Page 1

NA

BOOK

rd a w IIIDa 0

202

tio nD esi gn

THE

COMPILATION OF AWARDED SUBMISSIONS

VIEN

a Int orm ern Inf r o ationa f l Institute

iiidaward.net

IIID International Institute for Information Design

2020


GOOD

‘S IT! FOUND

INCLU

. T I T GO

THAT

B2C C2B

S S

T

I H

MASTER

ALL SIVE

K

TICKET PLEASE

E E

P I T

UP

! K N

? WHAT‘S UPW

G O

International Institute for Information Design

E N

A L !

IIID

! T X

IIID International Institute for Information Design


The IIID Award 2020 celebrates the far-reaching contribution information designers make to society. They apply creativity and design thinking to solve complex communication problems, and to improve every aspect of human life.

Waller

When we travel, information designers help us find the way. When we buy things, they help us to make informed choices. When we pay tax or claim benefits, they explain our rights and responsibilities and make the process run smoothly. They reveal what data means, they help us find information quickly, and they explain how complex systems work. Information designers help us understand health and healthcare systems. When the pandemic came, they helped experts to explain it and they showed us how to keep each other safe. In spite of all this, most people know too little about information design. Rather than explain it through theories or definitions, it is much better to see it in action, and that‘s what this book and exhibition are for.

Rob Waller, President IIID

1


International Institute for Information Design

President:

Rob Waller Simplification Center, UK

President elect:

Veronika Egger is-design, Austria

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 Fößleitner, hi-pe.at, Austria

New board members 2020:

Sheila Pontis, USA Michael Babwahsingh, USA Keith Tam, Hong Kong

Director (retired): Peter Simlinger Simlinger Informations-Design GmbH, Austria Immediate Past President:

Clive Richards Professor Emeritus of Information Design at Birmingham City University, UK

Past Presidents: Michael Hardt (from inaugural meeting - 1995) Erik Spiekermann (1995 - 2003) Robert O. Swinehart (2003 - 2009)

Supporters 2020:

Cora Catharina Ann Henrik Boris

mail@coraakdogan.com catharina.ballan@flussobjekte.at annbessemans@telenet.be henrik.blomdahl@lvi.se novachi@gmail.com

Christiane Sumit Bettina Veronika Yvonne

christiane.braun@gmx.at sumit_d@nid.edu bettina.dakura@wi.mofa.go.jp veronika.egger@isdesign.at yvonne.eriksson@mdh.se

Valentina Martin Sophie Daniela

vali_flores@gmx.at foessleitner@high-performance.at sophie.foessleitner@mac.com daniela.foessleitner@mac.com info@dianafrank.de

Gabriele Theresa Tobias Elvina Sebastian

frisch@hilfsgemeinschaft.at funktheresa@web.de tofu_tobias@hotmail.com elvina.gavriel@gmail.com talia.sebastian@gmail.com

Hitomi Stefan Katja Katharina Chiyoko

hagino@i-design.jp stefan.hampl@sfu.ac.at khilscher@gmx.de post@katharinahoelzl.com iwanami@tomojapan.com

Lucie Marianna Martijn Keiichi Justyna

luciejagu@hotmail.com marianna.jarto@gmx.at martijn.kiers@fh-joanneum.at koyama@i-design.jp juku1@o2.pl

Tanja Diethard Daniele Ullrike Thomas

TanjaLechner@gmx.at office@diethard-leopold.at marano@hilfsgemeinschaft.at Ullrike.Mayer@t4a.oebb.at thomas.mccue@gmail.com

Fabienne Peter Alena Agnieszka Julia

fabienne.meyer@bfh.ch milbradt@easyentrance.at alena.morrison@iiid.net asp@aspkat.edu.pl j.neuschmid@ceit.at

Wolfgang Sabine Michael Laurenz Talia

wolfgang.nowak@univie.ac.at s.peter@egger-lerch.at michael-petras@web.de laurenzp222@yahoo.de talia.sebastian@gmail.com

2

Andreas Juan Toshimitsu Gabriela Markus

andi@vrvis.at juan.rioseco@sdgworld.net sadamura@ga-tap.co.jp gabis87@hotmail.com scheiber@motasdesign.com

Martina

m.schiffleithner@hotmail.com

Partner

SPACE

25-26 Oct 2010 VIE The International Institute for Information Design (IIID) was founded to develop research and practice in optimizing information and information systems for knowledge transfer in everyday life, business, education and science. The main concern of the IIID is to contribute to a better understanding within the human community with respect to cultural and economic issues by means of improved visual and other forms of communication. Special attention is paid to the potential of graphic information design to

sign09 VIE 3 – 11 Dec

overcome both social and language barriers.

A joint Event in Vienna by the Internati

The Hilfsgemeinschaft (Relief Organization for Austria’s Blind and Visually Impaired) has existed since 1935 as a secular, non-profit association without affiliations to a political party or group. The main focus of our work is to eliminate existing barriers. We are presently working to improve barrier-free communication, barrier-free architecture and

!"#$%

barrier-free tourism. Since its founding in 1954 the Japanese Society for the Science of Design, a scholarly organization registered and approved by the Science Council of Japan, has been undertaking activities to achieve its goal of “contributing to the advancement of academic research in the field of design. In response to today’s diversification of design themes JSSD organizes international conferences and promotes international scholarly alliances. and efforts are made to conduct research section activities that will encourage research. The complexity of urban function and the development of internationalization have both rapidly made the need for appropriate facilities and areas for the exchange communication as well as the need for the production of comfortable spaces. Since April 1965, the year in which SDA began operations and become the forerunner of such

sign09 VIE 3 – 11 Dec

trends, we have worked hard to enhance sign design and to make them popular over a wide area. Our association consists of a variety of members such as sign-designers, graphic designers, interior & lighting designers, construction and also landscape designers and as well as educational and research institutions, and related companies. Founded in 1988 the International Institute for Information Design (IIID) has now a showroom and project space in the former building of the Wiener Werkstätten (Vienna Worshop). Exhibitions, workshops, symposiums, training courses will promote and


VIEN

NA

IIIDa war d

tio rna Inte

2020

na l In stit ute

n sig for Information De

Jury 4 Grand Prix, Jury-, Covid-19-, Climate-Change- Prize, Editor‘s Choice

10

Awards in Categories 22 Ceremony 298

3


JURY MEMBERS 2020

4


3 5


Rob Waller / UK Observer Waller IIID President

Rob Waller is an information designer and director of the Simplification Centre - a non-profit organization that promotes the clear communication of complex information. He has been associated with the creation of an institutional framework for the development of information design, founding Information Design Journal (idj) in 1979, and co-founding the Information Design Association in 1992.

Stefan Blachfellner / Austria Managing Director Bertalanffy Center for the Study of Systems Science (BCSSS)

Yosune Chamizo Alberro / Mexico Animal Político (independent digital newspaper) Information Designer

Yosune is information designer at Animal Político (independent digital newspaper) where she has been part of projects such as Killing in Mexico, The Master Scam, The Ghost Companies of Veracruz, NarcoData, Indigenous and Health, SBP: A Hunt for Migrants, among others. She holds a Master‘s Degree in Design, In- formation and Communication in Mexico and other in Graphic Design in Spain. She has given conferences and workshops to more than 30 civil society organizations and her work has been recognized in other countries such as Latvia, England, Italy, Spain and Brazil.

6

Stefan Hampl / Austria Vice Rector for Teaching Sigmund Freud Private University Stefan is vice rector for teaching at Sigmund Freud University (www.sfu.ac.at), deputy head of SFU’s psychology department and delegate of OePUK—the Austrian Board of Private Universities. He studied psychology (graduate degree and distinguished doctorate) at the University of Vienna and international business administration (graduate degree) at the Vienna University of Economics and Business Administration.

Stefan has broad international experience as an entrepreneur and business consultant and has taught entrepreneurship, leadership, creativity and innovation management, digital business, future studies, and various systems theories at several Universities and in professional management training programs in Europe, China and the USA. From 2016 to 2018 he was appointed as Special Adviser to the European Commissioner for Transport. His current work is focused on the development of a General Systems Transdiscipline, Systems Design, Systemic Innovation and Impact Assessments to improve methods for addressing complex challenges towards the so called Next Economy (From Heritage to Present Future – Innovative Solutions for Sustainable Development)


VIEN

NA

IIIDa war d

tio rna Inte

2020

na l In stit ute

n sig for Information De

Kyoko Kaneda / Japan Japanese Sign Design Association Director and Designer

Tatiana Manuiko / Belarus Vitebsk Stat University, Senior Lecturer at the faculty of design

Barbara Abele / Latvia Art Academy of Latvia, Riga / MA Programme Functional Design Professional activities belong also to the Environmental and Fiber Art. As the textile designer she takes part in the artistic, industrial and design projects and seminars in Latvia and abroad. She is the member of the various professional organizations in Latvia- Design Council Ministry of Culture, Latvian Artists Union and Textile Artists Association. Main teaching goals in AAL is connecting with the challenge how to react to the changing face of de­ sign, how to include the social, res­ ponsible and sustainable aspects of design in study process, as weil in all co-creations, collaborations and contexts. Part of the time she dedi­ cates to the Latvian design promoti­ on locally and internationally and exercises the different audiences in design thinking, understanding and usage. Some times she manage to be the freelance.

Tatiana Manuiko is a lecturer from Vitebsk (Belarus). She graduated from Vitebsk Technological University with a degree in Industrial Design, got a Master´s degree in Technical Aesthetics and Design. She worked in field of industrial and graphic design and has been teaching at the College for Architecture for several years. Since 2016 she has been a senior lecturer at the chair of design at Vitebsk State University named after P.M. Masherov. She was studying the formation of website interfaces in the field of design, culture and arts. The main goal in teaching students is the method of design thinking in creating a hollistic subject-spatial environment. She is a member of the Belarusian union of designers since 2009.

I was born in Hamamatu City, Japan. I studied product and graphic design at Chiba University. After graduated, my career began with the Tokyo Disneyland project as an assistant designer. Currently I run my own design office and serve as a director of the Japan Sign Design Association. My specialty is the signage design of multiple-complex, commercial and transportation facilities, hotels and museums. I find that the task of signage design is to re-edit intricately intertwined information in an easy-to-understand and beautiful manner. I am also a judge for outdoor advertising awards at Hamamatsu City and landscape awards for Shizuoka pref.

7


231 submissions 4 sessions 132 awards

Justyna Kucharczyk / Poland Academy of Fine Arts in Katowice PhD, Head of Chair of Visual Communication Design for Universal Design

Enrico Bravi / Austria New Design University St.Pölten Professor for Graphic and Information Design

Bettina Schulz / Germany Novum World of Graphic Design former editor, founder and writer Bettina (born 1974 in Munich) has been editor-in-chief of the international journal novum - World of Graphic Design since 2001. She joined the editorial staff of the magazine in 1994. Mrs Schulz also works as a freelance writer and editor for national and international magazines and for a range of clients in different sectors. Bettina Schulz already serves on a number of design juries (e.g. red dot communication design award, MfG competition of the Bundesverband Druck, Monaco de Luxe Packaging Award, Canon Pro Fashion Award, Adobe Photoshop Award and the twice-yearly diploma awards presentation at the U5 Academy) and is co-founder of the “Creative Paper Conference” in Munich.

8

Enrico Bravi is a designer and lecturer based in Vienna (Austria). He studied at the ISIA in Urbino (Italy), and earned a Master’s Degree at the Werkplaats Typografie in Arnhem (the Netherlands). He has worked in Italy, Austria and the Netherlands and developed skills in various fields of visual communication; working especially for cultural institutions, as well as various organisations and companies. Since 2008 he is lecturer at several Austrian institutions. Between 2008 and 2015 he has been teaching at the FH Joanneum in Graz (BA Informationsdesign); since 2013 he is lecturer at the Vienna University of Technology (Faculty for Architecture and Planning, Institute of Art and Design) in both bachelor and master programme. Since 2015 he is professor for Graphic and Information Design at the NDU (New Design University) in St. Pölten (Lower Austria) where he is also course leader of the Information Design programme. His works have been published and exhibited internationally and have won several awards.

Born in Jaworzno, she obtained her diploma at the Faculty of Visual Communication, Faculty of Industrial Design of the Academy of Fine Arts in Kraków. She is a Professor of Academy of Fine Arts in Katowice, works at a design department. She is the Head of Chair of Visual Communication Design. She teaches visual communications and leads the Social Design Studio. She is an expert for the Zamek Cieszyn – institute of culture and member of Design Silesia. Works as a curator of international design conference Agrafa in Katowice. She focuses her work on Visual Information System (VIS) design and identity design. An active participant in conferences, she also conducts workshops and trainings. Some of her VIS designs are: the Faculty of Theology of the University of Silesia in Katowice, Katowice Pyrzowice International Airport, Polish National Symphony Orchestra – NOSPR in Katowice, the town of Zawiercie, Solpark in Kleszczów, Park Śląski in Chorzów, building of the Academy of Fine Arts in Katowice.


Team East: Kyoko, Stefan & Stefan

Team Mid: Barbara, Justyna & Tatiana

Team West Bettina, Enrico & Yosune

Board of Jury Members: Two days, 20 hours meeting via zoom: Barbara, Bettina, Enrico, Justyna, Kyoko, Stefan, Stefan, Tatiana and Yosune together with observer Rob, assisted by Sophie and Martin.

9


GRAND PRIX JURY PRIZE CLIMATE-CHANGE COVID-19 EDITOR‘S CHOICE 10


11


EMPOWERING CHILDREN Talking in Symbols: Image-based card set for a dialogue on eye level in pediatric oncology clinics

What was the challenge? Children have a very different way of understanding, perceiving and communicating than adults. That makes communication in pediatric oncology especially sensitive. Articulating yourself in this stressful environment is a challenge for children. What was the solution? The work on a solution combined a scientific approach with our creative user centered design expertise – in a unique cooperation between the psychosocial team of the Department of Pediatrics and Adolescent Medicine at Vienna General Hospital and the Austrian Children’s Cancer Aid. As children were the target group, the design process included workshops with kids to understand what they need. The content was collected, structured into categories and reduced to the most important dialogue situations in a clinic which were then illustrated. Several prototype testings with children in clinics finally lead to the result: Talking in Symbols is an intuitively comprehensible, imagebased card set for language-independent communication between young patients, the treatment team and family members. What was the effect? At the moment, 1.000 printed sets in clinics help strengthen the positive self-concept and the competence of the young patients through clear, transparent communication and a better understanding of the entire therapy.

Project Team Design Experts Mag. Erwin K. Bauer, Mag. Dasha Zaichanka (buero bauer, www.buerobauer.com) Scientific Experts Mag. Verena Fohn-Erhold, Dr. Liesa J. Weiler-Wichtl (Department of Pediatrics and Adolescent Medicine, AKH Wien / Vienna General Hospital, Medical University of Vienna) Anita Kienesberger, MA (Österreichische Kinder-Krebs-Hilfe)

12

User centered design workshops focused on how children understand the treatment process and what they need in this situation.

Each affected child gets their own Talking in Symbols picture card set, with a „tiger“, „boy“ and „girl“ as available personas from which kids can choose their preferred identity.

Not only the factual content is important in the picture card set - it is also about describing emotions. Easily distinguishable emotions help in the context of non-verbal communication and empower the children in expressing their needs and feelings.


GRAND PRIX

The picutre card set fits exactly into the hand of a child.

The illustrations in the fan-like card set can be combined to create sentences or situations through symbols. An extra calendar and clock inlet help communicate treatment processes and appointments.

The playful combinations of illustrations help create several dialogue situations. The kids get their own little picture card set and can then personalize it with their names.

13


The effects

The solution Category: Student Work Category:

Student Work

Project:

Information site “Woman and Work”

The site has ten different target important information about employBackground audiences depending onProject theteam:current life ment agreements and salary calculaProject: situation of the woman, including tions. In the "Entrepreneur" section sitejob “Woman and Work” is the mommies, re-emigrants,Information seniors, information on the possibilities of response to contemporary challenges in starting a business can be found. If a seekers, the unemployed, pensioners women’s relationship with work. The site is designed to assist women in increasing their The effects and the disabled. If a woman is a woman wants to start a side hustle to knowledge about employment, entrepreneurshipthe and taxes, and to encouragemake them to be mommy, she will find here essential extra money, she how Testing of the site prototype is in can learnYou brave and equal with men in their working life. bout employcan test the prototype here: information to and do work of authorship or contractor process, so farProject more than hundred team: alary calcula- on the benefits available to https://invis.io/4EKMMQ3F2KD have highly the her section during pregnancy and maternity womenwork. Otherappreciated women’s stories can(available also eur" only in Latvian) and you are Information designer – Vineta Kreigere shared for ways leave. If beand found ontheir the ideas website – for sharing sibilities ofa woman is unemployed or a website very welcome to send us your feedback Graphic designer – Rūta Jumīte to improve the site even further. The be found. If a and she wants to return to (vineta.kreigere@gmail.com) re-emigrant, different experiences and to seek Consulting – of Prof. been presented to a few the Barbara Ābele side Latvian hustle to labor market, then in the site has collaboration. the 13 public institutions. There could be a can learn how "Employee" section she can find real, long-lasting effect if all 13 public

Information site “Woman and Work”

Information designer – Vineta Kreigere Graphic designer – Rūta Jumīte Consulting – Prof. Barbara Ābele

p or contractor ories can also e – for sharing nd to seek

Although, 127 years have passed since women were given the right to vote and work in equal jobs as men, women are still paid less than their male counterparts and a large portion of the old challenges faced are still on the board and, in addition, new ones have emerged – aging of the society (women in Latvia live 10 years longer than men and in the population aged 65+ there are twice as many females as men); unregistered partnerships; planning a child in the end of the reproductive age; decision to live without a partner; same-sex marriage and finally the most recent challenge working from home during the Covid-19 pandemic which needs to be combined with caring for the family and time for herself. All these situations require the financial freedom of women and makes woman’s relationship with work even more important.

Testing of the site prototype is in process, and so far more than hundred women have highly appreciated the website and shared their ideas for ways to improve the site even further. The site has been presented to a few of the 13 public institutions. There could be a real, long-lasting effect if all 13 public decision maker institutions will be persuaded to collaborate and implement this project.

Information site “Woman and Work” is the response to contemporary challenges in women’s relationship with work. The site is designed to assist women in increasing their knowledge about employment, entrepreneurship and taxes, and to encourage them to be brave and equal with men in their working life. The challenge =

20 +13 decision maker institutions will be persuaded to collaborate and implement this project.

Data from a research shows that 40% of women wish to be entrepreneurs but only 14% of them are. Why? Because in Latvia all the necessary information about work (different types of employment, entrepreneurship, taxes, available benefits of maternity, invalidity, pensions etc.) is found in 20 legislative acts and the official website of 13 different public authorities which inform, consult and punish civilians, daily updated. Information is written in complicated, bureaucratic, and non-understandable language.

The solution The site has ten different target audiences depending on the current life situation of the woman, including mommies, re-emigrants, seniors, job seekers, the unemployed, pensioners and the disabled. If a woman is a mommy, she will find here the essential information on the benefits available to her during pregnancy and maternity leave. If a woman is unemployed or a re-emigrant, and she wants to return to the Latvian labor market, then in the "Employee" section she can find

important information about employment agreements and salary calculations. In the "Entrepreneur" section information on the possibilities of starting a business can be found. If a woman wants to start a side hustle to make extra money, she can learn how to do work of authorship or contractor work. Other women’s stories can also be found on the website – for sharing different experiences and to seek collaboration.

The effects

formation about employments and salary calcula"Entrepreneur" section on the possibilities of siness can be found. If a s to start a side hustle to money, she can learn how f authorship or contractor women’s stories can also the website – for sharing eriences and to seek n.

14

Testing of the site prototype is in process, and so far more than hundred women have highly appreciated the website and shared their ideas for ways to improve the site even further. The site has been presented to a few of the 13 public institutions. There could be a real, long-lasting effect if all 13 public decision maker institutions will be persuaded to collaborate and implement this project.

You can test the prototype here: https://invis.io/4EKMMQ3F2KD (available only in Latvian) and you are very welcome to send us your feedback (vineta.kreigere@gmail.com)


JURY PRIZE

Background Although, 127 years have passed since women were given the right to vote and work in equal jobs as men, women are still paid less than their male counterparts and a large portion of the old challenges faced are still on the board and, in addition, new ones have emerged – aging of the society (women in Latvia live 10 years longer than men and in the population aged 65+ there are twice as many females as men); unregistered partnerships; planning a child in the end of the reproductive age; decision to live without a partner; same-sex marriage and finally the most recent challenge working from home during the Covid-19 pandemic which needs to be combined with caring for the family and time for herself. All these situations require the financial freedom of women and makes woman’s relationship with work even more important.

The challenge = 20 +13 Data from a research shows that 40% of women wish to be entrepreneurs but only 14% of them are. Why? Because in Latvia all the necessary information about work (different types of employment, entrepreneurship, taxes, available benefits of maternity, invalidity, pensions etc.) is found in 20 legislative acts and the official website of 13 different public authorities which inform, consult and punish civilians, daily updated. Information is written in complicated, bureaucratic, and non-understandable language.

15


COVID-19 Printables

What was the effect?

Pandemic Communication Made Simple During the COVID-19 pandemic, clarity, speed, and accuracy are key to effective communications. Faced with hundreds of people coming to the emergency room and rapid assessment centers, and no appropriate communication tools, we decided to start the printables project. We wanted to meet the needs of physicians and patients by collaborating on a solution that addresses access and inclusiveness for a diverse population in urban Canada, within the resource constraints of COVID-19 lockdown. As the pandemic unfolded the project responded to changing knowledge, guidelines, and community requests. Unexpectedly, the COVID printables have been adopted beyond the emergency department by organisations serving vulnerable groups, newcomers, and

16

6 printables

Awareness, Access, and Use We launched the project in less than 7 days and have over 40 languages. The project was spread over social media via medical groups and physicians, and then picked up by community health centres and public What was the challenge? health organisations from many locations andAregions. 58 year-old primarily Farsi-speaking

woman presents to the Emergency of aCanadian Department The (ED)endorsement and describes three of Emergency Physicians day history ofAssociation fever, cough, with five days and the Candian Institute for Health of aches and pains and general fatigue. Information enabled smaller health She works as a grocery store clerk and centres and community health, and lives with herrefugee/newcomer in-laws and elderly parents, services, to husband, andconfidently teenage sons. She isadapt, not inand download, acute distress, signs are within useher thevital materials. normal limits. It’s likely she could have COVID-19, and she is worried about her Centers and clinics are now downloading job, and infecting her husband and elderly refugee communities. The COVID and adapting these over isthe world, family members. Theall priority to give her printables project now covers a variety andadvice new she languages were and added daily. can understand apply on of topics in over 40 languages. howthe to self-isolate for herself, Since printablesand arecare open access,as well as something to share with her family *A group of clinicians and the Health physician reviewed and meet public health Design Studio at OCAD University had been and any other members of her household.

40+

languages

The m and a can b

of A Toro now tran Goo

2

[

guidelines, they have been particularly

collaborating on redesigning the discharge for reaching vulnerable groups, Communicating information to patients process after ED care when the pandemic helpful is critical, and COVID-19 pandemic andtherefugee communities. was declared. They temporarily redeployed newcomers, has made this clearer than ever. Since their work toward developing easy to COVID-19 was declared a pandemic, understand educational material a large number of people with symptoms for patients.

