|o|e +

o|o C|.aoe
(Cond Nast Traveler aaz|oe)
Tbe |ntograpblcs Gentleman
[obn Grlmwaoe |s ao||cs o|ecto o Cond Nast Traveler aaz|oe
(baseo |o |e. Yo') aoo |as ||s o.o |ooat|oo ao||cs bos|oess (....
,o|o|.aoe.co). e |as ooooceo |ooao||cs o oe t|ao 30 a-
,o aaz|oes aoo sevea| boo's. 3eoe ov|o to t|e |o|teo States, |e
.o'eo o ++ eas |o oe.soaoes |o |ooooo (|oc|oo|o s| eas as |eao
o ao||cs at The Times). e co-|osts t|e aoooa| |a|oe, 'S|o. |oo't Te||'
|ooao||cs .o's|oo |o |ao|ooa, Soa|o, aoo teac|es |ooat|oo ao||cs
at t|e Sc|oo| o V|soa| /ts |o |ao|attao.
e rst time I crossed paths with John Grimwades work was when I was about
to nish my B.A. in Journalism, in the summer of 1997. I had been oered an in-
ternship in the information graphics desk of La Voz de Galicia, the biggest regional
newspaper in northwestern Spain. As my knowledge of the discipline was minimal,
Manuela Mario and Xoan Gonzlez (father of Xaqun G.V. [Gonzlez Veira], who
you will meet in Prole 3), who led the department at the time, recommended
that I take a look at some Maloej publications. Maloej
1
is the International
1 Visit hp://www.maloej20.com.
10profile01_TFA_r4.indd 212 8/1/12 11:07 PM
Excerpted from The Functional Art: An introduction to information graphics and visualization by Alberto Cairo.
Copyright 2012. Used with permission of Pearson Education, Inc. and New Riders.
Infographics Summit, organized every year by the Spanish chapter of the Society
for News Design. e event includes the most important competition in this eld,
which receives submissions from newspapers and magazines from all over the
world. e winners are showcased in a series of large-format books.
While browsing several of these books, one graphic caught my eye. It was titled
e Transatlantic Superhighway, and it explained the busy ow of ights over
the Northern Atlantic (Figure 10.1). I was enthralled by its elegance and decep-
tive simplicity. My colleagues told me that the piecewhich had won a Silver
Medal at Maloejhad been designed by a certain British maestro named John
Grimwade. Along with Nigel Holmes, Grimwade is the best in this business,
they added with a tone of reverence.
Years later, John and I became friends. He is a true gentleman, one of those pro-
fessionals who are always willing to help rookies (as I was when I met him) with
inexhaustible patience. He has also been a constant source of inspiration for me
and for many others in this industry. In the current era of big data, complex pro-
gramming, and information overload, his visual stylestripped down, precise, and
gracefulis a reminder that good design is not about mastering technology, but
about facilitating clear communication and the understanding of relevant issues.
Q Is it true that the way you produce graphics has not changed much in
the 40 years that you have worked as an information graphics designer?
John Grimwade It is. I started doing information graphics many years before
computers entered newsrooms. When they did, many colleagues said it was a
huge change, but not for me. Maybe our methods of work have shied a bit but
the core principles are exactly the same.
Q What are those core principles?
JG Our main goal should be to tell a story clearly by achieving order and having
some sort of narrative through each graphic. Any project should start by analyz-
ing what your story is about and then nding the best way to tell it by spliing
it up into easily digestible chunks, without losing depth.
When I design a graphic, I try to establish a hierarchy, too. In the planning
stage, one of the rst things I do is to identify the main components of the story
and dene how they are going to be sequenced on the page or on screen.
Prole 1 tbe lntograpblcs gentleman 213
10profile01_TFA_r4.indd 213 8/1/12 11:07 PM
Excerpted from The Functional Art: An introduction to information graphics and visualization by Alberto Cairo.
Copyright 2012. Used with permission of Pearson Education, Inc. and New Riders.
Figure 10.1 Tbe Trans-
atlantlc Superblgbway. Cond
Nast Traveler, 1996, by [obn
Grlmwaoe, wbo eplalns
tbe grapblcs: Tbls ls an
eplanatlon ot tbe system
tbat controls Nlgbts over
tbe Nortbern Atlantlc. A
reporter bao a map ot alr-
tratc control [see Flgure
10.2], but lt was oltcult to
reao. | wanteo to unoerstano
tbe system more tborougbly,
so | maoe contact wltb tbe
beao ot Oceanlc Control
ln Ganoer, Newtounolano.
Amazlngly, tbere were no
vlsuallzatlons avallable ot tbe
system as a olmenslonal ola-
gram. So | tbougbt, wby not
make one? Rougb verslons
went back ano tortb untll we
were botb bappy wltb tbe
grapblc.
c |ztzt|zt|t Sc||Wz

ORGANlZED TRACK SYSTEM

GETTlNG lN LlNE
Iak|ng |nto account a|r||nes'
referred routes, ocean|c
contro||ers at 0ander,
Newfound|and, organ|ze a|rcraft
aroach|ng from d|fferent
d|rect|ons |nto os|t|on for the
4t|ant|c cross|ng. Ih|s f||ght |s
enter|ng the s,stem on track
at 35,000 feet.
l
SAFETY ENVELOPE
4|rcraft must kee m|n|mum
d|stances from one another
|n the track s,stem, wh||e
ma|nta|n|ng constant a|t|tude
and seed.

2
,0
0
0
fe
e
t
3
5
,
0
0
0
3
7
,
0
0
0
3
9
,
0
0
0
3
3
,
0
0
0
3
1
,
0
0
0
F
L
l
G
H
T
L
E
V
E
L
S
(F
E
E
T
}
2
9
,
0
0
0
T
U
V
W
X
6
0
m
lle
s
8
0
m
lle
s
( 1
0
m
ln
.)
8
0
m
lle
s
6
0
m
lle
s
'2!0()#3 BY */(. '2)-7!$%
0 r a h | c s b ,

2
,0
0
0
fe
e
t
'2)-7!$%

the functional art 214

10profile01_TFA_r4.indd 214 8/1/12 11:07 PM
Excerpted from The Functional Art: An introduction to information graphics and visualization by Alberto Cairo.
Copyright 2012. Used with permission of Pearson Education, Inc. and New Riders.
'2)-7!$%
0 r a h | c s b ,

4s a resu|t of assenger demand, t|me

zone d|fferences, and a|rort no|se
restr|ct|ons, North 4t|ant|c a|r traff|c
has two eak f|ows: eastbound, |ear|ng
North 4mer|ca |n the eren|ng, and
westbound, |ear|ng uroe |n the
morn|ng. rer, I2 hours a new track
s,stem |s reared, to a||ow as man,
a|rcraft as oss|b|e to fo||ow the most
econom|ca| f||ght aths. 8ecause of
chang|ng weather cond|t|ons, the track
os|t|ons are rare|, |dent|ca|.
4|rcraft cross|ng the ma|n
traff|c f|ow {for exam|e,
Madr|d to Los 4nge|es} are
routed abore or be|ow the
track s,stem.
5ome f||ght |ere|s are
reserred for a|rcraft f|,|ng
|n the d|rect|on oos|te
the eak f|ow.
Ihe 0oncorde f||es between 50,000 and 60,000 feet,
far abore the ma|n traff|c f|ow.
3
6
0
M
IL5
GANDER OCEANlC
CONTROL AREA
0ander
Frestw|ck
ICLAN
UNI1 KIN60M
IRLAN
6RNLAN
NLwF0UNDL^ND
CANAA
5hannon
SHANWlCK OCEANlC
CONTROL AREA
POSlTlON CHECK
4|rcraft |n ocean|c a|rsace are out of
radar contact for about four hours.
Fos|t|on reorts are made b, rad|o at
erer, I0 degrees of |ong|tude, and the
|nformat|on |s used to udate d|s|a,s
at the ocean|c contro| centers.
J
HALFWAY POlNT
4t 30w, resons|b|||t, for the
f||ght |s transferred from
0ander to Frestw|ck 0cean|c
4|r Iraff|c 0ontro| |n 5cot|and.
4
N
O
R
T
H

