I like the…hand-drawn feel of the map. Venues are shown in indicative locations rather than being geographically correct, as the details of London between the venues are missed out. This makes it a very poor map for navigating around London between the venues, but a good graphic illustrating just how many venues in London there are, and how they relate geographically to the major London landmarks. – Mapping London
Second, is the one you would pick up in the London Tube if you were going to the games. Created for the Olympics, the “London Summer 2012” map looks like a pretty cool brochure/souvenir for the games:
The maps feature key landmarks, the locations of Olympics related events (such as London Live) and shops, a selection of interesting museums and also more practical information such as public amenities, police stations and NHS walk in centres. The maps also include 6 discovery trails (round trips) to help explore different areas (such as the City; Spitalfields and Brick Lane; Regent’s Park; and the West End).
Brilliant. It was very, very well done. This was about Great Britain; it didn’t pretend it was trying to have global appeal. Because Great Britain has self-confidence, it doesn’t need a monumental Olympics. But for China that was the only imaginable kind of international event. Beijing’s Olympics were very grand – they were trying to throw a party for the world, but the hosts didn’t enjoy it. The government didn’t care about people’s feelings because it was trying to create an image.
In London, they really turned the ceremony into a party – they are proud of themselves and respect where they come from, from the industrial revolution to now. I never saw an event before that had such a density of information about events and stories and literature and music; about folktales and movies.
At the beginning it dealt with historical events – about the land and machinery and women’s rights – epically and poetically. The director really did a superb job in moving between those periods of history and today, and between reality and the movies. The section on the welfare state showed an achievement to be truly proud of. It clearly told you what the nation is about: children, nurses and a dream. A nation that has no music and no fairytales is a tragedy.
Of all the instances in which graphic communication is necessary to transcend language barriers, the Olympic Games are, if not the most important, probably the most visible. We take the little icons of swimmers and sprinters as a given aspect of Olympic design, but the pictograms were a mid-20th Century invention—first employed, in fact, the last time London hosted the games, in 1948 (some pictographic gestures were made at the 1936 Berlin games, though their mark on international memory has been permitted to fade because of their association with Third Reich ideology).
The 1948 London pictograms were not a system of communication so much as a series of illustrations depicting each of the competitive sports, as well as the arts competition, which existed from 1912 to 1952 and included architecture, literature, music, painting and sculpture. In 1964, the Tokyo games took pictogram design to the next level by creating a complete system of typography, colors and symbols that would be applied across Olympic communications platforms.
In a paper on the history of Olympic design and national history, Jilly Traganou, an associate professor at The New School, writes:
Since Japan had not adopted the principles of the International Traﬃc Signs, introduced at the United Nations Geneva conference in 1949 and accepted by most European countries, the Olympics were regarded by graphic designers as an opportunity to establish a more uniﬁed and internationally legible symbolic language across the country. It was along these lines, searching for universally understood visual languages, that pictograms (ekotoba, in Japanese, a word used prior to the design of pictograms) were for the ﬁrst time designed for the Olympic Games, embodying at the same time [founder of the International Olympic Committee] Baron deCoubertinʼs aspirations of universalism.
As snapshots through time, Olympic posters provide a fascinating record of our world, a lens through which we can explore links between sports and art, politics and place, commerce and culture. A Century of Olympic Posters offers an intensely visual representation of the modern Games, and shows the evolution of the Olympic Games poster as well, from the first official poster for Stockholm in 1912 right up to the present.
If Orange County was a nation it would have ranked among the top 10 in gold medals at each of the past two Summer Olympics. At the 2004 Games in Athens, Orange County athletes won as many golds (nine) as Great Britain, or one more than Brazil and Spain combined. Four years later, O.C. athletes brought home 19 medals, as many as Ethiopia, the Czech Republic and Argentina combined.
Athletes with O.C. ties also produced two of the most iconic moments of the 2008 Beijing Games. Irvine’s Jason Lezak kept Michael Phelps’ bid for a record eight gold medals alive in the 4×100-meter freestyle relay with what has been called as the greatest anchor ever. Phelps later edged Serbia’s Milorad Cavic, a Tustin High grad, by a mere hundredth of a second to win the 100-meter butterfly to equal Mark Spitz’s then-Olympic record of seven golds.
In London, Orange County athletes could put up even bigger numbers.
A record 79 O.C. athletes will compete in the 2012 Olympic Games in London, more than double the 31 who participated in the Athens Games just eight years ago. And unlike some other Olympic hotbeds like Kenya’s Rift Valley or Australia’s Gold Coast, Orange County’s Olympic success is not limited to just one sport. In London, O.C. athletes could win gold medals in as many as nine sports.