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TICKET PLEASE

MASTER

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! K International Institute for Information Design

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IIID


in Chennai, Ind Dear Ms. Hemrajani

On 15-17 September 2011, the International Institute of Technology Bombay (IITB) and t What does IIID mean by „information design“? jointly organize an international conference

Information design aims at transforming data into The Mobile Plus conference is supported by high-quality information. The idX project made us aware technology and information design challenge that high-quality information must serve a purpose. We condensed our insights to IIID‘s tag line: have no access people who would otherwise Data transformed into high-quality information empower communication are appropriate and underst people to attain goals. Thus IIID welcomes submissions exchange and promote inclusive growth. ranging from visualizations that help people understand undisputed facts, situations and processes for whatever Bringing together technological imaginable purposes to information and information possibilities, information design we expect this conferenc systems facilitating understanding as well as enabling goal action. applications for mobile phones andoriented effective

Referring to the last of themuch listed evaluation criteria We would very like you to speak at the „Attractiveness and elegance of the designed invite you and colleagues to actively particip information“ – shouldn‘t information designers restrict themselves to design well understandable and easily Your participation will certainly enhance the applicable information irrespective of its appeal and field, enrich the and strengthen the co aesthetic value? Would thedebate latter be really needed to If youpeople needto more information please do not h empower attain goals? Itel. may quote Hume47 from his undisputed A Treatise +43David 1 526 25, or e-mail veronika.egge of Human Nature, first published 1739/40: „Reason is, and ought only to becheck the slavethe of thewebsite passions“. Thus, Please also www.mobilepl let‘s not forget about passions, which perhaps manifest registration. themselves best through attractiveness and elegance.

We very much hope you will be able to atten

Yours sincerely, on behalf of the our fellow c

Peter Simlinger Director, IIID International Institute DI Peter Simlinger, Director and Founder, IIID International Institute for Information Design

for Informa

International Insitit Palffygasse 27/17, 1170 www.iiidaward.net

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International Institute for Information Design

International Institute for Information Design 2017 President:

Clive Richards Professor emeritus at Birmingham City University, Birmingham, UK

President elect:

Rob Waller Simplification Center, UK

Vice Presidents:

Finance & Administration: Veronika Egger, is-design, Austria Communications: Claudine Jaenichen, Chapman University, Orange, CA, USA Education & Research: Karel van der Waarde, Belgium Events: Martin FĂśĂ&#x;leitner, hi-pe.at, Austria Documentation / Archive: Ole Lund, Norway

Director (retired): Peter Simlinger Simlinger Informations-Design GmbH, Wien/Vienna (A) Past Presidents: Michael Hardt (from inaugural meeting - 1995) Erik Spiekermann (1995 - 2003) Robert O. Swinehart (2003 - 2009)

Supporters 2017:

Sigmund Freud University

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Jury 4

Grand Prix

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Jury Prize 16

Awards in Categories

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JURY MEMBERS 2017

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Jacqueline Gothe / Australia Director Visual Communication Design School of Design University of Technology Sydney

Jacqueline Gothe, chairwoman of the jury, is a visual communication design academic in the area of information and communication design. Committed to practice led research her methodological investigation is guided by the knowledge creating paradigm of research through design. Jacqueline’s research is concerned with the role and practice of the critical information and communication designer in collaborative transdisciplinary projects. Her doctorate Tracing Country:

Visual Communication Design and Chorography. Towards a critical practice in Visual Communication Design, awarded in 2016, investigates the role of the visual communication designer in complex interdisciplinary and cross-cultural environmental communication design projects. Since 2011 she has participated in research projects concerned with river health, biodiversity and ecological resilience while continuing her work with the Indigenous-led initiative Firesticks and The Living Knowledge Place.

Christian Lunger

Gli Additivi / Italy Christian Lunger / Austria

Thomas Bade, who holds a degree in social education, sees social design and social entrepreneurship as the key element of universal design. For ten years, he has been committed to achieving the aim of entrenching universal design in business, academia and society. Thomas Bade is a co-founder of universal design e.V., signatory to the Weimar Declaration and lecturer for Industrial Design at the Technical University of Munich. Since July 2016, he has also served as the CEO of the Institute for Universal Design in Munich.

Christian Lunger was born in Karlsruhe, Germany in 1970 and grew up in Tirol/Austria. He studied international economics at the University of Innsbruck and at Aston University, Birmingham/England. He is a professionally educated systemic organisation consultant, service designer, quality manager and co-founder of motadesign.com. motas is a consultancy and design company specializing in environmental/experiential graphic design. Their work includes wayfinding systems, exhibit design, virtual and mixed reality storytelling and video storytelling for the built and natural environment. He is co-author of the book “Orientierung auf Reisen - a handbook for wayfinding systems in the tourist industry”.

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CEO of the Institute for Universal Design in Munich.

naits i

Thomas Bade / Germany Gli Additivi. We are Andrea Aufieri (journalist), Margherita Macrì (editor) and Marco Spinelli (graphic designer). We promote the open data culture. We share a passion for the stories, according to our skills and through the path followed so far: the data, the story, the design. Each of us was an additive for others and together we try to improve the field that we chose by simplyfing most complex things. We were born in 2014 in Italy to discover the consequences of hybridizing our passions. The first step has to do with the Socratic: Visualize, the first laboratory from below, based on data culture. For us, this is an innovative way to help social actors to think about themselves and their interactions. Additives as we facilitate and improve the quality of these processes.

motas – design & products for smart places, Co-founder, and service designer

regn uL

An association by Andrea Aufieri, Margherita Macrì, Marco Spinelli Lecce in Puglia


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Susan Verba / USA

Maija Rozenfelde / Latvia

Koyama

Keiichi Koyama / Japan i Design inc. Managing director and designer Keiichi is a signage and information designer in Japan, specialized in signage design of public facilities, such as airports, railway stations, and environmental design fields. He has been working for the sign systems of Narita, Haneda, Kansai, New Chitose and Central Japan airports, and the sign manuals of Central Japan, West Japan and Keikyu railway companies. He also designs many kinds of communication support board which are necessary to facilitate communication for persons who have difficulties communicating, then established the international standard ISO 19027: Design principles for communication support board using pictorial symbols. His main objective is to communicate information by developing and providing user-friendly signage systems. He is a member of IIID, SDS in UK, and collaborates with ISO/TC 145 as a chair of Japanese national committee for ISO/TC 145/ SC 1 : Public graphical symbols.

Art Academy of Latvia, Riga Lecturer Design studio Foreign Embassy / Design Director After receiving her master’s degree from Pratt Institute in New York City, Maija immersed herself in solving branding and packaging needs for global brands such as Smirnoff, Captain Morgan, Google, Accenture and others. In 2014 Maija received RedDot Award for her innovative packaging design for pistachio nuts. Maija is currently design director of Foreign Embassy design studio in Riga, Latvia, where she injects her knowledge and award-winning talent across different branding and packaging projects. Since her return back home, Maija has joined the faculty of Art Academy of Latvia where she shares the knowledge and is in charge of developing a new program in graphic and packaging design.

University of California, Davis Associate Professor, Design, and Director, Center for Design in the Public Interest Principal and co-founder, Studio/ lab (San Francisco & Chicago) University of California, Davis professor Susan Verba (Department of Design) directs the UC Davis Center for Design in the Public Interest (DiPi). She brings together teams of creative people from different fields to solve problems through better design and to study how interdisciplinary groups work, investigating the question: What does democratic design look like? Susan’s academic background includes a BS in Mechanical Engineering and an MFA in Graphic Design. She also is principal and co-founder of Studio/lab, where she leads research-based projects and advocates for the value of design in corporate, nonprofit, and government communications.

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The International Jury for the International Institute for Information Design (IIID) held in Vienna in March 2017 brought together designers from across the world. During the three days the members uncovered connections and identified differences as we debated, discussed, disagreed, shared, laughed and recognised the diversity and complexity of contemporary information design. Context, aesthetics, user experience, clarity, understanding and usability across media platforms were central to the deliberations. Most importantly the submissions illuminated the social values that the field of information design represents. Grand Prix 2017 winner - Dante Alighieri by Luciano Perondi, Giampiero Dalai, Giulia Bonora and Adelaide Imperato (Alpaca) was recognised for its ambition to provide an opening to a complex literary work for school children in the era of the screen. The visual approach - an illustrated non-linear narrative strategy in an interactive form attracted the Jury’s attention. To understand issues of effectiveness, readability comprehension and student experience the Alpaca team proposed an ongoing investigation of functionality through an engagement with the teachers and students in multiple ways including qualitative reports and eye tracker technology in partnership with the students and teachers.

Personal Favourites: Susan, Markus & Christian: Dear How to

Andrea & Margherita: Dante

The Jury Prize was awarded to Dear How To by Sol Kawage, Josefina Bravo and Tomoko Furukawa. This interactive creative project is a playful durational experiment inspired by the project Dear Data (Lupi and Posavec 2016). Dear How To is a project of instructional design within the boundaries of information design. These fast paced communicative responsive visualisations of everyday actions provide insight into the creativity, wit and humour of an information designer alerting the audience to the visual processes of the instructional category of information design. Dr Jacqueline Gothe / Chairwoman 2017

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Jacqueline: Les Docks Marseille


Maija: Piquentum

Thomas: Eye to Ear

Keiichi: First Aid Kit

Margherita, Andrea, Keiichi, Sophie, Thomas, Susan, Markus, Maija, Christian, Jacqueline, Tamara, + Martin & Stefan

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GRAND PRIX

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Dante’s Inferno The illustrated and interactive Dante‘s Inferno, an alternative learning tool for the Divine Comedy first Cantica, made for aiding visual memory. The project provides alternative ways to enjoy the reading of Dante Alighieri’s literature masterpiece “The Divine Comedy”. From the illustration of the topography of the first Cantica - the Inferno - we developed a digital and interactive website and a printed poster. Both the designs take advantage of the non-linear writing and graphic composition. The translation to the English language is based on the one provided by Henry Wadsworth Longfellow in the 19th century.

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The whole text is available on Wikisource and it’s in the public domain. We chose this particular translation not only because it is open source, but also for its closeness to the original writing style of Dante: the syntax, the rhythm, the lexicon used by Longfellow may sound a bit strange for native english speakers, but they render the original language with great accuracy.


Category: Didactics Project: Dante’s Inferno

What was the challenge? The aim of the project was to elaborate an alternative way to access Dante Alighieri’s text, which could exploit the non linear display of information and the potential of digital tools. The artifact is not meant to take the place of the traditional linear way of reading the poetic text, but to ease its navigation providing a visual topography. Topografia dell'inferno dantesco

CANTI

LUOGHI Lupa

Leone

What was the solution? We have designed a poster and a website. These tools have been conceived as open laboratory projects, which is being improved through the support from the teachers and the students, as well as scholars and literary critics. In the poster we have displayed the topographical structure of the Dante’s Inferno.

Lonza

Canto � Dante

L'INFERNO DI DANTE ALIGHIERI

PECCATORI

PUNIZIONI

Caronte

Ignavi

Corrono in eterno dietro un’insegna pungolati da vespe e mosconi

Non battezzati

Tristezza e malessere

Lussuriosi

Trascinati senza requie da una bufera di vento

Golosi

Giacciono in mezzo a una pioggia fangosa e ai vermi

Avari e prodighi

Spingono enormi massi

Iracondi e accidiosi

Si dilaniano con i denti, sono immersi nel fango

Eretici ed epicurei

Sono collocati in sepolcri infiammati

Violenti contro il prossimo

Immersi nel fiume bollente

Virgilio

Selva Canto �

Antinferno

Canto 3

Canto �

Fiume Acheronte

Canto �

I Cerchio

Ovidio

Omero

Minosse

Limbo

Canto �

II Cerchio

Paolo e Francesca

In that structure we have arranged characters, sins and places; all those elements were referenced to the cantica text. The website allows the users to explore the map and interact with the drawn characters. By clicking or tapping them their related tercets will be shown in a tab, together with links to their wikipedia pages and to the full text of their specific canto. The use of expressive illustration is meant to maximize the involvement of 11-13 year-old student, who the work is mainly addressed to.

Cerbero

Canto �

Ciacco

III Cerchio Pluto

Canto �

character place canto

Incontinenti IV Cerchio

Flegias Filippo Argenti

Canto �

itnegrA oppiliF

Filippo Argenti

V Cerchio Stige

Canto ��

Messo Celeste

Canto ��

Mura infuocate di Dite

tre Erinni e Medusa

Canto ��

Farinata degli Uberti

VI Cerchio

Cavalcante de' Cavalcanti

Cimitero degli eretici

Minotauro

Canto ��

Nesso

Folo

Chirone

Alta Ripa o Burrato Canto ��

Arpia

I girone Riva e fiume Flegetonte canto ��

Canto ��

II girone

VII Cerchio

Pier delle Vigne

Selva canto ��

Canto ��

III girone

Gerione

Landa canto �� / �� / �� / ��

sé stessi

Trasformati in alberi, lacerati dalle Arpie, straziati da cagne fameliche

Dio, natura ed arte

Costretti a correre, sedersi o stendersi su una sabbia ardente, sotto una pioggia di fuoco

Brunetto Latini

Violenti

Canto �� Ripa Discoscesa canto �� / ��

Canto ��

I Bolgia

Canto ��

canto ��

canto ��

Nicolò III

III Bolgia

Canto ��

Simon Mago

canto ��

IV Bolgia

Canto ��

Ciampolo di Navarra

Malacoda Catalano dei Malavolti

canto �� / ��

Malebolge

VI Bolgia canto ��

Capovolti in buche di pietra

Indovini e maghi

Procedono con la testa rivolta indietro

Barattieri

Immersi nella pece rovente e uncinati dai diavoli

Ipocriti

Gravati da una cappa di piombo dorata all’esterno

Ladri

Tormentati dai serpenti

Consiglieri di frode

Avvolti dalle fiamme

Seminatori di discordia

Feriti dai diavoli

Falsari di metalli persone monete parole

Colpiti da scabbia Si addentano tra loro Colpiti da idropisia e tormentati dalla sete Colpiti da febbre altissima

i Lucchesi

V Bolgia

VIII Cerchio

Immersi nello sterco

Simoniaci Michele Scotto

canto ��

Canto ��

Frustati dai diavoli

Adulatori

Manto

Tiresia

Euripilo

Arunte (Aronta)

Seduttori e ruffiani

Taide

Alessio Interminei da Lucca

II Bolgia

Canto ��

Canto ��

Venedico Caccianemico Giasone

Caifa Loderingo degli Andalò Puccio Sciancato

Fraudolenti

Buoso Donati Agnel

Canto ��

VII Bolgia

canto �� / ��

Francesco de' Cavalcanti

Centauro Caco

Vanni Fucci Ulisse e Diomede

Canto ��

Guido da Montefeltro

VIII Bolgia

canto �� / ��

Mosca Dei Lamberti

Pier da Medicina

wikipedia page

Bertram dal Bornio

Canto �� IX Bolgia

canto �� / ��

Canto ��

Maometto Griffolino D’Arezzo

Moglie di Putifarre

Gianni Schicchi

Maestro Adamo

Mirra

X Bolgia

canto �� /��

Canto ��

Sinone

Bartolomeo dei Folcacchieri

Pozzo dei Giganti

Canto ��

Membrot

canto ��

Anteo

I giganti sono stati puniti per essersi opposti a Dio

Fialtre Camicione de Pazzi

Conte Ugolino

Caina

Canto ��

canto ��

Antenora

canto �� / ��

Tolomea

Conti di Mangona

Arcivescovo Ruggieri

Traditori dei parenti Frate Alberigo

canto ��

Canto ��

Sepolti nel ghiccio fino alla testa

della patria

Sepolti nel ghiccio fino al busto

degli ospiti

Supini sul ghiaccio

dei benefattori

Sepolti completamente nel ghiaccio

Traditori

IX Cerchio Cocito

Canto ��

Giudecca

Cassio

canto ��

Bruto Giuda

Canto �� Lucifero

Progetto di ALPACA + MOLOTRO / Illustrazioni di Giulia Bonora

Topographical structure of the Dante’s Inferno in a poster (100 × 70) cm

Understanding the language of the Divine Comedy –the 14th century Italian– and reading texts for long time on a backlit screen might prove to be an arduous task for a 11-13 year-old student. A non linear way to navigate through the informationallows the users to freely explore the topographic space defined by Dante and to spot all the verses, characters and sins they want. This method facilitates the connection between the visual memory and the text helping the learning process.

full text of specific canto

expressive illustration Dante’s Inferno digital version (www.alpacaprojects.com/inferno)

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L'INFERNO DI DANTE ALIGHIERI

onza

Dante

In his “Rerum Natura”, Titus Lucretius Carus highlighted he had used poetry to illustrate Epicurean theories just like doctors put honey on the edge of the glasses to make children drink absinthe. In the same way we have used illustration to make “edible” an obscure medieval poem to the teenagers. The website responsive layout is optimized for desktop computers, tablets and interactive whiteboards (IWB). The website design accommodates also smartphones, but some navigation patterns are modified.

e

eone

Virgilio

Topografia dell'inferno dantesco

What was the effect? The website and the poster were used as a supporting teaching tool in classroom environment by three teachers (in Bracciano, Treviso and Trento) with students with the support of an IWB. The teachers involved are writing for us qualitative reports. Dante’s Inferno website have been patronized by Società Dante Alighieri (a charitable trust, dedicated toCaronte protect and spread the Italian language and culture throughout the world), who supported us in the promotion of the website. We are working on the assessment of the reading performance. The sample will consists of 30 subjects in the range 11-13 years old and 20 subjects Omero in the range 14-15. The subjects will wear an eye tracker and they will be asked to locate on the website a specific Circle and a specific sin. CANTI

Afterwards, the subjects will be asked to report also the sinners present in the Circle. The quickness and accuracy of the answers will be recorded. Before and after the experiment the subjects will be asked to play a game based on reflexes. The following dependent variable will be recorded: • the time taken from the request to the location; • the heat map of the eye movements; • the accuracy of the answers (number of mistakes); • the fatigue (the difference between the first and second performance Ovidio in the reflex test). All the data collected will be compared with the tests on the following updates.

LUOGHI Lupa

L'INFERNO

Lonza

Leone

Paolo e Francesca

Canto �

Virgilio

Dante

Selva Canto �

Cerber Antinferno

Canto 3

Ciacco

Canto �

Caronte

Fiume Acheronte

Canto �

I Cerchio

Canto �

II Cerchio

Minosse

Limbo

Paolo e France

Canto �

Ciacco

III Cerchio Pluto

Canto �

Flegias

IV Cerchio

Flegias

Canto � Dante’s Inferno poster details, cantos and places (left side of the poster)

Filippo Argenti

L'INFERNO DI DANTE ALIGHIERI

Lonza

PECCATORI

PUNIZIONI

Ignavi

Corrono in eterno dietro un’insegna pungolati da vespe e mosconi

V Cerchio Stige

Canto �� Dante

Virgilio

Canto ��

Mura infuocate di Dite

Canto ��

Caronte

VI Cerchio

Cavalcante de' Ca

Cimitero degli eretici

Minotauro

Canto �� Alta Ripa o Burrato Ovidio

Omero

Canto ��

Minosse

Canto �� VII Cerchio

Paolo e Francesca Cerbero

Canto ��

II girone Selva canto ��

Tristezza e malessere

Lussuriosi

Trascinati senza requie da una bufera di vento

Golosi

Giacciono in mezzo a una pioggia fangosa e ai vermi

Avari e prodighi

Spingono enormi massi

Messo Celeste Pier delle Vigne

III girone Landa canto �� / �� / �� / ��

Ciacco

Canto �� Ripa Discoscesa canto �� / ��

Canto ��

Flegias

Arpia

Non battezzati I girone Riva e fiume Flegetonte canto ��

Gerione

Incontinenti

Dante’s Inferno poster details, sinners and punishment description (right side of the poster)

rgenti

itnegrA oppiliF

I Bolgia

Filippo Argenti Canto ��

canto ��

Minotauro

Canto ��

tre Erinni e Medusa

Arpia

Folo

Chirone

canto ��

IV Bolgia

Canto ��

Arpia

Malebolge

VI Bolgia canto ��

Euripilo

Ciampolo di Navarra

Catalano de

Violenti contro il prossimo sé stessi

Caifa

Immersi nel fiume bollente

Dio, natura ed arte

Loderingo degli Andalò Puccio Sciancato

Trasformati in alberi, lacerati dalle Arpie, straziati da cagne fameliche

VII Bolgia

canto �� / �� Gerione

Nico

V Bolgia

Pier delle Vigne

Canto ��

Chiron Arunte (Aronta)

canto �� / ��

VIII Cerchio Canto ��

Eretici ed epicurei

Folo

Sono collocati in sepolcri infiammati

canto ��

Canto ��

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Nesso

III Bolgia

Cavalcante de' Cavalcanti Nesso

Alessio Int da Lucca

canto ��

Farinata degli Uberti

Minotauro

Si dilaniano con i denti, sono Farinata degli Uberti immersi nel fango

Iracondi e accidiosi

Cavalcante de' Cavalcanti II Bolgia

Canto ��

Messo Celeste

Costretti a correre, sedersi o

Violenti Vanni Fucci


Topografia dell'inferno dantesco

CANTI

LUOGHI Lupa

Leone

L'INFERNO DI DANTE ALIGHIERI

Lonza

Canto � Dante

PECCATORI

PUNIZIONI

Virgilio

Selva Canto �

Antinferno

Canto 3

Canto �

Fiume Acheronte

Canto �

I Cerchio

Caronte

Canto �

II Cerchio

Ignavi

Corrono in eterno dietro un’insegna pungolati da vespe e mosconi

Non battezzati

Tristezza e malessere

Lussuriosi

Trascinati senza requie da una bufera di vento

Golosi

Giacciono in mezzo a una pioggia fangosa e ai vermi

Avari e prodighi

Spingono enormi massi

Iracondi e accidiosi

Si dilaniano con i denti, sono immersi nel fango

Eretici ed epicurei

Sono collocati in sepolcri infiammati

Violenti contro il prossimo

Immersi nel fiume bollente

Ovidio

Omero

Minosse

Limbo

Paolo e Francesca Cerbero

Canto �

Ciacco

III Cerchio Pluto

Canto �

Incontinenti IV Cerchio

Flegias Filippo Argenti

Canto �

itnegrA oppiliF

Filippo Argenti

V Cerchio Stige

Canto ��

Messo Celeste

Canto ��

Mura infuocate di Dite

tre Erinni e Medusa

Canto ��

Farinata degli Uberti

VI Cerchio

Cavalcante de' Cavalcanti

Cimitero degli eretici

Minotauro

Canto ��

Nesso

Folo

Chirone

Alta Ripa o Burrato Canto ��

Arpia

I girone Riva e fiume Flegetonte canto ��

Canto ��

II girone

VII Cerchio

Pier delle Vigne

Selva canto ��

Canto ��

III girone

Gerione

Landa canto �� / �� / �� / ��

sé stessi

Trasformati in alberi, lacerati dalle Arpie, straziati da cagne fameliche

Dio, natura ed arte

Costretti a correre, sedersi o stendersi su una sabbia ardente, sotto una pioggia di fuoco

Brunetto Latini

Violenti

Canto �� Ripa Discoscesa canto �� / ��

Canto ��

canto ��

canto ��

Nicolò III

III Bolgia

Canto ��

Simon Mago

canto ��

IV Bolgia

Canto ��

Malebolge

VI Bolgia

canto ��

Capovolti in buche di pietra

Indovini e maghi

Procedono con la testa rivolta indietro

Barattieri

Immersi nella pece rovente e uncinati dai diavoli

Ipocriti

Gravati da una cappa di piombo dorata all’esterno

Ladri

Tormentati dai serpenti

Consiglieri di frode

Avvolti dalle fiamme

Seminatori di discordia

Feriti dai diavoli

Falsari di metalli persone monete parole

Colpiti da scabbia Si addentano tra loro Colpiti da idropisia e tormentati dalla sete Colpiti da febbre altissima

i Lucchesi Ciampolo di Navarra

Malacoda Catalano dei Malavolti

canto �� / ��

VIII Cerchio

Immersi nello sterco

Simoniaci Michele Scotto

canto ��

V Bolgia

Canto ��

Frustati dai diavoli

Adulatori

Manto

Tiresia

Euripilo

Arunte (Aronta)

Seduttori e ruffiani

Taide

Alessio Interminei da Lucca

II Bolgia

Canto ��

Canto ��

Venedico Caccianemico Giasone

I Bolgia

Canto ��

Caifa Loderingo degli Andalò Puccio Sciancato

Fraudolenti

Buoso Donati Agnel

Canto ��

VII Bolgia

canto �� / ��

Francesco de' Cavalcanti

Centauro Caco

Vanni Fucci Ulisse e Diomede

Canto ��

Guido da Montefeltro

VIII Bolgia

canto �� / ��

Mosca Dei Lamberti

Pier da Medicina

Bertram dal Bornio

Canto �� IX Bolgia

canto �� / ��

Canto ��

Maometto Griffolino D’Arezzo

Moglie di Putifarre

Gianni Schicchi

Maestro Adamo

Mirra

X Bolgia

canto �� /��

Canto ��

Bartolomeo dei Folcacchieri

Pozzo dei Giganti

Canto ��

Sinone

Membrot

canto ��

Anteo

I giganti sono stati puniti per essersi opposti a Dio

Fialtre Camicione de Pazzi

Conte Ugolino

Caina

Canto ��

canto ��

Antenora

canto �� / ��

Tolomea

Conti di Mangona

Arcivescovo Ruggieri

Traditori dei parenti Frate Alberigo

canto ��

Canto ��

Sepolti nel ghiccio fino alla testa

della patria

Sepolti nel ghiccio fino al busto

degli ospiti

Supini sul ghiaccio

dei benefattori

Sepolti completamente nel ghiaccio

Traditori

IX Cerchio Cocito

Canto ��

Giudecca

Cassio

canto ��

Bruto Giuda

Canto �� Lucifero

Progetto di ALPACA + MOLOTRO / Illustrazioni di Giulia Bonora

Alpaca Alpaca is a cooperative of graphic designers who work for the public benefit based in Ferrara (Italy). Our aim is to enhance the scientific and social awareness and to promote the information accessibility through the design of visual tools.

Our team We are a multidisciplinary team which combines knowledge from different fields of design, in order to offer our best performance in every project.

Contacts: Alpaca Società Cooperativa info@alpacaprojects.com www.alpacaprojects.com www.alpacaprojects.com/inferno

Our mission is to design innovative solutions, to develop visual tools and to keep doing research in order to design helpful, user-friendly, accessible, educational and interdisciplinary projects. We believe that the design and the visual communication can help people to access knowledge freely. We want our users to observe, understand and learn.

Giampiero Dalai Daniele De Rosa Luciano Perondi interaction designer graphic designer information designer Adelaide Imperato Giulia Bonora editorial designer illustrator

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JURY PRIZE

16


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Dear How To a year of hand/drawn instructions

Dear How To is an exploration of our world through the lens of information design, inspired by Giorgia Lupi and Stefanie Posavec’s Dear Data project*. We agreed to produce graphic explanations of a task or procedure, and send them to each other on postcards, every week for a year. The project is an adventure in thinking about how procedures can be explained without text, but it also forms a record of our activities: as weeks go by, we accumulate instructions for sometimes clever, often mundane, and at times perfunctory actions. In this sense, the postcards are snapshot views of our own lives. Humour plays an important part in the project, and figuring our what the instructions are for is part of the fun and the wonder. * Every week for a year, Giorgia and Stefanie sent each other hand-drawn infographics about an aspect of their lives measured through the previous seven days. The project won numerous prizes and has been acquired by the Museum of Modern Art.

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Category Didactics Project Dear How to

The challenge

The challenge was to complete a long-term, self-directed project that would enrich our skills as information designers and illustrate our personal shared humanity. Limited only by a few guidelines, we embarked on 52 different – all hand drawn – instruction sets, forcing ourselves to pay attention to the things we do, the way we do them, and how we can convey them as diagrammatic instructions.

The solution

How to kiss (week 20)

Every week, we think up illustrated instructions and send them on blank postcards to each other. In order to push ourselves to be as clear as possible with our diagrams and drawings, we avoid text entirely. Our instructions go beyond boundaries of language by testing the limits of visual representation. The postcards are not digital. We send them via the traditional postal services. The first postcard exchange was in August 2016. The last one will be in August 2017.

In October 2016, we began publishing the results of our project on a dedicated website, which also serves as a repository for the full corpus. Our aim is to allow each set of instructions to be tagged and filtered, to facilitate exploration of themes and techniques.

The effect

A look at the complete postcard archive to date reveals a wide range of approaches to procedural design, exploring the possibilities of pictorial sequences for explanation and instructions for an intriguing range of activities and tasks, many of which are common everyday activities. We did not agree in advance to any categories or tasks, but let it all emerge organically and without planification. We teach each other and share snippets of our lives as designers, mothers, and students. We explore the possibilities of diagrams in instructional design, and how to share and learn various approaches from each other.

