WAYFINDING DESIGN MEDIA PUBLISHING LIMITED
DESIGN MEDIA PUBLISHING LIMITED
Contents 068 Canada's National Ballet School
186 Palladium Mall
070 Think: Education
126 Michael’s Genuine Food & Drink
188 Viva Collage Mall Viva Collage
008 Cathedral of Christ the Light
128 Lockup 2999 Restaurant
190 Karstadt Young Fashion–Urban Marketplace
010 Santa Clara‑a‑Velha Monastery
074 Universities' Wayfinding Hub
130 1180 Peachtree TAP Restaurant
192 Westfield Roseville Galleria
012 The STOP Community Food Centre
076 Cesar Chavez Student Center
132 Northern Quest Liquid Bar
014 Four Seasons Centre for the Performing Arts
078 North Carolina State University
134 The Westin Diplomat Parking
196 The Shops at La Cantera
016 Roosevelt Community Center
136 Eureka Tower Carpark
018 Australian Centre for the Moving Image
082 Saint Paul College
138 City National Plaza
198 11@Century Hotel
020 Arnolfini Art Centre
140 Golden Belt
200 Hotel Fort Canning
022 Science Center of Iowa
084 Wallsend Library
142 Grand Central Terminal Retail
202 Hard Rock Hotel & Casino
024 Mariners Church- Student Center
086 Five Dock Library
144 The House
204 Loews Philadelphia Hotel
026 Castles, Palaces and Antiquities in Rhineland-Palatine
088 The Jewish Braille Institute Library
146 Boardwalk Wayfinding Kiosks
206 Estoi Palace
030 Fountainhead - The Leadership Centre
090 Castle Hill Library and Community Centre
148 Potawatomi Casino
208 Burj Khalifa
032 Laban Dance Centre
092 Memphis Library
150 House Full Retail Store
210 W Hotel & Residences Fort Lauderdale
034 The Pope John Paul II Cultural Center
094 The Library of the University Applied Sciences
152 Maxi Joy
212 Jaypee Palace Hotel & Convention Centre
154 DT Cinemas
214 W Buckhead Hotels
036 Elevation Church
096 Artscape Wychwood Barns
156 PVR Cinemas
216 Bliss Spa
038 Singapore Management University
098 Canadian Museum of Nature
158 Toronto International Film Festival Centre
218 Riviera Resort & Spa
040 NYU Department of Social and Cultural Analysis
100 Royal Ontario Museum
160 Mackay Entertainment & Convention Centre
220 Shangri-La Resort & Spa, Boracay Island
042 TAFE NSW, South Western Sydney Institute
102 Bay Area Discovery Museum
162 Virginia Beach Convention Center
222 Carmel Valley Ranch
044 TAFE NSW, Sydney Institute
104 Oakland Museum of California
164 Erie Commercial Slip
224 Shangri-La’s Villingili Resort & Spa
046 The University of Sydney
106 Childrens Discovery Museum of the Desert
226 The Westin Diplomat, Resort & Spa
048 Donor Recognition Sculpture
108 Natural History Museum—Identity System
166 GrooveNation at Marina Square
228 The Rosseau Hotel
050 University of California, Merced Campus
110 Natural History Museum—Wayfinding System
168 St David’s Shopping Centre
230 Dubai Festival City
052 School of Pharmacy
112 The National Gallery
232 Northern Quest Casino & Resort
054 Art Institute of Chicago
114 Tate Modern
172 ION Orchard
234 Northern Quest Hotel
056 Cadence Campus / Research & Development Center
116 Museum Land van Valkenburg
174 Charlottesville Fashion Square
236 Sentosa Island Resort
058 Chartwell School
118 Musei Civici Fiorentini
176 Newport Centre
238 Windcreek Casino and Resort
060 Memorial Plaque for Charles Hallgarten
120 Heard Museum
178 The Bullring
062 Campus of the University of Applied Sciences 064 Bertschi School
122 Machado de Castro National Museum
180 The Shops at 5th Street & Alton Road
240 Gallery of Academy of Visual Arts (HGB) in Leipzig
064 Bertschi School
124 The National Maritime Museum
182 360 Mall
242 The LAB Gallery
184 Chatswood Chase Shopping Centre
244 Manchester Art Gallery
066 Royal Conservatory TELUS Center
246 Dinosaur Exhibition
312 “Chiswick Park” Office
378 Florida Hospital Health Village
442 St Kilda
248 2010 MICA Graphic Design Senior Show
380 Mater Hospital Newcastle
444 Glasgow City
250 PS3_PT Launch
316 The Omni Offices
382 Mercy Hospital
446 Direction Philadelphia
252 Berlin Tempelhof Airport Exhibition
318 Chase Times Square
384 Cooperative Program Forms a Medical District
448 Stadtinformation Düsseldorf
254 55 years of Vodnikova
320 Dow Jones Headquarters
386 Union Hospital
450 City of Folsom
256 From Klovic and Rembrandt to Warhol and Picel
322 L’Oreal USA Berkeley Heights Headquarters
388 St. Anthony’s Medical Center
452 Flushing Freedom Mile
258 Showroom Citroen
324 Mt. Diablo Recycling Center
390 Centre for Addiction and Mental Health
454 Buenos Aires
326 Granada Garage
392 Kings County Hospital Center
456 TriMet/Portland Transit Passageway
262 Mercedes Benz World Visitor Exhibition
328 Pacific Research Center
394 Katz Women’s Hospital at NSLIJ Hospital Center
264 C/O Berlin
330 RBC Dexia
396 Queens Hospital Cente
458 Eana, Abbaye Du Valasse
266 Bovisa Gallery
332 Sugamo Shinkin Bank Niiza branch
398 South Nassau Communities Hospital
462 Republica de los Niños (Children's Republic)
268 USP under Construction Exposition
334 Duke Energy Center
400 Macquarie University Hospital
464 Grafenegg Palace Gardens
270 Abundant Australia
336 Jackson-Triggs Niagara Estate Winery
402 Orthopaedic Hospital
466 Oasis of the Seas
272 365: AIGA 27 Design Exhibition
338 Concord Adex. Inc
404 Northpoint Health & Wellness Center
468 Pinecrest Gardens
274 Autodesk Customer Briefing Center Exhibition
340 DNP Tokyo Headquarters
470 Village Visokiy Bereg
276 Stockholm International Fairs
342 AZIA Center
406 La Trobe University and Macleod Station
472 Wadi Hanifah
278 The 11th International Architecture Biennale in Venice
344 ARA Winegrowers
408 Achemine—France Railway Station Signage Typeface
474 Dzintari Forest Park
280 Aires Libres 2009
410 Epping to Chatswood Rail Link
476 Dawes Point
282 Paul-Marie Lapointe Exhibition
348 Dow Chemical Company, Houston Office
412 Atlantic Terminal
478 Coney Island
284 Philippe Malouin Exhibition
350 Wayne L. Morse United States Courthouse
414 DOCKS en Seine
480 Houston Zoo’s Cypress Circle
286 Risking Reality Exhibition
352 East Thames Group
416 Darling Harbour
482 Fukoku Forest Square
354 The Salvation Army Headquarters
418 Rochester Rapid Bus
484 Monastery Street Park/Slopes Pylon
288 Wells Fargo Home Mortgage
356 One Bryant Park
486 San Francisco Zoo
290 Allie Street Office
358 Ferrer Group
420 Air New Zealand Domestic Check In
488 Sydney Park Playground
292 888 Seventh Avenue
360 Provision Ministry Group
422 Auckland International Airport
490 Yukon Bay Project in Zoo Hanover
294 Barclays Global Investors, World Headquarters
362 Broadway Ridge
424 Terminal 3 from Lyon St-Exupéry Airport
492 Mill Pond Park
296 The Landhaus
364 Normandale Lake Office Park
426 Budapest Airport
494 Temaiken Bio Park
298 Wegener Publishers
366 Parramatta Justice Precinct
428 Sydney Airport International Terminal
496 The Place of Birds Thematic Park
300 Pricewaterhouse Coopers
432 Virgin Atlantic, Terminal 3 Heathrow
498 Western Sydney Parklands
302 1001 Perimeter Summit Building
368 London Vision Clinic
434 Mumbai International & Domestic Airport
500 Atatürk Arboretumu
304 Commonwealth Bank Training Centre
370 Advance Medical Optics
436 Los Angeles International Airport
306 Attorney General Department
372 Sutter Health, PAMF Camino Medical Group
308 The MetLife Building
374 Hoshi Kodomo Otona Clinic
438 Connect 12 Pedestrian Bridge
310 Pflege on Tour Ambulant Nursery Service
376 Altru Hospital
440 A Map-free City / A Stroll Through Venice
Almost 30 years ago, when I started as a designer, the business of design was quite different from now. It was a craft. Everything a designer produced was handmade. The relation between seeing and doing, eye and hand, was essential. In only 30 years this profession has undergone a revolutionary transformation technologically, but also its place and influence in society has changed dramatically. This book is concerned with a relatively new design discipline at the intersection of graphic design and architecture – wayfinding. It includes contributions of best practice design solutions around the world. While people had to find their way since the beginning of times, it has only in recent times achieved its own status as environmental design. This new interaction with the public space, architecture, landscaping, t r a ff i c f l o w, h u m a n b e h a v i o r, t h e physical and sociological environment is not only about ordering information on a sign panel, but it is the public interface through which a place can be significantly defined, enhanced or organized. Wayfinding systems introduce people with places and provide clear and unambiguous information. Creating legibility in an urban environment is a collective and collaborative task that includes city planners, landscape, urban and interior designers, as well as environmental
designers. Our work can have a significant impact on large populations therefore it is the responsibility of the wayfinding designer to lead in creating accessible, enjoyable and legible places that deliver authentic and memorable experiences. To orientate yourself, to know where you are and where to go is part of our selfconsciousness, our well-being. Lack of orientation, however, is chaos and anxiety. Newcomers to a building or a place need orientation that is supportive and polite, but not dictatorial and visually dominant. The vocabulary and inventory for the wayfinding designer to create signs are fonts and layout systems, grids, colors, pictograms, symbols and images, arrows, maps as well as material choices, forms, media considerations and light. Are there rules to guide the designer? Yes and no, rules exist, for example standard heights for signs, rules for accessibility or typographic grids, code requirements and more. Sign systems that stand out are the ones that do not follow a general rule, instead dare to be different and innovative. It is the knowledge and experience of the designer, often acquired in many years of practice that enables a new and unusual solution. Each project is unique and requires an individual approach. In an art gallery e.g., people like to
wander around at ease, sometimes going back to take a second glance at an exhibit, while at an airport or in a subway station passengers want to reach their destination, the right gate or the right train, as quickly as possible. In a hospital, patients or visitors are often distressed or concerned about a loved one. In this environment, it is important for the public interface to be clear and legible using consistently the right nomenclature for clinical expressions and at the same hand display an organized and calming look. Wayfinding for a sports arena or a museum might emphasize the storytelling and narrative aspect of a certain place, history or exhibition. These are only a few samples to illustrate specific needs to different wayfinding tasks. Although outcomes and final signage results are unique, all projects are based on a comprehensive stra te g y a n d d e si g n p ro ce ss th a t organizes the design team, creates efficiency and focus for a timely delivery of the final product. Typical steps in the design process are research and analysis, strategy, programming, design concepts, detailed design development, fabrication documents, tender (if necessary), supervision of fabrication and installation, and finally review of installed sign types. The growing interest in design is a reflection of the importance that design plays in our modern world. A world that
is looking for meaning as old rules and values are questioned. Technology alone cannot be the answer to our problems. Design is filling the gap between art and technology, between ‘soft’ expressions and ‘hard’ data. A rift that started, at least in the western world, in the Renaissance as the advances in science like mathematics and physics, alchemy and astronomy led to the enlightenment. These new ideas fostered by mass reproduction through printing with moveable type, spread like a bushfire through Europe. Art, an integral part of life before, (the Latin equivalent of the Greek word techne is ars, eng. art), became sidelined and neatly contained in museums. Science produced results and progress, mass production and ever increasing speed of life. The spirit of modernity swept through the world. Now, some 500 years later, we begin to realize that scientific progress, advancing to new frontiers, not automatically means improvement of life. We start to understand that scientific curiousness and economic exploitation needs to be balanced with the social interest and protection of divers structures of life. Design can help in the process of balancing these different directions because of its internal connection between art and technology and to make our complex world understandable and human. At the interface between technology and
society, urbanity and people, designers can be agents of change. They also have the responsibility to take this talk seriously. This publication gathered a collection of 245 state-of-the-art wayfinding projects from around the globe grouped in parks, education facilities, corporate environments, commercial spaces, hospitality, transportation, health-care, and so on. Testimonies of the various contexts that influence the design and create identity. They are also samples of the multitude of expressions that our world depends upon.
Gottschalk+Ash Studio Udo Schliemann
Cathedral of Christ the Light Design Agency: Skidmore, Owings and Merrill LLP — SOM Graphics Photography: César Rubio Client: Roman Catholic
key elements of this new 1350-seat Cathedral. The design
technologies to create a space of extraordinary lightness.
conveys an inclusive statement of welcome and openness
Architecturally scaled graphic elements highlight the play
as the community’s symbolic soul while merging Catholic
of light and the integration of Catholic symbols that are
traditions with contemporary aesthetic sensibilities.
The Cathedral of Christ the Light employs state-of-the-art
Diocese of Oakland Date: 2008 Location: Oakland, California, USA
Santa Clara‑a‑Velha Monastery Design Agency: FBA. Creative Director: João Bicker Designer: Ana Boavida (Mark); Daniel Santos (Signage) Photography: Daniel Santos/FBA. Client: Atelier 15 Date: 2008 Location: Portugal Awards: Red Dot Award 2009
Description: The logo and signage system was developed
The former monastery was partially submerged in water for
for the site of the historical monument Santa Clara-a-Velha
centuries, and today is accessible to the public again as a
Portuguese national monument.
The STOP Community Food Centre Design Agency: Gottschalk+Ash Creative Director: Udo Schliemann Designer: Roberto Grillo Photography: Gottschalk+Ash Client: The STOP Community Food Centre Date: 2009 Location: Toronto, Ontario, Canada
The STOP Community Food Centre works to increase
Donor Recognition for Not-for-Profit enterprises.
peopleâ€™s access to healthy food in a manner that maintains dignity, builds community and challenges inequality. The
The designer created two donor recognition programs within
STOP Community Food Centre is a charity that educates
this location to compliment the unique architecture of the
children and parents on healthy food, healthy cooking, and
the like. The work the designer did falls into the category of
Four Seasons Centre for the Performing Arts Design Agency: Entro Communications Creative Director: Randy Johnson Designer: Brenda Tong Photography: Tom Arban Client: Four Seasons Centre for the Performing Arts Date: 2006 Location: Toronto, Ontario, Canada
The Four Seasons Centre for the Performing Arts
of the work encompassed wayfinding, building identification,
(FSCPA) is an exciting addition to Torontoâ€™s cultural scene.
box office and parking signage, an exterior promotion and
Strategically located in the heart of downtown Toronto, the
advertising system, and a donor recognition program that
2100-seat facility is the new home for the Canadian Opera
identifies over 400 donors.
Company and the National Ballet of Canada. Entroâ€™s scope
Roosevelt Community Center Design Agency: GNU Group Creative Director: Tom Donnelly Designer: Darcy Belgarde Photography: Tom Donnelly Client: Group 4 Architecture Date: 2008 Location: USA
Donnelly Design (now part of the GNU Group) worked closely with Group 4 Architecture to design a highly integrated sign program for the new Roosevelt Community Center in San Jose, California.
Australian Centre for the Moving Image Design Agency: Buro North Creative Director: Soren Luckins, David Williamson, Shane Loorham, Tom Allnutt Designer: Soren Luckins, David Williamson, Shane Loorham, Tom Allnutt Photography: Peter Bennetts Client: Australian Centre for
Buro North recently undertook a wayfinding review of
created by the visible spectrum of moving images; With
the Australian Centre for the Moving Image(ACIMI) at
light alone, the moving image can take us to another world.
Federation Square. The audit of the site and its context,
The dramatic angles and shards of coloured light suggest
which focussed on pedestrian behaviour within Federation
movement and transformation, even in stationary signage,
Square, on major approaches from public transport and
as visitors move around their three-dimensional forms.
Flinders Street then informed this package of signage
Central to the signage are the major monolithic sign at the
pedestrian entry on FED square and the large illuminated letterforms on Flinders Street.
the Moving Image Date: 2009 Location: Australia
The concept for the signage came from the idea that ACMI,
greater than the sum of its parts, forms the white light
Arnolfini Art Centre Design Agency: Holmes Wood Design Director: Alex Wood Creative Director: Lucy Holmes Photography: Arnolfini Client:
Arnolfini is the contemporary arts centre for exhibitions, film,
The designer's aim was to create an effect that is crisp and
live art, dance, music and literature on Bristolâ€™s harbourside. At
clean, elegant and refined â€“ and relevant. The identity was
the beginning of the 20thcentury, a major modernisation was
based on a square, so we used this as a grid, expanding
undertaken, which meant closing for two years. They came to
or contracting as required design of signs and graphics to
the right at the end of the refurbishment period needing a new
discipline all sign proportions and dimensions. The whole
internal wayfinding scheme. The designer received the phone
project was commissioned, designed and produced within
call one Friday evening, and met with the client on the Monday
for a briefing. By the following Friday the scheme was signed off! The scheme had to extend and strengthen the Arnolfini
Arnolfini Date: 2005 Location: Bristol, UK
brand identity across all activities.
Science Center of Iowa Design Agency: Visual Communications, Inc. Creative Director: Cheryl Oâ€™Donnell Designer: Constance Carlson Photography: The Science Center of Iowa Client: The Science Center of Iowa Date: 2006 Location: USA
The interactive theme of the new Science Center of Iowa
The award winning donor signage includes moveable
lead the way for a creative and fun approach to the exterior
game pieces, which are part of the interactive science
and interior signage design and wayfinding elements.
experience. Donor nameplates can be relocated to create
The five exterior identification monuments and six interior
unique designs by users.
directories test science with cube shaped balanced atop a
Mariners Church- Student Center Design Agency: PlainJoe Studios Creative Director: PlainJoe Studios Designer: PlainJoe Studios Photography: PlainJoe Studios Client: Mariners Church Date: 2008 Location: Irvine, CA, USA
PlainJoe Studios partnered with Mariners Church and
graphics, resulting in a dynamic worship and fellowship
Visioneering Studios to provide an overall environmental
space for the Mariners student program.
design concept for their new Student Center. PlainJoe Studios created and executed a one-of-a-kind design that
coordinated seamlessly, from wayfinding signage to lifestyle
Castles, Palaces and Antiquities in Rhineland-Palatine
initially using landscape analysis: the objects can be seen
around the Rhine and Moselle will be guided through the
from afar, at access points such as bus stops, access roads
nation’s castles, palaces and antiquities by means of a
or entrances. Guide points are situated in the landscape
uniform guidance and orientation system. In accordance
wherever the path offers a choice of more than one
with a “No signs!” directive, a working group made up of
direction. Destination points divided into historical/museum
the two firms Adler & Schmidt Kommunikations-Design and
and service destinations, designate all sites with approach
Meuser Architekten developed a system that does away
tracks that are accredited destinations. Off-road signage
with signage, which distorts the architecture, and uses a
is limited to facilities indicators such as those for visitor
mixture of different communications media instead.The
services, catering or toilets. However, historical/museum
architecture should speak for itself. Historic buildings should
objects are not indicated in the terrain, but are intended
be free from superfluous command/prohibition signs. When
to be discovered and identified by visitors for themselves.
selecting information carriers, the designers reverted to
An integral element of the concept consists of a leaflet in
classic forms of signalling such as flags, banners and wall
German, English and French, containing an outline map
inscriptions, as well as traditional materials like fabric, stone
with information on historic buildings and services.
and bronze. Added to these are interactive touchscreen terminals. The first property to be equipped with the new system was the Ehrenbreitstein Fortress at Koblenz in
In future, visitors to UNESCO World Heritage sites located
Design Agency: Adler & Schmidt Kommunikations-Design / Meuser Architekten Photography: Philipp Meuser, Hans-Peter Schmidt Client: Landesbetrieb Liegenschafts – und Baubetreuung (LBB), NL Koblenz Date: 2006 Location: 65 landed property in Rhineland-Palatinate
2005. The various communication points are differentiated
Fountainhead - The Leadership Centre Design Agency: Leaf Design Pvt. Ltd. Creative Director: Sandeep Ozarde, Sumit Patel Designer: Surashree Sathaye, Saalim Sulemani Saurabh Sethi Photography: Saurabh Sethi Client: Edelweiss Date: 2010 Location: Alibaug, Maharashtra, India
The whole branding theme was inspired by a birdâ€™ s first flight, a metaphor for taking charge and was extended in the way-finding system. The illustrations of different birds were used to convey characteristics of leaders in context to that particular zone. The use of natural wood as a material adds to the overall brand experience.
Edelweissâ€™s Fountainhead cultivates fresh perspectives among leaders.
Laban Dance Centre Design Agency: Holmes Wood Design Director: Alex Wood Creative Director: Lucy Holmes Photography: Olll.com and
One of the highlights for the project was working closely with
equipped contemporary dance school and community
the artist Michael Craig Martin to help realise his creation of
dance centre in Europe. The designersâ€™ role was to
a large permanent artwork for the circulation area wrapping
create a wayfinding scheme, sign design and information
around the theatre. Michael Craig Martin was also colour
graphics for the centre that had to work equally well for
consultant for the whole scheme and, so as not to compete
students and public â€“ all within a fairly limited budget. Their
with his strong colour palette, the designers adopted a
responsibilities also included implementation and project
contrasting black-and-white approach for the signs.
Laban in Deptford, East London is the largest and best
Alistair Fowler Client: Laban Dance Centre Date: 2003 Location: London, UK
The Pope John Paul II Cultural Center Design Agency: Lorenc+Yoo Design Creative Director: Jan Lorenc Designer: Jan Lorenc Photography: Jan Lorenc Client: John Paul II Cultural Center Date: 2010 Location: Washington DC, USA
Lorenc+Yoo Design(LYD) designed the integrated signage
the buildingâ€™s highly articulated architecture, creating a
system for the Pope John Paul II Cultural Center at Catholic
modern yet approachable look. A variety of materials from
University Campus in Washington, D.C. The projectâ€™s goal
glass, metal to stone builds the unique signage system.
was to create a cultural landmark, speaking to the legacy
Architects, LYD integrated signage into the landscape and
of this Polish pope. With a team that included Leo A Daly
Elevation Church Design Agency: PlainJoe Studios Creative Director: PlainJoe Studios Designer: PlainJoe Studios Photography: PlainJoe Studios Client: Elevation Church Date: 2009 Location: Matthews, North Carolina, USA
PlainJoe Studios worked with Elevation Church, one of the
echo the way in which the culture of the church was directed
fastest growing churches in the nation, to develop a bold,
by its code. This approach added an additional layer of
modern look for their first permanent campus in Matthews,
depth to the graphics which serves as a constant reminder
North Carolina. The overall design direction was based
of the basis of the churchâ€™s beliefs.
used to form directional arrows on the wayfinding signage to
their code, as a major graphic feature. Blocks of text were
around using the key words from the churchâ€™s main tenants,
Singapore Management University Design Agency: Square Peg Design Asia Creative Director: Scott Cuyler Designer: Jeff Inouye, Aaron Pangabean Photography: Square Peg Design Asia Client: Singapore Management University Date: 2006 Location: Singapore
Singapore management university, Singapore’s first private university, occupies a state-of-the-art campus in the city’s cultural and business district. The new 4.5‑ hectare campus comprises six schools. The unique design and patterning solutions created by Square Peg Design are incorporated throughout the interior and exterior signage. SPD’s wayfinding master plan for the campus facilitates navigation for SMU’s 6000 students.
NYU Department of Social and Cultural Analysis Design Agency: Design360 Creative Director: Jill Ayers Designer: Rachel Einsidler Photography: Michael Moran Client: New York University Date: 2009 Location: New York, New York, USA
Design360 drew inspiration from the department's varying program viewpoints. This informed the fragmentation of identification on the reception sliding resin panels and
rooms. Blue bookshelves were designed to provide visual
portals from the offices to the central hallway as well signage.
transitions from two to three dimensional letters at meeting
TAFE NSW, South Western Sydney Institute Design Agency: Minale Tattersfield Creative Director: Hans Gerber Designer: Minale Tattersfield Photography: Minale Tattersfield Client: TAFE NSW, South Western Sydney Institute Date: 2010 Location: Sydney, NSW, Australia
The institute is one of Australia's largest TAFE Institutes.
