Issuu on Google+

WAYFINDING DESIGN MEDIA PUBLISHING LIMITED

WAYFINDING

DESIGN MEDIA PUBLISHING LIMITED


Contents 068 Canada's National Ballet School

Commercial

186 Palladium Mall

Culture

070 Think: Education

126 Michael’s Genuine Food & Drink

188 Viva Collage Mall Viva Collage

008 Cathedral of Christ the Light

072 IBAT

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

194 Spectrum

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

080 Unitec

136 Eureka Tower Carpark

Hotel

018 Australian Centre for the Moving Image

082 Saint Paul College

138 City National Plaza

198 11@Century Hotel

020 Arnolfini Art Centre

Library

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

Education

Museum

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

Shoping Mail

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

170 Médiacité

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

Exhibition

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

006

Perface

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

314 LSG

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

260 Canyon.Home

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

Public Park

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

Transport

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

346 Balencea

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

Office

354 The Salvation Army Headquarters

418 Rochester Rapid Bus

484 Monastery Street Park/Slopes Pylon

288 Wells Fargo Home Mortgage

356 One Bryant Park

Airport Terminal

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

Healthcare

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

502

306 Attorney General Department

372 Sutter Health, PAMF Camino Medical Group

Street

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

Index


Perface

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

008

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.

USA

The Cathedral of Christ the Light employs state-of-the-art

Location

Type

Culture

Diocese of Oakland Date: 2008 Location: Oakland, California, USA

009


Portugal Location

Culture Type

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

010

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

Monastery.

Portuguese national monument.

011


Canada Location

Culture Type

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.

people’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

building.

the like. The work the designer did falls into the category of

012

013


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 Toronto’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.

Culture

Canada

Type

Location

Company and the National Ballet of Canada. Entro’s scope

014

015


Location

USA

Culture Type

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.

016

017


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

elements.

pedestrian entry on FED square and the large illuminated letterforms on Flinders Street.

Australia

Culture

the Moving Image Date: 2009 Location: Australia

The concept for the signage came from the idea that ACMI,

018

Location

Type

greater than the sum of its parts, forms the white light

019


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 Bristol’s harbourside. At

clean, elegant and refined – 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

eight weeks.

for a briefing. By the following Friday the scheme was signed off! The scheme had to extend and strengthen the Arnolfini

UK

Culture

Arnolfini Date: 2005 Location: Bristol, UK

020

Location

Type

brand identity across all activities.

021


Science Center of Iowa Design Agency: Visual Communications, Inc. Creative Director: Cheryl O’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

022

USA Location

Type

Culture

sphere.

023


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

024

USA Location

Type

Culture

coordinated seamlessly, from wayfinding signage to lifestyle

025


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

Germany

In future, visitors to UNESCO World Heritage sites located

Location

Type

Culture

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

026

027


028 029

Culture

Germany

Type

Location


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

030

India

The whole branding theme was inspired by a bird’ 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.

Location

Type

Culture

Edelweiss’s Fountainhead cultivates fresh perspectives among leaders.

031


Laban Dance Centre Design Agency: Holmes Wood Design Director: Alex Wood Creative Director: Lucy Holmes Photography: Olll.com and

032

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 designers’ 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 – 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.

management.

UK

Laban in Deptford, East London is the largest and best

Location

Type

Culture

Alistair Fowler Client: Laban Dance Centre Date: 2003 Location: London, UK

033


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 building’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 project’s goal

glass, metal to stone builds the unique signage system.

was to create a cultural landmark, speaking to the legacy

034

USA

Architects, LYD integrated signage into the landscape and

Location

Type

Culture

of this Polish pope. With a team that included Leo A Daly

035


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 church’s beliefs.

036

used to form directional arrows on the wayfinding signage to

USA

their code, as a major graphic feature. Blocks of text were

Location

Type

Education

around using the key words from the church’s main tenants,

037


Singapore Location

Education Type

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.

038

039


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

040

rooms. Blue bookshelves were designed to provide visual

USA

portals from the offices to the central hallway as well signage.

Location

Type

Education

transitions from two to three dimensional letters at meeting

041


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

Education

Australia

Type

Location

ten colleges.

042

043


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

044

years.

Australia

The signage system was developed over a period of five

Location

Type

Education

it’s visual identity and wayfinding program for eight colleges.

045


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 Australia’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.

Education

Australia

Type

Location

ranks amongst the world’s top 40 universities. A new brand

046

047


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’

new building.

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.

Australia

Education

that led St Michael’s Grammer School to commission a

added, their names are printed in silver lettering on oak

048

Location

Type

‘stems’ slotted into the left-hand side of the sculpture. The

049


University of California, Merced Campus Design Agency: Square Peg Design Creative Director: Scott Cuyler Designer: Susan Bowers, Jonathan Hobbs

050

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.

USA

several projects on the prestigious U.C. Berkeley campus

Location

Type

Education

Photography: Square Peg Design Client: University of California Date: 2006 Location: Merced, California, USA

051


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

052

building.

Canada

faรงade graphics were designed to wrap around the entire

Location

Type

Education

of the curriculum. In order to enhance this concept, exterior

053


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

experience.

054

Entro developed and implemented the wayfinding strategy

USA

and signage design to blend the historic and new sections

Location

Type

Education

brought the total gallery space to 634,400 square feet.

055


Location

USA

Education Type

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

dining options.

strengthens exterior orientation through prominent building numbers and well‑placed campus directories. GNU also

056

057


Location

USA

Education Type

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

058

059


Location

Germany

Education Type

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

060

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.