A
T
L
A
N
T
l
C

O
C
E
A
N
W
E
S
T
B
O
U
N
D

(
D
A
Y
}
E
A
S
T
B
O
U
N
D

(
N
l
G
H
T
}

E
T
S
T
R
E
A
M
T
E
D
C
B
A
U
V
W
X
'2)-7!$%

Prole 1 tbe lntograpblcs gentleman 215

10profile01_TFA_r4.indd 215 8/1/12 11:07 PM
Excerpted from The Functional Art: An introduction to information graphics and visualization by Alberto Cairo.
Copyright 2012. Used with permission of Pearson Education, Inc. and New Riders.
Q at sounds like Journalism 101 to me. When you write a story, the best
thing to start with is a structure for your writing.
JG ats because it is! e only dierence between a traditional journalist and
us is the language. Journalists use words; we use pictures, charts, graphs, maps,
diagrams, and illustrations.
I think one of the reasons why some people of my generation were very
successful is because we were designers, but we got embedded in journalistic
environments. We worked with reporters and editors. at taught us that we
should strive for clarity because we are an interface between a chaotic world of
information and the user who wants to understand something. If we cant bring
users clarity, I think we have kind of failed, actually.
When I see a graphic I am interested in, I try to read it critically, and one ques-
tion I ask over and over again is Whats the point? Whats the story? ats what
you have to do when you work on a project. Its not enough to do good research
Figure 10.2 One ot tbe source materlals tor tbe Tbe Transatlantlc Superblgbway.
An alr-tratc control map.
the functional art 216
10profile01_TFA_r4.indd 216 8/1/12 11:07 PM
Excerpted from The Functional Art: An introduction to information graphics and visualization by Alberto Cairo.
Copyright 2012. Used with permission of Pearson Education, Inc. and New Riders.
Figure 10.3 One ot tbe sketcbes tor Tbe Transatlantlc Superblgbway lntograpblc, sbown ln Flgure 10.1.
and then present your information to your readers. You have to edit that informa-
tion. We, infographics designers, must work as reporters but, above all, as editors.
Q Is that why you have expressed reservations about the emerging eld
of data visualization? Many infographics designers in newspapers and
magazines seem to be embracing it with enthusiasm, but you have said that
sometimes it feels that visualization designers seem to just throw data at
their users, without worrying about presenting coherent stories.
JG Embracing a new technique or a new technology is great. Data visualization
can be really powerful and useful. I can see a lot of potential in it. Nonetheless, I
also feel that many visualization designers try to transform the user into an editor.
ey create these amazing interactive tools with tons of bubbles, lines, bars, lters,
and scrubber bars, and expect readers to gure the story out by themselves, and
draw conclusions from the data. ats not an approach to information graphics
I like. Not all readers are data analysts!
Prole 1 tbe lntograpblcs gentleman 217
10profile01_TFA_r4.indd 217 8/1/12 11:07 PM
Excerpted from The Functional Art: An introduction to information graphics and visualization by Alberto Cairo.
Copyright 2012. Used with permission of Pearson Education, Inc. and New Riders.
Maybe I am old-school, but I dont believe I am alone in that concern. ink of
Hans Rosling
2
and the way he interacts with his wonderful bubble visualizations.
He doesnt just show stu; he explains the main points, focusing the readers
aention on the most interesting parts of the information. Aer that, if readers
want to navigate deeper into other possible stories, they can do it. But rst, they
are exposed to a traditional, linear narrative that lays out the basic facts.
Q Is it possible to nd a synthesis between what information graphics
designers have been doing for the past 30 or 40 years and what data visual-
izers are trying to achieve nowadays?
JG I am convinced that we will see that in the future. e New York Times
3
is
exploring that path at this point. For instance, in many of their interactive
graphics, they present complex sets of data, and they let you go really deep into
the gures and their connections. But beforehand, they give you some context,
some pointers as to what you can do with those data. If you dont do this, if you
dont include this layer of information, which the designers call the annotation
layer, you will end up with a visualization that may look really beautiful and
intricate, but that will leave readers wondering, What has this thing really told
me? What is this useful for?
Its like a visualization I saw the other day that ploed the ow of taxis in
New York City, as well as their positions at every time of the day and night. It
looked really cool but, aer a minute, I asked myself: What is this about? What
am I supposed to see here? Is it really that surprising that the ow of taxis is re-
ally heavy between La Guardia and JFK, or that there are fewer taxis during the
night than during the day? ats not a very revealing insight, is it?
Or take some gorgeous recent maps that show people tweeting all over Europe
in the languages of the countries they live in. All right, thats really interesting
[said tongue-in-cheek]: e Germans are tweeting in German! e map certainly
looks beautiful with all those lile color dots shining here and there, but its not
that enlightening. It doesnt convey much, and thats a problem. You need to ori-
ent readers into the story before they can navigate your graphics on their own.
Q Lets talk a bit about your own design process. How do you get started?
JG When we do a story for Cond Nast Traveler magazine, I try to be involved
in it as early as possible. Sometimes it happens that reporters dont realize they
2 See Prole 8: Hans Rosling.
3 See Prole 3: Steve Duenes and Xaqun G.V.
the functional art 218
10profile01_TFA_r4.indd 218 8/1/12 11:07 PM
Excerpted from The Functional Art: An introduction to information graphics and visualization by Alberto Cairo.
Copyright 2012. Used with permission of Pearson Education, Inc. and New Riders.
will need infographics in their pieces until they get back from trips, so I prefer
to meet with them before they depart. It helps me get a clear idea of what shape
the story is going to take, of its focus, and it helps reporters understand how the
copy and the visual elements on the pages are going to complement each other.
I bring paper and pencils to those meetings. While we talk, I keep scribbling.
I do very rough sketches and take notes about the key elements. Its in these meet-
ings when I decide what we need to show with the graphic so its content doesnt
overlap too much with what the copy will tell or the photographs will show.
Q It seems that you put a lot of work in the planning stage of your projects,
judging by the detailed sketches and roughs you produce. (See Figure 10.3
and Figure 10.5.)
JG ey are part of my thinking process. Aer the preliminary meetings are
over, I go to my studio and work out the structure of the graphic in a rough form.
I nd that in pencil I can just do a rough version, arrange the elements as I wish,
and throw away whatever I feel is not related to the points I want to get across.
eres virtually nothing invested in those sketches.
If you try to do something like that in a computer, you will somehow feel
commied to your rst ideas. Sketching out using design soware requires a lot
of eort. Later, when you go over your plans with editors, everything may need
to change for some reason, maybe because the focus of the story has switched.
If you are enamored with your own computer graphics, those that took so much
time to develop, you may feel resistant to change them down the road.
In other words: at rst, dont just draw a box in Adobe Illustrator and start
working inside it. ats a very bad way to start: You make a lot of art decisions
and then trap yourself into them. I constantly see graphics that have been done
like that. A big image or illustration was put in the middle rst and then the
designer tried to make all the other elements in the composition work around
it, instead of coming up with a solid structure that would help tell the story you
need to tell. is doesnt happen when you work with pen and paper before you
proceed to the artwork phase.
I try to encourage my students at the School of Visual Arts to draw as many
sketches as possible, due to this aachment factor that everybody experiences
every now and then. Sometimes they feel intimidated by hand drawing, but I tell
them that they dont need to be Leonardo da Vinci. What they need to come up
with is not art; they dont need to worry about aesthetics at this point, but about
the structure. In many cases, just a bunch of very simple, rough, and badly drawn
sketches made with cheap pencils or crayons will suce to help you understand
Prole 1 tbe lntograpblcs gentleman 219
10profile01_TFA_r4.indd 219 8/1/12 11:07 PM
Excerpted from The Functional Art: An introduction to information graphics and visualization by Alberto Cairo.
Copyright 2012. Used with permission of Pearson Education, Inc. and New Riders.
Sky Ceiling
Chandeliers
Skywalks
5 5
9 9
6 6
Chandeliers 8 8
Tennis courts
Bridge
over ramps
Ticket
windows
1 1 Entrance
42ND
STREET
4 4
Information
booth
2 2 Main Waiting Room
11 11 Lower Concourse
3 3 Main Concourse Half-acre
Tennessee
marble floor
East Balcony
West Balcony
Upper train platforms
Lower
train platforms
New East Staircase
West Staircase
One of three
planned balcony
restaurants
Campbell
Apartment
Ramp
Vaulted
ceiling
7 7
Oyster Bar
ramp
Escalators to
MetLife Building
Patch
left uncleaned
10 10 Oyster Bar
To Lexington Passage To Graybar
Passage
To Grand Central
Market and Lexington
Avenue entrance
New restaurants
and bars
Ramp
Oyster Bar
ramp
CNP
GRAND CENTRAL REVSHIPPED 7/27 C O P Y E D I T O R P H O T O E D I T O R
CNP
C O P Y E D I T O R P H O T O E D I T O R GRAND CENTRAL REVSHIPPED 7/27
ore than just a gateway
to a great city, Grand
Central Terminal has
been reborn as a desti-
nation in its own right,
replete with upscale shopping, restau-
rants, and, soon, even a green market.
Dont let the commuter crush deter you:
Begin your tour at the entrance on
42nd Street at Park Avenue, checking
your train time on the 13-foot-tall, gilt-
edged clock beneath Coutans sculpture
group Transportation. Proceed down the
entrance ramp, whose tilt is designed to
propel you, heart pounding, to the
Main Waiting Room, temporarily home to
vendors of every stripe but soon to host
functions and public exhibitions. Directly
ahead, over a short bridge with freshly
quarried balustrades, lies the terminals
pice de rsistance, the Main Con-
coursedubbed the best big room in
America by the architectural press. Its
ceiling, at 122 feet, is higher than the nave
of Notre-Dame Cathedral in Paris. At the
center of the concourse sits the in-
formation booth with its four-sided brass
clock, kept perpetually in sync with the
atomic clock at the U.S. Naval Observa-
tory in Washington, D.C. Overhead is
the 2,500-star Sky Ceiling, whose au-
tumn-night constellations were originally
painted backward and never corrected.
Daylight brightens the concourse from
four-story windows at either end.
Concealed between the windows inner
and outer panes is a series of skywalks, or
glass-floored corridors, designed to access
a skyscraper that was never built; tours
sponsored by the Grand Central Partner-
ship permit access (212-818-1777). Head
for the Lower Concourse via the new-
ly excavated Oyster Bar ramps, open for
the first time since 1927 and illuminated
by five gold-and-nickel-plated chan-
deliers, with 144 lightbulbs each (an
identical set graces the terminals north
balcony). Pause here for a new view of
the Sky Ceiling through the concourses
massive piers. At the base of the ramps,
the vaulted tile ceiling allows you to
face the wall in any corner and whisper
to someone standing in the opposite cor-
ner. Reward your exertions at the
Oyster Bar restaurant, whose classic oys-
ter stews and pan roasts are themselves
deserving of landmark statusor at
one of some 20 new restaurants on the
Lower Concourse. Return to the Main
Concourse level via the West Staircase.
WAL K
THIS WAY
1 1
2 2
3 3
4 4
5 5
6 6
7 7
8 8
9 9
11
M
Your guide to navigating the
new Grand Central

