interview with john grim wade

7/27/2019 Interview With John Grim Wade

1/19

Prole 1John Grimwade

(Cond Nast Traveler

magazine)

The Infographics Gentleman

John Grimwade is graphics director of Cond Nast Traveler magazine

(based in New York) and has his own information graphics business (www.

johngrimwade.com). He has produced infographics for more than 30 ma-

jor magazines and several books. Before moving to the United States, heworked for 14 years in newspapers in London (including six years as head

of graphics at The Times). He co-hosts the annual Maloej Show Dont Tell

infographics workshop in Pamplona, Spain, and teaches information graphics

at the School of Visual Arts in Manhattan.

Te rs ime I crossed pahs wih John Grimwades work was when I was abouo nish my B.A. in Journalism, in he summer o 1997. I had been oered an in-ernship in he inormaion graphics desk oLa Voz de Galicia, he bigges regional

newspaper in norhwesern Spain. As my knowledge o he discipline was minimal,Manuela Mario and Xoan Gonzlez (aher o Xaqun G.V. [Gonzlez Veira], whoyou will mee in Prole 3), who led he deparmen a he ime, recommendedha I ake a look a some Maloej publicaions. Maloej1 is he Inernaional

1 Visi htp://www.maloej20.com.

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.


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Inographics Summi, organized every year by he Spanish chaper o he Sociey

or News Design. Te even includes he mos imporan compeiion in his eld,

which receives submissions rom newspapers and magazines rom all over he

world. Te winners are showcased in a series o large-orma books.

While browsing several o hese books, one graphic caugh my eye. I was iled

Te ransalanic Superhighway, and i explained he busy ow o ighs over

he Norhern Alanic (Figure 10.1). I was enhralled by is elegance and decep-

ive simpliciy. My colleagues old me ha he piecewhich had won a Silver

Medal a Maloejhad been designed by a cerain Briish maestro named John

Grimwade. Along wih Nigel Holmes, Grimwade is he bes in his business,

hey added wih a one o reverence.

Years laer, John and I became riends. He is a rue genleman, one o hose pro-

essionals who are always willing o help rookies (as I was when I me him) wih

inexhausible paience. He has also been a consan source o inspiraion or me

and or many ohers in his indusry. In he curren era o big daa, complex pro-

gramming, and inormaion overload, his visual sylesripped down, precise, and

graceulis a reminder ha good design is no abou masering echnology, bu

abou aciliaing clear communicaion and he undersanding o relevan 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 inormation graphics designer?

John Grimwade I is. I sared doing inormaion graphics many years beore

compuers enered newsrooms. When hey did, many colleagues said i was a

huge change, bu no or me. Maybe our mehods o work have shied a bi bu

he core principles are exacly he same.

Q What are those core principles?

JG Our main goal should be o ell a sory clearly by achieving order and having

some sor o narraive hrough each graphic. Any projec should sar by analyz-ing wha your sory is abou and hen nding he bes way o ell i by spliting

i up ino easily digesible chunks, wihou losing deph.

When I design a graphic, I ry o esablish a hierarchy, oo. In he planning

sage, one o he rs hings I do is o ideniy he main componens o he sory

and dene how hey are going o be sequenced on he page or on screen.

Prole 1 the infographics gentleman 21



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Figure 10.1 The Trans-

atlantic Superhighway. Cond

Nast Traveler, 1996, by John

Grimwade, who explains

the graphics: This is anexplanation of the system

that controls ights over

the Northern Atlantic. A

reporter had a map of air-

trafc control [see Figure

10.2], but it was difcult to

read. I wanted to understand

the system more thoroughly,

so I made contact with the

head of Oceanic Control

in Gander, Newfoundland.

Amazingly, there were no

visualizations available of the

system as a dimensional dia-

gram. So I thought, why not

make one? Rough versions

went back and forth until we

were both happy with the

graphic.

The Transatlantic SuperhighwayEVERYDAY,ABOUT900AIRCRAFTFLY

INSIDETHENORTHATLANTIC

ORGANIZEDTRACKSYSTEM

ORGANIZED TRACK SYSTEM

GETTING IN LINE

Taking into account airlines

preferred routes, oceanic

controllers at Gander,

Newfoundland, organize aircraftapproaching from different

directions into position for the

Atlantic crossing. This flight is

entering the system on track V

at 35,000 feet.

