To achieve this, a modern logical system was created that has proved stylistically ageless with functionality and aesthetics equally balanced, enabling passengers to not only make visual sense of their isolated subterranean journey, but also importantly to memorise it. Duncan Hull Seven steps to heavenīeck understood that his aim was a conceptual diagram, where the clear purpose of ease of navigation to destination was crucial, but above ground features were not. Prior to Beck’s version, London Underground map, 1908. Stingemore’s map released one year earlier, that whilst geographically accurate, lacked the ease of connection across the system and was as difficult to navigate as a plate of spaghetti. The innovation of this is evident when comparing Beck’s initial diagram to F.H. The conceptual shift from map to diagram essentially created an ease of navigation and connection through graphic rationalisation rather than the tradition of geographic accuracy. It can be claimed that Beck’s career as an electrical draftsman influenced his design by enabling him to perceive of the individual rail lines as wires, the interchange stations as connectors and to conceive of the entire network as an integrated and interconnected diagrammatic system much like an electrical circuit board.īeck’s desire to create a “ common sense device” relied upon simplification, legibility and ease of use by not only the local population, but also its constant influx of visitors. For the last 81 years it has formed the basis of all London Underground diagrams, and despite the expansion of the network to accommodate double the lines than the original seven that Beck designed for, the original design has enabled adaptation to occur without significant compromise. Reconsidered by London Underground a year later, the design was bought for a small sum (reputedly between 5-10 guineas) and publicly released in 1933. Henry Beck’s map design in 1933 for London Underground. Technically it could be claimed that the term “underground” is also erroneous, with 55% of the network’s 270 stations and 402km of track being above, not underground. In understanding its design, the first thing to realise is that its popular description as “The Underground Map” is misleading, for it is actually a diagram (or schematic), not a map. But its impact beyond its original setting should also be considered as a factor, for despite its humble beginnings, it can undoubtedly claim to have influenced information design on a global scale. ![]() Certainly the fact that it has stood the test of time through its adaptability, and its ease of use are factors in its success. The London Underground map is a classic design – however, probably few people question why. In evaluating innovation it is often difficult to comprehend the quantum leap certain designs made when first created, when in their continued use they are so ubiquitous and accepted as part of the visual culture of everyday life. What makes a design “classic”? That it stands the test of time through continued use, critical recognition and popular approval? Or is it simply that its vision and innovation results in it being regarded as the basis or benchmark for all future designs?
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