Here's another unofficial tube map that might be better than the real thing

Another amateur designer takes on the tube map. Image:

Oh hey, so, apparently we're not the only ones who've got the hump about the poor quality of London's new tube map. Yesterday, we received an email from Jug Cerović, a Belgrade-born and Paris-based architect and designer, which included the following:

...I must say I fully agree with you on the poor legibility of the new map.

You see? We're thought leaders round here.

I am also very happy that you have featured Sameboat's map from  Skyscrapercity/Wikimedia. [It shows] that map drawing is not any more the personal monopoly of a few administrative bodies.

And then, to prove his point, he attached a map of his own.

In places, Cerović's map, even more than Sameboat’s effort, departs radically from the Transport for London design we’re all used to. In the suburbs, it throws geographical accuracy to the winds to an extent that would make even Harry Beck shudder.

And yet, for all that, in terms of legibility and aesthetics, it’s actually rather good.

In the centre of town, the map, while stylised, stays relatively true to physical geography. Note the presence of Hyde Park, for example, or the way you can now see that Paddington is quite near to Lancaster Gate (something TfL has always preferred to keep secret).

Further out, though, the map abandons geography entirely, allowing the map to stay compact while keeping lines quite evenly spaced. So, for example, lines that head broadly east now take a sudden right angle towards the top of the map:

You'll recall that we had a number of complaints about TfL’s latest effort. One was that it made no effort to distinguish between lines that run every two minutes, and ones that run twice an hour. Another was that it was uses a hideous white/grey two-tone background to represent the fare zones. Another was that parts of it were now so cramped that it was just plain ugly.

Cerović's effort sidesteps some of these problems. The zonal map has been replaced by tiny numbers next to station names:

And less frequent parts of the network appear in less vibrant pastel shades, so that the eye is more likely to skip over them. That includes the Overground, and (something absent from the standard map) the main rail links to London’s airports:

Different DLR routes are shown in different colours, based on their northern or western terminals. (The Stratford and Tower Gateway colours are a bit similar, mind.)

The map's even been designed so you can drop Crossrail in without ruining everything:

There are things we're still not nuts about. The various Overground lines are still all in one colour, which gets a bit confusing in places.

And the use of pastel colours to represent entire networks can be a bit misleading: far more trains serve most of the inner sections of the Overground than do some of the outer reaches of the tube.

Once again, though, it's hard to avoid the feeling that more thought has gone into this amateur map than has gone into TfL's official one for a very long time.

You can see more of Cerović's map on his website, here.

If you have a metro map you'd like CityMetric to publish as part of our never ending, self-indulgent search for viral traffic, then email Jonn.Elledge@CityMetric.com.

 
 
 
 

The smartphone app placing virtual statues of women on the map

A virtual Edith Wharton in Central Park, New York City. Image: The Whole Story Project.

If you’re a woman, then in order for you to be immortalised in stone, bronze or whatever once you’ve shuffled off this mortal coil, you should either have royal blood or be willing to be sculpted naked. That is the rule of thumb.

A statue that actually celebrates a woman’s achievements is a rare sight. Writing in the New Statesman last year, equality campaigner Caroline Criado-Perez found that out of 925 statues in Britain, as listed by the Public Monuments and Sculpture Association, only 158 are of solo women. Of these, 46 are of royalty, including 29 of Queen Victoria. Fourteen depict the Virgin Mary.

There are signs of change, albeit slow. The suffragist Millicent Fawcett is set to be honoured with a statue in Parliament Square, where currently all 11 of the statues are of men. (They include Nelson Mandela and a nine-foot Gandhi.) The monument is to be unveiled next year to celebrate the centenary of British women receiving the right to vote.

Elsewhere, the late comedian Victoria Wood is being honoured with a statue that’ll be erected in Bury, Greater Manchester. In the Moss Side area of the city, a statue of Emmeline Pankhurst will be unveiled in 2019. Unlike the Fawcett one, neither of these is expected to receive public money, relying on crowdfunding and other sources instead.

So how many more statues of women, regardless of how they’re funded, would we need to build in order to reduce the gender gap? Well, according to Jonathan Jones, art critic at the Guardian, the magic number is: zero.

Jones’s argument, back in March, was that building statues doesn’t advance feminism, but simply traps us in the past. He wrote:

Statues don’t hold public memory. They politely bury it. These well-meaning images melt into the background scenery of our lives.

Whether this is empirically true is questionable, but it’s true that we tend not to erect them as often as we used to anyway. This is partly because there is less space available for such monuments – a noticeable disadvantage cities of the present have compared to those of the past. In order to reduce the imbalance, statues of men would probably have to be removed; many would no doubt be okay with that, but it would mean erasing history.

One partial answer to the problem is augmented reality. It can’t close the gender gap, but it could shine a spotlight on it.

To that end, an advertising agency in New York launched an app at the beginning of May. The Whole Story allows users to place virtual statues of women on a map; other uses can then view and find out more about the individuals depicted at their real-world locations, using their smartphone cameras.


Currently, users have to upload their own virtual statues using 3D-modelling software. But going forward, the project aims for an open collaboration between designers, developers and organisations, which it hopes will lead to more people getting involved.

Contributions submitted so far include a few dozen in New York, several in Washington and one of Jane Austen in Hyde Park. There are others in Italy and the Czech Republic.

Okay, it’s an app created by a marketing firm, but there are legitimate arguments for it. First, the agency’s chief creative office has herself said that it’s important to address the gender imbalance in a visual way in order to inspire current and future generations: you can’t be what you can’t see, as the saying going.

Second, if the physical presence of statues really is diminishing and they don’t hold public memory, as Jones argues, then smartphones could bridge the gap. We live our lives through our devices, capturing, snapping and storing moments, only to forget about them but then return to and share them at a later date. These memories may melt away, but they’ll always be there, backed up to the cloud even. If smartphones can be used to capture and share the message that a gender imbalance exists then that’s arguably a positive thing.  

Third, with the success of Pokemon Go, augmented reality has shown that it can encourage us to explore public spaces and heighten our appreciation for architectural landmarks. It can also prove useful as a tool for learning about historical monuments.

Of course no app will replace statues altogether. But at the very least it could highlight the fact that women’s achievements are more than just sitting on a throne or giving birth to the son of God.

Rich McEachran tweets as @richmceachran.

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