061


Campus of the University of Applied Sciences Design Agency: Studio KW Creative Director: Klaus Hubner Designer: Klaus Hubner Photography: Studio KW Client:

062

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

campus.

on the buildings.

Germany

For the central building of the new campus of the University

Location

Type

Education

University of Applied Sciences, Frankfurt Date: 2008 Location: Frankfurt, Germany

063


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

sustainable practices.

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

USA

Education

Client: Bertschi School Date: 2008 Location: USA

064

Location

Type

those for Leed Gold Certification. DOE chose DIN as the

065


Royal Conservatory TELUS Center Design Agency: Bhandari & Plater Inc. Creative Director: Sunil Bhandari Designer: Sunil Bhandari, Julia Commisso, Liora

066

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 Canada’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.

Canada

The new TELUS Centre for Performance and Learning

Location

Type

Education

Jacobson Photography: Various Client: The Royal Conservatory of Music Date: 2009 Location: Canada

067


Canada's National Ballet School Design Agency: Bhandari & Plater Inc. Creative Director: Sunil Bhandari Designer: Sunil Bhandari, Julia Commisso,

068

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

Canada

The National Ballet School (NBS) ranks as one of the finest

Location

Type

Education

Wendy Fowler Photography: Various Client: Canada's National Ballet School Date: 2005 Location: Canada

069


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

070

stimulating environment.

Australia

with lighting techniques provided an engaging and

Location

Type

Education

and glass graphics both indoor and out in conjunction

071


Location

Ireland

Education Type

IBAT Design Agency: Creative Inc Creative Director: Mel O’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

phrases.

foreign visitors and their varying nationalities were the basis for the very colourful brand aesthetics. As many languages

072

073


Universities' Wayfinding Hub Design Agency: Linda van Wyk Creative Director: Linda van Wyk Designer: Linda van Wyk Architect: Rohan Eicker Date:

074

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

South Africa

The wayfinding system were developed for universities

Location

Type

Education

2008 Location: Pretoria, South Africa

075


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

076

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.

USA

The directory design highlights only information that's

Location

Type

Education

Location: San Francisco, California, USA

077


Location

USA

Education Type

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

078

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 school’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,

audiences.

079


New Zealand Location

Education Type

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

Auckland .

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

time.

designed to guide users from the campus entranceways to their destination. The triple layered ‘Unitec weave’

080

081


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, didn’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 27‑acre campus located on

and room numbering.

Cathedral Hill in historic downtown Saint Paul required contemporary signage design to communicate the colleges

USA

Education

Photography: Richard Lang, Jesse Yungner Client: Saint Paul College Date: 2010 Location: Saint Paul, Minnesota,USA

082

Location

Type

forward educational curriculum. Visual Communications

083


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 colour‑coded to assist in the delineation of

being thrown into the air. Each panel is computer cut with

sections.

Library

Australia

Type

Location

the titles of books found in the section it’s position relates

084

085


Australia Location

Library Type

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 cafÊ/ bookstore to the busy street life of Five Dock village, a feeling of Avant Garde was devised to complement the library’s urban surroundings. Essentially two distinct schemes overlap each other to create a dramatic, vibrant and enticing composition.

086

087


Location

USA

Library Type

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.

088

089


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 children’s and youth library.

library had to be identified by a distinct graphic.

Environmental graphics have been used extensively to

Library

Australia

Type

Location

create an exciting atmosphere and form an integral part of

090

091


Memphis Library Design Agency: Lorenc+Yoo Design Creative Director: Jan Lorenc Designer: Jan Lorenc Photography: Jan Lorenc Client:

092

LYD designed the library’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

spaces.

a punchy red gloss finish.

USA

Lorenc+Yoo Design(LYD) created an environmental

Location

Type

Library

Memphis Library Date: 2009 Location: Memphis, Tennessee, USA

093


Germany Location

Library Type

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.

094

095


Location

Canada

Museum Type

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

space.

transformed the historic streetcar repair barns from the early

096

097


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

098

Canada

fashion.

Location

Type

Museum

fashioning the animals as the hero in a dynamic and innovative

099


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

100

Canada

that the facility was cluttered with signs.

Location

Type

Museum

would provide for wide-ranging needs without creating a sense

101


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

102

USA Location

Type

Museum

implementation of a signage program, which consisted of site

103


Location

USA

Museum Type

Oakland Museum of California Design Agency: Skidmore, Owings and Merrill LLP — 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,

104

105


Location

USA

Museum Type

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: Children’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,

visible.

replaced over time by sponsored portrait tiles of visitors. The logotype, on aluminum columns, is an abstraction until the

106

107


Location

UK

Museum Type

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

108

109


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.

UK

Museum

bronze and brass construction with a distinctive curved form The designer produced a wayfinding strategy and design

110

and confidence, including the gardens and landscape that belongs to the Museum.

Location

Type

information on finding their way around the site with ease

111


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 London’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 – including the Sainsbury Wing – 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.

UK

Museum

Tim Goffe Client: The National Gallery Date: 2004 Location: London, UK

112

and rooms.

Location

Type

combination of this colour coding and the numbered spaces

113


Location

UK

Museum Type

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

Tate Modern.

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

visitors’ needs.

commissioning of a wayfinding and sign design expert – and

114

115


Location

Holland

Museum Type

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:

the region.

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

advertisements, etc.

update the existing wayfinding system in such a way that

116

117


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.