1

SAFETY ENVELOPE

Aircraft must keep minimum

distances from one another

in the track system, while

maintaining constant altitud

and speed.

2

2,000feet

35,000

37,000

39,000

33,00031,000

FLIGHTLEVELS(FEET)

29,000

T

UV

W

X

60miles

80mil

es(10

min.)

80mil

es

60miles

GRAPHICS by JOHN G232

G r a p h

JohnGr

2,000feet

.

GRAPHICS by JOH

the functional art214



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EASTINTOTHENIGHTAs a result of passenger demand, time

zone differences, and airport noise

restrictions, North Atlantic air traffic

has two peak flows: eastbound, leaving

North America in the evening, and

westbound, leaving Europe in the

morning. Every 12 hours a new track

system is prepared, to allow as many

aircraft as possible to follow the most

economical flight paths. Because of

changing weather conditions, the track

positions are rarely identical.

Aircraft crossing the main

traffic flow (for example,

Madrid to Los Angeles) are

routed above or below the

track system.

Some flight levels are

reserved for aircraft flying

in the direction opposite

the peak flow.

The Concorde flies between 50,000 and 60,000 feet,

far above the main traffic flow.

360MILES

GANDER OCEANIC

CONTROL AREA

Gander

Prestwick

ICELAND

UNITED KINGDOM

IRELAND

GREENLAND

NEWFOUNDLAND

CANADA

Shannon

SHANWICK OCEANIC

CONTROL AREA

POSITION CHECK

Aircraft in oceanic airspace are out of

radar contact for about four hours.

Position reports are made by radio at

every 10 degrees of longitude, and theinformation is used to update displays

at the oceanic control centers.

3

HALFWAY POINT

At 30W, responsibility for the

flight is transferred from

Gander to Prestwick Oceanic

Air Traffic Control in Scotland.

4

NORTH

ATLANTIC

OCEA

N

WES

TBOUND

(DAY)

EASTBOUND

(NIGHT)

JET

STREAM

T

ED

CB

A

UV W

X

233




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Q Tat sounds like Journalism 101 to me. When you write a story, the best

thing to start with is a structure or your writing.

JG Tas because i is! Te only dierence beween a radiional journalis andus is he language. Journaliss use words; we use picures, chars, graphs, maps,diagrams, and illusraions.

I hink one o he reasons why some people o my generaion were verysuccessul is because we were designers, bu we go embedded in journalisic

environmens. We worked wih reporers and ediors. Ta augh us ha weshould srive or clariy because we are an inerace beween a chaoic world oinormaion and he user who wans o undersand somehing. I we can bringusers clariy, I hink we have kind o ailed, acually.

When I see a graphic I am ineresed in, I ry o read i criically, and one ques-ion I ask over and over again is Whas he poin? Whas he sory? Tas whayou have o do when you work on a projec. Is no enough o do good research

Figure 10.2 One of the source materials for the The Transatlantic Superhighway.

An air-trafc control map.




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Figure 10.3 One of the sketches for The Transatlantic Superhighway infographic, shown in Figure 10.1.

and hen presen your inormaion o your readers. You have o edi ha inorma-ion. We, inographics designers, mus work as reporers bu, above all, as ediors.

Q Is that why you have expressed reservations about the emerging feld

o data visualization? Many inographics designers in newspapers and

magazines seem to be embracing it with enthusiasm, but you have said that

sometimes it eels that visualization designers seem to just throw data at

their users, without worrying about presenting coherent stories.

JG Embracing a new echnique or a new echnology is grea. Daa visualizaioncan be really powerul and useul. I can see a lo o poenial in i. Noneheless, Ialso eel ha many visualizaion designers ry o ransorm he user ino an edior.Tey creae hese amazing ineracive ools wih ons o bubbles, lines, bars, lers,and scrubber bars, and expec readers o gure he sory ou by hemselves, anddraw conclusions rom he daa. Tas no an approach o inormaion graphicsI like. No all readers are daa analyss!