G R A P H I C S B Y
John Gri mwade
G R A P H I C S B Y
John Gri mwade
11
10 10
Figure 10.4 Grano Central Termlnal, 1998. Cond Nast Traveler, by [obn Grlmwaoe. Tbls
lntograpblc ls part ot a teature tbat reporteo tbe completlon ot tbe Grano Central Termlnal
restoratlon. At tbe tlme, | was walklng tbrougb tbe bullolng every oay on my way to work, so
tbe reterence was rlgbt ln tront ot me. | useo tbe slmple approacb ot taklng a cross-sectlon
ano manually projectlng lt backwaro. [obn Tomanlo, wbo workeo wltb me at Cond Nast
Traveler, solveo my problems ln gettlng tbe celllng eactly rlgbt. He pbotograpbeo lt looklng
stralgbt up, ano tben projecteo tbe lmage onto tbe lnsloe ot a cyllnoer uslng a 3-D program.
the functional art 220
10profile01_TFA_r4.indd 220 8/1/12 11:07 PM
Excerpted from The Functional Art: An introduction to information graphics and visualization by Alberto Cairo.
Copyright 2012. Used with permission of Pearson Education, Inc. and New Riders.
Figure 10.5 Sketcbes tor tbe Grano Central Termlnal lntograpblc.
Prole 1 tbe lntograpblcs gentleman 221
10profile01_TFA_r4.indd 221 8/1/12 11:07 PM
Excerpted from The Functional Art: An introduction to information graphics and visualization by Alberto Cairo.
Copyright 2012. Used with permission of Pearson Education, Inc. and New Riders.
how to organize a story, how to create a good sequence of steps, and a good hi-
erarchy in your layout.
Q Speaking of students, you are well known for your openness to give ad-
vice to beginners and help them develop their own styles. What would you
recommend to someone who is planning to pursue a career in information
graphics and visualization? What should that person study?
JG ats very dicult question. I guess the challenge is that you are asking me
to think backward. I learned to design infographics by working in a newsroom.
Decades ago, I landed in a news publication and learned the cra on the job.
I would say, however, that the rst skill you need to master is to look at
graphics with a critical eye. Read newspapers, magazines, and textbooks; visit
websites that showcase infographics and visualizations; and analyze if they help
you understand important maers. If they dont, they are not good. e next thing
would be to reect on the changes that would make those presentations tell clearer
messages. And, if you have the time, you can maybe even make those changes.
You also have to ponder if you have the passion to enter this eld. Infograph-
ics is not the easiest task. It might look like it is but it sure as hell isnt. You need
years of self-teaching and trial-and-error to master the techniques and tools. If
you dont feel the drive to be absolutely meticulous about research and coming
to grips with the story, you just cant produce a good information graphic. If you
think you are going to skim across the top and treat it like some kind of art job,
its very unlikely that you are going to be much of a success. I dont know how to
nd or fuel that kind of passion, though.
Figure 10.6 One ot tbe olscaroeo lllustratlons maoe tor tbe Seven Ages ot tbe 747 project.
the functional art 222
10profile01_TFA_r4.indd 222 8/1/12 11:07 PM
Excerpted from The Functional Art: An introduction to information graphics and visualization by Alberto Cairo.
Copyright 2012. Used with permission of Pearson Education, Inc. and New Riders.
Figure 10.7
A spreaosbeet ano
early sketcbes ano
layouts tor tbe Meoal
Lcbange lntograpblc.
Q I would say this passion you talk about reminds me of the passion good
educators nourish. Its the need to be curious, to learn, and to tell others
about what you have learned. Journalists feel that kind of passion as well.
JG Its really a journalistic passion, yes. In fact, some of the best people I have
worked with used to be traditional journalists until they realized the power of
visual storytelling. When you think about it, infographics and visualization are
really amazing tools for telling stories when used correctly, arent they?
Prole 1 tbe lntograpblcs gentleman 223
10profile01_TFA_r4.indd 223 8/1/12 11:07 PM
Excerpted from The Functional Art: An introduction to information graphics and visualization by Alberto Cairo.
Copyright 2012. Used with permission of Pearson Education, Inc. and New Riders.
Figure 10.8 Flve Ages
ot tbe 747. Cond Nast
Traveler, 2011, by [obn
Grlmwaoe. Projects
otten take blg sbltts
along tbe way. | was
orlglnally tblnklng ot a
Ny-past ot 747s to sbow
tbe blstory, but every
angle we trleo olo not
clearly sbow tbe key
teatures ot tbe new 747
alrcratt tbat bao been
announceo. Tbe new
mooel ls mucb longer
tban tbe prevlous ones,
ano lt bas oramatlcally
upswept wlngs. So
| moveo to a more
conventlonal plan-llke
olsplay.
the functional art 224
10profile01_TFA_r4.indd 224 8/1/12 11:07 PM
Excerpted from The Functional Art: An introduction to information graphics and visualization by Alberto Cairo.
Copyright 2012. Used with permission of Pearson Education, Inc. and New Riders.
Prole 1 tbe lntograpblcs gentleman 225
10profile01_TFA_r4.indd 225 8/1/12 11:07 PM
Excerpted from The Functional Art: An introduction to information graphics and visualization by Alberto Cairo.
Copyright 2012. Used with permission of Pearson Education, Inc. and New Riders.
demys t i f i er
POLAND
Medals: 10
G.D.P.: $242 billion
Podium Index: 4.1
SPAIN
Medals: 19
G.D.P.: $991 billion
Podium Index: 1.9
GERMANY
Medals: 49
G.D.P.: $2.7 trillion
Podium Index: 1.8
ITALY
Medals: 32
G.D.P.: $1.7 trillion
Podium Index: 1.9
ETHIOPIA
Medals: 7
G.D.P.: $8 billion
Podium Index: 87.5
GEORGIA
Medals: 4
G.D.P.: $5 billion
Podium Index: 80
BELARUS
Medals: 15
G.D.P.: $23 billion
Podium Index: 65.2
BULGARIA
Medals: 12
G.D.P.: $24 billion
Podium Index: 50
UKRAINE
Medals: 23
G.D.P.: $65 billion
Podium Index: 35.4
ROMANIA
Medals: 19
G.D.P.: $73 billion
Podium Index: 26
RUSSIA
Medals: 92
G.D.P.: $582 billion
Podium Index: 15.8
HUNGARY
Medals: 17
G.D.P.: $100 billion
Podium Index: 17
SLOVAKIA
Medals: 6
G.D.P.: $41 billion
Podium Index: 14.6
AUSTRALIA
Medals: 49
G.D.P.: $631 billion
Podium Index: 7.8
NEW ZEALAND
Medals: 5
G.D.P.: $100 billion
Podium Index: 5.0
THAILAND
Medals: 8
G.D.P.: $163 billion
Podium Index: 4.9
NETHERLANDS
Medals: 22
G.D.P.: $577 billion
Podium Index: 3.8
CHINA
Medals: 63
G.D.P.: $1.7 trillion
Podium Index: 3.7
IRAN
Medals: 6
G.D.P.: $163 billion
Podium Index: 3.7
TURKEY
Medals: 10
G.D.P.: $302 billion
Podium Index: 3.3
AUSTRIA
Medals: 7
G.D.P.: $290 billion
Podium Index: 2.4
NORWAY
Medals: 6
G.D.P.: $250 billion
Podium Index: 2.4
FRANCE
Medals: 33
G.D.P.: $2 trillion
Podium Index: 1.7
BRAZIL
Medals: 10
G.D.P.: $605 billion
Podium Index: 1.7
BRITAIN
Medals: 30
G.D.P.: $2.1 trillion
Podium Index: 1.4
UNITED STATES
Medals: 102
G.D.P.: $11.7 trillion
Podium Index: 0.9
CANADA
Medals: 12
G.D.P.: $980 billion
Podium Index: 1.2
JAPAN
Medals: 37
G.D.P.: $4.6 trillion
Podium Index: 0.8
SWEDEN
Medals: 7
G.D.P.: $346 billion
Podium Index: 2.0
GREECE
Medals: 16
G.D.P.: $203 billion
Podium Index: 7.9
PODIUM INDEX = x 100
G.D.P. in billions
Number of medals
G.D.P. of less than $100 billion
G.D.P. of $100 billion to $1 trillion
G.D.P. of more than $1 trillion
KEY
5 8 Cond Nast Por t f ol i o. Augus t . 08
Do wealthier countries take home more
Olympic medals? Conventional wisdom
suggests that they would. Its no secret that
having the nancial resources to invest in human
potential leads to success: The U. S. is the richest
country in the world and has won more Olympic
medals than any other nation. But if you introduce
some elementary math and divide a countrys medal
tally by its gross domestic product, the numbers
rearrange themselves dramatically. Ethiopias track-
and-eld victories lift the poverty-stricken state to
the top of the pile, while economic powerhouses
like Japan, France, and the U. S. nish near the bot-
tom. Heres a look at our surprising results, based
on medal counts from the 2004 Summer Games in
Athens and G. D. P. data from the same year.
Medal Exchange
Sure, the worlds economic powerhouses dominate the Olympics. Or do they?
. . .
by Jessica Liebman
I L LUS T R AT I ON b y B RYA N C HR I S T I E DE S I GN
Figure 10.9 Meoal
Lcbange. Cond Nast
Portfolio, 2008, by [obn
Grlmwaoe: Tbls ls an
lnterestlng approacb to
coverlng tbe Olymplcs
ln a buslness magazlne
just betore tbe 8eljlng
games. We're all useo to
tbe conventlonal meoals
table, but wbat bappens
lt tbe Atbens meoals
total ls olvloeo by tbe
GDP ot tbe country?
Tben we see wbo olo
tbe most wltb tbe least
resources. Ltblopla ls
tbe wlnner. Tbe U.S. ano
[apan are way oown tbe
llst.
the functional art 226
10profile01_TFA_r4.indd 226 8/1/12 11:07 PM
Excerpted from The Functional Art: An introduction to information graphics and visualization by Alberto Cairo.
Copyright 2012. Used with permission of Pearson Education, Inc. and New Riders.
demys t i f i er
POLAND
Medals: 10
G.D.P.: $242 billion
Podium Index: 4.1
SPAIN
Medals: 19
G.D.P.: $991 billion
Podium Index: 1.9
GERMANY
Medals: 49
G.D.P.: $2.7 trillion
Podium Index: 1.8
ITALY
Medals: 32
G.D.P.: $1.7 trillion
Podium Index: 1.9
ETHIOPIA
Medals: 7
G.D.P.: $8 billion
Podium Index: 87.5
GEORGIA
Medals: 4
G.D.P.: $5 billion
Podium Index: 80
BELARUS
Medals: 15
G.D.P.: $23 billion
Podium Index: 65.2
BULGARIA
Medals: 12
G.D.P.: $24 billion
Podium Index: 50
UKRAINE
Medals: 23
G.D.P.: $65 billion
Podium Index: 35.4
ROMANIA
Medals: 19
G.D.P.: $73 billion
Podium Index: 26
RUSSIA
Medals: 92
G.D.P.: $582 billion
Podium Index: 15.8
HUNGARY
Medals: 17
G.D.P.: $100 billion
Podium Index: 17
SLOVAKIA
Medals: 6
G.D.P.: $41 billion
Podium Index: 14.6
AUSTRALIA
Medals: 49
G.D.P.: $631 billion
Podium Index: 7.8
NEW ZEALAND
Medals: 5
G.D.P.: $100 billion
Podium Index: 5.0
THAILAND
Medals: 8
G.D.P.: $163 billion
Podium Index: 4.9
NETHERLANDS
Medals: 22
G.D.P.: $577 billion
Podium Index: 3.8
CHINA
Medals: 63
G.D.P.: $1.7 trillion
Podium Index: 3.7
IRAN
Medals: 6
G.D.P.: $163 billion
Podium Index: 3.7
TURKEY
Medals: 10
G.D.P.: $302 billion
Podium Index: 3.3
AUSTRIA
Medals: 7
G.D.P.: $290 billion
Podium Index: 2.4
NORWAY
Medals: 6
G.D.P.: $250 billion
Podium Index: 2.4
FRANCE
Medals: 33
G.D.P.: $2 trillion
Podium Index: 1.7
BRAZIL
Medals: 10
G.D.P.: $605 billion
Podium Index: 1.7
BRITAIN
Medals: 30
G.D.P.: $2.1 trillion
Podium Index: 1.4
UNITED STATES
Medals: 102
G.D.P.: $11.7 trillion
Podium Index: 0.9
CANADA
Medals: 12
G.D.P.: $980 billion
Podium Index: 1.2
JAPAN
Medals: 37
G.D.P.: $4.6 trillion
Podium Index: 0.8
SWEDEN
Medals: 7
G.D.P.: $346 billion
Podium Index: 2.0
GREECE
Medals: 16
G.D.P.: $203 billion
Podium Index: 7.9
PODIUM INDEX = x 100
G.D.P. in billions
Number of medals
G.D.P. of less than $100 billion
G.D.P. of $100 billion to $1 trillion
G.D.P. of more than $1 trillion
KEY
5 8 Cond Nast Por t f ol i o. Augus t . 08
Do wealthier countries take home more
Olympic medals? Conventional wisdom
suggests that they would. Its no secret that
having the nancial resources to invest in human
potential leads to success: The U. S. is the richest
country in the world and has won more Olympic
medals than any other nation. But if you introduce
some elementary math and divide a countrys medal
tally by its gross domestic product, the numbers
rearrange themselves dramatically. Ethiopias track-
and-eld victories lift the poverty-stricken state to
the top of the pile, while economic powerhouses
like Japan, France, and the U. S. nish near the bot-
tom. Heres a look at our surprising results, based
on medal counts from the 2004 Summer Games in
Athens and G. D. P. data from the same year.
Medal Exchange
Sure, the worlds economic powerhouses dominate the Olympics. Or do they?
. . .
by Jessica Liebman
I L LUS T R AT I ON b y B RYA N C HR I S T I E DE S I GN
Prole 1 tbe lntograpblcs gentleman 227
10profile01_TFA_r4.indd 227 8/1/12 11:07 PM
Excerpted from The Functional Art: An introduction to information graphics and visualization by Alberto Cairo.
Copyright 2012. Used with permission of Pearson Education, Inc. and New Riders.
2000 feet
COENTIES
SLIP
G
R
E
E
N
W
I
C
H