Dr Kate Sellen is a Canada Research Chair and the director of the The Health Design Studio at OCADU, originally an information and interaction designer, she works on bringing an inclusive and


What was the effect? Awareness, Access, and Use We launched the project in less than 7 days and have over 40 languages. The project was spread over social media via medical groups and physicians, and then picked up by community health centres and public health organisations from many locations and regions. The endorsement of Canadian Association of Emergency Physicians at The example above is typical of patient information Candian Institute for Health hospital sites.and Textthe heavy and long, English only. Printing smaller health and managingInformation two sheetsenabled in an emergency room with centres and community health, and PPE on is cumbersome. Color printing, stapling or refugee/newcomer services, to two sidedwas printing the is not effect? usually available. Icons and What confidently download, adapt, and headings don’t often relate directly to the message. Low use the languages materials. may not be supported. literacy and multiple

Awareness, Access, and Use We launched theare project less than 7 days Centers and clinics nowindownloading and have over 40 all languages. The project and adapting these over the world, What was over the effect? of COVID-19 started presenting spread media daily. via medical andwas new languagessocial were added to emergency departments and topicked up groups physicians, and access, then Since the and printables areand open Awareness, Access, Use community health services. Public by community health and public physician reviewed and centres meet public health WeHealth launched thebeginning project inof less 7 days at the thethan pandemic health organisations from many locations guidelines, they have been particularly andwas have over 40onlanguages. The project focused managing lockdown and regions. helpful for reaching vulnerable groups, wasmessaging, spread over social media via medical flattening the curve, and newcomers, and refugee communities. groups and physicians, and then picked up implementingThe assessment endorsement centres, of Canadian Association of Emergency Physicians by testing community centres and public and health tracing. Information about and the Candian Institute for Health health organisations from many locations home based self-management of the Information enabled smaller health andvirus regions. in mild to moderate cases health, was and centres and community services, to just emerging.refugee/newcomer In most scenarios where download, adapt, and Theconfidently endorsement of Canadian people presented with COVID 19 use the materials. Association of Emergency Physicians symptoms and (at the rapid assessment Candian Institute forcentres, Health Information enabledand smaller health emergency departments, community Centers andcentres clinics are now downloading and community health, and Dr Kate Sellen is a Canada and health clinics), infection control measures and adapting these allResearch over theChair world, refugee/newcomer services, to theand director of the The Health Studio reduced services at Design the community confidently download, adapt, and at and new languages were added daily. OCADU, information andadequate interaction use the materials. level,originally made it an hard toare provide Since the printables open access, designer, she works onInbringing an rates inclusive and communication. addition, ofhealth physician reviewed and meet interdisciplinary design approach to public healthcare Centers and were clinics are now downloading infection higher among essential guidelines, been particularly design researchthey whilehave facilitating and and adapting these all over thetraining workers, large proportion ofworld, whom are helpful forareaching groups, mentoring experiences forvulnerable the fabulous students andrefugees, new languages were added daily.for newcomers/immigrants, refugee communities. of newcomers, the Design for and Health Since the English printables are open access, whom masters program. is not their first language, physician reviewed and meet health and whose extended familypublic may have guidelines, they have lower literacy ratesbeen thanparticularly average. Public Contact: helpful formessaging reaching vulnerable groups, health was overwhelmingly Dr Kate Sellen, OCAD University newcomers, communities. ksellen@faculty.ocadu.ca in English and and refugee presented in text only www.healthdesignstudio.ca formats.

Dr Kate Sellen is a Canada Research Chair and the director of the The Health Design Studio at OCADU, originally an information and interaction designer, she works on bringing an inclusive and interdisciplinary design approach to healthcare Dr design Kate Sellen is a while Canada Research training Chair and research facilitating and thementoring director ofexperiences the The Health Design Studio at for the fabulous students OCADU, information and interaction of the originally Design foranHealth designer, works on bringing an inclusive and mastersshe program. interdisciplinary design approach to healthcare design research while facilitating training and Contact:

COVID-19 PRIZE

The initial versions of the first two documents were posted to our website on March 19, 2020 What was the solution? (6 days after project conception). We used an opentheir innovation approachand to facilitate local guidelines protocols.the The COVID-19 Printables Project is an open rapid sharing and spread of the materials. We We used a rapid iterative design method, access, web delivered set of adaptable, highlighted specific sections of the documents using principles of inclusive design to printable 1 pagers in plain language, What was2020.05.12 the effect? Last updated to encourage developlocal the modification documents . and Thisbranding, design infographic style on key communication spread,was and sharing. We identified the need [Hospital/clinic Name Here] also informed by prior research needs, in multiple languages. The project Awareness, Access,to and Usethem for documents to be effective translated make onWe designing communication What toproject do you ha includes printables on self-management, launched the inifless than 7 might days more accessible. As there were rapid changes materials for patients/family caregivers . self-isolation, testing, mask wearing, and have over 40 languages. The project to Public Health guidelines and feedback was COVID-19 The initial vers What was the safety, effect? The content was by guidelines apartment building communicating was spread overinformed social media via medical given tofromToronto improve language, the documents, in were posted to Public Health, Ontario Public when someone is isolated in hospital, You need self-isolate for a groupswent and physicians, and then picked up Last updated all languages, through three rounds of to The materials canAccess, work between as printouts, posters, 2020.05.12 (6 days after pr Awareness, and distancing, Use Health, and the Public Health Agency of and the difference by community health centres and public and as digital media. All icons and wording updates. Over time, the translation services took [Hospital/clinic Name Here] We launched projectwhile in less than We subsequently reviewed how an open innova isolating, and the isolating sick. The7 days Canada. can be reconfigured when guidelines change. health spread. organisations from many locations on a grassroots Finally, beginning rapid sharing a at the and have over 40 languages. The project information was conveyed in different resources are updated based on public What to do if you might have and regions. initial versions of theHealth first two documents of April, our over teamsocial collaborated with AccessThe Alliance, a Community Centre was spread media via medical provinces, certain American states,inand highlighted spe health guidelines and can be edited by documents. wereofposted to our website on March 19, Toronto,and who provided professional translation The documents are2020 to encourage lo COVID-19 groups physicians, and then picked theour United Kingdom. staff at hospitals and clinics to adapt to up (6 days The endorsement of Canadian Last updated 2020.05.12 after project conception). We used now available health in overcentres 45 languages, with 39 languages been and sh Association of (like Emergency Most having people feel professionally sick the Physicians flu) andspread, recover well. by community and public The mat an open innovation approach to facilitate the You need to self-isolate forasat for least 14 days plus 2 [Hospital/clinic Name and the Candian Institute Health translated, and can all be found on our website (www.healthdesignstudio.ca) You can save lives by staying home. for Here] documents health organisations from many locations and as d Information enabled smaller health rapidlicense. sharing and spread of the materials. We Google Docs, shared under Creative Commons moreifaccessibl toanddo you can be r and regions. The initial versions of centres the first two documents andWhat community health, We followed a five step process highlighted specific sections of the documents to Public Healt refugee/newcomer to were posted to our website on Marchservices, 19, 2020 of Apr to encourage local modification and branding, confidentlyCOVID-19 download, adapt, and given to improv The endorsement of Canadian (6 days after project conception). We used Toront auf COVID-19 use the materials. spread, and sharing. We identified the need Step 1 Testung Association of Emergency Physicians allYou languages, w The materials can work as posters, open innovation approach toprintouts, facilitate the need the Candian Institute for Healthanfor now at What you documents to be translated to make them distilling textandheavy advice into simple 19-‫ﻟـﻜﻮﻓﯿﺪ‬ ‫اﻟﺬاﺗﻲ‬ ‫اﻟﻌﺰل‬ ‫ﻛﯿﻔﯿﺔ‬ and and as digital media. All icons and wording updates. Over tv Information enabled health rapid sharing spread of the materials. We Mostsmaller people feel sick (like the flu) and recover well. Only some people get Sie sind Testung von Personen in folgenden transla Centers andAsclinics are now downloading more accessible. there were rapid changes can do to steps and concepts, and creating simple, can be reconfigured when guidelines change. möglicherweise Situationen wird Vorrang gegeben: centres and community health, andhighlighted on a grassroots You can save lives by ‫ﻓﻲ‬staying home. an COVID-19 specific sections of over the documents ‫ﺷﻘﺔ أو ﻣﺠﻤﻊ‬and ‫ﺗﻌﯿﺶ‬ ‫ ﻫﻞ‬ ForGoogle sore t erkrankt. adapting these all thefluids world, Public Health guidelines andDrink​ feedback was refugee/newcomer to ‫ﺳﻜﻨﻲ؟‬to friendly, and flexible inclusiveservices, icons feel better of April, our team collaborated with Access Alliance, to encourage local modification and branding, Eat ​softa f confidently download, adapt, and andimprove new languages added daily.in given 2020.06.17 to language,were the documents, Toronto, who professional of our/ ds use the materials. spread, and sharing. Weprovided identified the access, need translation(soup three Since thewent printables are open all languages, through rounds of [Hospital/clinic Name Here] The materials can work as printouts, posters, Step 2 now to available in overto45make languages, with 39 languages for documents be translated them and as digital media. All icons and wording physician reviewed meet public health What to do ifand you might have updates. Over time, the translation services took (like the flu constructing an information design more Most translated, and can allrapid be people found onfeel oursick website (www.h Centers and clinics are guidelines now downloading accessible. Asthey there were changes can be reconfigured when change. guidelines, have been particularly on a grassroots spread. Finally, at the beginning What you COVID-19 You can save lives by staying h strategy based on process (e.g. leaving Test Google Docs, shared under Creative Commons license. and adapting these all over the world, to Public Health guidelines and feedback was Situ helpful aforCommunity reaching vulnerable groups, of apartment), April, our team collaborated with Access Alliance, Health Centre in you Medications can do to your place at home), Youthe need to self-isolate ​for ​at least​ 14 days plus and new languages were(isolating added daily. given to newcomers, improve language, documents, in can take Take ​6 long and refugee communities. Drink​ fluids soresafely throat Toronto, who provided professional translation of our documents. TheFor documents are feel better or state worse) If you had close someone sic Since the(feeling printables are open access, all languages, went through●three rounds of contact with Thenow materials can work printouts, posters, breaths ​a f Eat ​soft foods available inasover 45 languages, with 39 languages having been professionally ● auf If you have symptoms:​ for 14 days w Testung COVID-19 from and as digitalreviewed media. All icons wording a day / smoothies) physician and and meet public health updates. Over time, the translation took​until youtimes ● (soup If youservices were tested: hear from pub and canguidelines all be found ‫ﻣﺎذا ﺗﻔﻌﻞ‬ ‫إذا ﻛﻨﺖ ﺗﻌﯿﺶ ﻣﻊ أﺷﺨﺎص آﺧﺮﯾﻦ ﻣﺮﺿﻰ‬as cantranslated, be reconfigured when change.on our website (www.healthdesignstudio.ca) should feel better in 14 guidelines, they have been particularly on a grassroots spread. Finally,What atYou the beginning you Sie sind Google Docs, shared under Creative Commons license. Testung von Personen in folgenden möglicherweise Situationen wird Vorrang gegeben: Step 3for helpful vulnerable groups, of April, ourreaching team collaborated with AccessWÄHLEN Alliance, a Community Health Centre in Wenn Sie an COVID-19 can do to well. ‫ﻣﺠﻤﻊ ﺳﻜﻨﻲ؟‬ Most people feel sick (like the flu) and recover ‫ﻫﻞ ﺗﻌﯿﺶ ﻓﻲ ﺷﻘﺔ أو‬ sich Acetamino erkrankt. SIE Only some people get very sick. schlechter consistent language newcomers, and refugee communities. Toronto, whosupportive provided professional translation of our documents. The documents are fluids (Adults) ​Eve fühlen feel better Drink​ You can save lives by staying home. Medications you on staying home now available in over 45 with 39 languages having been professionally two 325 mg Testung auf languages, COVID-19 OR can safely take OR translated, and can all be found on our website (www.healthdesignstudio.ca) as What if 19-‫ﻛﯿﻔﯿﺔ اﻟﻌﺰل اﻟﺬاﺗﻲ ﻟـﻜﻮﻓﯿﺪ‬ take two 50 Sie sind GoogleTestung Docs, Creative Commons license. vonshared Personen under in folgenden Step 4 you feel möglicherweise Situationen wird Vorrang gegeben: What you an COVID-19 Dr Kate Sellen is a Canada Research Chair and days You should feel better in 14 ‫ﺳﻜﻨﻲ؟‬ ‫ﻣﺠﻤﻊ‬ ‫أو‬ ‫ﺷﻘﺔ‬ ‫ﻓﻲ‬ ‫ﺗﻌﯿﺶ‬ ‫ﻫﻞ‬ multidisciplinary review with erkrankt. a team worse? Fever over Shortn can do to of the The Health Wen the director Design Studio at Drink​ fluids For sore throat Take ​6 lo sich 38°C (100.4°F) breath of physicians, public health, and patient feel better Medication schl COVID Printables Collaborators: ​soft foods breaths OCADU, originally an information andEat interaction Testung auf COVID-19 for​ 5 days when experience specialists can safely (soup / smoothies) timesfüh ad z

z

z

2020.06.12 - GERMAN

[Hospital/clinic Name Here]

2020.05.12 - ARABIC

Sie sollten sich testen lassen, wenn Sie sich unwohl fühlen oder aus anderen Gründen.

Sie arbeiten oder leben in einer risikoreichen Umgebung

(z. B. Krankenhaus, Obdachlosigkeit, Notunterkunft, Haftanstalt)

Sie werden ins Sie wurden von Krankenhaus der Gesund- heitsbehörde eingeliefert überwiesen

.‫ﯾﻤﻜﻨﻚ اﻧﻘﺎذ ﺣﯿﺎة اﻟﻜﺜﯿﺮﯾﻦ إذا ﻟﺰﻣﺖ ﺑﯿﺘﻚ‬ ‫ ﻗﺪ ﺗﺼﯿﺐ اﻟﻌﺪﯾﺪ ﻣﻦ اﻟﻨﺎس ﻣﻦ ﺿﻤﻨﻬﻢ ﻛﺒﺎر اﻟﺴﻦ ﻣﻦ‬،‫إذا ﻛﻨﺖ ﻗﺪ أﺻﺒﺖ ﺑﺎﻟﻜﻮروﻧﺎ‬ .‫أﻗﺮﺑﺎﺋﻚ وﺟﯿﺮاﻧﻚ‬

Die meisten Menschen fühlen sich krank (wie eine Grippe) und erholen sich schnell. 1. Bleiben Sie Nur einige Menschen als ERSTES zu erkranken sehr schwer. Hause ​und isolieren Sie ‫اﺳﺘﻌﻤﻞ ورق‬ ‫اﺳﺘﻌﻤﻞ ﻣﺮﻓﻘﻚ‬ Sie können Leben sich für 14 Tage ‫أو ُﻋﻘﺪ اﻷﺻﺎﺑﻊ‬ ‫اﻟﻤﻨﺎدﯾﻞ ﻟﻠﻤﺲ‬ retten, wenn Sie zu selbst. ‫ﻟﻠﻀﻐﻂ ﻋﻠﻰ زر‬ ‫ﻏﺮﻓﺔ اﻟﻘﻤﺎﻣﺔ‬ Hause bleiben. ````z

2020.06

[Hospit

‫راﻗﺐ اﻷﻋﺮاض ﻋﻨﺪك‬ ً‫ ﯾﻮﻣﺎ‬14 ‫ﻟﻤﺪة‬

‫ﻧﻈﻒ و ﻋﻘﻢ ﺑﯿﺘﻚ‬ ‫ﻋﺪة ﻣﺮات‬

،‫اﻏﺴﻞ ﯾﺪﯾﻚ ﻋﺪة ﻣﺮات‬ ‫ﺗﺠﻨﺐ ﻟﻤﺲ وﺟﻬﻚ‬

‫اﻟﻤﺼﻌﺪ‬

Kontakt ​zu einer Sie zeigen Anzeichen Person, die an COVID-19 erkrankt einer schweren ist Erkrankung

[local testing criteria 2] [local testing criteria 3]

3. NACH 2 2. Sie ​dürfen ​die 2020.06.12 - GERMAN symptomfreien Selbstisolation erst [Hospital/clinic Name‫ﻋﻠﻰ‬ Here] َ ‫اﺑﻖ‬ ‫اﻟﺒﺎب‬ ‫اﺿﻐﻂ ﻋﻠﻰ‬ ‫اﺳﺘﻌﻤﻞ ​اﻟﺴﻼﻟﻢ‬ ‫ﺗﻮاﺻﻞ‬ ‫ اﻋﻤﻞ ﻣﻦ اﻟﺒﯿﺖ‬ ‫إﺳﺘﺨﺪم ﺧﺪﻣﺔ ﺗﻮﺻﯿﻞ اﻟﻄﻌﺎم‬ Tagen können beenden, ​wenn Sie ‫ﻋﺒﺮ اﻟﻬﺎﺗﻒ واﻻﻧﺘﺮﻧﺖ‬ ‫اﻻﺗﻮﻣﺎﺗﯿﻜﻲ ﺑﻤﺮﻓﻘﻚ أو‬ ‫اذا اﺳﺘﻄﻌﺖ‬ ‫أو ﺗﻮﻗﻒ ﻋﻦ اﻟﻌﻤﻞ‬ ‫واﻟﺒﻘﺎﻟﺔ ﻟﻠﻤﻨﺰل‬ Sie beginnen, 2 Tage lang keine ‫ ُﻋﻘﺪ اﻷﺻﺎﺑﻊ‬ Social Symptome mehr Sie sollten sich testen lassen, wenn Sie sich unwohl fühlen oder aus anderen Distancing zu zeigen. Gründen. praktizieren.

ODER ODER DANN Verschlim- Sich ​zu krank Fieber 2020.06.12 - GERMAN Telehealth merung der fühlen​, um ‫ﺣﺎﻓﻆ ﻋﻠﻰ ﻣﺴﺎﻓﺔ‬ über 38° C 1-866-797-0000 [Hospital/clinic Name Here] Atemnot​, aufzustehen (100,4° F) ‫​اﻵﺧﺮﯾﻦ ​أو‬ ‫ﻣﺘﺮﯾﻦ ﺑﯿﻨﻚ وﺑﯿﻦ‬ oder im sogar beim oder für​ 5 Tage ً‫ﺿﻊ ﻗﻨﺎﻋﺎ‬ Notfall 911 Gehen fernzusehen

(z. B. Kra Obdach Notunte

Die‫اﺳﺘﺨﺪم‬ meisten Menschen ‫اﺑﻖ ﻓﻲ أﻣﺎﻛﻦ‬ ‫أﻛﻮاب‬ fühlen sich krank (wie ‫ﻣﻨﻔﺼﻠﺔ واﺳﺘﻌﻤﻞ‬ ‫ﻣﻨﻔﺼﻠﺔ‬ ‫وأﻃﺒﺎق‬ eine Grippe) und ‫وﻋﻘﻤﻬﺎ ﺑﺈﺳﺘﻤﺮار‬ ‫اﻏﺴﻠﻬﺎ‬ ARABIC ‫ﺣﻤﺎم ﻣﻨﻔﺼﻞ إذا أﻣﻜﻦ‬ 2020.05.12 erholen-sich schnell. von Sie arbeiten oder Sie werden ins Sie wurden Nur einige Menschen Sie sollten sich testen lassen, wenn Sie sich unwohl fühlen oder aus anderen lebenunder in einer der Gesund- Krankenhaus erkranken sehr schwer. L​icensed by Health Design Studio at OCADU under a Creative Commons Attribution-ShareAlike 4.0 International License with Design Studio at OCADU L​ i censed by Health a Creative Commons Attribution-ShareAlike 4.0 International License with Gründen. risikoreichen collaborators Dr Sahil Gupta, and Dr Sam Vaillancourt, Unity Health, Toronto, and Dr Jaspreet Khangura, Alberta Health Services heitsbehörde collaborators Dr Sahil Gupta and Dr Sam Vaillancourt, Unity Health,eingeliefert Toronto, and Dr Jaspreet Khangura, Alberta Health Services Umgebung überwiesen Sie können Leben (z. B. Krankenhaus, Obdachlosigkeit, retten, wenn Sie zu Notunterkunft, Haftanstalt) Hause bleiben. .‫ﯾﻤﻜﻨﻚ اﻧﻘﺎذ ﺣﯿﺎة اﻟﻜﺜﯿﺮﯾﻦ إذا ﻟﺰﻣﺖ ﺑﯿﺘﻚ‬

‫اﻏﺴﻞ ﯾﺪﯾﻚ ﻗﺒﻞ وﺑﻌﺪ‬ ‫ﻣﺪاﻋﺒﺔ اﻟﺤﯿﻮاﻧﺎت اﻷﻟﯿﻔﺔ‬ ‫أو ﺣﺎول ﻋﺪم ﻣﺪاﻋﺒﺘﻬﺎ‬

Sie ar leben risiko Umge

Konta 1. Bleiben Sie Perso als ERSTES zu COVID Hause ​und ist isolieren Sie ‫اﺳﺘﻌﻤﻞ ورق‬ ‫اﺳﺘﻌﻤﻞ ﻣﺮﻓﻘﻚ‬ sich für 14 Tage ‫أو ُﻋﻘﺪ اﻷﺻﺎﺑﻊ‬ ‫اﻟﻤﻨﺎدﯾﻞ ﻟﻠﻤﺲ‬ selbst. ‫ﻟﻠﻀﻐﻂ ﻋﻠﻰ زر‬ ‫ﻏﺮﻓﺔ اﻟﻘﻤﺎﻣﺔ‬

‫اﻟﻤﺼﻌﺪ‬

‫ ﻗﺪ ﺗﺼﯿﺐ اﻟﻌﺪﯾﺪ ﻣﻦ اﻟﻨﺎس ﻣﻦ ﺿﻤﻨﻬﻢ ﻛﺒﺎر اﻟﺴﻦ ﻣﻦ‬،‫إذا ﻛﻨﺖ ﻗﺪ أﺻﺒﺖ ﺑﺎﻟﻜﻮروﻧﺎ‬ .‫أﻗﺮﺑﺎﺋﻚ وﺟﯿﺮاﻧﻚ‬

2020.06.12 - GERMAN

Die meisten Menschen [Hospital/clinic Name Here] fühlen sich krank (wie ● [local testing eine Grippe) und criteria 2] 2020.05.12 ARABIC 3. NACH 2 Kontakt ​zu einer Sie zeigen 2. -Sie ​dürfen ​die erholen sich schnell. ● [local testing 1. Bleiben Sie Sie arbeiten oder Sie werden ins Sie wurden von Anzeichen symptomfreien Person, die an Selbstisolation erst Nur fühlen einige Menschen ‫اﻟﺒﺎب‬ ‫اﺿﻐﻂ ﻋﻠﻰ‬ ‫اﺳﺘﻌﻤﻞ ​اﻟﺴﻼﻟﻢ‬ Sie sollten sich testen lassen, wenn Sie sich unwohl oder aus anderen criteria 3] leben in einer einer Krankenhaus der Gesund- als ERSTES zu erkranken sehr schwer. Tagen können COVID-19 erkrankt w ​ enn Sie beenden, ‫اﻻﺗﻮﻣﺎﺗﯿﻜﻲ ﺑﻤﺮﻓﻘﻚ أو‬ ‫اذا اﺳﺘﻄﻌﺖ‬ risikoreichen Gründen. schweren Hause ​und heitsbehörde eingeliefert Sie beginnen, ist 2 Tage lang keine ‫ ُﻋﻘﺪ اﻷﺻﺎﺑﻊ‬ isolieren Sie Umgebung ‫اﺳﺘﻌﻤﻞ ورق‬ ‫اﺳﺘﻌﻤﻞ ﻣﺮﻓﻘﻚ‬ ‫ﺑﯿﺘﻚ‬Erkrankung ‫ﻧﻈﻒ و ﻋﻘﻢ‬ ‫راﻗﺐ اﻷﻋﺮاض ﻋﻨﺪك‬ ،‫ﻣﺮات‬ ‫اﻏﺴﻞ ﯾﺪﯾﻚ ﻋﺪة‬ überwiesen Social Symptome mehr Sie können Leben (z. B. Krankenhaus, sich für 14 Tage ‫ﻋﺪة ﻣﺮات‬ Obdachlosigkeit, ‫أو ُﻋﻘﺪ اﻷﺻﺎﺑﻊ‬ ً‫ ﯾﻮﻣﺎ‬14 ‫ﻟﻤﺪة‬ ‫اﻟﻤﻨﺎدﯾﻞ ﻟﻠﻤﺲ‬ ‫ﺗﺠﻨﺐ ﻟﻤﺲ وﺟﻬﻚ‬ L​ic Distancing zu zeigen. retten, wenn Sie zu selbst. Notunterkunft, Haftanstalt) Sie sind Testung von Personen in folgenden colla ‫ﻟﻠﻀﻐﻂ ﻋﻠﻰ زر‬ ‫ﻏﺮﻓﺔ اﻟﻘﻤﺎﻣﺔ‬ praktizieren. Hause bleiben. Situationen wird Vorrang gegeben: möglicherweise ‫اﻟﻤﺼﻌﺪ‬ .‫ﯾﻤﻜﻨﻚ اﻧﻘﺎذ ﺣﯿﺎة اﻟﻜﺜﯿﺮﯾﻦ إذا ﻟﺰﻣﺖ ﺑﯿﺘﻚ‬