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Maybe I am old-school, bu I don believe I am alone in ha concern. Tink oHans Rosling2 and he way he ineracs wih his wonderul bubble visualizaions.He doesn jus show su; he explains he main poins, ocusing he readersatenion on he mos ineresing pars o he inormaion. Aer ha, i readers

wan o navigae deeper ino oher possible sories, hey can do i. Bu rs, heyare exposed o a radiional, linear narraive ha lays ou he basic acs.

Q Is it possible to fnd a synthesis between what inormation graphics

designers have been doing or the past 30 or 40 years and what data visual-

izers are trying to achieve nowadays?

JG I am convinced ha we will see ha in he uure. Te New York imes3 isexploring ha pah a his poin. For insance, in many o heir ineracivegraphics, hey presen complex ses o daa, and hey le you go really deep ino

he gures and heir connecions. Bu beorehand, hey give you some conex,some poiners as o wha you can do wih hose daa. I you don do his, i youdon include his layer o inormaion, which he designers call he annoaionlayer, you will end up wih a visualizaion ha may look really beauiul andinricae, bu ha will leave readers wondering, Wha has his hing really oldme? Wha is his useul or?

Is like a visualizaion I saw he oher day ha ploted he ow o axis inNew York Ciy, as well as heir posiions a every ime o he day and nigh. Ilooked really cool bu, aer a minue, I asked mysel: Wha is his abou? Wha

am I supposed o see here? Is i really ha surprising ha he ow o axis is re-ally heavy beween La Guardia and JFK, or ha here are ewer axis during henigh han during he day? Tas no a very revealing insigh, is i?

Or ake some gorgeous recen maps ha show people weeing all over Europein he languages o he counries hey live in. All righ, has really ineresing[said tongue-in-cheek]: Te Germans are weeing in German! Te map cerainlylooks beauiul wih all hose litle color dos shining here and here, bu is noha enlighening. I doesn convey much, and has a problem. You need o ori-en readers ino he sory beore hey can navigae your graphics on heir own.

Q Lets talk a bit about your own design process. How do you get started?

JG When we do a sory or Cond Nast raveler magazine, I ry o be involvedin i as early as possible. Someimes i happens ha reporers don realize hey

2 See Prole 8: Hans Rosling.

3 See Prole 3: Seve Duenes and Xaqun G.V.




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will need inographics in heir pieces unil hey ge back rom rips, so I preero mee wih hem beore hey depar. I helps me ge a clear idea o wha shapehe sory is going o ake, o is ocus, and i helps reporers undersand how hecopy and he visual elemens on he pages are going o complemen each oher.

I bring paper and pencils o hose meeings. While we alk, I keep scribbling.I do very rough skeches and ake noes abou he key elemens. Is in hese mee-ings when I decide wha we need o show wih he graphic so is conen doesnoverlap oo much wih wha he copy will ell or he phoographs 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 10.3and Figure 10.5.)

JG Tey are par o my hinking process. Aer he preliminary meeings are

over, I go o my sudio and work ou he srucure o he graphic in a rough orm.I nd ha in pencil I can jus do a rough version, arrange he elemens as I wish,and hrow away whaever I eel is no relaed o he poins I wan o ge across.Teres virually nohing invesed in hose skeches.

I you ry o do somehing like ha in a compuer, you will somehow eelcommited o your rs ideas. Skeching ou using design soware requires a loo eor. Laer, when you go over your plans wih ediors, everyhing may needo change or some reason, maybe because he ocus o he sory has swiched.I you are enamored wih your own compuer graphics, hose ha ook so muchime o develop, you may eel resisan o change hem down he road.

In oher words: a rs, don jus draw a box in Adobe Illusraor and sarworking inside i. Tas a very bad way o sar: You make a lo o ar decisionsand hen rap yoursel ino hem. I consanly see graphics ha have been donelike ha. A big image or illusraion was pu in he middle rs and hen hedesigner ried o make all he oher elemens in he composiion work aroundi, insead o coming up wih a solid srucure ha would help ell he sory youneed o ell. Tis doesn happen when you work wih pen and paper beore youproceed o he arwork phase.