The audits, design, scheduling and specifications were
It attracts over 74,000 students. Minale Tattersfield was
undertaken within a period of only two months.
commissioned with the signage implementation strategy for
TAFE NSW, Sydney Institute Design Agency: Minale Tattersfield Creative Director: Hans Gerber Designer: Hans Gerber Photography: Minale Tattersfield Client: TAFE NSW, Sydney Institute Date: 2007 Location: Sydney, NSW, Australia
TAFE NSW, Sydney Institute is one of the largest and most innovative vocational education and training providers in Australia with 70,000 students. It required a radical update of
The signage system was developed over a period of five
itâ€™s visual identity and wayfinding program for eight colleges.
The University of Sydney Design Agency: Minale Tattersfield Creative Director: Hans Gerber Designer: Hans Gerber Photography: Minale Tattersfield Client: The University of Sydney Date: 2010 Location: Sydney, NSW, Australia
The University of Sydney is Australiaâ€™s oldest tertiary
strategy led to the requirement to design new campus entry
institution and with a student population of 46,000 is one
markers, a difficult project, where established and new
of the largest and most prestigious in Australia. It also
values had to be fused in one design.
ranks amongst the worldâ€™s top 40 universities. A new brand
Donor Recognition Sculpture Design Agency: Fallon Image Design Creative Director: Jeanette Fallon Designer: Jeanette Fallon Photography: Andrew Curtis Client: St Michael’s Grammar School Date: 2009 Location: Melbourne, Australia
St Michael’s Grammar School, situated in the heart of
corresponding aluminum stem is then released from the
St Kilda Melbourne, is a private school renowned for its
board and curled out to become a part of the ever-changing
culture of creativity and innovation. It is progressive culture
sculpture, revealing more of the oak panel underneath.
contemporary, timeless, and dynamic donor sculpture for its
The ‘sprouting' of the leaves symbolizes the students’
learning journeys as they develop, evolve, and flourish into individuals. No two leaves are the same. In line with
The sculpture consists of an anodized aluminum sheet
the principles of the new building and the school, the oak
CNC-cut into a series of thin horizontal single-stemmed
used in the sculpture is from sustainable forests. The oak
leaves, which are attached to the sheet on the left side. The
that was tree also symbolizes truth and steadfastness—
aluminum sheet is mounted to an oak panel that is partially
two of the school’s core values—and also matches the new
revealed behind the aluminum leaf cut-outs. As donors are
building’s earthy color scheme.
that led St Michael’s Grammer School to commission a
added, their names are printed in silver lettering on oak
‘stems’ slotted into the left-hand side of the sculpture. The
University of California, Merced Campus Design Agency: Square Peg Design Creative Director: Scott Cuyler Designer: Susan Bowers, Jonathan Hobbs
Univercsity of California Merced, the tenth and newest
and was selected to design a comprehensive signing,
campus in the Univercsity of California system, opened for
wayfinding and donor recognition program for the first phase
classes in September 2006. Square Peg Design worked on
of the new Merced campus.
several projects on the prestigious U.C. Berkeley campus
Photography: Square Peg Design Client: University of California Date: 2006 Location: Merced, California, USA
School of Pharmacy Design Agency: Gottschalk+Ash Creative Director: Udo Schliemann Designer: Michael Kirlew Photography: Gottschalk+Ash Client: Hariri Pontarini Architects Date: 2009 Location: Kitchener, Ontario, Canada
The new School of Pharmacy at the University of Waterloo teaches a naturalistic approach to medicine, introducing the healing substances of medicinal plants as an integral part
faรงade graphics were designed to wrap around the entire
of the curriculum. In order to enhance this concept, exterior
Art Institute of Chicago Design Agency: Entro Communications Creative Director: Abbott Miller Designer: Vincent Gratton Photography: Vincent Gratton Client: Art Institute of Chicago Date: 2009 Location: Chicago, Illinois, USA
The Art Institute of Chicago recently underwent renovations
of the museum. This program creates exciting, consistent
for a new Modern Wing, designed by architect Renzo Piano.
spaces, providing visitors with an overall positive museum
After its opening in May 2009, this $200 million project
Entro developed and implemented the wayfinding strategy
and signage design to blend the historic and new sections
brought the total gallery space to 634,400 square feet.
Cadence Campus / Research & Development Center Design Agency: GNU Group Creative Director: Dickson A. Keyser Designer: Howard Curtis & Derick Lazaro Photography: Dickson A. Keyser Client: CADENCE Design Sytems Date: 2007 Location: San Jose, CA, USA
Cadence's new Research&Development Center, designed
developed the graphics and signage for amenities including
by RMW Architects, required a variety of signage and
the WiFi Café and the Bistro Servery. An oversized white
wayfinding solutions. The program applied Cadence’s new
plate graphic elicits thought and anticipation of the guest's
brand to existing monuments and skyline signage and
strengthens exterior orientation through prominent building numbers and well‑placed campus directories. GNU also
Chartwell School Design Agency: GNU Group Creative Director: Dickson A. Keyser Designer: Dave Correia Photography: Dickson A. Keyser Client: Chartwell School Date: 2008 Location: Seaside, CA, USA
Chartwell School educates children with a wide range of
natural light source. In spirit with Chartwell’s LEED Platinum
language-related visual and auditory learning challenges/
status, GNU specified durable materials with high 'end-
variations. GNU created a recognition program for the
of-life' or recycling opportunities. EHDD Architecture was
school's many supporters. The program supported multiple
responsible for the design and master plan of the campus
donor opportunities from named buildings to sponsored
and it’s buildings.
landscape features. The primary donor wall took form and inspiration from the Capital Campaign’s name, “Building bright futures, nurturing bright minds”, radiating out from a
Memorial Plaque for Charles Hallgarten Design Agency: Studio KW Creative Director: Klaus Hubner Designer: Klaus Hubner Photography: Studio KW Client: University of Applied Sciences, Frankfurt Date: 2010 Location: Frankfurt, Germany
In the area of the University of Applied Sciences, Frankfurt
The memorial that was designed by Studio KW is made
am Main, stood the Hallgarten School. As part the
of two narrow, closely standing steles made of steel. One
renaissance of the campus building was demolished.
feature a detail of the original architectural drawing of the
Preserved stones of this building established the new
old Hallgarten school from the 19th Century and the other, a
'Hallgarten-Court', designed by the leading architects.
reminder text about Charles Hallgarten.
Campus of the University of Applied Sciences Design Agency: Studio KW Creative Director: Klaus Hubner Designer: Klaus Hubner Photography: Studio KW Client:
The three levels of information on the outside area, were
of Applied Sciences, Frankfurt, the designer developed a
developed into two different stele types: Big blue area steles
leading and signage sytem with three levels of information.
with ground plans on it located in central entries and smaller
One of the purposes by the development was to create
building steles, in different colours, with house numbers
a visual clip to summarize the heterogeneous area of the
located in front of the buildings. The third level are the signs
on the buildings.
For the central building of the new campus of the University
University of Applied Sciences, Frankfurt Date: 2008 Location: Frankfurt, Germany
Bertschi School Design Agency: Dept of Energy Creative Director: Mike "Styk" Styskal Designer: Bryce Anderson Photography: Micah Barrett
The Bertschi School is a progressive private school that takes
typeface for the wayfinding system because of its variety of
a global approach to education. Their fundamental values
weights and exceptional legibility. The particular characters of
are integrity, inclusiveness, respect, and a commitment to
this typeface were also preferable due to their consistency with
the letterforms used in teaching the alphabet to the school’s younger students. The combined result is a warm, familiar and
In order to reflect Bertschi’s holistic values, Dept of Energy
inviting system that compliments the Bertschi Campus and
began by ensuring that all the signage materials met the
stays true to the core values of the school.
school’s standards of environmental awareness as well as
Client: Bertschi School Date: 2008 Location: USA
those for Leed Gold Certification. DOE chose DIN as the
Royal Conservatory TELUS Center Design Agency: Bhandari & Plater Inc. Creative Director: Sunil Bhandari Designer: Sunil Bhandari, Julia Commisso, Liora
Elegant and reserved, the signage encompassed exterior
is the final phase in the Master Plan to build a new home
signage, wayfinding and signage, exhibit displays of the
for Canadaâ€™s premier music and arts educator, the Royal
Koerner Collection of Musical Instruments and an ongoing
Conservatory. Designed by KPMB Architects under the
donor recognition program. Stone, metal and glass were
direction of Marianne McKenna, Bhandari & Plater was
used as principal elements in the fabrication.
commissioned in 2005 to work on an integrated signage and wayfinding system for the 190,000 square feet complex.
The new TELUS Centre for Performance and Learning
Jacobson Photography: Various Client: The Royal Conservatory of Music Date: 2009 Location: Canada
Canada's National Ballet School Design Agency: Bhandari & Plater Inc. Creative Director: Sunil Bhandari Designer: Sunil Bhandari, Julia Commisso,
a custom designed modular system of sandblasted glass
ballet training institutions in the world, on par with the Royal
panels fabricated by the Canadian artist Jeff Goodman
Ballet School in London, the School of American Ballet in
and rear illuminated. The fireplace hearth panels made
New York, and the Paris Opera Ballet School. Bhandari &
from locale slate has the names of over 2,000 people who
Plater was commissioned to design the exterior and interior
worked on the building project.
identification and wayfinding systems including the ongoing donor recognition program. The donor recognition wall is
The National Ballet School (NBS) ranks as one of the finest
Wendy Fowler Photography: Various Client: Canada's National Ballet School Date: 2005 Location: Canada
Think: Education Design Agency: Ideaworks Designer: Steven Arnold Client: Think: Education Date: 2009 Location: Australia Branded environment for Think: Education - Australia's leading innovative education group. The establishment increased from 5 schools to over 12 and an intelligent easy to use identification and signage system was needed for this dynamic education group. Use of wall
with lighting techniques provided an engaging and
and glass graphics both indoor and out in conjunction
IBAT Design Agency: Creative Inc Creative Director: Mel Oâ€™Rourke Designer: Garrett Murphy Photography: Creative Inc Client: IBAT College Date: 2009 Location: Ireland
As part of an overall rebranding project for IBAT the designer
are in use throughout the college, numericals are a key
developed a signage and wayfinding system for the building
part of the design along with very short simple and friendly
and campus. The student body is primarily made up of
foreign visitors and their varying nationalities were the basis for the very colourful brand aesthetics. As many languages
Universities' Wayfinding Hub Design Agency: Linda van Wyk Creative Director: Linda van Wyk Designer: Linda van Wyk Architect: Rohan Eicker Date:
on the maps. A simple set of icons accompanies the map
or any academic institution. The system consists of main
and wayfinding structures to simplify navigation. The main
and secondary wayfinding structures. The structures will
structures will display all possible routes on the campus,
display the university map, which is divided into different
whilst the secondary structures will only display the route
sections. The structures will be placed in key areas on
on which it is situated. The wayfinding hubs have covered
campus, usually on the main and secondary routes. These
resting areas where one can sit whilst studying the map.
will colour the area where it is situated in, but also identified
The wayfinding system were developed for universities
2008 Location: Pretoria, South Africa
Cesar Chavez Student Center Design Agency: Dan Zhou, Freelancer Creative Director: Dan Zhou, Freelancer Designer: Dan Zhou, Freelancer Photography: Dan Zhou, Freelancer Client: Cesar Chavez Student Center, San Francisco State University Date: 2009
meaningful to them and thus, find what they are looking for
relevant to students, eliminating irrelevant information
much faster. This design also categorizes the information
that might otherwise be distractions for them. This
into five color-coded categories which provided starting
allows students to focus their attention on what might be
points for its users.
The directory design highlights only information that's
Location: San Francisco, California, USA
North Carolina State University Design Agency: Lorenc+Yoo Design Creative Director: David Park Designer: David Park Photography: David Park Client: NC State University Date: 2009 Location: Raleigh, North Carolina, USA
Lorenc+Yoo Design faced a particular challenge with the
changed, and disassembled easily. The result is a design
design of the wayfinding system for the North Carolina
that is attractive, visually consistent, and easy to maintain.
State University in Raleigh, North Carolina. Not only was
It uses brick, anodized aluminum and white panels along
the charge to design the main gateways to the campus and
with the red color of schoolâ€™s trademark to compliment
define the graphics standards, but also to create a system
the buildings on campus and provide clear guidance to all
of hundreds of individual signs that could be assembled,
New Zealand Location
Unitec Design Agency: Designworks Creative Director: Jef Wong Designer: Matt Hammond Photography: Designworks Client: Unitec Date: 2010 Location: Auckland, New Zealand
The objective was to design directional material to guide
reflecting those three elements links the pathways through
students and visitors around the Unitec’s three campuses in
the campus from road markings to signage and building
cladding that was designed to provide another layer to the existing buildings, using architectural elements to exhibit the
Using the Unitec's ID theme of ‘re-look, rethink, redesign’,
weave theme and provide practical guidance at the same
road markings, signage and 3D building elements were
designed to guide users from the campus entranceways to their destination. The triple layered ‘Unitec weave’
Saint Paul College Design Agency: Visual Communications Creative Director: Richard Lang Designer: Constance Carlson, Jesse Yungner
After 100 years, Saint Paul College, rated the Number
also designed and provided Saint Paul College with
one Community College in America, didnâ€™t have a visible
comprehensive exterior banner system to announce and
identity. A fresh new wayfinding sign system was designed
celebrate 100 year anniversary. The system includes five full
to update the college's image and to compliment newly
color digitally printed wall maps with color coded hallways
completed landscaping. The 27â€‘acre campus located on
and room numbering.
Cathedral Hill in historic downtown Saint Paul required contemporary signage design to communicate the colleges
Photography: Richard Lang, Jesse Yungner Client: Saint Paul College Date: 2010 Location: Saint Paul, Minnesota,USA
forward educational curriculum. Visual Communications
Wallsend Library Design Agency: Minale Tattersfield Creative Director: Hans Gerber Designer: Nicholas Bannikoff Photography: Eric Sierins & Minale Tattersfield Client: City of Newcastle Date: 2006 Location: Newcastle, NSW, Australia
Large colourful and curved panels are suspended from the
to, maintaining a level of transparency through the panels.
ceiling at different angles, reminiscent of a sheaf of paper
The panels are colourâ€‘coded to assist in the delineation of
being thrown into the air. Each panel is computer cut with
the titles of books found in the section itâ€™s position relates
Five Dock Library Design Agency: Minale Tattersfield Creative Director: Hans Gerber Designer: Alex Papas Photography: Greg Bartlett and courtesy of Brewster Hjorth Client: Five Dock Library Date: 2004 Location: Sydney, NSW, Australia
Minale Tattersfield wanted to create a state-of-the-art library facility for the new library. From the cosmopolitan cafĂŠ/ bookstore to the busy street life of Five Dock village, a feeling of Avant Garde was devised to complement the libraryâ€™s urban surroundings. Essentially two distinct schemes overlap each other to create a dramatic, vibrant and enticing composition.
The Jewish Braille Institute Library Design Agency: Whitehouse & Company. Creative Director: Roger and Ben Whitehouse Designer: Roger and Ben Whitehouse Photography: Roger Whitehouse Client: JBI International Date: 2009 Location: New York, USA
Graphics throughout the building make reference to books, braille, and audio recordings which are the media that the Jewish Braille Institute uses to send works of literature to its users. Large Braille dots indicating floor levels, a world map mural in Braille dots, and perforated chassis signs all explore this theme.
Castle Hill Library and Community Centre Design Agency: Minale Tattersfield Creative Director: Hans Gerber Designer: Alex Papas & Hans Gerber Photography: Minale Tattersfield, Greg Bartlett and courtesy of Brewster Hjorth Architects Client: Castle Hill Library Date: 2006 Location: Castle Hill, NSW, Australia
The new library includes a cafĂŠ, a reference library, a digital
interior elements such as dividing walls. Each section of the
research facility and a large childrenâ€™s and youth library.
library had to be identified by a distinct graphic.
Environmental graphics have been used extensively to
create an exciting atmosphere and form an integral part of
Memphis Library Design Agency: Lorenc+Yoo Design Creative Director: Jan Lorenc Designer: Jan Lorenc Photography: Jan Lorenc Client:
LYD designed the libraryâ€™s exterior signage to speak to the
graphics program for the Memphis Library to increase the
silver palette of the building while also popping with bold
visual energy of this prominent public library. Looney Ricks
typography, bright reds and yellows. The main post contains
Kiss Architects designed the building as a steadfast modern
a custom lighting feature, holding two open books: one
statement, so LYD was asked to design an energetic
identifying the library and the other as an accent piece. The
signage system reminiscent of retail malls and other popular
interior signage also speaks to the exterior vernacular, with
a punchy red gloss finish.
Lorenc+Yoo Design(LYD) created an environmental
Memphis Library Date: 2009 Location: Memphis, Tennessee, USA
The Library of the University Applied Sciences Design Agency: Studio KW Creative Director: Klaus Hubner Designer: Klaus Hubner Photography: Studio KW Client: University of Applied Sciences, Frankfurt Date: 2010 Location: Frankfurt, Germany
The concept for this design project was to get a young fresh influence into the building through the use of bold letters and numbers.
Artscape Wychwood Barns Design Agency: Gottschalk+Ash Creative Director: Udo Schliemann Designer: Roberto Grillo Photography: Gottschalk+Ash Client: Artscape Date: 2008 Location: Toronto, Ontario, Canada
An inspiring initiative driven by Artscape, a not-for-profit
20 th century into a live, work, art, exhibit and community
enterprise engaged in culture-led regeneration, has
transformed the historic streetcar repair barns from the early
Canadian Museum of Nature Design Agency: Gottschalk+Ash Creative Director: Udo Schliemann Designer: Ian White & Michael Kirlew Photography: Gottschalk+Ash Client: Canadian Museum of Nature Date: 2010 Location: Ottawa, Ontario, Canada
The Canadian Museum of Nature in Ottawa has undergone a major revitalization program to enhance the museum experience. G+A created a comprehensive design solution by
fashioning the animals as the hero in a dynamic and innovative
Royal Ontario Museum Design Agency: Gottschalk+Ash Creative Director: Udo Schliemann Designer: Ian White, Roberto Grillo & Michael Kirlew Photography: Gottschalk+Ash Client: Royal Ontario Museum Date: 2007 Location: Toronto, Ontario, Canada
The Royal Ontario Museum is the fifth largest museum in North America. It was the role of Gottschalk+Ash to develop a modular wayfinding system for their revitalization program that
that the facility was cluttered with signs.
would provide for wide-ranging needs without creating a sense
Bay Area Discovery Museum Design Agency: Skidmore, Skidmore, Owings and Merrill LLP — SOM Graphics Photography: Thomas Heinser Client: Bay Area Discovery Museum Date: 2006 Location: Sausalito, California, USA
SOM Graphics provided a comprehensive graphics program
markers, wayfinding and donor recognition. Major features
for this interactive children’s museum located at the foot of
include freestanding directional signs and donor signage that
the Golden Gate Bridge. The scope included reinvention
encourages children’s hands-on participation.
of the logo, establishment of graphic standards, and
implementation of a signage program, which consisted of site
Oakland Museum of California Design Agency: Skidmore, Owings and Merrill LLP â€” SOM Graphics Photography: Tim GriffithďźŒThomas Heinser Client: Oakland Museum of California Date: 2010 Location: Oakland, California, USA
The SOM Graphic worked with the Oakland Museum
while remaining sensitive to the existing historic building.
of California to design the environmental graphics
Bold and vibrant colors were used throughout the program
program for the Museum renovation and to develop a
to enliven the concrete structure, announce gallery entries
new graphic identity for this beloved California institution.
and showcase donor recognition.
The environmental graphics program for the Museum incorporates the details and finishes of the new architecture,
Childrens Discovery Museum of the Desert Design Agency: Whitehouse & Company. Creative Director: Roger and Ben Whitehouse Designer: Roger and Ben Whitehouse Photography: Roger Whitehouse Client: Childrenâ€™s Discovery Museum of the Desert Date: 2008 Location: Rancho Mirage, California, USA
Eyes, central to the act of discovery, are featured on a
visitor enter the driveway when the full logotype becomes
panoramic mural made up of a mosaic of over 4,000 panels,
replaced over time by sponsored portrait tiles of visitors. The logotype, on aluminum columns, is an abstraction until the
Natural History Museum—Identity System Design Agency: Hat-Trick Design Creative Director: Gareth Howat, Jim Sutherland Designer: Gareth Howat, Jim Sutherland, Ben Christie, Jamie Ellul Photography: Hat-Trick Design Client: Natural History Museum Date: 2007 Location: London,UK
The Natural History Museum is home to one of the largest
the three million or more visitors a year, while maintaining
natural history collections in the world. They wanted to
visual consistency. The solution took ‘the Power of Nature’
create a new identity that successfully communicated
as a theme; this is expressed through a palette of 35 images
their diversity as a museum, not just its exhibits, but of its
by leading wildlife photographers, ranging from microscopic
research and scientific credentials. A key part of the strategy
plankton to a satellite shot of the Earth.
underlying the rebrand was to create a total experience for
Natural History Museum—Wayfinding System Design Agency: Holmes Wood Design Director: Alex Wood Creative Director: Lucy Holmes Photography: Phil Sayer Client: Natural History Museum Date: 2007 Location: London, UK
The Natural History Museum in London is one of the nation’
The ‘high level’ signs consist of new glass fascias, which can
s key cultural institutions and the 4th most popular visitor
take changing displays easily, and drop banners that can
attraction in Britain.
be seen from a distance. The ‘low level’ signs use a unique that picks up on the shape of the new museum ‘N’ logo. The
plan that divided the functional requirements of signs into
signs have a sculptural and permanent quality, in keeping
two main areas. ‘High level’ signs were needed to proclaim
with the status of the institution. Other key features of the
events and exhibitions, and the Museum’s permanent
scheme include a four‑metre high sculptured sign at the
displays and galleries – competing with the other major
high-profile corner of Cromwell Road and Exhibition Road,
museums and in the immediate area and communicating
which has their logo cut out, so one can see through to the
with the traffic on the Cromwell Road. The ‘low level’ signs
dramatic building behind. The client describes the scheme
were to provide visitors with immediate directions and
as effective, understated and elegant.
bronze and brass construction with a distinctive curved form The designer produced a wayfinding strategy and design
and confidence, including the gardens and landscape that belongs to the Museum.
information on finding their way around the site with ease
The National Gallery Design Agency: Holmes Wood Design Director: Alex Wood Creative Director: Lucy Holmes Photography: Phil Sayer and
The redevelopment of the East Wing of Londonâ€™s National
Signs were devised in glass as an unobtrusive backdrop to
Gallery created a new entrance at street level, leading
the graphics as well as allowing information to be updated
visitors into a light-filled atrium, converted from a previously
easily. The design was applied to spaces throughout the
unused inner courtyard. The task was to devise and apply a
Gallery â€“ including the Sainsbury Wing â€“ giving a coherency
rational and aesthetic scheme to help people to understand
to the organisation while remaining appropriately restrained.
easily the scope of the Gallery and to find their way around
For facilities and services, a pictogram system was designed
without aggravation or frustration. The main organisational
to complement wording in English, making the information
idea was effectively to separate the way the collection itself
space-efficient and easier for the international audience to
is indicated from the treatment of Gallery facilities and
understand. The result is an intricate yet systematic scheme,
services. The collection is classified by the Gallery into five
which is quickly grasped by the visitor. The floor plan guide
periods, from 1250 to 1900, and the designer gave each of
was designed in nine languages and combined highlights of
them their own colour code. The organisation is based on a
the collection with overall orientation.
Tim Goffe Client: The National Gallery Date: 2004 Location: London, UK
combination of this colour coding and the numbered spaces
Tate Modern Design Agency: Holmes Wood Creative Director: Lucy Holmes Designer: Alex Wood Photography: Victoria Blackie Client: Tate Date: 2000 Location: London, UK
In 1998, London’s imposing new gallery of modern art was
introduced Alex Wood to the team. Thus it was that Lucy
emerging from the moribund Giles Gilbert Scott power
and Alex began to work together in an association that led to
station on the south bank of the Thames. It was to be called
the formation of the Holmes Wood design business. Signs
are often treated as commodities by clients and architects – just one more thing to be sourced and ordered, like doors
The question of sign and environmental graphics often arose
and windows. But in this case it was different. The Tate itself
during this time, as the variety of print and other design
realised that the new sign scheme had to have flexibility
projects for Tate Modern developed. Realising the scale
and sophistication to meet the realities of the gallery’s and
and importance of the sign programme, Lucy suggested the
commissioning of a wayfinding and sign design expert – and
Museum Land van Valkenburg Design Agency: Dennis Information Design Client: Museum Land van Valkenburg Date: 2009 Location: Valkenburg, Holland
Museum Land van Valkenburg is a museum in the south of
it communicates the new mission of the museum. The
Holland that combines local history with modern art that has
solution of a bold bright color sheme combined with bold
a link with the region in its presentations. The museum is
signs and modern typeface is an expression of the new
located in the touristic center of Valkenburg and is a place to
energy that flows through the museum. In the new design
experience the wealth of cultural production and history of
color was used on a large scale to carry the signs and texts:
whole walls become signs. The wayfinding project is part of a larger project to create a new brand experience for the
Recently the strategic direction of the museum evolved
museum. The project also includes a new corporate identity
towards a more modern programme with a stronger focus
that is applied to all communication: invitations, posters,
on modern art. The goal for the wayfinding project was to
update the existing wayfinding system in such a way that
Musei Civici Fiorentini Design Agency: Harta Design Creative Director: Roberto Rossini, Chiara Debenedetti Designer: Andrea Bergamini Client: Comune di Firenze – Musei Civici Fiorentini, Municipality of Florence – Museums of Florence Date: 2009– in progress
The system had won the visual identity competition among
Each square is divided into 10 smaller squares, all equal in
several studios; it is a modular visual identity where color
size. That division builds a grid that was used for all of the
and typography are used to connect and at the same time
application of the identity of the museums, from web, to print
characterize each museum’s structure.
to signage. The wayfinding system is indeed based on the square and all arrows and pictograms were designed to be
The idea was to have a very synthetic graphic language,
combined maintaining the original module visible. This way
which would emphasize the name of the single museums
the modularity of the system is a strong peculiarity that helps
standing out in the very dense landscape of a city like
the recognizability of the museums.