S
T
.
C
H
U
R
C
H


S
T
.
VESEY ST.
LIBERTY ST.
Street grid
restored
Greenwich
Street probable,
others possible.
Memorial Park
Likely to leave tower
footprints uncovered.
Buildings
Sites and sizes
are the subject
of considerable
debate.
West Street
In new tunnel.
Transit Center
Could be above
and below
ground.
Pedestrian concourse
Underground link
between World
Financial Center
and Transit Center.
BARCLAY ST.
Woolworth
Building
Duane
Park
Washington
Market Park
North
Cove
South
Cove
Century 21
Ecco
World
Financial
Center
Winter
Garden
Pavilion
Tower
1
Tower
2
St. Pauls
Chapel
140
Broadway
Fraunces
Tavern
Trinity
Church
New York
Stock Exchange
Federal
Hall
Fulton Fish Market
Peking
Wavertree
Museum of
Jewish Heritage
Robert F.
Wagner, Jr.
Park
Governor Nelson A.
Rockefeller Park
Brooklyn Bridge
South Street
Seaport
Castle Clinton
Bowling
Green
U.S. Custom
House
U.S. Post Office
Recovered from
Ground Zero.
Original site of
The Sphere
New York City
Police Museum
Proposed site
of Guggenheim
Museum
National Museum
of the American Indian
Staten Island Ferry
Museum of
American
Financial History
City Hall
Tweed Courthouse
Municipal
Building
WARREN ST.
BAT T ERY PARK
BAT T ERY PARK CI T Y
BAT T ERY PARK
CI T Y
T RI BECA
E
S
P
L
A
N
A
D
E
CITY HALL
PARK
GROUND ZERO
CHAMBERS ST.
READE ST.
DUANE ST.
C
E
N
T
R
E