The project is a collaboration between many partners. We thank she all our volunteers and an translators designer, works on bringing inclusive and 19-‫ﻛﯿﻔﯿﺔ اﻟﻌﺰل اﻟﺬاﺗﻲ ﻟـﻜﻮﻓﯿﺪ‬ OR OR for their support but especially Christopher Rice, Victoria Weng, Yesmeen Ghader, HabibatoSoliman, interdisciplinary design approach healthcare Additional Public Health Ontario COVIDAcetam What if and Step COVID-19 Christina Dery, is Joanna Rios,Research OCADan University; Dr. Sam Vaillencourt, Dr Sahil Gupta, Galo Ginocchio, design research Dr Kate 5Sellen a Canada Chair ‫ ﻛﺒﺎر اﻟﺴﻦ ﻣﻦ‬while ‫اﻟﻨﺎس ﻣﻦ ﺿﻤﻨﻬﻢ‬facilitating ‫ اﻟﻌﺪﯾﺪ ﻣﻦ‬ ‫ ﻗﺪ ﺗﺼﯿﺐ‬،‫ ﺑﺎﻟﻜﻮروﻧﺎ‬training ‫إذا ﻛﻨﺖ ﻗﺪ أﺻﺒﺖ‬ and ‫ﺳﻜﻨﻲ؟‬ ‫ﻣﺠﻤﻊ‬ ‫أو‬ ‫ﺷﻘﺔ‬ ‫ﻓﻲ‬ ‫ﺗﻌﯿﺶ‬ ‫ﻫﻞ‬ (Adults) ​E You should erkrankt. resources: Medications https://bit.ly/covidphontario you .‫أﻗﺮﺑﺎﺋﻚ وﺟﯿﺮاﻧﻚ‬ mentoring two 325 Wenn experiences Sie Alessandra Unity Healthof Toronto; Jaspreet Khangura, Alberta Health Services. Ceccaci, you feel identifying information that must be for the fabulous students the director the TheDr. Health Design Studio at WÄHLEN can safely take sich ODER ODER DANN SIE OR schlechter Tiffany Fitzpatrick, University of Toronto. Access Alliance, Refugee613 and COSTI. Shortness of of the Design for Health OCADU, originally information and interaction left editable foran adaptation to local ‫ﻋﻠﻰ ﻣﺴﺎﻓﺔ‬take ‫ﺣﺎﻓﻆ‬ two worse? Fever over Feel​ too si L​ifühlen censed by ‫ﺗﻮاﺻﻞ‬ Health Design at‫ﺧﺪﻣﺔ‬OCADU under a Creative َ ‫اﺿﻐﻂ ﻋﻠﻰ اﻟﺒﺎب‬ ‫​اﻟﺴﻼﻟﻢ‬ ‫اﺳﺘﻌﻤﻞ‬ ‫اﺑﻖ ﻋﻠﻰ‬ ‫اﻋﻤﻞ ﻣﻦ اﻟﺒﯿﺖ‬Studio ‫ﺗﻮﺻﯿﻞ اﻟﻄﻌﺎم‬ ‫إﺳﺘﺨﺪم‬ ‫ﻣﺘﺮﯾﻦ ﺑﯿﻨﻚ وﺑﯿﻦ ​اﻵﺧﺮﯾﻦ ​أو‬ ‫ﻔﺔ‬ ‫ﻋﺒﺮ اﻟﻬﺎﺗﻒ واﻻﻧﺘﺮﻧﺖ‬ ‫اﻻﺗﻮﻣﺎﺗﯿﻜﻲ‬ ‫ اﺳﺘﻄﻌﺖ‬program. ‫اذا‬ ‫ﻋﻦ اﻟﻌﻤﻞ‬breath​ ‫أو ﺗﻮﻗﻒ‬ ‫واﻟﺒﻘﺎﻟﺔ ﻟﻠﻤﻨﺰل‬ masters ‫ ﺿﻊ‬or designer, sheorworks on bringing inclusive and‫اﻷﺻﺎﺑﻊﺑﻤﺮﻓﻘﻚ أو‬ 38°C (100.4°F) , even get ً‫ﻗﻨﺎﻋﺎ‬ up​ COVID feel should better in 7 Vaillancourt, to 14 days guidelines resources, and an translation. collaborators DrYou Sahil Gupta and Dr Sam Unity He ‫اﺳﺘﻌﻤﻞ ورق‬ ‫اﺳﺘﻌﻤﻞ ﻣﺮﻓﻘﻚ ُﻋﻘﺪ‬ ‫ﻧﻈﻒ و ﻋﻘﻢ ﺑﯿﺘﻚ‬ ‫راﻗﺐ اﻷﻋﺮاض ﻋﻨﺪك‬ ،‫اﻏﺴﻞ ﯾﺪﯾﻚ ﻋﺪة ﻣﺮات‬ ً‫ ﯾﻮﻣﺎ‬14 ‫ﻟﻤﺪة‬ ‫اﻷﺻﺎﺑﻊ‬ ‫أو ُﻋﻘﺪ‬ ‫اﻟﻤﻨﺎدﯾﻞ ﻟﻠﻤﺲ‬ ‫ﻋﺪة ﻣﺮات‬ ‫وﺟﻬﻚ‬ ‫ﺗﺠﻨﺐ ﻟﻤﺲ‬ for​ 5 days when walking watch TV interdisciplinary design approach to healthcare ‫ﻟﻠﻀﻐﻂ ﻋﻠﻰ زر ﻏﺮﻓﺔ اﻟﻘﻤﺎﻣﺔ‬ The pro ‫ﻣﺎذا ﺗﻔﻌﻞ إذا ﻛﻨﺖ ﺗﻌﯿﺶ ﻣﻊ أﺷﺨﺎص آﺧﺮﯾﻦ ﻣﺮﺿﻰ‬ ‫اﻟﻤﺼﻌﺪ‬ What if Contact: design research while facilitating training and for thei OR OR Christin Wennexperiences Sie Dr Kate Sellen, Ontario OCAD University mentoring for the fabulous students WÄHLEN you feel Additional Public Health COVID-19 sich What if ODER ODER DANN SIE schlechter ksellen@faculty.ocadu.ca of the Design for Health resources: Unity H ‫ﺣﺎﻓﻆ ﻋﻠﻰ ﻣﺴﺎﻓﺔ‬ ‫اﻏﺴﻞ ﯾﺪﯾﻚ ﻗﺒﻞ وﺑﻌﺪ‬ ‫اﺑﻖ ﻓﻲ أﻣﺎﻛﻦ‬ ‫اﺳﺘﺨﺪم أﻛﻮاب‬ https://bit.ly/covidphontario worse? ‫إﺳﺘﺨﺪم‬ Fever over fühlen you feel َ ‫اﺿﻐﻂ​أوﻋﻠﻰ اﻟﺒﺎب‬ ‫​اﻟﺴﻼﻟﻢ‬ ‫اﺳﺘﻌﻤﻞ‬ ‫ﻣﺪاﻋﺒﺔ ﺗﻮاﺻﻞ‬ ‫اﺑﻖ ﻋﻠﻰ‬ ‫اﻟﺒﯿﺖ‬ ‫اﻋﻤﻞ ﻣﻦ‬ ‫ﺑﯿﻨﻚ وﺑﯿﻦ ​اﻵﺧﺮﯾﻦ‬ ‫ﻣﺘﺮﯾﻦ‬ ‫واﺳﺘﻌﻤﻞ‬ ‫ﻣﻨﻔﺼﻠﺔ‬ ‫ﻣﻨﻔﺼﻠﺔﺧﺪﻣﺔ ﺗﻮﺻﯿﻞ اﻟﻄﻌﺎم‬ ‫وأﻃﺒﺎق‬ ‫اﻟﺤﯿﻮاﻧﺎت اﻷﻟﯿﻔﺔ‬ ‫واﻻﻧﺘﺮﻧﺖ‬ ً‫اﺳﺘﻄﻌﺖﻗﻨﺎﻋﺎ‬ ‫أو‬ ‫ﻤﺮﻓﻘﻚ‬ ‫ﺑ‬ ‫اﻻﺗﻮﻣﺎﺗﯿﻜﻲ‬ ‫اﻟﻌﻤﻞ‬ ‫وﻋﻘﻤﻬﺎ ﻟﻠﻤﻨﺰل‬ ‫اﻏﺴﻠﻬﺎ واﻟﺒﻘﺎﻟﺔ‬ www.healthdesignstudio.ca ‫اذا ﺿﻊ‬ ‫ﺣﻤﺎمأوﻣﻨﻔﺼﻞ‬ ‫ﺑﺈﺳﺘﻤﺮار‬ ‫ﻋﻦأﻣﻜﻦ‬ ‫ﺗﻮﻗﻒ إذا‬ ‫اﻟﻬﺎﺗﻒﻋﺪم‬ ‫ﻋﺒﺮ ﺣﺎول‬ ‫أو‬ masters program. Tiffany COVID Printables (100.4° worse? ‫ﻣﺪاﻋﺒﺘﻬﺎ‬ FeverCollaborators: over Shortness38°C of Feel​ too ‫ُﻋﻘﺪ اﻷﺻﺎﺑﻊ‬ (100.4°F) breath​ even get for​ 5 days The project is ‫ﻣﺮﺿﻰ‬ a 38°C collaboration between many,Attribution-ShareA partners. Weup​ thao L​icensed by Health Design Studio at OCADU under a Creative ‫أﺷﺨﺎص‬ ‫ إذا ﻛﻨﺖ ﺗﻌﯿﺶ ﻣﻊ‬Commons ‫ﻣﺎذا ﺗﻔﻌﻞ‬ for​‫آﺧﺮﯾﻦ‬ 5 days when walking watch TV collaborators Dr Sahil Guptafor and Dr Sam Vaillancourt, Unity Health, Toronto, Dr Jaspreet Contact: their support but especially Christopher Rice,and Victoria Wen WennSellen, Sie Dr Kate OCAD University Dery, JoannaAdditional Rios, OCAD University; Dr. Sam Vaillen WÄHLEN Christina sich Public Healt ODER ODER DANN SIE schlechter ksellen@faculty.ocadu.ca Health Dr. Khangura, Alberta Health S ‫ﺣﺎﻓﻆ ﻋﻠﻰ ﻣﺴﺎﻓﺔ‬ Unity ‫وﺑﻌﺪ‬ ‫ﯾﺪﯾﻚ ﻗﺒﻞ‬ ‫اﻏﺴﻞ‬ Toronto; ‫أﻣﺎﻛﻦ‬ ‫ ﻓﻲ‬at ‫اﺑﻖ‬ Jaspreet ‫أﻛﻮاب‬ ‫اﺳﺘﺨﺪم‬ 17 L​icensed by Health Design Studio OCADU under a Creative Commons Attribution-Sha resources: https://bit.ly fühlen ‫ﻣﺘﺮﯾﻦ ﺑﯿﻨﻚ وﺑﯿﻦ ​اﻵﺧﺮﯾﻦ ​أو‬ ‫ﻣﻨﻔﺼﻠﺔ واﺳﺘﻌﻤﻞ‬ ‫وأﻃﺒﺎق ﻣﻨﻔﺼﻠﺔ‬ ‫ﻣﺪاﻋﺒﺔ اﻟﺤﯿﻮاﻧﺎت اﻷﻟﯿﻔﺔ‬ collaborators Dr Sahil Gupta and Dr Sam Vaillancourt, Unity Health, Toronto, and Jaspr ً ‫ ﺿﻊ ﻗﻨﺎﻋﺎ‬Tiffany ‫ﺑﺈﺳﺘﻤﺮار‬ ‫اﻏﺴﻠﻬﺎ وﻋﻘﻤﻬﺎ‬ ‫أﻣﻜﻦ‬University ‫ﺣﻤﺎم ﻣﻨﻔﺼﻞ إذا‬ ‫ﻣﺪاﻋﺒﺘﻬﺎ‬Fitzpatrick, ‫أو ﺣﺎول ﻋﺪم‬ www.healthdesignstudio.ca of Toronto. Access Alliance,DrRefu COVID Printables Collaborators: The project is a collaboration between many partners. We thank all our volunteers and translators L​icensed by Health Design Studio at O collaborators Dr Sahil Gupta and Dr Sa for their support but especially Christopher Rice, Victoria Weng, Yesmeen Ghader, Habiba Soliman,

Die meisten Menschen fühlen sich krank (wie ● [local testing eine Grippe) und criteria 2] 3. NACH 2 Kontakt ​zu einer Sie zeigen erholen 2. Sie ürfen ​die sich​dschnell. ● [local Sie Sie arbeiten von testing ins Sie wurden Anzeichen symptomfreien Person,oder die an Sie werden Selbstisolation Nur einige Menschen erst 1. Bleiben criteria 3] leben COVID-19 in einer erkrankt einer der Gesund- Krankenhaus als ERSTES erkranken sehr schwer. Sie Tagenzu können beenden, ​wenn ​und risikoreichen schweren heitsbehörde eingeliefert beginnen, ist 2 Tage lang keine HauseSie isolieren Sie Umgebung Erkrankung überwiesen Social Symptome mehr Sie können Leben (z. B. Krankenhaus, sich für 14 Tage Obdachlosigkeit, Distancing zu zeigen. retten, wenn Sie zu selbst. Notunterkunft, Haftanstalt) praktizieren. Hause bleiben.

Fieber über 38° C (100,4° F) für​ 5 Tage

Verschlim- merung der Atemnot​, sogar beim Gehen

Fieber Sie zeigen über 38° C Anzeichen einer (100,4° F) für​ 5 Tage schweren

Fieber über 38° C (100,4° F) für​ 5 Tage

Verschlim- merung der Atemnot​, sogar beim Gehen

Telehealth 1-866-797-0000 oder im Notfall 911

Telehealth 1-866-797-0000 oder im Notfall 911

under a Creative Commons Attribution-ShareAlike 4.0 International L​icensed by Health Design Studio at OCADU License with Design Studio at OCA L​icensed by Health collaborators Dr Sahil Gupta, and Dr Sam Vaillancourt, Unity Health, Toronto, and Dr Jaspreet Khangura, Alberta Health Services collaborators Dr Sahil Gupta and Dr Sam

Sich ​zu krank fühlen​, um aufzustehen oder fernzusehen

[local testing Verschlim- criteria 2] 3. NACHTelehealth 2 merung der [local testing symptomfreien Selbstisolation erst 1-866-797-0000 Atemnot​, aufzustehen criteria 3] beim oder im sogar oder Tagen können beenden, ​wenn Sie Notfall 911 Gehen fernzusehen Sie beginnen, 2 Tage lang keine Erkrankung Social Symptome mehr Distancing zu zeigen. L​icensed by Health Design Studio at OCADU under a Creative Commons Attribution-ShareAlike 4.0 International License with Design Studio at OCADU under a Creative Commons Attribution-ShareAlike 4.0 International License with L​icensed by Health collaborators Dr Sahil Gupta, and Dr Sam Vaillancourt, Unity Health, Toronto, and Dr Jaspreet Khangura,praktizieren. Alberta Health Services collaborators Dr Sahil Gupta and Dr Sam Vaillancourt, Unity Health, Toronto, and Dr Jaspreet Khangura, Alberta Health Services

Kontakt ​zu einer Person, die an COVID-19 erkrankt ist

Sich ​zu krank 2. Sie ​dürfen ​die fühlen​ , um

Sich ​zu krank fühlen​, um aufzustehen oder fernzusehen

L​icensed by Health Design Studio at OCADU under a Creative Commons Attribution-ShareAlike 4.0 International License with Design Studio at OCADU under a Creative Commons Attribution-ShareAlike 4.0 International License with L​icensed by Health collaborators Dr Sahil Gupta, and Dr Sam Vaillancourt, Unity Health, Toronto, and Dr Jaspreet Khangura, Alberta Health Services collaborators Dr Sahil Gupta and Dr Sam Vaillancourt, Unity Health, Toronto, and Dr Jaspreet Khangura, Alberta Health Services


Visual Metaphors that are a Catch The IUU Fishing Index The IUU Fishing Index today Tackling United Nations 2030 Agenda’s Sustainable Development Goal 14, Life Below Water, the IUU Fishing Index, is the most important worldwide effort to evaluate coastal countries in relation to illegal, unreported, and unregulated fishing. The client We were privileged to work with clients that wanted the study to go far beyond a common index in a printed report full of charts. Right from the start, they understood the strategic importance of data visualization and an open access data platform in terms of reach, differentiation, and memorability.

The right visual metaphor Working with experts in the domains of organized crime and aquatic resources, we were able to understand the ecological, political, financial, and social impacts of this phenomenon which was invaluable information in developing the visual metaphor. We started our exploration with elements related to the ocean and fishing that could work as visual markers and truthfully represent the Index, it’s 4 domains and 40 indicators. We sketched out flags, sonars, radars, waves, schools of fish, and many more until we reached the ultimate simplification: the fishbone chart.

Preliminary sketches of the IUU Fishing Index data visualization. Exploration of metaphors: radars, sonars, schools fo fish and the fishbone.

18


CLIMATE CHANGE PRIZE

The fishbone is a universal symbol and, in this context, it represents a very real consequence of the persistence of IUU fishing which is the potential depletion of species its ripple effect in marine ecosystems. From the sketches, we moved to the computer so we could stress-test the design with real data and then refine the fishbones, head, and tail. A multimedia project The deliverables went beyond the data visualization and data platform. We also designed an executive summary that featured the methodology and analysis behind each indicator and data-driven printable country profiles. These profiles were generated by an Indesign data merge template and a database. With it, we were able to make any number of profiles with the press of a button. Team CafÊ is a socially-conscious and awardwinning information design studio that combines design and technology to drive change. We work on projects that tackle the UN’s 2030 Agenda for Sustainable Development. Our work educates, advocates, questions, and entertains. The IUU team was made up of 6 designers. Leandro Amorim as creative director, Erlan Carvalho as information design lead, Henrique Ilidio as information designer, Wendel Anthuny as design intern, and Erico Rosa and Guilherme Lobo as creative coders.

cafe.art.br cafe@cafe.art.br

Computer-aided developments of the metaphors, stress tests using real data, refinement of the design and the final design of the IUU Fishing Index data visualization.

19


Category: Category:Bronze Bronze Category: Bronze Project: Project:Pictography PictographyininMotion Motion Project: Pictography in Motion

PICTOGRAPHY PICTOGRAPHY IN MOTION PICTOGRAPHY IN IN MOTION MOTION WeWeareareallallsurrounded surroundedby by

We are all without surrounded by pictograms pictograms withouteven even pictograms withoutthey even realizing realizingit,it,but butcan can theyconvey convey realizing it, but can they convey their theirmessage messagecorrectly correctlyand and their message correctly and effectively? effectively?Are Arethey theyupdated updatedtoto effectively? Are they updated to today? today?IsIsthere thereany anysolution solutionfor for today? Is there any solution for making makingthem themmore moreattractive attractive making them more attractive and "current"? and "current"? "current"? Itand Itwas washere herethat thatthe thequestions questions It was here that the questions started, started,for forwhich whichwe wewanted wanted started, for which we wanted answers. answers. answers. What Whatwas wasthe thechallenge? challenge? What was theit’s challenge? The challenge... The challenge... it’seasy easytoto The challenge... it’s easy to answer. answer.The Thechallenge challengestarted started answer. The challenge started as assoon soonas aswe wedecided decidedtoto as soon as we decided to understand understandhow howwe wecould could understand how we could introduce introducemovement movementinin introduce movement in well-known well-knownpictograms, pictograms,ininorder order pictograms, in order towell-known toimprove improvetheir theirinterpretation interpretation to improve their interpretation and andprove provethat, that,even eventhough though and prove that, even though they are universal pictograms, they are universal pictograms, they are universal pictograms, they theyare areno nolonger longerup uptotodate. date. they are no longer up to date.

Contact: Contact: Carlos CarlosRosa* Rosa*and andMaria MariaDiaz** Diaz** Contact: *designer, Carlos and Maria Diaz** design | |**designer *designer,Rosa* designprofessor professor **designer *designer, design professor | **designer

IADE IADE- -Faculty FacultyofofDesign, Design,Technology Technologyand andCommunication Communication IADE - Faculty of Design, Technology and Communication carlos.rosa@universidadeeuropeia.pt carlos.rosa@universidadeeuropeia.pt carlos.rosa@universidadeeuropeia.pt www.iade.europeia.pt www.iade.europeia.pt | | www.carlosrosadesign.com www.carlosrosadesign.com www.iade.europeia.pt | www.carlosrosadesign.com

20


EDITOR‘S CHOICE

Before starting to draw the final result, we studied some of the examples that already exist and where we could be inspired. From car campaigns to simple pedestrian crossings, we were able to gain motivation to move forward with the proposal.

What was the solution? The time has come to start thinking, testing and designing the best way to introduce movement to the 13 pictograms tested.

We came to the conclusion that the best solution was to join several complementary static frames that, when passing at a constant pace, gave the sensation of movement.

Some pictograms just needed 2 frames, others needed a little more... Some pictograms were easy to find a solution, others had more tests

What was the effect? After the introduction of movement, we were able not only to increase the percentage of correct interpretation of the pictograms, but also to encourage civic behavior.

But... attention! This is just the beginning of a new world of pictograms, there is much more to explore, we just wanted to open the door!

21


GOLD, SILVER, BRONZE & SHORTLIST

22


KEEP IT GOal!

tiCket pleaSe

Financial 28

Wayshowing 30

Traffic and Public Transports

A LCLLUSIVE IN S

Universal Design

S

LIK

E I T!

72

78

Emergency 82

B2C C2B

24

Healthcare 26

E AP SH

IIID

GRAND PRIX AND JURY PRIZE

Social Affairs

OD GO

NEXT!

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

23


Category:

Social Affairs

Project:

Outpatient Radio: A chronic pain listening project

What was the challenge? The experience and inadequate treatment of chronic pain affects as many as 100 million Americans, costing an estimated $560–635 billion a year. Individuals living with chronic pain in rural areas often have limited access to health education and resources, and face significant economic, social, and public health challenges as well. In Shasta County, California, about 320 kilometers north of the UC Davis campus, the median household income in 2014 was $44,556, significantly lower than the state median of $61,489. Further, Shasta County’s population is older than that of California overall (approximately 18% of Shasta County residents are seniors over 65 compared to 12% statewide), and the rate of suicide is roughly twice the rate of California. Shasta County is especially susceptible to the opioid crisis; in 2013, the rate of opioid prescriptions (number of opioid prescriptions per 1000 people) was more than double the California rate, and hospitals in this region saw more than 1,100 overdose cases between 2006 and 2013, or three times California’s average. What was the solution? Outpatient Radio is a chronic pain listening project produced by the Center for Design in the Public Interest at the University of California, Davis. Our partners include Hill Country Health and Wellness Center, a nonprofit community clinic, and community radio station KKRN 88.5 FM in rural Shasta County, California. Weaving together the stories of eight chronic pain patients, the hour-long show seeks to combat the stigma and isolation of chronic pain, improve understanding of the many issues surrounding chronic pain, and spark new conversations in the North State community through grassroots radio programming. Outpatient Radio advocates with those who have a limited voice in

24

public life by amplifying an often-unheard community: chronic pain patients in a remote rural area.

pain and how it deeply impacts the lives of individuals, caregivers, friends, family, and neighbors.

Over a period of a year and a half— from research, early ideas, and Institutional Review Board discussions to partnership building, participant recruitment, interviews, editing, and production—we were driven by a deep desire to listen, experiment, and learn. Our research focused on several key questions, including:

What was the effect? In rural areas where individuals with chronic pain have limited access to health education and resources, Outpatient Radio broadcasts empower patients, community members, and healthcare providers to listen and to share stories and knowledge in more connected ways. Participants have responded with feedback about the benefit of having had a safe space to reflect on their health and the opportunity to share their experiences in a way that might help others. The show has aired twice on community radio station KKRN (88.5 FM) in Shasta County and on KDVS (90.3 FM) in Davis, California. Almost 600 listeners have accessed the show on YouTube (https:// youtu.be/MBrvnTVYeeM). It is also available in the web archives of both radio stations and on public health websites including UC Davis Health and Sacramento County Department of Public Health.

• How might individuals living with chronic pain, especially in more isolated, rural areas, benefit from sharing their stories? • How might community radio help break down barriers of “otherness,” sickness, or disability? • How might audio stories and the act of listening change how chronic pain patients experience their own health? We worked closely with clinicians at Hill Country and at UC Davis Health to understand the complex issues surrounding chronic pain and pain treatment, including patient demographics, treatment challenges, access to care, and the role of mental health. We completed a literature review to learn more about chronic pain, narrative medicine, and community radio, analyzing and synthesizing what we discovered in order to further guide our research and share it among team members. We looked into practices for working with vulnerable communities and researched qualitative interviewing methods, holding mock interviews and participating in a training workshop developed specifically for our design team by a former producer at StoryCorps. Most importantly, we spoke with community members themselves to understand and chronicle the nuances of living with chronic

Outpatient Radio was recognized with an inaugural San Francisco Design Week Award in 2018 and with an Honorable Mention in the Social Economic Environmental Design (SEED) Awards, an international juried competition celebrating excellence in Public Interest Design. Project team Outpatient Radio is produced by the Center for Design in the Public Interest (DiPi) at the University of California, Davis. Team members include Susan Verba, Tracy Manuel, Kenna Fallan, Bo Feng, George Slavik, Hannah Hill, and Zoe Martin. Partners include Hill Country Health and Wellness Center and community radio station KKRN in Shasta County, California; clinicians at UC Davis Health; museum-


NEXT!