Florence. What the designers came out with is a modular system based on the square, a shape that appears much in
the Florence landscape.
Heard Museum Design Agency: Emily Parcell and Kara Zichittella Creative Director: Emily Parcell and Kara Zichittella Designer: Emily Parcell and Kara Zichittella Photography: Emily Parcell and Kara Zichittella Client: Heard Museum Date: 2010 Location:
The project objective was to significantly reduce visitor's
The angular, metallic signage is based on modern sculpture
confusion within the Heard Museum by developing
and architecture, and serves to convey the dynamic and
a new signage system that focuses on legibility and
contemporary nature of the museum. The three-dimensional
appropriateness, while also communicating the engaging,
structure of the sign provides a visual cue from multiple
vibrant, and dynamic nature of the museum. The layout
angles, reducing the number of signs needed overall. Also,
of the museum, with multiple buildings, entrances and
the availability of visual cues from multiple angles supports
courtyards, provides a unique wayfinding challenge.
a fluid visitor experience, allowing the visitor to comfortably
Phoenix, Arizona, USA
choose their own route. The proposed system was designed with particular concern for the elderly, who comprise the majority of the museum's visitors. The typeface Frutiger was used to stay within the
current identity system.
Machado de Castro National Museum Design Agency: FBA. Creative Director: Jo達o Bicker Designer: Daniel Santos Photography: Daniel Santos/FBA. Client: Machado de Castro National Museum Date: 2009 Location: Portugal
After undergoing major restoration works the Portuguese National Museum of Machado de Castro is gradually reopening to the public. During 2009 a small part of the Museum was
the signage system along with the permanent exhibition information design.
during 2011. FBA is commissioned with the task of designing
opened and the rest of the Museum was expected to reopen
The National Maritime Museum Design Agency: Studio David Hillman Creative Director: David Hillman Designer: David Hillman Photography: Nick Turner Client: The National Maritime Museum Date: 1998 Location: London, UK
The inspiration for this signage came from a child's toy boat: the shape and structure of the signs allude to sails, with uprights representing masts. Each sign is colour-coded to relate to maps on different floors, with the colours denoting
North, South, East and West ,depending on where one is in
Michael’s Genuine Food & Drink Design Agency: Ribbit...Inc. Creative Director: Juan Carlos Casas Designer: Juan Carlos Casas Photography: Juan Carlos Casas Client: Michael Schwartz Date: 2010 Location: Miami,Grand Cayman Island,USA
Having worked with Chef Michael Schwartz when he started
and labels that, while at first the seemed culturally outdated
with Nemo in Miami, a lot has changed and yet, Michael’s
or dated, in some ways, it appears to be the norm again
simple, easy going personality and life style have remained
in some ways. The brand logo chosen speaks back to this
a constant even when he has not earned national and
time and trend yet it fits perfectly with Michael’s no fuzz
celebrity status. This brand language has become a culinary
personality, simple down-to-earth and genuine style of work
culture that extends over into all his food and people that
represented in all his food. The brand consistently tell this
support it in his restaurants. ribbit...Inc was tasked with
story everyday. It’s what makes this brand successful and
creating the brand identity, graphics and signage for the
we’re happy to be part of the history.
restaurants. The inspiration came from old retro posters
Lockup 2999 Restaurant Design Agency: Graphics and Designing INC Tokyo Creative Director: Graphics and Designing INC Tokyo Designer: Mr. Arnab Banerji Photography: Graphics and Designing INC Tokyo Client: Lockup 2999 Date: 2010 Location: Tokyo, Japan
Lockup 2999 is an entertainment restaurant Locate in Tokyo
the experiment room walking around in the restaurant and
Ikebukuro. The restaurant concept is space prison and
fighting with the prison guard (waiter). On the other hand all
where the customer will be send to the â€˜Moon Penal Colonyâ€™
the food naming are come from famous SF movie or novel.
which locate in the moon shadow side by space ship system
We believe our customer especially SF fans will enjoy this
In Lockup 2999 also provide entertainment show every two hours and the customer will see space monster escape from
1180 Peachtree TAP Restaurant Design Agency: Lorenc+Yoo Design Creative Director: Jan Lorenc Designer: Jan Lorenc, David Park, Steve McCall Photography: David Park Client: Hines, Mary Hill Date: 2008 Location: Atlanta, USA
Designed by architect Jon Pickard of the firm Pickard/Chilton
engaged the plaza. These criteria resulted in a context-
(New Haven, CT), the 55-story 1180 Peachtree building
specific design that serves as an architectural accent to the
is clean, organic and has already become a landmark in
building. The design includes a single, curved canopy of
the Midtown Atlanta neighborhood. Prior to the signage
three sections that appear to grow out of the building itself.
designers’ commission, the restaurant designed and
Four columns anchor the canopy to the ground, and center
installed its own canopy, which the building owner rejected
the TAP logo above. A six‑inch‑diameter beer barrel shape
due to disapproval by the Midtown Alliance, a community
contains the logo, which is lit internally and glows red with
group that weld a veto on the design. The designer for the
a subtle aura. Designers included louvers for two joined
new signage project were asked to develop a street-level
canopies to block the heat of the noonday sun and provide
canopy for the building’s signature restaurant: TAP.
shelter from the incidental rain shower. Each canopy has two uplights that wash the underside of the canopy, as well
The signage design firm devised a canopy signage structure
as numerous downlights that wash the patrons dining below.
for TAP that fit within the guidelines of the Midtown Alliance. It had to be attractive, connected to the building and
Northern Quest Liquid Bar Design Agency: Lorenc+Yoo Design Creative Director: Jan Lorenc Designer: Jan Lorenc, David Park, Steve McCall
The design, service, convenience and luxury found within
star quality and wide variety of activities that make Northern
the new resort amenities - hotel, restaurant, indoor pool, spa
Quest Casino Resort a unique and enjoyable gaming and
& salon, lobby, bars and meeting rooms, the new Casino
South gaming expansion, Liquid Bar, and The Q Ultimate
Sportsbar - all works together to express the overall four
Photography: Jan Lorenc Client: Northern Quest Casino & Resort Date: 2010 Location: Washington DC, USA
The Westin Diplomat Parking Design Agency: Lebowitz|Gould|Design, Inc. Creative Director: Sue Gould Designer: Lebowitz|Gould|Design, Inc. Photography: Lebowitz|Gould|Design, Inc. Client: Diplomat Properties Ltd. Hollywood, FL Date: 2010 Location: Hollywood, FL, USA
Diplomat Parking, the 4,000 car parking complex for the
The exterior wayfinding, traffic directionals, pool area
convention center and associated retail part of the multi-
signage, and even cabana numbering, carry through
facility Westin Diplomat Resort & Spa, displays identification
the character of the waterfront theme and architecturally
graphics that coordinate with a family of signage appearing
inspired panel shapes.
throughout the expansive property.
Eureka Tower Carpark Design Agency: Emery Studio Photography: Emery Studio Client: Eureka Tower Date: 2006 Location: Melboure, Australia
In 2006 the deisgner developed a way-finding-system for
This provides the essential information when needed at the
the Eureka Tower Carpark while working for Emery Studio
right time and location, the unnecessary information create a
in Melbourne. The idea was to create an exciting space
beautiful chaos of distorted graphical elements at the same
with functionality. The space was confusing to orientate
this led the designer to the idea to design a way-findingsystem which at the same time was visually beautiful and graphically challenging. The distorted letters on the walls can be read perfectly when standing at the right position.
City National Plaza Design Agency: Sussman/Prejza & Co., Inc. Creative Director: Deborah Sussman, Paul Nagakura, Michael Shaub Designer: John Johnston Photography: Jim Simmons Client: Thomas Properties Group Date: 2009 Location: Los Angeles, California, USA
For the transformation of downtown Los Angeles landmark
and more. In its decision to celebrate the sculpture, the
Arco Plaza into City National Plaza, Sussman/Prejza started
design drew out the beating heart of a cool Modernist
by creating a striking identity, derived from the shape and
building and strengthened the landmarkâ€™s design legacy,
the vibrant colors of the plaza sculpture. From this origin,
thereby enhancing the experience of being at the new City
Sussman/Prejza developed a vocabulary of patterns and
designs for carpets, signs, plaza furniture, print collateral
Golden Belt Design Agency: Entro Communications Creative Director: Randy Johnson Designer: Brenda Tong Photography: Kris Stanley
Golden Belt attained LEED Gold Certification in 2009,
NC, was revitalized as an artistic urban hub. The restored site
being the largest all-historic Gold-certified campus in the
includes office/business suites, an art gallery, artist studios
US southeast. Entro designed the site identification and
and live-in lofts, restaurants, retail and other amenities.
wayfinding signage of USA.
Golden Belt, an historic textile mill, near downtown Durham
Client: Scientific Properties Date: 2009 Location: Durham, North Carolina, USA
Grand Central Terminal Retail Design Agency: Two Twelve Creative Director: Ann Harakawa Designer: Dominic Borgia, Ellen Conan, Anthony Ferrara, Yanira Hernandez, Patrick Nolan Photography: Two Twelve Client: Metropolitan Transit Authority Date: 2007 Location:
Two Twelve created retail signage for New York City's
in three-dimensional sculptures that fit seamlessly within the
Grand Central Terminal, including multi-dimensional signs
Beaux Arts grandeur of the original terminal interior.
that enhance the Grand Central brand and direct users to combine glass, wire mesh, cast bronze and stainless steel
retail destinations. Two Twelveâ€™s awardwinning sign designs
New York, USA
The House Design Agency: Ben Cox Design Creative Director: Ben Cox Design Designer: Ben Cox Design Photography: Ben Cox Design Client: Echo and Arup Date: 2007 Location: UK
Description: The House is an architectural project that
subtly contain the initial 'H' for the House within the negative
would tour the UK in an attempt to promote the state
space. The use of the arrows is carried across the identity
imposed reality of greener housing for the future. In so
collateral, which included stationary, PPT templates and
doing its identity had to communicate two clear points
animation, signage communications, literature and website.
Improving Efficiency and Reducing Pollution which it achieves through the use of the two arrows. These also
Boardwalk Wayfinding Kiosks Design Agency: The Rockwell Group PC Creative Director: Bob Stern Designer: John Maestas, Scott Vandervort, Timo Kuhn Client: Madison Marquette Asbury Park Date: 2007 Location: New Jersey, USA
A System of Wayfinding for Kiosks were designed as apart
office and a ticket booth. Each container was designed to
of a large branding and real estate development project.
have a different color and number for easy identification and
Wayfinding Kiosks. The one or two shipping containers where retrofitted together, to house pop-up retail stores and public beach facilities such as bathroom rooms, a lifeguard
placed along the same beach front boardwalk as the
to further animate the boardwalk landscape. An arrangement of recycled shipping containers were
Potawatomi Casino Design Agency: Lorenc+Yoo Design Creative Director: Lorenc+Yoo Design Designer: Lorenc+Yoo Design Photography:
The recent $240 million renovation of the the Potawatomi
lanterns to illuminate the main entrances and bridge to the
Casino in Milwaukee, Wisconsin doubled the size of the
parking deck, creating a discernible path into the casino.
venue by adding a six-story parking garage, a vehicular
As an additional wayfinding measure, the designer devised
bridge and significantly more floor space. This required
a different wildlife theme for each floor of the parking deck,
a brand new signage system to provide overall aesthetic
creating a memorable cue for visitors to navigate to and
improvements and wayfinding solutions for the casino. For
from the casino.
this endeavor, Hnedak Bobo Group Architects selected Lorenc+Yoo Design as a sure bet to create an effective and
Lorenc+Yoo Design Client: Potawatomi Casino Date: 2008 Location: Milwaukee, USA
engaging design. In commemoration of the Potawatomi tribes’ heritage as the
“Keepers of the Flame,” the designer created prairie-style
House Full Retail Store Design Agency: Leaf Design Pvt. Ltd. Creative Director: Sandeep Ozarde, Sumit Patel Designer: Rohini Shenoy, Surashree Sathaye, Saalim Sulemani Photography: Saalim Sulemani Client: House Full International, Mumbai Date: 2009 Location: India
Housefull is a pan-Indian retail chain specializing in home
schemes were selected to match departments and product
décor etc. It offers affordable value to all customers. They
categories like brown for furniture, blue for bathrooms etc.
needed a different theme and look for their upcoming stores,
Signage (category, instructional and direction) has been
while communicating “value” and enhancing their USP
developed on the basis of store space and organization of
- concept rooms. The theme “circle of life” (derived from
products.Plus communication posters, wall/theme graphics
complete) was chosen, derived from their existing logo -
and details of the concept room.
standing for a circle of trust, security and belonging. Color
Maxi Joy Design Agency: Dan Pearlman Markenarchitektur GmbH Creative Director: Marcus Fischer Designer: Karin Hechinger Photography: diephotodesigner.de Client: Spiele Max Date: 2005 Location: Germany
The new shop concept stands for emotional efficiency: it
Visitors are guided by a traffic system, using coloured
produces a shopping experience and improves the flow of
gates, traffic signs, islands and arrows showing the way and
goods and work processes.
motivating people to stop as well as to look.
DT Cinemas Design Agency: VerisonAbsolute Design Studio Creative Director: Arnab Banerji Designer: Arnab Banerji, Abhishek Ghosh
As the brand was at the onset of becoming a pan India
s path from the point where he recognizes the brand while
brand, our strategy was similar to that adopted for PVR,
still approaching the property, from the parking to locating
which was to design a standard sign design identity for the
the ticket box and eventually the cinemas. At each point
brand, with provision within the design scheme to adapt
of decision making in this path, the designer designed an
itself to the changing brand environment, geographical
information system that will aid decision making.
location, etc. As DT Cinemas was always to be a part of DLF malls as an
Photography: DT Cinemas Client: DT Cinemas Date: 2008 Location: New Delhi & Chandigarh, Punjab India
anchor tenant; the designer began with mapping the userâ€™
PVR Cinemas Design Agency: VerisonAbsolute Design Studio Creative Director: Arnab Banerji Designer: Jiten Suchede, Rajan Haku, Abhishek Ghosh Photography: PVR Cinemas Client: PVR Cinemas Date: 2009 Location: India
As sign design and wayfinding consultants with PVR the
between the various other brands in the cinema exhibition
designer have designed and standardized the designs
industry in India .
for the all the signs within each of their various cinema exhibition verticals namely PVR Premiere, PVR Cinemas
From a userâ€™s point of view it ensures a high level of brand
and PVR Talkies.
recognition and recall and offers a consistent experience amongst in all PVRâ€™s.
This has benefits the company in terms of implementation of the design package amongst multiple products, simplifies the complete value chain from procurement, production to implementation and commissioning. It also offers a unified brand image/identity for the brand and distinguishes
Toronto International Film Festival Centre Design Agency: Gottschalk+Ash Creative Director: Udo Schliemann Designer: Michael Kirlew, Roberto Grillo, Jonathan Picklyk, Ian White Photography: Gottschalk+Ash, Tom Arban, Maris Mezulis Client: Toronto International Film Festival Group Date: 2010 Location: Toronto, Ontario, Canada
With the opening of the Bell Lightbox in September 2010, TIFF of the worldâ€™s most premiere organizations in the discovery and understanding of film. The designer's mandate was to create a world class, yet understated, wayfinding and donor signage program. They also created the identity and signage for the three restaurants in the building: Luma, Canteen and
truly became a creative community and global leader in one
Mackay Entertainment & Convention Centre
Dot Dash aims to develop environments that are legible and accessible and to enhance the visitor experience for all users gain maximum benefit. Australia
Mackay is a regional city in Queensland, Australia. The new Entertainment & Convention Centre is a new multi-function facility to host a range of different events. The new identity (by Entica) has been applied to the site along with a subtle but highly visible wayfinding signage system.
Design Agency: Dot Dash Creative Director: IrenĂŠ Ostash Designer: IrenĂŠ Ostash, Monika Obrist Photography: Erhard Rathmayr Client: Mackay City Council Date: 2009 Location: Mackay, Australia
Virginia Beach Convention Center Design Agency: Calori & Vanden-Eynden Creative Director: Chris Calori Designer: Chris Calori, David Vanden-Eynden, Denise Funaro Photography: Chris Crumley Client: Virginia Beach Visitor and Convention Bureau Date: 2005 Location:
This elegant convention center is an important civic
convention centerâ€™s site and interior spaces. The graphic
landmark for this Atlantic coast resort city. The buildingâ€™s
system is simple and clear, utilizing a humanist typeface
architectural and interior design employs subtle references
sized for good legibility at long distances. Further reinforcing
to nautical forms. In the project signage, C&VE reinforces
the nautical references, interior sign types feature a subtle
these nautical references with sculptural, white sail-like sign
blue glow along the edges of overlapping sign materials.
forms and shapes.
C&VE developed a hierarchical sign nomenclature system
to guide visitors through the vast lateral spaces of the
Erie Commercial Slip Design Agency: C&G Partners Creative Director: Keith Helmetag Designer: Justine Gaxotte, Thomas McMahon & Cigdem Tanik, Brandon Downing Photography: Richard Barnes Client: Empire State Development Corporation Date: 2007 Location: Buffalo, New York, USA
Working with Flynn Battaglia Architects, Empire State
The Erie Commercial Slip reconnects the busy, modern-day
Development Corp, and a team of prominent historians, the
city with the powerful stories of its origins. From a muddy
firm created evocative interpretive exhibits and site graphics
port to the gateway of the American interior, these exhibits
that explore Buffaloâ€™s prominent role in the story of the Erie
celebrate Buffaloâ€™s role in the greatest enterprise our young
country had yet seen.
GrooveNation at Marina Square Design Agency: Immortal Creative Director: Theresa Yong Designer: Choo Chin Nian Photography: Immortal Client: Marina Square Date: 2007 Location: Singapore
Description: GrooveNation is a youth-oriented retail and
bowling and billiard centres. A logo, supported by strong and
entertainment cluster within Marina Square, a shopping mall
youthful graphics were created for the environment.
a cinema, gaming arcade, restaurants, fashion boutiques,
located in the Marina Bay area in Singapore. It consists of
St Davidâ€™s Shopping Centre Design Agency: Air Design Creative Director: Ian Wright Designer: Jonny Ellison Photography: Air Design Client: Land
Air deigner's original brief was to develop external and
complement the new landscaping street furniture and create
internal bespoke signing for the St Davidâ€™s Shopping Centre
a slick contemporary look. The Cardiff City brand is subtly
in central Cardiff. Having recently undergone refurbishment,
etched into the granite bases to maintain and promote the
the mixed-use development required a new and full signing
cityâ€™s identity. Solar panels are also discreetly housed in the
scheme, including wayfinding, graphics, product design
top of signs, where collected power is stored in a battery.
and implementation management. The remit then extended
This power is then used to illuminate the signs at night.
beyond the boundaries of the centre to include designing
User-friendly maps were essential for this project, and so a
a new mapping and signing system for Cardiff City Council
colour scheme and typographic style with strong contrast
and excellent legibility were chosen. Pictograms are used
Securities, Capital Shopping Centres and Cardiff City Council Date: 2009 Location: Cardiff, UK
the city. A major feature of the mapping system is that all
information sign, a citywide orientation totem and a finger
landmark buildings have been drawn as 3D icons; providing
post directional sign. Together this sign family was produced
a literal representation of the sites and making the reading
using shot-peened stainless steel and black granite to
of maps more intuitive.
to help with quick recognition of key facilities throughout Three main types of sign were developed: a visitor
Médiacité Design Agency: Air Design Creative Director: Ian Wright Designer: Ari Phillips Photography: Air Design Client: Wilhelm &
The solid surface material Hi Macs was used for the
use, retail, commercial and leisure regeneration in the heart
signage, as it could be manipulated into seamless and
of Liege, Belgium. The striking red and organic forms of the
organic forms to match the dramatic architecture of the
architecture were influential throughout the design scheme
centre. On a practical level, it can also be easily cleaned and
and within the signs themselves. The red acrylic reflects
repaired on site. In keeping with this striking aesthetic, the
light during the day and illuminates at night in order to
signs are sleek and slim with all fixings concealed. Chemical
maximise visibility whilst reinforcing the attractive Médiacité
bolts and fixings were used to avoid the need to also install
branding. This also acts as a visual beacon to aid customer
visible base plates. An iPod was the inspiration behind the
orientation, as the signs offer recognisable landmarks where
touchscreen design, and so the units take a similar rounded
visitors are able to plan and make their journeys.
shape and the screen is completely integrated.
Description: Médiacité is a 100,000 square-metre mixed
Co Date: 2009 Location: Belgium
ION Orchard Design Agency: Immortal Creative Director: Theresa Yong Designer: Choo Chin Nian Photography: Immortal Client: ION
than conventional directional signs, a digital interactive
architectural icon with eight levels of shopping space, four
touch-screen directory system was implemented across key
levels above ground and four levels below. A comprehensive
locations in the mall.
wayfinding signage system was created for both shoppers in the retail floors and vehicular traffic in the car park. Other
Located on Orchard Road in Singapore, ION Orchard is an
Orchard Date: 2009 Location: Singapore
Charlottesville Fashion Square Design Agency: Lorenc+Yoo Design Creative Director: Lorenc+Yoo Design Designer: Lorenc+Yoo Design Photography:
Lorenc+Yoo Design(LYD) collaborated with Cooper Carry &
from the architectsâ€™ interior design palette of materials, and
Associates to design a wayfinding system for the renovation
the exterior uses a bold gateway motif to communicate the
of Charlottesville Fashion Square mall in Charlottesville,
exclusive and high quality nature of the shopping center.
Virginia. LYD designed the main entrance canopy elements
and a new project logo. The interior signage was derived
Lorenc+Yoo Design Client: Charlottesville Fashion Square Date: 2007 Location: Charlottesville, Virginia, USA
Newport Centre Design Agency: Integrated Sign and Graphic,Inc. Creative Director: Jan Lorenc Designer: Jan Lorenc, Steve McCall, David Park, Ken Boyd Photography: Integrated Sign and Graphic,Inc. Client: Simon Date: 2010 Location: Jersey City,
Description: Located only minutes from Manhattan Island
To counter all the heaviness found in the connectors and
via the Holland Tunnel, this mall in Jersey City was in dire
bars, the sign panels themselves were made from floating
need of a face lift. This update required both architectural
acrylic intended to look like glass. The challenge was to
and signage improvements.
make these readable when backlit by sunlight. Early tests showed far too much contrast between backlit and non-
Because the ceilings are so lofty in this mall, the solution
backlit areas for the signs to be readable. The final solution
required long vertical connective bars with a look of
was to place frosted mint vinyl on both sides of the acrylic,
substantiality. This was accomplished by two sets of double
with a “hidden” layer of opaque white vinyl underneath
rectangular aluminum tubes. These are connected to both
the frosted mint vinyl on the back sides. The result is a
the ceiling and the sign with weighty flanges and bolts, to
clean, readable simulated glass panel unaffected by strong
lend an air of permanence and rigidity that was missing
backlighting during the midday hours.
New Jersey, USA
signage is composed of welded aluminum tubes. A special
All in all, the upgrade to the mall’s interior architecture,
corrugated aluminum panel was used to add texture to the
accented by new signage, brings the mall into the new
signs, but instead of purchasing an expensive off-the-shelf
century and creates a more pleasurable shopping
material, the fabricators elected to develop a custom die so
in the original program. Indeed, much of the directional
that the beefy corrugated metal panels could be fabricated at a more reasonable cost.