S
T
.
THOMAS ST.
WORTH ST.
LEONARD ST.
FRANKLIN ST.
F
R
A
N
K
L
IN
S
T.
H
A
R
R
IS
O
N
S
T.
G
R
E
E
N
W
I
C
H


S
T
.
G
R
E
E
N
W
I
C
H


S
T
.
H
U
D
S
O
N


S
T
.
W
E
S
T

S
T
.
W
E
S
T


S
T
.
W
E
S
T


S
T
.
B
A
T
T
E
R
Y
P
L
.
B
R
O
A
D
W
A
Y
B
R
O
A
D
W
A
Y
W
A
T
E
R

S
T
.
S
O
U
T
H

S
T
.
N
A
S
S
A
U

S
T
.
S
T
O
N
E

S
T
.
B
E
A
V
E
R

S
T
.
P
E
A
R
L

S
T
.
C
H
U
R
C
H

S
T
.
C
H
U
R
C
H

S
T
.
W
E
S
T

B
R
O
A
D
W
A
Y
VESEY ST.
LIBERTY ST.
WALL ST.
WALL ST.
PINE ST.
FULTON ST.
F
U
L
T
O
N

S
T
.
J O
H
N
S
T.
OLD SLI P
20 Exchange
Place
70 Pine
Street
40 Wall
Street
Old AT&T
Building
Danube
Nam
Le Zinc
Little
Place
Bayards
The Harrison
Nobu
Pepolino
Pico
Federal
Reserve
Bank
Museum of
Chinese in
the Americas
South Street
Seaport Museum
SOUTH STREET SEAPORT
HISTORIC DISTRICT
E A S T R I V E R E A S T R I V E R
Shoofly
Issey Miyake Mosaic
Secondhand
Rose
Anbar Shoes
Ritz-Carlton
Battery Park
Restaurant
KEY
Hotel
Shopping Museum
Embassy Suites
Tribeca
Grand
0 100
YARDS
200
N
Regent
Wall Street
B
R
O
A
D
S
T
.
G r a p h i c s b y
John Gri mwade
H U D S O N
R I V E R
H U D S O N
R I V E R
The Sphere
CITY HALL
PARK
WALL ST.
PINE ST.
S
T
O
N
E

S
T
.
W
E
S
T

S
T
.
COENTIES
SLIP
BAT T ERY PARK CI T Y
BAT T ERY PARK
CI T Y
T R
OLD SLI P
}
ings jostling f or space lik e the to w ers of San
Gimignano . The principal di ,er ence wa s
tha t the sk yscra pers of W all Str eet felt mor e
lik e cele bra tions than f orti -ca tions , since
they we re all topped by ela bora te cr o wns
orna te ex clama tion points in the sk y tha t
made it clear tha t their cr ea tors had struck it
rich and we re not afraid to sho w it.
Ther e w as not a gr ea t deal to do in Lo we r
Manha ttan other than wo rk . Ther e we re
places to ea t lunch b ut almost no w her e to ha ve
dinner ; ther e we re a fe w chea p stor es , b ut an y-
one w ho w anted to shop f or an ything w orth-
w hile had to go upto wn. And it w ent without
sa ying tha t cultur e w as not to be f ound south
of Canal Str eet. T rue , ther e w as T rinity
Chur ch, Richar d Upjohn s sumptuous 1846
spir e at the head of W all Str eet, b ut the r eal
ca thedral of do wnto wn w as the Ne w York
Stock Ex change , a b lock aw ay . W a tching the
b ustle on the gar gantuan trading .oor w as the
biggest thrill this part of to wn had to o ,er ,
and it did little to o ,set the feeling tha t the
neighborhood consisted almost enti re ly of
narr ow str eets fr om w hich r ose dispr oportion-
a tel y tall sk yscra pers occupied by people wh o
did things with mone y. Such w as my sense of
do wnto wn, an yw a yw hich ma y e xplain wh y
I did not become a -nancial journalist.
But ev en back then, Lo w er Manha ttan had
alr ead y begun to change . The dull homo gene-
ity of the place w as dri ving a lot of -nancial in-
stitutions and la w -r ms to the pleasanter and
mor e v aried turf of Midto wn. It w as mor e fun
to be upto wn in those da ys . And, if y ou came
fr om the sub urbs , d o wnto wn w as w oefull y in-
con v enient: a train ride into the city f ollo we d
by a long sub wa y ride south fr om Grand Cen-
tral Sta tion, not the sort of comm ute to glad-
den the heart of a bank er
fr om Gr eenwich, Connecti -
cut. Lo w er Manha ttan wa s
w her e Ne w York had begun,
and it had it all ov er upto wn
so far as history wa s con-
cerned. (After all, this wa s
Liber ty for all:
Harbor-facing
r ooms at th e
Ritz-Carlton
Batte ry Park
come with
telescopes for
Statue viewing.
In the past year , Lower
Manhattan has given new
meaning to the phrase tough
neighbor hood: The vibranc y
and diversity of its attractions
ar e a testament to grit of the
tr uest kind. St ro ll ar ound
downtown and youll com e
acr oss some of New Y ork s
finest historic buildings,
quirkiest museums, grandest
hotels, and loveliest parks.
The dinings divine, the shops
one-of-a-kind, and the best
par t? Its all in a days walk.
Tu rn to page 232 for details.
Places
&
Prices
Manhattan Pr oject
All eyes ar e trained, these days, on New Y ork s
downtownand ther es no better time to be ther e.
Fr om T riBeCa to Batter y Park, fr om the Hudson
R iver to the E ast R ive r, her e ar e the dont-miss
classicsplus ever ything new and coming
The
Rebuilding
Gr ound Zer o
The six preliminary plans
submitted in July shar e
six common elements,
illustrated above. The
final design will likely
include them, along
with a cultural venue.
2000 feet
COENTIES
SLIP
G
R
E
E
N
W
I
C
H

S
T
.
C
H
U
R
C
H


S
T
.
VESEY ST.
LIBERTY ST.
Street grid
restored
Greenwich
Street probable,
others possible.
Memorial Park
Likely to leave tower
footprints uncovered.
Buildings
Sites and sizes
are the subject
of considerable
debate.
West Street
In new tunnel.
Transit Center
Could be above
and below
ground.
Pedestrian concourse
Underground link
between World
Financial Center
and Transit Center.
BARCLAY ST.
Woolworth
Building
Duane
Park
Washington
Market Park
North
Cove
South
Cove
Century 21
Ecco
World
Financial
Center
Winter
Garden
Pavilion
Tower
1
Tower
2
St. Pauls
Chapel
140
Broadway
Fraunces
Tavern
Trinity
Church
New York
Stock Exchange
Federal
Hall
Fulton Fish Market
Peking
Wavertree
Museum of
Jewish Heritage
Robert F.
Wagner, Jr.
Park
Governor Nelson A.
Rockefeller Park
Brooklyn Bridge
South Street
Seaport
Castle Clinton
Bowling
Green
U.S. Custom
House
U.S. Post Office
Recovered from
Ground Zero.
Original site of
The Sphere
New York City
Police Museum
Proposed site
of Guggenheim
Museum
National Museum
of the American Indian
Staten Island Ferry
Museum of
American
Financial History
City Hall
Tweed Courthouse
Municipal
Building
WARREN ST.
BAT T ERY PARK
BAT T ERY PARK CI T Y
BAT T ERY PARK
CI T Y
T RI BECA
E
S
P
L
A
N
A
D
E
CITY HALL
PARK
GROUND ZERO
CHAMBERS ST.
READE ST.
DUANE ST.
C
E
N
T
R
E

S
T
.
THOMAS ST.
WORTH ST.
LEONARD ST.
FRANKLIN ST.
F
R
A
N
K
L
IN
S
T.
H
A
R
R
IS
O
N
S
T.
G
R
E
E
N
W
I
C
H


S
T
.
G
R
E
E
N
W
I
C
H


S
T
.
H
U
D
S
O
N


S
T
.
W
E
S
T

S
T
.
W
E
S
T


S
T
.
W
E
S
T


S
T
.
B
A
T
T
E
R
Y
P
L
.
B
R
O
A
D
W
A
Y
B
R
O
A
D
W
A
Y
W
A
T
E
R

S
T
.
S
O
U
T
H

S
T
.
N
A
S
S
A
U

S
T
.
S
T
O
N
E

S
T
.
B
E
A
V
E
R

S
T
.
P
E
A
R
L

S
T
.
C
H
U
R
C
H

S
T
.
C
H
U
R
C
H

S
T
.
W
E
S
T

B
R
O
A
D
W
A
Y
VESEY ST.
LIBERTY ST.
WALL ST.
WALL ST.
PINE ST.
FULTON ST.
F
U
L
T
O
N

S
T
.
J O
H
N
S
T.
OLD SLI P
20 Exchange
Place
70 Pine
Street
40 Wall
Street
Old AT&T
Building
Danube
Nam
Le Zinc
Little
Place
Bayards
The Harrison
Nobu
Pepolino
Pico
Federal
Reserve
Bank
Museum of
Chinese in
the Americas
South Street
Seaport Museum
SOUTH STREET SEAPORT
HISTORIC DISTRICT
E A S T R I V E R E A S T R I V E R
Shoofly
Issey Miyake Mosaic
Secondhand
Rose
Anbar Shoes
Ritz-Carlton
Battery Park
Restaurant
KEY
Hotel
Shopping Museum
Embassy Suites
Tribeca
Grand
0 100
YARDS
200
N
Regent
Wall Street
B
R
O
A
D
S
T
.
G r a p h i c s b y
John Gri mwade
H U D S O N
R I V E R
H U D S O N
R I V E R
The Sphere
CITY HALL
PARK
WALL ST.
PINE ST.
S
T
O
N
E