Clockwise from top left: How to welcome the new year in Japan (week 11), How to pack for Easter holidays (week 26), How to put on a scarf, the traditional Turkish way (week 19).

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Category Didactics Project Dear How to

The instructions that we draw go beyond language barriers and comprise a catalogue of sorts of our modern world. For us as graphic designers, it has been a useful exercise in fast thinking, humour and self-awareness. As the project has evolved over time, the challenge of stepping away from the computer and using only analogue tools influenced our own aesthetic evolution. Our approach has been essentially artisanal, spontaneous, and organic, leaving us free to explore the technical issues like semantics, cause and effect, orientation, sequencing, and treatment of repetitive operations more creatively.

[left] Preparatory sketches and final postcard for How to do sauna in SĂźdTyrol (week 9) [right page] How to poach an egg (week 2).

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In spite of our self-imposed rule to work entirely by hand, the management of the project depends on digital interaction to bridge the physical distance between us. What we draw reflects our inward and outward ways of looking at the things we do. Sometimes, we find excuses to include things that make us happy – having a nice cup of tea, or replaying Michael Jackson videos in a search of the perfect bit of choreography to illustrate. Sometimes we try to amuse each other with something unexpected, or let each other in on our secret ways of doing certain things, elevating the perfunctory and digging for simplicity.


[left page, clockwise from top left] How to cook noodles – the environmentally friendly way (week 17), How to eat an orange without peeling the skin (week 7), How to Thriller like Michael Jackson (week 24), How to throw at nine pin bowling (Kegeln) (week 27), How to make frothy cold chocolate (week 18); [right page] How to stop breast feeding (week 08), How to vogue (week 17).

Sol lives in the Alps and works as an independent information designer. She can’t draw, but that does not stop her. Tomoko works as an information designer for a firm in Richmond, and Josefina is in the second year of her PhD studies. They often meet for tea on Fridays, but never talk about the postcards. To see how far along we are in our year of instructions, visit the project website at http://dearhow.to

Sol Kawage • Josefina Bravo • Tomoko Furukawa email twitter

info@dearhow.to @dearhowto

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GOLD, SILVER, BRONZE & SHORTLIST

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NEXT! OD GO

KEEP IT GOal!

tiCket pleaSe

LIK

E I T!

IIID

Wayshowing 30

Universal Design

S

72

78

Emergency 82

B2C C2B

GRAND PRIX AND JURY PRIZE

Financial 28

Traffic and Public Transports

A LCLLUSIVE IN S

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Healthcare 26

E AP SH

Social Affairs

UP

CD & CC

84

Products and Services

98

Didactics 106

GOT IT.

Editorial 116

?pu S‘tahw what‘S up?

thAt‘S it!

Future Concepts

124

FOUND

Research 126

THIN K!

Sustainability 130

Student Works

138

MASTER

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Category:

Social Affairs

Project:

Grafische Intervention Leonhardsplatz

What was the challenge? In the course of the signage project for the »Montforthaus« we were invited by the supermarket chain »Interspar« to design the surface of their ventilation shaft located on the »Leonhardsplatz« right between the »Montforthaus« and the »Interspar« store. What was the solution? This shaft was designed by »Mitiska Wäger Architekten« and we are responsible for the illustration – a graphic intervention to increase the »Leonhardsplatz« as a venue for people. What was the effect? Lovers were sitting strongly enlaced under an umbrella, while somebody gets licked off by a cow and another one gets swallowed by a fish.

Contact: name: Sigi Ramoser, Tina Rhomberg company: Sägenvier DesignKommunikation e-mail: ramoser@saegenvier.at website: saegenvier.at

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SILVER

NEXT!

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Category:

Social Affairs

Project:

First Aid Kit

What was the challenge? Facing the European refugee crisis in Autumn 2015, we felt the urge to get active and follow our social responsibility as a design studio. Coming to places of shelter, refugees often have the same questions regarding safety, stay and medical help. The information needs to be easily understood by people from various geographical & cultural backgrounds. What was the solution? After getting in touch with the Austrian Red Cross, and observing several refugee shelters in Vienna, our solution was a communication tool based on pictograms. Shortly after, the language-independent, icon-based information system FIRST AID KIT was installed in various shelters. It supports the communication process between refugees and NGOs. The system labels infrastructure, communicates dos & don’ts and also considers ethnical differences. E.g. In the Arab World, the sign for the Red Cross is a Red Crescent. We combined both symbols, which work in either reading direction. Also quite important are the medical icons for the first diagnosis. What was the effect? Open Design Tool Kit for NGOs & others Cultural respect expressed through signs A new way to represent gender To make this voluntary initiative a true open design project, the FIRST AID KIT has turned into a package that can be freely downloaded from a homepage. Since being published in October 2015, it has been downloaded over 600 times and is in use in many places all over Europe. It also became part of the Biennale di Venezia 2016, and of exhibitions at the London Design Museum & Stedeljik Museum Amsterdam.

Contact: name: Erwin K. Bauer company/organisation: buero bauer e-mail: office@buerobauer.com website: www.buerobauer.com

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You are are here: here: You

Adresse / Address / ‫العنوان‬ ‫العنوان‬ Vordere Zollamtsstraße ‫فيينا‬7 1030 Wien / Vienna / ‫فيينا‬


SILVER

NEXT!

representing cultural differences

western view

arabic view

open design tool kit

Free Download

Print

medical diagnosis support

Apply

&

new ways of representing gender

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Category:

Social Affairs

Project:

MigranTIC. Data visualization system on migrants in transit through Mexico

* This is a co-authored project by Yosune Chamizo Alberro and Gilberto Leon What was the challenge? Our main challenge was finding verifiable data about immigrants passing through Mexico in order to visualize it. There are a lot of NGOs, shelters and academic

Contact:

name: Yosune Chamizo Alberro company/organisation: MigranTIC e-mail: yosunechamizoalberro@gmail.com website: MigranTIC.mx

28

institutiones that collect data about immigrants passing through the country, but most are either worried (with reason, to be sure) about the immigrants’ security and privacy or won’t share their data because that would be “working for someone else” in their opinion. Eventually, we contacted people from INSYDE A.C. (Instituto para la Seguridad y la Democracia, A.C.), who maintain a database collected from different points across the country about immigrants and their human rights in relation to national authorities. We turned, then, to government data sources, the EMIF poll (Encuesta sobre migración en la frontera norte de México).

After looking through both, we discovered that both tell a very different story, both in content and in form. The first one is available through an open data format (CSV), while the other one is available through proprietary software (SPSS). One of them has data about immigrants from very different countries, the other one only gets data from a few Central American countries. One of them makes a distinction between human rights violations and being the victim of organized crime, the other one conflates both things into the same category. One of them is not very known outside of very specific activist circles, the other one is known by most people


BRONZE

involved in immigration policies... although not everyone knows how to even access the data. And, with that, our challenge turned out even greater: we had the data, but it showed very different things about the same phenomenon.

NEXT!

versions of the same phenomenon side by side, but we also got enough information to visually re-construct, without much detail, some of the routes used by immigrants on their way to the US and animate it, in relation to the time it took them, on the same map, which is something that had never been done before to our knowledge. Moore, 2013 - Migrantes sobre tren

What was the solution? We decided to contrast the data in order to show how different entities, each with their own agenda, conceive and make decisions about immigration through Mexico. In order to do that we had to standarize data and correlate both polls. For the first part, we used an SPSS query, while the second part was made manually: we had to choose which questions matched in both polls as well as their answers and/ or group them in new ways to preserve information and make them comparable. Even if the size of both datasets is different, we decided to visualize them both in order to contrast the information provided by each one of our sources. Just the size of both datasets, alone, speaks loudly about the conditions the polls are conducted: the INSYDE poll is conducted within the confines of government-run migratory stations and the EMIF poll is conducted on airports and/or busstations, and this is the type of qualitative information we also think is important to show and not just numbers.

To support out visualizations, we also decided to make the CVS files used to create them available to the public, which includes the subset of questions we used from the EMIF poll, removing the need for SPSS to access them. What was the effect? First, and foremost, our project has served as a spring-board for other researchers who didn’t know how, or had the technical expertise, to access the data collected by the EMIF and has also showed them how there are different techniques to study and analyze data, particularly visual techniques

and tools. Out project has also been cited as a source by some Mexican journalists interested in international and national immigration. We’re proud that our project is not just an academic thesis gathering dust in some college library, but an actual resourced used by people. This has led, in turn, to some organizations (governement or non-government) getting interest in our work and commisioning more web-based interactive visualizations in order to show their results and/or to help them with heir policy decisions and analysis.

Having done that, we still had to visualize the data. We decided to use D3.js for that, since it allowed us to create our own custom visualizations instead of relying on prefabricated charts and/or re-usable templates and it is a native technology available in modern browsers. Not only managed to show the two different

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Category:

Social Affairs

Project:

7stern4: Know Your Neighbourhood

What was the challenge? 7stern4 is a very small neighbourhood in Viennas seventh district. The local association of shop-owners were looking for a way to promote business and the overall attractiveness of this area in the shadow of the main shopping street Mariahilferstraße.

WILLKOMMEN IM

Eingewoben in das dichte Kleingewerbe- und Handelsgebiet im Wiener Bezirk Neubau wächst eine kosmopolitische und unternehmerisch innovative Quartiers-Nachbarschaft unter dem selbstgewählten Label „Siebensternviertel“. Der Umriss des Viertels ist unscharf, es pulsiert im Inneren, umtriebig und mitteilsam in Bild, Text und Textil, und es lebt von der Einbettung in die beste städtische Umgebung, flankiert von großen Boulevards.

What was the solution? The main idea is to know the local infrastructure and that everyone you lives, works or visits this area has an opportunity to learn not only the shops but also the offer on doctors, offices, recycling collectors, ATM, cigarette vending machines and local parking spaces. Besides that, the itention was to make the small square “Siebensternplatz” a center of this area, to stress this and alsoto give a more natural orientation – from the city to outbound areas – the map was not printed in a north-up direction.

7stern4.at office@7stern4.at GEFÖRDERT AUS MITTELN DER STADT WIEN DURCH DIE WIRTSCHAFTSAGENTUR WIEN. EIN FONDS DER STADT WIEN MIT UNTERSTÜTZUNG DER WIRTSCHAFTSKAMMER WIEN.

LINDENGASSE

CHICO HÄNGEMATTEN 01 526 12 89 wien@chico.at

HI-PE.AT

INFORMATIONSDESIGN

SPITTELBERGGASSE THEATER AM SPITTELBERG 01 526 13 85 tickets@theateramspittelberg.at

KINDER/ CHILDREN

STUCKGASSE

COLLI - MASSATELIER 0676 707 88 06 mtm@colli.at

MAC-SUPPORT

FRANZ ATZLER 01 523 75 71 elektro.atzler@gmx.at

ZOLLERGASSE

DESIGN & DRUCK

SOUND / MEDIA / ELECTRONICS

PERYD SHOU 01 522 46 70 office@perydshou.com

KIRCHENGASSE

1

DIE WERKBANK 0650 524 81 36 office@werkbank.cc

9

3

FIT AM MAC 0676 56 10 228 office@fit-am-mac.at

MODE / FASHION

5

7

28 26

BREITE GASSE

ZAPATERIA SNEAKERSHOP 01 923 55 85 office@zapateria.at

MODE / FASHION

25

MODEATELIER POLLSIRI 01 526 60 47 atelier@pollsiri.at

MODE / FASHION

25

AURINSHOP SPACELAND 01 890 65 65 office@aurinshop.at

BEAUTY / WELLNESS

24

YOGESH INDIVIDUELLE PARFUMS 01 94 325 94 office@dasparfum.com

BEAUTY / WELLNESS

19

KUNSTHANDWERK/ ART & CRAFTS

SCHUHE FÜR FRAUEN 01 522 39 08 gertraud@schuhefuerfrauen.at

MODE / FASHION

2/2

KUNSTWERKEREI 0664 126 60 38 atelier@keramik-wihann.at www.kunstwerkerei.at

KUNSTHANDWERK / ART & CRAFTS

MONDSCHEINGASSE

38/7

7TM JOHANNES MAYER 0699 122 74 749 contact@7tm.at

DESIGN / FOTOGRAFIE

31-33

SOVA26 0680 504 72 59 office@sova26.at

KINDER / CHILDREN

30

FRANZ MUSICK ENKELIN 01 523 56 72 office@musick.at

HAUSHALT / HOUSEWARE

25

MICHAELA ARL DE LIMA 0676 846 770 10 office@michaelaarldelima.com

SCHMUCK / ACCESSOIRES | JEWELERY

MARGIT JOHANNIK | SONTECH 01 929 12 12 office@sontech.at

BEAUTY / WELLNESS

16+28

SPITTELBERGGASSE

54

CHICO HÄNGEMATTEN 01 526 12 89 wien@chico.at

WOHNEN / LIFESTYLE | LIVING / LIFESTYLE

52

PAAR 01 923 13 16 info@paar-laden.at

SNEAKERBOUTIQUE

52

ARNOLD’S 01 923 13 16 info@arnolds.at

MODE / FASHION

42

KOSMOSTHEATER 01 523 12 26 office@kosmostheater.at

THEATER

40

BRILLEN GIOVANNI 01 523 64 94 office@brillengiovanni.com

BRILLEN / OPTIK | GLASSES / OPTICS

35/2

DISTRICT 7 0676 355 12 65 office@district7.at

MODE / FASHION

33

INTERNI TOSCANI 01 524 40 62 office@interni-toscani.at

WOHNEN / LIFESTYLE | LIVING / LIFESTYLE

LINDENGASSE

SCHAURAUM FÜR ANGEWANDTE KUNST 0676 75 76 700 office@schauraum.at

KUNSTHANDWERK / ART & CRAFTS

FINNSHOP 0676-963 84 58 office@finnshop.at

17

MODE / FASHION

SIEBENSTERNGASSE

GEFÖRDERT AUS MITTELN DER STADT WIEN DURCH DIE WIRTSCHAFTSAGENTUR WIEN. EIN FONDS DER STADT WIEN MIT UNTERSTÜTZUNG DER WIRTSCHAFTSKAMMER WIEN.

office@7stern4.at 7stern4.at Gehen und Schauen anvertraut, hat mehr von der Stadt und findet im Siebensternviertel Traditionsgeschäft und Start Up, Vertrautes und Überraschendes in selbstverständlicher Gleichzeitigkeit.

30

7

THEATER

10

HERR UND FRAU KLEIN 01 890 06 69 shop@herrundfauklein.com

MUSEUMSTRASSE

THEATER AM SPITTELBERG 01 526 13 85 tickets@theateramspittelberg.at

THEATER

Story of the quarter and register of association members.

54

06991 526 91 90 welcome@hi-pe.at

33

MÄRCHENBÜHNE DER APFELBAUM 01 523 17 29 20 apfelbaum @ maerchenbuehne.at

EVELYN´S BLUMENSTUBE 01 523 37 60

WOHNEN / LIFESTYLE | LIVING / LIFESTYLE

7

STEPPENWOLF 01 523 40 55 info@steppenwolf

SPORT / FREIZEIT | SPORT / FREETIME

CAFE 7*STERN 0699 152 36 157 kulturcafe@7stern.net

FLORISTIK / FLORIST

PAAR 01 923 13 16 info@paar-laden.at

MODE / FASHION

34

31

52

ULLIKO 0699 128 43 922 office@ulliko.com

BELLARIA-KINO 01 523 75 91

KINO

THEATER

41

SIEBENSTERNPLATZ

CAFÉ / BAR / RESTAURANT

SNEAKERBOUTIQUE

7

NEUBAUGASSE

HOTEL ALTSTADT VIENNA 01 522 66 66 hotel@altstadt.at

OBERBANK 01 522 169 60 neubau@oberbank.at

ARNOLD’S 01 923 13 16 info@arnolds.at

HAUSHALT / HOUSEWARE

MODE / FASHION

BANK

3

STUCKGASSE

10

BOUTIQUE HOTEL

41

28-30

52

9A

LE SHOP 01 956 66 33 office@le-shop.at

40

SCHMUCKLADEN ILGA ZEMANN 0699 11413767 office@schmuckladen.org

SOUND / MEDIA / ELECTRONICS

SCHMUCK / ACCESSOIRES | JEWELERY

40/1

MO SOUND 0699 195 20 707 office@mo-sound.com

NEUBAUGASSE

BANK

KOSMOSTHEATER 01 523 12 26 office@kosmostheater.at

MODE / FASHION

GESCHIRR NIESSNER 01 523 36 73 geschirr.niessner@aon.at www.geschirr-niessner.at

28-30

3

BELLARIA-KINO 01 523 75 91

42

MODE / FASHION

OBERBANK 01 522 169 60 neubau@oberbank.at

40

40

SIEBENSTERNPLATZ

MUSEUMSTRASSE

KINO

LE SHOP 01 956 66 33 office@le-shop.at

SOUND / MEDIA / ELECTRONICS

KUNSTWERKEREI 0664 126 60 38 atelier@keramik-wihann.at www.kunstwerkerei.at

BRILLEN GIOVANNI 01 523 64 94 office@brillengiovanni.com

THEATER

9A

CAFÉ / BAR / RESTAURANT

KUNSTHANDWERK / ART & CRAFTS

2/2

MODE / FASHION

40/1

MO SOUND 0699 195 20 707 office@mo-sound.com

STEPPENWOLF 01 523 40 55 info@steppenwolf

7TM JOHANNES MAYER 0699 122 74 749 contact@7tm.at

MONDSCHEINGASSE

SPORT / FREIZEIT | SPORT / FREETIME

34

SCHMUCK / ACCESSOIRES | JEWELERY

DISASTER CLOTHING 01 524 14 09 office@disasterclothing.at

38/7

40

ELISABETH SCHNEPF BERUFSBEKLEIDUNG 01 523 23 31 elisabeth.schnepf@chello.at www.berufsbekleidung-schnepf.at

19

DESIGN / FOTOGRAFIE

DISTRICT 7 0676 355 12 65 office@district7.at

BRILLEN / OPTIK | GLASSES / OPTICS

DRUCK & VERSAND

FIT AM MAC 0676 56 10 228 office@fit-am-mac.at

MAC-SUPPORT

MODE / FASHION

31

17

GÖTTIN DES GLÜCKS 0680 551 76 79 wien@goettindesluecks.at

SCHMUCKLADEN ILGA ZEMANN 0699 11413767 office@schmuckladen.org

name: Sarah Borinato / Catharina Ballan company/organisation: flussobjekte e-mail: cajajac@gmail.com website www.flussobjekte.at

MODE / FASHION

SCHUHE FÜR FRAUEN 01 522 39 08 gertraud@schuhefuerfrauen.at

SOVA26 0680 504 72 59 office@sova26.at

40

10

MBE MAIL BOXES ETC DRUCK UND VERSAND 01 526 53 60 wien01@mbe.at

28

MODE / FASHION

35/2

MBE MAIL BOXES ETC DRUCK UND VERSAND 01 526 53 60 wien01@mbe.at

DRUCK & VERSAND

KINDER / CHILDREN

SCHAURAUM FÜR ANGEWANDTE KUNST 0676 75 76 700 office@schauraum.at

10

ZOLLERGASSE

5

9A

ELISABETH SCHNEPF BERUFSBEKLEIDUNG 01 523 23 31 elisabeth.schnepf@chello.at www.berufsbekleidung-schnepf.at

CAFE 7*STERN 0699 152 36 157 kulturcafe@7stern.net

MODE / FASHION

EVELYN´S BLUMENSTUBE 01 523 37 60

HAUSHALT / HOUSEWARE

GESCHIRR NIESSNER 01 523 36 73 geschirr.niessner@aon.at www.geschirr-niessner.at

FLORISTIK / FLORIST

ULLIKO 0699 128 43 922 office@ulliko.com

33

7

HOTEL ALTSTADT VIENNA 01 522 66 66 hotel@altstadt.at

MODE / FASHION

ZAPATERIA SNEAKERSHOP 01 923 55 85 office@zapateria.at

MODE / FASHION

KUNSTHANDWERK / ART & CRAFTS

33

BOUTIQUE HOTEL

26

FRANZ MUSICK ENKELIN 01 523 56 72 office@musick.at

41

HI-PE.AT

06991 526 91 90 welcome@hi-pe.at

HAUSHALT / HOUSEWARE

30

31-33

MODEATELIER POLLSIRI 01 526 60 47 atelier@pollsiri.at

MODE / FASHION

INFORMATIONSDESIGN

7

25

MICHAELA ARL DE LIMA 0676 846 770 10 office@michaelaarldelima.com

MODE / FASHION

PERYD SHOU 01 522 46 70 office@perydshou.com

DESIGN & DRUCK

HERR UND FRAU KLEIN 01 890 06 69 shop@herrundfauklein.com

AURINSHOP SPACELAND 01 890 65 65 office@aurinshop.at

MODE / FASHION

25

17

9

BEAUTY / WELLNESS

25

KINDER/ CHILDREN

7

MÄRCHENBÜHNE DER APFELBAUM 01 523 17 29 20 apfelbaum @ maerchenbuehne.at

COLLI - MASSATELIER 0676 707 88 06 mtm@colli.at

YOGESH INDIVIDUELLE PARFUMS 01 94 325 94 office@dasparfum.com

FINNSHOP 0676-963 84 58 office@finnshop.at

THEATER

7

24

FRANZ ATZLER 01 523 75 71 elektro.atzler@gmx.at

MODE / FASHION

SCHMUCK / ACCESSOIRES | JEWELERY

BEAUTY / WELLNESS

MODE / FASHION

17

INTERNI TOSCANI 01 524 40 62 office@interni-toscani.at

41

3

16+28

MARGIT JOHANNIK | SONTECH 01 929 12 12 office@sontech.at

GÖTTIN DES GLÜCKS 0680 551 76 79 wien@goettindesluecks.at

KIRCHENGASSE

SOUND / MEDIA / ELECTRONICS

SIEBENSTERNGASSE

WOHNEN / LIFESTYLE | LIVING / LIFESTYLE

BEAUTY / WELLNESS

19

DIE WERKBANK 0650 524 81 36 office@werkbank.cc

DISASTER CLOTHING 01 524 14 09 office@disasterclothing.at

1

MODE / FASHION

BREITE GASSE

KUNSTHANDWERK/ ART & CRAFTS

9A

Contact:

Oder man driftet vom Getriebe des Schau- und Shoppingboulevards Mariahilferstraße ab, flaniert die Kirchen- oder Zollergasse entlang, hinein in den feiner getunten Individualkonsum des Viertels, in die Nebengassen mit den charmanten Inhabergeschäften, mit improvisierten Zwischennutzungen auf allen Etagen und den Produktionsmitteln in der Auslage: ob Schneiderpuppe, Frisierstuhl, Kaffeerösterei oder Mac. Wer sich in dieser Gegend nicht nur dem Portemonnaie, sondern auch dem Gehen und Schauen anvertraut, hat mehr von der Stadt und findet im Siebensternviertel Traditionsgeschäft und Start Up, Vertrautes und Überraschendes in selbstverständlicher Gleichzeitigkeit.

Wer Kunstgenuss und den Erwerb schöner Dinge verbinden will, kann das Viertel vom Museumsquartier her erwandern: die Siebensterngasse hinauf, vorbei an jenem Haus mit dem Schild „Zu den sieben Sternen“, das 1862 für die Straßenbezeichnung Pate stand.

19

What was the effect? Yes the not-north-up was at the beinning irritating, but once experienced the natural flow of the city layout, people understand and feel comfortable. The local inhabitants, commuters, as well people from shops, bars, hotels and offices feel beiing part of the local community and discovered new spot in anarea they thought to know very well.

SIEBENSTERNVIERTEL


NEXT!

Dr.-KarlRenner-Ring

Dr.-KarlRenner-Ring

Baumgartner Höhe

SHORTLIST 49

Hutteldorf Bujattigasse

48A

7m

SIEBENSTERNVIERTEL

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sw alk

in

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di

Bezirksamt

st an

ce 48A

e

old Chic o ’s

Ma c m

Ar n

Fit a

ftgasse

5

Schrankgasse

Bezirksmuseum

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Category:

Healthcare

Project:

Orthodontic Practice Dres. FournĂŠ

What was the challenge? An orthodontic practice is not really a popular place to be. Children and teenagers often don’t feel very comfortable having an appointment at the dentist’s. We simply wanted to change that. What was the solution? We developed loveable characters with a strong graphic language based on geometric forms and great contrasts. There is a cow, a bear, a sheep, a fox, a bunny, a deer, squirrel, a bird, a pig and a wild pig, a mouse, a bee, a beaver and last but not least a sausage dog. Each of them is showing their different teeth. The aim was to encourage a playful interaction, that is fun and makes people laugh. The animals speak with each other, tell stories, play with the architecture and smile at you. The sausage dog for example is getting longer and longer while the sliding door closes. The number of characters can be ever growing, changing and be used for promoting the orthodontic practice as a colourful, vibrant and fun place to be. What was the effect? We wanted to encourage a playful interaction, that is fun and makes people laugh. And we made it. The feedback is overwhelming. It is just as beloved for children and adolescents as for parents.

Contact: Andreas Koop designgruppe koop info@designgruppe-koop.de www.designgruppe-koop.de

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Category:

Healthcare

Project:

AbbVie VIEKIRA PAK instructions

What was the challenge? AbbVie’s VIEKIRA PAK is a highly effective treatment to combat Hep C, eradicating the virus in over 95% of patients.

What was the solution? Our solution was informed by previous research and design, prototype testing and client feedback.

For the treatment to be successful, the patient must adhere to the 12/24 week regimen and take their tablets at the same time each day without missing a dose.

Our previous design and research had shown that text works more effectively if it is preceded by a visual depiction of the process. In testing we also found that presenting instructions across a single spread also improved their use dramatically when compared to a multi-page booklet format.

The previous patient materials were text heavy, unstructured and repetitive – and consumers were reluctant to use them.

Our solution was to scrap the A5 booklet in favour of a roll-fold pocket-sized leaflet:

THE PREVIOUS BOOKLET DESIGN Getting started with VIEKIRA PAK WHAT IS VIEKIRA PAK? VIEKIRA PAK is a combination medicine, which means it includes more than one

type of tablet. With VIEKIRA PAK, you will take paritaprevir/ritonavir/ombitasvir FAQs about therapy with combination tablets (pink tablets) as well as dasabuvir tablets (beige tablets). These come packaged in a blister pack. VIEKIRA PAK/VIEKIRA PAK-RBV

WHAT IS VIEKIRA PAK-RBV? WHAT BLOOD TESTS WILL IPAK-RBV, NEED your WHAT SHOULD DO IF VIEKIRA I TAKE PAK, If you are prescribed VIEKIRA treatment will Iinclude as described above, TREATMENT? and a third type of tablet, (blue tablets in a bottle). TOO ribavirin MUCH MEDICINE? TO HAVE DURING There are two strengths of ribavirin tablets available. If you take more than your prescribed Depending on your prescribed dose, contact your Hep C doctor or treatment, you may need to have 200mg tablets 600mg nurse immediately or tablets go to your certain blood tests, including are light blue andcount areTake darkyour blue medicine and nearest hospital. haemoglobin (Hb) or full blood imprinted with ‘200’. imprinted with ‘600’. with you so you can easily describe (FBC) tests. Your Hep C doctor or nurse what you have*Tablets taken. will advise you on how often these are for illustrative purposes only should be done and if any other blood Yourare Hep C doctor will decide whether you tests required. WHAT SHOULD I DO10IFfor I AM Turn to page specific require ribavirin with VIEKIRA PAK, and which VOMITING? dosageHAPPENS of ribavirinIFisImost appropriate for you. FAQs about therapy with WHAT HAVE A VIEKIRA PAK-RBV. Always take your medicine as directed byIfyour you experience vomiting, continue CONCERNING SIDE EFFECT? Hep C doctor. to take your medicine as directed, but tell your Hep C doctor or nurse as Contact your Hep C doctor or nurse as soon as possible. If you feel concerned, soon as possible. They can best advise HOW DOES IT WORK? go to the emergency department of you on what to do. If it is a medical your nearest andistake emergency, go to your nearest hospital If the hospital Hep C virus not your treated, medicine withmultiply you. and take your medicine with you. it will inside the liver cells, leading to liver damage, WHAT scarring SHOULD DO WITH or Icirrhosis. For some MY VIEKIRA people,PAK/VIEKIRA the liver could eventually PAK-RBV I HAVE VIEKIRA TO GO PAK/ stopIFworking. TO HOSPITAL? VIEKIRA PAK-RBV aims to interrupt this process so that If you have to go to hospital, you must the Hep C virus cannot multiply. take your medicine with you. Ask Over a period of time, the Hep C your treating doctor at the hospital to clearedto from contact virus your can Hepbe C doctor discuss the body. your treatment. 2

– one side of the leaflet is dedicated to the medicine instructions, while the reverse lists the side effects, provides a range of support contact information and shows when to take a missed dose

WHERE CAN I GET VIEKIRA PAK/VIEKIRA PAK-RBV? VIEKIRA PAK/VIEKIRA PAK-RBV needs to be specially ordered by your pharmacist, so it may take a few days for your supply to come in. You can discuss the timeframe with your pharmacist when you have your first prescription filled. It’s very important that you take your medicine as prescribed, without missing any doses, so let your pharmacist know a few days before you need a repeat. This will help ensure they have time to order it in for you so that you don’t run out of medicine. Your Hep C doctor or nurse can best advise you for your situation and WHAT SHOULD I DO IF A provide information on contraception DOCTOR OTHER THAN MY HOW DO ifI TAKE VIEKIRA PAK/VIEKIRAHEP PAK-RBV? alternatives necessary. C DOCTOR WANTS

TOand STOP MY VIEKIRA IfVIEKIRA you are PAK considering attempting to morning tablets should be taken evening as shown below. PAK/VIEKIRA PAK-RBV conceive, first discuss this with your If your Hep Cordoctor VIEKIRA PAK-RBV (VIEKIRA PAK with ribavirin), TREATMENT? Hep C doctor nurse.prescribed This applies thetaking number of ribavirin towrite bothdown women VIEKIRA PAK/ tablets you need to take below. Explain to the doctor that your VIEKIRA PAK-RBV andprescribed men taking Depending on your dose, you may have some ribavirin tablets left Hep C doctor has given strict VIEKIRA PAK/VIEKIRA PAK-RBV who in the bottle after you finish the VIEKIRA PAK tablets. You can return any directions for you to take VIEKIRA excess ribavirin to a pharmacist for disposal. have partners of tablets childbearing age. PAK/VIEKIRA PAK-RBV without interruption for the full prescribed CAN I SHARE MY VIEKIRA PAK/ course of treatment. Ask the doctor to contact your Hep C VIEKIRA PAK-RBV TREATMENT doctor to discuss the situation. WITH OTHER PEOPLE WITH HEP C? No. VIEKIRA PAK/VIEKIRA PAK-RBV has been prescribed for you because your Hep C doctor has determined that it could treat your specific type of Hep C. For the treatment to work most effectively, it’s very important that you complete the full course, which means not sharing any of your tablets, taking them all as prescribed and not missing any doses.