GOLD

comprehensive outline 2017

outpatient radio a chronic pain listening project 2

Comprehensive Outline 2017

Center for Design in the Public Interest UC Davis

1

Talk with pain patients.

outpatient radio is a chronic pain listening project that explores ways to help patients and communities talk about chronic pain and chronic pain treatment.

These interviews can be conducted in-person or over the phone and will likely take anywhere from 15 to 45 minutes.

Patients will be interviewed (solo or in groups) about their pain, their struggles, and their success as chronic pain patients. Two to four patients may be asked to do recurring interviews (30 to 50 minutes a session, for three or four sessions total) so we can follow their month-to-month progress. No patients will be identified by name or any other information.

4

Gather other voices.

This is a patient-driven program, focused on following the concerns and stories of real patients. However, we’re also looking for experts and other community members who are good listeners and interested in interfacing with the many issues affecting chronic pain and chronic pain treatment in a new way.

3

Let people listen.

The show will air on KKRN 88.5 FM in Round Mountain. In addition, we will host listening parties that are open to the public where we will play the finished show, ask questions, and take suggestions and comments. These events could take place in a number of locations across the North State, including Hill Country Clinic in Shasta County, and the Center for Design in the Public Interest at UC Davis.

After the interviewing phase, we’ll gather up the audio we collect and edit it into a final show. At this time, we may call interviewees with any follow-up questions that rise to the surface. Participants should be aware that their interviews won’t be presented completely intact. All recorded material will be edited and possibly even rearranged. We will allow all participants a window to listen to the show and contact us with any concerns before the assigned airing date. After that window, no changes can be made. The show will also be reviewed by a select panel of collaborators to insure privacy and accuracy.

Produce a radio show.

Participating experts, be they physicians, mental health professionals, educators, or government workers (working in social work, community policy, law enforcement, etc.) should have good listening skills and be open to new and challenging ideas.

Along with sharing stories and advice, patients may also participate in icebreakers, mini exercises, and other activities. To get the most out of this project, patients will need to be invested in improving their own health along with the health of others.

5

Basic information Goals This program makes use of an experimental system of feedback loops to provoke new conversations and to investigate how healing unfolds over time. Outpatient Radio seeks to: Combat the stigma and isolation of chronic pain by giving chronic pain patients a platform to share their stories. Improve patient and public understanding of the many issues surrounding chronic pain and pain treatment. Engage the North State community in this issue through unique radio programming and interactive listening events.

• • • • • • • • •

Sample Show Topics pain scales and pain descriptions alternative treatments and access responses to medical designs and forms prescription medications a “day in the life” of a pain patient safe disposal of drugs a tale of two cities: Round Mountain + Sacramento opioid contracts a rural, regional investigation of pain

Specs The expected run time for each show is 30 minutes and the expected length of the entire series is 3 to 4 shows spread out over around a year. Episodes will be broadcast on KKRN 88.5 in Round Mountain, as well as streamed for free on the KKRN website. The show is not recorded live.

The content gathered from llistening events will serve several purposes: it will help us understand public concerns, give us feedback on how to improve our process, and give us material to restart another round of interviews. Depending on the kinds of audio we gather, we may play clips from the listening event in our next round of interviews for people to respond to and/or include snippets in upcoming shows.

Privacy We realize that living with chronic pain is a complicated, personal experience with social and professional implications. All our interviewees will be asked to sign both media release forms and consent forms that outline our purpose and process, as well as the steps we take to insure the safety and privacy of all participants. We also allow the people we interview to choose whether and/or how they would like to be indentified on air. Scholarly Contributions We expect to publish on the process, conversations, and outcomes of this project and hope to contribute to new ways of thinking about and working with health interventions and community radio.

Collect feedback. We will record at our listening events (and notify attendees that we are doing so) in order to capture pieces of the conversation for future use. We will not, however, require that people who speak at these events be identified by name or by any other personal information.

Restart the conversations.

6 Contact Outpatient Radio is a partnership between the UC Davis Center for Design in the Public Interest, Hill Country Health and Wellness Center, and KKRN 88.5 FM in Round Mountain, CA. For more information about the project, please email outpatientradio@gmail.com.

A poster that folds into a booklet provides a visual roadmap to engage stakeholders and participants in the project (above). Tracy Manuel at work on Outpatient Radio (left). YouTube album art (right).

based public health partnership Art Rx in Sacramento, CA; and individual participants in Redding, Round Mountain, Sacramento, and Davis, California. About DiPi The Center for Design in the Public Interest (DiPi) at University of California, Davis was founded to explore the question: “What does democratic design look like?” At DiPi, the power of design is applied to problems that affect people’s health, wellbeing, and daily lives. DiPi partners

with researchers, clinicians, and community members on projects that include opioid education, health literacy, and emergency preparedness. Our work is public domain so everyone benefits. Outpatient Radio is part of DiPi’s flagship effort, the Pain Project, which seeks to understand and address problems in pain communication by redesigning existing tools and creating new ones, both with and for healthcare providers and patients. Our materials are available to use, adapt,

and share under a Creative Commons license. Visit http://dipi.design for more information and to access downloadable resources. Contact Susan Verba Center for Design in the Public Interest (DiPi) University of California, Davis sverba@ucdavis.edu http://dipi.design

25


Category:

Social Affairs

Project:

Social Integration for public space. Fostering participation through Information Design

Fig. 1: Map of the neighborhoods where the workshops were made. What was the challenge? Chapultepec Park is one of the most popular green urban spaces left in Mexico City. It’s 678 hectares, divided in three sections offer local and tourist visitors an opportunity to relax, visit museums, a zoo, rowing in the lake or simply take a walk around their gardens and experience urban culture. In 2019 the Federal Government announced the rehabilitation of a 100 hectares (former a military base) that was becoming the New 4th section of Chapultepec Park. With this huge compromise upfront, the landscape and urban planner team wanted to understand the needs and expectations of the medium and low neighbors that surround the area as well as the potential visitors that will be coming to use the space. How can you collect information about

Contact: name: Ivonne Ramírez Ramírez / Nora Morales Zaragoza company/organisation: Sedatu e-mail: ivonne.a.ramirez@gmail.com digital document (in spanish): https://issuu.com/ norismorales/docs/00_documento_socializacion_entrega_final_final_una

26

expectations and opinions of diverse people, of a place that has not yet been built? Is it possible to understand latent people’s needs and see what they imagine to ignite social participation? And then, how do you explain those findings to architects, urban planners and government offfiicials in charge, to come up with the Master Development Plan from 2019-2026. What was the solution? We designed a strategy of 600 interviews and workshops around the neighborhoods in proximity of the area, where we talk and made public consultations with different population sectors (adults, women, children, senior and youth citizens) that lived around the area. For data collection we applied a survey for young adults and seniors, we also designed some participatory techniques and materials to encourage participants to make their own handmade visualizations. For example, we established a color coding system to identify the gender or participant age after they told us from which neighborhood they belong, once they had their stickers, they used them to vote which type of issue or areas was more important for them (See picture 1).

The children’s workshops were more like an open talk where they told us about the green areas they frequent the most and how near it was from their homes, then we asked them to draw the park of their dreams, that helped us to identify some common areas from the adult and youth consult. We built a database with the information collected from the survey and the handmade visualization (sticker board) and decided to analyze the information with two criterias: first by features or preferences or priorities according to gender and participant age: children, youngster, women or male adult, seniors; the second was a spatial criteria since we map the neighbor of origin of the participants involved in the survey and workshops and we divided three areas: north, center and south (See Fig. 1). The gender and age profile allowed us to build “Ideal Park’s” models for each group, where we visualized the most valued features of the park for each group: we could identify the ideal park for senior citizens, women or children. This finding was key to developing an illustration or thematic maps of the “Ideal 4th Section of Chapultepec’s Park” which merged all the characteristics that participants valued in a common place (See Fig. 2). On the other hand, the analysis helped us to translate the proposal for the urban planners team

Pic. 1: Neighbors participating in the handmade visualization of the map.


GOLD

by identifying the key spatial amenities and services, as well as type of activities that could be segmented by the use of space within the three main sections: the north could take a more cultural direction, the center about sports and recreations and the south moved towards learning and community activities. We also worked on an executive summary version of our research that involved more traditional graphics (pie and bar charts, tables and maps and matrix) which were used in the Master Plan Document and the presentations to government officials. What was the effect? A total of 500 adults and 80 children from selected neighborhoods participated in the study which gave the architects and urban planners significant arguments to incorporate people’s ideas into their concept.

In general, architects and planners are sometimes doubtful of participatory approaches but after the experience they told us that they were very happy with the result of having an interdisciplinary partner to help them understand communities nearby. Another positive effect was the thematic map which was part of the presentations to show the social participation process, when the government officials saw it, they asked it to be part of the communication materials of the project. While data collection was a big challenge, we acquired a very rich qualitative perspective that was incorporated within the architect and landscape concept of 4th section of Chapultepec Park. We could conclude that there is great advantage to use information visualization for the planning and development of simple materials to

NEXT!

facilitate people engagement in collaborative activities. It is very rewarding to work in social projects that you could easily see the people’s voice reflected in the result. And it is also good to notice that people participate if they see how the project directly affects them. Finally we have been encourage to explore the possibility to replicate this collaborative process in other government projects in Mexico City, we believe we have just found a way to approach social participation for the near future of the city. *We aknowledge Cecilia Barraza and people from SEDATU agency for making interdisciplinary possible but mostly to the people from neighborhoods of the village of Santa Fe for her motivation and work, which made this project possible.

Fig. 2: Thematic map of the “Ideal 4th Section of Chapultepec’s Park”

27


Category:

Social Affairs

Project:

Vira-Casacas da Câmara

What was the challenge? In 2018, Brazilian Congressmen had a free pass to change parties without the risk of losing their mandate for party infidelity. With the end of corporate campaign funding, getting a new Congressman is great for parties because the Electoral and Partisan Fund’s rules say the money given to parties is directly proportional to how many Congressmen they have. Money that is primarily used for campaign spending. Vira-Casacas da Câmara (Turncoats at the House of Representatives) is an independent project that, by showing which congressman changed parties, pointing out the economic impacts of this change, and placing a value on each politician, poses political critique in form of visualization. Our first goal was the critique itself. The second was to involve the whole team around an authoral project with no clients.

28


GOLD

NEXT!

What was the solution? Without financial support, the project was guided by the mindset of achieving the greatest impact with the lowest possible energy output. The project was done in just over 6 weeks, from data collection to its publication. To get the audience engaged we used the football metaphor paired with great visuals. Datawise, we decided to focus on (1) “players” rather than “teams”, (2) one main number (player value) betting that its what would get the most visceral reactions, and (3) creating a simple visualization that would not require much of the user.

What was the effect? We feel it is extremely important to have initiatives that explain to civil society, in detail but in an easy-to-read way, the rules of the political game. Since it’s launch we acquired many fans and just as many haters. Gladly, the project has received nominations, honorable mentions, and awards: Information is Beautiful Awards, Bornancini Award, the London International Creative Competition, Brasil Design Award, Prêmios Clap, Bienal Iberoamericana de Diseño, Latin American Design Awards, and the Brazilian Graphic Design Biennial.

Contact: name: Leandro Amorim company/organisation: Café.art.br e-mail: cafe@cafe.art.br website: www.cafe.art.br

29


Category:

Social Affairs

Project:

20 weeks / 20 graphics on gender equality

What was the challenge? How can we use graphic design tools to contribute to a more equal representation of women in the Swiss parliament? We wanted to make the inequality visible and tangible so that everyone understands that there is a huge imbalance and that we need to take action when voting. What was the solution? We had in mind that «constant dripping wears away the stone» and decided to visualise the data focusing on gender inequality in 20 different ways. Within 20 weeks leading up to the Swiss National Council elections in 2019, Hahn+Zimmermann published one visualisation on Instagram every week, each showing a section of the same data set on the history of gender relations in the National Council (1971–2015). In total, the 20 animations made the unequal representation of women and men in parliament visible and were intended to stimulate thought and action before the elections. The target group was the Swiss population entitled to vote. What was the effect? The visualisations created interest and the topic of gender equality was one of the main topics of the last years elections. The result of the elections was very encouraging – the percentage of women in parliament rose from 32 to 42 percent! For us as designers it was very interesting to follow the Instagram statistics and see how popular the different visualisations were.

Contact: Barbara Hahn, Christine Zimmermann, Ursina Bärtschi, Minyoung Kim Hahn+Zimmermann mail@hahn-zimmermann.ch https://hahn-zimmermann.ch/ projekte/nationalratswahlen_2019

30


PERSONAL FAVOURITE OF JUSTYNA & GOLD

NEXT!

31


Category:

Social Affairs

Project:

Giornata Nazionale dei Piccoli Musei

What was the challenge? Little museums are private institutions spread throughout Italy, often headed by a single person (or a small group of managers) who run them primarily for passion. The themes they deal with may be the most varied: from historical relics to now-deserted objects, from a community’s memories to personal and free collections. They are living sites where the history and culture of the places is preserved, protected and promoted. Little museums are also meeting and welcoming points. The National Association of Little Museums was founded in 2007 with the aim of creating a dialogue between these realities rooted in specific territories but often isolated. The First Little Museums National Day is the first event to to attract the attention of institutions and visitors by promoting these realities, which often are excluded from touristic routes and only rely on word-of-mouth. The task of the communication project is to make the little museums familiar to the people and to create a symbol expressing the idea of reciprocal donation implicit in their activity.

Contact: name: studio +fortuna company/organisation: APM Associazione Nazionale Piccoli Musei e-mail: studio@piufortuna.it website: www.piufortuna.it

32


SILVER

NEXT!

What was the solution? For this non-profit project the studio +fortuna has designed the visual identity, characterizing it with the illustration and the intriguing typographic claims. The heart is therefore assumed as the core where memories and passions live and from where they spread about in the shape of flowers, recalling generosity. The image was widespread all over Italy, applied, in addition to the traditional poster, to a vast range of formats and media (social media, newspapers, websites, gadgets, stickers) that extended the echo well after the very day of the event. What was the effect? Since the first National Day in 2017 over two hundred museums participate in the initiative. The strongly identifying project had an extraordinary success with the public and the organizers are enthusiastically working on the 4th edition. A large and participating audience confirmed the goodness of the initiative.

Claims ”Do you have little museums at heart?” ”Do you, Minister, have little museums at heart?” ”Do you have the Memory at heart?” ”Do you have the Territory at heart?” ”Do you have the People at heart?” ”A heartful of Thanks”

33


Category:

Social Affairs

Project:

Exhibition: »People Country Escape«

What was the challenge? To create a special exhibition in the historic Marstall (stables) of Kempten on the not easy topic of escape, migration, integration ... It’s about the reasons and ways of escape, of walking away – and arriving. The loss of home and the search, finding and regaining of a new home. What was the solution? The exhibition design is spatial, classically didactic, interactive and sensual. Accompanied by a work-in-progress character. Pictures and texts are shown on banners in the style of a demonstration. As an additional level, the smartphone plays an important role – in the escape as a connection to family and homeland, in the exhibition to get to know the protagonists. First you choose a person and follow the trail on the floor, overcome obstacles, get information – and by using the smartphone you get more videos, facts, audio files ... Identification becomes possible, empathize ... In the end, the »video tunnel« and a room for reflection waits: A bullet is pulled from an old chewing gum machine, and a personal question is made ... What was the effect? The exhibition draws much attention to the fact that flight is omnipresent. It is a thought-provoking exhibition, with a reduced but insistent communication design so that visitors have an easy access to a topic splitting of the society. The feedback was very positive and the participation was overwhelming. They noted their thoughts and opinions, pinned them on the wall, the next visitor answered, (dis-) liked ...

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

34


SILVER

NEXT!

35


Category:

Social Affairs

Project:

Observa Segurança

What was the challenge? Observa Segurança is an interactive public safety data visualization tool for the state of Rio de Janeiro. With millions of data points in 4 different databases, some that have never before been made public (Disque Denúncia, ISP, SEAP, and IBGE), it would be impossible to do any kind of analysis without being highly skilled. Our challenge was to answer difficult questions such as (1) where and what are the crimes that are more frequently reported?, (2) what are the trends in different crime types over the last 5 years? (3) where are these different crimes committed? (4) what is the most dangerous time of day in each city for each crime type? (5) do criminals commit offenses at their home city or elsewhere?, (6) if elsewhere, are the cities adjacent ou are there most “popular” cities for specific crimes?, etc.

What was the solution? First, we divided the data into 3 main categories, each with a page of its own - Reporting, Crimes, and Arrests. By providing an overview of (1) anonymous reporting of situations involving violence and/or criminality, (2) crimes committed, and (3) arrests that made it through to the penal system, as well as the anonymized socioeconomic profile of perpetrators, the tool helps policy-makers to make wellinformed decisions. Second, we designed visualizations that would be suited to all pages or at least that would be structurally similar. This way, when a user learns how to navigate the Reporting page, for instance, they would automatically know how to navigate the others. Each main page is composed of an intro with easy-to-read charts and an interactive map that delivers more information.

36


SILVER

NEXT!

What was the effect? As a non-profit public safety data visualization tool with millions of data points, the platform aims to contribute to better public policies for the state of Rio de Janeiro. Since its launch, Observa Segurança has been featured in Brazilian media and used in research. FGV DAPP, the client that commissioned Observa Segurança, has been asked to participate in multiple events and debates on public safety and it’s Director has been nominated to both a municipal and a federal council on public safety.

Contact: name: Leandro Amorim company/organisation: Café.art.br e-mail: cafe@cafe.art.br website: www.cafe.art.br

37


Category:

Social Affairs

Project:

Bonifica e riqualificazione dell’area di Taranto. Communication tools and strategies.

What was the challenge? The aim of the project was to realize clear and readable materials for the communication of the strategic lines adopted and results achieved in the remediation system project of the Taranto area - area subject to environmental crisis. One of the main challenge was to restyle all the technical materials, such as cartographic materials, produced before designers team became part of the project: cartographies and other communication tools (i.e. slideshow, leaflet, brochure, and newsletter) had been made with a too technical linguistic register, difficult to be read also for insiders, and for this reason impossible to be understood from an enlarged audience.

Contact: name: Daniela Piscitelli, Roberta Angari, Gabriele Pontillo company/organisation: agreement between Università degli Studi della Campania “Luigi Vanvitelli” and Vera Corbelli, General Secretary of the Autority of Bacino Nazionale dei Fiumi Liri-Garigliano e Volturno e-mail: daniela.piscitelli@unicampania.it website: www.architettura.unicampania.it

38


SILVER

→ → → → →

NEXT!

What was the solution? We built a “narrative inversion” through a strategic plan of communication, which could act at different communication levels, adopting different linguistic registers, and able to: highlight the structural nature of the planned interventions, the benefits, values, and long-term projections; valorize the Taranto area (not limited to the city area); enhance the excellence of the territory, both in environmental and cultural terms; involve the local population within a shared process of social and cultural redevelopment; build and support a local community, so that local inhabitants feel they are a proactive part of the change; increase the sense of responsibility and awareness.

What was the effect? The design process, led us to the realization of the “Atlas of Cartographies”, a clear tool of synthesis and comprehension for different kind of users of the analyzed, collected and visualized data, which explain

the relation between geographic sites and the remediation project of the Taranto area. Join the Atlas, the design of other communication tools, such as an explicative and synthesis volume, realized for the explanation of the remediation system project, an

editorial series of book in pocket format, to narrate the strategies and results achieved to a wider audience (not just institutional), and a web newsletter, for the dissemination of information, news and government activities to an enlarged audience.

39


Category:

Social Affairs

Project:

Exhibition: »Food in Franconia«

What was the challenge? The origin was a planned touring exhibition for the opening event for the »Day of Franconia« – Franconia, which are three administrative districts in Bavaria. It should revolve around food, historically, architecturally, technically, socially ... What was the solution? ... and was supplemented from us by many interactive elements. Questions on the exhibition walls encourages the visitors to participate: »Beer or wine?« Simply crown corks or corks will be placed in the respective glass tube. »Lots of meat or vegan?« Put a wooden fork in the plate that matches meat consumption ... Words on pot flaps completing sayings from the kitchen field ... All this easily transportable, modular and with minimal budget. The »House of Cards« plug-in system from Eames (20:1 scaled) was the solution. The individual elements were produced in huge size, smaller ones as children’s station ... The material – untreated printed plywood – is lightweight, cost-effective with a natural friendly look. The whole exhibition could be distributed with little effort from one exhibiton site to the next. And in each city the museum or exhibition space arranges the units according to their needs. More and more printed things completed the exhibition: a cookbook with stickers for customizing, a bag, beer lids ... What was the effect? A cost-effective but striking exhibition! Playful, surprising and well-thought-out with an unmistakable character. Visitors are proud of their Franconian homeland!

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

40


SILVER

NEXT!

41


less suitable? • Scientific quality is measured by output, without less suitable? • Scientific• quality Scientific is measured quality is measured by output,by without output, without less suitable? → take care responsibilities into consideration wit sufficient consideration of time spent on family care → take care→responsibilities take care responsibilities into consideration into consideration with wit sufficient consideration sufficient consideration of time spent of time on family spentcare on family care regard to a candidate’s scientific age and is this (children, other relatives in need of care). regard to aregard candidate’s to a candidate’s scientific age scientific and is age this and is this (children, other (children, relatives otherinrelatives need of care). in need of care). communicated to the applicants? (cf. Ch. 6, Mason et al 2013) communicated communicated to the applicants? to the applicants? (cf. Ch. 6, Mason (cf. Ch.et6,alMason 2013) et al 2013) → only measure mobility and internationality on t • Mobility often leads to a re-traditionalisation of → onlymobility measureand mobility internationality and internationality on the on t • Mobility •often Mobility leadsoften to a re-traditionalisation leads to a re-traditionalisation of of → only measure basis of how often and how long candidates ha gender roles in partnerships. basis of how basis often of how and how oftenlong andcandidates how long candidates have ha gender roles gender in partnerships. roles in partnerships. spent abroad or does it also use other criteria? (Ch. 7, Thais and Padilla 2017, Jöns 2011) spent abroad spent or does abroad it also or does use it other alsocriteria? use other criteria? (Ch. 7, Thais (Ch. and 7, Padilla Thais and 2017, Padilla Jöns 2011) 2017, Jöns 2011)

Category:

Social Affairs

Project:

A guide about gender bias and academic careers

rilliant, working.

What was the challenge? The gender gap in academic careers is still persistent. International studies and experiments have revealed well-established and powerful assumptions and stereotypes that influence our actions. A guide for academic appointment committees and panels shows examples, how gender bias works. We need to know, how gender bias works, in order to overcome the gender gap.

y round?

What was the solution? To reflect the serious environment of the university and the topic, we chose to use only 2 colors. The executive summery is printed in Blue on stronger paper, 3 main stereotypes are visualised in a kind

mmary

pprox. 51 %) Visualising Stereotypes eceived a he University 004/05.

but deliberately reduced way. They The University of Vienna is committed to equal were aimed at catching the readers’ The University The University of Vienna isofcommitted Vienna is committed to equal to equal opportunities in selection procedures and attention. The main opportunities part is printed in Stereotype opportunities in selectioninprocedures selection procedures and and aims to increase the proportion of women Black and shows some scientific results aims to increase aims tothe increase proportion the proportion ofwomen women of women Men are more brilliant than in top-level academic positions. about(cf. gender in al top-level top-level positions. academic positions. Ch. 1, equality. Leslie et 2015) inacademic

You can What was the effect? You can You contribute can contribute contribute to thisto to by→this this … by by … … question the use of superlatives such as “ “rising star” are used more often when men are being The brochure was reprinted shortly →letters takingof sufficient time for the process of discussing and Can a woman be a “rising star” too? appraised (testimonials, recommendation). → taking sufficient → takingtime sufficient for the time process for the of process discussing of discussing and and after its(cf. first due to high selecting a candidate. → assess publications according to their act Ch.issue, 3, Schmader et al 2007) selecting aselecting candidate. a candidate. → questioning the reasons behind decisions. demand. is the best indicator, that independent of sex/gender, thematic focu • InThis experiments, publications with randomly assigned → questioning → questioning the reasons the behind reasons decisions. behind decisions. pointing unchallenged assumptions and network? it succeeded in making the subject authors’ names tend to→ rated asout more important → pointing →be out pointing unchallenged out unchallenged assumptions assumptions and research and stereotypes on your committee. → equate a higher proportion of women wit when attributed to men and dealing with male interesting and gripping. stereotypes stereotypes on your committee. on your committee. • Expressions such as “most gifted”, “best qualified” or

Does your committee …

→ being aware of your own (gender) bias. devaluation of the respective field? gender-typed→topics. being aware → being of your aware own of(gender) your ownbias. (gender) bias.