S
T
.
W
E
S
T

S
T
.
COENTIES
SLIP
BAT T ERY PARK CI T Y
BAT T ERY PARK
CI T Y
T R
OLD SLI P
}
ings jostling f or space lik e the to w ers of San
Gimignano . The principal di ,er ence wa s
tha t the sk yscra pers of W all Str eet felt mor e
lik e cele bra tions than f orti -ca tions , since
they we re all topped by ela bora te cr o wns
orna te ex clama tion points in the sk y tha t
made it clear tha t their cr ea tors had struck it
rich and we re not afraid to sho w it.
Ther e w as not a gr ea t deal to do in Lo we r
Manha ttan other than wo rk . Ther e we re
places to ea t lunch b ut almost no w her e to ha ve
dinner ; ther e we re a fe w chea p stor es , b ut an y-
one w ho w anted to shop f or an ything w orth-
w hile had to go upto wn. And it w ent without
sa ying tha t cultur e w as not to be f ound south
of Canal Str eet. T rue , ther e w as T rinity
Chur ch, Richar d Upjohn s sumptuous 1846
spir e at the head of W all Str eet, b ut the r eal
ca thedral of do wnto wn w as the Ne w York
Stock Ex change , a b lock aw ay . W a tching the
b ustle on the gar gantuan trading .oor w as the
biggest thrill this part of to wn had to o ,er ,
and it did little to o ,set the feeling tha t the
neighborhood consisted almost enti re ly of
narr ow str eets fr om w hich r ose dispr oportion-
a tel y tall sk yscra pers occupied by people wh o
did things with mone y. Such w as my sense of
do wnto wn, an yw a yw hich ma y e xplain wh y
I did not become a -nancial journalist.
But ev en back then, Lo w er Manha ttan had
alr ead y begun to change . The dull homo gene-
ity of the place w as dri ving a lot of -nancial in-
stitutions and la w -r ms to the pleasanter and
mor e v aried turf of Midto wn. It w as mor e fun
to be upto wn in those da ys . And, if y ou came
fr om the sub urbs , d o wnto wn w as w oefull y in-
con v enient: a train ride into the city f ollo we d
by a long sub wa y ride south fr om Grand Cen-
tral Sta tion, not the sort of comm ute to glad-
den the heart of a bank er
fr om Gr eenwich, Connecti -
cut. Lo w er Manha ttan wa s
w her e Ne w York had begun,
and it had it all ov er upto wn
so far as history wa s con-
cerned. (After all, this wa s
Liber ty for all:
Harbor-facing
r ooms at th e
Ritz-Carlton
Batte ry Park
come with
telescopes for
Statue viewing.
In the past year , Lower
Manhattan has given new
meaning to the phrase tough
neighbor hood: The vibranc y
and diversity of its attractions
ar e a testament to grit of the
tr uest kind. St ro ll ar ound
downtown and youll com e
acr oss some of New Y ork s
finest historic buildings,
quirkiest museums, grandest
hotels, and loveliest parks.
The dinings divine, the shops
one-of-a-kind, and the best
par t? Its all in a days walk.
Tu rn to page 232 for details.
Places
&
Prices
Manhattan Pr oject
All eyes ar e trained, these days, on New Y ork s
downtownand ther es no better time to be ther e.
Fr om T riBeCa to Batter y Park, fr om the Hudson
R iver to the E ast R ive r, her e ar e the dont-miss
classicsplus ever ything new and coming
The
Rebuilding
Gr ound Zer o
The six preliminary plans
submitted in July shar e
six common elements,
illustrated above. The
final design will likely
include them, along
with a cultural venue.
the functional art 228
10profile01_TFA_r4.indd 228 8/1/12 11:07 PM
Excerpted from The Functional Art: An introduction to information graphics and visualization by Alberto Cairo.
Copyright 2012. Used with permission of Pearson Education, Inc. and New Riders.
2000 feet
COENTIES
SLIP
G
R
E
E
N
W
I
C
H

S
T
.
C
H
U
R
C
H


S
T
.
VESEY ST.
LIBERTY ST.
Street grid
restored
Greenwich
Street probable,
others possible.
Memorial Park
Likely to leave tower
footprints uncovered.
Buildings
Sites and sizes
are the subject
of considerable
debate.
West Street
In new tunnel.
Transit Center
Could be above
and below
ground.
Pedestrian concourse
Underground link
between World
Financial Center
and Transit Center.
BARCLAY ST.
Woolworth
Building
Duane
Park
Washington
Market Park
North
Cove
South
Cove
Century 21
Ecco
World
Financial
Center
Winter
Garden
Pavilion
Tower
1
Tower
2
St. Pauls
Chapel
140
Broadway
Fraunces
Tavern
Trinity
Church
New York
Stock Exchange
Federal
Hall
Fulton Fish Market
Peking
Wavertree
Museum of
Jewish Heritage
Robert F.
Wagner, Jr.
Park
Governor Nelson A.
Rockefeller Park
Brooklyn Bridge
South Street
Seaport
Castle Clinton
Bowling
Green
U.S. Custom
House
U.S. Post Office
Recovered from
Ground Zero.
Original site of
The Sphere
New York City
Police Museum
Proposed site
of Guggenheim
Museum
National Museum
of the American Indian
Staten Island Ferry
Museum of
American
Financial History
City Hall
Tweed Courthouse
Municipal
Building
WARREN ST.
BAT T ERY PARK
BAT T ERY PARK CI T Y
BAT T ERY PARK
CI T Y
T RI BECA
E
S
P
L
A
N
A
D
E
CITY HALL
PARK
GROUND ZERO
CHAMBERS ST.
READE ST.
DUANE ST.
C
E
N
T
R
E

S
T
.
THOMAS ST.
WORTH ST.
LEONARD ST.
FRANKLIN ST.
F
R
A
N
K
L
IN
S
T.
H
A
R
R
IS
O
N
S
T.
G
R
E
E
N
W
I
C
H


S
T
.
G
R
E
E
N
W
I
C
H


S
T
.
H
U
D
S
O
N


S
T
.
W
E
S
T

S
T
.
W
E
S
T


S
T
.
W
E
S
T


S
T
.
B
A
T
T
E
R
Y
P
L
.
B
R
O
A
D
W
A
Y
B
R
O
A
D
W
A
Y
W
A
T
E
R

S
T
.
S
O
U
T
H

S
T
.
N
A
S
S
A
U

S
T
.
S
T
O
N
E

S
T
.
B
E
A
V
E
R

S
T
.
P
E
A
R
L

S
T
.
C
H
U
R
C
H

S
T
.
C
H
U
R
C
H

S
T
.
W
E
S
T

B
R
O
A
D
W
A
Y
VESEY ST.
LIBERTY ST.
WALL ST.
WALL ST.
PINE ST.
FULTON ST.
F
U
L
T
O
N

S
T
.
J O
H
N
S
T.
OLD SLI P
20 Exchange
Place
70 Pine
Street
40 Wall
Street
Old AT&T
Building
Danube
Nam
Le Zinc
Little
Place
Bayards
The Harrison
Nobu
Pepolino
Pico
Federal
Reserve
Bank
Museum of
Chinese in
the Americas
South Street
Seaport Museum
SOUTH STREET SEAPORT
HISTORIC DISTRICT
E A S T R I V E R E A S T R I V E R
Shoofly
Issey Miyake Mosaic
Secondhand
Rose
Anbar Shoes
Ritz-Carlton
Battery Park
Restaurant
KEY
Hotel
Shopping Museum
Embassy Suites
Tribeca
Grand
0 100
YARDS
200
N
Regent
Wall Street
B
R
O
A
D
S
T
.
G r a p h i c s b y
John Gri mwade
H U D S O N
R I V E R
H U D S O N
R I V E R
The Sphere
CITY HALL
PARK
WALL ST.
PINE ST.
S
T
O
N
E