I ry o encourage my sudens a he School o Visual Ars o draw as many

skeches as possible, due o his atachmen acor ha everybody experiencesevery now and hen. Someimes hey eel inimidaed by hand drawing, bu I ellhem ha hey don need o be Leonardo da Vinci. Wha hey need o come upwih is no ar; hey don need o worry abou aesheics a his poin, bu abouhe srucure. In many cases, jus a bunch o very simple, rough, and badly drawnskeches made wih cheap pencils or crayons will sufce o help you undersand




9/19

Sky Ceiling

Chandeliers

Skywalks

55

99

66

Chandeliers88

Tennis courts

Bridgeover ramps

Ticketwindows

11 Entrance

42NDSTREET

44

Informationbooth

22 Main Waiting Room

1111 Lower Concourse

33 Main ConcourseHalf-acreTennesseemarble floor

East Balcony

West Balcony

Upper train platforms

Lowertrain platforms

New East Staircase

West Staircase

One of threeplanned balconyrestaurants

CampbellApartment

Ramp

Vaultedceiling

77

Oyster Barramp

Escalators toMetLife Building

Patchleft uncleaned

1010Oyster Bar

To Lexington Passage To GraybarPassage

To Grand CentralMarket and LexingtonAvenue entrance

New restaurantsand bars

Ramp

Oyster Barramp

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

propelyou, 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 1927and 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.

WA L KTHIS WAY

11

22

33

44

55

66

77

88

99

11

M

Your guide to navigating the

new Grand Central

155G R A P H I C S B Y

John Grimw adeG R A P H I C S B Y

John Grimw ade

11

1010

Figure 10.4 Grand Central Terminal, 1998. Cond Nast Traveler, by John Grimwade. This

infographic is part of a feature that reported the completion of the Grand Central Terminal

restoration. At the time, I was walking through the building every day on my way to work, sothe reference was right in front of me. I used the simple approach of taking a cross-section

and manually projecting it backward. John Tomanio, who worked with me at Cond Nast

Traveler, solved my problems in getting the ceiling exactly right. He photographed it looking

straight up, and then projected the image onto the inside of a cylinder using a 3-D program.




10/19

Figure 10.5 Sketches for the Grand Central Terminal infographic.




11/19

how o organize a sory, how o creae a good sequence o seps, and a good hi-erarchy in your layou.

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 yourecommend to someone who is planning to pursue a career in information

graphics and visualization? What should that person study?

JG Tas very difcul quesion. I guess he challenge is ha you are asking meo hink backward. I learned o design inographics by working in a newsroom.Decades ago, I landed in a news publicaion and learned he cra on he job.

I would say, however, ha he rs skill you need o maser is o look agraphics wih a criical eye. Read newspapers, magazines, and exbooks; visiwebsies ha showcase inographics and visualizaions; and analyze i hey help

you undersand imporan maters. I hey don, hey are no good. Te nex hingwould be o reec on he changes ha would make hose presenaions ell clearermessages. And, i you have he ime, you can maybe even make hose changes.

You also have o ponder i you have he passion o ener his eld. Inograph-ics is no he easies ask. I migh look like i is bu i sure as hell isn. You needyears o sel-eaching and rial-and-error o maser he echniques and ools. Iyou don eel he drive o be absoluely meiculous abou research and comingo grips wih he sory, you jus can produce a good inormaion graphic. I youhink you are going o skim across he op and rea i like some kind o ar job,is very unlikely ha you are going o be much o a success. I don know how o

nd or uel ha kind o passion, hough.

Figure 10.6 One of the discarded illustrations made for the Seven Ages of the 747 project.




12/19

Figure 10.7

A spreadsheet and

early sketches and

layouts for the Medal

Exchange infographic

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 eel that kind o passion as well.

JG Is really a journalisic passion, yes. In ac, some o he bes people I have

worked wih used o be radiional journaliss unil hey realized he power ovisual soryelling. When you hink abou i, inographics and visualizaion arereally amazing ools or elling sories when used correcly, aren hey?