CAN I START OTHER MEDICINES WHILE ON VIEKIRA PAK/VIEKIRA PAK-RBV?

It is important to always talk to your Hep C doctor, nurse or pharmacist before taking any other medicines or treatments, including natural and herbal remedies. Some medicines and remedies can interfere with the way VIEKIRA PAK/VIEKIRA PAK-RBV works. The website www.hep-druginteractions.org FOR HOW DOcompletion I TAKE VIEKIRA PAK/VIEKIRA PAK-RBV? Twelve weeksLONG after the of may be a useful resource for you your course of treatment with VIEKIRA and your Hep C doctor or nurse Some people are prescribed 12to weeks PAK, you will have a blood test see ifof VIEKIRA PAK/VIEKIRA PAK-RBV to access. treatment, while are prescribed the Hep C virus hasothers been cleared from 24 weeks of treatment. This is dependent on your Hep C type and the best chance of treatment success. Your Hep C doctor your body. will advise you on how long you should take VIEKIRA PAK/VIEKIRA PAK-RBV.

Not an actual patient

WHAT SHOULD I CONSIDER ABOUT CONTRACEPTION AND PREGNANCY WHILE ON VIEKIRA PAK/VIEKIRA PAK-RBV? Not an actual patient

8

Some oral contraceptives should not be taken during treatment with VIEKIRA PAK/VIEKIRA PAK-RBV.

– the leaflet title ‘A Hep C Free Me’ acts as a call to action for the patient

HOW WILL I KNOW IF THE TREATMENT IS SUCCESSFUL?

3

If you are taking VIEKIRA PAK-RBV, please see the section on contraception and pregnancy on page 11. If you have any questions about your VIEKIRA PAK/VIEKIRA PAK-RBV treatment, speak to your Hep C doctor or nurse, or read the Consumer Medicines Information leaflet, available from your healthcare team or the AbbVie Care website at www.careforcure.com.au

9

The new designs needed to be usable, readable, navigable, and support appropriate actions, including actively ‘nudging’ patients to adhere to the full duration of the treatment – a task made more difficult by Australian regulations that do not permit any promotional wording on patient materials, i.e. we were unable to say that the cure rate is 95% to encourage compliance, as this is seen to be ‘promotional’. Our approach also needed to work for a broad audience of Hep C patients – from the homeless to corporate lawyers and suitable for people with low levels of literacy, without being patronising to University graduates.

Contact: name: Alex Tyers company: Transmission Design e-mail: alex@transmissiondesign.com.au website: www.transmissiondesign.com.au

34

– patients can see at a glance that there is a 4 step process to taking this medicine – imagery is non-threatening and upbeat, in keeping with the positive outcome achievable through this treatment – patients are guided through the leaflet by large numbers, strong horizontal rules and arrows – the two prescribed treatments – VIEKIRA PAK (taken its own), or with Ribavirin – are clearly delineated by colour, sign-posting and sectioning into 2 distinct areas – we removed text that was repetitive, allowing us to reduce the instructions down to five small panels – the success of this treatment relies on consumers adhering to a schedule, so we made choosing the times to take the tablets an active up-front task. We also developed a wallet card showing the dose instructions as a back-up to the leaflet.

Follow this guide to give yourself the best chance of clearing your Hep C.

How to take VIEKIRA PAK VIEKIRA PAK clears the Hep C virus

from your body over 12 or 24 weeks. It does this by stopping the Hep C virus from multiplying in your liver. Remember, VIEKIRA PAK is not a vaccine – which means you can get Hep C again if you are exposed to infected blood.

Extra instructions for ribavirin Some people have a different type of Hep C – which is when you will be prescribed ribavirin as well.

→ →

Four steps to help clear your Hep C 1. 2. 3. 4.

Take your tablets at the same times every day. Take your medicine with food and water. Do not miss a single dose. Stay on the treatment for the full 12 or 24 weeks.

Possible side effects All medicines can have side effects. Most of the time they aren’t serious. The most common side effects of this treatment are nausea, tiredness or itching. Less common side effects include weakness or low energy, headaches, diarrhoea, vomiting, trouble sleeping, anaemia, cough, dry skin or rash. Ribavirin may also cause birth defects and/or death of an unborn baby. If you notice any symptoms that might be side effects and are worried, or think you have had an allergic reaction (which is rare), tell your doctor, nurse or pharmacist as soon as possible.


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PM

Choose times to take your tablets

2

Before taking your medicine

• You should take your tablets at the same times every morning and every evening – the medicine works better if you do.

There are things you need to know

• Choose times that suit you and are easy to remember (e.g. on the hour).

• Eat some food within half an hour of taking the tablets – the medicine works better if you do.

4

Take your medicine

Stay on your treatment

• Don’ t take ribavirin if you or your partner is pregnant.

1 light brown AV2 tablet 2 pink AV1 tablets with water and breakfast or a snack.

1 light brown AV2 tablet with water and dinner or a snack.

Your doctor will tell you how many blue ribavirin tablets you need to take in the morning and evening.

• Don’t fall pregnant while taking ribavirin, or for 6 months afterwards.

What to do if you miss a dose

Where to get help and support

Missing doses can reduce the success of clearing your Hep C. If you do miss a dose, use the table below to work out whether you can still take it or must skip it. You must never take a double dose to make up for a skipped dose.

Immediate help If you need immediate help, the best person to call is your doctor or nurse. If it’s an emergency, go directly to your nearest hospital.

Morning

If you missed the dose

1 light brown AV2 tablet

Only take the tablet if your next dose is more than 6 hours away

2 pink AV1 tablets

Only take the tablets if your next dose is more than 12 hours away

Any ribavirin tablets

Take the dose as soon as possible on the same day

Evening

If you missed the dose

1 light brown AV2 tablet

Only take the tablet if your next dose is more than 6 hours away

Any ribavirin tablets

Take the dose as soon as possible on the same evening

Some people need to take this medicine for 12 weeks to clear the Hep C virus, while others need 24 weeks.

Evening dose

Morning dose

• Swallow your tablets whole with a glass of water – do not chew, crush or break them.

• Set reminders on your phone. Write the times on your dose card. Ask someone to remind you.

• You must take your blue ribavirin tablets at the same times as your VIEKIRA PAK tablets.

3

HOW TO TAKE VIEKIRA PAK

Morning dose 1

Ongoing support Hepatitis Australia is a great resource for support: 1800 437 222 www.hepatitisaustralia.com Help for carers If you are looking after someone with Hep C you need to take care of yourself too. For carer support: 1800 242 636 www.carersaustralia.com.au

At ................ am take:

+ 2 pink AV1 tablets 2

Swallow whole with water

3

Eat breakfast or a snack within half an hour IF YOU HAVE ANY QUESTIONS PLEASE CONTACT YOUR DOCTOR OR NURSE

Don’t stop taking your medicine until your doctor tells you – it will reduce your chances of clearing the Hep C virus from your body. You’ll need a blood test 12 weeks after the end of your treatment to check if you’re Hep C free.

Return any left over ribavirin tablets to your pharmacist for disposal. (You should not have any left over VIEKIRA PAK tablets).

A HEP C FREE ME A guide for patients prescribed VIEKIRA PAK or VIEKIRA PAK with ribavirin.

AbbVie Pty Ltd ABN 48 156 384 262 Mascot NSW 2020 AbbVie® is a registered trademark of AbbVie Inc VIEKIRA PAK® is a registered trademark of AbbVie Ireland Unlimited Company AU-HCV-0069 December 2016

What was the effect? In testing, participants were able to find 91% of the information they were looking for and provide a correct response to information 89% of the time. Consumers spoke glowingly about the new designs: ‘If all medications were set out like this you wouldn’t have any overdoses or too many problems.’ ‘Probably the easiest medicine instructions I have read.’ ‘It doesn’t matter where you are on the scale of intelligence or your socioeconomic group. This works for everyone.’

‘The images are good… they break up all the info – in a good way.’ The leaflets have also been lauded by medical professionals: ‘Patient leaflets have been received extremely well by both the AbbVie team and healthcare professionals! In fact a specific piece of feedback from a South Australian nurse was that this is the best set of patient instructions she has seen in a long while – informative, accessible and simple to follow.’

We are very excited about the improvements we have made to the VIEKIRA PAK patient materials and the potential health benefits for Hep C sufferers. Early indications point to a highly effective outcome for both patients and AbbVie.

MIKE BOYADJIAN (Product Manager – Virology)

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Category:

Health Care

Project:

Intensivstation für Kinder und Jugendliche/Neonatologie, LKH Leoben

What was the challenge? In the course of the LKH Leoben reconstruction, the intensive care unit for children and adolescents / neonatology became a new design, which should represent the existing color concept of the building. It was particularly important to make the emotionally difficult stay for the children – from newbornes to the age of 18 – their relatives as well as nurses and doctors as comfortable as possible. What was the solution? Round forms, fresh colors and cheerful illustrations were combined with natural elements to create an empathetic and at the same time energizing and positive atmosphere. The humorous, cheerfully drawn characters from animal and fantasy worlds are used on door signs, as well as on wall and ceiling surfaces. In the treatment rooms, design elements put medical equipment in the background and thus bring people there to other thoughts. Wooden hemispheres distract the parents attention and help them to reload their energy. What was the effect? The combination of illustrations an natural elements creates a positive distraction and a stress-reducing effect for parents and children in an exceptional situation. The design supports a positive healing atmosphere and does not emphasize illness, difficulty of individual situations, nor bad emotions.

Contact: name: Stefanie Schöffmann company/organisation: look! design e-mail: office@look-design.at website: www.look-design.at

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Category:

Financial

Project:

Citylink Toll Invoice

“I like how it’s in columns. And I like how they have used pictures to support what they are saying. Tells me what I need to know. Easy to follow.” Toll Road User

Project background Citylink is an extensive toll road network that connects traffic from Melbourne’s northwest, including Australia’s second busiest international and domestic airports, through to the CBD and south east. It is owned by Transurban, a publicly listed company that also operates toll roads in other parts of Australia and the US.

What was the challenge? Our challenge was to redesign the toll invoices to

In 2016 the number of vehicles using Citylink was over 820,000 per day. 26% of toll road users did not have a payment arrangement (i.e. e-Tags/accounts). Transurban received no payment from 10-12% of these drivers – an average of 25,500 non-payers per day.

– drive payment using Transurban’s preferred payment channels

Our research showed that many of these drivers – typically visitors from interstate or rural areas – were unaware they had travelled on a toll road. Among Citylink account holders non-payment occurred when linked banking details were incorrect, no credit was available, or when vehicle details had not been updated. Under an operating agreement with the State Government, Transurban has 54 days to collect any unpaid tolls. If Transurban fails to do so, they receive no payment. The Government Road Authority may then issue a traffic infringement notice ($152 for each day of toll road travel). A common misconception is that Transurban collects money from these fines and plays a role in issuing them.

– improve payment within the required time frame – inform drivers that they had used a toll road (and explain what a toll road is) – encourage drivers to set up a Citylink account with automatic payment

– help drivers avoid receiving a traffic infringement (and improve customers perceptions of Transurban). We identified significant flaws with Transurban’s existing approach. – It misjudged the priorities of users, emphasizing ways to avoid fees rather than explaining why drivers had been invoiced in the first place. – The standard letter format made it difficult to find key information. – Alternatives to the preferred online payment option were ‘hidden’ on the reverse of the invoice. THE PREVIOUS TOLL INVOICE DESIGN Toll Invoice   

 

  

– We introduced a map of Citylink’s toll road network on the reverse of the invoice so drivers could actually see the journey they had been invoiced for.

– A 3 step process diagram illustrates what happens if the invoice is not paid. T OL L I NV OI C E – PAGE 2

If this invoice is not paid

 



  

        









  

                             



 



     





 



  

 

 



 















+002068+

<0000000000>

1 DAY 2 DAYS 3 DAYS

$152 $304 $456

What is CityLink? CityLink is a toll road network connecting Melbourne Airport, the City and the South Eastern suburbs.

In testing, participants were able to find 94% of the information they needed and take appropriate action 94% of the time. 14 Your outtravel of details 15 user tasks were performed at a success level of 100%. 2.16.01

Vehicle used for travel

2.16.02

TYPE

2.16.03

Car

REGISTRATION

ABC123

Toll travel

2.16.04

STATE/TERRITORY

South Australia

This invoice only includes charges for up to 3 consecutive days from the first travel date shown below.

DATE

TIME

DETAILS

11 March 2015 12 March 2015 12 March 2015 12 March 2015

21:59 08:43 11:22 13:01

Burnley Tunnel to Toorak Rd/Monash Fwy Toorak Rd/Monash Fwy to Punt Rd CBD/Exhibition St to Swan St Gibdon St to Footscray Rd

TOLL AMOUNT



   

 

<0000002393> +444+

    



*3041 47174383043 020415 $23.93 60







$7.14 $3.75 $1.50 $4.95

What was the effect? Since implementation 6 months ago, the response to our toll invoice designs has been extremely positive, both from drivers and Transurban employees (marketing, call centre and management). Toll invoice payments have increased, while customers have loved our design’s stepped visual approach. Early signs point to a successful outcome for both client and customer. 2.16.05

2.16.09

 

 

Victoria Police may issue a traffic fine for each day you travelled without paying.

Continued overleaf 2.16.07

SUBTOTAL

Summary of unpaid charges





If you still don’t pay, it will become a matter for Victoria Police.

– A table itemizes the driver’s trips, accompanying toll fees and charges.

2.16.06

  

+00001111111111>

We’ll send a Final Toll Invoice including a fee of $23.68. You’ll have 14 days to pay.

For map with current toll prices, visit citylink.com.au/tollcalculator

    





38

– Vehicle icons allow readers to quickly identify the type of vehicle the charges relate to (e.g. car, motorcycle).

– Trip information was difficult to find.



name: Alex Tyers company: Transmission Design e-mail: alex@transmissiondesign.com.au website: www.transmissiondesign.com.au

– The 3 main actions are shown as images, with support text underneath.

– make it easier to nominate another driver if they were not the person driving the vehicle



Contact:

What was the solution? We explored ways to present the toll invoice information visually, moving away from the previous text-based approach.

2.16.08

For charge enquiries, call 13 26 29

UNPAID TOLLS

INVOICE FEE*

TOTAL DUE^

DATE DUE

$17.34

$11.99

$29.35

3 April 2015

2.16.10

2.16.11

2.16.12

2.16.13

* This fee covers our costs to manually identify your vehicle, verify your details and send this invoice.

2.16.14

^GST included $1.58

Tax Invoice CityLink Melbourne Limited ABN 65 070 810 678 Issued under the Melbourne CityLink Act 1995 ® CityLink is a registered trade mark of Transurban Limited ABN 96 098 143 410 e-TAG is a registered trade mark of CityLink Melbourne Limited ABN 65 070 810 678 ®Registered to BPAY Pty Ltd ABN 69 079 137 518

Pay in person

$17.34


UP

SILVER KEEP IT

39


Category:

Financial

Project:

Macquarie Bank Mortgage Documentation and Bank Statements

What was the challenge? Macquarie is a global financial services provider with offices in 28 countries.

We were commissioned to develop a suite of customer communications to support these new products, including

While primarily offering financial investment and superannuation products, Macquarie has recently diversified their offering with a range of retail banking products, including home loans, savings accounts and credit cards.

– mortgage documentation (application record, consent form, loan offer and panel solicitor documents)

Contact: name: Alex Tyers company: Transmission Design e-mail: alex@transmissiondesign.com.au website: www.transmissiondesign.com.au

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– application and direct debit forms.

In order to develop mortgage documents that were user-friendly, we needed to push the boundaries of financial regulation. While some regulations are in place for the benefit of consumers (e.g. minimum legal type size), others such as the requirement to present financial information within boxed tables exist because ‘its always been done that way’ – ironically, these ‘legacy rules’ are an obstacle to achieving truly usable designs.

The scope of the project allowed us to maintain a consistency of design, tone and logic across the entire suite of these customer communications.

Macquarie also deliver ’re-badged’ versions of their products for other financial service providers, so the designs needed to be flexible to accommodate a range of branding.

– bank account statements – terms and conditions booklets


Some boring news for you

Like trees?

We’ve updated the terms and conditions for your account. See what changed at www.macquarie.com/transaction

Change to online statements at Macquarie.com.

First 5 years No change to credit limit.

UP

BRONZE KEEP IT

Year 6 to 30 Your credit limit reduces each month by an amount equal to a monthly principal and interest repayment.

Your credit limit

$0 Year 1

Year 6

EXAMPLE 1

Year 30

How daily interest is calculated

If your account balance is $140,080 at the end of the day, and your interest rate is 5.50% p.a. then the daily interest will be:

% Daily percentage rate*

5.5% ÷ 365

+

$ x

Daily account balance

$140,080

=

Daily interest charge

$21.11

*Your interest rate ÷ 365

EXAMPLE 2

Using an offset account to reduce interest charges

If you have $50,000 in your account and the balance of the linked loan account is $350,000, then interest will be charged on $300,000.

+

%

$50,000

Money in offset account

What was the solution? We introduced a number of informal ‘conversational’ elements within the documents, including colourful graphs and infographics, voice bubbles, ticks and crosses, timelines and tables

– explanatory text sits adjacent to legal text in the mortgage contract at points where readers may need help

– front page checklists give a sense of how to use each document

– generous use of white space makes reading the information less onerous and gives the documents a crisp, uncluttered appearance.

– a mortgage timeline gives customers a sense of progression through the loan application and approval process, while a statement timeline shows changes to variable interest rates that have taken place within a reporting period – transactions are split into months, making it easy to track debits and credits

– graphs show how loans are paid down over the contract period and how offset accounts function

Mortgage documents can now be delivered digitally and signed digitally, speeding up the approval process for customers.

$350,000

$300,000

Linked loan account

Interest is charged on this portion only

What was the effect? The new designs go a long way towards establishing Macquarie as the leader in the highly competitive retail banking space. The designs have been enthusiastically received by Macquarie, its affiliates, brand partners, and, most importantly, by customers, who describe them as ‘transparent’, ‘refreshingly open’ and ‘light years away from other banks’. “The new designs by Transmission really set us apart from our competition.” Jelena Babic (Macquarie Bank)

And we also extended the ‘friendly’ visual tone to the text presentation and content.

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Category:

Wayshowing

Project:

House of Education, Bonn

What was the challenge? In September 2015 the Adult Education Center and the Municipal Library of the City of Bonn, Germany moved into a new common home, the House of Education („Haus der Bildung“). These two institutions are located on varying floors, they adress different audiences and don’t share the same informational structure. The challenge was to make a clear distinction between the two destinations and at the same time develop a visually unified system with a strong identity. The highly unusually floor plan hampers intuitive orientation and makes it necessary to simplify the graphical maps to make the building legible. What was the solution? The Design is based on the metaphor of the mind map. It stands for the additive process of learning, the expansion of knowledge and the visualisation of connections. This image for non linear thinking provides a very interesting framework for the way finding system in this building, making the spatial layout of rooms visible through the positioning of typography.

Foyer with guidance and orientation plan

What was the effect? Throughout the way showing elements, the visitor’s position forms the centre of the mind map with paths to the destination-nodes and junctions. The visitor can retrieve information about location, orientation and guidance information in one layout. The almost completely graphical implementation with basically no additional hardware proves to be a light and cost effective solution.

Contact: name: Dietmar Götzelmann company: polyform – planen und gestalten e-mail: goetzelmann@polyform-net.de website: www.polyform-net.de

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Visitor guidance in the stairwell


GOLD

GOal!

Visitor guidance in the stairwell

Signpost to the library

Guidance system in the administration

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Category:

Wayshowing

Project:

Volksschule Edlach, Signage

What was the challenge? New pedagogical concepts should offer more open spaces to provide platforms for mutual learning and sharing experiences – particularly between years. This leads to a new and open architecture that poses new challenges to the signage design. The essential for this wayfinding is to mark the entire rooms instead of guiding to each classroom one after another. What was the solution? During the journey of growing up the signposts of education and signage design often lead towards the same direction. Overlapping those two disciplines, for the primary school of Dornbirn Edlach we use flags as an allocating nexus between classes and their rooms. Enhanced by different heraldic animals, a stronger sense for community turns classes into groups of discoverers and reflects their team spirit on the in- and outside. In an ideal case, the flags become a starting point for new rituals of the school community – like carrying their flags to gatherings or passing on to the new pupils. What was the effect? In a further adaptation, those emblematic animals created a tarnishing system, using its contrast to place the children‘s fantasy in between the outer world and daily school life. With reductive lightweight personal mark points and stories arise on glass and inspire whilst protecting the process of growing up in between two worlds.

Contact: name: Sigi Ramoser, Barbara Raich, Martin Platzgummer company: Sägenvier DesignKommunikation e-mail: ramoser@saegenvier.at website: saegenvier.at

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SILVER

GOal!

45


Category:

Wayshowing

Project:

Eli & Edythe Broad Art Museum Learning Lounge, USA

What was the challenge? The Eli & Edythe Broad Art Museum, designed by Zaha Hadid, is a decisive piece of architecture with a very uncommon floorplan. In the basement, underneath the main staircase is a children’s play area—the Learning Lounge. This area was not getting much traffic or attention. Michigan State University’s 3D Design class was tasked with pulling visitors into the space, creating a presence, and instilling unique character. What was the solution? The uncommon qualities of the building— tilting walls, strips of light in the floors and ceiling, angled seams in concrete and steel—provided inspiration for the visual system established. Lines of reflective vinyl bring visitors down the stairs from the first floor. The lines bounce off architectural details, and turn a corner to lead one to explore underneath the staircase. To instigate a child’s interaction within the space, an originally white wall now has a face of metal with custom magnets to create with, as well as colorful chalkboard paint to draw on. Based on the angles and proportions of the space, a series of striped foam blocks was created to sit on and build with. A wall graphic establishes identity of place. What was the effect? The Learning Lounge now attracts more visitors and engages children through hands-on experiences. The visual system fits appropriately, yet accentuates its unique purpose within the museum.

Contact: Kelly Salchow MacArthur Michigan State University Department of Art, Art History, and Design salchow@msu.edu www.art.msu.edu

46

Students: Brennan Barnes, Jenna Culliton, Ryann Davis, Evin Dixon, Nick Hallman, Kathleen Hennegan, Autumn Hilden,Danielle Klaver, Stephanie Nelson, Dani Pasco, Tamiria Perkins, Raven Powe, Stine Rønberg, Mehrdad Sedaghatbaghbani, Emily Simenauer, Tejas Soni, Abby Winchester


BRONZE

GOal!

47


Category:

Wayshowing

Project:

Lady Cilento Children’s Hospital

What was the challenge? The recently completed Lady Cilento Children’s Hospital, in Brisbane, Australia, is Queensland’s largest specialist children’s hospital, spanning 115,000 sqm. The hospital brings together the staff and services of two surrounding hospitals, into a single multi-purposed facility. The hospital will also act as a hub for a state-wide network of paediatric services, providing assistance to regional health facilities. As a joint venture between architectural practices Conrad Gargett and Lyons, the design of the hospital is based around the concept of a “living tree”, resembling a network of trunks, branches and leaves, providing internal spaces with an ordered hierarchy. What was the solution? With the architect’s intent considered, Dotdash has designed and integrated a wayfinding strategy which includes a collection of signage and environmental graphics to connect these spaces, and provide a cohesive system of navigation throughout complex external environments and internal spaces. As a component of the strategy, the architecture itself was reinterpreted as a wayfinding device. The incorporation of visual navigation cues such as areas of high contrast colour applied to walls and floors, highlight key decision points such as lift foyers and entrances. Colour provides further level identification within the hospital, with each floor allocated a single colour theme throughout. The internal directory signage takes the form of sculptural free-standing numbers, which act as landmarks and greet visitors

48


BRONZE

GOal!

on arrival. These sign types display directory maps which further utilise bold colour coding as a tool in creating an intuitive wayfinding journey. What was the effect? The wayfinding and environmental graphic components work in unity to distract from the nature of the hospital, creating a place where patients and their families could get the care they need with as little stress as possible.

Contact:

name: Domenic Nastasi company/organisation: Dotdash e-mail: dom@dotdash.com.au website dotdash.com.au

49


Category:

Wayshowing

Project:

Wellcome Collection, London

What was the challenge? In 2007 the Wellcome Collection opened, as the free visitor destination ‘for the incurably curious’. The venue enables the public to explore the connections between medicine, life and art. It became one of the fastest growing and most unique cultural spaces in London and their building needed to be redesigned to cope with ever increasing visitor numbers. Wilkinson Eyre Architects were asked to develop the space, including a new temporary exhibition gallery, Reading Room, Restaurant and Research Library. Key to the success of the project was radically improving access to expanded galleries, with the centrepiece of their solution being the creation of an iconic dynamic staircase.

We took the two L’s from the identity as the starting point for the grid and used them as the ‘building blocks’ for the wayfinding scheme. Using custom built acrylic blocks, we created bespoke signs for each location.

Our brief was primarily to create a solution that worked alongside the architectural improvements to ease congestion and improve visitor flow, encouraging more people to move to the higher floors of the Collection and ease ground floor congestion. More complex was the need to create a scheme that created greater brand awareness and inspired curiosity. What was the solution? We designed a wayfinding and graphic design solution scheme that projects their brand personality and tone of voice throughout the building, with an innovative use of product and materials, bespoke graphic design and individually designed iconography.

Contact: name: Lucy Holmes / Alexandra Wood company/organisation: Holmes Wood e-mail: info@holmes-wood.com website: www.holmes-wood.com © Photography Luke Hayes

50

What was the effect? The combination of architectural and wayfinding design changes has helped contribute to increased visitor numbers, married with improved visitor feedback about their experience.


SHORTLIST

GOal!

51


Category:

Wayshowing

Project:

Kindergarten Marktstrasse, Signage

What was the challenge? We developed a wayfinding system for the new building at Kindergarten Marktstraße. What was the solution? We had the idea of letting the children themselves come up with their own designs during the building phase. Their figures, pictograms and drawings tell us with childlike ease about their village, their kindergarten and their imagination. What was the effect? A non-place like a parking garage becomes a linchpin of children’s imagination throughout their drawings – this place becomes a blueprint of the children’s world view. The colour concept enables to differentiate the four classrooms. Individual icons for each child provide additionally orientation and create a first personal marking struture. Leading towards the emerging sense of type, a further and careful adaptation process inspired a typographical and symbolic wayfinding system, suited to be friendly but distinctive and blend in perfectly.

Contact: name: Sigi Ramoser, Tina Rhomberg company: Sägenvier DesignKommunikation e-mail: ramoser@saegenvier.at website: saegenvier.at

52


SHORTLIST

GOal!

53


Category:

Wayshowing

Project:

Deutsches Museum

What was the challenge? The new wayfinding system has been developed and is being implemented in parallel to the Future Initiative interim phases and must therefore be able to respond to ongoing changes related to the building structure and its contents, as the museum remains open to visitors. The challenge was to create a logical, legible and engaging system that communicates the diverse museum collections and guides visitors through the exhibition spaces and subject areas which are distributed across several floors and building parts. What was the solution? Through the use of unique symbols, Moniteurs created a visual language that is easily understood by the broad range of museum visitors including young children, experts and international visitors. The pictograms have been designed to be the primary wayfinding element, large in their size and to be understood without words and barrier-free. We developed different sign types for the museumâ&#x20AC;&#x2122;s exterior and interior spaces, including wall and ceiling signs and floor applications.