Italy

Museum

Location: Italy

Florence. What the designers came out with is a modular system based on the square, a shape that appears much in

118

Location

Type

the Florence landscape.

119


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

USA

Museum

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

120

Location

Type

current identity system.

121


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

122

the signage system along with the permanent exhibition information design.

Portugal

during 2011. FBA is commissioned with the task of designing

Location

Type

Museum

opened and the rest of the Museum was expected to reopen

123


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

124

UK

the building.

Location

Type

Museum

North, South, East and West ,depending on where one is in

125


Location

USA

Commercial Type

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

126

127


Location

Japan

Commercial Type

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 ‘Moon Penal Colony’

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

error.

space tour.

In Lockup 2999 also provide entertainment show every two hours and the customer will see space monster escape from

128

129


Location

USA

Commercial Type

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

130

131


Northern Quest Liquid Bar Design Agency: Lorenc+Yoo Design Creative Director: Jan Lorenc Designer: Jan Lorenc, David Park, Steve McCall

132

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

resort destination.

South gaming expansion, Liquid Bar, and The Q Ultimate

USA

Sportsbar - all works together to express the overall four

Location

Type

Commercial

Photography: Jan Lorenc Client: Northern Quest Casino & Resort Date: 2010 Location: Washington DC, USA

133


Location

USA

Commercial Type

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.

134

135


Location

Australia

Commercial Type

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

position.

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.

136

137


Location

USA

Commercial Type

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 landmark’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

National Plaza.

designs for carpets, signs, plaza furniture, print collateral

138

139


Golden Belt Design Agency: Entro Communications Creative Director: Randy Johnson Designer: Brenda Tong Photography: Kris Stanley

140

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.

USA

Golden Belt, an historic textile mill, near downtown Durham

Location

Type

Commercial

Client: Scientific Properties Date: 2009 Location: Durham, North Carolina, USA

141


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:

142

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

USA

retail destinations. Two Twelve’s awardwinning sign designs

Location

Type

Commercial

New York, USA

143


Location

UK

Commercial Type

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

144

145


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

146

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

USA

placed along the same beach front boardwalk as the

Location

Type

Commercial

to further animate the boardwalk landscape. An arrangement of recycled shipping containers were

147


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

USA

Commercial

Lorenc+Yoo Design Client: Potawatomi Casino Date: 2008 Location: Milwaukee, USA

engaging design. In commemoration of the Potawatomi tribes’ heritage as the

148

Location

Type

“Keepers of the Flame,” the designer created prairie-style

149


Location

India

Commercial Type

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

150

151


Location

Germany

Commercial Type

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

152

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.

153


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

India

Commercial

Photography: DT Cinemas Client: DT Cinemas Date: 2008 Location: New Delhi & Chandigarh, Punjab India

154

Location

Type

anchor tenant; the designer began with mapping the user’

155


Location

India

Commercial Type

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 user’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 PVR’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

156

157


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 world’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

Canada

Commercial

truly became a creative community and global leader in one

158

Location

Type

Malaparte.

159


Mackay Entertainment & Convention Centre

160

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.

Location

Type

Commercial

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

161


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 center’s site and interior spaces. The graphic

landmark for this Atlantic coast resort city. The building’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.

USA

Commercial

USA

C&VE developed a hierarchical sign nomenclature system

162

Location

Type

to guide visitors through the vast lateral spaces of the

163


Location

USA

Commercial Type

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

164

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 Buffalo’s prominent role in the story of the Erie

celebrate Buffalo’s role in the greatest enterprise our young

Canal.

country had yet seen.

165


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.

166

Singapore

a cinema, gaming arcade, restaurants, fashion boutiques,

Location

Type

Shopping Mall

located in the Marina Bay area in Singapore. It consists of

167


St David’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 David’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

city’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

itself.

and excellent legibility were chosen. Pictograms are used

UK

Shopping Mall

Securities, Capital Shopping Centres and Cardiff City Council Date: 2009 Location: Cardiff, UK

168

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.

Location

Type

to help with quick recognition of key facilities throughout Three main types of sign were developed: a visitor

169


Médiacité Design Agency: Air Design Creative Director: Ian Wright Designer: Ari Phillips Photography: Air Design Client: Wilhelm &

170

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.

Belgium

Description: Médiacité is a 100,000 square-metre mixed

Location

Type

Shopping Mall

Co Date: 2009 Location: Belgium

171


ION Orchard Design Agency: Immortal Creative Director: Theresa Yong Designer: Choo Chin Nian Photography: Immortal Client: ION

172

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

Singapore

Located on Orchard Road in Singapore, ION Orchard is an

Location

Type

Shopping Mall

Orchard Date: 2009 Location: Singapore

173


Charlottesville Fashion Square Design Agency: Lorenc+Yoo Design Creative Director: Lorenc+Yoo Design Designer: Lorenc+Yoo Design Photography:

174

Lorenc+Yoo Design(LYD) collaborated with Cooper Carry &

from the architects’ 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

USA

and a new project logo. The interior signage was derived

Location

Type

Shopping Mall

Lorenc+Yoo Design Client: Charlottesville Fashion Square Date: 2007 Location: Charlottesville, Virginia, USA

175


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.

USA

Shopping Mall

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

experience.

Location

Type

in the original program. Indeed, much of the directional

that the beefy corrugated metal panels could be fabricated at a more reasonable cost.

176

177


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

178

Hillman provided a comprehensive and fully integrated signage

UK

programme.