S
T
.
W
E
S
T

S
T
.
COENTIES
SLIP
BAT T ERY PARK CI T Y
BAT T ERY PARK
CI T Y
T R
OLD SLI P
}
ings jostling f or space lik e the to w ers of San
Gimignano . The principal di ,er ence wa s
tha t the sk yscra pers of W all Str eet felt mor e
lik e cele bra tions than f orti -ca tions , since
they we re all topped by ela bora te cr o wns
orna te ex clama tion points in the sk y tha t
made it clear tha t their cr ea tors had struck it
rich and we re not afraid to sho w it.
Ther e w as not a gr ea t deal to do in Lo we r
Manha ttan other than wo rk . Ther e we re
places to ea t lunch b ut almost no w her e to ha ve
dinner ; ther e we re a fe w chea p stor es , b ut an y-
one w ho w anted to shop f or an ything w orth-
w hile had to go upto wn. And it w ent without
sa ying tha t cultur e w as not to be f ound south
of Canal Str eet. T rue , ther e w as T rinity
Chur ch, Richar d Upjohn s sumptuous 1846
spir e at the head of W all Str eet, b ut the r eal
ca thedral of do wnto wn w as the Ne w York
Stock Ex change , a b lock aw ay . W a tching the
b ustle on the gar gantuan trading .oor w as the
biggest thrill this part of to wn had to o ,er ,
and it did little to o ,set the feeling tha t the
neighborhood consisted almost enti re ly of
narr ow str eets fr om w hich r ose dispr oportion-
a tel y tall sk yscra pers occupied by people wh o
did things with mone y. Such w as my sense of
do wnto wn, an yw a yw hich ma y e xplain wh y
I did not become a -nancial journalist.
But ev en back then, Lo w er Manha ttan had
alr ead y begun to change . The dull homo gene-
ity of the place w as dri ving a lot of -nancial in-
stitutions and la w -r ms to the pleasanter and
mor e v aried turf of Midto wn. It w as mor e fun
to be upto wn in those da ys . And, if y ou came
fr om the sub urbs , d o wnto wn w as w oefull y in-
con v enient: a train ride into the city f ollo we d
by a long sub wa y ride south fr om Grand Cen-
tral Sta tion, not the sort of comm ute to glad-
den the heart of a bank er
fr om Gr eenwich, Connecti -
cut. Lo w er Manha ttan wa s
w her e Ne w York had begun,
and it had it all ov er upto wn
so far as history wa s con-
cerned. (After all, this wa s
Liber ty for all:
Harbor-facing
r ooms at th e
Ritz-Carlton
Batte ry Park
come with
telescopes for
Statue viewing.
In the past year , Lower
Manhattan has given new
meaning to the phrase tough
neighbor hood: The vibranc y
and diversity of its attractions
ar e a testament to grit of the
tr uest kind. St ro ll ar ound
downtown and youll com e
acr oss some of New Y ork s
finest historic buildings,
quirkiest museums, grandest
hotels, and loveliest parks.
The dinings divine, the shops
one-of-a-kind, and the best
par t? Its all in a days walk.
Tu rn to page 232 for details.
Places
&
Prices
Manhattan Pr oject
All eyes ar e trained, these days, on New Y ork s
downtownand ther es no better time to be ther e.
Fr om T riBeCa to Batter y Park, fr om the Hudson
R iver to the E ast R ive r, her e ar e the dont-miss
classicsplus ever ything new and coming
The
Rebuilding
Gr ound Zer o
The six preliminary plans
submitted in July shar e
six common elements,
illustrated above. The
final design will likely
include them, along
with a cultural venue.
Figure 10.10 Tbe Manbattan Project,
Cond Nast Traveler, 2002, by [obn Grlmwaoe.
One year atter tbe September 11 attacks,
we ran a teature remlnolng our reaoers tbat
tbe oowntown area ot Manbattan stlll bao a
lot to otter. |t bas styllzeo bullolngs, wbere
| trleo to capture tbe essence ot tbe bullo-
lng ratber tban aerlal-pbotograpb accuracy,
ano a clear street grlo. Tbls ls very mucb my
grapblc approacb to maklng maps: Remove
tbe unnecessary oetall, ano tocus on tbe
story. |n 2003, | reworkeo tbe map lnto a
oltterent tormat tor a banoout at tbe Soclety
ot Publlcatlon Deslgners conterence. (See
Flgure 10.11 to see tbe secono map.)
2000 feet
COENTIES
SLIP
G
R
E
E
N
W
I
C
H

S
T
.
C
H
U
R
C
H


S
T
.
VESEY ST.
LIBERTY ST.
Street grid
restored
Greenwich
Street probable,
others possible.
Memorial Park
Likely to leave tower
footprints uncovered.
Buildings
Sites and sizes
are the subject
of considerable
debate.
West Street
In new tunnel.
Transit Center
Could be above
and below
ground.
Pedestrian concourse
Underground link
between World
Financial Center
and Transit Center.
BARCLAY ST.
Woolworth
Building
Duane
Park
Washington
Market Park
North
Cove
South
Cove
Century 21
Ecco
World
Financial
Center
Winter
Garden
Pavilion
Tower
1
Tower
2
St. Pauls
Chapel
140
Broadway
Fraunces
Tavern
Trinity
Church
New York
Stock Exchange
Federal
Hall
Fulton Fish Market
Peking
Wavertree
Museum of
Jewish Heritage
Robert F.
Wagner, Jr.
Park
Governor Nelson A.
Rockefeller Park
Brooklyn Bridge
South Street
Seaport
Castle Clinton
Bowling
Green
U.S. Custom
House
U.S. Post Office
Recovered from
Ground Zero.
Original site of
The Sphere
New York City
Police Museum
Proposed site
of Guggenheim
Museum
National Museum
of the American Indian
Staten Island Ferry
Museum of
American
Financial History
City Hall
Tweed Courthouse
Municipal
Building
WARREN ST.
BAT T ERY PARK
BAT T ERY PARK CI T Y
BAT T ERY PARK
CI T Y
T RI BECA
E
S
P
L
A
N
A
D
E
CITY HALL
PARK
GROUND ZERO
CHAMBERS ST.
READE ST.
DUANE ST.
C
E
N
T
R
E

S
T
.
THOMAS ST.
WORTH ST.
LEONARD ST.
FRANKLIN ST.
F
R
A
N
K
L
IN
S
T.
H
A
R
R
IS
O
N
S
T.
G
R
E
E
N
W
I
C
H


S
T
.
G
R
E
E
N
W
I
C
H


S
T
.
H
U
D
S
O
N


S
T
.
W
E
S
T

S
T
.
W
E
S
T


S
T
.
W
E
S
T


S
T
.
B
A
T
T
E
R
Y
P
L
.
B
R
O
A
D
W
A
Y
B
R
O
A
D
W
A
Y
W
A
T
E
R

S
T
.
S
O
U
T
H

S
T
.
N
A
S
S
A
U

S
T
.
S
T
O
N
E

S
T
.
B
E
A
V
E
R

S
T
.
P
E
A
R
L

S
T
.
C
H
U
R
C
H

S
T
.
C
H
U
R
C
H

S
T
.
W
E
S
T

B
R
O
A
D
W
A
Y
VESEY ST.
LIBERTY ST.
WALL ST.
WALL ST.
PINE ST.
FULTON ST.
F
U
L
T
O
N

S
T
.
J O
H
N
S
T.
OLD SLI P
20 Exchange
Place
70 Pine
Street
40 Wall
Street
Old AT&T
Building
Danube
Nam
Le Zinc
Little
Place
Bayards
The Harrison
Nobu
Pepolino
Pico
Federal
Reserve
Bank
Museum of
Chinese in
the Americas
South Street
Seaport Museum
SOUTH STREET SEAPORT
HISTORIC DISTRICT
E A S T R I V E R E A S T R I V E R
Shoofly
Issey Miyake Mosaic
Secondhand
Rose
Anbar Shoes
Ritz-Carlton
Battery Park
Restaurant
KEY
Hotel
Shopping Museum
Embassy Suites
Tribeca
Grand
0 100
YARDS
200
N
Regent
Wall Street
B
R
O
A
D
S
T
.
G r a p h i c s b y
John Gri mwade
H U D S O N
R I V E R
H U D S O N
R I V E R
The Sphere
CITY HALL
PARK
WALL ST.
PINE ST.
S
T
O
N
E