→ comply with the requirements of the affir Ch.a4,look Knobloch-Westerwick You can(cf. take at the brochure atet al 2013) you. ThankThank Thank you. you. action plan, e. g. being obliged to give rea • Disciplines with a supposedly high “brilliance factor” gleichbehandlung.univie.ac.at selection proposal sent to the Rector doe see themselves as “[…] less welcoming to women”. > Broschüren > Wissenschaftskarriere any women? (cf. Ch. 1, Leslie et al 2015, p. 264) If women nevertheless und Gender Biasto reach a top-level academic post, they manage are frequently seen as highly unusual and/or quota women.

emale searchers has over 40 %

rs (including women fessorships) Stereotype an 33 % of pro-# 1 Men are more brilliant than women 2 Women are of uncertainty, men are guarantors of succ Women are# factors offactors uncertainty, Does your committee … ed” or of 20 university menBenschop are guarantors (cf. Ch. 2, Van den Brink and 2013) of success → question the use of superlatives such as “rising star”? ein being 2019. # 3 Can The compatibility of family work is a women’s issue a woman be a “rising star”and too? ation). Does your committee … • Men are often accredited with a higher level of “fit” → assess publications according to their actual quality, → define clear factors for evaluating the qua in a job, particularly in predominantly masculine independent of sex/gender, thematic focus and signed scientific output and applications? environments. research network? rtant → demand detailed reasons and discuss any (cf. Ch. 2, Van den Brink and Benschop 2013) → equate a higher proportion of women with a Actively contradictory evaluations? • Scientific quality and “potential” is called into devaluation of the respective field? academ → critically scrutinize any arguments regard ender bias that will be further elaborated on in question more often for female candidates than for → comply with the requirements of the affirmative univers candidate’s “fit”? . These studies focus on gender but the same male candidates. (cf. Ch. 3, Madera et al 2018) action plan, e. g. being obliged to give reasons why a actor” ademic ms apply to other social and cultural markers • In experiments, identical applications in academia selection proposal sent to the Rector does not include men”. panels i nd, class, age, etc.). tend to be rated more highly when attributed to men. any women? rtheless take thi ome examples of how gender bias works: (cf. Ch. 5, Moss-Racusin et al 2012, Steinpreis 1999) ey our goa Stereotype uota versity The compatibility of family and work is a women’s issue procedu (cf. Ch. 5, Winker 2015, Beckmann 2016) shows t enced b Does your committee … • The “round-the-clock availability” paradigm pushes can und → ask women — but not men — how they organise their more women than men out of an academic career for exam private lives? based on the assumption, amongst other things, that main se → see (younger) women (with or without children) as not they will have to take on family care responsibilities. being 100 % devoted to their research and therefore didate r (cf. Ch. 6, Van den Brink 2015) less suitable? way. As • Scientific quality is measured by output, without 42 → take care responsibilities into consideration with gender sufficient consideration of time spent on family care regard to a candidate’s scientific age and is this (children, other relatives in need of care). ademia communicated to the applicants? analyse (cf. Ch. 6, Mason et al 2013)

For


n with n with s this s this

y on the y on the es have es have eria? eria?

with your work. way. Aspects such as background, skin colour, age or with with your work. way. Aspects way.such Aspects as background, such as background, skin colour, skin agecolour, or age or your work. gender play a decisive role in this. Gender bias in acgender play gender a decisive play arole decisive in this. role Gender in this. bias Gender in ac-bias in academia, in particular, has been well documented and ademia, inademia, particular, in particular, has been well has been documented well documented and and analysed, and the phenomenon of the “leaky pipeline” analysed, analysed, and the phenomenon and the phenomenon of the “leaky of the pipeline” “leaky pipeline” makes it evident. Women also continue to be undermakes it evident. makes itWomen evident.also Women continue also to continue be underto be underrepresented in top-level positions at the University of represented represented in top-level in positions top-level at positions the University at the University of of Vienna, although more women than men have been Vienna, although Vienna, more although women morethan women men than havemen beenhave been

Heinz W. Engl Heinz W. Engl Heinz W. Engl Rector, University of Vienna SILVER Rector, University Rector,of University Vienna of Vienna

NEXT!

4. Publications Scientific publications are considered the primary measure of research productivity and quality. They

5. Selec on quality. The contributions attributed to men were rated as being of significantly higher quality than those

Leaky Pipeline at of Women Leaky Leaky Pipeline Pipeline at the University at the the University University of Vienna of Vienna Vienna Women Women men attributed to women, in particular when they dealt with are the decisive criterion when awarding grants, filling

Filling academic posts

mentation that achievemen mencriteria determine succ

topic areas more usually associated with men. posts and assigning research projects. (cf. Sayer 2016) academic staffing decis These factors, in combination with gaps in their pubHowever, publishing your research also constitutes an gard to gender. In a stu ongoing competition for recognition and visibility. This 127 professors of biology lishing record due to time spent on care responsibilities Doctoral graDuates PostDoctoral Habilitations Professors is closelygraDuates connected graDuates to networks and support systems, an application for the p (see: compatibility ofHabilitations family and work), lead Professors to a lower Professors Doctoral Doctoral PostDoctoral PostDoctoral Habilitations 2004/05 assistents 2009 2014 2019 in which a general trend towards a gender gap has manaverage publication amongst female researchHalf of the identical app 2004/05 2004/05 assistents assistents 2009 2009 2014 output 2014 2019 2019 h as “rising star”? and the other half a fe ers. The largest discrepancy, according to a study of ifested itself: the proportion of men in the prestigious % 67 %assess competence, hir German researchers, occurs in the mid to senior33 postfirst and last author positions is greater, in addition 33 % 33 % 67 % 67 % % after their first publication): 66 % this person appeared w doc stage (5-1034 years in this women are clearly underrepresented as sole authors. ir actual quality, 34 % 34 % 66 % 66 % initial salary level they w period (cf. West et al 2013) A study by Knobloch-Westerwick et 43 % 57 %women published 18 % less than men. They were c focus and 43 % gender 43 % 57 % 57to %more or less close this gap later: in the later stagthe gender of the evalua able al (2013) bias: con51also % brought to light a49clear % 51 %ference51 % 49 % 49 % es of their career (as of 10 years after their first publicaed significantly lower in contributions were randomly attributed to men n with a lower initial salary. tion) the difference was only 3 %. (cf. Elsevier 2015) or women and then young academics assessed them The myth that success is only achievable with a “roundCare responsibilities are often unequally distributed Following Fahey und Kennway (2007) the-clock availability” persists in academia in particular. writes, »[…] The ideal type of an aca affirmativebetween genders, and not only is child- and family cf: Moss-Racusin, C Human Resources Reporting, University of Vienna, April 2019. and monadic, is de-te The real — as well as anticipated —Source: unequal distribution careausually ascribed to women, but also the responneurasisatnomadic e reasons why Source: HumanSource: Resources Human Reporting, Resources University Reporting, of Vienna, University as atofApril Vienna, 2019.as at April 2019. Publication gaps of the burden between the sexes contributes towards embodied and dis-embedded«. This id sibility for keeping people in the family environment r does not include the Leaky Pipeline, especially at the post-doc stage, as a the reality of social ties and commitm performing well. (cf. Winker 2015) The intertwined tiMe Since firStcomprehensive publication longitudinal study of more than 160,000 Publication Gaps mobility constraints (e.g. health or f nature of care and gender is one of the basic structural PhD graduates’ careers the U.S. showed in many in the early stages of a foundations of our social order and is also reflected Scientific publications Particularly are the primary 5 –in10 yearS yearS < 5 yearS > 10 in different ways. According to this, the birth of a child has become pivotal requirement of the day-to-day operation of academia. (cf. Beckmann measure in academic careers. For aseveral changed the career goals of women to a greater extent 2016) demic career, though for many resear reasons there’s a big gap in the mid to 10 % 18 % 3% than it did for men: 41 % of women but only 20 % of men a reality for a very long time. The in senior post-doc stage, this but career womenmodel closewith a life centred who had a child at the post-doc stage of their career gave Traditional gender roles and stereotypes come into play of their up professorship as a career goal. Conversely, this this has gap in later stagesation with the issue of children in particular. In job interviews andcareer. predictability or witho A similar (with conclusion wa the effect that 39 % of female academics but only 23 % women are often asked how they organise their private clear gender-specific consequences: identical CVs for a posti of male academics did not have children. (cf. Mason et life and to justify this, whereas men for the most part to have a relationship and/orand children female name sent al 2013) These findings echo the results of a survey of are not required to reveal their family obligations. (cf. searchers for evaluation the Austrian Institute for Family Research: there, 44 % of van den Brink 2015) This is based on the assumption was put forward for the cf: Elsevier: Mapping Gender female researchers aged between 40 and 45 did not have that women take on family obligations and care duties, her male counterpart, in the German Research ofäall whereas men arefgiven sessors were men or wo r a u ethe n freedom m ä n n e rto get on with f r atheir u e n m ächildren, n n e r although f ronly a u e10 n %m n nthose e r under 35 years of Arena, 2015. [Report] age did not want any children. (Baierl 2016) professional activities. International studies provide eviden cf: Steinpreis R.E. et al: The Im multi-layered effects of Vitae gender in of Jobbias Applica demia. Especially at the post-doc stag Child or career the cornerstones of an academic caDo Babies Matter? Child and career. reer model (mobility, high publiThe birth of a child changed career cation the output, permanent availability),extent in combination with goals of women to a greater than e quality of enduring gender roles and it did for men. gendered attributes, have s any clear gender-dependent imawarded a doctoral degree for many years now. We ively searching for and recruiting highly qualified plications. havewho recently demics ais one of the most important tasks of a Scientists egarding Van den Besselaar and gave upmanaged to appoint numerous women to professorships, versity. Your contribution commitment in ac-professorship Sandström (2017) refer here as career goal particularly in the Wo m and en 41 % 20 fields % m eofn arts, cultural and social sciences, but the proportion of womemic appointment committees and tenure track to a vicious circle: gender en at professor level (including tenure track professornels is a crucial part of this process. I would like to bias leads to women tending to occupy the lower and ships) is still below 33 % in 12 out of 20 faculties and e this opportunity to thank you for your work. It is middle-level academic posicentres in 2019. goal to procure the best candidates for the Unitions, where they have fewer This guide outlines the way gender bias works in acasity of Vienna by means of a thorough selection Contact: resources and decision-makdemicchildless, careers and is intended to encourage you to recedure. However, a series of international studies Scientists, name: Barbara Weingartshofer ing powers. This has a negative in tenure track positions Wo m en 39 % 23 % m e n flect on and discuss aspects of unconscious bias in your ws that our actions and decisions are often influeffect on Nau*Design their performance and company/organisation: work on academic appointment committees and, if ed by unconscious views and presuppositions that visibility (e.g. number of publicae-mail: info@nau-design.at necessary, to point out unchallenged assumptions and undermine this goal. This unconscious bias can, tions, grants, external funding), which website: www.nau-design.at stereotypes. The future of the university lies in the qualexample, cause us to unintentionally make the in turn reproduces a gender bias. ity and variety of its researchers and lecturers. Thank in selection criterion the extent to which the canThis guide aims to contribute towards ing this vicious circle and to present a you for contributing considerably to shaping this future ate resembles ourselves or is familiar to us in some to reflect on the mechanisms of gende with your work. y. Aspects such as background, skin colour, age or on other aspects of unconscious bia nder play a decisive role in this. Gender bias in acvgl. Mason, M.A. et al: Do Babies Matter? selection processes. Gender and Family in the Ivory Tower, 2013. emia, in particular, has been well documented and

6. Compatibility of family and work

7. Mobility

8. Summary

uccess

Foreword

alysed, and the phenomenon of the “leaky pipeline”

43


Category:

Social Affairs

Project:

Koto City Official Tourist Map

What was the challenge? Koto City may only be one of many parts of central Tokyo but it is home to a wide variety of interesting points for tourists. These can range from traditional Japanese cultural experiences to entertainment facilities with cutting-edge technologies. While Koto City may not have an iconic or famous tourist spot that immediately comes to mind, upon visiting its tourist attractions such as temples and amusement parks, it becomes clear that Koto City’s appeal is well-earned. Our challenge was to create a map that gives the character and charms of Koto City an opportunity to entice tourists to spend more time there. What was the solution? We created pictograms of special tourist attractions to help these key features stand out to locals and tourists alike. For example, Koto City contains many venues for the upcoming Olympic Games, and there are areas with many new cafes in the older parts of town which attract a young international crowd. You can also find traditional foods such as Fukagawa-meshi, public bathhouses (Sento), and plenty of cherry blossoms in the spring. To help identify landmarks, we used different color to identify parks, rivers, the sea, and shapes of buildings to help orient the user. Some icons of tourist spots also help to provide geographical perspective. These landmarks and icons make the maps charming. What was the effect? These printed, free map leaflets were distributed at information tourist offices and the demand has been high. The maps are updated with new information and reprinted every year.

Moon Station

Prince Opening Date: 3 July 2020 Kaie

1. Tokyo map (S=60%)

Apa

Tokyo Aquatics Centre Tatsumi Water Polo Centre

Ariake Urban Sports Park

Contact: Yoshiko Tajima Vollmer Design mail@vollmer-design.com https://vollmer-design.com

44

Yumenoshima Park Archery Field

Ariake Gymnastics Centre

Odaiba-kaihinkoen

お台場海浜公園

Tokyo Big Sight

東京ビッグサイト U11

Aomi Urban Sports Park Tokyo International Cruise Terminal

東京国際クルーズターミナル U8

2. Access map (S=35%)

3 Koto city map (S=35%)


NEXT!

BRONZE

Ariake Urban Sports Park

Ariake Gymnastics Centre

Ariakenishi Gakuen School

Small Worlds

Opening Date: 25 April 2020

Statue of liberty

Hilton

Ariake Garden City

is scheduled to open in Spring 2020

Grand Nikko

Odaiba SKY Tourist Information

Panasonic Center Sotetsu Grand Fresa

Tokyo Big Sight

Amphibious Aomi Exhibition Hall Bus

The Flame of Freedom

Tokyo Aomi Urban International Sports Park Cruise Terminal

VenusFort

Mega Web

東京国際クルーズターミナル U8

Daiwa Loynet

Sona Area Tokyo

teamLab Borderless Tokyo Big Sight

東京ビッグサイト U11

Tokyo International Cruise Terminal Opening Date: 14 July 2020

West Hall

Minatorie

South Hall

7

Telecom Center

4. Area map (S=60%)

4. Area map (S=60%)

- System of maps 1. Tokyo map: where is Koto City? 2. Access map: how to get there? 3. Koto city map: how is the city connected? Mystays TAKABASHI BRIDGE

4. Area maps: for exploring on foot

- How to spend more time in Koto City

3

Museum of Contemporary Art Tokyo

- Symbols that show Koto City’s character

Client: Koto City Fukagawa Tokyo Modern Kan

45


Category:

Social Affairs

Project:

ARCHES – Accessible Resources for Cultural Heritage EcoSystems

What was the challenge? To find new and exciting ways to include people with special needs into cultural life. We intended to make art accessible for all, by designing and developing technology using a participatory research approach. The interdisciplinary consortium consisted of six outstanding European museums, four tech companies and two universities, coordinated by VRVis. But more importantly, the team included over 200 people with various disabilities, who worked as equal designers and researchers, to shape the results the way they need them. Our common effort had to be centered upon the tools people can use, such as audio-description, sign-language, simplified information and tangible interfaces, and make real-world implementations for museums all over Europe.

What was the solution? Over the period of three years, we all worked together in participative research groups in Vienna, London, Madrid and Oviedo. In bi-weekly sessions, accessibility issues in museums were analyzed and, together with the tech partners, solutions designed and tested. Specific rules were developed so that people with different disabilities can work together, in an enabling and productive environment, while respecting each other’s needs (e.g. the use of an iconographic language for

46

people with learning difficulties). Together, we developed a museum handbook in three languages, as well as cutting-edge technological solutions.

The highlights are: 1. An avatar-based sign language translation including mimic and gestures to give additional meaning.

projection, animation, text, sign-language, easy language and many other accessibility features. A computer-vision system detects hand gestures that trigger audio descriptions, animations and story elements. In addition, a 3D-spatial soundscape was composed to give all parts of the painting a distinctive sound. All accessibility features can be highly customized and stored individually using QR-code cards, to be quickly retrieved at the next visit.

2. A fully accessible museum guide and a collage game, which is a fun way to explore selected artworks and encourages the users to remix and create their own versions. The game uses high contrast, large buttons, sounds and voice-over technology to make it equally accessible for visually impaired and blind users. 3. An interactive tactile multimedia guide developed as an on-site installation for each museum. Using custom-built relief design software, tactile interpretations of selected paintings were designed, and realized as CNC-machined bas reliefs, in different materials, in the format 40x30x3.5cm. Combined with special computer stations, these can be experienced by touch, sound,

What was the effect? Our research results enhance the quality of life for people with disabilities to better experience our common cultural heritage and allow them being an active part of it. Using a Design for All approach, we have made sure that the results can be used by everybody, in a fully inclusive environment. In other words, our solutions help museum visitors, young or old, local or new to the country, visually impaired, hard of hearing, with intellectual or motor disabilities, or just to enjoy artworks and learn about them. The participative research approach and the close collaboration between all team members stands for a new way of empowering people, and of how museums see their role in contemporary society.


PERSONAL FAVOURITE OF KYOKO & BRONZE

NEXT!

Contact: name: The ARCHES Consortium project lead: VRVis Forschungs-GmbH e-mail: info@arches-project.eu web: arches-project.eu

47


Category:

Social Affairs

Project:

EVA - Evidence on Violence and Alternatives for Women and Girls

What was the challenge? Women represent the main victims in all kinds of violence, except homicide, and women’s murders tend to be the final phase of a succession of aggressions. EVA aims to present all manifestations of violence against women. This implies going beyond the most common ones (i.e. physical) to identify other forms of violence, such as psychological, sexual and moral. The challenge was to ensure policymakers and civil society, in general, had a better picture of this huge problem. In order to do that we needed to build a data visualization platform that included full data sets from three Latin American countries (Brazil, Colombia, and Mexico) and from three different sources (health systems, public security systems, and victimization research).

What was the solution? Our goal with the design of the EVA data visualization platform was to represent the theme without being sensationalistic. The careful choice of typefaces and colors was meant to cause alarm and slight discomfort but, at the same time, to truthfully present the data. The collages were used to illustrate the main ideas and themes and reflect at the same time all women and no one in particular. Since this is a kind of violence that targets all races, social statuses, and ages, the data’s granularity is at the municipality level and is detailed by age, race, and type of aggression. The platform also shows the evolution in women’s rights, gender equality and the implementation of initiatives focused on ending violence against women.

48


BRONZE

NEXT!

What was the effect? EVA includes relevant content to inform civil society as well as public policies aimed at preventing, reducing and eliminating violence against women in Latin America. It’s an important tool to understand the patterns of this kind of violence, making it possible to plan effective evidence-based policies by way of visualization, interaction, and crossing of data. Since it’s launch it has been featured in Brazil’s main media outlets.

Contact: name: Leandro Amorim company/organisation: Café.art.br e-mail: cafe@cafe.art.br website: www.cafe.art.br

49


Category:

Healthcare

Project:

Talking in Symbols: Image-based card set for communication in pediatric oncology clinics

What was the challenge? Children have a very different way of understanding, perceiving and communicating than adults. That makes communication in pediatric oncology especially sensitive. Articulating yourself in this stressful environment is a challenge for children. What was the solution? The psychosocial team of the Department of Pediatrics and Adolescent Medicine at Vienna General Hospital started to work on a solution that lead to a collaboration with the Austrian Children’s Cancer Aid and eventually, the designers of buero bauer. As children were the target group, a user centered design process included workshops with kids to understand what they need. The content was collected, structured into categories and reduced to the most important dialogue situations in a clinic which were then illustrated. Several prototype testing rounds with children in clinics finally lead to the result: Talking in Symbols is an intuitively comprehensible, image-based card set for language-independent communication between young patients, the treatment team and family members. Each affected child can choose their own Talking in Symbols picture card set, which fits exactly in a child’s hand, and personalize it with their name. What was the effect? The playful combination of illustrations creates positive dialogues. At the moment, 1.000 printed sets in Austrian, German and Swiss clinics help strengthen the positive self-concept and the competence of the young patients through clear, transparent communication and a better understanding of the entire therapy.

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

50

User centered design focused on how children understand the treatment process and what they need in this situation.


OD GO

GRAND PRIX & GOLD

E

AP

SH

The illustrations in the fan-like card set can be combined to create sentences or situations through symbols.

Additional tools to the illustrations are a clock and calendar that help understand a time frame.

A „tiger“, „boy“ and „girl“ are available personas from which kids can choose their preferred identity.

51


Category:

Healthcare

Project:

Design of Overdose Kits for the Province of Alberta

What was the challenge? The wide distribution of drug overdose prevention kits in Alberta means that overdose kits may be used by users with little to no experience or previous medical training. The user is expected to receive basic kit training by a medical professional, however, it is possible that training may be refused or forgotten at the time of use. As a result, people are often left to rely solely on the instructions and information included in the kit. Some users encounter the instructions for the first time in the midst of an emergency when they need to urgently give an injection to someone who has lost consciousness.

outside of Provincial Overdose Kit

What was the solution? Provincial overdose kits were designed and three prototypes were tested with users; students, experienced drug users, and inexperienced friends and family of drug users. Observations from testing showed that end users are experiencing unique challenges in accessing education and using instructions on how to administer naloxone in an overdose setting. Co- design approaches that gather information with and about communities using antidote kits are urgently needed in order to mitigate risk and ensure successful administration of first aid and naloxone in an emergency. What was the effect? Redesigned and tested instructions are now included in every overdose kit that are free to every Albertan. There are over 2,000 sites in Alberta, where anyone can pick up a kit free of charge. A ‘Skyrocketing number of reversals’ has been reported indicating that overdose kits are working: According to the Opioid Response Surveillance Report, from Jan. 1, 2016 to Sept. 30, 2019, 195,460 naloxone kits were dispensed in the province through Alberta Health Services’ naloxone program, and 12,830 overdose reversals were reported.

52

final, printed brochure inside kit


OD GO

SILVER

E

AP

SH

1

Check for response. Speak loudly and rub knuckles hard on chest.

How to inject naloxone. All of the supplies you will need to inject naloxone are provided in this kit.

Look to see if their chest is rising and falling.

This kit contains

Are they breathing?

How to respond to an opioid overdose with naloxone

1

Naloxone is safe to inject and will have no effect on someone who has not taken opioids.

Check for response • Speak loudly. • Rub knuckles hard on chest. • IF NO RESPONSE, CALL 911 • Go to step 2.

Are they breathing? See if their chest is rising and falling.

2

YES

NO

3 vials of Naloxone

RECOVERY POSITION

NO

YES

2

alcohol swabs

3 syringes

• Tilt head back.

Roll them onto their side. Hand supports head.

gloves

RESCUE BREATHING

mask

Call 911 immediately.

• Lift chin.

3 If not breathing, start rescue breathing. Go to step 3.

• Put mask on mouth. • Instructions on mask will show how to place and use mask correctly.

• Pinch nostrils. • Blow into mouth every 5 seconds for 2 minutes (about 30 breaths) • If still not breathing, go to step 3.

Inject Naloxone

• Roll them onto their side. Hand supports head. • WAIT FOR HELP TO ARRIVE.

STOP

Tilt head back and lift chin.

4

Place mask on mouth.

88

6

5

Pinch nostrils and give 1 normal breath through the mask every 5 seconds.

Remove cap from naloxone vial.

3

9

Insert needle through rubber plug into the liquid.

• Take off cap from bottle. • Hold bottle upside down.

Inject 1 ml into thigh muscle. Needle will pull back automatically.

4

1 ml

• Insert needle to the neck of the bottle.

• Inject needle into thigh or shoulder. • Inject until you hear a click.

• Take up all of the liquid (about 1 ml)

Repeat steps 5 to 9 until person starts breathing or help arrives.

Don’t insert the needle too far.

2

• Pull back on plunger.

If no reaction after 2 minutes, give a second dose.

Pull back on plunger and take up all of the liquid (about 1 ml).

prototype 1 tested

1

7 If still not breathing, inject naloxone immediately. Go to step 7. Naloxone is safe to inject and will have no effect on someone who has not overdosed on opioids.

Safety syringe will pull back needle when the plunger is fully depressed.

3

4

Assess • If no change after 2 minutes, give another dose of naloxone followed by 2 minutes of rescue breaths.