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Figure 10.8 Five Ages

of the 747. Cond Nast

Traveler, 2011, by John

Grimwade. Projects

often take big shifts

along the way. I was

originally thinking of a

y-past of 747s to show

the history, but every

angle we tried did not

clearly show the key

features of the new 747

aircraft that had beenannounced. The new

model is much longer

than the previous ones,

and it has dramatically

upswept wings. So

I moved to a more

conventional plan-like

display.




14/19




15/19

Poland

Medals: 10

G.D.P.: $24

Podium Ind

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

ruSSiaMedals: 92

G.D.P.: $582 billion

Podium Index: 15.8

hunGary

Medals: 17


Podium Index: 17

Slovakia

Medals: 6

G.D.P.: $41 billion

Podium Index: 14.6

auStralia

Medals: 49


Podium Index: 7.8

new ZealaMedals: 5

G.D.P.: $100 bi

Podium Index:

thailand

Medals: 8


Podium Index: 4.9

netherlandS

Medals: 22


Podium Index: 3.8

China

Medals: 63

G.D.P.: $1.7

Podium Ind

GreeCe

Medals: 16


Podium Index: 7.9

Podium index= x 10G.D.P. in billions

Number of medals

G.D.P. of less than $100 billion

G.D.P. of $100 bil lion to $1 tril lion

G.D.P. of more than $1 trillion

ke y

5 8 Cn Na Pf . A . 0 8

Figure 10.9 MedalExchange. Cond Nast

Portfolio, 2008, by John

Grimwade: This is an

interesting approach to

covering the Olympics

in a business magazine

just before the Beijing

games. Were all used to

the conventional medals

table, but what happens

if the Athens medals

total is divided by the

GDP of the country?

Then we see who did

the most with the least

resources. Ethiopia is

the winner. The U.S. and

Japan are way down the

list.




16/19

demyst i f i er

SPain

Medals: 19


Podium Index: 1.9

Germany

Medals: 49

G.D.P.: $2.7 trillion

Podium Index: 1.8

italy

Medals: 32


Podium Index: 1.9

iran

Medals: 6


Podium Index: 3.7

turkey

Medals: 10


Podium Index: 3.3

auStria

Medals: 7


Podium Index: 2.4

norway

Medals: 6


Podium Index: 2.4

FranCe

Medals: 33

G.D.P.: $2 trillion

Podium Index: 1.7

braZil

Medals: 10


Podium Index: 1.7

britain

Medals: 30


Podium Index: 1.4

united StateS

Medals: 102


Podium Index: 0.9

Canada

Medals: 12


Podium Index: 1.2

jaPan

Medals: 37


Podium Index: 0.8

Sweden

Medals: 7


Podium Index: 2.0

Do wealthier countries take home moreOlympic medals? Conventional wisdomsuggests that they would. Its no secret that

having the fnancial resources to invest in humanpotential leads to success: The U.S. is the richestcountry in the world and has won more Olympicmedals than any other nation. But i you introducesome elementary math and divide a countrys medal

tally by its gross domestic product, the numbersrearrange themselves dramatically. Ethiopias track-and-feld victories lit the poverty-stricken state to

the top o the pile, while economic powerhouseslike Japan, France, and the U.S. fnish near the bot-tom. Heres a look at our surprising results, basedon medal counts rom the 2004 Summer Games in

Athens and G.D.P. data rom the same year.

Medal ExchangeSure, the worlds economic powerhouses dominate the Olympics. Or do they?

. . .

by Jessica Liebman

i l l u s t r A t i o N b y b r y A N C h r i s t i e d e s i g N




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18/19

Figure 10.10 The Manhattan Project,

Cond Nast Traveler, 2002, by John Grimwade.

One year after the September 11 attacks,

we ran a feature reminding our readers that

the downtown area of Manhattan still had a

lot to offer. It has stylized buildings, whereI tried to capture the essence of the build-

ing rather than aerial-photograph accuracy,

and a clear street grid. This is very much my

graphic approach to making maps: Remove

the unnecessary detail, and focus on the

story. In 2003, I reworked the map into a

different format for a handout at the Society

of Publication Designers conference. (See

Figure 10.11 to see the second map.)