S
T
.
W
E
S
T

S
T
.
COENTIES
SLIP
BAT T ERY PARK CI T Y
BAT T ERY PARK
CI T Y
T R
OLD SLI P
}
ings jostling f or space lik e the to w ers of San
Gimignano . The principal di ,er ence wa s
tha t the sk yscra pers of W all Str eet felt mor e
lik e cele bra tions than f orti -ca tions , since
they we re all topped by ela bora te cr o wns
orna te ex clama tion points in the sk y tha t
made it clear tha t their cr ea tors had struck it
rich and we re not afraid to sho w it.
Ther e w as not a gr ea t deal to do in Lo we r
Manha ttan other than wo rk . Ther e we re
places to ea t lunch b ut almost no w her e to ha ve
dinner ; ther e we re a fe w chea p stor es , b ut an y-
one w ho w anted to shop f or an ything w orth-
w hile had to go upto wn. And it w ent without
sa ying tha t cultur e w as not to be f ound south
of Canal Str eet. T rue , ther e w as T rinity
Chur ch, Richar d Upjohn s sumptuous 1846
spir e at the head of W all Str eet, b ut the r eal
ca thedral of do wnto wn w as the Ne w York
Stock Ex change , a b lock aw ay . W a tching the
b ustle on the gar gantuan trading .oor w as the
biggest thrill this part of to wn had to o ,er ,
and it did little to o ,set the feeling tha t the
neighborhood consisted almost enti re ly of
narr ow str eets fr om w hich r ose dispr oportion-
a tel y tall sk yscra pers occupied by people wh o
did things with mone y. Such w as my sense of
do wnto wn, an yw a yw hich ma y e xplain wh y
I did not become a -nancial journalist.
But ev en back then, Lo w er Manha ttan had
alr ead y begun to change . The dull homo gene-
ity of the place w as dri ving a lot of -nancial in-
stitutions and la w -r ms to the pleasanter and
mor e v aried turf of Midto wn. It w as mor e fun
to be upto wn in those da ys . And, if y ou came
fr om the sub urbs , d o wnto wn w as w oefull y in-
con v enient: a train ride into the city f ollo we d
by a long sub wa y ride south fr om Grand Cen-
tral Sta tion, not the sort of comm ute to glad-
den the heart of a bank er
fr om Gr eenwich, Connecti -
cut. Lo w er Manha ttan wa s
w her e Ne w York had begun,
and it had it all ov er upto wn
so far as history wa s con-
cerned. (After all, this wa s
Liber ty for all:
Harbor-facing
r ooms at th e
Ritz-Carlton
Batte ry Park
come with
telescopes for
Statue viewing.
In the past year , Lower
Manhattan has given new
meaning to the phrase tough
neighbor hood: The vibranc y
and diversity of its attractions
ar e a testament to grit of the
tr uest kind. St ro ll ar ound
downtown and youll com e
acr oss some of New Y ork s
finest historic buildings,
quirkiest museums, grandest
hotels, and loveliest parks.
The dinings divine, the shops
one-of-a-kind, and the best
par t? Its all in a days walk.
Tu rn to page 232 for details.
Places
&
Prices
Manhattan Pr oject
All eyes ar e trained, these days, on New Y ork s
downtownand ther es no better time to be ther e.
Fr om T riBeCa to Batter y Park, fr om the Hudson
R iver to the E ast R ive r, her e ar e the dont-miss
classicsplus ever ything new and coming
The
Rebuilding
Gr ound Zer o
The six preliminary plans
submitted in July shar e
six common elements,
illustrated above. The
final design will likely
include them, along
with a cultural venue.
Prole 1 tbe lntograpblcs gentleman 229
10profile01_TFA_r4.indd 229 8/1/12 11:07 PM
Excerpted from The Functional Art: An introduction to information graphics and visualization by Alberto Cairo.
Copyright 2012. Used with permission of Pearson Education, Inc. and New Riders.
Figure 10.11 A reoeslgn ot Tbe Manbattan Project tor tbe Soclety ot Publlcatlon
Deslgners' conterence, ln 2003.
W
E
S
T

S
T
.
B
R
O
A
D
W
A
Y
COENTI ES
SLI P
S
T
A
T
E

S
T
.

W
I
L
L
I
A
M

E
X
C
H
A
N
G
E
P
L.
F I NANC I AL D I ST R I CT
N
O
R
T
H

E
N
D

A
V
E
.
S
O
U
T
H






E
N
D

A
V
E
.
Woolworth
Building
Duane St.
Park
Washington
Market Park
Columbus Park
North
Cove
South
Cove
Century 21
Ecco
Azafran
World
Financial
Center
1 WFC
2 WFC
3 WFC
4 WFC
WINTER GARDEN
Pavilion
St. Pauls
Chapel
140
Broadway
Fraunces
Tavern
Trinity
Church
New York
Stock Exchange
Federal
Hall
Peking
Wavertree
Museum of
Jewish Heritage
Robert F.
Wagner, Jr.
Park
Governor Nelson A.
Rockefeller Park
Brooklyn Bridge
Castle Clinton
Staten Island
Ferry
Regular Statue of
Liberty and Ellis Island
Ferry leaves from here
FERRY
TO GALA
Bowling Green
U.S.
Custom
House
U.S.
Post Ofce
Original site of
The Sphere
New York City
Police Museum
Proposed site of
Frank Gehry-designed
Guggenheim
Museum
National
Museum of
the American Indian
City Hall
Tweed
Courthouse
Municipal
Building
W
A
R
R
E
N
S
T
.
BAT T E RY PAR K
BAT T E RY PAR K C I T Y
BAT T E RY PAR K
C I T Y
T R I B E CA
E
S
P
L
A
N
A
D
E
E
S
P
L
A
N
A
D
E
CI TY HALL
PARK
C
H
A
M
B
E
R
S
S
T
.
R
E
A
D
E
S
T
.
D
U
A
N
E
S
T
.
C
E
N
T
R
E

S
T
.
T
H
O
M
A
S
S
T
.
W
O
R
T
H
S
T
.
L
E
O
N
A
R
D
S
T
.
F
R
A
N
K
L
I N
S
T
.
W
H
I T
E
S
T
.
W
A
L
K
E
R
S
T
.
L
I S
P
E
N
A
R
D
S
T
.
FRANKLI N ST.
HARRI SON ST.
N. MOORE ST.
C
A
N
A
L

S
T
.
M
URRAY ST.
ALBANY ST.
W
E
S
T
T
H
A
M
E
S
S
T
.
G
R
E
E
N
W
I
C
H


S
T
.
G
R
E
E
N
W
I
C
H


S
T
.
H
U
D
S
O
N

S
T
.
W
E
S
T


S
T
.
W
E
S
T

S
T
.
BATTERY PL.
B
R
O
A
D
W
A
Y
W
A
T
E
R

S
T
.
W
A
T
E
R

S
T
.
S
O
U
T
H
S
T
.
F
R
O
N
T

S
T
.
N
A
S
S
A
U

S
T
.
PA
R
K
R
O
W
G
O
L
D

S
T
.
STONE ST.
BRI DGE ST.
BEAVER ST.
PEARL ST.
P
E
A
R
L
S
T
.
SO
U
TH
ST.
C
H
U
R
C
H

S
T
.
C
H
U
R
C
H

S
T
.
W
E
S
T

B
R
O
A
D
W
A
Y
W
E
S
T

B
R
O
A
D
W
A
Y
V
E
S
E
Y
S
T
.
L
I B
E
R
T
Y
S
T
.
W
A
L
L
S
T
.
W
A
L
L

S
T
.
P
I
N
E
S
T
.
F
U
L
T
O
N
S
T
.
L
I
B
E
R
T
Y

S
T
.
L
I
B
E
R
T
Y

S
T
.
A
N
N
S
T
.
B
E
E
K
M
A
N

S
T
.
W
I
L
L
I
A
M

S
T
.
F
U
L
T
O
N

S
T
.
J
O
H
N

S
T
.
O
L
D
S
L
I
P
20 Exchange
Place
70 Pine
Street
40 Wall
Street
Old AT&T
Building
Danube
Nam
Le Zinc
Odeon
Little
Place
Bayards
The Harrison
Tribeca Grill
Pier 25
Yankee
Chanterelle
Montrachet
Nancy Whiskey
Pub
No Moore
Pearl Paint
Nobu
Pico
New York
Unearthed
Irish
Hunger
Memorial
Federal
Reserve
Bank
South Street
Seaport Museum
SOUTH STREET
SEAPORT
HISTORIC DISTRICT
EAST R I V E R EAST R I V E R
Shooy
Mosaic Issey
Miyake
Secondhand
Rose
Anbar Shoes
J&R Music World
RITZ-CARLTON
BATTERY PARK
PIER A
0 100
YARDS
200 N
B
R
O
A
D

S
T
.

H U DSON R I V E R H U DSON R I V E R
Recovered from
Ground Zero.
The Sphere
CI TY HALL
PARK
P
I
N
E
S
T
.
W
E
S
T

S
T
.
BAT T E RY PAR K C I T Y
F I NANC I AL D I ST R I CT
BAT T E RY PAR K
C I T Y
T R I B E CA
C H I NAT OWN
S OH O
GROUND ZERO
Pavilion
BAR-B-Q
OPENING RECEPTION
AWARDS GALA
CONFERENCE
1
0

M
I
N
U
T
E
S

Museum of
American
Financial
History
1
5

M
I
N
U
T
E
S

Bouley
Gigino
Strand
Bookstore
Annex

Joes
Shanghai
Attractions
KEY
Restaurants
Cocktails
Shopping
Many city parks in Lower Manhattan are wi--accessible
Soho Grand
Hotel
Tribeca
Grand
Hotel
B
R
O
A
D
W
A
Y
W
A
L
L
S
T
.
W
A
L
L

S
T
.
B
A
R
C
L
A
Y
S
T
.
LIBERTY
ISLAND
Statue of
Liberty
ELLIS
ISLAND
BAT T E RY PAR K
S OH O
C H I NAT OWN
B
R
O
A
D
W
A
Y
South Street
Seaport
40
46
44
32
36
35
23
34
49
24
22
31
33
28
48
42
25
29
20
45
43
10
8
21
3
1
17
12
13
16
18
9
7
5
26
51
50
2
14
6
11
4
19
15
39
38
37
27
47
41
30
the functional art 230
10profile01_TFA_r4.indd 230 8/1/12 11:07 PM
Excerpted from The Functional Art: An introduction to information graphics and visualization by Alberto Cairo.
Copyright 2012. Used with permission of Pearson Education, Inc. and New Riders.