• Assess for change after every dose of naloxone and repeat steps 2 and 3 until the person starts breathing or help arrives.

prototype 2 tested

Contact: name: Gillian Harvey company/organisation: University of Alberta e-mail: gharvey@ualberta.ca website: ualberta.ca

53


Category:

Penn Medicine

Project:

Healthcare

What was the challenge? Recognized annually as one of the nation’s top ten hospitals by US News & World Report, Penn Medicine is dedicated to the discoveries that advance science as well as its combined missions of research, education, clinical care, and community service to improve the health and well-being of its neighborhoods, city, and the world. The Hospital of the University of Pennsylvania (HUP) campus is composed of HUP, the adjoining Ruth and Raymond Perelman Center for Advanced Medicine (PCAM), and the connecting bridges on the first floor. HUP is world-renowned for its clinical and research excellence, forging the way for newer and better ways to diagnose and treat illnesses and disorders. Founded in 1874, HUP is the first university-based hospital and is divided into several wings: Devon, Donner, Dulles, Founders, Gates, Gibson, Maloney, Ravdin, Rhoads, Silverstein, and White. PCAM is a state-of-theart 500,000-square-foot, 5-story outpatient facility with diagnostic and treatment facilities for cancer, neurology, and cardiology, among other types of specialty care. Furthering its mission, Penn Medicine engaged Two Twelve to develop a comprehensive wayfinding strategy that improves the patient and visitor experience while reinforcing its brand. What was the solution? Driven by the patient and visitor experience as guiding principle, Two Twelve conducted a comprehensive, immersive audit of existing conditions across the campus and met with individual departments to understand specific issues that impact wayfinding. From there, Two Twelve stewarded a pilot wayfinding program that redefined the mental map of the campus by establishing “The Connector,” a wayfinding pathway

54

that links the two adjoining buildings, HUP and PCAM. In addressing the needs of the organization, Two Twelve’s new Standards Manual of branded signs has been implemented across both buildings in the public areas of the ground and first floors. The Phase 2 implementation extends the Standards Manual to encompass signage for all patient areas within PCAM. The designs developed for HUP and PCAM will also extend the Penn Medicine brand to the newly expanded Chester County Hospital, supporting intuitive navigation of their state-of-the-art facility. What was the effect? Two Twelve’s work for Penn Medicine has resulted in the implementation of a wayfinding strategy that enhances its flagship hospital and campus, and has been extended to improve the patient and guest experience at its other campuses. Within the Penn Medicine network, wayfinding signage now eases navigation throughout the campus, reduces patient and visitor stress, and creates a positive connection between Penn Medicine and its customers – a signage program that is as functional for the operations of the organization as it is useful to the community it serves.

Contact: name: Shi-Anne Shakes company/organisation: Two Twelve e-mail: sshakes@twotwelve.com website: http://www.twotwelve.com


OD GO

BRONZE

E

AP

SH

55


Category:

Healthcare

Project:

The Pain Project: Creating tools for shared decision-making

What was the challenge? Pain is a crisis. As many as 100 million Americans suffer from chronic pain, but healthcare providers lack adequate information resources for engaging patients in their own care, and patients lack effective ways to track and communicate their pain or to fully understand treatment options. Further, although pain itself is a universal experience, pain perception and communication vary across ages, genders, and cultures. Adding to the crisis is an opioid epidemic that began in the 1990s with increased prescribing of opioids to treat pain. According to a 2012 study, opioids cause more deaths than suicide and motor vehicle accidents combined. Nearly one in three Americans knows someone with an opioid use disorder. What was the solution? The Pain Project seeks to address the challenging (and often personal and emotional) issues associated with this crisis in three ways. We aim to: • Improve health literacy surrounding chronic pain treatment through accessible patient education materials, enabling patients to take an active role in their healthcare and to make informed decisions about their pain treatment plans. • Encourage patients to try alternative treatments for pain, such as acupuncture or physical therapy. Helping patients understand the potential benefits of alternative pain treatment options may reduce use of, and therefore dependence on or addiction to, opioid medications. • Help clinicians communicate sensitive information surrounding opioids, such as serious side effects and legal consequences that can occur if these

56

prescriptions are misused or abused. The Pain Project materials deliver this information in an accessible and respectful way that builds trust between patients and care teams and creates opportunities for honest, direct communication. What was the effect? We have created reference materials for clinicians, educational videos for patients, and decision aids for clinicians and patients to use together in determining the best pain management options. Outcomes also include pocket guides, posters, handouts, workbooks, after-visit summaries, informed consent agreements, and an hour-long radio show. Videos, after-visit summaries, and an informed consent agreement have been integrated into UC Davis Health’s Epic electronic health record platform, MyChart patient portal, and TIGR hospital television system. Pocket guides, posters, and decision cards have been distributed in print and digital form to clinicians and patients at Hill Country Health and Wellness Center, a nonprofit clinic that serves patients regardless of their ability to pay. For individuals with Internet access, videos are accessible on YouTube. All materials are available under a Creative Commons license to encourage sharing and wide distribution. The Pain Project hinges on building strong partnerships with clinician-researchers, primary care providers, nurses, behavioral health experts, public health agencies, patients, and caregivers in California and beyond. Early efforts connected clinicians at Hill Country Health and Wellness Center, a nonprofit community clinic in rural Shasta County, California, with colleagues at UC Davis Health, a large public academic health center. Our network has grown to include more than two dozen hospitals, clinics, health systems, and public health

agencies in sixteen states across the U.S. and Canada who have adopted the Pain Project’s materials to meet the needs of their patients and healthcare providers. Project team and funding The Pain Project at DiPi—the Center for Design in the Public Interest at University of California, Davis—engages a growing number of partners including UC Davis Health, Hill Country Health and Wellness Center, North Carolina Healthcare Foundation, and New Brunswick Medical Society. DiPi’s Pain Project team includes Susan Verba, George Slavik, Sarah Perrault, Tracy Manuel, Kenna Fallan, Bo Feng, Karyn Kershaw, Nima Rahni, Yuting Han, Michelle Lee, Chelsea Best, and Zoe Martin. The project is funded in part by a Sappi Ideas that Matter grant, awarded in support of projects where design can play an important role in helping to solve complex social issues. About DiPi The Center for Design in the Public Interest (DiPi) at University of California, Davis was founded to explore the question: “What does democratic design look like?” At DiPi, the power of design is applied to problems that affect people’s health, wellbeing, and daily lives. DiPi partners with researchers, clinicians, and community members on projects that include opioid education, health literacy, and emergency preparedness. Our work is public domain so everyone benefits. For more information and to access downloadable resources, visit http://dipi.design. Contact Susan Verba Center for Design in the Public Interest (DiPi) University of California, Davis sverba@ucdavis.edu http://dipi.design


OD GO

BRONZE

E

AP

SH

ten questions you might have about tapering (and room for your own)

You may be more alert and able to concentrate for longer periods of time, making it easier to drive.

The Big Questions

What are some of the benefits of tapering?

You may feel more stable in your moods throughout the day, where you’re able to remember more and make decisions more easily.

Less medication can make it easier to tackle day-to-day tasks and spend time doing what you want to do.

What are your goals? What do you want to be able to do each day? In the future?

People with chronic pain have good days and bad days; this is true for tapering as well. So before you begin the tapering process, it’s a good idea to talk to your doctor and make plans to handle different problems that can arise during tapering. These ten questions (and answers) will help you prepare for this conversation and for a successful tapering process.

How can I treat any uncomfortable symptoms?

People who have tapered their opioid medications can feel like they have more control over their life again.

While they may be uncomfortable, many withdrawal symptoms are treatable.

an informational booklet for opioid pain treatment

There are some medicines that can help. You can find some at your local pharmacy. If you need a prescription, ask your care team. Your care team can also suggest alternative treatment options for your pain, which may include physical therapy, support groups, and /or acupuncture.

Over-the-Counter

Prescription

Pain or fever: 200mg Ibuprofen (1– 2 tabs) every 6 hours

Cramps: Dicyclomine

Diarrhea: 2mg Imodium every 2 hours

Trouble sleeping: Trazodone Nausea: Ondansetron Restlessness: Clonidine

8

11

Function: Impact on daily activities 2 My pain or withdrawal symptoms are preventing me from doing what I need to do.

Self-Support Checklist

Tapering is a process and is different for everyone. Sometimes it can be hard to figure out how you’re doing overall.

A tool that helps you know when you’re on track and when you should ask for help.

Tapering isn’t easy, and you’ll likely have good days and bad. The checklist on the following pages can help you know when you’re on track with your tapering plan and when you should ask for help.

2 I’m having increased difficulty functioning at work.

Behavior: Impact on actions 2 I haven’t tried to cut down on my dose at all. 2 I’m getting opioids from other providers. 2 I’m using alcohol and /or illegal drugs.

Most days here: Okay

2 I’m having problems in my social and /or family relationships.

Symptoms: Impact on physical state OK

Caution

Warning

2 My pain and /or withdrawal symptoms are unbearable.

Warning Your pain and withdrawal symptoms might be too intense. If any of these statements describe how you feel, contact your care team. You might be taking your medicine in a way that puts you at risk. Your care team can get you back on track—ask for help.

2 I’m experiencing severe withdrawal symptoms. (Severe cramps, diarrhea, high blood pressure, etc.)

Too many days here: Ask for help

What are you having the most trouble with?

Feeling: Impact on emotional state If you find yourself identifying with any of the statements in the Caution and Warning sections, reach out to your care team for support.

2 I don’t feel like I’m making any progress. 2 I don’t feel like I have any control over my well-being. 2 I’m very anxious and /or depressed. 19

16

some things you should know about opioids before starting a prescription an informational booklet for opioid pain treatment

But no matter which medication you’ve been prescribed, there are some important things you need to know in order to take opioids safely.

Opioids are medications used to relieve severe pain.

Even if you take your medicine the way your doctor tells you to, there is still a risk for dependence, tolerance, and addiction.

Dependence means a person’s body feels like it needs a substance in order to function.

This booklet will help you understand the purpose, risks, and safe use of opioid medication.

Opioids reduce the intensity of pain signals from your body and change how your brain perceives pain.

This is normal. If you’re a coffee drinker, you might already know how this feels.

For now, we’ll use doctor to mean the healthcare professional who takes care of most of your needs. This could be a nurse practitioner or other provider.

You know how some people get headaches or feel exhausted or cranky when they don’t have coffee? These are withdrawal symptoms, and they can show up when a person’s body doesn’t get a substance it’s dependent on.

They’re usually prescribed to people who are injured, are recovering from surgery, or are suffering from chronic pain. Norco, OxyContin, and fentanyl are common opioids.

3

Tolerance happens when someone’s body needs more of something to get the same effect.

4

History of addiction?

If you find yourself taking your medication more than you intend to, or if you take it to experience pleasure instead of to relieve pain, you might be addicted.

When someone first starts drinking coffee, they might only need one cup a day. After a while, they might need three cups a day to feel as awake.

9

If addiction runs in your family, you might be more likely to become addicted. Tell your doctor about your and your family’s past and present use of any habit-forming substances, like tobacco or alcohol, so your doctor can help you manage your risks.

You should tell someone right away.

10

Pain Project outcomes include a guide to tapering off of opioid medications written in Q&A format (top) and a booklet explaining the risks and responsibilities of starting to take opioid medications (bottom). A video version of the booklet is available on YouTube and through MyChart, the university medical center’s online patient portal.

Behaviors that are commonly associated with addiction include seeking opioids from other prescribers or non-medical sources; crushing, injecting, or snorting medicines; and increasing your dosage even if your doctor didn’t tell you to.

12

13

In keeping with DiPi’s commitment to public-interest design, all materials are available via a Creative Commons license for other design teams or medical organizations to adopt and/or adapt for their own contexts and patient needs.

57


Category:

Healthcare

Project:

Blickpunkt Krebs

What was the challenge? Cancer is a persistent medical threat, with case numbers steadily increasing not only in Austria but also globally. Yet, it is a topic only seldom or awkwardly discussed and afflicted with many false preconceptions. Patients are reduced to being (fatally) ill, are either looking too healthy to be taken seriously or looking too ill to have enjoyable conversations with. Friends and family are constantly suffering, but it’s highly scandalous if they try to vent about their situation. Doctors are too busy or cocky to be interested in their patient’s fates and view them only as numbers. And finally, pharma researchers are only interested in making money and don’t care about the people suffering from the disease. What was the solution? On behalf of our client Roche Austria, we created the awareness initiative Blickpunkt Krebs to help overcome these and many more preconceptions regarding cancer, and all the people suffering from and being involved with cancer. The centerpiece of Blickpunkt Krebs is a travelling exhibition that allows patients, their friends and families, as well as doctors, nurses, researchers, and pharma specialists to share their individual point of view, their insights and their stories. The exhibition is shown at medical conferences, patient information events and in hospitals in Austria. Small pamphlets provide information about the project and its participants. The collection of all stories can be viewed on blickpunktkrebs.at.

Contact: name: Michaela Farkalits company/organisation: Ideenwerkstatt e-mail: office@ideenwerkstatt.at website: ideenwerkstatt.at

58

It was very important for us to make the participation process itself a warmhearted, respectful and appreciative experience. To that end, every participant gets the full attention of our photography team and determines the focus and length of the indepth interview (from 40 to 100 mins). Once they are 100% satisfied with the results, their photography and story become published as part of the exhibition. What was the effect? As of March 2020, Blickpunkt Krebs had 52 participants and was shown on more than 34 occasions across Austria. Those included public events like the Wiener and Kärtner Krebstag, Netdoktor information events, hospitals like the foyer of LKH Innsbruck, and all important cancerrelated medical conferences (ÖGP, ÖGHO, ABCSG,...). For participants, Blickpunkt Krebs is an impulse to reflect and/or process their experiences and decisions related to cancer. They feel heard and empowered by sharing their story. Furthermore, this results in participants encouraging other people to participate – like doctors their patients, or patients their relatives. For viewers, Blickpunkt Krebs provides inspiring insights and motivating background stories but is also shining a light on the struggles of everyone involved. It helps viewers see the human behind the cancer label and challenges them to overcome their preconceptions. This is further supported by the fact, that at first glance a patient cannot be distinguished from a doctor. Their occupation, relation or form of cancer is only revealed if participants shared it as part of their story.


OD GO

PERSONAL FAVOURITE OF STEFAN & SHORTLIST

E

AP

SH

Left, top down: Blickpunkt Krebs at Wiener Krebstag (Wiener Rathaus), in the waiting area at LKH Innsbruck, at a small medical event; a team shot with a participant and her friend from a Blickpunkt Krebs shooting in Vienna Right: Blickpunkt Krebs vernissage with keynote speakers for all participants and their families and friends in January 2019 at Ovalhalle, MQ Š Photos: Bacon, Jakwerth, Pletterbauer, Farkalits, Gruber, Niesner.

59


Category:

Healthcare

Project:

Things You’ve Eaten

What was the challenge? Consumer awareness of food safety and nutrition is a major issue concerning a healthy lifestyle and the prevention of disease. To promote and preserve their health, they have to have ready access to accurate information on nutrition. Nutrition labels on food packages can provide the vital information consumers need to help them improve or protect their health. However, many researchers studying food have insisted that the majority of consumers have problems understanding and reading nutrition-fact labelling because of the numeric system and terminology used.

1 Qualification mark Gluten-free

Detail ingredient

Vegan

Kartoffeln

Sonnenblumenöl

natürliches Aroma

Zucker

Salz Gewürz

Nutrition Facts

504kcal

Consumer

151 (8%)

Referenzmenge für einen durchschnittlicher Erwachsenen (2000kcal)

12% 6% 1% 3% 10%

Fett 8.4g Kohlenhydrate 16g Zucker 0.9g

Manufacturer information

Eiweiß 1.7g Salz 0.60g

Knabber-Gebäck GmbH & Co. KG Postfach +12 34 567 89 10

What was the solution? Based on these problems, this study proposes new visual interpretations of the nutrition labels on food packages in order to help consumers to better understand the facts provided about their food. What was the effect? This paper shows various experiments based on research and the concomitant analysis. They are not limited to the printing of packages, but are performed with diverse materials. I strongly believe that the present situation is the result of various experiments of the past. I want this experiment to be part of a never-ending process. When it is supported by critical thinking and arguments, it will continue to constantly evolve. Based on this, I want to inspire others, to refine and use my work as a solid cornerstone for further research.

Contact: name: Sunghwa Mun company/organisation: Studio Süden e-mail: sunghwa4515@gmail.com website Instagram @studio_süden

60

Recycle mark

Expiration date or date of manufacture

D4LJ141D18:11A 04.02.19

Clerk Barcode

2

1 The information on the food packages consisted of full of information. But this information was always different as to the design style and list order. Thus, the first experience was to order the information from a consumer’s point of view. Furthermore, based on this analysis, the new nutrition-facts system was proposed according to the following analysis.


OD GO

SHORTLIST

E

AP

SH

Gluten-free

Vegan

Kartoffeln

Sonnenblumenöl

Natürliches Aroma

Zucker

Gewürz Salz

504kcal

151 (8%)

Referenzmenge für einen durchschnittlicher Erwachsenen (2000kcal)

Fett 8.4g Kohlenhydrate 16g Zucker 0.9g Eiweiß 1.7g Salz 0.60g Knabber-Gebäck GmbH & Co. KG Postfach +12 34 567 89 10

12% 6% 1% 3% 10%

D4LJ14 1D18:11A 04.02.19

Kakaomasse

504kcal

* Achtung

2 When you travel to Europe, you will see various languages you do not know at all. This was a starting point of this experiment. How to convey information to consumers without the inconvenience of misunderstanding the respective language. First of all, I looked at how each element placed on the nutrition-fact list affects our body. Based on this, the icons

Glucosesirup

Lactose* Nüssen

(8%)

Referenzmenge für einen durchschnittlicher Erwachsenen (2000kcal)

Fett 8.4g

Butter*

151

01.04.2020 L25355 14:45

Weizenmehl*Z *Zucker

Kohlenhydrate 16g Zucker 0.9g Eiweiß 1.7g Salz 0.60g

12% 6% 1% 3% 10%

designating the elements were designed to express calories, carbohydrates, proteins, fats, and salts, i.e. the basic nutrition facts. The label was designed so that you can find out how much of an element is in a food on a three-level basis as shown in the following example.

61


Category:

Financial

Project:

EY Tax & Law

What was the challenge? Tax & Law is a multi-channel publication by Ernst & Young, finding its audience among financial decision makers and tax experts in the german-speaking area. The »Tax View« category is dedicated to the visualization of diverse global and national finance and tax matters – complex issues which can hardly be conveyed in a few sentences. What was the solution? A combination of infographics is tailormade for each topic, ranging from simple bar charts and maps to multilayered diagrams or elaborate 3D models. What was the effect? The individual connection of several data visualizations provides an easy access and a substantial contribution to a deeper understanding of the subject.

Contact: Johannes Cordes Fuenfwerken Design AG johannes.cordes@fuenfwerken.com www.fuenfwerken.com

62


UP

SILVER KEEP IT

63


Category:

Wayshowing

Project:

Poppins Nursery School Ichigaya

What was the challenge? Poppins Nursery School Ichigaya is an urban nursery school in Tokyo that combines education and childcare (education + childcare = Educare) for children aged 0 and older. The bright space includes a space with partitionthe for play and nap area, and small Educare corners. The primary challenge was to create a environment for small children who were not learning the language. What was the solution? The solution was the creation of an graphic to induce activity in small children. The full size animals are not merely wall

64

graphics. The activities of the animals are “Educare� signs, where neither words nor verbal expression are needed. What kind of book should I pick? The space where the long-handed monkey is looking for a picture book is a book corner. The space where a rabbit runs away is a hide and seek corner. A lazy polar bear is taking a nap in a space where children can spend their time alone. The space with wood branches that little birds gather is a locker space where good-morning and goodbye greetings are exchanged. It is full of activities such as comparing heights with animals or having a footrace with animals taller than them.

What was the effect? The design expresses our hope that children can enjoy the space and learn and grow while communicating with animals. The project was able to create a fun environment for young children, which was credited with providing memorable childcare and education. And the project has won a prominent Japanese sign design award.

Contact:

name: Mitsue Watanabe company: mix llc. e-mail: mitsue@mixim.jp website: www.mixim.jp


PERSONAL FAVOURITE OF BARBARA & GOLD

GOal!

65


Category:

Wayshowing

Project:

Pula - Pola City Pools

What was the challenge? The newly opened, 5,900 square meter Pula City pool includes various types of pools, locker rooms, a sauna and many other facilities. Our task was to design a consistent visual identity, from the logo to the building’s internal signage. Our target audience includes all citizens of Pula using the pool for recreational purposes, as well as sports. What was the solution? The underlying concept the entire visual identity was built upon is based on a series of conversations we had had with professional and recreational swimmers. These conversations gave us the idea of a line – a basic graphic element that guided the entirety of our creative decisions, similarly to how a line at the bottom of the pool guides a swimmer towards their goal. What was the effect? Once a visitor enters in the newly opened Pula City pool building, our signage will inevitably lead them to the main 45 meter hallway. Along this hallway, a stylized water line serves as the basis for various illustrations depicting scenes from the pool. The signage on the wall next to the secondary pool displays water depth information integrated into a large illustration of Pula’s most notable landmarks. As a new visitor walks through the building, he/she witnesses the ‘evolution’ of signage and its purpose – from the one that is purely functional, to the one that gives life to the space.

Contact: name: Anselmo Tumpic, Sara Prenc Opacic, Anton Licul Grk company/organisation: Studio Tumpic/Prenc e-mail: anselmo@tumpic-prenc.hr website: tumpic-prenc.hr

66


GOLD

GOal!

67


Category:

Wayshowing

Project:

Brisbane Multilingual Hub Signs

What was the challenge? Dotted throughout Brisbane City and surrounds, these signs stand as major information nodes integrating with the existing network of multilingual directional signage. The hub signs provide information and orientation for users, communicating the following information and services: - Place name e.g. Chinatown Mall - Directional information to nearby services - Visitor orientation through mapping of immediate, local and broader areas. - Regulatory information to advise visitor behaviour, video monitoring, etc - Emergency contact information - Linkage to further digital information such as maps, Council’s website, timetables and interpretation, through media such as QR codes and NFC. - Step-Hear Navigation and Information system visually impaired users. - BCC branding including tagline, logo and cleat integrated within the sign. What was the solution? As part of the design process, consideration was given to the evolution of the ‘walking man’ identifier. This element was developed through an approach of gestalt thinking - that is, the walking man is ‘of the sign’ rather than an applied device. The cut through walking man comes alive as it elegantly and dynamically frames it’s context. Simplicity predicated the development of information design. The destination hierarchy was defined by communicating transport, urban centres and precincts, retail centres, malls and significant places of tourism or geographic interest. Landmarks were illustrated to assist users to form cognitive boundaries and touchpoints.

68

Design Concept

© Dot Dash Pty Ltd ACN 010 951 443 Telephone +617 3896 6600 Facsimile +617 3896 6620 86 Lytton Road PO Box 7480 East Brisbane Queensland 4169 Australia

BRISBANE CITY COUNCIL • HUB SIGNAGE • 08 FEBRUARY 2016

9


GOLD

GOal!

The legend carried information in five languages, Korean, Mandarin, Japanese, Arabic and as with the directional finger signs, English was the dominant language. All maps were designed heads up, and following on from the earlier colours selected from the City’s brand identity. For both the context and local area map, geographic boundaries were determined by walking distance. The physical presence of the signs achieved a number of solutions. Firstly, the key to consistency was to ensure the hub signs conveyed a visual relationship with the current multilingual finger signs to appear as one suite of sign types. The signs were designed to be sited in busy footpaths and walkways with minimal impediment on pedestrian traffic ow. It was imperative that the sign forms be of a size and visual impact that drew attention while still integrating into a range of different urban environments and include illumination for night use. What was the effect? The newly constructed Brisbane City Council Hub signs are the towering, vibrant parent signs to the current multilingual finger sign family. Located on footpaths throughout the 1,343 km2 local government area of Brisbane. These distinct yellow signs draw attention whilst still integrating into their surroundings and causing minimal impediment on pedestrian traffic ow. Providing a high contrast to their surrounding urban environment, the hub signs reference the vibrant yellow colour palette and angular profile of the directional finger signs, allowing for a recognisable trail of visually connected pedestrian information throughout the city. The now completed signage network intends to encourage pedestrian movement, displaying a circular map which highlights walking times to surrounding destinations.

69


Category:

Wayshowing

Project:

Zurich Central Library “Search / Find”

What was the challenge ? The daylight free book magazine in the basement beneath the basement, with a book inventory of 62 kilometers, 947 meters and 20 centimeters is expanding by the day. With over 6 million documents and more than half a million visitors a year, it is one of the largest Swiss libraries. Requirements included: taking into account the existing corporate Designs, no particular architectural changes (wall / floor / ceiling) and furthermore the maintenance has to be performed by qualified in-house staff only.

What was the solution ? Spinform has the finding of the books in the freely accessible inventory of the Zurich Central Library reorganized and redesigned. It is designed as a purely analog system. We tested variants of the new signage system on a 1:1 scale and received very good feedback from visitors and staff. The core of the new orientation system is the overview plan, which we have abstracted strongly. With an optimized contrast of color and font, the plan ensures better legibility in the daylight-free rooms of the basements. In addition, it was necessary to redesign and reduce the amount of the wide range of different types of signs and constructions. Due to magnetic attachment to the steel shelves, the new mounting is

70

absolutely simple and hassle-free. All parts of the system are easily and rapidly interchangeable and if necessary replaceable. What was the effect ? To the delight of 500,000 users per year, the orientation system has proven itself right from the beginning and is very well accepted by users and visitors. Additionally, the new system makes it easier for visitors to orient themselves at the basement and find the books they want quicker.

