London's Tube map is a masterpiece of abstraction, abandoning accuracy to create a more easily-navigated mental map of the city. Designed by Harry Beck in 1931, the diagrammatic format has changed little, even in the stylistic details, since then. Occasionally a designer attempts a more realistic plan, but the results only add confusion proportionate to London's demented geography.
Mark Noad's revision, however, is a weirdly convincing blend. It uses Beck's design fundamentals–the long straight lines and equidistant stations–but gently deforms them to hint at, if not adhere to, the true lay of the land. I dare say that I prefer it. Except the font. That font is wrong.
From Noad's blog:
The debate about the meaning and purpose of design is an important one, in particular the relationship between the 'product' and the user and how a graphic (map/diagram/whatever) can help/hinder someone in their decisions. Future updates of the map will add to this debate as we explore ways to access more information through the website and app.
There's something almost sinister about how good it is, like an artifact from a parallel universe where Beck had a nice long early lunch that day.
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The year 2020 has basically kicked down that door and dragged us all into the Zoom age, whether we like it or not. And now that we're basically inviting our boss, co-workers and other business associates into our homes via video, we've unwittingly stumbled into all kinds of new potential for embarrassment. Like when you're […]