Location

Type

Shopping Mall

heart of Europe’s largest regeneration scheme. Studio David

179


Location

USA

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

development.

with a modern, sleek approach. All signs for the property were designed by TGAdesign including two unique facades

180

181


Location

Kuwait

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.

182

183


Location

Australia

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

destination.

it inline with the centre’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

of playfulness.

in the design of the suspended wayfinding signage. This

184

185


Palladium Mall Design Agency: VerisonAbsolute Design Studio Creative Director: Arnab Banerji Designer: Arnab Banerji, Abhishek Ghosh

186

Palladium is Mumbai’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 Mumbai’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

India

million square feet of space and houses over 500 brands,

Location

Type

Shopping Mall

Photography: VerisonAbsolute Design Studio Client: Palladium Mall Date: 2008 Location: India

187


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 Jallandhar’s first all under one roof mall

architect has used a neutral palette of whites and greys for

and one of Punjab’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

188

189


Location

Germany

Shopping Mall Type

Karstadt Young Fashion–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

190

191


Location

USA

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 property’s exterior sculpture

wayfinding for a new mall addition. SPD’s design solution,

monument utilizes the rose petal theme.

based on 2D and 3D interpretation of a rose petal, was

192

193


Location

USA

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

194

195


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

treatments.

from the local culture, as well as the incorporation of nature imagery throughout the system.

USA

Shopping Mall

Shops at La Cantera Date: 2008 Location: USA

The designer involvement in the project included helping the developer to refine and articulate the project’s brand position, developing an identity and related visual

196

Location

Type

vocabulary that supports this position, and then working with

197


Malaysia Location

Hotel Type

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

198

199


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 Canning’

simplify wayfinding for the different wings.

Hotel Type

Malaysia

Formally the British Far East Command Headquarters

s magnificent architectural heritage. A combination of

200

Location

Design Consultants Client: The Legends Fort Canning Park Date: 2010 Location Singapore

201


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 – 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

USA

Hotel

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

202

and the casino expansion. The wayfinding program required integration of the existing signage with the new facilities.

Location

Type

identification for new nightclubs, a spa, multiple restaurants,

203


Location

USA

Hotel Type

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

204

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

luxury hotel.

historic PSFS building signage with contemporary character.

205


Portugal Location

Hotel Type

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.

206

207


Location

UAE

Hotel Type

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 world’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.

208

209


Location

USA

Hotel Type

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

210

211


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.

India

Hotel

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

212

Location

Type

sandstone for all external signs which complimented the

213


Location

USA

Hotel Type

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

Group.

looks for day and night. The inner steel tubing structure was covered with perforated metal backed with acrylic. This

214

215


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.

USA

materials and ADA requirements. The designers created an

W Hotel signage consulting scope, ribbit...Inc. was tasked

Location

and the Bliss brand culture while staying relevant to signage

where Italian Renaissance meets modern cool. As part of

Hotel

references created by interior designer Dianna Wang /DWA

and black lace—rendezvous at W hotel Washington D.C.,

Type

Next to the White House, the most powerful suits- pinstripes

216

217


Location

USA

Hotel Type

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

218

219


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

Hotel

USA

Type

Location

the restaurant logos.

220

221


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,

USA

Hotel

acres in the sunny foothills of the Santa Lucia Mountains in

222

Location

Type

Monterey Bay and Big Sur.

223


Shangri-La’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.

urban lifestyle.

Type

Hotel

The design inspiration drew from the islands’ natural

224

Location

In collaboration with Shangri-La and WATG, Square Peg

Republic of Maldives

Republic of Maldives

225


Location

USA

Hotel Type

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 1000‑room hotel, 600‑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

resort property.

room identifications incorporate digital programmable screens throughout.

Diplomat Landing, the retail village within the complex, displays identification that was coordinated with graphics

226

227


Canada Location

Hotel Type

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.

228

229


Location

UAE

Hotel Type

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

230

231


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

USA

Hotel

of a lodge-style destination resort. As a full-service, 250-room

232

Location

Type

constructed of indigenous stone, wood and earthy materials.

233


Location

USA

Hotel Type

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 resort’s striking silver and blue glass banded hotel tower on the horizon.

234

235


Singapore Location

Hotel Type

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 Singapore’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.

accommodations.

SPD’s color palette borrowed from the lush tropical environment.

236

237


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

USA

Hotel

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

238

Location

Type

stone, metal and punches of color.

239


Location

Germany

Exhibition Type

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

'changing perspective'.

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

240

241


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.

242

Ireland Location

Type

Exhibition

Using interesting combinations of stock and alternating

243


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 – 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

UK

Exhibition

Holmes Wood Client: Manchester City Council Date: 2006 Location: Manchester, UK

maps. This gives a simple and effective understanding

244

Location

Type

of how the building is organised and highlights what the

245


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

Exhibition

Germany

Type

Location

rooms, that each stand for a certain epoch, as well as signs

246

247


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

248

promote and direct people through the various sections of the

USA

2010 MICA Graphic Design Senior Show.

Location

Type

Exhibition

vinyl lettering, laser cuts, and paper wraps on matte board to

249


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

Portugal

Exhibition

a place and an event that would occur in Lisbon, Portugal.

was imperative for this work to coexist with the PlayStation

250

Location

Type

mark. After making the circuit of the event the visitor has the

251


Location

Germany

Exhibition Type

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

252

253


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:

254

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 Center’s interior – 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

cultural ambient.

want to spend their time in.

Croatia

For the occasion of celebrating the 55th anniversary of the

Location

Type

Exhibition

Zagreb, Croatia

255


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

1100square metres.