Contact: Moniteurs info@moniteurs.de www.moniteurs.de

54


SHORTLIST

GOal!

55


Category:

Wayshowing

Project:

Wayfinding for Moscow

Commencing with the city’s iconic Metro system – which is used by nine million people everyday – the aim was to improve the flow of people through the complex station environments, some of which have as many as fifteen exits and multiple transfer options. The main challenge was conveying the complicated environments clearly, whilst revealing transfers and end destinations, as the length of walk involved in making a mistake is significant.

What was the solution? A bespoke range of products have been designed and manufactured, to respect and compliment the environments in which they are situated. Every product is created for its specific location, providing tailored travel choices to enable people to move with confidence and identify their transfer, or guide them to their final destination with ease. Exits have been allocated numbers to allow people to follow them on direction signs along platforms and corridors. Intuitive maps and diagrams were designed to help people make informed decisions and act upon them with efficiency. These included heads-up pedestrian maps at key decision points, showing the city above ground when viewing it below ground, with subterranean routes overlaid onto geographic maps, in order to help people decide which exit to navigate to.

Client: Moscow Department of Transport Lead design & direction: City ID Industrial design: Billings Jackson Design

Typeface & pictogram design: A2-Type with Margaret Calvert, Cyrillic script created with Ilya Ruderman

What was the challenge? Moscow’s vision is to build a world-class, dual-language, multi-modal transportation network to improve the experience of the city for citizens and visitors alike. To help realise this vision, Moscow Department for Transport (DOT) commissioned the creation of a unifying visual identity and wayfinding system to seamlessly integrate all forms of movement across the city.

56

The dignified and elegant physical form of the product design is a response to the architecture of Moscow Metro’s interiors – the circle, which is a consistent architectural feature – is integrated as a signature component of the design language within the system. A responsive visual identity, also inspired by and rooted in the DNA of Moscow was developed as the voice of the system. Grounded in the fundamental attributes of legibility and international recognition, an iconic, bespoke font of four weights, together with a comprehensive set of pictograms that echo the expression of the font was created, alongside ornate and distinctive 2D and 3D building illustrations of Moscow’s top landmarks to aid orientation and encourage engagement with the information.

Cartography: City ID & Jason Clark Illustrations: City ID & Ocula Product manufacturing: Lindner Group


SHORTLIST

GOal!

What was the effect? The system has currently been applied across five Metro Station environments in the centre of Moscow, prototyping the range of information and product types, and testing the locations in which they are situated. User feedback captured on site and through social media, reports the system has been very well received. The system has been designed to be rolled out by Moscow DOT and is now being extended to all 190 Metro stations, as well as other modes of transport including bike share, tram, trolley bus and bus – with bespoke shelters, real-time information totems and supporting street furniture.

Contact: name: Matt Jephcote company/organisation: City ID e-mail: matt.jephcote@city-id.com website: www.city-id.com

Moscow Sans

ExtraBold — Latin + Cyrillic

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01123456789 | 0123456789 ЏАБВГДЕЖЗИЙКЛМНОПРСТУФХЦЧ ШЩЪЫЬЭЮЯ абвгдежзийклмнопрстуф Moscow Sans Terminals  хцчшщъыьэюя <>������

ABCDEFGH abcdefghijk 012345678 Moscow Sans

Moscow Sans

Moscow Sans

Metro line numbers

Metro line numbers

Metro line numbers

57


Category:

Wayshowing

Project:

St. Michael’s Fortress

Color coding of Šibenik’s medieval fortification system (4 fortresses) has also been incorporated into special purpose signs on viewpoints. St. Michael is light blue, St. Nicholas is green, St. John is dark blue and Barone Fortress is orange.

Light blue line is detail added to all signs that offer main informations related to this particular Fortress.

What was the challenge? Built on Adriatic coastline of Croatia, on a 60-meter-high rocky hill above the channel, St. Michael’s Fortress is the central point of Šibenik’s fortification system and the core around which the medieval town developed. The oldest preserved parts of the fortress date back from the 13th century, but most of them are from the 15th and 16th century. Given that the Fortress as fortification was never fully completed because of possibility for future adaptation in military technology, after renovation in 2014, a new layer of signage needed to represent the 21st century. Challenge was to answer the needs of 150 thousand visitors a year while

What was the solution? Being a fortification monument presentes many design constraints, which were the driving force for shaping the signage system. All design principles were formed keeping them in mind, so that the final form feel like extension of site, rather than imposing itself. Sign placement is a direct consequence of studies and consultation with building staff regarding on average time spent in main spaces and frequent visitors destinations. Several types of signs were designed and placed at various locations around the site. Each sign type has a different function and size but uses a common design theme in form of consistent use

58

at the same time coping with the strict regulations of the monument conservation. Matter involved interdisciplinary approach of architects, designers, manufacturers and historians. Risks and expectations were identified, and a shared vision for project was constructed together in order to accomplish harmony with architecture and to make visitors’ experiences more memorable, exciting and worthwhile. Site needed to be user friendly and have visible navigational system for first-time visitors and citizens, thus creating a sence of place with clear and consistent information through a variety of wayfinding tools.


EDITORS CHOICE & SHORTLIST

Wall-mounted indoor signes create interrelated system based upon 8 possible combinations of main module, thus paying tribute to diversity of architecture and declaring that a place that once served for war purposes, now belongs to artists.

of font and color to achieve visual cohesion. Pictogram system is designed as visual interface, to capture attention from a distance and to be language neutral. Basic shape was designed to complement chosen typeface, after which additional details were added until an optimal level of complexity and detail was obtained to maximise visibility and comprehension. The thinking and design development went much deeper than the core elements, as the series of special purpose signs for mapping cultural heritage became significant part of the wayfinding system. Historical markers were designed to reflect on histor-

ic resources, persons and events that are significant in areas of archaeology, history od Šibenik and traditional culture.Their purpose is to increase awareness of the rich cultural heritage pointing out the key destinations and organizing the visual and verbal cues within and outside the Fortress. Also, it’s was vital to ensure that visitors, regardless of any disability or impairment that they might have, do not experience barriers within the Fortress. The vision of signage system was to be more accessible so it would bring economic, social and cultural benefits not only to those wanting to visit but also to citizens of Šibenik.

GOal!

Destination signes have tactile Braille writing to improve visitors’ accessibility.

What was the effect? Current visitors and client feedback is very positive, but it is still in process of formal evaluation. Mesuares of success will include visitors feel of welcome and safety, number of visitors attracted and satisfied, usability and accessibility. On long-term basis, the value of project should reflect on local economy and capitalize the positive attributes of the community.

Contact: Karlo Kazinoti, Mišo Komenda, Iris Klaric kK graphic design studio info@kkazinoti.com, iris.klaric@gmail.com kkazinoti.com, behance.net/IrisKlaric

59


CATEGORY: TRAFFIC AND PUBLIC TRANSPORT PROJECT: ÖBB – DIGITAL TRANSFORMATION

ÖBB – Digital Transformation Relaunch of all digital travelling services

What was the challenge? Georg Lauber, member of the director’s board of ÖBB, gave us one particular goal for the new ticketing app.

“My goal is that a regular customer needs no longer than five seconds to buy a ticket. How you make this happen is totally up to you!” GEORG LAUBER MEMBER OF THE BOARD OF DIRECTORS

Our response? Challenge accepted!

CONTACT: name: Keqiao Xu company/organisation: ILLUSTREE e-mail: keqiao.xu@illustree.at website: www.illustree.at/work/oebbdigital-presence

60

What was the solution? We created an product that is far more than the sum of its components. It is a smart tool for smart customers: Fast, simple and always up-to-date. An complete and consistent but nonetheless visually rich experience, which covers not only the ticketing but all services around the journey. It connects the consumer touchpoints like web and mobile apps with the info-screens and the onboard-portal on the trains.

What was the effect?

“The new online and mobile ticketing has been received very well. The booking figures of the new app and website has exceeded all expectations!” ÖBB

Success in figures 500k+ downloads of the ÖBB App +50 % more bookings via the website and the mobile app +112 % more mobile tickets sold than in 2015


tiCket pleaSe

GOLD

17:11 MI, 17. SEP

dep Wien

Danke für Ihren Kauf!

+via

11:00 arr Salzburg

17:11

Wir haben Ihre VISA-Karte mit € 49,90 belastet und eine /** Bestätigung an sandra.gruber@gmail.com geschickt. MI, 17. SEP WHO IS GOING? @id HEAD-287-EN @name 0200 Schnellstart dep Wien Westbahnhof */

*/

/**

AttnangPuchheim Trainstation /** Platform 1 @id HEAD-006

Mit einem ÖBB Konto können Sie in Zukunft

@name Reisebegleiter_iOS @persona @use-case

MI, 17. SEP

noch einfacher Ihre Tickets kaufen. @id HEAD-237-EN 08:30 Wien Westbahnhof @version 001 1 × Adult @name 0400 JETZTVerbindungen REGISTRIEREN

10:52

€ 24,00

Salzburg Hbf

to the basket

*/

ZUR STARTSEITE

@id HEAD-184-EN @name 0500 Angebot */

show Tickets zeigen ticket

10:00 dep

IC

/**

Travel companion

1 × Adult Speichern Sie Ihre Angaben für das 11:00 nächste arr Mal Salzburg Haupt-

Here is your mobile ticket, have a nice journey!

Intercity 546 destination Salzburg Hbf is now ready for you on Platform 1 Departure in 9 min

Tapped too quickly? Don't worry! You have 3 minutes left to undo your purchase. The purchase price will be refunded completely!

Intercity 546 destination Salzburg Hbf

UNDO PURCHASE

/** @id ICON-022 @name arrowdown-grey */

2 stopps /** @id ICON-022 @name arrowdown-grey */

Wien Westbahnhof > Salzburg Hbf

10:52 arr

gültig 17.–18. Westbahnhof > Mai Salzburg Hbf

Platform 3

1 × Erwachsene/r Wien

After 2 h 22 min arrival in

1 × Adult 51,10) Bitte nicht vergessen: Um(€Ihr Handy-Ticket zu zeigen, benötigen Sie auf Ihrer Reise:

Salzburg Hbf

in 26 min Departure from Platform 7 • genau dieses Gerät

U2 U2 U3 U3

• mit dieser App. Railjet

Wenn Sie Ihr Ticket z. B. lieber Ausdrucken wollen, können Sie es bis12:30 zum Fahrtantritt noch umwandeln: dep arr 14:52

TICKET IN ANDERER FORM ERHALTEN EARLIER

LATER

/**

@id 07-041-EN @version 002 @name mit Homebutton Postcheckout Screen mit Home-Button oben */

RJ RJ

You have 20 min to change.

Bus Bus

Rail replacement bus service from Salzburg Hbf to Schwarzach-St. Veit Hbf

/** /** /** /**

Railjet Euronight EN EN @id @id Verkehrsmittel Verkehrsmittel /** /** 04-015 04-015 @id Verkehrsmittel @id Verkehrsmittel Intercity @name @name Mindestpix/** 04-021 Mindestpix04-005 @id Verkehrsmittel 04-022 @name 2h22min @name Euronight elbreiten elbreiten 5h23 5h23 min min */ */ */ */ -Intercity @name bezogen auf */ 2h52min

/** @id ICON-050 @name arrowRight-lightfont */

Due to a weather-induced routeblock, this train is operated between Linz Hbf and Salzburg Hbf with rail replacement bus services.

9h44min

More information

*/

*/

13:08 dep

Platform 1 Rail replacement bus services direction Wörgl /** @id ICON-022 @name arrowdown-grey */

3 stopps /** @id ICON-022 @name arrowdown-grey */

14:10 arr

Platform 2

After 1 h 02 min arrival in

SchwarzachSt. Veit Hbf You have 20 min to change

14:30 ab

/** @id ICON-044 @name arrow-down-white */

Bahnhofsvorplatz Bus 580 Richtung Goldegg im Pongau Weng

61

/** @id ICON-022 @name arrowdown-grey */

3 Zwischenhalte /** @id ICON-022 @name arrowdown-grey */


Category:

Traffic and Public Transport

Project:

ZenWay

What was the challenge?

What was the solution? •

First, RATP deployed on its network the traditional P.I.L.I., a map with light indicators which allowed, by pressing a button, to visualize a route on a metro map and that has proven itself. The challenge was to provide a new, simple and intuitive touch screen to inform the passengers in stations and railway stations in less than three clicks.

Designed by User Studio, relying on Ixxi and RATP passenger information solutions, ZenWay® offers direct access to all urban mobility and proximity data. Multilingual and meeting accessibility standards, the information delivered by the screen is adapted to the specificities of the place where it operates. The screen is specially designed for deployment in public places and integrated within urban furniture. Attention has been given by User Studio to the user experience and user interface, in order to make the navigation intuitive and simple, with a special focus on accessibility for people with disabilities

The aim was to take into account the different user profiles : from occasional riders, who would use the interface once or twice during their stay, to frequent riders but also people with reduced mobility or sight disability, while maintaining the simplicity of the former P.I.L.I.

Contact: name: Nathalie Rochet company/organisation: Ixxi e-mail: nathalie.rochet@ixxi.biz website: www.ixxi-mobility.com

62

furniture Controls located at the bottom of the screen to promote accessibility

ZenWay® provides additional information to other connected mobility tools, mobile applications and real time multimodal screens. Thanks to this screen, riders have access not only to information or services relating to transport but also to neighborhood information (map, restaurants, hotels, tourist sites nearby, with the pedestrian paths to get there and availability off the Vélib ‘stations (à confirmer pour la nouvelle version). What was the effect?

The features of ZenWay® are: • Consultation of the maps of line and stop. The user can also use the search by name using a numeric keypad • Simplified route search to the most tourist places or airport • A detailed roadmap with the next passages in real time and travel times • The possibility to take a picture of the roadmap on a smartphone • Two levels of map : neighborhood and network • Accessible and anti-vandalism

Following a satisfaction survey carried out by the BVA* institute with a thousand passengers who tested the Zenway, 92% of the riders are satisfied with the service. According to 9 out of 10 users, ZenWay® is an easy and intuitive tool that fully satisfies all users (tourists, occasional and frequent users, etc.). Its technical qualities and the efficiency of the service are considered very satisfactory. • 96% of respondents are satisfied with the sensitivity of the touchscreen and the speed


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*BVA is a research and consulting company specializing in behavior, and is recognized as one of the most innovative leaders in the sector.

• •

• • • • •

91% predict to re-use it if they need information 100% are satisfied with the aesthetic, the height, the lighting, image quality of the screen 96% are satisfied with the smooth functioning of the service 96% are satisfied with the sensitivity of the touchscreen 96% are satisfied with the speed to access information 99% are satisfied with the system response time 83% obtained the information they want

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Madeleine, Gallieni, Concorde, Porte Maillot, Marne-la-Vallée Chessy, Gare du Nord, Val d’Europe, Saint-Lazare, Franlind D. Roosevelt, Palais RoyalMusée du Louvre.

Verbatim: “This screen is great, it is intuitive to use, riders like tourists or even children, use it quite a lot, ...” “Very well, it’s tactile, people take it in hand.” Did you get the required information? Almost

11% Absolutely

6%

Not at all

83%

In agreement with the transport authority of Paris (STIF), 60 screens will be progressively deployed on RATP network. Twenty screens have already been installed at the following stations and stations: Gare de Lyon, Montparnasse, Charles-de-Gaulle Etoile, Denfert- Rochereau, Les Halles,

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Category:

Traffic and Public Transport

Project:

Bicycle Rules Amsterdam

What was the challenge? More and more people in Amsterdam use the bike as preferred way of transport. The municipality encourages this culture, although many cyclists need many bikes and a good bike infrastructure. In the last years it had become a big challenge for Amsterdam to ensure that there is sufficient parking for cyclists, that cyclists use these amenities and know how to find them. For an optimal findability of the bicycle racks and a clear, consistent communication regarding the bike parking rules Mijksenaar has advised and designed a parking strategy that next to communication on bicycle rules could ensure optimal use and findability of the existing parking capacity called: ‘Bike Rules’. Amsterdam is the city of bikes. Nearly every resident of Amsterdam owns a bicycle. With an estimated 800,000 bicycles in a city of 811,000 residents, it is estimated that there are almost as many bikes in the city as there are permanent residents. From couriers to police officers, everyone’s on two wheels and many visitors marvel at the multistorey bike racks. Amsterdam residents cycle about 2 million kilometres each day and in rush hour, between 16:00 and 18:00, 3500 cyclist pass through the Weteringschans alone. This great amount of cyclists is something we are very proud of in Amsterdam. Only the shortage of a good cycling structure causes nuisance. A big part of the nuisance is caused by the fact that cyclists abandon their bikes and leave the municipality with what they call: ‘a big iron supply.’ Out of 10 bikes, 6 used to be placed within the bicycle rack, 4 outside. Actually, in 2015 15% of the bikes in the racks weren’t used which accounted for 40.000 bikes.

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From a poll, 85% of the population of Amsterdam feels annoyed when these bikes ‘occupy’ their bike spot. Besides, 60% is bothered by these bikes contaminating the streetscape. Amsterdam residents wanting to park their bike at Amsterdam Central of Amstel can spend a great amount of time trying to locate a suitable and safe place to park their bike, and out of frustration eventually leave the bike against a tree or bridge eventually causing serious accessibility problems. For years bikes have been the solution for the accessibility problems: cycling reduces road traffic and numbers of people using public transport, and bikes are the primary form of transport to and from railway stations. It is exactly at these locations that bicycles have come to be seen as problem in recent years: pollution in the public space that also impairs accessibility at stations.

cognitive psychology, VU), Gerard Tertoolen (founder of XTNT and traffic psychologist) and Henk Siemonsma (Dsgn frm) acted as our sounding board. The programme started with two pilots in a bike-lab and a 0-measurement at two sought-after places: the public library and the central station. We did a 1-measurement with our prototypes and the 2-measurement gave the results of our final designs that we by then had put into use. These measurements have been executed by OIS, an independent research agency.

What was the solution?

We have chosen the colour green to show that it is a favoured action. The colour red would signify a prohibited action, although it is the colour associated with Amsterdam. Also, the colour green is the national bike colour in the Netherlands, used throughout the country for bicycle roads and junctions. Furthermore, green is the colour for sustainability. As bikes are inexpensive and indispensable modes of transport that are ‘cleaner’ than other forms, the colour green is often related to biking.

The solution is to create a greater capacity of bike racks and parking space, ensuring removal of all wrecks and abandoned bikes and making better usage of the existing parking capacity. As space for bicycle parking in Amsterdam will always be limited, the municipality of Amsterdam asked us to design a parking strategy that next to communication on bicycle rules could ensure optimal use and findability of the existing parking capacity.

We used as less text as possible to be able to convey clearly and concisely. The text on the signs shares the message of the set rules on bike parking that every cyclist (already) should know and the consequences of not following them. Next to text we developed the most optimal places to place the signage. One example is the rule tiles, on the ground near the parking racks so that cyclists will see the rules during the act of placing their bikes.

Together with the municipality we co-created a solution to this problem. We looked into the needs of the users with interviews and worked together with everyone concerned in the whole ‘bike-parking-chain’: from law enforcers to policymakers. Chris Olivers (Professor

What was the effect? The results of the measurements were tremendous: on the 0-measurement only 31% of the respondents were aware of the bike rules. This had grown to 48%


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on the 1-measurement and a staggering 72% on the 2-measurement. There has been a grown awareness of the rules and the consequences to these rules. This has led to better parking of the bikes and maintaining an optimal parking capacity by the municipality. By creating these signs, we subliminally designed the behaviour of cyclists which is slowly is changing the Amsterdam streetscape. Since rolling it out 2016 we have been approached by all the big municipalities of the Netherlands; Rotterdam, The Hague, Amersfoort, Utrecht and Alkmaar. Cycling infrastructure inconvenience will not only be limited to the Netherlands in the future as cycling itself is becoming a more favourite way of transport all around the world. Especially in cities such as Copenhagen, London, Valencia, etc. With this project we hope to set an example, be an inspiration and develop bike-parking culture. This project was developed for our client, the Municipality of Amsterdam.

name: Rijk Boerma company: Mijksenaar e-mail: derooij@mijksenaar.com website: www.mijksenaar.com

photo: Marjolijn Pokorny

Contact:

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Category:

Traffic and Public Transport

Project:

The City of Newport, New Jersey

What was the challenge? Newport is a mixed-use community that occupies 1.5 miles of Jersey City’s Hudson River Waterfront and is home to retail, residential, office, and entertainment facilities, along with numerous parks and public spaces. Two Twelve was engaged by the Newport Associated Development Company to create a cohesive wayfinding system that firmly establishes a sense of community and belonging among Newport’s resident and creates a clear sense of place for visitors to the community, ultimately enhancing awareness of Newport’s offerings for both residents of the community and visitors alike. Initially Newport was not discernible from nearby neighborhoods, making the arrival moment easy to miss. The retail areas tended to be experienced as separate zones instead of as a single destination and were not visible or easy to find from PATH and Light Rail stations.

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What was the solution? Two Twelve evaluated the current signage for the new wayfinding program with an eye towards unifying the signage aesthetic and eliminating clutter. One of the primary goals of this project was to extend Newport’s brand aesthetic to its exterior landscape. Our team drew upon the surrounding waterfront to develop the signage design, which features nautical themed details, and the bright teal and green of Newport’s brand colors become a beacon for locating wayfinding information. We also developed a flexible kit-ofparts for community rules and regulatory signs, deploying more supportive language (more do’s than dont’s) in order to ensure that these messages were conveyed in a user-friendly way and have a positive, welcoming effect on visitors and residents.

With close proximity to PATH and Light Rail stations, NJ Transit bus service, NJ Turnpike, the Holland Tunnel connecting to New York, the signage program directs vehicular traffic to parking and from there encourages exploration of destinations within the community. Logical wayfinding directionals at pedestrian-scale support visitors by foot and by bike, and directs residents and visitors from and to nearby transit options and destinations. An important element of the plan for Newport was a wayfinding system that could be implemented in stages, allowing for expansion over time and logical sequencing of information no matter the mode of transportation. What was the effect? The result is a holistic signage program that is an extension of the brand – fostering community and warmth by welcoming visitors.


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Contact: name: Jennette Cheung company/organisation: Two Twelve e-mail: marketing@twotwelve.com website: www.twotwelve.com

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Category:

Traffic and Public Transport

Project:

Tokyo Metro Passenger Information System

Tokyo Metro Passenger Information System This newly developed banner-type LCD has an aspect ratio of 1:4 and can display two train lines. Given that Tokyo Metro has one of the most sophisticated and precise operations systems in the world, it requires a PIS that coveys a greater volume of information than anywhere else in the world. [Left] Banner-type LCD [Top right] High Definition LCD [Bottom right] Microbanner LCD Banner-type is the standard model. High definition LCDs are used in large-scale stations with high ceilings, and microbanner-type LCDs are used for lower ceiling heights of approximately 2.2 meters.

What was the challenge? Tokyo Metro is a massive subway network that has nine train lines covering 200 km of tracks that service seven million people in central Tokyo each day. The network includes seven lines that have direct connections to other railway companies on each end. If those lines are also included, Tokyo Metro has 500 km of connected lines. The Fukutoshin Line has the most links to other lines, allowing passengers to utilize five different railway companies without changing trains. The shortest interval between trains on the Tokyo Metro lines is only one minute. Other than emergency situations, Tokyo Metro can boast of maintaining a precision timetable that is never more than one minute off schedule. One very important challenge is that

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information must be conveyed in a way that can be clearly understood by a multitude of passengers that run the spectrums of age, disabilities, education and dialects.

specifications were scrutinized together with Tokyo Metro and railway signal systems and equipment manufacturer, Nippon Signal Co. Ltd.

As the 2020 Tokyo Olympics approach, foreign language supported information will become vital in supporting the ever increasing number of foreigners who will also be utilizing subway services.

As described earlier, the complexity of Tokyo Metro railway network necessitates the conveyance of large amounts of information, but due to subway ceiling height restrictions there are many places where standard high definition LCD cannot be installed. That is why Tokyo Metro and Nippon Signal decided to develop and employ horizontal banner-type LCDs. Up until now, a banner-type LCD was yet unprecedented, so final designs had to be created through repeated discussions with the two companies, contemplating what kind of information to incorporate, and to consolidate such differing informational elements as routes (directions, destinations), schedules and delays, number of

What was the solution? A PIS (Passenger Information System) renewal project was started in 2010. First, data was collected through passenger and Tokyo Metro staff questionnaires, and then analyzed to determine what kinds of information needed to be provided. Concurrently, future approaches to the display of information and flow control installation plans were proposed, and display content and display equipment


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SHORTLIST

Saitama pref.

Original

Tobu Railway Tojo Line

Simulation - Protanopia

Seibu Railway Ikebukuro Line

Simulation - Deuteranopia

Ikebukuro

Tokyo

Tokyo Metro Fukutoshin Line

Tokyu Corporation Toyoko Line

Simulation - Tritanopia

Shinjukusanchome

Shibuya

Yokohama Yokohama MM Railway MM Line

Kanagawa pref.

Tokyo Metro Transit System Tokyo Metro has continuous routes with direct links to other railway networks on each end that allow passengers to access the routes of other companies without having to change trains. The Fukutoshin Line, for example, provides direct connections to the lines of four other railway companies.

Four-language Service Other than Japanese and English, the languages most used by tourists in Japan are Chinese and Korean. In preparation for the Tokyo Olympics in 2020, Tokyo Metro will install Japanese, English, Simplified Chinese and Korean language displays in all stations.

[Top] Universal Designs Demonstration testing and monitoring are currently being conducted on all displays in an effort to accommodate color vision deficiencies and achieve universal designs. [Bottom] Railway Pictograms When Tokyo Metro first opened in 1927, it was the first subway in Asia. Its history has been reflected in the designing of a pictogram in the likeness of the trains that first ran at the time.

stops (local, rapid, semi-rapid), etc. into a congruous format. Finally, in 2012, a prototype was developed. Two Tokyo Metro stations installed the prototype and demonstration tests were conducted.

languages shared no common font family.

Metro lines and stations will need to be installed by 2019, and it is anticipated that the same PIS will become a standard for all railway networks in Japan. In fact, this project has become the model upon which other Japanese railway companies have been developing their PIS, and it is expected that by 2020, similar systems will appear nationwide. It seems that railway companies from each of the other Asian countries have taken an interest in this project, as well, so expectations are high that it will influence PIS far beyond Japanâ&#x20AC;&#x2122;s borders.

During the demonstration testing, feedback was collected from passengers and station staff for evaluating and reassessing the design. The prototype had only supported Japanese and English, but upon Tokyo winning the bid for the 2020 Olympics, work began on integrating Simplified Chinese and Korean.

An extensive number of fonts were juxtaposed and, finally through trial and error, similar fonts that maintained a uniform design among the three languages were selected. In addition to a superficial design, we proposed signage to Tokyo Metro that went beyond simple translation and could be used in subways abroad (unfortunately, many of them were not adopted), all with the goal of creating a higher-quality design that could be easily understood by both Japanese and foreign passengers.

Although the English and European alphabets clearly differ from Japanese characters, there is in fact a great deal of difference among Japanese, Chinese and Korean characters, as well. At the time we began this project, the three Asian

What was the effect? As of now, this project PIS has only been installed in two of the nine subway lines, so it is still difficult to assess its impacts in full. However, in preparation for the Tokyo Olympics, a universal PIS for all of the Tokyo

Contact: name: NANMOKU Toworu company/organization: Ginza Design of Communications GsK e-mail: nanmoku@ginza.design website: https://ginza.design/

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Category:

Universal Design

Project:

»Wagnerhäusl« – a multi-sensory exhibition space

What was the challenge? In 2014 we were asked by the Glentleiten Open Air Museum (Southern Bavaria) to develop an exhibition space especially for blind and visually impaired persons. Situated in an historical building from 1825 it is anything but barrier-free. There are steps and stairs, low door cases and low ceilings. What was the solution? In several meetings we learned a lot about the needs of visually handicapped from persons who are directly concerned or who work closely with blind people. The socalled »Wagnerhäusl« shows the everyday life of a wagon-maker. The exhibition vividly demonstrates the former way of living with various exhibits. Tactile objects and tactile or auditive explanations discribes the exhibits in a multi-sensory way. As material we choose a light-coloured wood (maple) in combination with high-contrast magenta-coloured elements. The bright magenta signalizes everything that can be touched. In every single room there are audio points – they give both orientation and background information. What was the effect? The »Wagnerhäusl« is a place to hear, to feel an to understand. It is an offer for everyone: for blind and visually impaired persons but also for people with normal eyesight and especially for children. They love having the opportunity to touch many objects and to work in the discoveryworkshop (»Entdeckerwerkstatt«).