Contact Jürg Brühlmann, Anja Bodmer, Oliver Meier Spinform AG design@spinform.ch www.spinform.ch


SILVER

GOal!

71


Category:

Wayshowing

Project:

Kulturareal Ferdinand

What was the challenge? Ferdinand is a cultural center in Lustenau, which includes a printing atelier, an embroidery museum and a radio museum. The challenge was to create a signage system which represents the right look and feel for the visual appearance of the three institution and its topics. What was the solution? Ferdinand prints, Ferdinand stitches and Ferdinand listens. We’ve created different structures, which are derived from embroideries, printing grids and also from the membrane of radios. The structures are overlapping each other – just as the different layers do in a printing process – and therefore different patterns came up. These patterns are building the basic element for our design and wayshowing system. What was the effect? A cultural center where you will find exhibitions and events but also have space for exchange and communication. The pattern turns up in all kind of applications – according to the contents of each institution and its area.

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

72


SILVER

GOal!

73


Category:

Wayshowing

Project:

Logistics Warehouse Sign Design & Sign Manual

What was the challenge? This project was designed for the industrial warehouses of global logistics real estate company in Japan. The target of this signage design was to create an elegant and dynamic space with the following concept. Signs intuitively recognized for drivers, Signs efficiently and smoothly contributed to employees’ working, and Signs impressively differentiating from other companies in the same industry. What was the solution? Reconsider the signage layout; Considering optimal visual distance and angle of large signs for drivers, Creating space by wall painted signs and integrated sign poles in one place, Reviewing tenant logo display rules to reduce the overlapped signs, and Organizing continuous signs from the entrance to destinations. Improve visibility; Color-coding each flow line, and Using the same font as official road traffic signs. Address the current place; Alphabetic symbols on the elevator, stairs, and warehouse section allow employees to identify where they are in a vast space. What was the effect? Up-sized, recognizable signs in the vast space not only activate facility’s function but also enhance safe operations. Moreover the total sign system provide systematic identity in the warehouse space that tends to be flat and empty.

Excerpt from sign manual

Visual angle and sign height Natural visible area for truck drivers

Maximum visible area for truck drivers Truck drivers eye level 2650mm

Contact: name: Yoshiko Miyamoto company/organisation: i Design inc. e-mail: miyamoto@i-design.jp website: http://www.i-design.jp/

74

Car drivers eye level 1200mm


SILVER

GOal!

75


Category:

Wayshowing

Project:

Ski resort wayfinding system

The Challenge The Skicircus Saalbach Hinterglemm Leogang Fieberbrunn is a vast ski resort in Austria, extending over an area of around 30 square miles, which has grown over time by consolidating a series of smaller resorts. The 350,000 visitors to the Skicircus each year were facing many navigational challenges and we were hired to improve their experience with a new wayfinding system: better orientation, more safety, accessible information and more freedom to explore, without language barriers. Strategic solutions Ƚ Division of the resort into 10 separate zones, to allow us to organise the information in discrete fragments to be disclosed progressively, presenting, at any given touchpoint, the minimum amount of information required to reach the next.

Ƚ This fragmentation allowed us to visualise the topography of the resort in much finer detail, with digital zone maps where perspective is not distorted, and attractions, slopes and lifts are easier to find.

rules

Design solutions Our conceptualisation of the visitors’ movement flows within the resort as a traffic problem, equating the ski slopes and ropeways to road networks, provided the perfect metaphor, so we could rely on conventions and widely held knowledge from road literacy.

PISTENSPERRE!

Skipisten täglich von 17:00 bis 08:30 außer Betrieb! Während dieser Zeit keine Gefahrensicherung! Verletzungsgefahr durch Pistenbearbeitung, Spurrinnen, Windenseile, freiliegende Kabel und Schläuche der Beschneiungsgeräte.

SLOPE CLOSURE!

All slopes are closed daily from 17:00 till 08:30! Caution: When the slopes are closed and staff are not present, skiers may encounter dangerous risks: snow-grooming operations, ruts, winch ropes, exposed cables and snowmaking-equipment hoses.

Ƚ Accessible design language: conventional colours – blue, red, black, orange – enhanced with geometric shapes to mark the difficulty level of the slopes without ambiguity.

easy

76

mobility

safety

Ƚ Clear colours: six colours are enough to communicate relevant information tested to be clearly visible with ski goggles and in all weather conditions.

Ƚ Using short labels for each zone (one capital letter from A to L), we assigned alphanumeric codes to the 70 cable cars and lifts, reducing the cognitive load required to navigate the space, regardless of language.

Ƚ Modern, tested pictograms: pictograms were carefully redrawn, modern and true-to-life. Optical sizes for each pictogram ensure optimal clarity for every application.

medium

hard

skiroute

attractions

signage

What was the effect? The division in zones and the traffic sign logic were the groundwork for the new concept. Analysing each element of the information landscape to consider how it could be improved, applying our expertise as typographers and information designers, iterating possible solutions and testing them was the core of our design process. The result was a modular system of usercentered graphic devices to maximise orientation, safety and minimise stress and uncertainty: slope markings, directional signs, panoramic ACHTUNG! map information points, ACHTUNG! ACHTUNG! and entrance portals to cable cars and lifts. WARNING! WARNING! WARNING! The resort has earned a five-star rating for orientation from the specialist website skiresort.de, and the system has received great feedback from both visitor groups, resort staff and trade experts in the months since its introduction in November 2019, setting a new benchmark in ski resort wayfinding and visitor management. Pistengerät im Einsatz

Motorschlitten im Einsatz

Beschneiungsanlage in Betrieb

Es ist auch „Dein“ Wald.

Snow groomer in operation

Snowmobile in operation

Snowmaking in operation

Don’t ski through the young forest!

Contact name: Markus Scheiber, Christian Lunger company: motasdesign e-mail: office@motasdesign.com website: www.motas.design


auch Wald.

ki through ng forest!

GOal!

SILVER

Für ihre Sicherheit For your safety Bei Blinklicht große bis sehr große CH BA LEMM Lawinengefahr abseits der geöffneten AL SA TERG HIN und markierten Pisten. Flashing light signals high or very high danger of avalanche outside the open and marked trails.

Rückfahrtszeit beachten! Check the return time!

FIE LE BE OG RB AN RU G NN

11 B3

Beachte alle Freeride-Regeln und den Lawinenbericht bevor du ins Gelände fährst!

A D

Follow all freeride rules and the avalanche report before going into open areas!

6

B5

Schattberg Reiterkogel Hinterglemm

B4 C

14 C1

Hochalm

15 B3

A D

Schattberg Reiterkogel Hinterglemm

Pistensperre slope closure

17:00 – 8:30 Uhr Gefahr durch Pistengeräte, Beschneiung, Seile etc. Danger of snow groomers, snow-making, ropes etc.

LVS und Lawinen Checkpoint Avalanche and Beacon Checkpoint gering low

Die Schneedecke ist allgemein gut verfestigt und stabil.

The snowpack is well bonded and stable in general.

mäßig moderate

Die Schneedecke ist an einigen Steilhängen nur mässig verfestigt, ansonsten allgemein gut verfestigt.

The snowpack is only moderately well bonded on some steep slopes; otherwise well bonded in general.

erheblich considerable

Die Schneedecke ist an vielen Steilhängen nur mässig bis schwach verfestigt.

The snowpack is moderately to poorly bonded on many steep slopes.

groß high

Die Schneedecke ist an den meisten Steilhängen schwach verfestigt.

The snowpack is poorly bonded on most steep slopes.

sehr groß very high

Die Schneedecke ist allgemein schwach verfestigt und weitgehend instabil.

The snowpack is poorly bonded and largely unstable in general.

Critical information about dangers, risks and how to prevent them is now consolidated in the new safety panels. Using text-free storytelling, dangerous situations are clearly depicted and linked to the icons and symbols found in situ throughout the ski resort. This improves the awareness and comprehensibility of safety risks.

The combination of colour and shape and the use of signs announcing approaching ski slope junctions help to take quick decisions during the ride. Mountain rescue numbers are made available at every point in the skiers’ journey, printed through the resort providing constant reassurance.

Signs are place at slope junctions, and they show destinations in order of proximity, and carry the colour corresponding to the difficulty of the slope they lead to. Some signs are placed before the junctions, to allow skiers the time to decide where to go and avoid sudden turns that can lead to accidents and collisions.

77


Category:

Wayshowing

Project:

Chiba University College of Liberal Arts and Sciences What was the solution? The solutions was to create a shareable symbolic graphic and contextualized staircase space. The symbolic graphic with the world map is made of a collection of lines with slightly different angles and colors which is an embodiment of the diversity of our educational philosophy. There are no country borders. At the staircase space each floor, our main focus is led to one line. The line creates the world by becoming an aggregate, and at the same time a single line that extends freely and powerfully represents one person and one sense of value. Overlapping and gathered lines shows a message that we can create with our hands a big world where various values exist and are embraced by each other. It will enable and support students that feel like they belong and own mission.

What was the challenge? Chiba University College of Liberal Arts and Sciences is a new faculty established at a historic national university. The primary challenge was to create a Newly designed educational environment to foster new values for new faculty. The new faculty is aiming to train global human resources with diverse values and perspectives while crossing existing disciplines. The base of the new faculty is

78

an existing building planned according to an old architecture concept, despite being a new faculty, side-by-side placemented with many other buildings in the campus. Well-designed educational environment can unlock even more of students boundless potential. Transforming their Learning surroundings in subtle but very tangible ways to heighten their spirits and focus learning awareness.


SILVER

What was the effect? This project has created a bright and cheerful environment that was welcomed by the students and teachers. It's more fun than anything. The students voluntarily chose to take the stairs instead of the

elevator, and the change in their behavior turned the stairs into a creative communication space. This project allowed the design of the architectural space to change people's consciousness and behavior.

GOal!

Contact:

name: Mitsue Watanabe company: mix llc. e-mail: mitsue@mixim.jp website: www.mixim.jp

79


Category:

Wayshowing

Project:

Paris For You, Datacity

What was the challenge? Paris, receives 38 millions of tourists each year who visit mostly popular places (ex: Eiffel Tower, Louvre museum, etc) which results in overcrowding in these sites. The challenge was to solve the problem of overcrowded tourist sites in Paris while boosting alternative neighborhoods and offer tourists an improved experience. To well study the problem at hand, we worked with several partners/data providers.

Comparison of heat map of tourists (left) and recommended zones by the algorithm (right)

What was the solution? Paris For You; a unique application to generate personalized and authentic itineraries, by exploiting user input data and data provided by our partners (open data such as traffic, travel time, affluence, POI content data) Personnalisation; preferences such as interests, localisation and avalable tile indicated by users are taken into account Recommendation; data is used to match a particular zone for the chosen criteria. Planification; application calculates a time window to plan ahead, and indicates an itinerary. Authenticity; A unique and geo-cultural database qualified by Paris Tourist Office. Our service design and data science teams worked together closely. We engineered data to develop a service that is intelligent and functional. We conducted interviews with tourists visiting Paris. We studied how they planned and lived their journey. We made sure we design a solution which is complementary with existing offers, while building up on Parisian neighborhoods’ DNA. We also cared a lot about our solution to provide an end to end user experience, from planning of the journey, during the visit and post-visit experiences.

80

Storyboard created to bring user centered approach to an end-to-end design and map of principal composants of alrogithm Personalized itineraries out off the beaten track

Looking for an authentic travel experience in Paris? Tell us where you want to start your journey

Use current location

Or

Search for an address

Tell us about your interests… Pick your interests from all items in order of preference. We will do our best to curate a guide just for you.

GET STARTED

MUST SEES

You are a beta tester of ParisForYou, an innovative solution for visiting Paris. In collaboration with

1

Nature & Parks

Museums

Sights & Landmarks

Bakeries & Patisseries

Wine cellars

Chocolate factories

Fine food stores

Bookshops

Antique shops

Cinemas

, we suggest itineraries for you already tested by American tourists.

FOODIE

3

ART & CULTURE

2

Art galleries

When do you want to go? Tell us when you are available so that we tailor our recommendations accordingly Please select a time frame of at least 2 hours to get a sufficient number of itineraries

From BACK

08:30 AM

To

10:30 AM

STROLL

Food markets

Flea markets

Auction houses

PICK MY INTERESTS

BACK

You are a beta tester of ParisForYou, an innovative solution for visiting Paris. In collaboration with

, we suggest itineraries for you already tested by American tourists.

CREATE MY TAILOR-MADE GUIDE

You are a beta tester of ParisForYou, an innovative solution for visiting Paris. In collaboration with

, we suggest itineraries for you already tested by American tourists.

Short user input tunnel screen that nourrishes our data algorithm Product owner: Aurelien Perret Lead design: Stephanie Lunazzi Ux design: Josselin Hillion & Muge Cetinkaya Ui design: Nhat Minh PHAN

Data science: Alaeddine Ben-Cheikh Data engineer: Ramzi Houidi Front end developper: Jin Mengxue


GOal!

SILVER

MY TRIP

Personalized out out off the beaten tracks Personalizeditinaries itineraries of the beaten tracks

My starting point is 7 bis Boulevard Bourdon 75011 Paris From

Personalized out out off the beaten tracks Personalizeditinaries itineraries of the beaten tracks

Personalized itinaries out off the beaten tracks

to

08:30 am

I am interested in MY TRIP

10:30 am

3 points of interest

My starting point is Get ready to explore what makes France France 7 bis Boulevard Bourdon 75011 Paris From

Martin Luther King Park25 min

Personalized itinaries out off the beaten tracks

to

08:30 am

I am interested in

Roquette

10:30 am

3 points of interest

3 points of interests

Get ready to explore what makes France France

2h needed to visit

Personalized itinaries out off the beaten tracks

#nature&parks #foodmarket #historicalbuilding

30 min

Roquette

25 min

L’atelier des lumières

3 points ofBatignolles interests 2h needed to visit

Personalized itinaries out off the beaten tracks 35 min

#nature&parks #foodmarket 5 points of interests #historicalbuilding

30 min

1,5h needed to visit

#nature&parks #foodmarket

L’atelier des lumières

#historicalbuilding Batignolles

35 min

5 points of interests

Necker

1,5h needed to visit

Montparnasse market

#nature&parks #foodmarket #historicalbuilding 7 points of interests

4h needed to visit #historicalbuilding Necker

Montparnasse market

What was the effect? Paris For You targets repeater tourists or visitors who stays in Paris more than the average time; seeking for authenticity. A test version was launched on Paris Tourist Office website, where we conducted a first set of user tests. Testers were surprised to discover new places in unexpected neighborhoods, places where they would not expect themselves to stroll around. One user quote described very well overall feedbacks. It was from an American tourist family with two children, discovering new places in an unordinary neighborhood in Paris. The mother highlighted a Tuareg proverb “On the first trip we discover, on the second we get richer”.

7 points of interests 4h needed to visit #historicalbuilding

First macro level of result in Web app page with 3 neighborhoods and their specificities

Contact: name: Josselin Hillion & Muge Cetinkaya company/organisation: MFG labs x ekino e-mail: josselin.hillion@mfglabs.com website: ekino.fr Roquette 3 points of interests

not busy

2h needed to visit

Edith Piaf Museum

#nature&parks #foodmarket #historicalbuilding

1

Intinerary Your location 12 rue de rivoli, 75001 Paris

10 min

45 min

L'atelier des lumières

2 Chocolat factory Palette Terre

Musée d’Edith Piaf

2

L’atelier des lumières

3

Cimetière du Père Lachaise

Cimetière de Père Lachaise

3 Jeff de Bruges

1

not busy

5 Rue Crespin du Gast, 75011 Paris 10 min

12 min

not busy

38 rue Saint-Maur, 75011 Paris See more 12 min not busy

38 rue Saint-Maur, 75011 Paris

Second level of results page with a zoom on the neighborhood with a pinned map on the left and the itinerary on the right panel

81


Category:

Wayshowing

Project:

University of Applied Sciences Munich, Building X Übersichtsplan Hochschule für angewandte Wissenschaften München General Map of Munich University of applied Sciences

Maillingerstraße

Contact: name: Prof. Kilian Stauss company/organisation: stauss processform gmbh e-mail: stauss@processform.de website: www.processform.de

82

Dachauer Straße

Heßstraße

T

Z

X 3.040 – X 3.041

X 3.001 – X 3.002

2

X

X 2.001 – X 2.003 X 2.010 – X 2.014

X 2.003 + X 2.015

X 2.016 über X 1.020 Lothstraße Toilette Damen und Herren ladies’ and men’s restroom

E

G

D

R

C V

04 07

B

09 Dachauer Straße

05

03

[

1

Barer

Straß e

Königsplatz

Stiglmaierplatz

X 1.005 – X 1.017

X 1.001 – X 1.004 X 1.010 – X 1.014

X 1.022 – X 1.024 X 1.025 – X 1.034

X 1.022

X 1.035 – X 1.038 X 1.040 – X 1.044

X 1.016 X 1.017

HS

F

BIB

Bibliothek Library

01

Dekanat Architektur Office of the Department Head Architecture

HL

Hochschulleitung Executive Board

02

Dekanat Bauingenieurwesen Office of the Department Head Civil Engineering

Kindertagesstätte Nursery

03

LZ

Lernzentrum Learning Centre

SI

Studieninformation Student Services

SIF

01 BIB

02 08

V WBZ

Staatsinstitut für die Ausbildung von Fachlehrern State Institute for Subject Teacher Education

Weiterbildungszentrum Centre for Continuing Education

Serviceeinrichtungen Service Institutions

Paosostraße

L

M ar ia-E ich -Str aß e

10

K

07

08

Mensa canteen

09

10

11

11

12 13

Avenariu sstraße

Kita

BIB

06

Cafeteria cafeteria

Poststelle/ Warenannahme post room/ receiving department SIF

05

Verwaltung Adminstrative Services

Stachus / Karlsplatz

Campus Pasing campus Pasing

04

Standort viewpoint

14

0

X 0.038 – X 0.039 X 0.040 – X 0.043

X 0.029

12

X 0.031 – X 0.037

12 X 0.016 X 0.017

Toilette barrierefrei barrier-free restroom

X 0.001 – X 0.004 X 0.010 – X 0.013

X 0.018 – X 0.024

X 0.025 – X 0.030

U1

X U1.005 – X U1.009

X U1.001 – X U1.004 X U1.012

X U1.042 – X U1.047

X U1.005 – X U1.009 X U1.015 – X U1.027 X U1.028 – X U1.041 X U1.042 – X U1.047 X U1.048 – X U1.051

X U1.016 X U1.017

Toilette barrierefrei barrier-free restroom Toilette Damen und Herren ladies’ and men’s restroom

Dekanat Wirtschaftsingenieurwesen Office of the Department Head Engineering and Management

Lift barrierefrei barrier-free elevator

U2

X U1.001 – X U1.004 X U1.012

X U1.048 – X U1.051

X U1.015 – X U1.027

X U1.028 – X U1.041

X U2.001 – X U2.004

X U2.001 – X U2.006

Dekanat Angewandte Sozialwissenschaften Office of the Department Head Applied Social Sciences X U2.001 – X U2.004

Dekanat Design Office of the Department Head Design

Dekanat Tourismus Office of the Department Head Tourism

X 0.038 – X 0.039 X 0.040 – X 0.043

Lift barrierefrei barrier-free elevator

Dekanat Geoinformation Office of the Department Head Geoinformatics

Dekanat Studium Generale und Interdisziplinäre Studien Office of the Department Head General and Interdisciplinary Studies

X 1.035 – X 1.038 X 1.040 – X 1.044

X 1.022 – X 1.024

Dekanat Design Office of the Department Head Design

Toilette Damen und Herren ladies’ and men’s restroom

Dekanat Informatik und Mathematik Office of the Department Head Computer Science and Mathematics

Dekanat Betriebswirtschaft Office of the Department Head Business Administration

X 1.018 – X 1.021

X 0.005 – X 0.017

X 0.001 – X 0.004 X 0.010 – X 0.013 X 0.005 – X 0.017 X 0.018 – X 0.024 X 0.025 – X 0.030 X 0.034 – X 0.037

Dekanat Elektrotechnik und Informationstechnik Office of the Department Head Electrical Engineering and Information Technology

Dekanat Angewandte Naturwissenschaften und Mechatronik Office of the Department Head Department of Applied Sciences and Mechatronics

HS X 1.001 – X 1.004 X 1.010 – X 1.014

Lift barrierefrei barrier-free elevator

Dekanat Maschinenbau, Fahrzeugtechnik und Flugzeugtechnik Office of the Department Head Mechanical, Automotive and Aeronautical Engineering

Dekanat Versorgungs- und Gebäudetechink, Verfahrenstechnik Papier und Verpackung, Druck- und Medientechnik Office of the Department Head Building Services Engineering, Paper and Packaging Technology and Print and Media Technology

X 1.025 – X 1.034

Hörsaal lecture hall Toilette barrierefrei barrier-free restroom

Fakultäten Department

Kita

X 2.031 – X 2.032 X 2.040 – X 2.044 X 2.016 über X 1.020

X 1.005 – X 1.017 X 1.018 – X 1.021

Toilette Damen und Herren ladies’ and men’s restroom

Z

X 2.001 – X 2.002 X 2.010 – X 2.014

Lift barrierefrei barrier-free elevator

Kita

Einrichtungen Institutions

Campus Karlstraße campus Karlstraße

X 2.029 – X 2.030

X 2.031 – X 2.032 X 2.040 – X 2.044

A

HL 06

X 3.040 – X 3.041

X 3.015 – X 3.017

W

H

SI

Lothstraße

X 3.001 – X 3.002

WBZ

Kita

LZ

3

X 3.015 – X 3.017

13

BIB

M

Infanteriestraße

Schachenmeierstraße S

[

What was the effect? The first building in which the system was implemented was the conversion of a former armoury, which now serves as the seat of the Faculty of Design (Building X). The vertical access to this building is just as difficult as the horizontal access, because not all stairs lead to all floors and not all floors go through all parts of the building. With the new system, guests are informed at an early stage as to which of the 5 staircases must be used to reach a particular destination. Frustrations and unnecessary journeys are thus successfully avoided.

N

12

14

L

Z

Karls traße

What was the solution? The new signage is not oriented towards faculties or uses. First, it answers the “frequently asked questions” of newcomers and guests. Secondly, it makes architecture and its spatial development readable. And thirdly, attention was paid to consistent bilingualism (German/English) as well as the use of many non-verbal elements such as plans and pictograms.

Gebäude X building X

Campus Lothstraße campus Lothstraße

Am Stad tpark

What was the challenge? The Munich University of Applied Sciences is spread over three campus areas and 18 buildings in Munich. There is only a loose spatial connection and a more than heterogeneous building stock. At the same time, the spatial resources must be used more efficiently as the number of students increases. Rooms and lecture halls are no longer used by one faculty alone, but are made available to everyone with a complex timetable. This requires a consistent guidance and orientation system throughout the entire university.

Lift barrierefrei barrier-free elevator


GOal!

BRONZE

01708_HS_München_Schild_E.X.01.pdf

1

26.03.18

13:41

01708_Hochschule_München_Schilder_X1.025.pdf 01708_HS_München_Schild_T.X.ZG.3.pdf

Gebäude X building X Eingang 1 entrance 1

\

X Haupteingang main entrance

HS

X 1.010 – X 1.014 X 1.015 – X 1.021

1

23.03.18

1

21.06.18

11:44

15:41

Gebäude X building X

Gebäude X building X

Gebäude X building X

Etage Z1 level Z1

Etage U2 level U2

Etage 1 level 1

X 1. 025

X Z1

01. 110

X U2

X 1.018 Hörsaal lecture room \

\ Z

83


Category:

Wayshowing

Project:

Milton Green

What was the challenge? Just under three kilometres from the heart of Brisbane’s CBD, Milton Green, previously known as Coronation Drive Office Park, PANEL 1 spans over 4 hectares and is home to a mix of national and multinational organisations and government bodies. The precinct fosters a dynamic workplace, balancing permanent on-site amenities PANEL 2 with an ever changing programme of events. Milton Green is supported by abundant amenities located within its boundaries including a child care facility, visitor car parking. A complex site to access from the main arterial road, users canPANEL find 1 themselves caught in multi-lane, swift traffic flows, often overshooting Milton Green by several kilometres.