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.

Croatia

Exhibition

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

256

Location

Type

20th century. Every period and theme is differentiated by

257


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

258

sequences in the vertical space.

France

element of the building: the car displays which create

Location

Type

Exhibition

the organization of the space. It is based on the structuring

259


Location

Germany

Exhibition Type

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

Canyon directly.

and shapes the space, allowing visitors to discover the brand.

Canyon.Home, which spans 1,300 square metres,

260

261


Location

UK

Exhibition Type

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

262

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.

263


Location

Germany

Exhibition Type

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

264

265


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

center.

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.

Italy

Exhibition

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

266

Location

Type

suggestive dimension thanks to banners on lamp posts

267


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.

Italy

Exhibition

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

268

Location

Type

the process of the University building from 1952 to 1972.

269


Location

Italy

Exhibition Type

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

270

271


Location

USA

Exhibition Type

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 designer’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 show’s identity was applied to a chalkboard wall where visitors were encouraged to leave their thoughts.

272

273


Location

USA

Exhibition Type

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.

274

275


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,

276

and establish contacts.

Sweden

interested in design had the chance to meet, exchange ideas

Location

Type

Exhibition

exhibitors gained an exciting meeting place where everyone

277


Location

Italy

Exhibition Type

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

278

279


Location

Canada

Exhibition Type

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

only space.

decided to transform the entire street into a typical Montreal alleyway.

280

281


Location

Germany

Exhibition Type

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.

282

283


Location

Germany

Exhibition Type

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.

284

285


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

Germany

Exhibition

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

Location

Type

museum’s space. Typography was materialized in the form of

in accordance with the observer’s viewpoint.

286

287


Wells Fargo Home Mortgage Design Agency: Visual Communications, Inc. Creative Director: Richard Lang Designer: Constance Carlson

288

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,

USA

Visual Communications was pleased to provide the signage

Location

Type

Office

Photography: Visual Communications Client: Wells Fargo Home Mortgage Date: 2004 Location: Minneapolis, USA

289


Location

UK

Office Type

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

each floor.

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

290

291


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 city’s best new addresses.

292

UK Location

Type

Office

Trust headquarters, 888 7th Avenue. Elegant marble signage

293


Location

UK

Office Type

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 it’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

294

295


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

Austria

Office

Mariacher Photography: Gunter Richard Wett Client: Amt der Tiroler Landesregierung Date: 2008 Location: Austria

baroque painting to blend into the environment of the 'Altes

296

Location

Type

Landhaus'. The choice of colours makes the main building

297


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.

298

employees.

Location

Type

Office

communicated actively, particularly towards advertisers and

Holland

The designer made the brand more visible, made sure it

299


Location

UK

Office Type

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

300

301


1001 Perimeter Summit Building Design Agency: Lorenc+Yoo Design Creative Director: Jan Lorenc Designer: Jan Lorenc, Marcus Merritt Photography:

302

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

USA

The project is the design of a sculptural directory element

Location

Type

Office

Lorenc+Yoo Design Client: Hines, Vikram Mehra Date: 2008 Location: Atlanta, USA

303


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 Australia’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

Australia

Office

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

304

Location

Type

details of the interior fit-out. Full scale prints of the proposed

305


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.

Office

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

Australia

Minale Tattersfield Client: Attorney General Department Date: 2007 Location: Sydney, Australia

one edge of the sign. Anodised aluminium is neutral in

306

Location

Type

appearance but at the same time it sets an accent.

307


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,

traffic.

the New York’s landmark. The MetLife Building, originally PanAm – designed by Walter

USA

Office

Wurman Client: Metropolitan Insurance Company Date: 2006 Location: New York, USA

Gropuis and Pietro Belluschi – was completed in 1963.

308

Location

Type

Located in the heart of Midtown Manhattan adjacent to the

309


Germany Location

Office Type

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

already produced.

the office building,design of the car pool and advertising materials.

310

311


“Chiswick Park� 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,

312

UK

distinctive, modern architectural attitude.

Location

Type

Office

pedestrian and traffic signage complements Chiswick Park's

313


Germany Location

Office Type

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

314

315


The Omni Offices Design Agency: tgadesign Creative Director: Geoff Rogers Photography: Geoff Rogers Client: The Omni Offices Date: 2009 Location: Miami,Florida, USA

Office

USA

Type

Location

Description: A modern five‑story office building near downtown Miami. Class “A” office space with views of Biscayne Bay and downtown Miami.

316

317


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.

USA

Office

York City, USA

edge lit in blue, while turning on a center motor structure

318

Location

Type

with the Chase letters to each side. The other faรงade

319


Dow Jones Headquarters

320

USA

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.

Location

Type

Office

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

321


Location

USA

Office Type

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

322

323


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

Office

USA

Type

Location

center in the fast growing suburb of San Francisco.

324

325


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

326

USA

that originated from the time of Spanish missionaries.

Location

Type

Office

replicate the historic regional wrought iron designs and details

327


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

Office

USA

Type

Location

biotechnology and related companies.

328

329


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

Canada

Office

identification for seven office floors to enhance the atmosphere

330

Location

Type

between art and design.

331


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

Japan

Office

graphics, signage and brochures.

these squares play an important role: the logo on the facade

332

Location

Type

of the building features as many as 24 colors visible from the

333


Location

USA

Office Type

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

334

335


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

Canada

Office

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

336

Location

Type

exhibit on historical glass were included in the scope.

337


Canada Location

Office Type

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.