The Bullring Design Agency: Studio David Hillman Creative Director: David Hillman Designer: David Hillman Photography: Nickturn Client: The Bullring Date: 2000 Location: Birmingham, UK
The Bullring is vast, 110,000 square-meter city centre development. At the time, the 500 million project was the
Hillman provided a comprehensive and fully integrated signage
heart of Europeâ€™s largest regeneration scheme. Studio David
Shopping Mall Type
The Shops at 5th Street & Alton Road Design Agency: TGAdesign Creative Director: Tom Graboski Designer: Tom Graboski, Geoff Rogers Photography: TGAdesign, New York Focus Client: Berkowitz Development Date: 2009 Location: Miami Beach, Florida, USA
Located in the heart of Miami Beach at the intersection
that included custom designed mosaic murals and large
of 5th Street and Alton Road, the 5th & Alton is a vertical
dimensional tenant logos. TGAdesign was also instrumental
retail shopping center and 2000 car garage with a unique
in rewriting the Miami Beach Sign Code for this unique
architectural design blending the historic Art Deco look
with a modern, sleek approach. All signs for the property were designed by TGAdesign including two unique facades
Shopping Mall Type
360 Mall Design Agency: Paragon Marketing Communications Creative Director: Nizar Alshorbagi Account Director: Gaya Kruchlik Photography: Nizar Alshorbagi Client: 360 Mall Date: 2010 Location: Kuwait
During the holy month of Ramadan, 360 Shopping Mall which caters to the higher end of the society of Kuwait and houses big name international brands decided to introduce a campaign greeting its visitors with an aura of the holy month. Paragon Marketing Communications was commissioned to provide design elements and execution ideas to brand the mall in a subtle manner not taking anything away from the lush interiors of the mall. The designs reflected the Islamic art of calligraphy in a very contemporary manner and formed an integral part of this branding exercise. The aura of the holy month of Ramadan was created at the shopping leaving its visitors awestruck with the richness of the Islamic culture meeting contemporary art.
Shopping Mall Type
Chatswood Chase Shopping Centre Design Agency: Frost Design Creative Director: Vince Frost Designer: Bridget Atkinson, Sarah Estens, Ray Parslow Design Manager: Annabel Stevens Photography: Andy Stevens Client: Chatswood Chase Sydney Date: 2009 Location: Sydney, Australia
Frost Design was invited to review the signage and
intricate detailing provides an increased sense of luxury
environmental graphics of the Chatswood Chase
for visitors, reinforcing its position as a global shopping
Sydney shopping centre as part of its upgrade, and bring
it inline with the centreâ€™s new branding. The new holistic signage scheme covered each of the four shopping
Large-scale painted supergraphics provide clear
levels, and included major external and internal
wayfinding messages throughout the carpark. This cost
identification, directional and operational signage. The
effective approach is highly visible, ensuring clarity in
new branding inspired a classic black and white palette
a potentially confusing environment. The bright colour
for the signage, working to establish a sense of place
palette injects warmth and energy into these concrete
integrated with the interior scheme. The centre's 1950s
spaces, acting as a memory trigger and creating a sense
Artichoke lights hanging in the atrium, were referenced
in the design of the suspended wayfinding signage. This
Palladium Mall Design Agency: VerisonAbsolute Design Studio Creative Director: Arnab Banerji Designer: Arnab Banerji, Abhishek Ghosh
Palladium is Mumbaiâ€™s first luxury retailing mall. It is the
was to design a sign design identity and implement a
latest retail development to come up at High Street Phoenix
wayfinding scheme for the complete development that is
(HSP), Lower Parel. HSP is one of Mumbaiâ€™s largest
known as HSP. Palladium was the first of the sign design
shopping and entertainment destinations. HSP covers 3.3
exercise that was implemented.
variety of F&B, entertainment, commercial and residential
The EGD scheme for Palladium was proposed by Callison
complexes. Architecturally HSP is essentially a collection
Architects, which was then developed into a sign design
of four retail buildings now namely Palladium, Courtyard,
and wayfinding scheme by us.
Grand Galleria and Skyzone. Our scope in this development
million square feet of space and houses over 500 brands,
Photography: VerisonAbsolute Design Studio Client: Palladium Mall Date: 2008 Location: India
Shopping Mall Type
Viva Collage Mall Design Agency: VerisonAbsolute Design Studio Creative Director: Arnab Banerji Designer: Arnab Banerji, Abhishek Ghosh Photography: Arnab Banerji Client: Viva Collage Mall Date: 2010 Location: India
Viva Collage is Jallandharâ€™s first all under one roof mall
architect has used a neutral palette of whites and greys for
and one of Punjabâ€™s mega projects. This retail destination
the interior finishes. Our design intervention color codes
is spread over 3.7acres of land abutting the National
the various floors and adds the warmth of wood, creating a
Highway one. This mall is a linear experience interspersed
colourful, yet bold information system.
with multiple atriums connecting the various levels. The
Shopping Mall Type
Karstadt Young Fashionâ€“Urban Marketplace Design Agency: dan pearlman Markenarchitektur GmbH Creative Director: Volker Katschinski Designer: Jenni Schmidt Photography: diephotodesigner.de Client: Karstadt Date: 2006 Location: Germany
The traditional department store becomes a modern
identification. The new young world becomes part of the city
marketplace: open, lively and urban. Concrete, light/dark
and the city becomes part of the young world.
effects and the overall graphic design reflect the young lifestyle. Local elements generate a high degree of
Shopping Mall Type
Westfield Roseville Galleria Design Agency: Square Peg Design Creative Director: Scott Cuyler Designer: Patricia Glover, Eric Wendt Photography: Square Peg Design Client: Westfield Corporation Date: 2008 Location: Roseville, California, USA
Westfield commissioned Square Peg Design(SPD) to create
incorporated into the design standards for all signage
new interior and exterior signage, garage identification and
throughout the property. The propertyâ€™s exterior sculpture
wayfinding for a new mall addition. SPDâ€™s design solution,
monument utilizes the rose petal theme.
based on 2D and 3D interpretation of a rose petal, was
Shopping Mall Type
Spectrum Design Agency: Formation Creative Director: David Hoffer Designer: David Hoffer, Philip LeBlanc Photography: Clear Sky Photography Client: Morgan Group Date: 2008 Location: USA
Formation has developed an engaging, creative relationship
aspects of the visitor experience. The project scope typically
with the Morgan Group, a developer of mixed use
includes naming, logo development, and environmental
communities. The designer help the client develop brands
graphics as well as interior design concepts.
for their projects and then integrate that brand into all
The Shops at La Cantera Design Agency: fd2s Creative Director: Mark Denton Designer: Mark Denton Photography: David Omer Client: The
The Shops at La Cantera is a 1.3-million-square-foot
the project architect to create a relevant and engaging retail
upscale, outdoor regional shopping center at the edge of the
experience. Our role in shaping this experience included
Texas Hill Country in north San Antonio. The approach to
the design and documentation of environmental elements
the project identity and environmental graphics program for
ranging from wayfinding signage and seasonal pageantry
the center reflects this emphasis on the natural environment
to architectural enhancements like paving patterns and wall
in its use of native materials and fabrication details drawn
from the local culture, as well as the incorporation of nature imagery throughout the system.
Shops at La Cantera Date: 2008 Location: USA
The designer involvement in the project included helping the developer to refine and articulate the projectâ€™s brand position, developing an identity and related visual
vocabulary that supports this position, and then working with
11@Century Hotel Design Agency: AG Creative Creative Director: Alex Wong Chee Chuan Photography: AG Creative Client: 11@Century Hotel Date: 2009 Location: Johor Bahru, Malaysia
AG Creative is proud to be invited to propose a customized
structure and also the number 11 so as to let consumers
wayfinding system that embeds this Boutique Hotel Concept.
have a strong recalling of the hotel name.
The concept was based on the shape of the hotel building
Hotel Fort Canning Design Agency: Acacia Design Consultants Creative Director: Jervis Mun Designer: Jervis Mun Photography: Acacia
anodized aluminum on mirror finished stainless steel
during the World War II, Acacia Design Consultants was
accentuates the signs in a warm lit environment. Creative
tasked to provide a full suite of wayfinding solutions that
use of shapes allowed for 3 dimensional room numbers that
was both elegant and timeless to suit Hotel Fort Canningâ€™
simplify wayfinding for the different wings.
Formally the British Far East Command Headquarters
s magnificent architectural heritage. A combination of
Design Consultants Client: The Legends Fort Canning Park Date: 2010 Location Singapore
Hard Rock Hotel & Casino Design Agency: Lebowitz|Gould|Design, Inc. Creative Director: Sue Gould, Ed Frantz Designer: Lebowitz|Gould|Design, Inc. Photography: Lebowitz|Gould|Design, Inc. Client: Hard Rock Hotel & Casino Date: 2009 â€“ ongoing Location: Las Vegas, NV, USA
The graphics program for the Hard Rock Hotel & Casino Las Vegas expansion included a rebranding study and close work
The package addressed identification and wayfinding graphics for a new 4,000 seat concert venue, two new luxury
with the interior design team.
guestroom towers, a destination spa, additional casino space, parking decks and extensive site improvements. This comprehensive program tied together all the elements of the expansion maintaining a consistent vision of the brand using typography, lighting and materials. Specific signage included
and the casino expansion. The wayfinding program required integration of the existing signage with the new facilities.
identification for new nightclubs, a spa, multiple restaurants,
Loews Philadelphia Hotel Design Agency: Lebowitz|Gould|Design, Inc. Creative Director: Sue Gould Designer: Lebowitz|Gould|Design, Inc Photography: Lebowitz|Gould|Design, Inc. Client: Loews Hotels Date: 2006 Location: Philadelphia, PA, USA
Design of comprehensive graphics program for conversion
It included interior identification and wayfinding signage for
of Philadelphia's landmark PSFS Building into 852 rooms
public areas and guest corridors incorporating elements of
historic PSFS building signage with contemporary character.
Estoi Palace Design Agency: FBA. Creative Director: João Bicker Designer: Rita Marquito Photography: José Meneses/FBA. Client: Gonçalo Byrne Arquitectos Date: 2009 Location: Portugal Awards: Red Dot Award 2010
Signage for a luxury charm hotel, partially installed in a historical building. The Estoi Palace Pousada is the most recently opened hotel of the Pousadas de Portugal group, a chain of luxury hotels in Portugal. The hotel is located in a magnificent palace from the 19th century and combines historical and modern stylistic elements in a reserved way.
Burj Khalifa Design Agency: Square Peg Design Creative Director: Scott Cuyler Designer: Eric Wendt, Fernando Zamora, Kate Panawek, Susan Bowers, Wes Meyer, Corinne Char, Katie Miller, John Kim Photography: Square Peg Design Client: Emaar Properties Date: 2009 Location: Dubai, UAE
The Burj Khalifa is the worldâ€™s tallest building and freestanding structure. The tower is a mixed-use destination for offices, residences, and The Armani Hotel. Square peg design was retained to provide wayfinding and signing design. The solution reflects the subtlety of the contemporary architecture with a mix of Arabic influence while addressing the complexity of the mixed-use space.
W Hotel & Residences Fort Lauderdale Design Agency: Square Peg Design Creative Director: Scott Cuyler Designer: Corinne Char Photography: GraphPlex Client: W Hotels Worldwide Date: 2009 Location: Fort Lauderdale, Florida, USA
Square Peg Design designed the identity and wayfinding
area’s natural beauty. A sculptural representation of the
system for the new W Hotel and Residence in Fort
iconic “W” was created to reinforce the brand at the property’
Lauderdale, Florida. The inspiration for the interior and
s prominent beach-front entrance.
exterior signing and wayfinding elements drew from the
Jaypee Palace Hotel & Convention Centre Design Agency: VerisonAbsolute Design Studio Creative Director: Arnab Banerji Designer: Arnab Banerji Photography: Arnab Banerji Client: JayPee Hotels Date: 2006 Location: Agra, Uttar Pradesh, India
Jaypee Palace Hotel & Convention Centre is a leading 400
predominant building cladding material and was stood out
keys five‑star resort property and the largest convention
of the architecture by virtue of their colors. All information
centre in Agra.
on stone was laser engraved into the stone with an inlay of the engravings found in Mughal architecture. All interior
system by introducing ‘Level’ and ‘Wing’ in the room
signs were made in DuPont Corian and Teakwood where
numbers and reflect the same in the navigation signs.
again all information was inlayed into the material surfaces.
materials such as wire cut SS and epoxy paint, much like The design solution was to rationalize the room addressing
The design paid homage to the prevalent material and techniques in the region. The designer used black slate and
sandstone for all external signs which complimented the
W Buckhead Hotels Design Agency: Ribbit...Inc. Creative Director: Juan Carlos Casas Designer: Juan Carlos Casas, Rafael Rothschild Photography: Juan Carlos Casas Client: Noble House Investment Group/ W Hotels Date: 2009 Location: Atlanta, USA
As part of the design team for owner Noble Investments
not only filters the blue LED light at night, it also hides the
Group, and operator W brand team, ribbit...Inc. set out to
electrical components. The interior signage works to both
capture its ‘country-club’ like local southern charm, and
inform and direct the user effectively, all the while reminding
modern luxury by creating strong graphic visuals like ‘buck-
you of where you with the strong graphic vocabulary of
heads’, trees and flying geese to speak to this design
‘buck-heads’ and flying ‘geese’ etched or cutout from
style and carried that theme onto the backgrounds of all
aluminum. Ribbit created and implemented all the exterior
the signage. This was done either in cutouts or engraving
and interior property graphics and signage/wayfinding
depending on the wall application. This approach provides a
program for this unique W property. The firm also executed
strong sense of place and juxtaposition with modern design
the signage component for the third party operators ‘market’
materials and colors that exemplify the W brand. The ground
by JG Restaurant Group and Whiskey Blue by Gerber
W sign offers this blend of styles by providing different
looks for day and night. The inner steel tubing structure was covered with perforated metal backed with acrylic. This
Bliss Spa Design Agency: Ribbit...Inc. Creative Director: Juan Carlos Casas Designer: Juan Carlos Casas Photography: Juan Carlos Casas Client: Bliss Date: 2009 Location: W Hotel, Washington, USA
environmental friendly signage program that supported the
in creating a simple yet fun style of signage program that
Bliss brand language and social attitude as well as the local
aligned with both the cherry blossom idea and modern
compliance and maintenance requirements.
materials and ADA requirements. The designers created an
W Hotel signage consulting scope, ribbit...Inc. was tasked
and the Bliss brand culture while staying relevant to signage
where Italian Renaissance meets modern cool. As part of
references created by interior designer Dianna Wang /DWA
and black laceâ€”rendezvous at W hotel Washington D.C.,
Next to the White House, the most powerful suits- pinstripes
Riviera Resort & Spa Design Agency: Ribbit...Inc. Creative Director: Juan Carlos Casas Designer: Juan Carlos Casas, Javier Romero Photography: Juan Carlos Casas Client: Noble House Hotels & Resorts Date: 2008 Location: Palm Springs,CA,USA
Ribbit...Inc was tasked with creating the property identity
chairs. This continuous reference is incorporated in the all
and signage/wayfinding program to create a strong brand
signage along with the featured Hollywood “star” idea. At
identity, and through signage align with the history and local
night, the illuminated star in the monument sign sparkles
nostalgia interpreted in more modern approach. The most
and appears to be floating in the air. These elements truly
dramatic opening statement is the 30‑foot‑long sculptured
enhance the sophistication of the property and speak to
monument sign anchoring the entrance. The inspiration
the local, and social attitude that is specific to this charming
comes from the interior design motif of bubbles found
Palm Springs hotel.
throughout the guest rooms, spa, lobby walls and even the
Shangri-La Resort & Spa, Boracay Island Design Agency: Square Peg Design Asia Creative Director: Jeff Inouye Designer: Jeff Inouye, Corinne Char, Kristal Jorvina Photography: Square Peg Design Asia Client: Shangri-La Hotels Date: 2009 Location: Philippines
A five-star resort on the rocky cliffs of Boracay that includes restaurants, poolside amenities, a health club, free-standing villas and a spa village. Square Peg Design created the overall wayfinding and signing program as well as design solutions for
the restaurant logos.
Carmel Valley Ranch Design Agency: Square Peg Design Creative Director: Scott Cuyler Designer: Wes Meyer, Corinne Char, Katie Miller Photography: Square Peg Design Client: Geolo Capital Date: 2010 Location: Carmel,California,USA
Geolo Capital engaged Square Peg Design to create the signing and wayfinding to compliment the metamorphosis of this classic resort. Carmel Valley Ranch occupies nearly 500 the world renowned Carmel Valley. The elegant resort offers amenities that perfectly compliment the natural beauty of the surrounding region, which includes Carmel-by-the-Sea,
acres in the sunny foothills of the Santa Lucia Mountains in
Monterey Bay and Big Sur.
Shangri-Laâ€™s Villingili Resort & Spa Design Agency: Square Peg Design Asia Creative Director: Jeff Inouye Designer: Corinne Char, Kristal Jorvina, Aaron Pangabean Photography: Square Peg Design Asia Client: Shangri-La Hotels & Resorts Date: 2008 Location: Addu Atoll,
materials and traditional fishing boats. Natural imagery was
Design developed a comprehensive graphic, wayfinding,
used to represent the quintessential getaway from a hectic
signing and amenity program for this exotic resort property.
The design inspiration drew from the islandsâ€™ natural
In collaboration with Shangri-La and WATG, Square Peg
Republic of Maldives
Republic of Maldives
The Westin Diplomat, Resort & Spa Design Agency: Lebowitz|Gould|Design, Inc. Creative Director: Sue Gould Designer: Lebowitz|Gould|Design, Inc. Photography: Lebowitz|Gould|Design, Inc. Client: Diplomat Properties Ltd. Date: 2010 Location: Hollywood, FL, USA
This expansive signage program combined consistent
for a 1000â€‘room hotel, 600â€‘seat convention center, a
use of typography, architecturally inspired shapes and
country club, golf course, tennis center and spa.
illuminated neon to guide guests throughout a multi-facility
The convention center wayfinding, directories, and meeting
room identifications incorporate digital programmable screens throughout.
Diplomat Landing, the retail village within the complex, displays identification that was coordinated with graphics
The Rosseau Hotel Design Agency: Entro Communications Creative Director: Vincent Gratton Designer: Michael Hutchinson Photography: Vincent Gratton Client: Fowler Enterprises Date: 2008 Location: Muskoka, Ontario, Canada
Red Leaves – The Rosseau Hotel, which opened in
The intent was to provide an effective signage program that
December 2008, is a five-star resort overlooking picturesque
blended with the natural environment, while providing clear
Lake Rosseau in Ontario’s Muskoka region.Entro’s scope on
messaging for visitors and staff.
this project included design and implementation of exterior signage elements, ranging from directional highway signs and site ID to hiking trail wayfinding and handheld maps.
Dubai Festival City Design Agency: Lorenc+Yoo Design Creative Director: Jan Lorenc Designer: Jan Lorenc, David Park, Steve McCall Photography: Jan Lorenc Client: Dubai Festival City Date: 2010 Location: Dubai, UAE
The Al Futtaim Group of Dubai asked Lorenc+Yoo Design
elements. Metal finishes match adjoining buildings, and
to work alongside EDSA to develop a look and feel for
local Jerusalem stone accents individual pieces. The result
the resort component of Dubai Festival City and the Four
is a unified, appropriate look for the area.
Seasons Resort. The project scope included the entrance design as well as pedestrian and vehicular wayfinding
Northern Quest Casino & Resort Design Agency: Lorenc+Yoo Design Creative Director: Jan Lorenc Designer: Jan Lorenc, David Park, Steve McCall Photography: Jan Lorenc Client: Northern Quest Casino & Resort Date: 2010 Location: Washington DC, USA
The determination and vision of the Kalispel Tribe to bring excitement to the West Plains has come to fruition with the 87.6 million US dollar, 346,000 square feet expansion of the Northern Quest Casino into a sleek and modern interpretation resort, Northern Quest will feature a 600-slot casino, a 10,000 square feet luxury spa, 24-hour cafĂŠ, and high-tech sports bar, all housed within a contemporary and refined structure
of a lodge-style destination resort. As a full-service, 250-room
constructed of indigenous stone, wood and earthy materials.
Northern Quest Hotel Design Agency: Lorenc+Yoo Design Creative Director: Jan Lorenc Designer: Jan Lorenc, David Park, Steve McCall Photography: Jan Lorenc Client: Northern Quest Casino & Resort Date: 2010 Location: Washington DC, USA
Upon approach to Northern Quest Casino and Resort, guests will be immediately introduced to the clean and modern angled lines and profiles of the resortâ€™s striking silver and blue glass banded hotel tower on the horizon.
Sentosa Island Resort Design Agency: Square Peg Design Creative Director: Scott Cuyler Designer: Susan Bowers Photography: Square Peg Design Client: Sentosa Development Corporation Date: 2007 Location: Sentosa, Singapore
Sentosa, a Singaporeâ€™s island resort, offers visitors a one-
Square Peg Design developed a comprehensive island
stop destination with a unique blend of offerings: beaches,
wayfinding and signing master plan including island maps,
golf resorts, a world-class yachting marina, spa and resort
icons, island-wide pageantry, entry features and gateways.
SPDâ€™s color palette borrowed from the lush tropical environment.
Windcreek Casino and Resort Design Agency: Lorenc+Yoo Design Creative Director: Lorenc+Yoo Design Designer: Lorenc+Yoo Design Photography: Lorenc+Yoo Design Client: Wind Creek Casino Date: 2010 Location: Atmore, Alabama, USA
Lorenc+Yoo created the environmental graphic design program for Windcreek Casino, including a five-story landmark sign capped with the casino's soft, curving signature wave-shaped canopy that greets casino visitors on a short wall of dark brown stone, the main supporting column narrows as it rises, revealing a lantern at the top
as they approach the 225,000 square feet facility. Based
that serves as a beacon for visitors. A large television display sits beneath the casino's logo, displaying images of the various amenities inside. Lorenc+Yoo Design also placed smaller directional signage throughout the parking lot to guide visitors efficiently, making additional use of
stone, metal and punches of color.
Gallery of Academy of Visual Arts (HGB) in Leipzig Design Agency: Studio KW Creative Director: Klaus Hubner Designer: Hendrik Weber, Philip Neumann, Klaus Hubner Photography: Studio KW Client: Academy of Visual Arts (HGB) in Leipzig Date: 2005 Location: Frankfurt, Germany
The design concept for this exhibition is best described as
guidance system, linking up the exhibition sites in different
parts of the building. Outside the rooms used, there was information about the artists whose work was on exhibit.
Lines runnig through the building indicate new, imaginary rooms like a floorplan. Depending on the observers location, the lines are straight or bent. The lines work as a
The LAB Gallery Design Agency: Creative Inc Creative Director: Mel O’Rourke Designer: Ciara Cantwell Photography: various sources, supplied by client Client: Dublin City Council Date: 2009 Location: Ireland
The objective was to showcase the work of 40 Artists that have
between four colour process and spot printing, the aim was to
exhibited in the LAB Gallery on Dublin’s Foley Street. This was
produce a compelling and unique backdrop which showcased
part of the LAB’s overall visual identity.
the work without distracting from it.
Using interesting combinations of stock and alternating
Manchester Art Gallery Design Agency: Holmes Wood Design Director: Alex Wood Creative Director: Lucy Holmes Photography: Phil Sayer and
Manchester Art Gallery re-opened in 2002 after a
gallery offers â€“ discovering and uncovering, relaxing and
redevelopment programme lasting four years and costing
wandering. It links directly to the internal wayfinding sign
ÂŁ35 million. The new wayfinding and sign scheme fixed the
scheme, which has been developed with a specific graphic
problem by making the exterior welcoming to all visitors and
language. As a result the designer became a gold winner at
internally changing the flow of visitors through the Gallery,
the 2007 Design Effectiveness Awards.
effectively coordinating the old listed building with the new extension. Every visitor to the Gallery receives one of the
Holmes Wood Client: Manchester City Council Date: 2006 Location: Manchester, UK
maps. This gives a simple and effective understanding
of how the building is organised and highlights what the
Dinosaur Exhibition Design Agency: Design Factory International Designer: Jaclyn Stauber, Cynthia Waeyusoh Client: student work Date: 2009 Location: Hamburg, Germany
The Dinosaur Exhibition is a wayfinding and orientation
for the general orientation such as icons for restrooms, cafe
Design Project for a fictional dinosaur exhibition that would
or information desk.
take place in a museum. The work incorporates designs for standup displays for the exhibits, the different museum
rooms, that each stand for a certain epoch, as well as signs
2010 MICA Graphic Design Senior Show Design Agency: MICA Creative Director: Brockett Horne Designer: Hari Skourtis Photography: Hari Skourtis Client: Student Work Date: 2010 Location: USA
This wayfinding system uses a series of signs made from
promote and direct people through the various sections of the
2010 MICA Graphic Design Senior Show.
vinyl lettering, laser cuts, and paper wraps on matte board to
PS3_PT Launch Design Agency: Hugo Silva Creative Director: Hugo Silva Designer: Hugo Silva Client: graduation project Date: 2007 Location: Lisbon, Portugal
In this graduation project the briefing was about to choose
sensation to be inside PlayStation identity.
