We begin this new Volume with a tale of two cities. Or, more precisely, with a reflection on the two most recent winners of the British Cartographic Society Award that offer a new perspective of Paris (the 3D wooden cartefact by David Kidd; see Issue 56.1) and of London (Streets of Gold, an aureate portrait of the city byWarren Vick and Ewan David Eason; see front cover and Figure 1). The success of these entries is worth exploring, since they were both designed primarily to be desirable objects rather than useful conveyors of geographical information. This would appear to reflect a shift towards a greater appreciation of the artistic elements of cartography in the world of professional (or formal) map-making, at least in the United Kingdom. To a wider world saturated by the utilitarian sterility of web map servers, this perhaps implies that novelty and aesthetic appeal are valued above all else within the cartographic community, where beauty has tended to be seen as a virtue rather than as a means to an end. Both winners exploit the materiality of mapping, whether the strength of their appeal lies respectively in their tactile or visual aesthetic, and both possess an allure that invites all to stop and gaze. If we are to regard the Society’s most prestigious award as a bellwether for current attitudes towards cartography, the achievement of these two recent examples suggests that maps do not need to present a commendable design solution to be considered worthy. They should, perhaps above all, provide an imaginative and convincing presentation of geographical data that fuses innovation with aesthetic appeal. Case (2012, 21) urges cartographers to address what it means to make a beautiful map in order to learn to look at maps as expressions of something people want and need. With greater accessibility to an abundance of datasets than ever before, the goal of the aspirant cartographer is therefore not to optimize what data already exists, but to offer a fresh way of seeing these data.

中文翻译：

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所有闪闪发光的艺术，火和制图后设计

我们从两个城市的故事开始这个新的卷。或者，更准确地说，是对英国制图学会奖的两个最近获奖者的反思，它们为巴黎（戴维·基德的3D木制手工艺品；见第56.1期）和伦敦（金街，金色的）提供了新的视角沃伦·维克（Warren Vick）和伊万·大卫·伊森（Ewan David Eason）绘制的城市肖像；请参见封面和图1）。这些条目的成功值得探讨，因为它们都是主要被设计为理想的对象，而不是有用的地理信息传递者。这似乎反映出，至少在英国，在专业（或正式）制图世界中，人们已趋向于对制图的艺术元素有更高的评价。对于由网络地图服务器的功利性无菌所饱和的更广阔的世界，这也许意味着在制图社会中，新颖性和美学吸引力比其他一切事物都受重视，在那里，人们往往将美视为一种美德而不是一种达到目的的手段。两位获奖者都利用了映射的重要性，无论他们的吸引力是在于触觉上还是视觉上，都具有吸引所有人停下来凝视的魅力。如果我们将协会最负盛名的奖项视为当前对制图学态度的领头羊，那么这两个最新实例的成就表明，地图不需要提供值得称赞的设计解决方案。也许最重要的是，它们应该提供富有想象力和令人信服的地理数据展示，从而将创新与美学魅力融合在一起。案例（2012年，21）敦促制图人员解决制作精美地图的意义，以便学会将地图视为人们想要和需要的东西的表达。因此，渴望获得制图者的目的是比以往任何时候都更容易访问大量数据集，而不是优化已经存在的数据，而是提供一种查看这些数据的新方法。