Contact: Andreas Koop designgruppe koop info@designgruppe-koop.de www.designgruppe-koop.de

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Category:

Universal Design

Project:

Les Docks Marseille North facade

What was the challenge? The project represents a meeting point between geography, territory, city and history. It marks the beginning of a dialogue. What was the solution? On the north side, exposed to the brunt of the Mistral, writing has become architecture. This is public writing which exceeds the normal order of epigraphy and the bi-dimensional decorum of inscriptions by transferring the alphabetical sequence of architectural order with a meaningful experience of space. The Docks, being a living form, evolve into a narrative. The words, extracts from ‘Les Écrivains et Marseille’ (Writers and Marseilles), are taken from various periods of time and offer a passionate human testimony of the city. Here there is poetry, a chronicle of the town, but it also plays an important role in the history of Marseilles’ economy, politics, culture and people. The crossroads of Mediterranean and eastern civilizations. In the same way, the archi-graphic writing – giving a meaning to the creation of the place – assigns its matter, its various spaces, to an innovative poetry of architectural value. What was the effect? the creation of a vast page of texts cut out of sheets of aluminum with a typography made up of four variations of lettering styles. - H.31 m, L.37 m, Dimensions of the facade - 1.500 sqm, Surface area of the work - 445, Number of aluminium sheets used - 5.154 Number of words used

Contact: name: tapiro company: tapiro communication design e-mail: studio@tapirodesign.eu website: www.tapirodesign.it

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Font: Predi/Line 1

Font: Predi/Line 2

- Typeface used Predi/Line 1.2.3., achieved using the Predige font(Type Dynamic 2014) required for the creation of this work. - Dimensions of the new north face of the

Docks: H.31 m, L.37 m - Surface area of the work: 1.500 sqm. - Laser-cut steel letters. - Stainless steel per sqm: 14 tons. - Number of sheets used for the composition: 445.

- Number of words used for the composition: 5.154.

Font: Predi/Line 3


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ALCLLUSIVE IN

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Category:

Emergency / Safety

Project:

Guemil, icons for emergency

What was the challenge? Considering the needs of users on emergency situations, an information design challenge is to represent recognisable and multiâ&#x20AC;&#x201C;cultural units of communication for decisions in critical contexts. Pictographic systems are internationally used resources to deliver visual information for safety Before > During > After an emergency, oriented to multiple platforms and spaces. What was the solution? Guemil is an open pictogram initiative, oriented to represent visual information in risk and emergency situations. Packed as a downloadable, open source typeface, it makes available a standard, graphic tool for diverse stages and platforms of information. As a symbol of writing system, Guemil takes its name from Mapuche iconography. It represents domain of science and knowledge as well as manufacturing and the art of transformation. What was the effect? Guemil becomes applicable to multiple contexts: Icons are simple and useful resources for design and communication research. It is currently available as an open source typeface for communities and organizations. Today, the visual design of icons is in a testing process to know about meaning and differences in a global context. Test forms are available for international open answering. The project is associated to Design Network for Emergency Management (dnem.org).

Contact: name: Rodrigo Ramirez company/organisation: Guemil Project e-mail: guemilproject@gmail.com website: www.guemil.info

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Category:

Corporate Design

Project:

Tiroler Dialekt Archiv

What was the challenge? The Tiroler Dialekt Archiv (Archive of Tyrolean Dialects) stores dialect notations from more than 120 municipalities and towns throughout North, East and South Tyrol, which have been collected and registered starting in the early 70s and continuing up through present day. The archive focuses intensively on language — specifically on the different variations and distinctions of language: “Dialects are subtle nuances of the language.” So how does an appropriate visual appearance look like for this institution? What was the solution? Dialects are always tied to a location. The relationship of language and those locations is visualized by means of a dynamic system – the appearance depends heavily on the unique characteristics of the specific dialect of the region, therefore the appearance is different in e.g. Innsbruck than it is in Kitzbühel. This dynamic system illustrates the relationship of the archive to the Tyrolean language itself. What was the effect? A visually striking appearance and a conceptually strong idea in the corporate identity allows the relatively small archive to have a bigger impact; more publicity leads to more funding, and therefore the ability and confidence to continue their meaningful work.

Contact: name: Florian Gapp company/organisation: florianmatthias e-mail: info@florianmatthias.com website: www.florianmatthias.com

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Category: Corporate Project:

Design and Communications

Improving Collaboration and Understanding Through Visualising Complex Policy

1 What was the challenge?

What was the solution?

What was the effect?

Family and Community Services (FACS) are a government department responsible for a broad and challenging range of social policy work in New South Wales, including statutory out of home care (OOHC) for children and young people. In recent years, the provision of this care has moved to a partnership between FACS and the non-government sector, particularly in the areas of placement and case management. Managing this relationship well is fundamental to ensuring good outcomes for children, young people, families and carers in OOHC.

Our goal was to create documents that dramatically enhanced caseworkers’ understanding of the policy and process for how the relationship should work, in an accessible and easily navigable way. This required refocusing the documents from compliance to the end user, a much clearer and tighter organising structure and a preference for visual rather than word-based communication.

Together, the two documents allow caseworkers to better understand the key aspects and structure of the policy as well as the detail that sits behind it. They have succeeded in making information easier to both find and understand, and the user-friendly format allows easy navigation of the process and clarification of roles and responsibilities.

When FACS approached Second Road, the way the relationship should be managed was articulated in two key modes: a 30 page policy document and a similarly lengthy table of over 130 compliance requirements. The language was mostly bureaucratic and the table was hard to comprehend and navigate. The challenge was to create new artefacts that dramatically lifted their usefulness and accessibility.

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The first document helps orient staff around the policy. It includes a high-level overview of key information and clear descriptions of the main roles and stages in the OOHC process, guiding principles and responsibilities, straight forward answers to common questions and a visualisation of the interactions between agencies. Accompanying this is a document and poster that visually communicate specific detail around the policy. As well as clear, step-by-step descriptions of activities, colours and icons are used to visually identify important information such as responsibilities, exceptions and other references and resources.

‘‘Feedback on the design of the policy and guidelines has been overwhelmingly positive. Practitioners have told us that the visual layout of the child’s journey and the use of colour and symbols is appealing and a huge improvement on a Word-based format...this feedback suggests the design has contributed to improving the use of the policy and guidelines by staff which in turn contributes to better understanding of key case management tasks and the different roles and responsibilities...in case management service delivery.” - Senior Project Officer, FACS

Overall, an improved understanding of the guidelines, roles and responsibilities, interactions, steps and resources required by staff ensures that the best outcomes are achieved for all involved, further allowing caseworkers to focus on and support the most vulnerable families.


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Poster format (opposite)

A key aim of the design was to bring the information off the page and make it clear, engaging and discussable. A poster format allowed for this, while at the same time accommodating the necessary detail for each stage of the journey. 2 2

The scale of the poster allows staff to use it as a communal reference tool, opening the space for discussion and collaboration. 3

3

Poster interaction

Example of process detail

Complex information has been presented in a simplified and user-friendly format that uses icons and colours to denote important information. Examples include showing who is responsible for decision-making at each stage, when collaboration between agencies is required and when the child or young person must be involved. The document also provides additional detail for staff such as relevant document templates and legislative references. 4

Policy overview

The policy overview document sets out the overarching context and key information for the policy in six succinct pages.

Contact:

4

name: Julian Jenkins/ Jessica Browne company/organisation: Second Road email: julian.jenkins@secondroad.com. au/ jessica.browne@secondroad.com.au

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Category:

Corporate Design and Communication

Project:

»Anti-Öde-Heft« – anti-boring-booklet

What was the challenge? Spend time in an orthodontic practice waiting room sounds absolutly not like fun. Especially not for children and teenagers in the age between 8 and 17 years. How could these patients be cheered up a bit without entertain them with electronic devices such as televisions or tablets? What was the solution? The simple idea of keep them busy with quiz games led to the »anti-boring-booklet« which is also the title of this brochure. It includes quizzes, drawing tasks or funny stories which have to be completed. All the animals were especially illustrated and refer to the specific area of the southern west part of bavaria, Germany. Each of them is part of the quiz or task with its unique character, a lovely smile and mostly big – and of course – healthy teeth. The design is part of the hole branding for the orthodontist. The animals and bright colours are also placed in the practice interior in many different ways to create an unique and casual atmosphere. What was the effect? The »anti-boring-booklet« is stored in the waiting room and could be filled in by the patients. It is printed on certified 100% recycling paper and in greyscale to ensure an easy use for pencils and give the opportunity to colour the book itself. The young patients love to do the crossword puzzle or matching the right teeth to the right animal. Particular the patients they are feared are very happy to be sidetracked by something physical.

Contact: Andreas Koop designgruppe koop info@designgruppe-koop.de www.designgruppe-koop.de

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Category:

Corporate Design and Communication

Project:

Christmas card Schreinerei Freudig

What was the challenge? We wanted to create a very special Christmas card for the carpenter’s workshop »Freudig«. It should have a unique charme which immediately is reminiscent of handcraft. What was the solution? Making something out of wood is nothing unusual in a carpenter’s shop. To process wood with tools – but to make a tool from wood is something else. We developed several motives showing snow crystals. They were produced in the carpenter’s workshop and were worked out by a CNC milling machine of a hundredths of a millimeter. Real handcraft was needed when the cards were printed on a very old printing machine. Two of the snow crystals were printed on top of each other as Christmas stars. In combination of different motives and colours 160 unique pieces were created. No card looks like another card! What was the effect? The art print went far beyond a usual Christmas card. The crystals in their endless variety came better than ever expected. The accompanying booklet explains the process – from the first idea to the final unique Christmas card. The carpenter’s workshop gave time as a gift, to people who have everything. There was plenty of positive feedback.

Contact: Andreas Koop designgruppe koop info@designgruppe-koop.de www.designgruppe-koop.de

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Category:

Corporate Design and Communications

Project:

Murinsel Graz

What was the challenge? The Murinsel, an island on the Mur, is one of the top 10 sights of Graz and became a famous landmark of the city. In the course of a general renovation, the City of Design Coordination Center of Graz developed a new marketing concept for this impressive building, which was designed and build in 2003 by Vito Acconci, a well-known New York architect. The main challenge was to create an identity which respects the extraordinary architecture, emphasizes the uniqueness of the island and shows the possibilities of a modern City of Design. What was the solution? The new brand identity highlights the unique character of the landmark with showing the surroundings. Lines lead to the center of an abstract bowl and also simulate the connection between the shores, the movement over the bridges and the water reflections. The Murinsel is presented in a fresh and clear design line in print, in web and also locally on the spot. What was the effect? Slogans like „The one and only“ , „Small Island, great ideas” or “The place to be” emphasize the benchmark role in a charming way. People are invited to come and enjoy their time there again. With the new branding, the Murinsel gets attention as a hub for Graz’s creative and art population as well as its cultural tourism.

Contact: name: Stefanie Schöffmann company/organisation: look! design e-mail: office@look-design.at website: www.look-design.at

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B2C C2B

Folierung: Überkopf an der Theke – 3 Positionen, genaue Positionierung vor Ort abklären

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Category:

Corporate Design and Communications

Project:

«Oops! Innovation ist kein Zufall»

What was the challenge? The challenge was to create a visual language for a series of information graphics for the Swisscom publication «Oops! Innovation ist kein Zufall». The infographics deal with «Design Thinking» and how innovation can be supported within a company. Interesting and meaningful facts and findings of various studies are shown by appropriate graphic means. The infographic series suitably supplements the editorial part of the publication. What was the solution? We created a series of very illustrative and demonstrative infographics to invite readers to enter deeper into the topic of «Design Thinking». We defined a series of different display models that were repeated within the publication. We adapted Swisscom corporate pictograms and used them within the infographics. The visual style that we defined for the visualizations – that means the handwritten typography and hand drawn icons and visualization elements – refer to the topic of «Design Thinking». The colours within the graphics follow the colours of the book chapters. What was the effect? The information graphics form an additional information layer within the book accompanying the text and free illustrations. The illustrative information graphics invite readers to further deal with and gain insights within the topic of «Design Thinking». The graphics are furthermore used in presentations dealing with Human Centered Design.

Contact: Barbara Hahn, Christine Zimmermann Hahn + Zimmermann mail@hahn-zimmermann.ch www.hahn-zimmermann.ch

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Category:

Products and Services

Project:

PIQUENTUM St. Vital 2014

What Was the challenge? This is a label for natural wine from untreated vineyards (1245 bottles). The producer’s motto is: „Nature creates, I‘m just transferring“. That’s why his wines are so honest, every year different, depending on how nature behaved. We wanted to create the label that encourages thinking and discussion during the wine consumption so the wine, as one of the historically most acclaimed product, could become a medium that speaks out about the importance of understanding the nature. What was the solution? To create a label for this wine, we decided to rise awareness about the importance of understanding the year indicated on the bottle. Vintage dates are always denoted on the bottles, but how many of us really understand it? It actually witnesses the natural conditions in which the wine matured; it is its own BIOGRAPHY. With the use of pesticides in vineyards and balancing flavors in the wineries, the year indicated on the bottle eventually lost its meaning, because flavors are becoming ready-made and unrelated to the actual weather conditions. So, in cooperation with the Meteorological Institute, the data on weather conditions in the territory of vineyards were collected. The amount of precipitation, as the most changeable variable, proved to be a great tool to show graphically how much weather actually

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affects the diversity of nature every year. Circles, standard meteorological rain symbols, show the amount of rainfall in a particular month, and the label conveys at first glance what was the vintage year like, and what kind of wine tastes can be expected. What was the effect? The result is a label that becomes a witness of weather in one area and that, blended with wine, becomes an excellent medium to speak out about the importance of understanding the nature. It encourages reflection and discussion during the selection and consumption of wine, teaches that wine is nature’s advocate and the vintage year must be integrated in the flavors that it offers. Otherwise, the wine ceases to have its primary value, and instead of reflecting nature and territory in which it grows, it becomes a ready-made product and expressing the vintage year becomes meaningless. This label ads value to the brand emphasizes its naturalness, and it supports the producer’s philosophy to oppose to any kind of artificial treatment of wine.

Contact: name: Jelena Fiškuš company/organisation: Studio Sonda e-mail: sonda@sonda.hr website: www.sonda.hr


SILVER LIK E

X 71

X 121

XII 82 XI 215

I 86

IV 44

VII 21

2013

II 122

V 123

I 126

III 155

VI 95

IV 69

VIII 71 IX 203

The label features a moderate year, but it rained significantly in September, which is when grapes need to achieve the optimum point of maturity. That is why in the wine taste the final power of alcohol can be perceived as partially weakened.

VII 143

XII 35 XI 178

II 175

V 85

VIII 177

X 99 XI 229

III 68

VI 72

IX 161

IT!

XII 128

I 42

II 36

IV 24

V 52

VI 71

VIII 76

IX 52

VII 66

III 35

2014

2015

Due to heavy rains throughout the year, this years wine resulted with much smaller quantities of sugar, so that it reflects a freshness of more northern regions although it is all about Mediterranean vineyards. However, considering the constant rainfall, flavors are naturally balanced.

It will be remembered as one of the most successful year in the production of wine. Warm and dry both spring and summer, but with an ideal (small) quantity of rainfall in autumn, so that vines have not suffered drought. An optimum maturity was achieved and the result is a powerful, full-bodied Mediterranean wine.

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Category:

PRODUCTS AND SERVICES

Project:

STEPbySTEP - A personal assistant of simple file preparation for industrial printing on flexible film materials for technologies such as Rotogravure, Flexographic & Digital printing

What was the challenge? We are a company that works with Flexographic, Rotogravure and Digital printing technologies in the field of flexible packaging. Often we are facing a lot of different problems related to correct file preparation for printing. So in order to make things less time-consuming and save resources, we had to take an action in order to make things right from a financial point of view and for better collaboration with our customers as well. Our main challenge was to show this technical information of flexible material printing in an easy to understand way and visually simple for people who are going to be our new employees, for our customers and mainly for graphic and packaging designers and design agencies that are or will be collaborating with us. What was the solution? As all these technical actions and file preparations are related through the use of vector and raster softwares. We created a brand new tool or personal assistant for simple and understandable information perceiving by using basic visual principles. We used association with artboard of vector software in background as a visual solution for instant information perception. Step by step method was used for explaining every single move or possible problem that you might face. We created separate sections for each of the actions so the information is segmented and easy to perceive. What was the effect? We improved our collaboration with customers and designers and now we can spend more time on our own needs for ex-

Contact: name: Ints Neiberts company/organisation: AS IMMER DIGITAL e-mail: ints.neiberts@immer.group website: www.immer.group

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panding our services and less on explanations of how to correctly prepare files. We are able to manage more new projects with less workload. Most importantly designers get information in a creative language that they understand, and customer donâ&#x20AC;&#x2122;t have to get involved in transactions which arenâ&#x20AC;&#x2122;t their responsibilities, and we as flexible packaging producer are receiving correctly

prepared files for printing. As time goes on we are updating information about technologies as well as making some changes in the existing STEPbySTEP assistant. In order to make it even better we are taking into account actual user experience, suggestions and recommendations. The electronic version of our STEPbySTEP assistant is available for everyone on our site for free.


SILVER LIK E Visualisation: Short

IT!

review about STEPbySTEP inner content and visual display

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Category:

Products and Services

Project:

User manuals for the Bosch OptiMUM kitchen machine series

What was the challenge? Our client needed a set of user manuals for the new Bosch OptiMUM kitchen machine and its accessories. The manuals should help the user understanding the multiple options quick and easy. The design should also support the high quality demand of the appliance and respect the new corporate design of Bosch, that was released, while the project already was running. What was the solution? A graphic pool with clear and precise outline drawings was created first. The isometric view made it possible to put all parts together as needed and to create a high number of equivalent graphics. Out of the design guidelines a color-set was defined, that allows printing in colour as well as in greyscale. The graphics were placed on fold-out pages, that are printed in colour. The text-pages are printed in greyscale due to cost efficiency. Graphics and corresponding text are numbered clearly. The two-column layout for the text enables a good readability. Symbols, small graphics and tables in the text lead to a quick comprehension of the complex content. What was the effect? Finally 18 books with text in 20 different languages were created for the different main appliances and all accessories. Additionally short manuals attached to the appliance and quick start guides printed on the packaging were designed. The final result appears as an integrated whole, perfectly matching the demands of the client and its brand image.

en

Parts and operating controls

Rotary switch

X Fig. B The rotary switch is used to select the required speed or to switch the appliance off. The appliance will no longer switch on if there is an error in appliance operation, if the electronic fuses trip or the appliance has a defect. Settings r Instantaneous switching at maximum speed / fast. Hold down switch for required duration. y Stop / Switch off z Function “Folding in” at minimum speed / very slow. 1...7 Speed settings 1: low speed / slow 7: maximum speed / fast

Tools

X Fig. A Professional flexible beating whisk For stirring dough, e.g. cake mixture or mousse. For folding in cream or beaten egg white. Professional stirring whisk For beating egg white, whipping cream and stirring light dough, e.g. sponge mixture. Kneading hook For kneading heavy dough (e.g. yeast dough) and for folding in ingredients which are not supposed be chopped (e.g. raisins, chocolate chips).

Use of tools Recommended speeds z For folding in and mixing different ingredients gently (e.g. folding in beaten egg whites) 1-2 For stirring and mixing ingredients 3 For kneading heavy dough with the kneading hook 5-7 For stirring and whipping ingredients (e.g. whipped cream) with the professional flexible beating whisk or the professional stirring whisk r Not suitable when using tools. Re-adjustment of tools The appliance is factory-set so the professional stirring whisk almost touches the bottom of the bowl to ensure that ingredients are mixed together perfectly. If the tools touch the bottom of the bowl or are too far from it, the gap can be easily corrected. X “Re-adjustment of tools” see page 12

Swivel arm

X Fig. C The swivel arm is moved up to insert or to remove a tool or the bowl. The swivel arm features an “EasyArm Lift” function, which supports the upward movement of the swivel arm.

Bowl and lid

X Fig. D The appliance comes with a special bowl, which is securely attached to the base unit through insertion and rotation. The lid is secured to the swivel arm and opens automatically when the swivel arm is raised.

Inserting and removing tools

X Fig. E The tools are equipped with a lever on the protective cap, designed to make them easy to remove. Insert tool: Align the lever with the front and insert the tool in the main drive until it locks into place. The drive is then covered by the protective cap.

Remove tool: Align the lever to the front and press down until the tool is released. Take the tool out of the drive.

Cable storage compartment

The appliance is equipped with a cable storage compartment. The length of the power cord can be adjusted as required by pulling it out or pushing it back.

Safety systems

The appliance has various safety systems. X “Safety systems” see page 12

Use of tools W Risk of injury! – Do not insert the mains plug until all preparations for working with the appliance are complete. – While operating the appliance, never reach into the bowl or filling shaft. – Do not operate the appliance without the lid in place. – Always wait for the drive to come to a standstill before moving the swivel arm or changing tools. – For safety reasons always fit the protective drive covers on the front and rear drive.

Preparation

■ Place the base unit on a smooth, clean and stable surface. ■ Pull the power cord out to the required length. ■ Press the release button and raise the swivel arm to the stop. ■ Place the lid with the filling shaft at the front on the main drive. ■ Insert the bowl. When doing so, use the recesses on the base unit. ■ Turn the bowl anticlockwise until it locks into place. Important! The appliance cannot be switched on unless the bowl has been inserted correctly.

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W Risk of injury! Carefully lower the swivel arm! Make sure you do not get your hands or fingers caught.

Operating the appliance

4. Plug the mains plug into the mains. Set the rotary switch to the required setting. Recommended speeds: X “Tools” see page 8 5. Process the ingredients until you achieve the required result. 6. Turn the rotary switch to y. Wait until the drive comes to a standstill. Disconnect the mains plug. 7. Press the release button and raise the swivel arm to the stop. 8. Turn the bowl clockwise until it can be raised. Remove the bowl. 9. Align the lever to the front and press down until the tool is released. Take the tool out of the drive. 10. Take the lid off the drive. 11. Clean all parts immediately after use. X “Cleaning and maintenance” see page 10 Note: Please also use our application examples to familiarise yourself with your new appliance and its functions. X “Recipes” see page 11

8

7

9

8

9

10

OFF y

Contact: designers: Wolfgang A. Peghini (CD), Klaus Maier (AD), Daniela Braunschober directors: Olaf Hoffmann, Andrea Wagner company: Olaf Hoffmann Design GmbH & Co. KG e-mail: contact@olaf-hoffmann-design.de website: www.olaf-hoffmann-design.de

en

X Image sequence F 1. Depending on the processing task, select the professional flexible beating whisk, professional stirring whisk or kneading hook (X “Tools” see page 8), align the lever on the protective cap to the front and insert the tool in the main drive until it locks into place. 2. Put the ingredients to be processed in the bowl. 3. Press the release button and push the swivel arm down until it locks into place.

ON M (7)

M


BRONZE LIK E

IT!

MUM9... OptiMUM series 93


Category:

Didactics

Project:

Dante’s Inferno

LUOGHI Lupa

What was the challenge? What was the solution? The aim of the project was to elaborate an We have designed a poster and a website. alternative way to access Dante Alighieri’s These tools have been conceived as text, which could exploit the non linear open laboratory projects, which is being Selva display of information and the potential of improved through the support from the digital tools. teachers and the students, as well as The artifact is not meant to take the place scholars and literary critics. of the traditional linear way of reading In the poster we have displayed the the poetic text, but to ease its navigation topographical structure of the Antinferno providing a visual topography. Dante’s Inferno. Topografia dell'inferno dantesco

CANTI

LUOGHI Lupa

Leone

L'INFERNO DI DANTE ALIGHIERI

Lonza

Canto � Dante

PECCATORI

PUNIZIONI

Virgilio

Selva Canto �

Antinferno

Canto 3

Caronte

Fiume Acheronte

Fiume Acheronte

Canto �

I Cerchio

Canto �

II Cerchio

Minosse

Limbo

Ignavi

Corrono in eterno dietro un’insegna pungolati da vespe e mosconi

Non battezzati

Tristezza e malessere

Lussuriosi

Trascinati senza requie da una bufera di vento

Golosi

Giacciono in mezzo a una pioggia fangosa e ai vermi

Avari e prodighi

Spingono enormi massi

Iracondi e accidiosi

Si dilaniano con i denti, sono immersi nel fango

Eretici ed epicurei

Sono collocati in sepolcri infiammati

Ovidio

Omero

Canto �

Paolo e Francesca

L

Leone

In that structure we have arranged characters, sins and places; all those elements were referenced to the cantica text. The website allows the users to explore the map and interact with the drawn characters. By clicking or tapping them their related tercets will be shown in a tab, together with links to their wikipedia pages and to the full text of their specific canto. The use of expressive illustration is meant to maximize the involvement of 11-13 year-old student, who the work is mainly addressed to.

Cerbero

Canto �

Ciacco

III Cerchio Pluto

Canto �

character place canto

Incontinenti IV Cerchio

Flegias Filippo Argenti

Canto �

itnegrA oppiliF

Filippo Argenti

V Cerchio Stige

Canto ��

Messo Celeste

Canto ��

Mura infuocate di Dite

tre Erinni e Medusa

Canto ��

Farinata degli Uberti

VI Cerchio

Cavalcante de' Cavalcanti

Cimitero degli eretici

I Cerchio

Minotauro

Canto ��

Nesso

Alta Ripa o Burrato Canto ��

Arpia

I girone Riva e fiume Flegetonte canto ��

Canto ��

II girone

VII Cerchio

Pier delle Vigne

Folo

III girone

Gerione

Landa canto �� / �� / �� / ��

Chirone

Limbo

Selva canto ��

Canto ��

Brunetto Latini

Canto ��

Violenti contro il prossimo

Immersi nel fiume bollente

sé stessi

Trasformati in alberi, lacerati dalle Arpie, straziati da cagne fameliche

Dio, natura ed arte

Costretti a correre, sedersi o stendersi su una sabbia ardente, sotto una pioggia di fuoco

Minoss

Violenti

Ripa Discoscesa

canto �� / ��

Canto ��

Giasone

I Bolgia

Canto ��

canto ��

canto ��

Nicolò III

III Bolgia

Canto ��

Simon Mago

canto ��

IV Bolgia

Canto ��

Ciampolo di Navarra

V Bolgia

Malebolge

VI Bolgia

canto ��

Immersi nello sterco

Simoniaci

Capovolti in buche di pietra

Indovini e maghi

Procedono con la testa rivolta indietro

Barattieri

Immersi nella pece rovente e uncinati dai diavoli

Ipocriti

Gravati da una cappa di piombo dorata all’esterno

Ladri

Tormentati dai serpenti

Consiglieri di frode

Avvolti dalle fiamme

Seminatori di discordia

Feriti dai diavoli

Falsari di metalli persone monete parole

Colpiti da scabbia Si addentano tra loro Colpiti da idropisia e tormentati dalla sete Colpiti da febbre altissima

i Lucchesi

Malacoda Catalano dei Malavolti

canto �� / ��

VIII Cerchio

Adulatori

Michele Scotto

canto ��

Canto ��

Frustati dai diavoli

Manto

Tiresia

Euripilo

Arunte (Aronta)

Seduttori e ruffiani

Taide

Alessio Interminei da Lucca

II Bolgia

Canto ��

Canto ��

Venedico Caccianemico

II Cerchio

Caifa

Loderingo degli Andalò Puccio Sciancato

Fraudolenti

Buoso Donati

Agnel

Canto ��

VII Bolgia

canto �� / ��

Francesco de' Cavalcanti

Centauro Caco

Vanni Fucci

Ulisse e Diomede

Canto ��

Guido da Montefeltro

VIII Bolgia

canto �� / ��

Mosca Dei Lamberti

Pier da Medicina

wikipedia page

Bertram dal Bornio

Canto �� IX Bolgia

canto �� / ��

Canto ��

Maometto Griffolino D’Arezzo

Moglie di Putifarre

Gianni Schicchi

Maestro Adamo

Mirra

X Bolgia

canto �� /��

Canto ��

Sinone

Bartolomeo dei Folcacchieri

Pozzo dei Giganti

Canto ��

Membrot

canto ��

Anteo

I giganti sono stati puniti per essersi opposti a Dio

Fialtre Camicione de Pazzi

Conte Ugolino

Caina

Canto ��

canto ��

Antenora

canto �� / ��

Tolomea

Conti di Mangona

Arcivescovo Ruggieri

Traditori dei parenti Frate Alberigo

canto ��

Canto ��

Sepolti nel ghiccio fino alla testa

della patria

Sepolti nel ghiccio fino al busto

degli ospiti

Supini sul ghiaccio

dei benefattori

Sepolti completamente nel ghiaccio

Traditori

IX Cerchio Cocito

Canto ��

Giudecca

Cassio

canto �� Bruto Giuda

Canto �� Lucifero

Progetto di ALPACA + MOLOTRO / Illustrazioni di Giulia Bonora

Topographical structure of the Dante’s Inferno in a poster (100 × 70) cm

full text of specific canto

III Cerchio

Understanding the language of the Divine Comedy –the 14th century Italian– and reading texts for long time on a backlit screen might prove to be an arduous task IV Cerchio for a 11-13 year-old student. A non linear way to navigate through Dante’s Inferno digital version (www.alpacaprojects.com/inferno) the informationallows the users to freely explore the topographic space defined by Dante and to spot all the verses, characters V Cerchio Stige and sins they want. This method facilitates the connection between the visual memory and the text helping the learning process.