:

q --- ? 3

&

-




19/19

Figure 10.11 A redesign of The Manhattan Project for the Society of Publication

Designers conference, in 2003.

WEST

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STATEST

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WILL

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EXCHANGEPL.

F I N A N C I A L D I S T R I C T

NORTH

END

AVE

.

SOUTH

END

AVE

.

WoolworthBuilding

Duane St.Park

WashingtonMarket Park

Columbus Park

NorthCove

SouthCove

Century 21

Ecco

Azafran

WorldFinancialCenter

1 WFC

2 WFC

3 WFC4 WFC

WINTER GARDEN

Pavilion

St. PaulsChapel

140Broadway

FrauncesTavern

TrinityChurch

New YorkStock Exchange

FederalHall

PekingWavertree

Museum ofJewish Heritage

Robert F.Wagner, Jr.

Park

Governor Nelson A.Rockefeller Park

Brooklyn Bridge

Castle Clinton

Staten IslandFerry

Regular Statue ofLiberty and Ellis IslandFerry leaves from here

FERRY

TO GALA

Bowling Green

U.S.CustomHouse

U.S.Post Office

Original site ofThe Sphere

New York CityPolice Museum

Proposed site ofFrank Gehry-designedGuggenheimMuseum

NationalMuseum ofthe American Indian

City Hall

TweedCourthouse

MunicipalBuilding

WARRENST.

B A T T E R Y P A R K

B A T T E R Y P A R K C I T Y

B A T T E R Y P A R K

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ESPLANADE

CITY HALL

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N. MOOREST.

CANALS

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BROADWAY

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ERST.

WAT

ERST.

SOUTH

ST.

FRON

TST

.

NASSAU

ST.

PARKROW

GOLD

ST.

STON E ST.

BRI DG E ST.

BEAVERS

T.

PEARL

ST.

PEAR

LST.

SOUT

HST.

CHURCH

ST

.

CHURCH

ST.

WESTBROADW

AY

WEST

BROADWAY

VESEYST.

LIBERTYST.

WALLST.

WALLST.

PINES

T.

FULTO

NST.

LIBERTY

ST.

L

ANNST.

BEEKMANST.

WILLIAM

ST.

FULTONST.

JOHNS

T.

OLDSLIP

20 ExchangePlace

70 PineStreet

40 WallStreet

Old AT&TBuilding

Danube

Nam

Le Zinc

Odeon

LittlePlace

Bayards

The Harrison

Tribeca Grill

Pier 25

Yankee

Chanterelle

Montrachet

Nancy WhiskeyPub

No MoorePearl Paint

Nobu

Pico

New YorkUnearthed

IrishHunger

Memorial

FederalReserveBank

South StreetSeaport Museum

SOUTH STREETSEAPORT

HISTORIC DISTRICT

E A S T R I V E RE A S T R I V E R

Shoofly

MosaicIsseyMiyake

SecondhandRose

Anbar Shoes

J&R Music World

RITZ-CARLTON

BATTERY PARK

PIER A

0 100

YARDS

200 N

BROAD

ST.

H U D S O N R I V E RH U D S O N R I V E R

Recovered fromGround Zero.

The Sphere

CITY HA

PINE

T

ST

.

R A I

I N I A I

B PA

C I

C H I N A T O W N

S O H O

GROUND ZERO

Pavilion

BAR-B-Q

OPENING RECEPTION

AWARDS GALA

CONFERENCE

1

0

MI

NUTES

Museum ofAmericanFinancialHistory

15MIN

UTE

S

Bouley

Gigino

StrandBookstoreAnnex

JoesShanghai

Attractions

K EY

Restaurants

Cocktails

Shopping

Many city parks in Lower Manhattan are wi-fi-accessible

Soho GrandHotel

TribecaGrandHotel

WAL

BARCLAYST.

LIBERTYISLAND

Statue ofLiberty

ELLIS

ISLAND

E Y

S O

I N A N

South StreetSeaport

40

46

44

32

36

3523

34

49

24

22

31

33

28

48

4225

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

3837

27

47

41

30


interview with john grim wade

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