Michael Bierut conta a história do sucesso acidental de um dos mapas mais famosos do mundo - o mapa do metrô 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 history of civilization,
in some ways, is a history of maps:
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A história da civilização, de certo modo,
é uma história de mapas:
00:16
How have we come to understand
the world around us?
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como chegamos a entender
o mundo ao nosso redor?
00:19
One of the most famous maps works
because it really isn't a map at all.
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Um dos mapas mais famosos funciona
porque, na verdade, não é um mapa.
00:23
[Small thing. Big idea.]
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[Pequena coisa. Grande ideia.]
[Michael Bierut fala sobre
o mapa do metrô de Londres]
00:27
[Michael Bierut on
the London Tube Map]
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00:29
The London Underground
came together in 1908,
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O metrô de Londres surgiu em 1908,
quando oito ferrovias diferentes
e independentes se uniram
00:32
when eight different
independent railways merged
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00:35
to create a single system.
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para criar um único sistema.
00:37
They needed a map to represent that system
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Era necessário um mapa
pra representar esse sistema
00:39
so people would know where to ride.
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pra que as pessoas soubessem aonde ir.
00:41
The map they made is complicated.
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O mapa que foi feito é complicado.
00:44
You can see rivers,
bodies of water, trees and parks --
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Podemos ver rios, corpos hídricos,
árvores, parques,
00:47
the stations were all crammed together
at the center of the map,
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as estações amontoadas no centro do mapa,
00:50
and out in the periphery, there were some
that couldn't even fit on the map.
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e na periferia, havia estações
que nem poderiam ser incluídas nele.
O mapa era geograficamente preciso,
mas talvez não tão útil.
00:53
So the map was geographically accurate,
but maybe not so useful.
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00:58
Enter Harry Beck.
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Aí chega Harry Beck,
00:59
Harry Beck was a 29-year-old
engineering draftsman
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um engenheiro projetista de 29 anos
que fazia trabalhos esporádicos
para o metrô de Londres.
01:03
who had been working on and off
for the London Underground.
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Ele teve uma visão importante:
01:06
And he had a key insight,
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as pessoas que usavam trens subterrâneos
01:07
and that was that people
riding underground in trains
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não se importavam nem um pouco
com o que acontecia na superfície.
01:11
don't really care
what's happening aboveground.
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01:13
They just want to get
from station to station --
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Elas só queriam ir de uma estação à outra:
"Onde eu entro?", "Onde eu saio?"
01:16
"Where do I get on? Where do I get off?"
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01:18
It's the system that's important,
not the geography.
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É o sistema que importa, não a geografia.
01:21
He's taken this complicated
mess of spaghetti,
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Ele pegou essa confusão complicada
de "espaguete", e a simplificou.
01:24
and he's simplified it.
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As linhas seguem apenas três direções:
01:25
The lines only go in three directions:
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horizontal, vertical ou 45 graus.
01:27
they're horizontal, they're vertical,
or they're 45 degrees.
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01:31
Likewise, he spaced the stations equally,
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Do mesmo modo, ele espaçou
as estações igualmente,
01:34
he's made every station color
correspond to the color of the line,
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e fez com que todas as cores da estação
correspondessem à cor da linha,
01:38
and he's fixed it all
so that it's not really a map anymore.
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e ele coordenou tudo, de modo
que o mapa não é mais um mapa,
01:42
What it is is a diagram,
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mas sim um diagrama,
01:44
just like circuitry,
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como se fossem circuitos,
01:45
except the circuitry here
isn't wires conducting electrons,
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só que os circuitos aqui
não são fios conduzindo elétrons,
01:49
it's tubes containing trains
conducting people from place to place.
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mas tubos contendo trens conduzindo
pessoas de um lugar a outro.
Em 1933, o Metrô decidiu, finalmente,
dar uma chance ao mapa de Harry Beck.
01:53
In 1933, the Underground decided, at last,
to give Harry Beck's map a try.
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01:59
The Underground did a test run
of a thousand of these maps, pocket-size.
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O Metrô fez um teste com mil desses mapas,
que coubessem no bolso.
Eles desapareceram em uma hora.
02:02
They were gone in one hour.
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Perceberam então que estava
dando certo, imprimiram mais 750 mil,
02:04
They realized they were onto something,
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02:05
they printed 750,000 more,
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02:08
and this is the map that you see today.
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e este é o mapa que vemos hoje.
02:10
Beck's design really became the template
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O desenho de Beck
realmente se tornou o modelo
02:13
for the way we think of metro maps today.
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do que imaginamos ser mapas de metrô hoje.
02:15
Tokyo, Paris, Berlin, São Paulo,
Sydney, Washington, D.C. --
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Tóquio, Paris, Berlim, São Paulo,
Sydney, Washington, D. C.,
02:20
all of them convert complex geography
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todos convertem geografia
complexa em geometria nítida.
02:23
into crisp geometry.
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02:25
All of them use different colors
to distinguish between lines,
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Todos os mapas usam cores diferentes
para distinguir as linhas,
02:28
all of them use simple symbols
to distinguish between types of stations.
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todos usam símbolos simples
para distinguir os tipos de estações,
02:32
They all are part
of a universal language, seemingly.
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e todos fazem parte de uma linguagem
universal, aparentemente.
02:35
I bet Harry Beck wouldn't have known
what a user interface was,
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Aposto que Harry Beck não sabia
o que era uma interface de usuário,
mas foi exatamente isso que projetou,
02:39
but that's really what he designed
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e ele aceitou aquele desafio
e o dividiu em três princípios,
02:41
and he really took that challenge
and broke it down to three principles
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que podem ser aplicados em quase
qualquer problema de design.
02:45
that I think can be applied
in nearly any design problem.
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Primeiro: foco.
02:47
First one is focus.
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02:49
Focus on who you're doing this for.
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Concentre-se em para quem
você está fazendo isso.
02:51
The second principle is simplicity.
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O segundo princípio é a simplicidade.
02:53
What's the shortest way
to deliver that need?
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Qual é o caminho mais curto
para satisfazer essa necessidade?
02:56
Finally, the last thing is:
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E a última coisa é:
02:58
Thinking in a cross-disciplinary way.
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pensar de modo interdisciplinar.
03:00
Who would've thought
that an electrical engineer
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Quem teria pensado
que um engenheiro elétrico
03:03
would be the person to hold the key
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seria a pessoa que seguraria a chave
03:05
to unlock what was then one of the most
complicated systems in the world --
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para destravar o que era, então, um dos
sistemas mais complicados do mundo?
03:10
all started by one guy
with a pencil and an idea.
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Tudo começou com um cara,
um lápis e uma ideia.
Translated by Maricene Crus
Reviewed by Carolina Aguirre

▲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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