Topografia dell'inferno dantesco

CANTI

name: Daniele De RosaMura infuocate di Dite company/organisation: Alpaca e-mail: info@alpacaprojects.com website: www.alpacaprojects.com

expressive illustration LUOGHI

VI Cerchio

94

Selva

Canto 3

Antinferno

Fiume Acheronte

Canto �

I Cerchio

Canto �

II Cerchio

Limbo

Canto � III Cerchio Pluto

Canto � IV Cerchio

Filippo

Canto �

Canto ��

Canto ��

Stige

Mura infuocate di Dite

Canto �� VI Cerchio

Alta Ripa o Burrato

Lupa

Canto �

V Cerchio

Cimitero degli eretici

Filippo Argenti

Canto �

Canto �

Contact:

Pluto

Cimitero degli eretici

Canto �� Alta Ripa o Burrato


GRANDPRIX & GOLD GOT IT. L'INFERNO DI DANTE ALIGHIERI

Lonza

Virgilio

Dante

In his “Rerum Natura”, Titus Lucretius Carus highlighted he had used poetry to illustrate Epicurean theories just like doctors put honey on the edge of the glasses to make children drink absinthe. In the same way we have used illustration to make “edible” an obscure medieval poem to the teenagers. The website responsive layout is optimized for desktop computers, tablets and interactive whiteboards (IWB). The website design accommodates also smartphones, but some navigation patterns are modified.

se

Topografia dell'inferno dantesco

What was the effect? The website and the poster were used as a supporting teaching tool in classroom environment by three teachers (in Bracciano, Treviso and Trento) with students with the support of an IWB. The teachers involved are writing for us qualitative reports. Dante’s Inferno website have been patronized by Società Dante Alighieri (a charitable trust, dedicated toCaronte protect and spread the Italian language and culture throughout the world), who supported us in the promotion of the website. We are working on the assessment of the reading performance. The sample will consists of 30 subjects in the range 11-13 Omero years old and 20 subjects in the range 14-15. The subjects will wear an eye tracker and they will be asked to locate on the website a specific Circle and a specific sin. CANTI

Afterwards, the subjects will be asked to report also the sinners present in the Circle. The quickness and accuracy of the answers will be recorded. Before and after the experiment the subjects will be asked to play a game based on reflexes. The following dependent variable will be recorded: the time taken from the request to the location the heat map of the eye movements the accuracy of the answers (number of mistakes) the fatigue (the difference between the first Ovidio and second performance in the reflex test) All the data collected will be compared with the tests on the following updates.

LUOGHI Lupa

L'INFERNO D

Lonza

Leone

Paolo e Francesca

Canto �

Virgilio

Dante

Selva Canto �

Cerbero Antinferno

Canto 3

Ciacco

Canto �

Caronte

Fiume Acheronte

Canto �

I Cerchio

Canto �

II Cerchio

Minosse

Limbo

Paolo e Francesc

Canto �

Ciacco

III Cerchio Pluto

Canto �

Flegias

IV Cerchio

Flegias

Canto � Dante’s Inferno poster details, cantos and places (left side of the poster)

Filippo Argenti

Leone

L'INFERNO DI DANTE ALIGHIERI

Lonza

PECCATORI

PUNIZIONI

Ignavi

Corrono in eterno dietro un’insegna pungolati da vespe e mosconi

V Cerchio

Stige

Canto �� Dante

Virgilio

Canto ��

Mura infuocate di Dite

Canto ��

Caronte

VI Cerchio

Cavalcante de' Cava

Cimitero degli eretici

Minotauro

Canto �� Alta Ripa o Burrato Ovidio

Omero

Canto ��

Minosse

VII Cerchio

Paolo e Francesca Cerbero

Canto ��

II girone Selva canto ��

Tristezza e malessere

Lussuriosi

Trascinati senza requie da una bufera di vento

Golosi

Giacciono in mezzo a una pioggia fangosa e ai vermi

Messo Celeste Pier delle Vigne

III girone Landa canto �� / �� / �� / ��

Ciacco

Canto �� Ripa Discoscesa

canto �� / ��

Canto ��

Flegias

Arpia

Non battezzati I girone Riva e fiume Flegetonte canto ��

Canto ��

Gerione

Incontinenti Avari e prodighi

Spingono enormi massi

Dante’s Inferno poster details, sinners and punishment description (right side of the poster)

o Argenti

itnegrA oppiliF

I Bolgia

Filippo Argenti Canto ��

canto ��

Canto ��

Messo Celeste

Minotauro

Canto ��

Minotauro

Nesso

Folo

Chirone

Canto ��

Canto ��

Alessio Inter da Lucca

canto ��

tre Erinni e Medusa

Nesso

III Bolgia

canto ��

Farinata degli Uberti Cavalcante de' Cavalcanti

Si dilaniano con i denti, sono Farinata degli Uberti immersi nel fango

Iracondi e accidiosi

Cavalcante de' Cavalcanti II Bolgia

IV Bolgia

Eretici ed epicurei

Sono collocati in sepolcri infiammati

Folo

95

Chiron

canto ��

V Bolgia

Nicolò

Euripilo

Arunte (Aronta)

Ciampolo di Navarra


Category: Didactics Project: Dear How to

above: How to take a bus with a buggie right: How to walk against a crowd

What was the challenge We are three information designers who are always thinking out of the box or, rethinking how to make the box. The challenge was to pursue a long-term, self-directed project that was personal, but also enriching to our skill set as information designers and only limited by very loose guidelines. We set out to do one year of instructions, in order to keep in touch with each other, explore the possibilities of hand-drawn instructional design, and to teach and learn new things.

96

What was the solution Inspired by Giorgia Lupi and Stefanie Posavecâ&#x20AC;&#x2122;s Dear Data project we decided that we could try a similar experiment with our own skills. Starting in August 2016, we think up instructions every week and draw them on a blank postcard, which we send in turn to one or the other. In order to push ourselves to be as clear as possible with our diagrams and drawings, we avoid text entirely. In October 2016 we began

publishing the results of our project on a dedicated website, which also serves as a repository for the full corpus. Our aim is to allow each set of istructions to be tagged and filtered, in order to facilitate exploration of themes and techniques.


JURYPRIZE & GOLD GOT IT.

clockwise from top left: How to look awake; How to stop breastfeeding; How to eat an orange without peeling the skin; How to make one-pot pasta; How to make your children do what you ask them to.

Contact Sol Kawage, Josefina Bravo, Tomoko Furukawa e-mail: info@dearhow.to website: http://dearhow.to

What was the effect So far, the project has produced a corpus of instructions for a range of activities and tasks. A quick look at the instructions amassed so far shows a wide range of approaches to instructional design, exploring the possibilities of pictorial sequences for explanation. It is also an exercise in fast thinking, humour and self-awareness because the instructions emerge as a by-product of day-to-day activities. The instructions that we draw go beyond language barriers and they comprise a catalogue of sorts of our modern world.

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Category:

Didactics

Project:

Pocket Tune

What was the challenge? Essentially, Pocket Tune is a chromatic tuner, that allows you to tune your instrument very quickly and accurately. Lots of musicians are facing the same problem – they want and need to be really fast when tuning their instrument. In order to do so, we had to come up with a simple and intuitive approach. What was the solution? The app follows the common known centscale method and additionally uses an obvious and easy to perceive color-code: Red is wrong, Green is right. Furthermore, musicians can choose between dynamic and static tuning. Dynamic tuning — Pocket Tune automatically detects the pitch of your instrument and displays the closest note on a chromatic scale and the number of cents the pitch is off. Static tuning — Pocket Tune also allows you to select a certain reference note to tune to. You can also use this feature to practice your intonation. Pitch adjustment — Pocket Tune’s default is 440 Hz. However, with POCKET TUNE PRO you are also able to change the standard pitch from 430 – 447 Hz. What was the effect? 42,7K App installs & 190,6K App launches since its launch in November 2015 and a generally positive user feedback.

Contact: name: Florian Gapp company/organisation: florianmatthias e-mail: info@florianmatthias.com website: www.florianmatthias.com

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SILVER GOT IT.

9:41 AM

99


Category:

Didactics

Project:

HTL Bau und Design

What was the challenge? The Sujet for the “HÖHERE TECHNISCHE LEHR- UND VERSUCHSANSTALT FÜR BAU UND DESIGN INNSBRUCK” tries to solve a well known and ubiquitous problem: „What do they actually teach in their courses ‚construction building‘ ‚civil engineering‘ and ‚design‘?“. Usually, pupils and their parents do not exactly know and understand at first sight what is taught in this school and what their future jobs would look like. What was the solution? Playful and fantastic illustrations visualize intuitively, what the schoolers have to deal with when attending this school. Each course gets its special color and illustrative elements. What was the effect? Not only kids suddenly knew what they had to expect, also their parents had an idea what this school is all about. For them the most important thing for their children is to attend a suiting school which is both – something worth investing in and also fun.

Contact: name: Florian Gapp company/organisation: florianmatthias e-mail: info@florianmatthias.com website: www.florianmatthias.com

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SHORTLIST GOT IT.

101


Category:

Editorial

Project:

taiga

What was the challenge? The phonetic alphabet Taiga was created and developed for the german philology insitute at the University of Innsbruck. It contains over 2000 glyphs and has been built upon an existing typeface. It is its goal to document and preserve language of tyrolean and bavarian regions. The big challange was, that there was no digital solution for this very special typeface yet. What was the solution? For the book we did interviews with the tyrolean dialect-archive and an „explorator“. For the glyphs, the explorator’s hand-drawn sketches served as templates for the typeface. In order to distinguish between subtle differences in speech they used special diacritics and special forms. We visualized examples and explaind the very complex open-type system we developed. What was the effect? The final result was a typeface the university of Innsbruck can use in their research. Eventually, this documentation serves as an evidence and an important milestone in their effort to preserve their own language.

Contact: name: Florian Gapp company/organisation: florianmatthias e-mail: info@florianmatthias.com website: www.florianmatthias.com

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?pu S‘tahw

GOLD

what‘S up?

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Category:

Editorial

Project:

5+1 Les Docks Marseille

What was the challenge? To illustrate the intimate dimension of a building, the discovery of a sequence of shared spaces, the creation of a new public contemporary place, the identity of a particular place: a system of margins between the city and the sea. What was the solution? This book deals with all the themes faced by the contemporary renovation project of Les Docks Marseille by 5+1AA architects. This is not only an architecture book, it preserves the poetic intensity of the project vision in order to let the reader immerse in a journey. The book is developed like a travel diary, with sketches, diagrams, conceptual schemes and renderings, pictures of the work in progress from the building site and technical drawings like plans, elevations, sections together with photographs of the final construction. The structure of the book follows the rythm of the building: a 365 metres lenght building with four different courtyards, seven floors, 52 doors, 60000sqm of quality space, 220 private and public business. Information, drawings and pictures are displayed both orizonthally and vertically. What was the effect? cover: detail from the North facade printed with silver foil. format: 168 x 238 h mm binding: japanese - double sheet pages: 256 (512 japanese binding) interior pages: 4 colors printing languages: English and French editions

Contact: name: tapiro company: tapiro communication design e-mail: studio@tapirodesign.eu website: www.tapirodesign.it

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?pu S‘tahw

SHORTLIST

what‘S up?

The Docks are part of a landscape which, thanks to the delineation of the coast and the infrastructure of the port, has little by little, transformed itself into a consolidation of various fragments, with various urban fabrics and architectural periods. An aerial view allows us to understand the scale and complexity of this area which is seeking a new identity in the north of the city and where the Docks, besides their historical importance, serve as 'an urban anchor' in terms of reference and orientation.

In order to understand a place, one must go out to meet it, enter it and understand its very soul. This allows us to redraw different mental and graphic maps. For the competition, we developed planimetrics allowing us to have an idea of how the new infrastructures, including the Docks, would form a relationship with the horizon of the sea to the west and the city to the east: ‘a system of margins’.

1. The system of margins. 2. Urban system: double orientation. 3. Urban development east-west. 4. North-south: 2 urban centers. 5. Relationship within the context. 6. The two ‘heads’ of the Docks. 7. Historical map, circa 1914. 8. Ground plan 5+1AA 2010.

The urban context of the Docks has developed according to a dual-orientation system: from the city to the port (east-west), from the historic center to the developing modern center (north-south). The project seeks to find relationships within this context, through its own physical boundaries and its two ‘heads’ which provides a continuity with the city, via a system of public spaces which are both internal (the Docks) and external (the squares and the streets).

période:1914

7

8

1

3

2

6

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Competition pictures. The four courtyards allow light to penetrate through the glass roofs (vertically) and through apertures (horizontally).

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Material and rhythm: a means of encouraging people to discover a place whose aim is to be the destination and not just a passage to somewhere else.

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4

Axonometric projection. Finding one’s way around the Docks. Rhythms (52 lines of doors), sequence (4 courtyards: A, B, C, D), 2 ‘heads’ (Hôtel de Direction - HDD and the north facade).

1. Courtyard A. 2. Courtyard B. 3. Courtyard C. 4. Courtyard D.

south facade

courtyard A

3

4

courtyard B

courtyard C

courtyard D

Heroic Docks

architecture is the art of Limitations. extending beyond Limitations is a reveLation. it is a pLace of intuition, discovery and surprise. it is a geographicaL transgression.

1. Courtyard A, plan of the lower ground floor. 2. Courtyard A, cross section.

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2

0

0

250

250

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north facade

lower ground floor.This is pure craftsmanship, where art and industry combine forces.

passed through, while at the same time transforming the four

_

courtyards into extraordinary and quite unexpected places.

5+1AA Alfonso Femia, Gianluca Peluffo

This had made it possible to define new, dynamic and vital

_

spatial interaction, punctuating its extensive longitudinal

Every important city has buildings in its ‘belly’ that may

pathway not just through the presence of empty spaces (the

be described as heroic, either because of their physical

existing courtyards), but also by allowing the courtyards

and visual scope, because they were built way back in the past

to embrace a new kind of nature composed of light, colour,

in places very distant from us, because they have already been

reflections and matter. The relationship between and with

many things such as machines, devices, limits and places, or,

matter, so monumental and authoritative throughout the

first and foremost, just because they are still with us.

entire building, is completed through the rediscovery of a

This monumental aspect that we describe as heroic is only

kind of intimacy consisting of sentiment and wonder: four

inherent in a few buildings and, in our opinion, it is mainly

courtyards, four sentiments, four amazing places which will

found in those buildings that can truly sense a powerfully

every single day (and every moment of the day) make the rest

significant contrast between their own body and soul.

quite different, setting up a new kind of relationship with

We wanted to try and recreate interaction between the body and

time compared to the original concept according to which the

soul of Marseilles Docks.

building was constructed based on a calculation linked to the

We approached the Docks in the same way you approach some

number of days in a year and its various seasons. It needs

new discovery, a sort of mystery that has always been there

to be remembered that a year is made up of four different

but is only revealed after taking on fresh identity and

and varying seasons, and this makes every moment in these

could have been revealed in some other way or through other

spaces (and the ways in which they experienced) quite personal

intimate relations.

and unique.

_

_

The building formed a physical boundary between the east and

In our opinion the design operations were obvious and

west (i.e. between the new modern-day city and its relations

evident. In addition to the concept of porosity that needs

with the sea and horizon) and between the north and south,

to characterise the entire building, more extensive use of

between the city as it is destined to be and the old city

the courtyards were encouraged on the various existing levels

centre of Marseilles.

between Rue des Docks and Quai du Lazaret.

As a geographic and social juncture, the Docks must act as a

_

filter, a meeting/congregation place par excellence, managing

Life and identity must be injected into the spatial sequence

to rediscover right here the heart and soul of a Mediterranean

(the basic themes of the four courtyards) along its entire

city that is constantly changing as it heads into the future.

365 meters. As we cross the Docks we will sense their

We fundamentally took the project as a means of posing

structure and spaces, their new vitality and the overlapping

questions to the building itself.

of lives and moments in time.

_

Two squares, quite different in nature, form the two ends

The Docks become a porous, permeable, public, convivial and

or two beginnings, also looking coherently back towards

collective, at time productive and social, but also personal

the past (Place de La Joliette) and into the future (Place

and intimate. This transformation has been possible thanks

Henri-Verneuil).

to a voluntarist intervention highlighting its potential, its

Two verges, currently a combination of roads and pavements,

seamless and unitary 'body'.

become linear squares, extending the physical boundaries of

Provided they are rendered permeable by strengthening both

the Docks to define a new, constantly varying and shimmering

their physical and perceptual bonds with the outside, it is

public space that can actually be crossed.

now possible to rediscover a place that existed but that was invisible. The project now reveals it. _ The quest for permeability, envisaging the docks as a body, first and foremost took place along their edges and perimeter, 115

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transforming what was a limit into a place to be lived in and

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2

Courtyard A combines the work developed in Turin by Bodino Engineering for the vertical structure and that of Mattout, who laid the ceramic tiles both on the vertical structures and on the

1

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Category:

Editorial

Project:

NarcoData. In-depth digital analysis of the organized crime in Mexico

Fig. 1 - Timeline explaining 40 years of organized crime in Mexico (do not miss the interactive version at narcodata.mx)

What was the challenge? Organized crime in Mexico has overwhelming proportions in an increasingly less understandable cobweb that concerns itself not only with an expanding drug market, but has borned dozens of new criminal cells that pillage, extort, abduct and terrorize citizens day-in and day-out. How to explain this complex phenomenon with data visualizations? That was the challenge.

Contact: name: Yosune Chamizo Alberro company/organisation: Animal Político e-mail: yosune@animalpolitico.com website: NarcoData.mx

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For decades, Mexicans have received isolated information of the organized crime operation, which has made it possible for the general audience to recognize the names of several capos (El Chapo Guzmán, Beltrán Leyva), cartels (Cartel de Sinaloa, Los Zetas), high profile events (the San Fernando massacre in 2010). In spite of this, relations between the different organizations, their leaders and the areas in which they operate are still not easily identifiable. A major challenge was the compilation of information. In the process we made different requests of information using the mexican Transparency law, but we had to ask several times and through different ways, even appealing the answers, many times getting isolated responses. But that info was not enough, so we also had to research in books, papers, academic investigations, and press releases.

When we collect all the data we construct a database, column-by-column and row-byrow in order to made a data-quantitative project. What was the solution? At the beginning of the project we were not sure what kind of data visualizations would be needed and what would explain.    After several months of interdisciplinary work, we decided that with two main (Fig. 1 & Fig. 2) and four complementary data visualizations we could explain: - How many organizations have had activities in Mexico since 1976 until now - Criminal cells: with which local groups each of these cartels have worked and since when? - Fights. Which cartel is fighting against another cartel, where, and since when?


?pu S‘tahw

SHORTLIST

what‘S up? - Facts. What was happening in Mexico and in the world when something special happened in the organized crime world? - Evolution. In the 70’s these groups were focused in drug trafficking. Now they still do, but they are also committing another crimes like kidnapping, human trafficking, robbery, and extortion. One of the greatest graphic challenges was to present the geographical context of organized crime omitting the use of maps, sometimes we found the use of maps did not always provide us with the most accurate picture. In Mexico’s case we have great contrasts amongst the different federal entities, such as Mexico City with its small territorial expanse and enormous population and contrastingly, the State of Chihuahua whose territory is disproportionately larger (its larger than the U.K.!) than its population. That is why highlighting states with a

specific color can distort proportion. Therefore we decided to design a “time tunnel” (Fig. 2) in order to explain the progress of criminal organizations for the last seven administrations.

American countries is its more powerful characteristic. We believe it can be a seed to create similar projects that would map all the drug trafficking networks in Latin America and in the United States.

NarcoData presents all this data in just one website; that’s why it’s the first interactive x-ray of organized crime in Mexico.

In addition to the presence in other media outlets, I always like to quote my mother, after the project was published she said: “Ahhhh! Now I understand how organized crime works!” ... that is what we were looking for, that ordinary citizens understood the last 40 years of drug trafficking in Mexico.

What was the effect? Important media spoke about our project: - Forbes - Knight Center for Journalism - Nieman Journalism Lab - National Public Radio - Quartz - Fusion For the team that built NarcoData, the escalability of the project and the fact that can be replicated in other Latin

-------------------------------NarcoData Team: Dulce Ramos, Tania L. Montalvo, Alejandro Hope, Gilberto Leon, Poderopedia, Adrián Saravia, Tres Gatos Films, Omar Bobadilla, Karen Quevedo, Francesc Messeguer, Omar Sánchez de Tagle, Daniel Moreno.

Fig. 2 - Geographical context of organized crime (do not miss the interactive version at narcodata.mx)

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Category:

Future Concepts

Project:

Qibla, Mecca Smart Wayfinding System

What was the challenge? One of the goals of Meccaâ&#x20AC;&#x2122;s City Council is to cut down car use and upgrade its main street, the Holy Mosque Road, to make it more walk-able and pedestrian friendly. A new highly technologically advanced city wayfinding system was commissioned by the city as part of the major refurbishment. It had to be a traditional wayfinding product without ignoring the fact that the city is visited by millions of pilgrims from all around the world during Umrah and Hajj, The latter brings 3 million visitors to Mecca in just five days. The Meccan identity had to be part of the product while introducing a modern approach. The system had to be able to cope with many nationalities, had

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to feature easy to understand maps and signs had to be able to change destinations swiftly due to the two natures of the street: everyday life, and the pilgrimages. In spite of the interaction with part of the pilgrimage process the system is not placed at the main religious gatherings. What was the solution? Thanks to the information from the Urban Observatory of Mecca six main languages were to be used. A Hexalingual system was designed for the totems in Arabic, English, Urdu, French, Farsi (Persian) and Turkish. To deal with six different languages and the need to change destinations at different times of the year a fully digital system was chosen. The system will be easily updated via LTE from a control room.

Heads up, was chosen as the best map orientation solution for ease of use and also as a compromise between North orientation and Qibla orientation, in the Islamic world the proper way to orientate a map is to take the Holy Mosque as a reference. A special element on top of the signs shows the Qibla (Prayer direction). To cope with the harsh conditions in Mecca, all signs will be fitted with Air Conditioning units that will cool down the digital screens, the LTE receivers and the mini computers handling the information received from the control room. Exposure to the sun is also one of the main concerns. Glass covering the screens and maps will protect from UV light. Maps will be easy to replace as sun light will deteriorate them sooner than in other climates.


GOLD

thAtâ&#x20AC;&#x2DC;S it!

3G/LTE Receiver

42" Screens

Mini computer

AC Unit

Data Power

What was the effect? After several tests and demonstrations the City Council approved the initial design and would like to make it a city wide system in the future. The scheme is currently under valuation by other stakeholders.

Contact: name: Joan Zalacain & Rami Kilani company/organisation: Zalacain Wayfinding & Overhaul Jordan e-mail: office@zalacain.com brands@overhaul.jo website: www.zalacain.com www.overhaul.jo

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Category:

Research

Project:

Genlser Research Catalogue, Volume 2

Contact: name: Tim Pittman company/organisation: Gensler e-mail: tm_pittman@gensler.com website: www. gensler.com/research

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What was the challenge? Two key goals informed the creation of the Gensler Research Catalogue, Volume 2: 1) to present the methods, findings, and implications of 41 diverse research efforts in a direct and engaging manner, and 2) to create graphic and information design that celebrates not only research findings, but also how graphic design can be used to present information in new and compelling ways.

Each project needed to maintain a consistent narrative structure to allow for coherence and easy navigation throughout. The variety of research methodsâ&#x20AC;&#x201D;some data and analytics heavy, some more conceptualâ&#x20AC;&#x201D;required a similar variety of graphic styles. The Catalogue also needed to reach a broad audienceâ&#x20AC;&#x201D;the book is the second in a series, but is the first to be made available for public sale.


SLIVER

What was the solution? A team of 25 graphic designers collaborated to design the Catalogue and achieve a high level of design styles within a format that expresses the methods and findings of each research project. Information graphics were a consistent focus, used for the clear presentation of research insights to appeal to a broad audience interested in research, innovation, and the built environment.

What was the effect? The Catalogue celebrates the work of 41 research teams investigating topics at the intersection of design, business, and the human experience. Multiple modes of navigationâ&#x20AC;&#x201D;a primary and secondary table of contents, as well as a comprehensive index, provide an easy entry into the book, as well as multiple visualizations of the Catalogueâ&#x20AC;&#x2122;s contents and structure in and of themselves.

FOUND

The bookâ&#x20AC;&#x2122;s navigation is designed for both broad reading and for those in search of specific topics or design types. The outcome is a catalogue that celebrates both design research and of the power of graphic design to communicate complex ideas in ways that are both understandable and enjoyable.

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Category: Research Project:

Quantitative Approach to Signage Design in Singapore

What was the challenge? Our studies show that commuters are facing challenges in finding their way on public transportation in Singapore. There are gaps in visual cues for commuters connecting to/ from other transport modes or within MRT stations, which contributes to wayfinding challenges in Singapore. Challenges include commuters’ confusion on map-reading, finding the right exit, making transfers and locating the lift, among others. What was the solution? The factors affecting wayfinding were also studied through behavioural and psychophysical measurements. Computer-based lab simulations were carried out and life-sized mock-ups of modified signage and locality maps were also tested in the field experiments at several MRT stations. The eye-tracker was used during the field experiment to capture their visual attention patterns in locating signage. Redundancy was omitted and similar information were grouped together on the signage. For example, one yellow arrow was used instead of repeated white arrows pointing to the same direction.

Testing Concepts through Lab Simulation

Field Experiment - Testing Mock-ups On-site at Paya Lebar MRT Station, Singapore

Field Experiment - Testing Mock-ups On-site at Paya Lebar MRT Station, Singapore

Existing Directional Signage Design at Queenstown MRT Station, Singapore

For the locality map design, a ‘You Are Here’ indicator was included. An additional feature of 5-10 minutes walking radius was introduced, to allow commuters to decide whether they should walk or take other transport modes to their desired location.

Modified Directional Signage Design at Queenstown MRT Station, Singapore

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BRONZE

FOUND

What was the effect? Modified signage that were tested during the field experiment showed significant improvements in participantsâ&#x20AC;&#x2122; responses (in accuracy and reaction time). The improvements made to the locality map design consistently showed a significantly better performance as well. Station masters were also interested in adopting the enhancements for locality maps in station. Our research shows that, a change regardless how small, can drastically improve the participantsâ&#x20AC;&#x2122; wayfinding experience to/from other transport modes and within MRT stations in Singapore. This research project was initiated and co-funded by the Land Transport Authority of Singapore (LTA) and is a collaboration with a team of transportation engineers, psychologists and product as well as graphic designers from Nanyang Technological University, Singapore (NTU). NTU team: Asst Prof Peer M Sathikh, Asst Prof Xu Hong, Assoc Prof Wong Yiik Diew, Adj Prof Gopinath Menon, Sekar Wulan Herdiningrum, Nur Syairah bte Abdul Malek, Tan Jun Liang Jonathan and Du Bo. With special thanks to Marilyn Cher. LTA team: Research division - Kin San SONG, User division Samuel LIM & Mui Mui GOH

Contacts: Asst Prof Peer M Sathikh | PeerSathikh@ntu.edu.sg Nur Syairah bte Abdul Malek | nursyairah@ntu.edu.sg Nanyang Technological University ntu.edu.sg

Top: Modified locality map design tested on-site during field experiment Bottom: Further modification. Post-field experiment

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NO AWARDS IN SUSTAINABILITY

THINK

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Category:

Student Work

Project:

Eye to Ear – Gallery of Audible Images

What was the challenge? Worldwide there are estimated 285 million visually impaired people of which 246 million have low vision and 39 million are blind. (cf. WHO fact sheet 2014) Inspired by interviews with visually impaired people in Austria we have taken the goal to enable art experience for those who cannot see very seriously. In terms of accessible art some museum programmes already offer haptic representations like 3D prints or tactile paper. However, it needs to have descriptions in combination to the sense of touch. In summary, without trained art educators these tools are not comprehensible and the offer of special art programes is still rare. What was the solution? We developed a smart and easy tool which makes images perceptable. “Eye to Ear” is the first app for art experience using audio and user interaction. The iOS app combines sound design, verbal description and interaction

on the iPad. The key is a mix of linguistic description, user interaction and a sound design, which allows users to explore individual areas acoustically. The synthesis of language and sounds opens up a much broader spectrum of cognition and intuition than simple description alone. Through the combination of sound, touch and description a self-determined art experience is possible. Three levels of audio source deliver information about the artwork and therefore provide an image for the recipient. The content is triggered by different easy-to-use gestures: Swiping: A soundscape represents image composition and a pictorial mood. Doubletap: Image regions are linked to spoken keyword descriptions. Two fingers moving downwards: Each image contains a more detailed visual description including information about the artist.