The chosen place was an old electricity station, which is
Pictogram's were also created for this event and it follows
now the Museum of Electricity, and the created event was
the same line, based on the shape of the controller, colors
about the launch of PlayStation 3 in Portugal.
and it's symbols (triangle, circle, cross and square).
This signage system concept was based on the idea of a game, with graphic elements of the PlayStation world. Its support was based on the blocks of the traditional games. It
a place and an event that would occur in Lisbon, Portugal.
was imperative for this work to coexist with the PlayStation
mark. After making the circuit of the event the visitor has the
Berlin Tempelhof Airport Exhibition Design Agency: Meuser Architekten Creative Director: Meuser Architekten Designer: Meuser Architekten Photography: Philipp Meuser Client: Senatsverwaltung für Stadtentwicklung, Berlin Date: 2009 Location: Berlin, Germany
Once the Berlin Brandenburg International airport starts
Airlift – took off in October 2008. Berlin now has the unique
operating in 2012, all airborne transport in and around the
opportunity to develop a new urban vision on this site. The
German capital will be based at a single site. In line with
exhibition contrasts the actual history of the airfield with the
these plans the last flight from Tempelhof Airport – located
utopian plans put forward in the twentieth century.
in the southern part of Berlin and famous for its role in the Berlin
55 years of Vodnikova Design Agency: Studio Rasic Creative Director: Ante Rasic Designer: Ante Rasic, Lovorka Decker, Marko Rasic, Vedrana Vrabec Photography: Studio Rasic archive Client: Vodnikova 12, Center for Foreign Languages Date: 2007 Location:
The significance of marking the anniversary in this way
Center for Foreign Languages, Vodnikova 12, an ambient
was to, after the event and the festivities, leave a lively new
exhibition was created in the Centerâ€™s interior â€“ it told a
space and an exhibition which - like permanent exhibitions
story of its history (the first floor), present (the second floor),
in museums - can be changed and supplemented with
and future (the third floor). Hallways became a new virtual
interactive content, while the Center becomes a part of our
and lively space filled with contents in which a person would
want to spend their time in.
For the occasion of celebrating the 55th anniversary of the
From Klovic and Rembrandt to Warhol and Picelj Design Agency: Studio Rasic Creative Director: Ante Rasic Designer: Ante Rasic, Marko Rasic, Vedrana Vrabec
A wealthy collection of graphics from foreign and Croatian
color, ambient, and architecture of the space, while rhythm
artists owned by the National and University Library in
of the movement through the exhibition is defined by
Zagreb was shown at the Museum of Arts and Crafts for
specially designed postaments and installations.
the 90th anniversary of the graphics collection. Studio Rašić designed the exhibition which has over 650 exhibits on
At the end of the exhibition there is an interactive installation
named ˝leave a mark˝. It is movement-sensitive, and it presents a contemporary form of a graphic – virtual and
Visual framework of the exhibition is a timeline in which and
temporary. Multiplied handprints of the visitors remind of the
on which are presented exhibits shown in a chronological,
very beginnings of visual expression.
Photography: Damir Fabijanic Client: The National and University library of Zagreb Date: 2010 Location: Zagreb, Croatia
thematical and style-organized order from the 15th to the
20th century. Every period and theme is differentiated by
Showroom Citroen Design Agency: Nicolas VRiGNAUD Creative Director: Nicolas VRiGNAUD Designer: Nicolas VRiGNAUD Photography: Nicolas VRiGNAUD Client: PSA, Citroën Date: 2007 Location: Paris, France
Signage of the CITROËN showroom on the Champs Élysées' Paris. The design is an abstract pattern, like an ideogram of
sequences in the vertical space.
element of the building: the car displays which create
the organization of the space. It is based on the structuring
Canyon.Home Design Agency: KMS Team Creative Director: Michael Keller, Knut Maierhofer Designer: Patrick Maerki, May Kato, Christian Hartig Architect:Tobias Kroell, Andreas Stephan Photography: Jens Heilmann Client: Canyon Bicycles Date: 2008 Location: Coblenz, Germany
Canyon Bicycles develops and produces high-quality
showcases the brand's history, present and future while also
bicycles. When the company headquarters was renovated,
serving as a product showroom and bike shop. The visual
the goal was to allow people to experience the quality of
identity was translated into an interior design that partitions
and shapes the space, allowing visitors to discover the brand.
Canyon.Home, which spans 1,300 square metres,
Mercedes Benz World Visitor Exhibition Design Agency: Commercial Art Designer: Eamonn O'Reilly, Tony Philips, Rick Sellars Photography: Commercial Art Client: Daimler Chrysler Date: 2007 Location: London, UK
Mercedes-Benz wanted to develop a flagship retail
feeling like part of the overall environment. The requirement
experience at Brooklands in Surrey, with a showcase for
was for a visually rich concept with an aesthetic in keeping
heritage, technology as well as presenting their new cars.
with the Mercedes-Benz brand, whilst having a clear tone of voice of its own. The installation has a five-year life
The building was divided into five different themed areas;
expectancy with plans for ongoing development for more
Play, Build, Watch, Solve and Discover. The design needed
visitor experiences within Mercedes-Benz World over the
to communicate the different content at each location whilst
next few years.
C/O Berlin Design Agency: Naroska Creative Director: Naroska Designer: Naroska Photography: Naroska Client: C/O Berlin Date: 2009 Location: Berlin, Germany
C/O Berlin’s programme of international standing has
new image is based on the existing wordmark and the
established the institution as an integral part of Berlin’s
traditional neon orange. All materials for general use will
cultural scene and a unique institution in Germany since it
be plain white. Those for specific uses, such as for the five
was founded in 2000. Aiming to present lively exhibitions
formats Exhibitions, Lectures, Junior, Talents and Forum,
that span a range of disciplines and stimulate new debates,
will feature thematically appropriate photographs. To create
with a special focus on photography, C/O Berlin also
as much design leeway as possible, the wordmark can
fosters up-and-coming artists, runs special programmes
be adapted to suit specific uses. C/O Berlin’s wordmark
for youngsters and hosts various activities and events
and graphic-design vocabulary are the keystones of the
accompanying its exhibitions. Co-founder Marc Naroska
institution’s overall image.
and his team have ensured that the C/O Berlin brand has continued to evolve. In addition to advising on content, Naroska Design is responsible for all the gallery’s visual communications and events that accompany the exhibitions. After nine years, C/O Berlin was given a complete image makeover. Naroska designed new company letterheads, a promotional brochure, as well as visitor information and signage for the exhibition spaces in the Postfuhramt. The
Bovisa Gallery Design Agency: k12m Creative Director: Silvia Amaduzzi Designer: Silvia Amaduzzi, Tommaso Catalucci, Giorgio Caviglia
Bovisa Gallery was meant as an integrate communication
creating the impression of an open-air museum which is
system aiming to provide basic information and follow the
not closed anymore just inside the building of TBVS but
user all along the route to the Triennale Bovisa exhibitions
involving all the Bovisa. A mural decoration made out
of stripes of art pieces displayed each time in Triennale decorates a long wall along a street leading to TBVS.
The way to the museum becomes an art gallery itself
Once the museum will finish its settlement, it will leave
in which each exhibition leaves a layer and a sign of
a permanent sign of the cultural and artistic evolution it
transformations as an artistic diary Triennale writes for the
brought to Italy, Milan and Bovisa.
Photography: k12m Client: Triennale di Milano Date: 2006 Location: Milan, Italy
suburb of Bovisa. The route to the art space is gaining an evocative and
suggestive dimension thanks to banners on lamp posts
USP under Construction Exposition Design Agency: CASA REX Creative Director: Gustavo Piqueira Designer: Gustavo Piqueira, Ingrid Lafalce, Samia
In celebration of the 75th anniversary of University of Sao
The designer intended to create a non-design venue, like a
Paulo, we have produced an exposition that escapes from
really popular site ‘under construction’. The designer used
the visual standard. Held at the beginning of the year at the
building materials, sand bags and wooden-made boxes
“Memorial da América Latina” (Latin America Memorial) -
organized in chronological order. Even the dates were all
developed by the renowned architect Oscar Niemeyer, the
hand-painted, with improvised stencils inserted, in a non-
designer created the name “USP under Construction", as
improvised process at all.
well as the concept and its implementation.
Jacintho Photography: CASA REX Client: USP — University of São Paulo Date: 2009 Location: Sao Paulo, Brazil
The exhibition has shown an unusual dialogue within Niemeyer’s building, as it simulates a truly construction site inside Simon Bolívar Auditorium, where 60 photographs has been displayed - being 43 of them unpublished - portraying
the process of the University building from 1952 to 1972.
Abundant Australia Design Agency: Frost Design Co-Creative Director: Vince Frost Designer: Quan Payne, Joanna Mackenzie, Irmi Wachendorff, Annabel Stevens Photography: Gary Warner Client: Australian Institute of Architecture Date: 2008 Location: Venice, Italy
Frost Design was one of five creative directors
as possible, with no direct interpretation. The exhibition
commissioned by the Australian Institute of Architecture
responds to the Biennale director Aaron Betsky’s theme: ‘Out
to curate the Australian exhibition presented as part of the
there: architecture beyond building’, with the whole Pavilion
11 th International Architecture Exhibition, at the Venice
becoming an installation to be experienced. Graphics
Biennale in 2008. A bright snapshot of architectural culture
applied to the front of the building, ‘Abundant Australia’
in Australia, the Abundant Australia exhibition expresses
repeated on a horizon line, unmistakably announcing
the vigorous energy, exuberance and diversity of the
arrival at the Australian Pavilion. Frost worked with Dulux
architectural past, present and future. Over 300 Australian
to develop a new paint colour named ‘Abundant’ which was
architectural practices submitted models, highlighting the
applied to the building exterior and interior making a strong
extraordinary creative practice in Australia.
branded statement. The vibrant yellow colour provides an instant sense of lively 'Australia-ness'.
The creative directors (Vince Frost, Neil Durbach, Wendy Lewin, Gary Warner and Kerstin Thompson) collaborated on all curatorial elements, making the exhibition as experiential
365: AIGA 27 Design Exhibition Design Agency: Design360 Creative Director: Jill Ayers Designer: Rachel Einsidler Photography: Jennifer Krogh Client: AIGA: the professional association for design Date: 2006 Location: New York, New York, USA
Design360 explored the idea of a designerâ€™s laboratory for the exhibition in New York City. Color coding was carried through from the periodic table to the displays and design-related lab ware contents. The showâ€™s identity was applied to a chalkboard wall where visitors were encouraged to leave their thoughts.
Autodesk Customer Briefing Center Exhibition Design Agency: Skidmore, Owings and Merrill LLP — SOM Graphics Photography: Paul Warchol, César Rubio Client: Autodesk, Inc. Date: 2008 Location: Lake Oswego, Oregon, USA
Responding to the rapid development of three-dimensional modeling software, Autodesk sought to create a customer briefing center to introduce their products to a diverse group of clients. SOM’s design articulates their brand identity and core messages and creates a system to showcase the versatility of their products within a flexible, multi-media environment.
Stockholm International Fairs Design Agency: BVD Creative Director: Carin Blidholm Svensson Designer: Kina Giesenfeldt Photography: BVD Client: Stockholm International Fairs Date: 1998-2000 Location: Stockholm, Sweden
Description: With an international name, a modern, strong and pure design language and a clear architectural setting,
and establish contacts.
interested in design had the chance to meet, exchange ideas
exhibitors gained an exciting meeting place where everyone
The 11th International Architecture Biennale in Venice Design Agency: Thonik Creative Director: Thonik Designer: Thonik Photography: Maurice Boyer Client: Venice Biennale Date: 2008 Location: Venice, Italy
Thonik provided all the graphics for the 11th International
a chain of globes, alternating with universally recognizable
Architecture Biennale in Venice. The agency—in close
angular house shapes, which provided opportunities for
collaboration with curator Aaron Betsky—was also
endless configurations and series.
responsible for the design of the Corderia, which featured 3D graphic walls of spheres. Thonik’s design was based on
Aires Libres 2009 Design Agency: Paprika Creative Director: Louis Gagnon, Sébastien Bisson Designer: Sébastien Bisson Photography: Paprika Client: SDC du Village Date: 2009 Location: Montreal, Canada
SDC du Village is an organization in downtown Montreal.
Paprika developed a concept based on the popular French
The Aires Libres event aimed to promote Montreal’s well-
Quebec expression "Beau temps pour étendre" (great time
known Gay Village while providing merchants with greater
to hang out). Inspired by the local tradition of residents
visibility. During this event, a section of Sainte-Catherine
turning the city’s back streets into their own personal
Street (one of Montreal’s busiest) becomes a pedestrian-
gardens, even for hanging out clothes to dry, the designers
decided to transform the entire street into a typical Montreal alleyway.
Paul-Marie Lapointe Exhibition Design Agency: Paprika Creative Director: Louis Gagnon, Sébastien Bisson Designer: Sébastien Bisson Photography: Paprika Client: Bibliothèque et Archives Nationales du Québec Date: 2008 Location: Germany
In 2008, Bibliothèque et Archives nationales du Québec (BAnQ) dedicated an exhibition to poet Paul-Marie Lapointe, whose work combines improvisation, social challenge and linguistic invention. His amusing and innovative efforts, especially with words in inventive layouts, greatly influenced us. The exhibition’s staging offered a new way to use space. For the first time, the eight concrete columns surrounding the exhibition area in the Arts and Literature section, and the showcases at the service counters on all four levels of the Grande Bibliothèque, featured the event’s colours. These visual displays did not simply echo the exhibition, they also provided a unique way to read the works.
Philippe Malouin Exhibition Design Agency: Paprika Creative Director: Louis Gagnon, David Guarnieri Designer: David Guarnieri Photography: Paprika Client: Commissaires, Gallery-Boutique Date: 2009 Location: Germany
The Commissaires Gallery/Boutique is a Montreal exhibition space dedicated to unique creations from international designers. In this case, it was product designer Philippe Malouin. Malouin’s famous “Hanger Chair” (a folding chair that doubles as a clothes hanger) led us to expand the usage of the everyday objects. We re-worked the common hanger so it became not only the invitation, but the poster and signage for the exhibition.
Risking Reality Exhibition Design Agency: R2 Creative Director: Lizá Ramalho Designer: Lizá Ramalho, Artur Rebelo Photography: Fernando Guerra Client: Berardo's Collection Museum Date:
Risking Reality Exhibition focused on various artists who
2009 Location: Germany
have explored the mimesis of reality and transformed it into a paradox. Divided into three sections with corresponding spaces, the dominant concept was associated to the meaning of the real and figurative in space. The design wasn’t restricted to a merely informative aspect, intervening directly in the a genuine design object. three-dimensional letters were placed on the entrance hall floor, forming the words “Arriscar of Real”. However the manner in which these letters were read altered
museum’s space. Typography was materialized in the form of
in accordance with the observer’s viewpoint.
Wells Fargo Home Mortgage Design Agency: Visual Communications, Inc. Creative Director: Richard Lang Designer: Constance Carlson
one convenience store, common grounds coffee, a banking
system for the interior and exterior of this high profile
office and one gym. Services included Design and Analysis,
project. Signage included complete campus identification
Documentation, Bid Procurement, and Project Management.
and wayfinding for three office buildings, two parking
The Interior Signage Masterplan Design is being utilized on
ramps, and directional signage for this 4,300 employee
similar campuses throughout the country.
campus. Specialty signage included a cafeteria, bistro,
Visual Communications was pleased to provide the signage
Photography: Visual Communications Client: Wells Fargo Home Mortgage Date: 2004 Location: Minneapolis, USA
Allie Street Office Design Agency: Commercial Art Designer: Eamonn O'Reilly, Tony Philips, Rick Sellars Photography: Commercial Art Client: Corporation of London Date: 2007 Location: London, UK
This project is part of a redevelopment in the city of London.
five floors was assigned a colour on the reception directory
It encompassed the development of a visual identity for the
and the colours are applied to walls in the entrance area of
location and it's implementation across signage throughout
the building. A custom set of pictograms were created for this project to Bold neutral typography was utilised throughout to ensure
work with the typography.
high visibility and clear site lines for wayfinding. Each of the
888 Seventh Avenue Design Agency: Two Twelve Creative Director: Brian Sisco Designer: Dominic Borgia, Michelle Cates, Julie Park Photography: James Shanks Client: Vornado Realty Trust Date: 2006 Location: USA
Tw o Tw e l v e c r e a t e d e y e - c a t c h i n g b u i l d i n g a d d r e s s
elements are designed to invite glances and establish
identification for its high end property at the Vornado Realty
recognition for one of the cityâ€™s best new addresses.
Trust headquarters, 888 7th Avenue. Elegant marble signage
Barclays Global Investors, World Headquarters Design Agency: GNU Group Creative Director: Dickson A. Keyser Designer: Kanan Jayachandran & Howard Curtis Photography: Dickson A. Keyser Client: Barclays Global Investors Date: 2008 Location: San Francisco, CA, USA
GNU developed a comprehensive sign program for Barclays
this innovative solution. GNU also coordinated the entire
Global Headquarters incorporating their revised brand
brand change-out when Blackrock purchased Barclays in
standards. The skyline identification sign presented a
2009. Studios Architecture was responsible for the design of
challenge. Drilling the glass curtain wall, already in place,
the building and itâ€™s interiors.
was prohibitive. Working with AdArt Signs and 3M the designer developed an adhesive solution as an alternative to mechanical fasteners and secured the City approvals for
The Landhaus Design Agency: Atelier Christian Mariacher, Innsbruck Creative Director: Christian Mariacher Designer: Christian
The Landhaus is situated in the centre of Innsbruck. It
stick out in orange from the other three, less important ones.
serves as the seat of the Tyrolean Parliament and is used
All colours allow for high reading contrast. The system was
for administration and representative purposes. Based on
produced on painted MDF-boards which are a cheap but still
research into naming conventions and the history of the
a customized solution. The vinyl-lettering allows changes
buildings we proposed four colour-coded building parts.
without producing much waste.
Each part has an associated landmark. The new system allows to read the building part plus floor level from the room number. The pallet used for the colour coding is inspired by
Mariacher Photography: Gunter Richard Wett Client: Amt der Tiroler Landesregierung Date: 2008 Location: Austria
baroque painting to blend into the environment of the 'Altes
Landhaus'. The choice of colours makes the main building
Wegener Publishers Design Agency: Edenspiekermann Creative Director: Willem Woudenberg Designer: Willem Woudenberg Photography: Edenspiekermann Client: Wegener Publishers Date: 2003 Location: Holland
A publisher that reaches all over the Netherlands but is
Wegener publishers obtained the A-brand perception it
seen by advertisers as decent if average. Of course, that
deserves from advertisers. Images show signage for the
had to change fast. This was a job for Edenspiekermann.
Wegener head office.
communicated actively, particularly towards advertisers and
The designer made the brand more visible, made sure it
Pricewaterhouse Coopers Design Agency: BDP Design Creative Director: Richard Dragun Designer: Peter Hayward Photography: David Barbour Client: PricewaterhouseCoopers Date: 2009 Location: Glasgow, UK
The environmental graphics for PwC’s Glasgow office are
rang", the design team produced a simple yet dynamic
a celebration of the city of Glasgow itself. Inspired by the
solution that has become a focal point for staff and a
city’s motto and coat of arms deriving from the legend of St.
refreshing step away from the usual corporate graphics that
Mungo incorporating “the tree that never grew, the bird that
embellish many offices.
never flew, the fish that never swam and the bell that never
1001 Perimeter Summit Building Design Agency: Lorenc+Yoo Design Creative Director: Jan Lorenc Designer: Jan Lorenc, Marcus Merritt Photography:
LED element on one side of the tower fosters a surreal glow.
of fractured edge (or barked edge glass) for the lobby of the
The glass stands off of the back wall to allow for natural light
1001 Perimeter Summit building. The designer envisioned
that gives it the appearance of floating. The directory is a flat
this element to discourse with the reception desk and the
screen behind a glass plane that is a touch screen for tenant
dynamics of the redesigned building lobby, which was
information and news.
accented with wood, glass, metal and stone. The glowing
The project is the design of a sculptural directory element
Lorenc+Yoo Design Client: Hines, Vikram Mehra Date: 2008 Location: Atlanta, USA
Commonwealth Bank Training Centre Design Agency: Minale Tattersfield Creative Director: Hans Gerber Designer: Hans Gerber, Yasmin Hall, Samir Dzambic
Signage system for a new 24,000 square metres training
signs were presented in order for the client to make
centre for Australiaâ€™s largest financial institution -by market
informed decisions on language to be applied and to gauge
capitalisation- at Sydney Olympic Park. The work for the six
appropriate size of graphics, such as lettering and maps.
level building was the result of a close cooperation between
The chosen colour for the signs was a charcoal grey, which
the designer, the architect and the client.
sits very well with the colour of surfaces such as yellow and light timber.
Together we established the graphic ordering of building
Photography: Minale Tattersfield Client: CommonwealthBank of Australia Date: 2007 Location: Sydney, Australia
parts and the naming convention for meeting rooms. A signage family was developed to sit precisely within the
details of the interior fit-out. Full scale prints of the proposed
Attorney General Department Design Agency: Minale Tattersfield Creative Director: Hans Gerber Designer: Hans Gerber, Yasmin Hall Photography:
Signage and graphic system for the 21,000 square metres
The quality of anodised material is that it does not reflect.
new department offices for the Attorney General Department
For signage application this sets it apart from materials
in Sydney. The system was designed in close collaboration
such as stainless steel. The graphic layout for the building
with the architect. The wayfinding sign design forms an
directory is based on a phone pad.
integral part of the architectural language, the detailing, material and colour. In order to achieve consistency in appearance throughout the building, anodised aluminium was chosen for the signs, each with a black line defining
Minale Tattersfield Client: Attorney General Department Date: 2007 Location: Sydney, Australia
one edge of the sign. Anodised aluminium is neutral in
appearance but at the same time it sets an accent.
The MetLife Building Design Agency: Red Square Design Creative Director: Lev Zeitlin Architect: Kohn Pedersen Fox Photography: Reven T.C.
As part of renovation and restoration project of the 80,000
Grand Central Station it is a home to approximately 12,000
square feet retail concourse and main lobby, Red Square
employees. It is estimated that 500,000 people walk thought
Design was commissioned to re-design the building's
the lobby in a weekday. Red Square Design’s new way-finding
corporate and outdated way-finding systems. Red Square
system was an essential solution to navigate this complex
Design worked closely with the project architects to revitalize,
the New York’s landmark. The MetLife Building, originally PanAm – designed by Walter
Wurman Client: Metropolitan Insurance Company Date: 2006 Location: New York, USA
Gropuis and Pietro Belluschi – was completed in 1963.
Located in the heart of Midtown Manhattan adjacent to the
Pflege on Tour Ambulant Nursery Service Design Agency: Sebastian Haeusler Design Creative Director: Sebastian Haeusler Design Photography: Sebastian Haeusler Design Client: Pflege on Tour Date: 2010 Location: Berlin, Germany
Sebastian Haeusler Design completed corporate design
The design focuses on easy and cost-efficient production
of the new ambulant nursery service "Pflege on Tour"in
without losing the effect of a high standard. A good example
Berlin.The work is comprised of all categories of business
of the design's functionality is the logo sticker,offering the
communication,including logo development,stationary
opportunity of branding material that has already been
design,redesign of business rooms and the facade of
the office building,design of the car pool and advertising materials.
â€œChiswick Parkâ€? Office Design Agency: Studio David Hillman Creative Director: David Hillman Photography: Nick Turner Client: Chiswick Park Date: 2000 Location: London, UK
Designed by the Richard Rogers Partnership and developed by Stanhope, Chiswick Park is a major new office development in west London. Accompanying the extensive programme of building,
distinctive, modern architectural attitude.
pedestrian and traffic signage complements Chiswick Park's
LSG Design Agency: Teamgeissert Creative Director: Thomas Geissert Photography: Teamgeissert and J. Vogt Client: LSG Lufthansa Service Holding AG Date: 2008 Location: Frankfurt, Germany
When individual orientation systems are implemented, it is
teamgeissert was given the task to come up with a concept
not short-lived designs that are followed. What is far more
for an individual guidance and orientation system. In
likely to happen is that intuitive orientation is made possible
order for it to be interpretable for suppliers, employees
by anchored interpretation patterns being integrated into the
and customers, the main requirement of the system was
sub-consciousness. The aim of any project is image and
that it was understood internationally. Despite the strict
service profit for the customer and an increase in the market
specification of the corporate identity it has been possible to
value and efficiency of a building at the same time.
create an independent and impressive overall system within the Lufthansa Corporate context.