338

339


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.

Japan

Office

Client: Dai Nippon Printing (DNP) Date: 2007 Location: Japan

the design brief.

340

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.

Location

Type

The visual connection between Japanese and English Because the Japanese and Roman alphabets have

341


China Location

Office Type

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

342

343


New Zealand Location

Office Type

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

ARA’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

344

345


Australia Location

Office Type

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.

346

347


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

worldwide facilities.

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

areas.

USA

Office

Chemical Company sought to make a holistic change to

the concept that the missing element in the Periodic Table is

Type

The wayfinding plan includes large vertically formatted directional signs incorporating images associated with Dow's products and departments. Bold geometric images and

Location

the human element.

saturated colors provide visual clues for circulation and

348

349


Wayne L. Morse United States Courthouse Design Agency: Mayer/Reed Creative Director: Michael Reed Designer: Debbie Shaw Photography: Frank Ooms Client:

350

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.

USA

Commissioned through the U.S. General Services

Location

Type

Office

US General Services Administration Date: 2006 Location: USA

351


Location

UK

Office Type

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

352

353


Location

UK

Office Type

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

activities.

glass, in order to retain the transparency of the building, the

354

355


Location

USA

Office Type

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.

356

357


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

Type

Office

Talking Design Studio undertook a complete overhaul of the

358

Ferrer brand, including all aspects of the brand’s visual style, identity development and sub-brand creation.

Location

consumer healthcare.

Spain 西班牙

the areas of prescription, diagnosis, hospital therapies and

359


Location

USA

Office Type

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.

360

361


Location

USA

Office Type

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.

362

363


Location

USA

Office Type

Normandale Lake Office Park Design Agency: Visual Communications, Inc. Creative Director: Cheryl O’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.

364

365


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.

Office

USA

Type

Location

public to locate the various services.

366

367


London Vision Clinic

368

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

Aftercare.

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

UK

precise nature of their surgery. Five guilloché ‘eye’ patterns

Location

Type

Healthcare

Design Agency: Hat Trick Creative Director: Hat Trick Designer: Hat Trick Photography: Hat Trick Client: London Vision Clinic Date: 2008 Location: London, UK

369


Advance Medical Optics

370

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

USA

Advanced Medical Optics(AMO), a leader in corrective

Location

Type

Healthcare

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

371


Sutter Health, PAMF Camino Medical Group

372

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.

USA

information, floor maps as well as marketing information.

Location

Type

Healthcare

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

373


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

Japan

Healthcare

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

374

Location

Type

functions.

375


Location

USA

Healthcare Type

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

376

377


Location

USA

Healthcare Type

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

378

379


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

Australia

Healthcare

Photography: Minale Tattersfield Client: Mater Hospital Date: 2006 Location: Newcastle NSW , Australia

environment.

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

380

a destination and distinctive images to provide additional cues.

Location

Type

arrows to indicate direction, verbal information to describe

381


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.

382

USA

new Emergency Building and Bayside Pavillion. The designer

Location

Type

Healthcare

Two new Parking Garages, a complete sign sytem for the

383


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.

384

USA

The wayfinding master plan provides a positive patient

Location

Type

Healthcare

identity for both the university and the medical facility.

385


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.

386

The collaborative program included their architects/interior

USA

design team, contractors and UH staff. Contemporary

Location

Type

Healthcare

emphasis on their new replacement building.

387


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.

USA

highlighted their new corporate logo and improved their

388

Location

Type

项目类型

Healthcare医疗 Medical

and enhance their image in the community. The program

389


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

CAMH’s wayfinding system. By incorporating the actual

system that is both authentic, friendly and open.

390

Canada Location

Type

Healthcare

art of the patients as a major iconographic element of the

391


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

340‑bed building on a 44‑acre campus, which includes a

and expansion program.

392

USA

well as interconnection to existing buildings.

Location

Type

Healthcare

new lobby, coffee shop, admitting and outpatient clinic as

393


Location

USA

Healthcare Type

Katz Women’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'

Womens Hospital.

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.

394

395


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

229‑bed replacement hospital and community health center.

office identifications are all composed of changeable

396

changeable paper inserts as well.

USA

accommodate viewing from many angles in open spaces.

Location

Type

Healthcare

snapout elements. The office identification panel accepts Lobby and interior public area signage curves to

397


Location

USA

Healthcare Type

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.

398

399


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

400

private teaching hospital on a university campus.

Australia

which is the first medical school in Australia to be linked to a

Location

Type

Healthcare

services and the Australian School of Advanced Medicine,

401


Location

USA

Healthcare Type

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

402

403


Location

USA

Healthcare Type

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

404

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.

405


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:

406

parks, busses, trams, shops, bicycle facilities and university

University and Macleod Railway Station – 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 – helping to direct users to

Australia

Signage for pedestrians and cyclists linking the La Trobe

Location

Type

Transport

Australia

407


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

France

Transport

Photography: AREP Client: SNCF Date: 2007 Location: France

visually impaired persons, and ophthalmologists. The tests

408

Location

Type

were done on the basis of different prototypes of sans serif

409


Location

Australia

Transport Type

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.

410

411


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.

building’s identification signage including building exterior, ticketing areas, and the track and subway identification.

Calori & Vanden-Eynden designed the platform signage

USA

Transport

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

412

Location

Type

the LIRR brand. Wayfinding and the identification signage

413


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

like.

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.

France

Transport

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

414

Location

Type

the signage system, which is as a moulding of this structure,

415


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.