Overlay 80% Loop Mute Funktion Overlay 80% Loop Mute Funktion

Loop Mute Funktion Overlay 70% Fade out 0,4 Sek. Overlay 80% Loop Mute Funktion

Overlay 80% Ausklingen bei Fingerabheben

Loop Mute Funktion Overlay 80% Loop Mute Funktion

schematic layout of a sound image and “Eye to Ear” in use: artwork by Georgia O’Keeffe, “Jimson Weed/White Flower No. 1”, 1932, Copyright Crystal Bridges Museum of American Art

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We linked the app to the built-in screenreader (named VoiceOver) since the community is used to deal with those options on their smart devices. In addition to that, the app comes with three display sizes and an invert-option for better legibility as well as a tutorial. The Story We teamed up with multimedia guide developer “NOUS Wissensmanagement GmbH” to professionalize the concept technically. The first showcase of the app took place in the context of an actual exhibition, in particular the retrospective about the artist Georgia O’Keeffe at “Bank Austria Kunstforum Wien“ running from Dezember 2016 to March 2017. The whole design process was accompanied by members of the “Austrian Association of the Blind and Visually Impaired” through valuation.


GOLD

MASTER

blind person testing “Eye to Ear”

diverse features: tutorial, zoom-function and invert-option

What was the effect? As the actual usage by visually impaired people has shown, the interactive and digital approach gives people a new autonomy in independent and selfdetermined art experience. Due to the mixed method of sound, verbal description and interactivity blind persons envision images very accurate to the actual artworks. Visually impaired persons are encouraged in taking part in a discourse about art. As our tests have shown, due to the playful character of the app, sighted persons enjoy this alternative art experience too, in particular children.

Contact:

ltr., ttb.: soundimage and its explaination, logo, menu in display size 1 (landscape) and 3 (portrait)

Katharina Götzendorfer & Verena Blöchl self-employed designers, GesbR katharina.goetzendorfer@gmx.at v.bloechl@gmx.at, www.eyetoear.com

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Category:

Student Work

Project:

Korea International Post (EMS)

What was the challenge? The EMS-form to send parcels from Korea to another country was chosen as an example of ‘financial information design’. It contained a description of an action and a price for this action. The form is bilingual and mainly contains addresses, prices, and weights. Although this form has various kind of information, the main users experienced that it was hard to sort out the proper information. Whenever they tried to fill in the blanks, they faced some kind of overflowed contents in this form. This aspect can be connected to the challenges in which this form should find the reasonable solution as well. Therefore, the challenge was to redesign this confusing document into a version that is usable by people. The first step was to confirm whether the visual design of this form is confusing or not. The interviews with five people who might have some experience to send their stuff to other country were conducted. The questions were open-ended. The interviewees were asked five different questions. For example, what the weight of the parcel was, what the destination was, and what the consumer paid. The interviews made the challenge very clear. Q1. Who are a receiver and sender? Q2. How can you find the information about the delivery state of stuff? Q3. Do you normally check the information of price and weight? Q4. Why do you keep the delivery receipt? Q5. When is the posted (sending) date? Apart from the detailed remarks, the interviewees indicated that there were five main challenges with this form: • The bilingual issue. Although this form should have the bilingual (Korean and English) structure, some parts did not use both languages. Languages should be paired because it is for the international use.

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• The clear proportions for the main users. In this form, the main users are a client and a service provider. However, there are no clear partitions for these main users. It is not clear who needs to fill in which parts. • The grouping of information. The grouping of contents was not properly organized. The information that should be considered together was visually separated. For the users, it is important to group the information effective ways. • The hierarchy within the contents. There was no hierarchy within the contents. All of the contents had similar spaces. • The distracting layout (vertical). The usage of layout did not be organized in a proper way. The mixture of horizontal and vertical layout distracts people. It is not clear in which direction the form should be read. The interviews confirmed that the current form was difficult to use, confusing, and not very helpful. What was the solution? The form needed to be redesigned based on the results of the interviews. There were some remarkable solutions to solve the current problems. Then, each of five challenges was dealt with. • The bilingual issue. The languages are consistently paired: first the English, followed by Korean. • The clear partition for the main users The colors of the identity of the Korean International Post was used to identify the different users. Orange for a sender, blue for a person who delivers the parcel, and gray for the service provider. • The grouping of information. The related information was grouped and placed close together. • The hierarchy within the contents. To show a clearer hierarchy in the contents, the redesigned form was divided vertically into equal proportions. Each half

was further subdivided through the use of headings. • The distracting layout (vertical). The layout was designed in such a way that it became clear in which direction the information needed to be read. The combination of these five solutions settled the challenges found in the original form. By reflecting those of solutions, the redesign proceeded. What was the effect? During the designing, several more interviews were conducted. The interviewees provided the useful feedback about the different design phases of the form. The responses were clear. • Most of the people said that everything was clear for them. They did not feel any trouble during filling in the form. The redesign was much easier to fill in. • The interviews showed that people could clearly separate the sections for the main users. The different colors were correctly interpreted. • In the interviews, people were asked to find the tracking information. In the new form, they could quickly and easily find both the website as well as the item number: the grouping of the information was effective. • In addition to that, the interviewers thought that the proportions of all contents were equally distributed in the form. They could find the necessary contents much easier than before. • Most of the people can find the information they needed to find through the wellorganised layout. To sum up, the redesigned version of the EMS form for the Korean Internation Post was easier to use, the information was easier to find, and easier to apply.


GOLD

MASTER

Step 01 Select the form and figure out the main challenge of the form.

Step 02 Think and decide the final questions for interviews.

The original form

Step 03 Proceed the interviews and organize the results of whole interviews.

Step 04 Decide the main redesign points and proceed the redesign.

The redesigned form

Contact: Step 05 Finish the design and interview again.

name: Sunjung Park company/organisation: Visual Communication and Iconic Research University of Applied Sciences Northwestern Switzerland FHNW e-mail: sunjung.park@students.fhnw.ch website: parksunjung.com

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Category:

Healthcare, Student Work

Project:

Penta - Interactive neuromotor rehabilitation 1

What was the challenge? Patients suffering from neuromotor diseases need a specific treatment path with exercises and tools useful to have, in the long run, an improvement of the capacity of movement. The tools available to doctors and patients, to date, have deficiences such as: do not give an objective feeedback about the patient’s progress; they do not give the possibility to be used outside of a medical clinic; the few existing interactive tools are

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very expensive. In general, then, there is a difficult communication between specialist and patient, thus bringing to lengthen therapy, with a consequent loss of time. Eventually, the current rehabilitation and most commonly adopted method, does not stimulate the patient to a positive and challenging approach and therefore is performed in a mostly automatic way, which leads to a less rapid recovery.

What was the solution? During the rehabilitation, the hard part is to recover the upper limb use. We therefore concentrated on developing an all-in-one solution that patients can do complementarily alongside the therapy that they already face. The idea is that the most common action people make with the arm is writing. Focusing on neurocognitive theories, people with neurological diseases should reactivate the “mental paths” they have lost, in order to perform a certain action again. We want to use writing as a way to reactivate the mental paths relative to the entire upper limb. We then designed a kit composed of three main elements: an interactive pen, a binder for collecting the exercises and an app. The pen is a smartpen that, through a camera, detects the mark written in the book and, through a Bluetooth connection, sends the data to the app. The technology is already widely used, but never exploited in the field of well-being. The pen has interchangeable ergonomic supports: so that the patient, who initially experience difficulties even to hold the pen, will gradually reduce the size of the support for the hand with the progress of his recovery. The notebook may contain bundles of preprinted exercises sheets. The bundles shall be distinguished according to the patient’s pathology, the degree of progress, and they are designed to gradually reactivate all the arm’s muscles, starting from the shoulder up to the fingers of the hand. The app is responsible for receiving the data from your smartpen and process them in real time. The mark left by the patient is compared to the assigned exercise to assess the precision of the execution. All data are processed to create a statistical


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MASTER

graph of progress over time. All exercises performed are stored in the app in the form of a diary, and can be sent and shared with the patientâ&#x20AC;&#x2122;s doctor via an integrated chat. What was the effect? The advantages produced by this kit are numerous. The graph drawn by the app allows the patient to view the progress in the rehabilitation path, providing objective data for self-improvement and helping the patient to positively deal with the treatment path and push it to improve more and more. Numerous scientific publications demonstrate in this way the importance of a positive therapeutic approach in a long-term path. The data collected from the pen are processed by an algorithm and they form a basis to give an objective assessment. The doctor can provide a more specific and targeted therapy. In this way we solved the problem of the rehabilitation nowadays: the subjectivity of the assessments given by the patients to the doctors about the progress. The integrated chat in the app allows the doctor to follow more patients at a time and closer without leaving the clinic, suggesting in real time targeted exercises. The patient insetad can practice in the comfort of his own home. The ultimate goal of our project is make

who has suffered of neuromotor diseases writing again, as well as to recover the arm to the maximum of the capacity.

3

1 Kit. The kit that is given to the patients: smartpen, binder and app.

2 App mockup. Some of the sections of the app, from left to right: splashscreen with logo, diary, statistics, homepage, complimentary exercises and chat with the terapist.

3 Storyboard. The medic gives to the patient the kit and the exercise bundle. The patient does the exercises and the smartpen sends the data collected to the app that elaborates in graphic statistics.

Contact: name: Leonardo Babolin, Luca Chiarelli, Marco Franceschini, Lorenzo Monari, Marcello Raffo company/organisation: UniversitĂ IUAV di Venezia e-mail: l.chiarelli@stud.iuav.it

2

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Category:

Student Work

Project:

Eclipse

What was the challenge? Several scientific studies have shown that some behaviours and bad habits of the waking period can influence the quality night’s sleep. A lot of products on sale allow to control the human quality night’s sleep detecting some vital functions during the night, but they don’t monitor the people during the day. So it’s not easy for the people to understand the reason of their difficults. What was the solution? Eclipse keeps tracking people’s sleepawake cycles and their daily activities, highlighting those factors impacting on the quality of nocturne rest. The project tends to balance the sleep-wake cycle of the person, following her along all the 24h. This permit to the people to identify the existence of some bad influence or sleep disorders, which don’t permit a right execution of night’s sleep. What was the effect? It consists of three devices: a clip, wearable during the day (awake phase), which can distinguish artificial light from natural light and tracking the person’s movement quantity; a band, to be placed under the bed sheet, monitoring heart rate and nocturnal movements; finally, a base receiver spreads out a luminous feedback which chromaticism is based upon the user’s sleep-awake cycle quality and refers to the parameters previously detected. The color scale considers a range from violet (negative feedback) to blue (positive feedback) going through middle stages, pink and light blue. This kind of feedback

Contact: names: G. Michiante, S. Paglia, F. Rosafio, G.Sfratato organisation: IUAV University of Venice e-mail: gianluca.sfratato@gmail.com

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allows to people to understand the situation of their well-being level through an emotional engagement. Finally, the application resumes as a characteristic trait the color feedback that overlaps the information and statistics with different shades of white. The Home page reports a little infographic that shows the distinction between data collected during the period of sleep and waking. A total coverage of the circle matches an optimal state of the parameters, while an empty circle indicates a bad condition or an imbalance of values. Statistics are available for inspection by all parameters measured during sleep and awake. This section also offers the chance to see the different data cataloged by day, week and month, providing a wider framework.

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Category:

Student Work

Project:

“Feel the Feeling”. Design as a method for changing eating habits.

What was the challenge? Every third human in the world suffers from obesity. There are thousands of diets and recipes how to reduce overweight, but the greatest enemy is not the food itself but the appetite. More and more people eat in a hurry, not thinking about how and what has been eaten, as a result they feel satiety with a delay and not even realizing what it means to our body. By eating huge amount in a hurry our mind cannot keep the pace as there is not enough time to feel full. The main challenge was to make design products that can prolong the eating process. What was the solution? The solution for the fast daily food intake is “Feel the Feeling” cutlery. It is a set of cutlery (spoon, fork, and knife) that, in contrast to usual tableware, is produced heavy in order to make the eating process slower at the same time bearing in mind the functionality that is based in the design of form and aesthetics. Each of them weighs about 1.3 kilos. The inward curves of the shape are intended to fit comfortably with the fingertips. What was the effect? The main focus of “Feel the Feeling” is based on the shape which can be sensed when taken in hand. These design objects are like communication with the user. Heavy weight in the palm to make the eating process slower. In this case the “excess” weight cutlery gives effect to reduce excess body weight. By using “Feel the Feeling” to change eating habits, the body is capable to change in a positive way as well.

Contact: name: Nauris Cinovics organisation: Art Academy of Latvia e-mail: info@nauriscinovics.com website: www.nauriscinovics.com

126

“Feel the Feeling” visualization.


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MASTER

Before and after using the product.

“Feel the Feeling” packaging design.

127


Category:

Sustainability

Project:

Ecological Information on Fruits Displayed in the Supermarket

What was the challenge? • How can we reduce harmful impacts on our environment caused by food production effectively by informing consumers sufficiently? • How can we provide ecological information, which make products of different kinds comparable from an ecological perspective? • How can we provide ecological information which is not too simple nor too complex? • How can we inform about the most relevant ecological factors with one single approach of information design?

128

What was the solution? The ecological scracity method was developed to assess products in consideration of all relevant ecological factors: transportation, use of farmland and other ressources, emissions, biodiversity loss, etc. The negative ecological impact of any product can be expressed in one single number. The data which is the basis of this design was assessed by the Institute of Environmental Engineering at ETH Zurich (Zyienbeck et al. 2016). By displaying this information hierarchically, we can make different products ecologically comparable and also inform about the specific factor which causes the impact.

What was the effect? Seeing ecological informations at one glance and beeing able to compare products, consumers can take rational ecological decisions. As consumption patterns change, also producers and supermarket purchasers get increasingly aware about ecological impacts and reconsider their way of producing and the products in their assortment.

Contact: name: Aaron Ritschard company/organisation: Basel School of Design, FHNW HGK e-mail: aaron.ritschard@students.fhnw.ch


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MASTER

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Category:

Student Work

Project:

Datavisualisation for LEW (Lechwerke)

What was the challenge? Within the research project “Datavisualisation for LEW (Lechwerke)” we, a group of six students in communication design and interactive media, did new concepts for non-commodity products. The challenge was to define a consistant visual appearance/language, storytelling and interaction for print and digital media.

What was the solution? We created a concept based on the usage of graphical elements and visualisations. The aim was to show seven different houses for seven products. To give every house its own personality, we used different architecture and in addition to that, we designed characteristics and semantic, narrative things for each house, to visualize its residents – without showing people.

We also put a storyline into the editorial design: First we´d like to show the product and its specific features. After that we’d like to inform about how it has to be installed in the basement/on the roof or together with the existing housing technology. Afterwards the visualisation shows the usage of the products and the financial advantages and necessary investments.

What was the effect? The result is a series of printed brochures and a digital web application. Every brochures shows and explains a specific product and provides all necessary information. The digital web application underlines the consistent concept and supports the story and information through interactive elements. The project started at the end of 2014 and was finished at the end of 2016. Those results were also used for the LEW fair stand as well as at the flagship store in Augsburg.

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MASTER

Wie funktioniert eine Wärmepumpe?

Wärmequelle Erdwärme

Die Wärmepumpe (WP) nutzt die im Erdreich, im Grundwasser und in der Luft gespeicherte Sonnenwärme. Denn selbst nachts und an extrem kalten Wintertagen ist in der Umwelt ausreichend Energie gespeichert, mit der Sie Ihre eigenen vier Wände beheizen können.

Wärmequelle Grundwasser

Unsere Erde ist eine unerschöpfliche Energiequelle. Ihre Temperatur ist während des Jahres zwischen 5 und 12 °C relativ konstant. Durch beide Systeme (A, B) fließt Wasser versetzt mit einem Frostschutzmittel (Sole). Es nimmt die gespeicherte Sonnenwärme des Erdreichs auf, die im Verdampfer der Wärmepumpe an das Kältemittel abgegeben wird. Die Lebensdauer beider Systeme ist nahezu unbegrenzt.

Verdampfer In der Wärmepumpe zirkuliert ein Kältemittel. Durch die Aufnahme von Umweltenergie wechselt es den Aggregatzustand von flüssig in gasförmig. Das Kältemittel verdampft bereits bei sehr niedrigen Temperaturen.

Leistungszahl 4,5 – 5 Die Leistungszahl spiegelt das Verhältnis von nutzbarer Wärmeleistung zu aufgenommener Antriebsleistung. Je geringer der Temperaturunterschied zwischen der Wärmequelle (Natur) und der Wärmenutzungsanlage (Heizsystem) umso größer ist die Leistungszahl.

Schluckbrunnen (eventuell auch Sickerschacht)

Die Rohrleitungen zu den Schächten müssen frostfrei verlegt werden (mind. 1,2 m tief)

Wer nur Warmwasser erzeugen möchte, kann eine sogenannte Brauchwasser-Wärmepumpe einsetzen. Sie nimmt die Energie aus dem Aufstellort (z.B. Heizungsraum) und ermöglicht damit eine ganzjährige, sparsame Warmwasserbereitung. Diese Wärmepumpentechnik ist ein hervorragende Alternative zu Sonnenkollektoren.

Heizungs-Wärmepumpen erzeugen die gesammte Wärmeenergie für die Heizung und das Brauchwasser.

B

C

verdampfen entspannen

verdichten

Verflüssiger Das Kältemittel verflüssigt sich im Verflüssiger oder Kondensator und gibt dabei seine Wärme an das Heizsystem ab.

„LEW Eigenstrom Plus“ ist ein spezielles Messkonzept. Es ermöglicht die gleichzeitige Nutzung von selbsterzeugtem Strom aus einer PhotovoltaikAnlage für Haushalt und Wärmepumpe. Damit wird die Eigenstromnutzung weiter erhöht. Die freie Wahl der LEW-Stromtarife bleibt bestehen.

Die einzelnen Solekreise werden in einem Schacht (z. B. auch ein Lichtschacht) zusammengeführt

A

Anordnung der Brunnen in Fließrichtung des Grundwassers. Als Faustformel gilt: Schächte sollten ca. 10 m Abstand haben.

Erdsonden (A) werden bis zu 100 m tief in den Boden eingelassen. Die Sonden bestehen aus zwei U-förmigen Kunststoffrohren. Die Bohrungen haben einen Durchmesser, welcher nicht größer als eine gängige CD ist.

Betrachtet man den Energie-Verbrauch im Haushalt, so entfällt der größte Anteil auf die Heizung (76 %) und Warmwasser (11 %). Hier läßt sich das größte Einsparpotential ausmachen.

9,5 % 76 % 11 %

Wie funktioniert eine Photovoltaikanlage?

Je nach Heizwärmebedarf und Tiefe können auch mehrere Sonden nebeneinander gebohrt werden. Der Abstand von Sonde zu Sonde sollte ca. 5 m betragen.

Wie wird die Photovoltaikanlage installiert? In der Regel werden PV-Anlagen auf Dächern montiert. LEW legt Wert darauf, dass nach der Planung im Internet (www.lew-solar.de) Solar

PV

die bauörtlichen Gegebenheiten durch einen Fachmann geprüft werden. Die Installation nimmt dann ein

Hinter dem Begriff „Solaranlage“ verbirgt sich alles, was mit der Nutzung von Sonnenenergie zu tun hat. Mit Solarthermie/ Sonnenkollektoren wird Warmwasser erzeugt. Photovoltaikanlagen hingegen erzeugen elektrischen Strom.

Photovoltaikanlagen (kurz „PV-Anlagen“) ermöglichen es uns, die Energie der Sonne nutzbar zu machen. PV-Anlagen fangen Sonnenlicht ein und erzeugen elektrischen Strom, der die Geräte unserer Haushalte

regionaler Fachbetrieb vor. Die Installation der PV-Anlage ist im Angebotspreis enthalten.

zuverlässig versorgt. Die Anlagen sind speziell für den Einsatz im Freien ausgelegt. Generell sind PV-Module sehr hochwertig. Das nach IEC-Norm geprüfte Spezialglas der Module ist beispielsweise so konzipiert, dass es bei Hagel nicht brechen sollte.

1,6

0

–x

m

Ein Süddach mit 30° Neigung, ohne Verschattung, wird als ideal angesehen. Grundsätzlich ist aber jedes Dach mit Südorientierung und 30°– 60° Neigung geeignet. Auf Flachdächern werden die Module aufgeständert.

In den meisten Fällen werden Luft-Wärmepumpen außen aufgestellt. Es gibt aber auch die Möglichkeit der Innenaufstellung mit entspechenden Luftkanälen nach außen. Eine dritte Variante ist die sogenannte Splitt-Wärmepumpe. Hier sitzt nur das Lüfterteil außen und das eigentliche Wärmepumpen-Heizgerät ist im Haus aufgestellt.

B Außenluft

Wärmetauscher

1,5 %

2% Um 100 % Heizenergie zu erhalten, müssen lediglich etwa 25 % Antriebsenergie aufgewendet werden. Die restlichen ca. 75 % stehen als kostenlose Umweltwärme zur Verfügung. LEW bietet dafür einen günstigen Wärmesondertarif an.

N

Erdkollektoren (B) sind ein Rohrschlangensystem, das etwa 20 cm unter Frostgrenze im Boden verlegt wird – üblicherweise in einer Tiefe von 1 m bis 1,2 m. Die notwendige Fläche orientiert sich am Heizwärmebedarf des Hauses.

Die Montage erfolgt auf entsprechenden Unterkonstruktionen aus Aluminiumschienen und Stahlbefestigungshaken. Die Unterkonstruktion ist speziell auf 10 cm Abstand vom Dach konzipiert – damit kann die Luft zirkulieren und ein Hitzestau wird vermieden.

Der Stromanschluss kann auf unterschiedliche Weise erfolgen. Z.B. an der Außenfassade entlang der Dachrinne und dann im Bereich des Kellers ins Haus. Oder im Haus in entsprechend verlegten Kabelschächten. Auch in ungenutzten Kaminschächten kann man häufig ohne Brecharbeiten vom Dach bis in den Keller gelangen. Die Statik des Daches muss ca. 25 kg/m² zusätzliche Last aufnehmen können, was normalerweise gegeben ist. Eine Überprüfung durch einen Statiker gibt Sicherheit.

30°– 60°

Der Brunnen kann gebohrt oder mit Bagger und Schachtringen ausgeführt werden (je nach Tiefe).

Für die Nutzung von Grundwasser muss eine wasserrechtliche Genehmigung eingeholt werden. Mit einem Pumpversuch wird die Ergiebigkeit des Brunnens nach Errichtung überprüft.

Was ist bei der Planung zu beachten? Mit dem durch die PV-Anlage selbst erzeugten Strom lassen sich die Geräte im eigenen Haushalt versorgen. Ein hoher Eigenver-

Gemeinsam mit vielen Fachhandwerkern aus der Region unterstützen die Lechwerke Sie bei Planung und Einbau Ihrer Wärmepumpe.

kWp

brauch erhöht deutlich die Wirtschaftlichkeit Ihrer PV-Anlage und senkt Ihre Stromkosten. Tageszeitliche Überschüsse werden ins Stromnetz eingespeist. Was Sie zur Planung Ihrer PV-Anlage wissen müssen, erfahren Sie hier.

Zum Vergleich: 1 m² PV-Fläche erzeugt etwa 100 kWh Strom im Jahr.

Der Weg des Stroms – hier durch einen ungenutzten Kaminschacht.

Die gängige Bezeichnung für die elektrische Leistung von PVAnlagen ist kWp. KW steht für die elektrische Leistung in Kilowatt, das kleine p für peak (Spitze). kWp gibt die Höchstleistung von PV-Anlagen an. Der kWpWert ist für die Dimensionierung einer Anlage interessant. Pro kWp werden ca. 7–10 m² Modulfläche benötigt.

Grundsätzlich kann die ganze Dachfläche genutzt werden. Die Auslegung erfolgt nach dem eigenen Bedarf. Hier gilt die Devise: lieber zu klein als zu groß.

Eine Verschattung durch Bäume und andere Dinge wie Dachaufbauten, Leitungen, Antennen, Kamin und andere Gebäude ist grundsätzlich zu vermeiden. Verschattung kann zu hohen Ertragseinbußen führen.

Fortluft

WP

Abluft

Zuluft

Prinzip Wohnungslüftung mit Wärmerückgewinnung: Aus den Räumen mit hoher Feuchte- und Geruchsbelastung wie Küche, Bad und WC, wird die Luft abgesaugt. In einem Wärmetauscher wird der warmen Raumluft Heizenergie entzogen und direkt an die ins Gebäude strömende Außenluft abgegeben. Schadstoffe und Feuchtigkeit werden mit der Fortluft abgeführt. Mittels einer Wärmepumpe wird die restliche Wärme entzogen. Die Außenluft wird als gefilterte Zuluft durch die Wärmerückgewinnung vorgewärmt und zugfrei in den Wohn- und Schlafbereich eingebracht. Sie strömt über die Flure in Küche, Bad und WC.

Leiterbahnen aus Kupfer

sind regionaler Energiedienstleister in Bayern und Teilen Baden-Württembergs. Wir erzeugen umweltfreundlichen eigenen Strom überwiegend aus Wasserkraft. Wir setzen auf regionale Identität, Kundennähe und -betreuung. Wir sind ein Motor der

regional und zukunftsorientiert.

Die PV-Anlage kann gekauft oder gepachtet werden.

Die Befestigung erfolgt zwar unter den Dachplatten, aber auf dem Dachstuhl. Durch das Dach muss man lediglich einmal für den Anschluss der Anlage.

Wechselrichter (bevorzugt in kühleren Bereichen des Hauses montiert) Stromverteilerkasten

n-dotiertes Silizium Grenzschicht

Si

Si

Si

Si

Si

Si

p-dotiertes Silizium

Si

95% Über 95 % aller auf der Welt produzierten Solarzellen bestehen aus dem Halbleitermaterial Silizium (Si). Silizium bietet den Vorteil, dass es in ausreichenden Mengen vorhanden und die Verarbeitung des Materials umweltverträglich ist.

Zu der Anlage auf dem Dach gehört ein Wechselrichter, welcher überall im Gebäude installiert werden kann. Über die eingebauten Kontrollleuchten kann die richtige Funktion überwacht werden. Der Wechselrichter wandelt den von der Anlage gelieferten Gleichstrom in Wechselstrom um. Dieser fließt weiter in den Stromverteilerkasten.

Über das Internetprogramm www.lew-solar.de planen Sie einfach zuhause Ihre individuelle PV-Anlage. Vor Auftragserteilung prüft ein LEW-Fachmann die örtlichen Voraussetzungen. Nach bayerischer Bauordnung sind PV-Anlagen genehmigungsfrei. Lieferung und Montage können im Normalfall kurzfristig erfolgen.

Durch die Einbindung der PVAnlage in die Elektroinstallation des Hauses sind automatisch alle Stromverbrauchsgeräte mit der Anlage verbunden.

Strom, der zugekauft werden muss, kann ganz einfach von LEW bezogen werden.

Sobald die Sonne scheint, produziert die PV-Anlage Strom. Dieser wird zuerst in den hauseigenen Geräten genutzt. Sobald mehr Strom erzeugt wird, als momentan verbraucht wird, wird dieser automatisch ins Stromnetz eingespeist. Sie erhalten eine gesetzlich durch das EEG (Erneuerbare-Energien-Gesetz) geregelte Vergütung bei der Einspeisung ins Stromnetz. Unsere LEW Energieberater kennen die aktuellen Beträge. Ihren Eigenverbrauch können Sie durch einen Batteriespeicher zusätzlich erhöhen. Gerne berät Sie einer unserer Experten dazu individuell.

10

20

30

Jahre

In der Regel erzeugt eine PV-Anlage durchschnittlich pro kWp mindestens 950 kWh Strom pro Jahr. Viele Hersteller bieten eine Leistungsgarantie über 25 Jahre. Bis dahin haben die Anlagen immer noch 80 % der ursprünglichen Nennleistung. Die zu erwartende Lebensdauer der PV-Module beträgt ca. 25 bis 30 Jahre.

Es gibt spezielle Solarversicherungen, z. B. PV-Allgefahrenversicherung.

Aluminiumrahmen

Die Module sind so konstruiert, dass sie vor allem auf dem Dach gut zu montieren sind. Die Maße weichen von Hersteller zu Hersteller ab. Ein typisches Maß ist 1,65 m x 0,99m x 0,035 m (H x B xT).

Lebensdauer

Kauf

wirtschaftlichen Entwicklung in der Region. Wir sind Teil der RWE-Gruppe. Wir sind verlässlich, leistungsstark, regenerativ,

Silizium

xm

Amortisierung

Entscheidungen in Sachen Energie? LEW ist seit über 110 Jahren zuverlässiger Partner in allen Fragen rund um Energie. Wir

Rückseitenkontakt

1–

Argumente für die Wärmepumpe: - für die Modernisierung und den Neubau geeignet – niedrige Energiekosten – wartungsarm – kein Kamin – keine Brennstoffbevorratung – hohes CO2-Minderungspotenzial – Baustein der Energiewende

Wer unterstützt mich bei meinen

Eine PV-Anlage kann auch im Garten, an der Hausfassade oder auf dem Garagendach montiert werden.