For the fitting of the building for the LSG Sky Chefs
The Omni Offices Design Agency: tgadesign Creative Director: Geoff Rogers Photography: Geoff Rogers Client: The Omni Offices Date: 2009 Location: Miami,Florida, USA
Description: A modern five‑story office building near downtown Miami. Class “A” office space with views of Biscayne Bay and downtown Miami.
Chase Times Square Design Agency: Ribbit...Inc. Creative Director: Juan Carlos Casas Designer: Juan Carlos Casas, Rafael Rothschild, Tom Mora Photography: Juan Carlos Casas Client: Spectrum Signs, Chase Bank Date: 2009 Location: Times Squares, New
Both Chase Bank and Spectrum Signs asked Ribbit...Rnc.
signage was replaced with the Chase logo/name working
to create a unique signage expression for this high profile
towards the center on a relay sequence. The ATM area
location in Times Square. The challenge was to capture the
and stairs to the second level lobby were also designed,
essence of Times Square magnitude and scale with only
speaking back to the basic shapes that form the logo and
limited space over the entry. The designer explored several
using them for light fixtures and signage elements. Together
concepts but none was received with more interest then
with Spectrum Signs who fabricated and installed the work,
this idea of a cantilever for whole structure from one center
our undertaking supported the Chase Bank vision for this
point, like an airplane wing suspended in the air and test the
prime real estate location and helped set itself apart from
engineering a bit. The Chase logo was used in glass layers,
any other Chase Bank location in Manhattan.
York City, USA
edge lit in blue, while turning on a center motor structure
with the Chase letters to each side. The other faรงade
Dow Jones Headquarters
Design360 developed a comprehensive wayfinding system, digital media walls displaying stocks, weather and photography, awards displays and branded graphics for Dow Jones new headquarters in New York. Materials and fabrication processes were inspired by the juxtaposition of the printing process of days past and the technological advancements of today.
Design Agency: Design360 Creative Director: Jill Ayers Designer: Rachel Einsidler Photography: Albert Vecerka/Esto, Jeffrey Kilmer Client: News Corporation Dow Jones Date: 2009 Location: New York, USA
L’Oreal USA Berkeley Heights Headquarters Design Agency: Design360 Creative Director: Jill Ayers Designer: Rachel Einsidler Photography: Jeffrey Kilmer Client: L’Oreal USA Date: 2009 Location: Berkeley Heights, New Jersey, USA
L’Oreal USA hired Design360 to weave their green story
sustainability and signage incorporates iridescent resin to
into the new LEED certified offices. Photographic murals
reflect the spectrum of their color palette.
serve as landmarks on each of the three floors. Hallways in the building core depict facts from the company’s report on
Mt. Diablo Recycling Center Design Agency: GNU Group Creative Director: Tom Donnelly Designer: Voltaire Victorio Photography: Tom Donnelly Client: Garaventa Enterprises Date: 2009 Location: USA
Donnelly Design developed a complete site sign program to provide branding and wayfinding for this first of a kind recycling
center in the fast growing suburb of San Francisco.
Granada Garage Design Agency: GNU Group Creative Director: Tom Donnelly Designer: Darcy Belgarde Photography: Tom Donnelly Client: Watry Design, City of Santa Barbara Date: 2008 Location: Santa Barbara, USA
Donnelly Design (now part of the GNU Group) was selected as graphics consultant for this parking structure and office building, designed to carefully fit into the historic central district in Santa Barbara, California. The signs were designed to
that originated from the time of Spanish missionaries.
replicate the historic regional wrought iron designs and details
Pacific Research Center Design Agency: GNU Group Creative Director: Tom Donnelly Designer: Darcy Belgarde Photography: Tom Donnelly Client: Pacific Research Center Date: 2008 Location: USA
Donnelly Design (now part of the GNU Group) was selected to design this new site sign branding program for this former Sun Microsystems campus. This sign program was designed to visually reposition this campus as a multi-tenant site for
biotechnology and related companies.
RBC Dexia Design Agency: Gottschalk+Ash Creative Director: Udo Schliemann Designer: Ian White, Jonathan Picklyk, Phillip Novak, Nicolette Cornibert, Roberto Grillo Photography: Michael Mahovlich Client: RBC DEXIA Date: 2010 Location: Toronto, Ontario, Canada
Design of wall graphics, room dividers and elevator lobby of an open space office arrangement. For each floor, a distinct graphic iconography based on geometric shapes was developed and displayed on various walls and panels bridging the gap
identification for seven office floors to enhance the atmosphere
between art and design.
Sugamo Shinkin Bank Niiza branch Design Agency: Emmanuelle Moureaux Architecture + Design Creative Director: Emmanuelle Moureaux Photography: Hidehiko Nagaishi Client: Sugamo Shinkin Bank Date: 2009 Location: Japan
This project sought to create a whole new look that
main street, becoming a symbol for the area. These colors
refreshes the current image of this financial institution. For
welcome customers as they enter the building, continuing
their new 43rd branch, we redesigned not only the interior,
on the inside and serving as natural dividers between lobby,
but also Sugamo's brand image, including its facade, logo
meeting space, ATM and so on.
The key concept revolves around squares - besides incorporating square shapes, the building was conceived as a sort of public square where people gather. The colors of
graphics, signage and brochures.
these squares play an important role: the logo on the facade
of the building features as many as 24 colors visible from the
Duke Energy Center Design Agency: Catt Lyon Design Inc. Creative Director: Charleen Catt Lyon Designer: Bethany Willman, John Kennedy Photography: Charleen Catt Lyon Client: GBBN Date: 2006 Location: USA
• wayfinding and regulatory signage for 876,000 square feets expansion and renovation • concept development through punch-listing • design control documents, message schedule and location plans
Jackson-Triggs Niagara Estate Winery Design Agency: Bhandari & Plater Inc. Creative Director: Sunil Bhandari Designer: Sunil Bhandari Photography: Various Client: Vincor Date: 2003 Location: Canada
The Jackson-Triggs Niagara Estate Winery proejct merged contemporary wine-making technologies with an authentic architectural response to the region, and marked a significant departure from the convention of local wineries to mimic more traditional European chateau
Bhandari & Plater Inc. worked closely with KPMB Architects led by Marianne McKenna to develop a sensitive and integrated approach to the overall signage system building on
and bodega typologies.
the brand equity of their highly successful product line. Local limestone, galvanized metal and sandblasted glass where used for the program. Shelf design, retail packaging and an
exhibit on historical glass were included in the scope.
Concord Adex. Inc Design Agency: Bhandari & Plater Inc. Creative Director: Sunil Bhandari, Liora Jacobson, Anthony Bonadie Designer: Sunil Bhandari Photography: Various Client: Concord Adex. Inc Date: 2005-ongoing Location: Canada
Concord Adex Inc. is a Canadian residential developer and real estate investment firm with focus on projects in Vancouver and Toronto.The company is based in Vancouver, British Columbia and one of Canada's leading developers. Bhandari & Plater Inc. is the designer of record for the municipal signage and site wayfinding for over ten condominium projects as well as a feature park (designed in conjunction with the Canadian artist Douglas Coupland) in the heart of the city of Toronto. Each property is designed by a premier North American architectural firm. Bhandari & Plater Inc. works closely with the developer and architectural team to implement an integrated and elegant approach to the building brand equity. Sensitivity to location and materiality are essential to the final execution.
DNP Tokyo Headquarters Design Agency: Kontrapunkt Creative Director: Bo Linnemann Designer: Kontrapunkt team Photography: Kontrapunkt
DNP Tokyo has a long and proud history as a printing
it, both of which are used on signage throughout the
company. Today, their offer has been extended to all aspects
twenty‑three‑floor building. For the monument at the
of international media. That means visitors and influence
entrance, the designer elected to “offset” the three letters
from the west are as much a part of the tradition they
DNP, signifying typesetters’ traditional printing methods
creating today as Japanese culture. DNP required to reflect
since the invention of single metal type – a highly adaptable
this duality in a “democratic” signage system that would be
printing technique that enabled mass production and
easy to use and understand for everyone while imparting a
revolutionised communication. The overall visual effect is
sense of their roots and future. The headquarters also had
further harmonised with furniture Kontrapunkt designed
plans for a monument at its entrance, which became part of
throughout the building and on the grounds.
Client: Dai Nippon Printing (DNP) Date: 2007 Location: Japan
the design brief.
communication creates a sense of coherency and
little in common on the surface, solving the problem of
internationality – and for many visitors, makes a
harmonising instructions on signs and direction boards in
stunning impact. As DNP continues to grow and expand
both languages was the first challenge. The solution was to
internationally, integrating a western aesthetic becomes
design a whole new family of pictograms, the Kitajima type
more than just symbolically important – it is translated into a
family, and create a custom Roman typeface to complement
business advantage for global opportunities.
The visual connection between Japanese and English Because the Japanese and Roman alphabets have
AZIA Center Design Agency: Calori & Vanden-Eynden(C&VE) Creative Director: David Vanden-Eynden Designer: David VandenEynden, Chris Calori ,Lindsay McCosh, Marisa Schulman Photography: Shen Chunghai, Shanghai, PRC Client: AZIA Center Date: 2005 Location: Hong Kong, China
C&VE designed the brand identity and signage program
horizontal glass bands translated into a subtle background
for AZIA Center to target multinational financial services
motif for the signage and graphics. The primary signage
tenants. C&VE generated and analyzed several names for
materials are satin etched mirror glass with stainless steel
the tower, with the owner selecting the name AZIA Center
accents. The Chinese and English typography was arranged
for its unique spelling and distinctive attitude.
in clear layouts, creating a crisp and contemporary graphic vocabulary.
Drawing inspiration from the contemporary architecture, C&VE developed the logotype and extended the brand identity throughout the building.The lobby wall pattern of
New Zealand Location
ARA Winegrowers Design Agency: Designworks Creative Director: Designworks Designer: Designworks Photography: Designworks Client: ARA winegrowers Date: 2008 Location: Marlborough, New Zealand
ARA is massive: 1600 hectares of vineyards (9 kilometres
the landscape over time. Tops of the monolithic concrete
long by 2 kilometres wide), in Marlborough. To create
plinths have a raw irregular finish - a silhouette mirroring
signage that would both work visually and withstand the
ARAâ€™s mountain line. The icons are an extension of the ARA
extreme weather conditions of this environment.
wordmark, creating a seamless brand from the land to the bottle.
Exposed aggregate concrete, cast bronze and naturally oxidising aluminum poles were the core materials chosen. These produced a colour palette sympathetic to the environment; materials that will also change naturally with
Balencea Design Agency: Buro North Creative Director: Buro North Designer: Soren Luckins, Sarah Napier, Tom Allnutt, Daniel Bovalino Photography: Buro North Client: Sunland Group Date: 2009 Location: Melbourne, Australia
Description: Balencea is a boutique residential tower on Melbourne's leafy St. Kilda Road prominade. Sunland Group asked the designer to create a design that would complement the work of architects Wood Marsh. A pattern based on the form of the architecture, and a corinthian column was created which set the framework for the logotype, patterned screening and signage throughout the complex. The large logo sign at the front of the building stands around two meters high and creates an elegant, almost abstracted, entry statement to Balencea.
Dow Chemical Company, Houston Office Design Agency: Mayer/Reed Creative Director: Michael Reed Designer: Debbie Shaw Photography: Pete Eckert Client: Dow Chemical Company Date: 2009 Location: Houston, USA
Description: This office environment project for Dow
create key wayfinding landmarks throughout the building.
reinforce their presence in the marketplace and improve the
The image color palette incorporates warm colors for the
cultural dynamic for 1,500 employees at one of their largest
south open office work areas and cool colors for the north
open office work areas, identifying four color zones for each floor. Corridors adjacent to the elevator lobby on each floor
The scope of work includes corporate identity at the main
contain a linear backlit display of photographic images,
reception area supported by translucent photographic image
warm to cool in coloration, warm imagery leading to the
murals that wrap the glass conference rooms. Images were
south work areas and cool imagery leading to the north work
sourced from Dow’s “Human Element” campaign, based on
Chemical Company sought to make a holistic change to
the concept that the missing element in the Periodic Table is
The wayfinding plan includes large vertically formatted directional signs incorporating images associated with Dow's products and departments. Bold geometric images and
the human element.
saturated colors provide visual clues for circulation and
Wayne L. Morse United States Courthouse Design Agency: Mayer/Reed Creative Director: Michael Reed Designer: Debbie Shaw Photography: Frank Ooms Client:
The U.S. Constitution mural located in the main lobby
Administration’s Design Excellence Program, the project
incorporates a portion of the Preamble, and Article III of the
was awarded to the design team lead by Thom Mayne of
U.S Constitution, serving as a reminder of the importance
Morphosis. Mayer/Reed was responsible for the design of
of the American Judicial System. Various portions of the
a multifaceted signage program that included wayfinding,
original script are revealed in the backgrounds of room
identity and symbolism integrated into the building’s
signs, symbolically strengthening the idea that the physical
architectural surfaces and details. These juxtapositions
building is indeed infused with the essence of the United
explore the transparency and fluidity of the judicial system,
State’s historical foundation.
and through symbolism, the importance of its traditions.
Commissioned through the U.S. General Services
US General Services Administration Date: 2006 Location: USA
East Thames Group Design Agency: Hat Trick Creative Director: Hat Trick Designer: Hat Trick Photography: HatTrick Client: East Thames’ Group Date: 2008 Location: London, UK
Environmental graphics and wayfinding scheme for housing
graphics and installations captured the theme of the ‘sun’,
association East Thames’ Group headquarters in Stratford,
including a two‑metre clock in the public space alongside
East London. Based on the Group’s brand identity theme
photography of local sunrises submitted by residents across
of ‘sunrises’, referencing the sun rising in the east. Using
east London and clients of East Thames to convey an
the principles of light, shade and reflection, a simplified
optimistic and hopeful future.
circular ‘sun’ shape and a relevant colour palette, the designer created an innovative system using reflected and transparent sunrise colours. Creating ‘glowing’ iconography and wayfinding by bouncing colour from the reverse of signs against white walls of the building provided the base for their scheme. Transparent colour applied to glazing let natural light cast colour throughout the building. In addition, applied
The Salvation Army Headquarters Design Agency: Hat Trick Creative Director: Hat Trick Designer: Hat Trick Photography: Hat Trick Client: The Salvation Army new International Headquarters Date: 2008 Location: London, UK
The aim of the Salvation Army new international
colour emulating stained glass to reflect their evangelical
headquarters building was to be seen to be open and
nature. Light interacts with the signs to create coloured
inclusive, so transparency was a key word, but also the
beams around the building, and varies at different times of
army wanted to be seen as evangelical. They required
day and year. The uplifting bible quotations on the outside
signage and cafĂŠ graphics to announce a public cafĂŠ.
engage visitors and passers-by, and again speak volumes about their religious background. The clear faces on the
The architects created a very transparent building, where
ground floor meeting room represent their international
you can see the staff working away in glass rooms. The
reach whilst the hands behind the faces represent their
signage solution was to use transparent coloured vinyl on
glass, in order to retain the transparency of the building, the
One Bryant Park Design Agency: C&G Partners Creative Director: Keith Helmetag Designer: Keith Helmetag, Amy Siegel Photography: David Sundberg, Brandon Downing Client: The Durst Organization Date: 2009 Location: New York, USA
Working with Cook + Fox Architects and the Durst Organization, the firm designed all building graphics, signage, and branded environments for Bank of America’s new midtown headquarters, as well as linked properties within the site, including Henry Miller’s Theater on the 43rd Street. Completed in 2009, One Bryant Park has been recognized as the United States’ first LEED-Platinum certified skyscraper, and is considered as the largest LEED-certified building in the world.
Ferrer Group Design Agency: Talking Design Studio Creative Director: Fabián Vázquez, Gonzalo Sanchez Designer: Fabián Vázquez, Gonzalo Sanchez Photography: Talking Design Studio Client: Ferrer Group Date: 2008 Location: Barcelona, Spain
Ferrer is an international pharmaceutical group operating in
Talking Design Studio undertook a complete overhaul of the
Ferrer brand, including all aspects of the brand’s visual style, identity development and sub-brand creation.
the areas of prescription, diagnosis, hospital therapies and
Provision Ministry Group Design Agency: PlainJoe Studios Creative Director: PlainJoe Studios Designer: PlainJoe Studios Photography: PlainJoe Studios Client: Provision Ministry Group Date: 2004 Location: USA
The national headquarters of Provision Ministry Group, a parent organization of three ministries— Church Development Fund, Stadia: New Church Strategies, and Visioneering Studios, relocated to its new 30,000 square feet home in May 2004. The project was organized along a curvilinear “Main Street,” which visitors traverse after leaving “Town Square,” a unique ministry showcase space. Various provision ministries were housed within uniquely urban themed “districts,” such as SoHo (design and marketing) and the Financial District (Church Development Fund and Financial Planning Ministry). Visioneering Studios led a world-class interiors and graphics team to a successful opening within record time and under a tight Tenant Improvement construction budget.
Broadway Ridge Design Agency: Visual Communications, Inc. Creative Director: Richard Lang Designer: Constance Carlson Photography: Visual Communications Client: Chute Companies Date: 2006 Location: Minnesota, USA
Visual Communications provided sign design and masterplan services for the exterior and interior signage at Broadway Ridge. Signage include project identity, directional, regulatory, interior directory and suite signage. The Broadway Office Portfolio consists of two prominent 6-story Class A office buildings, that together totals 316,257 square feet of office space.
Normandale Lake Office Park Design Agency: Visual Communications, Inc. Creative Director: Cheryl Oâ€™Donnell Designer: Constance Carlson Photography: Visual Communications Client: Normandale Lake Office Park Date: 2009 Location: Minneapolis, USA
The Exterior and Interior Signage Master Plan for Normandale Lakes Office Park includes new identification monument signage, exterior wayfinding and parking facility signage, as well as interior signage. The most recent exterior signage addition features an identification monument that is the focal point of the reflecting pond and gardens. The interior signage hierarchy incorporates electronic data signage and standard ADA signage.
Parramatta Justice Precinct Design Agency: Minale Tattersfield Creative Director: Hans Gerber Designer: Hans Gerber, Yasmin Hall Photography: Minale Tattersfield Client: Attorney General Department Date: 2008 Location: Parramatta, Metropolitan Sydney, Australia
The Parramatta Justice Precinct provides community access
An external signage strategy was developed to provide
to a wide range of metropolitan based justice services.
an integrated family of signs addressing the needs for
Effective signage is extremely important in assisting the
orientation, building and precinct identification.
public to locate the various services.
London Vision Clinic
Harley Street based London Vision Clinic is the UK’
repeated to form an ‘eye’. Each icon represents a key stage
s prominent laser eye surgery. Surgeons use the latest
pin the process: Screening, Service, Treatment, Results,
technology to treat prescription strength and refractive eye
conditions that exceed the norm for laser eye surgery in the UK. The identity needed to reflect the intricate, delicate and were employed, each were created using a single icon
precise nature of their surgery. Five guilloché ‘eye’ patterns
Design Agency: Hat Trick Creative Director: Hat Trick Designer: Hat Trick Photography: Hat Trick Client: London Vision Clinic Date: 2008 Location: London, UK
Advance Medical Optics
visually reinforces AMO's core message: full life through
laser eye surgery technology and products, required a
better eye sight. The mosaic eye mural is composed of
comprehensive architectural sign program for their new
portraits of employees who have had corrective laser eye
headquarters. The program is introduced in the entry lobby
surgery. Ware Malcomb was responsible for improvements
with graphics that present AMO's brand and display the
to the architecture and interior design.
company's history and products. An engaging wall mural
Advanced Medical Optics(AMO), a leader in corrective
Design Agency: GNU Group Creative Director: Dickson A. Keyser Designer: Howard Curtis, Hannelore Fischer Photography: Dickson A. Keyser Client: AMO, Advance Medical Optics Date: 2007 Location: Milpitas, CA, USA
Sutter Health, PAMF Camino Medical Group
Making wayfinding easy was the mandate for the PAMF/
Custom icono-graphy for each department is synchronized
Camino Medical Group facility sign program. Complementary
in print and signage for the multi-lingual audience. Hawley
signage and print collateral were used to aid in wayfinding. A
Peterson Snyder Architects designed this 250,000 square
credit card sized folding guide brochure contains orientation
feet state-of-the-art facility.
information, floor maps as well as marketing information.
Design Agency: GNU Group Creative Director: Dickson A. Keyser Designer: Howard Curtis Photography: Dickson A. Keyser Client: Sutter Health Date: 2007 Location: Mountain View, CA, USA
Hoshi Kodomo Otona Clinic Design Agency: Yukari Dina Design Studio / Christopher Dina Design Creative Director: Katsumasa Sekine, Yukari Dina Designer: Christopher Dina, Yukari Dina Photography: Katsumasa Sekine Client: Hoshi Kodomo Otona Clinic Date: 2010 Location: Saitama, Japan
The goal in designing Hoshi Kodomo Otona Clinic was to environment through colorful high-end signage and illustrative graphics. To accomplish this, a new logomark, incorporating the meaning of 'Hoshi' (Star) and a sense of hope, is prominently featured on the brightly colored exterior signage
enhance the patient experience by creating a family friendly
and gift products. Interior signs compliment the furniture wood and feature a custom drawn set of 20 child-friendly symbols that creatively explain the clinic's medical facilities and room
Altru Hospital Design Agency: Lorenc+Yoo Design Creative Director: Lorenc+Yoo Design Designer: Lorenc+Yoo Design Photography: David Park Client: Altru Hospital Date: 2006 Location: Grand Forks, North Dakota, USA
Altru Hospital, located in Grand Forks, Nouth Dakota, retained
region, giving it a singular identity. LYD took a planar approach
Lorenc+Yoo Design(LYD) to develop an environmental graphic
to the signage system, intersecting different elements to create
branding system for its main campus and satellite facilities.
a textured design.
LYD developed a system of major identification elements, directional signs, building-applied signs, and regulatory signs to unite the diverse architecture of the various branches in the
Florida Hospital Health Village Design Agency: Lorenc+Yoo Design Creative Director: Lorenc+Yoo Design Designer: Lorenc+Yoo Design Photography: Jan Lorenc Client: Florida Hospital Health Village Date: 2010 Location: Orlando, Florida, USA
Along with Davis & Associates, Lorenc+Yoo Design
entryway sign rests on a white L-shaped base with a crown-
developed a comprehensive district-wide environmental
cut top, which draws the eye to the directional signals. A
graphic design system, including logo design for Florida
blue tablet guides patients to the hospital’s most visited
Hospital Health Village. The district combines health care,
locations, including the Cancer Institute, the main plaza and,
retail, and residential uses in a single campus, so its
most vitally, the emergency room.
signage needed to be clear and easily understandable. Working with the hospital’s existing design guidelines, Lorenc+Yoo’s signage landmarks convey the high quality of the healthcare provided at Florida Hospital. The signature
Mater Hospital Newcastle Design Agency: Minale Tattersfield Creative Director: Hans Gerber, Yasmin Hall Designer: Hans Gerber, Yasmin Hall
The Mater Hospital in Newcastle is a 187-bed facility and is
The images guide the user from initial points of entry,
a major centre for oncology, haematology, clinical toxicology
through the hospital corridors, and across different levels
and research. The Hospital required a wayfinding strategy
to the destination. The frame of mind of visitors is often
aimed mainly at local and older demographic often with
fuelled by anxiety, stress and hope. With the introduction
cancer-related illnesses. The hospital features long corridors
of images it is intended that visitors can be guided on a
situated within single to two level buildings.
functional as well as an emotional level, broadening the state of comprehension in what is basically a self-navigating
The objective of the brief was to provide efficient and
Photography: Minale Tattersfield Client: Mater Hospital Date: 2006 Location: Newcastle NSW , Australia
effective guidance around the hospital and its site. This was enhanced with the introduction of wayfinding, based on visuals. Minale Tattersfield established a visual language comprising elements of communication through the use of
a destination and distinctive images to provide additional cues.
arrows to indicate direction, verbal information to describe
Mercy Hospital Design Agency: TGAdesign Creative Director: David Stuart Designer: David Stuart Photography: tgadesign Client: Mercy Hospital Date: 2007 Location: Miami, Florida, USA
TGAdesign has been involved in numerous projects including
developed a donor system for the naming of buildings.
a phased Exterior and Pedestrian Wayfinding Sign System.
new Emergency Building and Bayside Pavillion. The designer
Two new Parking Garages, a complete sign sytem for the
Cooperative Program Forms a Medical District Design Agency: CS&G Creative Director: Jay Tokar Designer: Jay Tokar Photography: CS&G Client: University Health Systems of Eastern Carolina and East Carolina University Date: 2010 Location: Greenville, North Carolina, USA
CS&G designed fabricated and installed a signage program
experience while visiting the seven square mile campus with
to unify two major entities while allowing unique corporate
over fifty stand alone buildings.
