The elegant fold-out brochure titled “XVII Olympic Games in Rome,” commissioned by Banca Nazionale del Lavoro and produced in 1960 by the Sigla lithography studio in Genoa, stands as one of the finest examples of visual communication related to the Olympic Games. The work, designed by Heinrich C. Berann, takes the form of a striking bird’s-eye view map, successfully combining topographical precision with extraordinary pictorial quality. The illustration, starting from a Rome rich in monumental details and extending along the Lazio coast until it reaches the vast horizon of the Gulf of Naples, guides the viewer through the beating heart of the Olympics. The venues for the various Olympic disciplines are masterfully highlighted: from the monumental structures of the Foro Italico and the EUR to the waters off Campania designated for the sailing competitions. Each competition area is identified by Roman numerals that correspond to a legend at the bottom, creating a direct visual link between the urban fabric and the global sporting event. The reverse side of the brochure features a detailed competition schedule, which completes the object’s practical function, making it at once a guide, a souvenir, and a promotional tool.
Heinrich C. Berann (1915–1999) was one of the most important artistic cartographers of the 20th century. Born in Innsbruck, Austria, he initially trained as a painter, quickly developing a personal style that blended art and geographical representation. Throughout his career, Berann perfected the technique of three-dimensional panoramic maps, characterized by idealized aerial perspectives and a masterful use of color and light, capable of rendering complex territories legible with immediacy and aesthetic appeal.
After receiving his first accolades in the 1930s, his fame grew internationally thanks to collaborations with tourism agencies, government institutions, and scientific organizations. Among his most famous works are the maps he created for the U.S. National Park Service, as well as panoramic representations of Alpine regions and protected natural areas. In the 1960s and 1970s, he also collaborated with NASA, contributing to the artistic visualization of planetary landscapes, including those of the Moon and Mars, demonstrating the versatility of his approach.