416

changes in and around Darling Harbour that have occurred

Australia

taking into account the considerable developments and

Location

Type

Transport

Darling Harbour commissioned a review of the signage

417


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.

USA

Transport

Designer: Stephanie King Date: 2008 Location: USA

Large typography and simple informal phrases, such as the brand tag line “need a ride?� 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

418

Location

Type

stop location.

419


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 ‘Simplicity and Efficiency’,

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.

New Zealand

Airport Terminal

Designworks Client: Air New Zealand Date: 2009 Location: New Zealand

the customer, through what was a completely new check-in

420

Location

Type

experience.

421


Location

New Zealand

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

environment.

easiest way possible. The designers reduced the approx 75 different shaped

422

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.

423


Location

France

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

424

425


Location

Hungary

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

426

427


Location

Australia

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 –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.

428

429


Graphic representation of the flight based/operational journey from check-in to gate.

430

Location

Australia

Airport Terminal

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.

Type

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.

431


Location

UK

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 kiosks’ 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

Virgin brand.

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 Virgin’s familiar red tailfin and internally illuminated letters mounted inside the terminal’s glass facade.

432

433


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 – 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 traveler’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.

India

Airport Terminal

The Chatrapati Shivaji International and Domestic Airport

434

Location

Type

the amount of daylight let in the building, the lighting to

435


Location

USA

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.

436

437


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

China

Street

Hong Kong.

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

Location

Type

of Hongkong Land’s portfolio.

pathways through the bridges and buildings. The sign program includes directional, identification, map/ informational, and decorative signage.

438

439


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

Italy

Street

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

440

Location

Type

about buildings, squares, bridges, statues and possible

441


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

on foot.

Street

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’

Australia

Cornhill Photography: Studio Binocular Client: City of Port Phillipe Date: 2009 Location: Australia

442

Location

Type

mapping system as well as directional and walking time

443


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

444

UK

landmarks and visitor destinations. The sign product range

Location

Type

Street

map of the City Centre and West End, highlighting 250 local

445


Location

USA

Street Type

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 Philadelphia’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 program’s continuing expansion over a ten-year period.

446

447


Stadtinformation D端sseldorf Design Agency: nowakteufelknyrim Creative Director: Stefan Nowak Designer: Carla Meurer, Ilka Kremke Photography:

448

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.

find.

Germany

It's a system to different buildings, streets and sites of

Location

Type

Street

Marcus Pietrek Client: Stadt D端sseldorf Date: 2005 Location: Germany

449


Location

USA

Street Type

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.

450

451


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

USA

Street

incorporates sixteen interpretive sites, including landmark

religious asylum and the local history of the underground

452

Location

Type

railroad.

453


Argentina Location

Street Type

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 city’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

454

455


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.

USA

Street

Tri-Metropolitan Transit District of Oregon Date: 2009 Location: Oregon, USA

456

Location

Type

pylon.

457


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

458

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.

rain gauge.

France

Scenography and signage project for the landscape of a

Location

Type

Public Park

Abbey Date: 2008 Location: GRUCHET-LE-VALASSE, France

459


460 461

Location

Type

France

Public Park


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

Argentina

Public Park

Location: La Plata, Buenos Aires, Argentina

able to learn the citizen's life through their comprehension of Starting from an exhaustive investigation about the

the space.

462

Location

Type

children's space perception, we developed a large and

463


Location

Austria

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,

464

465


Location

USA

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.

466

467


Location

USA

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 1930’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.

468

469


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

Russia

Public Park

Client: MOZAIK Development Date: 2007 Location: Russia, Moscow

470

Location

Type

and ecological lifestyle far away from the city. The graphic

471


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 – the winner of the Aga Khan Award

English and special consideration was to engineering and

for Architecture – worked for over 10 years on the brilliant

materials to withstanding high temperatures and periodic

transformation of a once-polluted Saudi waterway into a

flooding.

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

472

473


Location

Latvia

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 park’

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 park’ 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

474

475


Location

Australia

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

476

477


Location

USA

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.

478

479


Location

USA

Public Park Type

Houston Zoo’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 Zoo’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

480

481


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

Japan

Public Park

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

482

Location

Type

signage plan.

483


Location

USA

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

neighborhood-iconic infrastructure.

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

484

485


San Francisco Zoo Design Agency: Pentagram, SF Creative Director: Kit Hinrichs Designer: Erik Schmitt, Julio MartĂ­nez Photography:

486

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.

USA

The makeover involved everything from environmental

Location

Type

Public Park

David Wakely Client: The San Francisco Zoological Society Date: 2003 Location: San Francisco, California, USA

487


Sydney Park Playground Design Agency: Frost Design Creative Director: Vince Frost Designer: Bridget Atkinson, Sarah Estens Design Manager:

488

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.

wheelchair users.

Australia

Sydney Park in St Peters has undergone extensive

Location

Type

Public Park

Annabel Stevens Photography: Andy Stevens Client: City of Sydney Date: 2008 Location: Sydney, Australia

489


Yukon Bay Project in Zoo Hanover Design Agency: Dan Pearlman Erlebnisarchitektur GmbH Creative Director: Kieran Stanley Designer: Kieran Stanley

490

the river. In the sunken ship in the harbour there is the

Zoo houses on 25,000 square metres which animals

“northernmost penguin zoo in the world�. 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

Germany

The theme section Yukon Bay planned for the Hanover

Location

Type

Public Park

Photography: Frank Roesner Client: Adventure Zoo Hanover Date: 2010 Location: Hanover, Germany

491


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 park—

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 park’s amenities and to additional nearby parks,

USA

Public Park

Location: New York, USA

492

Location

Type

subway stops and Yankee Stadium. The sign forms will be

493


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

public’s recognition.

a friendly, warm and nonaggressive image appealing to a

Argentina

Public Park

Argentina

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

Type

nature. These colours are systematically presented in all

494

Location

of sepias and sienas whereby linking it with earth and

495


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

496

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.