Glas

Durch Lichteinstrahlung werden positive und negative Ladungsträger freigesetzt. Über Metallkontakte kann eine elektrische Spannung abgegriffen werden. Wird der äußere Kreis geschlossen, also ein elektrischer Verbraucher angeschlossen, fließt ein Gleichstrom. Dies bezeichnet man als photoelektrischen Effekt. Man versteht darunter die direkte Umwandlung von Sonnenlicht in elektrische Energie.

Der Einbau von HeizungsWärmepumpen wird von LEW und vom Staat gefördert. Wir informieren Sie gerne.

A

Wärmepumpen arbeiten dank ausgereifter Technik äußerst zuverlässig. Sie sind sehr langlebig und eine großartige Alternative zu konventionellen Heizsystemen.

25 %

0 550 Leistungszahl 3,5 – 4

In der Regel werden getrennte Speicher für Brauchwasser und Heizungswasser aufgestellt. Es gibt aber auch KombinationLösungen.

verflüssigen

75 %

Die Wärmequelle Luft ist überall vorhanden und lässt sich ohne großen baulichen Aufwand erschließen. Ein Ventilator führt die Außenluft am Verdampfer der Wärmepumpe vorbei, der dieser Wärme entzieht. Meist ist bei den Luft-Wärmepumpen ein elektrischer Heizstab integriert, der in den wenigen extrem kalten Wintertagen unterstützend eingreift. Dank neuester Technik sind die Geräte verbrauchsarm und sehr leise im Betrieb. Sie eignen sich daher sehr gut für neu gebaute Ein- und Zweifamilienhäuser sowie speziell für die Altbausanierung.

5500

Expansionsventil Das Kältemittel wird durch das Expansionsventil entspannt, der Kreislauf beginnt von neuem.

Leistungszahl 5 – 6

Förderbrunnen

Verdichter Der elektrisch angetriebene Verdichter setzt das gasförmige Kältemittel unter Druck. Dabei erhöht sich die Temperatur.

Erdwärme, Grundwasser, Außen-/Raumluft können als Energiequellen für eine Wärmepunpe dienen.

Wärmequelle Luft

Ist Grundwasser vorhanden, eignet es sich ideal als Wärmequelle. Denn seine Temperatur bleibt während des ganzen Jahres zwischen 8 und 12°C relativ konstant. Benötigt weden lediglich zwei Brunnen: Aus einem Förderbrunnen wird das Grundwasser zur Wärmepumpe gepumpt. Im Verdampfer wird dem Wasser Wärme entzogen. Über einen Schluckbrunnen oder auch Sickerschacht wird das Grundwasser wieder ins Erdreich zurückbefördert.

0 550

Die Kosten für eine Anlage werden pro kWp angegeben. Eine durchschnittliche PV-Anlage mit etwa 5,25 kWp liegt etwa bei 9.500 € inklusive Installation. Laufende Kosten (Wartung, Reinigung, Versicherung, Zählergebühren) betragen etwa 1% des Investitionsvolumens. Über www.lew-solar.de können Sie sich ganz einfach Ihre individuellen Werte aktuell errechnen lassen. Hier ein Beispiel: Die vierköpfige Familie Mehner wohnt in ihrem eigenen Haus. Sie verbraucht 4.000 kWh im Jahr und ist auch werktags oft zuhause. Ihr Dach hat eine Neigung von 40° und ist nach Süd-Osten ausgerichtet. Ihre PV-Anlage besteht aus 21 Modulen, die eine Gesamtleistung von 5,25 kWp erzeugen. Der geschätzte Ertrag dieser Anlage beträgt 5.270 kWh im Jahr. Die gesamte Anlage kostet etwa 9.500 €. Die Mehners haben einen jährlichen Vorteil durch Eigenverbrauch (ca. 30%) von 465 € und durch Stromeinspeisung (ca. 70%) von 547 €. Somit haben sie einen jährlichen Gesamtvorteil von 1.012 € – auf 20 Jahre gesehen, wären das 20.240 €. Die Kostendeckung ist nach ca. neun Jahren erreicht. (Stand Februar 2015)

Unsere Region Bayerisch-Schwaben bietet optimale Voraussetzungen für Photovoltaik. Mit einer durchschnittlichen Sonnenscheindauer von ca. 1.700 Stunden pro Jahr werden wir besonders stark von der Sonne verwöhnt.

Contact name: Lisa Borgenheimer, Magdalenda Dannecker, Alexander Jahn, Sebastian Harter, Stephan Reichinger, Patrick Schröter

company/organisation: University of Applied Sciences Augsburg (DE)

e-mail: info@lisaborgenheimer.com website: http://technikprodukte.lew.de/

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Category:

Student

Project:

A Solution to Medication Tracking for Cataract Surgery

What was the challenge? For this project we were given a set of basic, yet confusing instructions for patients who are undergoing cataract surgery. With this surgery, patients are required to take medication before and after the surgery for at least 8 weeks and the issue is on how to properly and effectively instruct patients on the use of the medications required for cataract surgery. What was the solution? My solution to this problem is to design a clear and informative instruction booklet explaining to patients how to properly take these medications, followed with an adhesive medication calendar, which will help keep the patients on track when taking the eye-drop medications for a lengthy time period. My approach for this problem is to break down the provided instructions to their most simplest form. Cataract surgery is commonly seen with seniors, and this became the foundation for the instructional booklet. The notion of learning by doing is a learning strategy many youth par-take in and is the base for the adhesive calender – interactive and engaging. I was able to break the medications up into: before and after steps – and their associated steps – for the patient to easily read and understand. From there, I researched some common recommendations for pre-surgery and

Contact: name: Devon Proctor company/organization: Mount Royal University e-mail: dproc948@mtroyal.ca

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post-surgery and came across the most frequently seen issues patients may have, particularly post-surgery, and developed my idea further based on this information. My idea to have an instruction booklet is to aid and inform the patients without overwhelming them with lots of small type. The booklet has been designed following Reigeluth’s Elaboration theory, where it is essential to have a strict sequence of instructions from the most broadest aspect leading into the most complex aspect of the problem (Pappas, 2014). It is expected that the physician will explain the booklet and the calender to the patient when they give the patient the surgery package prior to the surgery. The physician should make sure the patient clearly understands how to use the calender and knows what information is in the booklet. The calender is designed to act as a visual aid. According to Lombardi, “learning-bydoing is generally considered the most effective way to learn” (Lombardi, 2007). The use of the calender will allow the patient to write on it with a white-board marker, making notes and tracking their medication usage. Because the patients are working with the calender regularly, the physical interaction and the repetitive checklist provides the learning through doing experience, and allowing a unique experience for each patient that uses the calender. Reigeluth’s theory works for the calender in the sense that it allows the patients to work through their learning experience from start to finish – working through a sequence (Culatta, 2015). However, it is Lombardi’s theory, and the foundation for the calender, that adheres to the authentic or situated learning for the patient.

Figure 1: Example of simple 4-page instructional booklet

What was the effect? According to Andrew A. Dahl, MD, FACS, most patients don’t feel any significant pain after surgery, but some discomfort is expected (Dahl, 2016). It was mentioned that vision will be blurred for some time after the surgery (WebMD Medical Reference, 2016), so I focused my idea around colour coding, larger font sizes and icons for the patients to easily see. Colour coding is directed towards the medications and calender and the larger font is for the booklet and the calender. I felt it was necessary to research the surgery for patients, prior to and after, to gain the best understanding for finding a


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Medical Tracking Calender - Cataract Surgery Month:

Year:

Medicine Colour Legend

Drops on calender indicate how many drops to instill

Prescribed Medication(s):

Patient Notes:

booklet is designed to aid seniors, where as the calender is designed more towards younger demographics. The font is clear, direct and large for easy reading in the booklet. For the calender, the medications have been categorized by colour and icons to differentiate amounts and time to take medications.

Figure 3: Breakdown of colour coding and iconography Figure 2: Example of adhesive calender for patients to use.

solution to the problem. When I started with this project, my demographic was for patients 18 years of age or older. It was only after doing research I knew to centre my demographic on the 50+ age range, as cataracts are more likely to occur in seniors, but can occur in anyone (WebMD Medical Reference, 2016). From the research and the instruction sheet provided, I compared the information and was able to cut any unnecessary information and direct attention onto the most important content the patient would need to know. The idea to break the content down, so the instruction booklet

is designed with short sentences and bullet points, walks the patient through the process of taking the medications both before and after the surgery stress free. The adhesive calender is developed to accompany the instruction booklet and help the patient keep track of multiple medications on a daily basis for a given amount of time. The purpose for having two instructional materials is to aid different types of learners. With this type of surgery, the age demographic and physical ability can vary. Therefore, it was important to consider both factors. The instructional

Because the calender is designed more for a younger demographic, the font is slightly smaller and the patient is required to check off the medications taken on a daily basis. As well, the calender has been designed not to exclude the old demographic by incorporating colour coding and visual cues. The calender has purposely been designed to act as a visual tracking tool for patients to see there medication usage. For the purpose of this project, the calender has been designed specifically for cataract surgery, but it can easily be manipulated to work with a variety of medical procedures.

Figure 4: Zoom-in example of design with symbols and time-tracking incorporated.

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Category:

Student Work

Project:

Navigational information for the blind

What was the challenge? People with visual disabilities face many obstacles to orient themselves and move independently in cities and buildings. In many cases, these environments do not provide information for blind people to make sense of their surroundings. This situation is specially concerning when it comes to government or educational facilities, because they may be missing out important opportunities to improve their lives. As a group of designers studying information design under the direction of a professor-researcher whose main area of interest is inclusive design, we wanted to make our university as accesible as possible for the blind. In this way, we sought to promote the inclusion of this sector of the population in higher education. The wayfinding system of the building already had Braille signage and tactile paving, but it was necessary to give information about the general structure and location of classrooms, offices, and services. What was the solution? We designed a series of seven haptic maps to facilitate the independent navigation of blind people in the facilities of the Metropolitan Autonomous University, Cuajimalpa in Mexico City. With the collaboration of blind people from an NGO, we observed their navigation strategies and their conception of the space as they walked around the building. We made prototypes of the maps based on their impressions. The information was encoded with simple shapes and textures in order to ease differentiation of the diverse elements. Then, we asked the participants to perform navigational tasks to evaluate the effectiveness of the maps. The findings from this evaluation enabled us to refine our prototypes and proceed to the final stage of production and installation.

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Mapa táctil Mapa tactil

Piso Piso $04

Casa abierta al tiempo

UNIVERSIDAD AUTONOMA METROPOLITANA UNIDAD CUAJIMALPA

Estás aquí

estas aqui Recorrido

recorrido Aula

aula Escaleras

escaleras Escaleras Eléctricas

escalera electrica Rampa

rampa Elevadores

elevadores WC Mujeres

WC mujeres WC Hombres

WC hombres Bebederos

bebederos

caja

Galeria

Galeria Librería

libreria Sistemas Escolares

Sistemas Escolares

1. Early version of a map, based on the first experience of blind individuals in the campus

2. A participant drawing his route

3. Low fidelity protoype of a map


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4. A user evaluating the prototypes

6. Detail of the final design

5. The maps were integrated to the current navigation system of the campus

What was the effect? To the best of our knowledge, this is the first building in Mexico with this type of maps. Now blind individuals can find their way in our university, without having to rely on the guidance of other people. With this project we are making a case for more inclusive educational spaces that allow the integration of people with disabilities in academic settings.

Contact: names: Miguel Andrade, Ricardo CastaĂąeda, Beatriz Cedillo, David Hernandez, Mercedes Lozano, Angelica Martinez, Carlos Pardo, Carlos Perez, Paulo Portilla, Cecilia Rivera, and David Vargas. company/organisation: Metropolitan Autonomous University, Cuajimalpa e-mail: carlos.perez.ceron@gmail.com

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Category:

Student Work

Project:

Printproduktion - Der Weg ist das Ziel

What was the challenge? In the second semester of my masterâ&#x20AC;&#x2122;s degree communication design, which ends in September 2016, I created a board game about the way of print production. We visited eight different companies to get an insight about the workflow in agency life, paper manufacturing, digital printing, screen printing, offset printing, letterpress, bookbinding and printing finishing. After getting a lot of information, impressions and knowledge from the companies about the print production process we needed to produce a print product of our choice, which reflects our collected knowledge. What was the solution? I decide to create a board game for four players, because playful learning is the easiest and funniest way to get knowledge. What was the effect? The board game has nine types coloured event fields. The the eight print production categories and tips & tricks. The player need to roll the dice. If he arrives at an event field that is different in colour, he draws a playing card of the category. Answering an easy card gives you the possibility to draw one field forward if you answering correctly, or draw backwards if you answering wrong. The medium playing card gives you the opportunity to draw two fields forward and the hard playing card three fields. With both kind of playing cards you have only the possibility to draw forward and not backwards. The main goal of the game is it to reach the goal field first. My tasks: conceptual design, graphic design, testing, production together with a joiner, self laminating the prints.

Contact: name: Patrick Ricker company/organisation: FH Joanneum Graz e-mail: patrickrenericker@gmail.com

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Student work

Project:

Music Biennale Zagreb 2015

Muzički biennale Zagreb Međunarodni festival suvremene glazbe

Music Biennale Zagreb

International Festival of Contemporary Music

18 – 25 / 04 / 2015 HGZ 19 / 4 Klemen Leben, harmonika 20 / 4 Komorni gudački orkestar Slovenske filharmonije 21 / 4 Milan Pala, violina, viola, milanolo Finale natjecanja 5 minute Opera 22 / 4 Asambl les Amis Gudački kvartet Penderecki 23 / 4 Hrvatski gudački kvartet 24 / 4 Puhački kvintet Slowind HNK 25 / 4 18 / 4 VENI ACADEMY, HR MA / ADU / ALU projekt and GNG GU / TTF Elly Bašić Papandopulo Grupa za suvremenu Madame glazbu Lisabon Buffault 25 / 4 Dvije baletne jednočinke KINGS OF GODS

ZPC 20 / 4 Ana Horvat Melita Spahić Bezjak 22 / 4 Tibor Szirovicza Zrinka Šimičić KIC Mihanović 19 – 24 / 4 11:00 BIng Bang Dani Bošnjak Terezija Cukrov PST trio Festivalski solisti JMZM

ZKM 18 / 4 Klangforum Wien 20 / 4 Asambl Asko Schonberg 21 / 4 Ansambl Handwerk

MIMARA 20 / 4 Vokalni ansambl Anthiphonus

Galerija SC SC Gallery 17– 25 / 4 Davor Sanvicenti prostorno zvučna instalacija spatial suond instalation Otvorenje / Opening 17 / 4, 19:00 Francuski paviljon, SC French Pavilion, SC 18 – 24 / 4, 23:59 Gerriet K. Sharma Oblivious to Gravity V Building Sound Composition za Francuski paviljon for the French Pavilion

TEATAR & TD 19 / 4 Ansambl Nadar 22 / 4 MM centar Soap Opera 19 / 4 24 / 4 LP duo Eivind Aarset & Jan Bang 21 / 4 Dream Logic Simone Beneventi, udaraljke

MDVL 22 / 4 Ansambl Musikfabrike 23 / 4 Daan Wandewalle, klavir

KVDL 19 / 4 Slovenska filharmonija 23 / 4 Simfonijski orkestar HRT – a 24 / 4 Zagrebačka filharmonija

What was the challenge? Music Biennale Zagreb is an international festival of contemporary music founded in 1961. During the festival which takes place every other year in April, Zagreb is transformed into cultural centre to which composers, music critics, best musicians, and contemporary music and arts lovers from the region and Europe gravitate. The festival has a strong response as well as an incentive in its own environment. Completely dedicated to the new music, including the „living Classics“ of contemporary music and the new generation of composers from all over the world, Music Biennale programmes include projects from symphony orchestras and chamber ensembles, experimental musical theatre,

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m u z i č k i b i e n n a l e z a g r e b

19 / 4 / 2015

18 / 4 / 2015 HNK 19.30 / Papandopulo Madame Buffault

ZKM 22.00 / Klangforum Wien

HGZ 17.00 / Klemen Leben, harmonika

KIC 11.00 / biNG bang

TEATAR&TD 23.00 / Ansambl Nadar FRANCUSKI PAVILJON 23.59 / Oblivious to Gravity V

21 / 4 / 2015

20 / 4 / 2015 ZPC 23.30 / Ana Horvat / Melita Spahić Bezjak

HGZ 17.00 / Komorni gudački orkestar Slovenske filharmonije

ZKM 19.30 / Ansambl Asko KIC Schonberg 11.00 / Dani Bošnjak

MIMARA 22.00 / Vokalni ansambl Antiphonus

22 / 4 / 2015

KIC 11.00 / Terezija Cukrov

ZKM 21.30 / Ansambl handwerk

23 / 4 / 2015

HGZ 17.00 / Ansambl Les Amis / Gudački Kvartet Penderecki

ZPC 23.30 / Tibor Szirovicza / Zrinka Šimičić Mihanović KIC 11.00 / PST trio

TEATAR&TD 21.30 / Soap Opera

IMPORTANNE CENTAR 11.00, 15.00 MDVL 19.30 / Ansambl Musikfabrik

24 / 4 / 2015

HGZ 17.00 / Hrvatski gudački kvartet

FRANCUSKI PAVILJON 23.59 / Oblivious to gravity V

KIC 11.00 / Festivalski solisti GLAZBENI PAVILJON NA ZRINJEVCU 11.00, 16.00 KDVL 19.30 / Simfonijski orkestar HRT-a

MDVL 22.00 / Daan Vandewalle, klavir

25 / 4 / 2015

HGZ 17.00 / Puhački kvintet Slowind

TRG PETRA PRERADOVIĆA (CVJETNI TRG) 11.00 KIC 11.00 / JMZM

TEATAR&TD 22.00 / Eivind Aarset & Jan Bang FRANCUSKI Dream Logic PAVILJON 23.59 /

contemporary dance, jazz, electronics to alternative music scene. For my college assigment in the second year of Promotional design course (mentors: doc. Igor Kuduz, doc. Niko Mihaljeviććc and doc. Andro Giunio) I‘ve had to make a project – my own vision of the promotional materials and visual identity for the Festival of Music Biennale Zagreb 2015. The festival takes place on a different location in the city, the programme goes on for a whole day for one week. The exisisting materials and visual identity for the festival that year didn‘t give consumer a chance to realize what is where, locations were very mixed and the programme of the festival was very confusing for the future visitiors. Programme and locations were made seperately so I decided to

HGZ 16.30 / Milan Pala, violina, viola, milanolo 19.30 / Finale natjecanja 5 - Minute Opera

MM centar 23.00 / Simone Beneventi, udaraljke

FRANCUSKI PAVILJON 23.59 / Oblivious to Gravity V

MUZIČKA AKADEMIJA 16.00

KDVL 19.30 / Slovenska Filharmonija

FRANCUSKI PAVILJON MM centar 23.59 / 21.30 / Oblivious to LP duo Gravity V

KDVL 19.30 / Zagrebačka filharmonija

GALERIJA SC / SC GALLERY Davor Sanvicenti prostorno zvučna instalacija / spatial suond instalation

HGZ 12.00 / VENI ACADEMY HR projekt and GNG GU Elly Bašić 17.00 / Grupa za HNK suvremenu 19.30 / glazbu Lisabon Dvije baletne jednočinke

Oblivious to Gravity V

make it unique, more approachable and recognizable for the future readers and visitors of the Festival. The visual identity had to combine places and programmes all in one so that the future visitor could have all in one- location, information and recognizable visual of the Festival. What was the solution? The work consists of the following components: Two posters, brochure, bag, folder and animated GIF. All elements are based on informative graphic image showing points (locations) where different programmes of Music Biennale take place. The locations are real locations taken from the Google map, every day is combined into one informative graphic that represents one day of a week.


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Festival takes place for eight days so I got eight different informative graphics for each day separately. Direction and connection of the lines are determined by the exact time, from morning until later in the evening, by hours in the day when the certain event is held. In the end all eight days are combined into one visual that represents one informative graphic. The recognizable visual is created by connecting all the points that represent the exact locations of the Festival during the period from 18th to 25th of April. The future visitior is given the exact information about change of location and the program content he neeeds. The colors used in the visual are black and white. Contrast of colors enhances the feeling of power and dynamics of the entire composition. The typography used on all visuals is Calibre. What was the effect? By connecting all the points the informations are easier for the viewers (future visitors) to grasp and also have more of an emotional effect on them. The viewer needs to look at the poster or a brochure and see all information needed in one â&#x20AC;&#x201C; location and programme content. Connecting points (locations) make the recognizable visual that evokes rhythm, dynamics, sense of music and movement, all things in one that represent the Festival.

Two posters The first poster shows the aforementioned visual based on informative graphic image showing points (locations) where different programs of Music Biennale take place. Points (locations) are determined precisely by using Google maps. By connecting all the points a recognizable visual is created that represents the exact locations of the Festival during the period from 18th to 25th of April. The other poster shows the exact locations of the festival maintenance and their program for each day separately in period from 18th to 25th of April 2015. The typography used in text of promotional material is Calibre regular and Calibre semibold. Brochure The brochure has a square shape where the pages are bent one after another (zig - zag), measuring 13x12 cm, colors black and white. It is legible on both sides, each side has its front page. On one side there is a history of the festival, and on the other a schedule of the festival during the days. Display of informative graphic is transferred into a vertical version. Bags and folders are made for the rest of the promotional material with the same recognizable info graphic visual of the festival, which is recognized from the posters and brochures.

Animated GIF Gif is made as animation of the exact location points and program content. Points are exchanging in a way that they are marking location by days of the week from 18th to 25th of April 2015., exactly as scheduled festival points for each location during the day takes place. In the end all points are combined into a single, already recognizable visual. (To see how gif works like, click on animated gif where you can find hyperlink on my whole work).

Contact: name: Vanja Ĺ ok company/organisation: Media design,University of North, Koprivnica, Croatia e-mail: vanja.sok@gmail.com

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Category:

Student Work

Project:

kĂŽkmaa

What was the challenge? In reason for an interactive design thinking process did the students take on the challenge :: How could digital media and new interactive forms be used to connect young and elder people better, with the effect donâ&#x20AC;&#x2122;t feeling lonely. What was the solution? On basis of interviews and different user researches did the students convey an idea. The idea of the concept, was to take elder people the feeling of being lonely and to keep up contact to their loved once. Next to this theme existed the challenge to develop a digital product for nondigital-natives! The finish functional prototype consists a modular system out of display-tiles, it can be expand. What was the effect? Every single display represents a different news channel of particular people. Just one photo or video a day could be transmitted through the news channel. This is to save the content of the picture message. The receiver gets individual greetings. The present place of presentation and the special receiver makes the message much more important and individual. Besides this can kĂŽkmaa also be used to organise events and bring the people in reality together.

Contact: name: D. Schott, R. Leitmann, S. Nitzsche, C. Lucklum organisation: Hochschule Magdeburg Stendal FH // Institut Design e-mail: projekt.kikmaa@gmail.com website: www.kikmaa.com

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Category: Student Work

Prevention and Restrain of Pregnancy and Post-partum’s Depression.

Project:

What was the challenge? The pregnancy and post-partum’s depression is very common among women of all the ages, origins and social classes. The pregnancy itself is not the cause of it, but many dangerous factors triggered in this delicate moment, as: hormonal, immunological, physiological, social and cognitive factors. Particularly, a really common problem is the transformation of the body and the perception of each woman’s own body. Indeed, the purpose is to let women to peacefully and naturally live their pregnancy through a good relationship with their bodies, in order to prevent or, in case, restrain, pregnancy or post-partum’s depression. 18% depressione minore 32% depressione maggiore

In gravidanza Nel post-partum

60% baby blues

15% depressione post-partum

There is a correlation between body perception, and the insatisfaction about it, and depression.

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What was the solution? mamamè is a device which wants to promote a realistic perception of the feminine body during and after the pregnancy, which is often obstructed by an surrealistic and idealistic picture given by the society and our culture. mamamè is different from the traditional programs, which are following a woman before or after the childbirth, because guarantees continuity involving and following the woman during all her path, without any breaks. The project is seen in a larger context, made by collaborations with the public healthcare and the doctors, whom are important in order to obtain mamamè’s goals. mamamè has got four principal functions: • me function, composed by “network” and “growth” sub-functions. Thanks to the network, it is possible to publish and see pictures of other women in the same pregnancy week, which is really important because allow to see the personal natural transformation also on other women, whom can be privately contacted thanks to a specific chat. “Growth” makes funny the measurement of the growing belly, thanks to an incorporated electronic meter, and with the help of a thrilling interface, the mother will be able to see the status of her baby. • your doctor function, with “informations” and “contact” as sub-functions. In the first one it’s possible to enter in a reliable database full of infos about the pregnancy and the post-partum. “contact” gives the possibility to maintain a direct contact with the doctor, via mail, any time. • agenda function helps the meetings

and medical checks management. Furthermore, it’s possible to personalize the calendar adding notes and special events as well. • share function has as first goal to involve the three biggest affections of the woman, and she can decide to share, privately and easily, with them contents and appointments. In addition to these active functions, the woman will automatically receive a daily info, a wellness or sport tip every three days and a clock alarm will ring in order to remind any appointment in agenda. The doctor will give this little helpmate to the woman at the begin of the pregnancy. The usage of the tool and the access to the linked service is expected during all the pregnancy period until the end of the first year after the childbirth. Finally the woman will give mamamè back to her doctor, who will change for hygienic reasons the device’s meter, and he will give her a book with all the infos and pictures contained in the device. In addition to the device, the interface and the service itself, a silicone cover had been designed, which gives pleasant tactile feelings and is customizable in order to feel more private and personal mamamè and what it contains; a marketing campaign, made by flyers and posters, based on the core concept “il cambiamento è bello” (changing is beautiful), made both for the doctors but mostly for the women, receivers of mamamè.


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What was the effect? Therefore, mamamè is focused on the perception of the woman on herself and on her body; it guarantees continuity, before and after the childbirth; it uses photography as communicational tool; it creates a supportive network among pregnant women and links a woman to her affections; it conserves and gives back to her all the pregnancy’s memories. The aim of mamamè consists in giving a personalized help which drives the woman in this unique and delicate part of her life, relieving problems linked to her perception on herself, limiting the risk factors which could lead her to depression.

mamamè cerca nome

me

filtra

15 settimane

agenda

condivisione

il tuo medico

Contact: name: Patrizia Berardelli Francesca Menghi Sara Onofri Anna Caterina Perlati company/organisation: Università Iuav, Venezia e-mail: berardellip@gmail.com francesca.menghi94@gmail.com sara.onofri.94@hotmail.it perlatiannacaterina@gmail.com

Gennaio

oggetto:

Febbraio scegli tre persone con cui condividere la tua gravidanza

i

Marzo e-mail

i

quando si aspetta un bebè si può viaggiare in aereo senza problemi.

i

il caffè è ammesso in gravidanza, ma con moderazione: non più di una tazzina al giorno.

i

il sesso fa bene all’umore e prepara al parto perchè mantiene i muscoli pelvici elastici e allenati

Aprile e-mail e-mail

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Category:

Student Work

Project:

The Financial Lobbying Network

What was the challenge? Financial lobbys are able to control the financial regulation within the European Union. While their monetary investment and their abundance in personnel contribute to their power, their connections to financial associations play a major role by multiplying their opinion. With data acquired from “Corporate Europe Observatory” and the “Transparency Register” of the EU, I wanted to show how financial lobbies hold a dominant role within the European Union. What was the solution? A projected interactive data visualization shows how much money is spent by financial institutions annually, which branches said institutions cover and how they are connected to associations and consultancy agencies. The ideal concept includes the usage of AR technologies in order to expand the informative user experience. The interactive installation can be controlled using an application running on an iPad. What was the effect? The installation caught people’s attention instantly, encouraging them to test it and to understand this important issue. Even though the concept of lobbying isn’t unfamiliar, people were surprised about the connections between the institutions which create an echo effect and the amount of money invested into lobbying strategies – despite naturally assuming that the real figures might be much higher. It was a realisation which made them curious about how policies are actually developed, and what we as citizens can do about it.

Contact: name: Katrin Ho company/organisation: FH Aachen e-mail: katrin.ho@alumni.fh-aachen.de

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Visual Encoding A combination of an inverted sunburst diagram and a node-link layout has been chosen. While the ring layers distinguish institutions between financial institutions, financial associations, consultancy agencies and the European Union, a colour coding depicts the branches of the chosen

financial institution. The arc size is calculated by the amount of money invested by the institution per year. The iPad application which controls the visualization shows a label-focused view of the network.

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COMPILATION OF AWARDED SUBMISSIONS

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IIID International Institute for Information Design

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IIIDaward 2017 in Information Design  

Compilation of awarded submissions organized by IIID, the International Institute for Information Design

IIIDaward 2017 in Information Design  

Compilation of awarded submissions organized by IIID, the International Institute for Information Design

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