The wayfinding master plan provides a positive patient
identity for both the university and the medical facility.
Union Hospital Design Agency: CS&G Creative Director: Jay Tokar Designer: Jay Tokar Photography: CS&G Client: Union Hospital Date: 2009 Location: USA
Union Hospital expansion team brought CS&G on to engage
signage design accents the new architecture and is ADA
in a campus wide wayfinding plan interior and exterior with
compliant with easy to update signs.
The collaborative program included their architects/interior
design team, contractors and UH staff. Contemporary
emphasis on their new replacement building.
St. Anthony’s Medical Center Design Agency: CS&G Creative Director: Jay Tokar Designer: Jay Tokar Photography: Debbie Franke Client: St. Anthony’s Medical Center Date: 2010 Location: USA
CS&G was brought in to orchestrate a team of in house
customer satisfaction scores by making the campus easy to
personnel and consultants to improve the wayfinding
self navigate and improve aesthetics interior and exterior.
highlighted their new corporate logo and improved their
and enhance their image in the community. The program
Centre for Addiction and Mental Health Design Agency: Gottschalk+Ash Creative Director: Udo Schliemann Designer: Ian White Photography: Gottschalk+Ash Client: Centre for Addiction and Mental Health Date: 2008 Location: Toronto, Ontario, Canada
The designer has been asked to develop a master plan for
wayfinding system, the designer has created a signage
CAMHâ€™s wayfinding system. By incorporating the actual
system that is both authentic, friendly and open.
art of the patients as a major iconographic element of the
Kings County Hospital Center Design Agency: Lebowitz|Gould|Design, Inc. Creative Director: Sue Gould, Ed Frantz Designer: Ed Frantz Photography: Lebowitz|Gould|Design, Inc. Client: SOM/Dormitory Authority of the State of NY Date: 2008 Location: Brooklyn, NY, USA
Development of a comprehensive sign program for a new
This constituted the first phase in their on-going renovation
340â€‘bed building on a 44â€‘acre campus, which includes a
and expansion program.
well as interconnection to existing buildings.
new lobby, coffee shop, admitting and outpatient clinic as
Katz Womenâ€™s Hospital at NSLIJ Hospital Center Design Agency: Lebowitz|Gould|Design, Inc. Creative Director: Sue Gould, Ed Frantz Designer: Lebowitz|Gould|Design, Inc. Photography: Lebowitz|Gould|Design, Inc (Base renderings Skidmore, Owings & Merrill) Client: North Shore Long Island Jewish Hospital Center Date: Under construction Location: Long Island, NY, USA
This signage package is a comprehensive identification
The signage was designed using a recycled resin product
and wayfinding program for the newest edition to the Katz
with embedded organic elements that echoed the 'green'
goals of the architecture.
The interior signage, including floor directories and donor walls, incorporates thematic natural elements for each floor of the Katz Womens Hospital.
Queens Hospital Center Design Agency: Lebowitz|Gould|Design, Inc. Creative Director: Sue Gould, Ed Frantz Designer: Ed Frantz Photography: Lebowitz|Gould|Design, Inc. Client: Perkins + Will Date: 2008 Location: Queens, NY, USA
Design of exterior wayfinding and identification program for
Floor directories, departmental directionals, and individual
229â€‘bed replacement hospital and community health center.
office identifications are all composed of changeable
changeable paper inserts as well.
accommodate viewing from many angles in open spaces.
snapout elements. The office identification panel accepts Lobby and interior public area signage curves to
South Nassau Communities Hospital Design Agency: Lebowitz|Gould|Design, Inc. Creative Director: Ed Frantz Designer: Lebowitz|Gould|Design, Inc. Photography: Lebowitz|Gould|Design, Inc (Base renderings Cannon Design) Client: South Nassau Communities Hospital Date: 2006 Location: Oceanside, NY, USA
Interior and exterior graphic program encompasses
Exterior signage included updating of existing hospital
wayfinding and identity graphics, print, and three
logo and translucent faรงade application. This afforded the
dimensional directional signage.
opportunity to include this updated icon throughout the program.
The donor recognition program is coordinated with the wayfinding and identification system.
Macquarie University Hospital Design Agency: Minale Tattersfield Creative Director: Hans Gerber Designer: Hans Gerber Photography: Minale Tattersfield Client: Macquarie University Hospital Date: 2010 Location: Australia
Macquarie University Hospital is Australia's first and only university private hospital. It features 180 beds, clinical
private teaching hospital on a university campus.
which is the first medical school in Australia to be linked to a
services and the Australian School of Advanced Medicine,
Orthopaedic Hospital Design Agency: Sussman/Prejza & Co., Inc. Creative Director: Holly Hampton, Principal-in-Charge & Project Manager Designer: Ana Llorente Photography: Jim Simmons Client: Orthpaedic Hospital Date: 2003 Location: Los Angeles, California, USA
Orthopaedic Hospital, established in 1922, is the largest
new Outpatient Medical Center. Conceptually referencing
privately endowed orthopaedic specialty hospital in the
intersections of a joint frozen in a moment of time, a snapshot
Western United States and continues to be a national leader
of movement, the signs are made up of shifting layers
in children's orthopaedics. As part of a newly formed master
and planes to create a relationship of exposed surfaces of
plan team, Sussman/Prejza was brought in to design a
illuminated light and pattern.
comprehensive signage and wayfinding program for the
Northpoint Health & Wellness Center Design Agency: Visual Communications, Inc. Creative Director: Richard Lang Designer: Constance Carlson, Jesse Yungner Photography: Richard Lang Client: Hennepin County Medical Center/Northpoint Clinic Date: 2009 Location: USA
Northpoint Health and Wellness Center is a highly desirable
pictograms (Hablamos Juntos is a project funded by the
place for healthcare where people of all traditions receive
Robert Wood Johnson Foundation) throughout the complex
culturally appropriate human services and clinical care.
for easy directional information. Directories located in key
The interior signage wayfinding system designed by
areas also include multilingual messages in ten languages
Visual Communications includes international destination
spoken within the community.
La Trobe University and Macleod Station Design Agency: Studio Binocular Creative Director: Ben Wundersitz, Laura Cornhill Designer: Ben Wundersitz, Laura Cornhill, Kristy Brown Photography: Studio Binocular Client: La Trobe University and City of Darebin Date: 2008 Location:
parks, busses, trams, shops, bicycle facilities and university
University and Macleod Railway Station â€“ encouraging
services. The system also provides directions with walking
students and staff to catch public transport to the campus
and cycling times.
rather than driving. The system has 14 signage panels consisting of an overall precinct map and a localised map to provide navigational assistance â€“ helping to direct users to
Signage for pedestrians and cyclists linking the La Trobe
Achemine窶認rance Railway Station Signage Typeface Design Agency: AREP, Bruno Bernard Creative Director: AREP, Bruno Bernard Designer: AREP, Bruno Bernard
Achemine is the SNCF (French railways) new train stations
designs. Then Achemine design has been eventually set
signage typeface. It is meant to replace Univers, in the
selecting the prototypes characteristics that had gotten the
context of a slight redesign of the sign system.
best statistic results.
The aim of this project was to offer better confort and
The font has been progessively introduced in the 800 train
accessibility to bad eyesight travellers. In this regard AREP
stations of the French network since early 2007.
and Bruno Bernard have proceeded to readability tests with
Photography: AREP Client: SNCF Date: 2007 Location: France
visually impaired persons, and ophthalmologists. The tests
were done on the basis of different prototypes of sans serif
Epping to Chatswood Rail Link Design Agency: Minale Tattersfield Creative Director: Hans Gerber Designer: Hans Gerber, Samir Dzambic Photography: Minale Tattersfield & Simon Woods Client: State Rail Authority Date: 2009 Location: Sydney, Australia
Description: The Epping to Chatswood Rail Link is an
The sign faces feature street and location references,
expansion of the Sydney Metropolitan network, providing
directions and a maps and are composed of modular
four world-class stations serving the second largest
panels, inserted into a frame, allowing for changing of
business and leading high-tech district in the state. City
panels without the need to replace the entire face.
of Ryde commissioned Minale Tattersfield to develop wayfinding pylons to each station, thus forming part of the civic signage strategy for the City of Ryde.
Atlantic Terminal Design Agency: Calori & Vanden-Eynden Creative Director: David Vanden-Eynden Designer: Marisa Schulman Photography: John Bartlestone Client: Long Island Rail Road Date: 2010 Location: USA
Atlantic Terminal is the largest rail transportation facility in
and a distinctive dot pattern were incorporated into the
Brooklyn serving eleven subway lines and the Long Island
platform edge lighting fixtures.
replaces the original building with a grand entrance pavilion
The designer established the design vocabulary for the
and generous circulation areas.
buildingâ€™s identification signage including building exterior, ticketing areas, and the track and subway identification.
Calori & Vanden-Eynden designed the platform signage
Rail Road (LIRR). A new head house and transit concourse
implementing the Long Island Rail Road (LIRR) graphics standards and effectively branding the platform areas with
the LIRR brand. Wayfinding and the identification signage
DOCKS en Seine Design Agency: Jakob+Mac Farlane architects Design Team: Nicolas Vrignaud, with Lorenzo Ascani architect, Fanny Naranjo Client: ICADE Date: 2009 Location: Paris, France
The signage intervention in the building DOCKS en Seine
to create a new relation with the architecture. It takes place
plays with the usual needs of signage and with the context.
at different points: circulation, shop, communication, and the
The building is a sign. It participates in the urban renewal of
the Seine, as a sequence, a cursor. This signage project
These moulds called 'plugs', are separated from their
was based on this idea of sequence and also on the idea
support to become independents. Every plug is in aluminium
of promenade, of wandering. The preconception of this
and unique. They were grouped by type according to their
signage project is to punctuate this horizontal movement
application. The plugs were used like billboards all along the
by 'beacons', and to create a declension on four levels
building, and the graphic design, in opposition to the plugs,
since the access at the bank level of the Seine towards
could evolve according to the visual identity.
the 13th district of Paris and it becomes one moment along
the rooftop. The fact of preserve and renovate the existing building keeping the concrete structure offers the support of
the signage system, which is as a moulding of this structure,
Darling Harbour Design Agency: Minale Tattersfield Creative Director: Hans Gerber Designer: Hans Gerber, Daniel Waeger Photography: Minale Tattersfield Client: Sydney Harbour Foreshore Authority Date: 2005 Location: Sydney, NSW, Australia
Darling Harbour is as a popular tourist destination that
over the previous 12 years. This resulted in additional and
attracts more than 25 million people movements annually.
improved layers of signage ranging from identification to information and direction.
changes in and around Darling Harbour that have occurred
taking into account the considerable developments and
Darling Harbour commissioned a review of the signage
Rochester Rapid Bus Design Agency: Environmental Graphic Design at Rochester Institute of Technology Creative Director: Stephanie King
This is a conceptual project for an upper level college
In addition to being a defining element of the brand, the
course, Environmental Graphic Design at Rochester
tall, orange free-standing units are a way of recognizing or
Institute of Technology, which was completed in 2008. With
locating a bus stop on busy city streets. The logo is at the
only a color palette and typeface established as guidelines,
bottom, to reduce visual complexity in the environment.
the assignment was to create a friendly, youthful, and fast
Riders need only look for the orange pillars.
brand identity and way-finding signage system for a fictitious bus line: the Rochester Rapid.
Designer: Stephanie King Date: 2008 Location: USA
Large typography and simple informal phrases, such as the brand tag line â€œneed a ride?â€? were applied to the primary element of the system: free-standing units with a route map and ticket purchasing machine, to be placed at each bus
Air New Zealand Domestic Check In Design Agency: Designworks Creative Director: Geoff Suvalko, Jef Wong Designer: Sarah Callesen Photography:
The designer's brief was to design graphics that would
Friendly tone-of-voice and silhouettes of familiar New
assist customers through a new check-in process with ease,
Zealand flora and fauna were used for a New Zealand
efficiency and with a warm Air New Zealand welcome.
welcome, creating a sophisticated yet simple graphic texture/ signature that continues on board. This design
Working to the design strategy â€˜Simplicity and Efficiencyâ€™,
ethos extended over many touch points - from signage to
the navigational process was broken into two easy steps
check in kiosk screens to carpets, and reducing complexity
(check-in and bag drop), creating a seamless journey for
at every stage.
Designworks Client: Air New Zealand Date: 2009 Location: New Zealand
the customer, through what was a completely new check-in
Airport Terminal Type
Auckland International Airport Design Agency: Designworks Creative Director: Sven Baker Designer: Sam Trustrum Photography: Designworks Client: Auckland International Airport Date: 2008 Location: Auckland, New Zealand
The new way-finding program for Auckland International
The result is a one-colour modular system. A black monolith
and Domestic Airports must be able to navigate all travellers
shape is the basis for the five different sign forms, chosen
(including foreign language speakers and the disabled),
as the most recognisable and consistent shape for the
under stressful situations, to and from their plane in the
easiest way possible. The designers reduced the approx 75 different shaped
The design-led program emcompassed passenger
signs to just five, with two main font sizes. Overall, the
movement & legibility research, way-showing strategies, a
design is about graphic function and absolute clarity, while
strict typographic grid system and a design-led philosophy
incorporating a grid system that has to work for over 500
of function before form.
type & icon combinations.
Airport Terminal Type
Terminal 3 from Lyon St-Exupéry Airport Design Agency: grapheine Creative Director: Rabiot Mathias Designer: Rabiot Mathias Photography: grapheine Client: Aéroport de Lyon Date: 2010 Location: Lyon, France
Designing a communication territory for Terminal 3 from
giant anamorphic. Moving forward, the anamorphosis is
Lyon St-Exupéry Airport. One of the challenges of this
deconstructing a sensation of speed comes up, the notion of
consultation was the decoration of the connecting gallery.
time and space will find it poetically impaired, reducing the
The goal is to create a pleasant, reassuring and entertaining
same time the sensation of traveling time.
to lessen the perceived duration of the course (250 metres). The different stages of the course are identified through
Airport Terminal Type
Budapest Airport Design Agency: kissmiklos Creative Director: kissmiklos Designer: kissmiklos Photography: kissmiklos Client: Budapest Airport Zrt. Date: 2010 Location: Budapest, Hungary
Description: Budapest Airport planned to its new terminal,
finished, as more and more parts of the Budapest Airport get
the SkyCourt in 2011. The SkyCourt combines the two
redesigned to fit into the concept.
old terminals, 2A and 2B into one whole by not only an architectural redesign but also by standardizing the way-
The aim is to create a system that encapsulates all visual
finding system and signage concept. This signage concept
communication at the SkyCourt while pleasing and helping
lends the airport a visual identity by implying the style into all
the customers feel safe when flying to or from Budapest.
visual aspects of the airport. This identity will be seen inside and outside of the airport by communicating all information through this visual concept. The project is not yet fully
Airport Terminal Type
Sydney Airport International Terminal Design Agency: Minale Tattersfield Creative Director: Hans Gerber Designer: Hans Gerber, Samir Dzambic Photography:
This is the basic model for developing a wayfinding strategy in any given environment. It illustrates the related components of identification, information and direction. These components are developed from the basic project data of journey/corporation, space/ operation and time/wayfinding.
Minale Tattersfield Client: Sydney Airport Corporation Date: 2009 Location: Sydney, Australia
Handling around 30 million passengers a year, the $500
Sydney Terminal 1 received a four-star rating by Skytrax
million departure terminal upgrade required a signage
for directional signage putting it in the same league as
implementation strategy addressing complex requirements.
Frankfurt, Zurich and Hong Kong.
Minale Tattersfield were charged with implementing an
Diagrams were prepared to illustrate the complexity of
updated version of the current signage strategy â€“undertaken
wayfinding in a major transport hub.
The identification, development and presentation of these components form the base for the structuring of visual communication, the creation of efficient terminology and the display of consistent language. This strategy is guided by design, observation and the theory of semiotics.
by the same firm- dating back to 1999. The design process centred around the fusion of the three different briefs for airport operation, retail and airlines. These parties voiced different concerns, which were translated into wayfinding signage aimed at visitors, passengers, airlines and airport staff.
Graphic representation of the flight based/operational journey from check-in to gate.
This model illustrates the relationship between user groups, the built environment, wayfinding criteria and wayfinding design & function. Each of the four parts is the sum of their own components. All 31 components form the framework of criteria to be evaluated in the planning process.
This model illustrates the relationship between user groups, classification of brands, operation and design & function. Each of the four parts is the sum of their own components. All 31 components form the framework of criteria to be evaluated in the planning process.
Graphic representation of the flight based/operational journey and experience based\/retail- duty free journey.
Airport Terminal Type
Virgin Atlantic, Terminal 3 Heathrow Design Agency: Holmes Wood Creative Director: Lucy Holmes Designer: Alex Wood Photography: Phil Sayer, Virgin Atlantic Client: Virgin Atlantic Date: 2008 Location: London, UK
The approach in this case was to test every aspect of the
To ensure that passengers see the kiosks immediately on
experience so that it could become calm, practical, warm
entering the terminal area, the designers signed columns
and human in scale and emotion. The designers also
as beacons, mounting fret-cut, stove-enamelled aluminum
ensured that the experience matched and supported the
letters to them to identify the classes. They designed and
qualities and values of the Virgin Atlantic brand.
scripted the kiosksâ€™ on-screen graphics, introducing a stepby-step process that smoothes the flow from check-in to
At the terminal, Virgin was eager to let passengers know
boarding and reinforces the warm/human attributes of the
they had arrived and provide them a uniquely Virgin
experience. So Holmes Wood proposed branding the outside of the terminal with a giant sculpture or super-scaled projected images. Ultimately BAA approved a 7-metre-high by 11.5-metre-long entry sign featuring Virginâ€™s familiar red tailfin and internally illuminated letters mounted inside the terminalâ€™s glass facade.
Mumbai International & Domestic Airport Design Agency: Leaf Design Pvt. Ltd. Creative Director: Sandeep Ozarde, Sumit Patel Designer: Deepali Champaneri, Saalim Sulemani, Tanvi Dalal, Surendra Yadav Photography: Sumit Patel Client: GVK â€“ MIAL, Mumbai Date: 2007 Location: Mumbai, India
ensure good readability, legibility and visibility of the signage
terminal spanning over an area of (1A) area 200,000 square feet and (2B & 2C) area 900,000 square feet was one of
Directional Signage Boards were standardized in different
the most exciting projects, allowing an appreciation of visual
categories and communication informative posters
identity in Indian public environments.
represented pictorially, using open English & Devnagari typefaces helping legibility. Along the lines of international
When designing the signage, information classification
guidelines, few pictograms were edited to suit the Indian
was planned as per travelerâ€™s behavior, visual environment
needs and requirements. With an emphasis to be energy
and architecture. Colors were selected, a combination of
efficient due to abundance of natural light, non backlit
modern, innovative grey for utilities and vibrant blue for
signage structure and unit system was developed enabling
passenger flow keeping in mind the space and background,
low maintenance and quick installation for complete clarity.
The Chatrapati Shivaji International and Domestic Airport
the amount of daylight let in the building, the lighting to
Airport Terminal Type
Los Angeles International Airport Design Agency: Selbert Perkins Design Creative Director: Robin Perkins Designer: Andy Davey Photography: Anton Grassl Client: Los Angeles World Airports Date: 2010 Location: Los Angeles, CA, USA
Selbert Perkins Design created a comprehensive communications system, including identity, signage, wayfinding, public art, and the landmark LAX Gateway, the largest lighting display in the world. The celebrated gateway conveys the timeless energy and diversity of Los Angeles and creates a dramatic experience for all visitors to the USA.
Connect 12 Pedestrian Bridge Design Agency: Calori & Vanden-Eynden Creative Director: David Vanden-Eynden Designer: David Vanden-Eynden, Gina DeBenedittis Photography: Graham Uden Client: Hongkong Land Limited Date: 2002 Location: Hong Kong, China
Description: C&VE designed this program for the prestigious 12-building portfolio of Hongkong Land Limited (HKL) covering more than 20 blocks of Central
The primary goals were to provide an upscale image and
easy wayfinding for the complex network of pedestrian bridges connecting HKL’s properties to nearby transit nodes and adjoining buildings. The program branded the bridges and the buildings they connected as prime assets
Operationally, the project was driven by the visual language of the bilingual signage program, forming a wayfinding “ribbon“ that knits together the complex
of Hongkong Land’s portfolio.
pathways through the bridges and buildings. The sign program includes directional, identification, map/ informational, and decorative signage.
A Map-free City / A Stroll Through Venice Design Agency: Nina Frisk Creative Director: Nina Frisk Designer: Nina Frisk Photography: Nina Frisk Client: Venice
By providing wayfinding on different levels all kind of users
services at the location (WC, restaurant, transportation). The
can use the system. This system is based on four levels of
stones will work as a lifeline when being lost or if wanting
information; detailed maps over sections of the city, place-
to take a recommended tour. Packaged in a clear graphic
of-interest (POI) with extra information about the location,
design for legibility and classic materials like stone and
easy-spotted directional signs in corners and bronze stones
bronze to survive time and Venetian weather.
in the pavement. The maps will provide information when entering an area, enabling the users to plan a route by
Date: 2010 Location: Venice, Italy
themselves and giving an appreciation of the POIs in the specific area. The POIs will provide basic info and trivia
about buildings, squares, bridges, statues and possible
St Kilda Design Agency: Studio Binocular Creative Director: Ben Wundersitz, Laura Cornhill Designer: Ben Wundersitz, Laura
Studio Binocular developed the St Kilda Wayfinding Signage
information, the wayfinding system is seen as a key tool in
as part of Port Phillip’s sustainable transport strategy – to
encouraging behavioural change and enabling pedestrians
get more people walking more often, and to help reduce
to make informed decisions about the trips they can make
traffic congestion in these high profile areas. The system
consists of 26 individually designed panels in prominent locations across St Kilda, linking public transport, shopping precincts and the beach. Containing a unique ‘heads up’
Cornhill Photography: Studio Binocular Client: City of Port Phillipe Date: 2009 Location: Australia
mapping system as well as directional and walking time
Glasgow City Design Agency: Applied Information Group Creative Director: Tim Fendley Designer: Gail Mellows, Ben Gibbs, Sam Gullam, Paddy Long, Paul Garratt Photography: Alan McAteer Client: Glasgow City Council Date: 2008 Location: Glasgow, UK
Description: 149 signs and 76 information posters were
was custom-designed specially for Glasgow by AIG Lacock
installed across Glasgow between 2008 and 2010.
Gullam. The scheme was funded and maintained by Adshel/ ClearChannel, the global outdoor media company .
AIG produced a 15 aquare kilometres pedestrian master
landmarks and visitor destinations. The sign product range
map of the City Centre and West End, highlighting 250 local
Direction Philadelphia Design Agency: Sussman/Prejza & Co., Inc. Creative Director: Paul Prejza, Holly Hampton Designer: Paul Prejza, Holly Hampton Photography: Sussman/Prejza & Co., Inc. Client: Foundation for Architecture, City of Philadelphia Date: 2006 Location: Philadelphia, Pennsylvania, USA
Sussman/Prejza designed a vehicular directional signing program for the City of Philadelphia, intended for visitors coming to the city by car. The system guides them to the major cultural institutions, universities, parks, and historic places. Brick red, cornflower blue, and white were chosen to reflect Philadelphiaâ€™s colonial role as the cradle of the revolution and home of the American flag. Red signs direct visitors toward districts and within districts; blue signs lead toward specific destinations. A comprehensive standards manual was produced to guide the programâ€™s continuing expansion over a ten-year period.
Stadtinformation D端sseldorf Design Agency: nowakteufelknyrim Creative Director: Stefan Nowak Designer: Carla Meurer, Ilka Kremke Photography:
The orientation system is aimed at a clear and concise
different periods leads. To be a specific project, it must not
recognition. By its height, it has the required action at a
in his design dominate, however, must of existing street
distance, its slender shape prevents those lines of sight or
furniture and billboards differ significantly. On signposts is
facades can be adjusted. The extreme reduction of visible
important information and goals in the area highlighted. It
surface to conventional signs for easy cleaning, graffiti have
was a differentiation between local and remote areas made.
less attack surface. A specially developed imagery evokes
Depending on the location immediate targets as large icons
associations: The icons help Passers-by - regardless of their
displayed on the stele. Ultimate goals are each positioned in
languages or origins - the targeted objectives are easier to
the integrated map.