Argentina

This amusement park is located 40 kilometres from Buenos

Location

Type

Public Park

Birds Thematic Park Date: 2009 Location: Buenos Aires, Argentina

497


Western Sydney Parklands Design Agency: Dot Dash. Creative Director: Mark Tatarinoff Designer: Mark Tatarinoff, Mia Wesseling Photography:

498

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 – pink for

and native bushland.

identification, orange for directions, purple for information

from the idea of the signs being dotted through the vast

Australia

and charcoal for brand panels. For this project, the wayfinding strategy took inspiration

Location

Type

Public Park

Mark Tatarinoff Client: Western Sydney Parklands Trust Date: 2010 Location: Western Sydney, Australia

499


Location

Turkey

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

500

501


Index Skidmore, Owings and Merrill LLP

Fallon Image Design

Ideaworks

Paragon Marketing Communications

— SOM Graphics

P: 048

P: 70

P:182

P: 008,102,104,274

Studio KW

Lebowitz|Gould|Design, Inc.

Frost Design

FBA. 010,122,206

P: 060,062,094,240

P: 134,202,204,226,392,394,396,398,478

P: 184,270,488

P: 012, 052, 096,098,100, 158, 330,390

Dept of Energy

Emery Studio

Formation

Entro Communications

P: 064

P: 136

P: 194,480

P: 014, 054,140,228

Bhandari & Plater Inc.

Sussman/Prejza & Co., Inc.

fd2s

GNU Group

P: 066,068,336,338,472

P: 138,402,446

P: 196

P: 016,056,058, 294,324,326,328,370,372

Creative Inc

Two Twelve

AG Creative

Buro North

P: 072,242

P: 142,292

P: 198

P: 018,346

Linda van Wyk

Ben Cox Design

Acacia Design Consultants

Holmes Wood

P: 074

P: 144

P: 200

P: 020,032,110,112,114,244, 412, 432

Dan Zhou, Freelancer

The Rockwell Group PC

Design Factory International

Visual Communications, Inc.

P: 076

P: 146

P: 246

P: 022, 082,288,362,364, 404

Designworks

Dan Pearlman Markenarchitektur GmbH

MICA

PlainJoe Studios

P: 080, 344,420,422

P: 152,190,490

P: 248

P:024, 036, 360

Whitehouse & Company.

VerisonAbsolute Design Studio

Hugo Silva

Adler & Schmidt

P: 088,106

P: 154,156,86,188,212

P: 250

Kommunikations-Design / Meuser Architekten

Hat-Trick Design

Dot Dash

Studio Rasic

P: 026,252

P: 108

P: 160,498

P: 254,256

Leaf Design Pvt. Ltd.

Dennis Information Design

Calori & Vanden-Eynden

Nicolas VRiGNAUD

P: 030, 150, 434

P: 116

P: 162,342,438,492

P: 258,458

Lorenc+Yoo Design

Harta Design

C&G Partners

KMS Team

P: 034, 078, 092,130,132,148,174,230,232,234,

P: 118

P: 164,356,452

P: 260

238,302,376,378

Emily Parcell and Kara Zichittella

Immortal

Commercial Art

Square Peg Design Asia

P: 120

P: 166,172

P: 262,290

P:050,038,192,208,210,220,222,224,236,450

Studio David Hillman

Air Design

Naroska

Design360

P:124,178,312

P:168,170

P: 264,266

P: 040,272,320,322

Ribbit...Inc.

Integrated Sign and Graphic,Inc.

CASA REX

Minale Tattersfield

P: 126,214,216,218,318

P: 176

P: 268

P: 042,044, 046,084,086,090,304,306,366,380,

Graphics and Designing INC Tokyo

TGAdesign

BVD

400,410,416,428,476,

P: 128

P: 180,316,382,466,468

P: 276


Edenspiekermann

Grapheine

P: 298

P: 424

BDP Design

Kissmiklos

P: 300

P: 426

Red Square Design

Selbert Perkins Design

P: 308

P: 436

Sebastian Haeusler Design

Nina Frisk

P: 310

P: 440

Teamgeissert

Applied Information Group

P: 314,464

P: 444

Emmanuelle Moureaux Architecture + Design

Nowakteufelknyrim

P: 332

P: 448

Catt Lyon Design Inc.

Shakespear & Gonzalez Ruiz

P: 334

P: 454,494,496

Kontrapunkt

Daniela MirĂĄs

P: 340

P: 462

Mayer/Reed

Plenum

P: 348,350,456

P: 470

Hat Trick

Substance

P:352,354,368

P: 474

Talking Design Studio

GK Graphics Inc.

P: 358

P: 482

Yukari Dina Design Studio / Christopher Dina

Loysen + Kreuthmeier Architects

P: 374

P: 484

CS&G

Pentagram, SF

P: 384,386,388

P: 486

Studio Binocular

Elif ErgĂźr

P: 406,442

P: 500

AREP, Bruno Bernard P: 408 Jakob+Mac Farlane architects P: 414 Environmental Graphic Design P: 418


F29 vi导视系统指示标识设计