It's a system to different buildings, streets and sites of
Marcus Pietrek Client: Stadt D端sseldorf Date: 2005 Location: Germany
City of Folsom Design Agency: Square Peg Design Creative Director: Scott Cuyler Designer: Scott Cuyler, Eric Wendt, Susan Bowers Photography: Square Peg Design Client: City of Folsom Date: 2009 Location: Folsom, California, USA
The City of Folsom retained Square Peg Design(SPD) to assist the City achieve their goal of increasing the number of visitors to Folsom’s historic downtown area. SPD’s wayfinding and signing program solution took advantage of the unique character of the City’s historic setting and facilitated the ease of navigating on foot and by car.
Flushing Freedom Mile Design Agency: C&G partners Creative Director: Keith Helmetag Designer: Keith Helmetag, Amy Siegel, Justine Gaxotte Photography: Chuck Choi Client: New York City Economic Development Corporation Date: 2007 Location: Queens, New York, USA
As part of an initiative to improve the commercial and
Other components of the environmental graphics program
residential sections of the Flushing community, the firm
include a logotype and a sculpture that welcomes visitors in
was commissioned to design the Freedom trail. The trail
English, Japanese, Korean and other languages.
properties like the Friends Meeting House and St. George Church. The sites explore themes such as the quest for
incorporates sixteen interpretive sites, including landmark
religious asylum and the local history of the underground
Buenos Aires Design Agency: Shakespear & Gonzalez Ruiz Creative Director: Ronald Shakespear, Guillermo Gonzalez Ruiz Designer: Ronald Shakespear, Guillermo Gonzalez Ruiz Photography: Ronald Shakespear Client: Buenos Aires City Hall Date: 2007 Location: Buenos Aires, Argentina
Street name signs in Buenos Aires, placed in a systematic
were formed by means of two 1.5 inch circular pipes that
and predictable fashion, are genuine icons with great value.
start together at the base of the sign and separate at 240
Their morphology, typographic font (Helvetica),the spaces
centimetres from the ground in order to border and hold an
between letters and words, and their structure are probably
aluminum 100-centimetres plate.
its highlights elements. Placed transversally to the flow of traffic, bus stop signs This sign, as a tool that informs and guides pedestrians and
were formed by two sets of plates (one for each bus line)
drivers, has performed very effectively, is very valuable as a
separated by the column, thus forming a dihedral shape.
sign, and provides an important service. In addition to their
The plates placed parallel to the street display the bus
communicational significance, independent and self-bearing
number and the arrows that designate the place where
street name signs to help create the city landscape and
people should queue. The plates placed perpendicular to
identity. They are part of the cityâ€™s assets.
the street show the number and route of each bus.
Signs for squares and parks and taxi signs were designed to be placed in areas with multidirectional circulation. They
TriMet/Portland Transit Passageway Design Agency: Mayer/Reed Creative Director: Michael Reed Designer: Rob Wente Photography: Bruce Forster Client:
The 38-block downtown Portland Mall was revitalized to
The 14-foot tall stainless steel-clad transit information
include a vehicular lane, shared lanes for train and bus, and
pylons act as an armature for all transit information, except
new transit stop furnishings. This is the first project in the
for LCD real-time, dynamic information monitors, which
United States to weave alternating bus and light rail train
were located under the shelters. Other signage components
platforms along the same curb line.
include tactile transit stop identity integrated into the ends of the custom display cabinet extrusions, or attached to the
The information hierarchy on the pylon groups Bus or MAX
pylon, depending on platform configurations. The pylons
light rail icons and TriMet logo, above the shelter height to
were fully prototyped prior to production and include custom
be visible from one block away. All other transit information,
CCTV camera brackets, modular cladding to allow ease of
such as station names, maps and schedules is contained in
replacement for lower areas, platform area light fixtures and
internally illuminated display cabinets cantilevered from the
adaptability to future LED light fixture change out.
Tri-Metropolitan Transit District of Oregon Date: 2009 Location: Oregon, USA
Eana, Abbaye Du Valasse Design Agency: Nicolas VRiGNAUD & Jean-Marc LOUAZON Creative Director: Nicolas VRiGNAUD & Jean-Marc LOUAZON Designer: Nicolas VRiGNAUD & Jean-Marc LOUAZON Photography: Nicolas VRiGNAUDr Client: Cistercian
The signage source is a simple vertical element in wood
thematic park about water and sustainable development
and aluminium. The typology offers graphic compositions
around a Cistercian Abbey. The scenographic installations
inspired by the abstract art allowing an efficient display of
illustrate water in all its forms and applications: fog, dew and
the information hierarchy with a simple color code.
Scenography and signage project for the landscape of a
Abbey Date: 2008 Location: GRUCHET-LE-VALASSE, France
Republica de los Niños (Children's Republic) Creative Director: Daniela Mirás, Belén De Chazal, Santiago Crescimone Designer: Daniela Mirás, Belén De Chazal, Santiago Crescimone Photography: Daniela Mirás, Santiago Crescimone Client: República de los Niños Date: 2009
Republica de los Niños (Children's Republic) is a theme
complex system based in the social functions we mentioned
park located in La Plata, Buenos Aires, Argentina. It’s
before. The morphological concept is based in modular
properly a republic that is specifically prepared in order to
structures and basic shapes which are familiar to them. The
respect children’s height, therefore the buildings, as well
system involves various sub-systems, which are planned
as the doors, furniture and windows were built according to
depending on the specific zone inside the park.
their scale. The park’s main didactic objective consists in teaching children about the social and institutional duties,
Some pieces consist in volumetric letters and symbols
the civil rights and state organization.
which generate a vivid interaction with children, who are
Location: La Plata, Buenos Aires, Argentina
able to learn the citizen's life through their comprehension of Starting from an exhaustive investigation about the
children's space perception, we developed a large and
Public Park Type
Grafenegg Palace Gardens Design Agency: Teamgeissert Creative Director: Thomas Geissert Designer: Anne Wichmann Photography: Teamgeissert Client: Grafenegg Kulturbetriebs GmbH Date: 2008 Location: Grafenegg, Austria
The task was to design a wayfinding and orientation system
markings and signs of various sizes and forms for the
for Grafenegg Palace Gardens as well as for the open-air
buildings, as well as brochure- and flyer dispensers. The
theatre and the new concert hall. The main challenge was to
high polished stainless steel surfaces of the products mirror
harmonically integrate old and new and that the orientation
parts of the landscape, trees, the sky and the architecture
system should not compete with the architecture.
and thereby the elements disappear virtually. Defined anthracite areas were used to display information through
Teamgeissert conceived an intangible orientation system
text and graphics which were engraved and cut out. The
which takes a back seat to promote the information to be
typography and arrows were illuminated. At night information
given to the visitors. An entire ensemble of products has
is floating in the park.
been designed. Minimalist sculptures for the gardens,
Public Park Type
Oasis of the Seas Design Agency: tgadesign Creative Director: Tom Graboski Designer: Tom Graboski, Peter Zorn, Cindy Ault Photography: tgadesign Client: Royal Caribbean International Date: 2009 Location: Miami, Florida, USA
Due to the incredible size of the vessel it was decided in
The entire program totaled over 40,000 individual signs and
the conceptual stage to divide the ship into four color coded
was designed coordinating with 10 different international
quadrants for ease in locating individual staterooms. All
architectural firms. All materials were strictly dictated by
wayfinding elements in each quadrant were coded with the
international maritime codes as to flammability and smoke
relevant color. Artwork in the lift and stair lobbies was also
contribution. The IMO, USPH and the US Coast Guard
coordinated to reflect this system.
strictly scrutinized fire and life safety codes for evacuation maps. For ease of maintenance and longevity of service,
The static wayfinding elements range from illuminated glass
99% of all illuminated signs were designed to incorporate
directories adjacent to the banks of lifts, through stateroom
LED systems, and all exterior signs were constructed of
corridor directional signs to individual stateroom number
either painted aluminum or polished stainless steel.
signs. There are also a series of sculptural stainless steel and glass pedestal directories located in key traffic areas to give an overview of the ship with the specific deck details.
Public Park Type
Pinecrest Gardens Design Agency: tgadesign Creative Director: Tom Graboski Designer: Tom Graboski, Geoff Rogers Photography: tgadesign Client: City of Pinecrest, FL Date: 2006 Location: Pinecrest, Florida, USA
The City of Pinecrest, Florida, bought an existing 50-acre
Recycled aluminum was used and painted with bright,
site from a 1930â€™s parrot themed park to convert into the first
tropical colors. Wayfinding signage utilized a flag mounted
City Park in a newly incorporated City of Pinecrest, Florida.
sign on a post with the ability to add and subtract panels as
The challenge was not to intrude upon the unique, natural
exhibits are built in the future.
hammock environment, of lush tropical flora and fauna, yet to clearly make a series of complex trails through the forest.
Village Visokiy Bereg Design Agency: Plenum Creative Director: Egor Myznik Designer: Egor Myznik, Maxim Deyev Photography: Plenum
Vysokiy Bereg (The High Coast) — is a new housing
style reproduces ecological symbols such as birds, waves,
development, situated on Istra’s Storage Pond, in vicinities
leaves and natural colors. The designer wanted to reflect
of Moscow. The task was to develop a positioning concept,
these ideas also in navigation of the village. It is light,
name and system of visual identity which emphasized the
modern, very simple and fall in with architectural style.
unique location and architectural style. Vysokiy Bereg is the place where one can have a rest from an urban fuzz and enjoy a nature. The main idea of the brand — a harmonic
Client: MOZAIK Development Date: 2007 Location: Russia, Moscow
and ecological lifestyle far away from the city. The graphic
Kingdom of Saudi Arabia Location
Public Park Type
Wadi Hanifah Design Agency: Bhandari & Plater Inc. Creative Director: Sunil Bhandari, Laurie Plater Designer: Sunil Bhandari, Julia Commisso Photography: Various Client: Arriyadh Development Authority Date: 2008 Location: Kingdom of Saudi Arabia
The Wadi Hanifah is the longest and most important valley,
this one-billion-US-dollar project. Visual identity system,
or wadi, in the middle of the Najd Plateau that runs for a
branding guidelines, signage and wayfinding system and
length of 120 kilometres through the city of Riyadh, the
interpretive displays were designed, prototyped and tested
capital of Saudi Arabia. Canadian architects & planners,
before implementation. Signage was bilingual in Arabic and
Moriyama & Teshima â€“ the winner of the Aga Khan Award
English and special consideration was to engineering and
for Architecture â€“ worked for over 10 years on the brilliant
materials to withstanding high temperatures and periodic
transformation of a once-polluted Saudi waterway into a
system of parks in the heart of the desert, using a system of bio-remediation. Moriyama & Teshima in conjunction with the Arryidah Development Authoriy commissioned Bhandari & Plater Inc. to develop the branding and wayfinding systems for
Public Park Type
Dzintari Forest Park Design Agency: Substance Creative Director: Arnis Dimins Designer: Guna Priede Photography: Ansis Starks Client: Jurmala City Council Date: 2010 Location: Jurmala, Latvia
Dzintari Forest Park is unique due to its location. Its
reduce the overall bulkiness of objects. Composite panels
13-hectare-territory of nature base is located in the very
with polished aluminium surface were used for facade
centre of Jurmala city. The infrastructure objects are
finishing. Vertical division of glass facades reflect the natural
located evenly throughout the park and were connected
appearance of surrounding environment and dispel the parkâ€™
with wooden board foot-path raised above the ground. The
s newly created building objects. Composite panels were
existing walking paths were reconstructed with cobble-
used in the design of park signs too. Mirrored plastic planes
stones. The most important active recreation element is
show the direction to surrounding attractions.
the inline skating track in the middle of the park. Pedestrian bridge separates skater and pedestrian paths. The park also accommodates skate-board and street-ball grounds, children playground, cafes, sports inventory rental, lavatories and other buildings. Modules system was selected as the most suitable principle for form-creation of the parkâ€™ s building objects. Modules ramify like tree branches or roots, go around protected nature base elements and develop into foot-path structure that was created based on similar principles. Facades of building objects comprise separate planes inclined in different angles that significantly
Public Park Type
Dawes Point Design Agency: Minale Tattersfield Creative Director: Hans Gerber Designer: Hans Gerber Photography: Minale Tattersfield Client: Sydney Harbour Foreshore Authority Date: 2002 Location: Sydney, NSW, Australia
Interpretation of the site which featured the colony’s first
the remnants of buildings which in different times were an
battery and Sydney’s first observatory.
observatory and a fort on one of Sydney’s oldest sites. The interpretation displays tell the chronology of the site and
It took seven years and $2.8 million worth of archaeological
various points of interests.
investigation and interpretation to uncover and display
Public Park Type
Coney Island Design Agency: Lebowitz|Gould|Design, Inc. Creative Director: Sue Gould Designer: Lebowitz|Gould|Design, Inc. Photography: Lebowitz|Gould|Design, Inc. Client: Dattner Architects, NYC Department of Parks and Recreation Date: 2008 Location: Brooklyn, NY, USA
Series of nine wayfinding kiosks along Coney Island Boardwalk. These kiosks incorporate parks, facilities, and landmarks such as the Parachute Drop, Cyclone and Keyspan Park which were represented as icons on the maps. Each kiosk has historical photos and background anecdotes related to each kiosk area.
Public Park Type
Houston Zooâ€™s Cypress Circle Design Agency: Formation Creative Director: David Hoffer, Philip LeBlanc Designer: David Hoffer, Philip LeBlanc Photography: Chan Do Client: Sodexho USA Date: 2007 Location: Houston, USA
Formation orchestrated a complete rebranding and
structure, painted inside and out, and installed new graphics
renovation of the Houston Zooâ€™s mid-century landmark,
while keeping the mid-century 'bones' of the original design.
the Central Concessions building at Duck Lake. The then-
The building is now known as the Cypress Circle because of
space age design was collaboration between New Orleans-
the two large cypress trees located in the public sitting area
born architect Irving R. Klein and Kansas City landscape
that were surrounded by the distinctive circular roof.
architects Hare and Hare. Crews power washed the
Fukoku Forest Square Design Agency: GK Graphics Inc. Creative Director: GK Graphics Inc. Designer: GK Graphics Inc. Photography: GK Graphics Inc. Client: Fukokuseimei Building Co., Ltd. Date: 2001 Location: Japan
The Fukokuseimei Building Co. is in the Hibiya City of Chiyoda ward, central part of Tokyo. Renewal works were signage as the facility were having twentieth anniversary in year 2000. The signage was planned to express quality (secure and sophisticated feeling) for the headquarters of Fukokuseimei Building located in the prestigious lot in the city. It also developed feeling of the charm in “connection
done on the interior of under ground shops, equipment,
with Hibiya Park” as the building is adjacent to the park with rich green. At the same time, the name of the shopping area was changed to “Fukoku Forest Square” and developed a Symbol Mark so as they linked to the
Public Park Type
Monastery Street Park/Slopes Pylon Design Agency: Loysen + Kreuthmeier Architects Creative Director: Peter Kreuthmeier Designer: Karen Loysen, Sallyann Kluz, Dave Green, Jennifer McCarthy-Lovell Photography: Ed Massery, Peter Kreuthmeier, Mark Paczan Client: South Side Local Development Company Date: 2008 Location: Pittsburgh, PA, USA
With public and community input, Loysen + Kreuthmeier
energy to run its lighting system off-grid. Project three
Architects developed a system of markers for Pittsburgh’
has begun a development phase, and will add lighting
s South Side Slopes neighborhood. The collective goals
and signage standards to highlight and celebrate the
for these Gateways are to announce the neighborhood in
positive terms to visitors and residents alike, to take blighted areas and transform them into community assets, and in
All projects took signature elements from the neighborhood
concert with other initiatives, to act as catalysts for further
and interpret them in weathering steel, recalling the Slopes’
neighborhood investment and economic development.
historic industrial lifeblood. Materials and details are purposed for maintenance-free longevity, and in the case
The first of these, Monastery Street Park, depicts a figure-
of electrical systems, very low or net-zero consumption to
ground vignette of the neighborhood, backlit at night. The
minimize or eliminate operating costs.
second project, the Slopes Pylon, is an expression of the district’s vertical and wooded character, and uses solar
San Francisco Zoo Design Agency: Pentagram, SF Creative Director: Kit Hinrichs Designer: Erik Schmitt, Julio MartĂnez Photography:
As part of a major modernization undertaken by the San
signage and printed collateral to branded merchandise and
Francisco Zoo, the largest and oldest zoo in northern
packaging. The series of silhouetted animal figures were
California, we were brought on to revitalize its visual identity.
integrated into the wayfinding system.
The makeover involved everything from environmental
David Wakely Client: The San Francisco Zoological Society Date: 2003 Location: San Francisco, California, USA
Sydney Park Playground Design Agency: Frost Design Creative Director: Vince Frost Designer: Bridget Atkinson, Sarah Estens Design Manager:
The challenge was to express all letters in a way that
landscape work to create a series of recreation zones.
would encourage kids to explore the alphabet and learn
City of Sydney Council approached Frost to collaborate
sign language. Frost created 28 separate signs, which
on the All Accessibilities Playground, an area designed for
could be integrated into different areas of the playground,
children and carers of all abilities. Central to the project
encouraging the process of discovery. Frost also created
was the goal of breaking down communication barriers
3D objects and large-scale graphics to illustrate selected
between differently abled users. Local children nominated
words, placed near the sign panels to bring the words to life
their favourite words for each letter of the alphabet, and our
in a playful way. Concrete cushions illustrate ‘A’ for asleep
brief was to create a way of representing these words in the
and coloured resin poured in jelly molds makes ‘J’ for jelly.
playground. Each of the letters and words is expressed in
The sign was fixed at heights suitable for children and
Braille and Auslan (sign language) symbols.
Sydney Park in St Peters has undergone extensive
Annabel Stevens Photography: Andy Stevens Client: City of Sydney Date: 2008 Location: Sydney, Australia
Yukon Bay Project in Zoo Hanover Design Agency: Dan Pearlman Erlebnisarchitektur GmbH Creative Director: Kieran Stanley Designer: Kieran Stanley
the river. In the sunken ship in the harbour there is the
Zoo houses on 25,000 square metres which animals
â€œnorthernmost penguin zoo in the worldâ€?. Inside the ship,
live in the arctic tundra and along the coast. The visitor
visitors can observe penguins, seals and polar bears under
experiences a trip through the rough wilderness of Alaska,
water. Catering and a shop were integrated into the harbor
wandering through forests, rocky landscapes, gorges and
buildings and the theme park.
caves, until finally reaching Yukon Bay Harbour. Wolves, caribou, polar bears, seals and prairie dogs all live along
The theme section Yukon Bay planned for the Hanover
Photography: Frank Roesner Client: Adventure Zoo Hanover Date: 2010 Location: Hanover, Germany
Mill Pond Park Design Agency: Calori & Vanden-Eynden(C&VE) Creative Director: David Vanden-Eynden Designer: David VandenEynden, Kisuh Chung Photography: Elliott Kaufman Client: New York Department of Parks & Recreation Date: 2010
The once-vacant area of Mill Pond Park has been
used at the nearby Heritage Field Park on the site of the
transformed into a delightful 10-acre waterfront parkâ€”
original Yankee Stadium.
the first significant park on the Harlem River in decades. Designed by C&VE, the signage for the park includes
Simplicity and ease of maintenance were two of the guiding
interpretive panels thattell the history of the former Bronx
principals behind the minimalist form of the sign structures.
Terminal Market, and orientation maps thatorient park users to the parkâ€™s amenities and to additional nearby parks,
Location: New York, USA
subway stops and Yankee Stadium. The sign forms will be
Temaiken Bio Park Design Agency: Diseño Shakespear SRL Creative Director: Juan Shakespear Designer: Juan Shakespear, Lorenzo Shakespear, Ronald Shakespear Photography: Juan Hitters Client: Temaiken Bio Park Date: 2009 Location: Buenos Aires,
The principal aim of the Temaikèn Foundation is to honour
the forms of communication. A symbol -or isotype- was
the privileged place in this world and to generate a new
designed which evokes the logo by taking its first letter and
conscience of the importance of the conservation and
enclosing it in a circular container in allusion to the earth's
care of nature. Diseño Shakespear developed a project of
sphere. This group of three basic elements, logo and colour,
total Visual Identity to align Temaikèn with its essence and
transmit high impact recognition and shape the brand value
objectives, while constructing an efficient instrument for the
of Temaikèn. Diseño Shakespear combined them to reflect
a friendly, warm and nonaggressive image appealing to a
more intimate dialogue between the Park and its audience. The embryo of the Temaikèn project is the logotype, conceived in a flexible and organic typography, and expressing the phonetic name in colours within the range
nature. These colours are systematically presented in all
of sepias and sienas whereby linking it with earth and
The Place of Birds Thematic Park Design Agency: Dise単o Shakespear SRL Creative Director: Juan Shakespear Designer: Juan Shakespear, Martina Mut, Gonzalo Strasser, Joaquin Viramonte, El Lugar de las Aves SA Photography: Alejandro Calderone Client: The Place of
The signs must be easy to find and their locations
Aires down town and it's next to Temaiken BioPark. All
predictable. In order to achieve that ,they must stand out but
the pictograms refer mostly to native birds and some
not detract importance from the surrounding space. They
international species. In all way-finding systems there are
must appear as if by magic when the decision of a route or
two fundamental conditions to be carried out no matter what
destination has to be taken; do their job and then blend in
the nature of the signalized space may be.
and become part of the surroundings again.
This amusement park is located 40 kilometres from Buenos
Birds Thematic Park Date: 2009 Location: Buenos Aires, Argentina
Western Sydney Parklands Design Agency: Dot Dash. Creative Director: Mark Tatarinoff Designer: Mark Tatarinoff, Mia Wesseling Photography:
The 5,280 hectares of Western Sydney Parklands form one
landscape like bright wildflowers to aid recognition. Adopting
of the biggest urban parklands in the world, containing world
the exuberant palette of the Parklands brand, the designer
class sporting facilities, picnic areas, cycle/walking tracks
used it to organise sign messages by colour â€“ pink for
and native bushland.
identification, orange for directions, purple for information
from the idea of the signs being dotted through the vast
and charcoal for brand panels. For this project, the wayfinding strategy took inspiration
Mark Tatarinoff Client: Western Sydney Parklands Trust Date: 2010 Location: Western Sydney, Australia
Public Park Type
Atat端rk Arboretumu Design Agency: Elif Erg端r Client: Mimar Sinan Fine Arts University Date: 2010 Location: Istanbul, Turkey
Atat端rk Arboretumu is a live tree museum located in the
location in the museum, information regarding its family and
Belgrad Forest in Istanbul. The area was divided into four
descriptions necessary to recognize it.
parts and eighteen lots. The color coding of the parts were used in all the wayfinding and interpretive design elements
Nature is alive and it changes constantly. Although the trees
to help navigation.
are the same, they change in different seasons and as time passes. So a new brochure is published every season with
Every tree has a signage containing its Turkish name, Latin
information on the highlights of the season, telling visitors
Name, family name and the number of the corresponding
the Arboretum is a place that can be best understood when
page in the guide book. The guide book was created to be
visited at least four different times in a year.
read easily when touring the museum, using the same color code as the signage. Each plant has a spread of pages with a whole picture, detail pictures, a map to show its
Index Skidmore, Owings and Merrill LLP
Fallon Image Design
Paragon Marketing Communications
â€” SOM Graphics
P: 012, 052, 096,098,100, 158, 330,390
Dept of Energy
P: 014, 054,140,228
Bhandari & Plater Inc.
Sussman/Prejza & Co., Inc.
P: 016,056,058, 294,324,326,328,370,372
Linda van Wyk
Ben Cox Design
Acacia Design Consultants
P: 020,032,110,112,114,244, 412, 432
Dan Zhou, Freelancer
The Rockwell Group PC
Design Factory International
Visual Communications, Inc.
P: 022, 082,288,362,364, 404
Dan Pearlman Markenarchitektur GmbH
P: 080, 344,420,422
P:024, 036, 360
Whitehouse & Company.
VerisonAbsolute Design Studio
Adler & Schmidt
Kommunikations-Design / Meuser Architekten
Leaf Design Pvt. Ltd.
Dennis Information Design
Calori & Vanden-Eynden
P: 030, 150, 434
P: 034, 078, 092,130,132,148,174,230,232,234,
Emily Parcell and Kara Zichittella
Square Peg Design Asia
Studio David Hillman
Integrated Sign and Graphic,Inc.
P: 042,044, 046,084,086,090,304,306,366,380,
Graphics and Designing INC Tokyo
Red Square Design
Selbert Perkins Design
Sebastian Haeusler Design
Applied Information Group
Emmanuelle Moureaux Architecture + Design
Catt Lyon Design Inc.
Shakespear & Gonzalez Ruiz
Talking Design Studio
GK Graphics Inc.
Yukari Dina Design Studio / Christopher Dina
Loysen + Kreuthmeier Architects
AREP, Bruno Bernard P: 408 Jakob+Mac Farlane architects P: 414 Environmental Graphic Design P: 418