FINGER 1 SIDE 1

FINGER 1 SIDE 2

FINGER 2 SIDE 1

FINGER 2 SIDE 2

SIGN IF1.2

What was the solution? Our wayfinding strategy is built on shifting focus away from the main arterial road as an arrival address. A major identification sign is located on the major arterial road. Spanning over 20 metres, it confirms the place name and major tenants. The strategy directs users to a secondary road that intersects the campus, providing access to all buildings front doors. Within the precinct, directional signage places emphasis on primary destinations - parking, building numbers and street names. Secondary destinations were designed on separate panels with a colour counterpoint to indicate destinations other than commercial buildings. Working with a limited palette of white, ‘brand’ green and black, a series of 3D form and 2D graphic elements have been designed to extend the Brand intent, whilst responding to the environmental factors on the heavily shaded site.

84

Graphic Layouts Scale 1:10

AMP CAPITAL © Dot Dash Pty Ltd ABN 27 010 951 443 Telephone +617 3896 6600 dotdash.com.au Level 5 / 371 Queen Street Brisbane City Queensland 4000 Australia

Drawing Size

Printed at A3

Date

03.08


Unless otherwise noted all dimensions in millimetres. Use figured dimensions in preference to scaling. Contractor to confirm all dimensions and details on site prior to manufacture.

GOal!

BRONZE

ATTENTION Due to this reproduction process the colours in this image are not exact representations of the final product. Refer to sheet 1 for Construction Details

What was the effect? Effect - The wayfinding signage has improved vehicle, pedestrian and cycle access to a particularly difficult site. The major arterial road travelling in either direction did not allow for traffic turning into the Milton Green site, except via a side road. The entry was often not easily visible nor easily accessed, especially given the speed of traffic flow. Within the site, wayfinding signage guides users to their building and other locations using a public address system as the destination. The signs act as not only wayfinding devices but also create placemaking and support brand identity.

Unless otherwise n millimetres. Use fig preference to scali all dimensions and manufacture. 25

ATTENTION Due to this reprodu in this image are no the final product.

25

GENERAL CONST • Drawings show d to specification wh must be approved

145

180

Illuminated cap

Folded 6mm thick sign panels to wrap over internal frame

Drawing No

Status

Final Design not for production

Sheet

3 of 4

IF1

• Signmaker to con on shop drawings p 25

5680.IF1

235

• Ground levels/slo only. Final surveys signmaker at each base details match

Construction Deta As noted.

Fabricated posts 4 x 50mm SHS posts with 25mm recessed detail

White panel always

600

Green panel to top panel is present. 3310

Green panels to re perpendicular to on

Graphics Detail Use artwork provid 1000

Issue

A

SIGN TYPE

For graphic layouts

Panel Colour GREEN = Pantone 3

Static internally illuminated map panel on one side

Electronic display screen on other side 800

Date

03.08.18

• All structural mem footings to be confi engineer.

Internal frame fits into recess 500

APITAL • Milton Green SIGN TYPE DRAWING • Information Sign

LEFT SIDE VIEW

FRONT VIEW

3D VIEW - PANEL DETAIL

RIGHT SIDE VIEW

SIGN IF1.1 Elevation Scale 1:20

85 AMP CAPITAL • Milton Green SIGN TYPE DRAWING • Information © Dot Dash Pty Ltd ABN 27 010 951 443 Telephone +617 3896 6600 dotdash.com.au

Drawing Size

Date

Issue

Status

Drawing No


Category:

Wayshowing

Project:

The sign development in the former Haneda Airport (Ota City, Tokyo)

An entrance sign of the green space in the zone 2

What was the challenge? Ota City has been promoting the new town development project in the former Haneda Airport site. They have been planning the project by dividing the development area into two zones. Zone 1 will be research development facilities of the most advanced technologies in various industries, a shopping complex where you can experience Japanese culture, and a large public park where events can be held. Zone 2 will be a green space along the Tama River and a large shopping center that consists of

86

shops, hotels, and a bus terminal, connected to Haneda Airport Terminal Building. As this area is close to Haneda Airport, a large number of visitors not only from all over Japan but also from around the world are expected. As part of the project, Ota City had needed to form “Sign Design Guidelines for the former Haneda Airport Site� to develop the sign system for the inbound visitors in the whole planning area.

What was the solution? Considering the characteristics of this area, i Design developed the sign design with the following points. 1. Although the existing sign design in Ota City is written in two languages, Japanese and English, since more international visitors to this area are expected, we decided that written in four languages adding Chinese and Korean, which are the languages of neighboring countries, should be a new standard.


GOal!

BRONZE

An information map sign of the green space in the zone 2 天空橋駅

行业城 산업 타운

産業タウン Industrial Town 公園タウン Park Town

1000

親水緑地 Water Promenade

250

200m

Tenkubashi sta.

2500mm

▲1560mm : Average height of pedestrian's viewpoint

200m

200m

from a distance of about 16m while moving 10°: Comfortable elevation angle

産業タウン Industrial Town

天空橋駅 200m

200m

天空桥站 하늘 다리 역

3560mm

Range that pedestrians can see

250mm

Tenkubashi sta.

1000mm

天空橋船着場 200m

Tenkubashi Pier 天空桥船码头 하늘 보트 선착장

羽田空港 Haneda Airport 羽田机场 하네다 공항

親水緑地 Water Promenade 亲水绿道 친수 녹도

200m

200m

200m

1000mm 天空橋駅

200m

200m

Range that wheelchair users can see

▲1175mm : Average view height of wheelchair users

200m

公園タウン Park Town 親水緑地 Water Promenade

2500mm

10°: Comfortable elevation angle

from a distance of about 16m while moving

Tenkubashi sta.

産業タウン Industrial Town

2500

200m

3560mm

250mm

about 16m

about 16m

The design of direction signs which are under construction in the zone 1

2. Because the future development will expand the road to a width of 15 meters, we decided that the size of the Japanese and English characters in the direction signs should be readable from 16 meters distance. 3. The entrances of the green space in the zone 2 are lined up along the road, so we designed the entrance signs to show the distance to the next entrance as a utility of activities and movement.

4. The vast airport runway, airplanes, and cars on the road are drawn in the information maps of the green space to entertain the users.

Contact: name: Takuro Iizuka company/organisation: i Design inc. e-mail: iizuka@i-design.jp website: http://www.i-design.jp/en

What was the effect? At the brand-new innovation city located in the Haneda area, the gateway to Japan, we welcome the diversity of visitors with signs.

87


N ROA D

D

UA

W

The Congress Theatre & Welcome W IL Building M UA

GT

D ’S

AD RO

AD

HT

RO

AD AD

RO

LI G

ER

FA IR

DE E

AR EP

Sea Houses Square

4

Marine Gardens

Cinema

5

Pavilion Gardens

6

Royal Hippodrome Theatre

7

Crown & Anchor

8

Leaf Hall

9

Christ Church

Library

Lifeboat Museum

Toilets

ON

Changing Places

RA PA

PT M

Marine Parade

3

Shopmobility

Wish Tower

Public Car Park Coach Parking

D OA

ER

LS OV ER

RO

Beachy Head and South Downs Way

Pier Gardens

2

Theatre

D

RE

LL BO

Italian Garden Holywell

East of the Pier Heritage Trail 1

Museum or Gallery

Railway Station Helen Garden

RA

AL

AS

SE L AT I

YA L

RO

DE

Bus Interchange

ROAD ST. JOHN S

PA

IDE

RAD A L PA

D RY LS

D

ROA

EN RO AD

SIDE

SHE

SEA E RO AD

RA

MA RIN

DE

Redoubt Fortress

Tourist Information Centre

VI AN

STANL E Y ROAD

GR

10

5 The Pavillion

OAD

Areas & Streets to Shop and Eat

AR

E ROAD

Treasure Island Adventure Park

Seafront Office

Grand Parade Bandstand

KI

S ILVER D AL

AD

Y

Eastbourne Town Centre

NG

A

Grand Hotel RO

RO

D

RIN

RA Eastbourne Pier

ED

RD

LE

MEADS

Lifeboat Station Eastbourne Rowing Club Eastbourne Sailing Club

2

I AR M 1

W

VE SIL

ROA D

CO

GAR DE NS

IN

RE

ON

ST

RE

ET

SQ

AD

AD

4

AD

PA E

RO

AD

3

D

AR

CH

AD

E

SEASI

PA

AN

AC

OA

RO AD

AD

AD

GE R

YR

RO

MA

E AD7 NN S LO E N CO A R D G

ON

GT

RL

IN

HO

BRID

DE

CE

RA

LA

ET PL

ON PT M CO

SQ

EP

RE

ON

ST

GT

T RO

LE

RO

RO AD

HA M

RO A

RO

8

RO

B O LTO

IN

C AM

EAST OF T H EST APUBI E R

RO A D

DE

AD

UB

NO VE R 9 RO

PA

RO

RE DO

RD EN

NG

ON

R OY

G R IN AD

LT BE

E’ S RG G EO

ROA D

E AC PL ON Y L Royal C E Hippodrome 6 Theatre

AD

AD DI

HA

I E LD R OAD OF

W RO

T

NE

Y

AD

EE

HT

ON

TO NE

AD RO

RO

TR

MS

R LT

Water Sports Centre

MER

AD

RO

RO

LE

O CK

DA

EL

ON AV

H AV OLD RO AD

EY R O AD NE R O AD

SYDN

MA NIF

M E LB

OU R

E

LL

RO

ON

JU

RT

ES

DE

OV GR

SE

BU

LE ST

TI

RL

LE Y

EN AV ST

AD RO

CE

EY

EN

DL

AR

CL

DU

AD

AD

RO Y

AV ENU

OM HC

DUR

NC

D OA

AD

LR

RO

C IA ER

D ’S

M

ON

M

AR

UE EN AV E

D ER OA

D AR

OR

D OL

AD RO S

EN

S EEN S QU RD EN GA AC E H PL

AD

BE

S LI

YN’S R OAD

I

Y NE

ND IS

CH

S

V PE

CAVE

ON

N

NG

LA

E

TT

OR E

CA

B EA

AD

ET

DI

RO

RE

D

LE

ST

NG

N I TY

DS R OA

Seaside Rec & P l a y g r o u n d BA

LA T S Winter E R R C E L AC LE S Garden E Eastbourne Heritage Centre ROAD CARL ISLE Lifeguard & First Aid Station

DEVONSHIRE QUARTER JEV ING TON

EL

AD

SE

IR

PL

ROA D

W

RO

SEASIDE R O A D A SIDE

A RO

BU

CHISW ICK

Devonshire Park Theatre

Locker Room

Birley Centre

G RAN GE

AD TON RO

CARL ISLE

AD R RO KW ATE International BL AC Lawn Tennis Centre

Towner Art Gallery

E ROA D

MEA

FIR

BELM

TE RE UE MO RM LIS ELM S AVEN IN US ES RE YT RO N IT AD T R I Holy Trinity Church Memorial HA Carpet Roundabout RT Gardens IN PL G DE AC EsperanceTO N E VO PL N S Hospital AC E H

TERR ACE

G RAN G

LE RO A D

University of Brighton Eastbourne Campus

AD GE RO

ROA D

RK

R RO A D

CO LLE

G RA N GE

PA

GRAS SING

S

GR A N V IL

ON

ICK RO AD

AD

FR

AD R RO

TH

S PE NCE

RO

F SA

KW ATE

Eastbourne College

D

T ST R EE

St Saviour’s Eastbourne

D S ROA

ES

EY

TR I

SO U

T

D

A ON RO

CORN FIELD

CE

BL AC

GAR

I N GT

HA R DW

LA

FUR NES

E

Here E NS

HY DE

LU SH

D

NP

S O UTH ST R E E

M

LA

RO AD

OA DR

AD

T ID

TOWN CENTRE

I NU S

Tourist Information YouCentre Are

LE

NE

RO

AD

IEL

DE

OAD

T ER M

E ROAD

HY

Town Hall

RO

AD

AC

Council Offices Police Station & Library

AD

RD

THE BE ACON

Railway Station

LITTLE C H E L S E AYORK R The Saffrons

A SH F O

O LR

PL

RO

AD

NC

T

H

RO

D

AD

G IL

W

IS

N

AD

AD

ND

TO

RO

VE

NG

ROA

AD RF RO W HA Enterprise Shopping Centre

A

Underground Theatre

AD

ON

UR

A5 ST LE O N A R D ’ S

RO

BI

CA

ON

AD

GS

RO

AD

RO

N LO

E ON

RO

LI

DS

mi

RN F

RO

RT

S

AD

CO

NS

PE

EN

om your location alk f r eW nu t

NS

RO

Har tf ield Square

AD

CO

RO

SA

A

FF

IEL

RD

NE

RO

F IE RT HA

’S

SU

R

NE

GILD REDG

S

HF

LA

GA

D

AR

D

UT

ON

AL

BO

ON

UP SO

OLD TOWN

RT

AD

E

AD

TH

RT

WI

RO

TL

N DIS H

AV E

ER

UPP LD

ES

Y ROA D

ST

AD NU

AD

RO

YS

AD

IE

HI

E

RO

SF

LD

ER

CA LV ER LE RO AD Y

PE

S

Gildredge Park OA

AN

D UP

OF F

PE

ST

W

EN

RO

OA

UP TH E G

ST

EN

NR

O

YS

Y LW

RT

AD

SE

PE

S TA N

AN D

D OA LR

DE UN AR

EV

UP

RO

RO RO

BE RO A ROA D D

W

S LE Y

RE

M

RO A Beachy Head D

KS

EA

D

AD LG

AP

RO

CA

IL

’S

CAV E

AS

NE

OR

H A&E

HOLYWELL

AN

PH

AV

I LI

EN

P’S

UE

CO

OY

Eastbourne District General Hospital

RW

GR

AD RO AM NH UR HB

M WA TE

I T LE

AD

Eastbourne Levels

E W RO A D C AR MEADS

ST

B EA

WH AD

D

RO

Princes Park

E RO

GE

Fort Fun Theme Park

AD

OA

IN

Sovereign Centre RO

AL

RR

IE W

DR

GO D

R I N G WO O D R O A D

LV

NH

OA

AD

Sovereign Harbour NE

ON

SR

AN

PE

WE

CH

RO

BE

AD

GA TE

SM

RO

UE

OD

OD

L AT

WO WO

IM

AD

NG

DE

L ANDS R O

RI

U RT

E

SEASIDE LE Eastbourne TOWN CENTRE

DEVONSHIRE QUARTER

TO AD

88

PRINCES PARK

EAST OF THE PIER

MP

name: Sue Manley company/organisation: Placemarque e-mail: info@placemarque.com website: www.placemarque.com

Sovereign Harbour

OA D

OLD TOWN ROAD RU N LITTLE CHELSEA

CO

Contact:

DR

IV

LE B

AD

Within Devonshire Quarter there are independent challenges, including the range of architectural building styles, from ornate Victorian to 20th-century modernist. These buildings have been erected haphazardly over time with no coordination, making routes confusing with difficult junctions to navigate.

Roseland Playground

Hampden Park GS

P R I D E AUX R

RO

The traditional seaside town is currently undergoing major public realm improvements to create a modern and welcoming destination resort. Further development to the town’s tourism offer includes the transformation of the newly defined cultural district, Devonshire Quarter, located just a few minutes walk from the town centre. Improved signage and a wayfinding strategy are required to give confidence to users navigating through the town.

KIN

N

What was the challenge? Eastbourne is a challenging place to navigate, with counterintuitive topography that requires visitors to walk uphill to reach the seafront from the town centre and primary transport hub. Poor signage influences heavy pedestrian footfall along primary routes such as Terminus Road, creating pedestrian congestion that discourages further exploration of all the town’s destinations, quarters, and landmarks.

RO

Eastbourne Town Centre & Devonshire Quarter

IL L

Project:

XH

Wayshowing

SID

Category:

H A&E

Hospital

10 Redoubt Fortress


BRONZE

What was the solution? A full wayfinding master plan was developed for the town, setting out an expansive network of primary, secondary, and tertiary routes to encourage better connections and confidence while exploring the town by foot. A hierarchy and sequencing of directional information was created to allow for a systematic delivery of content. This is because when the quantity and complexity of information presented to a user increases, their ability to capture and act on it decreases. The town centre and Devonshire Quarter schemes complement each one another through an established brand signature that takes form, materials, typography, and colour into consideration. The new coordinated family of signs are located at key decision points and are set to be rolled out in Devonshire Quarter later this year. The scheme is now expanding internally and already being rolled out in the Congress Theatre.

GOal!

What was the effect? The overall impact means there is now a wayfinding scheme that can be rolled out with the public realm developments that unifies the town and draws people traffic to appropriate destinations.

“Placemarque delivers a great product and fantastic service. They made us part of the process, bringing all our stakeholders into the concept. I was inspired by working with them – they have so much knowledge and are always on the ball.” - Lisa Rawlinson, Strategy & Partnership Lead for Growth & Prosperity

The layout of information on the signs is setout so content can be digested quickly and with intent. The graphic layout has been broken down into sections including: •

Locator information to orientate through named landmarks or spaces

Directional content to Level 1 destinations

A detailed map that uses ‘heads-up mapping’ so the map corresponds with the direction the user is facing

An overview map to show the town in relation to wider transport links

89


Category: Project:

Wayshowing Sentosa Island

What was the challenge? Sentosa Island is Singapore’s premier resort destination for locals and tourists alike, welcoming close to twenty million visitors per year. Attractions include beaches, hotels, sport and leisure activities, and a Universal Studios theme park. Despite being a worldclass destination, research revealed that the existing wayfinding system had become ineffective and was limiting the visitor experience. The arrival points did not provide a welcome to guide visitors, and languages had not been included consistently. Furthermore, the scale of the site and changes in topography meant destinations were perceived to be further apart than they were in reality. This, combined with a lack of adequate information and ad hoc wayfinding, had become an obstacle to fully experiencing and exploring the island. What was the solution? Applied Information Group set out to overcome these obstacles to exploration by increasing awareness of the many offers, activities and locations. We simplified the communication of routing and connected the island with a clear wayfinding system and accurate information to support visitors from their arrival throughout their whole visit. The extensive wayfinding sign suite has been designed to integrate vehicular and public transportation, alongside beach and trail signs to promote walking and cycling, allowing visitors to move around the island easily. With its natural palette, the map design integrates with the tropical environment, while other types of signage reflect a more colourful and vibrant tone in keeping with Sentosa’s brand identity as the State of Fun. What was the effect? The new wayfinding system has enhanced the overall experience of Sentosa Island, encouraging users to explore and discover all parts of the Island. With accurate information provided at their first touchpoint, whether arriving by car or public transportation, visitors can now make an informed choice about how to spend their time on Sentosa. The signage ensures better movement across the island and is increasing travel by foot and other multi-modal options, as the disconnection and perception of distance has been overcome by the new design.

90


BRONZE

GOal!

Contact: name: Louise Carlsen company/organisation: Applied Information Group e-mail: Louise@appliedwayfinding.com website: www.appliedwayfinding.com

91


Category:

Wayshowing

Project:

Cincinnati Museum Center

What was the challenge? Cincinnati Museum Center (CMC) is located in the Cincinnati Union Terminal building. The Union Terminal building is possibly one of the most significant examples of Art Deco architecture in America. Built as a train station in 1933 by the New York firm of Fellheimer and Wagner and the noted Philadelphia architect Paul Philippe Cret, the building embodies all important architectural principles of that style. Not only is it an architectural masterpiece, the building is also a historic site, tied to the history of World War II and the City of Cincinnati; notably, it features Winold Reiss’ tile mosaic murals celebrating history and industry. The building was declared a National Historic Landmark relatively early in the history of the Historic Preservation Movement in this country (1976). Cincinnati Museum Center is now the largest informal education and cultural institution in the Ohio Valley region, serving over one million visitors each year.

92


BRONZE

The Union Terminal Corporation (UTC) recognized the need to revitalize the community icon and National Historic Landmark. In 2016, it embarked on the site’s first comprehensive restoration project in the Union Terminal’s 85-year history. The goal was to recognize the UTC’s generous benefactors as well as honor the Art Deco architecture and the legacy of the space through designs that are versatile and timeless. What was the solution? Signage proved to be a major component of the overall scope to restore the building and previously unrestored historically significant spaces. Stylistically, the structure required special attention to its combination of history and newly renovated contemporary areas, such as the lower level. With one comprehensive signage program, wayfinding created cohesion between contrasting spaces. A donor recognition wall enlivens the lower level through a design that mimics the history upstairs, depending on one’s site line.

The UTC hired GBBN Architects as the architects for project. Design consultants for the project include historic preservation architect John G. Waite Associates, who was responsible for the filing of the project with the State of Ohio’s State Historic Preservation Office (SHPO) and the National Park Service (NPS), and oversaw the verification of the work to be in conformance with the Secretary of the Interior Standards for Historic Preservation, and the administering of State and Federal Historic Tax Credits, as a critical component of project funding. Understanding of historic guidelines and their interpretation was a critical component of the design of signage and wayfinding throughout the building and historic spaces. What was the effect? The scope of the project involved replacement of all common area signage and wayfinding to inform visitors to the Cincinnati Union Terminal building.

GOal!

It was not intended to be “branded” graphics for the Cincinnati Museum Center (the anchor tenant). Instead designers needed to reflect on the scope as a means to create and implement a palette that is timeless as to relate more to the interpretation of NPS standards in historic spaces. This is in addition to the pragmatics of clearly articulated directional signage for patrons and visitors. This signage got patrons to the museums, services (ticket sales, retail, food service and dining, restrooms, security, guest services), experiences, offices, and to new tenants, etc. – rather than within the museums themselves. The intent was to successfully link the museum center’s historic and modern functions.

Contact: name: Shi-Anne Shakes company/organisation: Two Twelve e-mail: sshakes@twotwelve.com website: http://www.twotwelve.com

93


Category:

Wayshowing

Project:

Old Town Zofingen, Switzerland

What was the challenge ? The old town of Zofingen is one of the most beautiful and best preserved in all of Switzerland. The old town, built according to a uniform plan, is an irregular rectangle and surrounded by a wall and has only a few narrow entrances. Zofingen was able to preserve the historic old town with its winding streets, numerous historic buildings and charming squares.

distinct and special object as well as more space for the graphic. The city map has three-dimensional simplified landmarks and many points of interest. A circle line tells me how far I can get within a five minutes’ walk. Moreover, it’s a modular System, variable in size and shape.

The new signage system should appeal to visitors in a friendly way and invite them to explore the beautiful city on foot. In addition, it should provide information about the numerous sights and show the way to important public facilities.

What was the effect ? The narrow silhouette of the frame integrates elegantly into the historical cityscape. The red color still stands out and is visible from afar. Its lightweight construction with aluminum square-profiles gives it extra depth and produce a pleasant interplay of light and shadow on surfaces and on the cobblestone pavement.

The challenge was to develop a design that fits into the historical context and architecture and nevertheless fulfilling its task as a visitor guidance system.

Good readability thanks to high-contrast colors and a distinct font. The landmarks do not need an explanation and the directions are easily understood.

What was the solution ? The design of the wayfinding system is characterized by its light, yet stable, frame construction. It is not just a flat board on a wall, but a three-dimensional object itself.

The inhabitants of the city like their new wayfinding system. The city administration is planning to expand it to the entire city area.

Contact The map and the directions are on panels and mounted on all four sides at eye level. And that the panels extend beyond all sides of this frame gives them the look of a

94

Jürg Brühlmann, Anja Bodmer, Oliver Meier Spinform AG design@spinform.ch www.spinform.ch


BRONZE

GOal!

95


Category:

Wayshowing

Project:

Hofburg Imperial Palace Vienna

What was the challenge? The Hofburg Imperial Palace Vienna is the largest profane building complex in Europe. It is one of the most visited tourist sites in Austria and carries the European Cultural Heritage Label. The site is home to a number of large cultural institutions, and during renovations of the parliament building the Austrian Parliament has also temporarily moved to the Hofburg. What the new orientation system had to deliver: – Awareness for the large extent of the total heritage site (nearly 50 ha/123 ac) – Visible identity of place – Meeting the needs of all users – Adaptability to change – A low maintenance analogue solution – Reasonable expense of public money Additional key aspects for us: – Content usable in various media – Appropriate material and form language without a fake historical feel or veering towards “kitsch”. – The objects have to stand their ground next to those monumental buildings without interfering with the historic aspect.

1

What was the solution? A metaphorical gateway. The “gateway” is a frame structure with one vertical supporting girder, the joist and opposing girder are made up of smaller profiles that lend more lightness to the construction. An aluminium plate with the orientation map is suspended inside the frame leaving the top part open for directional signs. Attached to the main girder is an additional side panel easily adaptable to carry additional information and tactile elements. Metal surfaces are powder coated, highly weather- and scratchproof with a granular finish. The colour is a very dark burgundy with silver inclusions that give it a lively appearance. The object is always placed laterally to the walking direction so that the map is always forward facing in one of two directions of travel (North and South).

2

3

Orientation on three levels: 1. Directional signs that lead to places, not institutions to provide a sense of place. 2. The 3D map with the current position easy to locate (same representation used across various media channels). 3. Index numbering of important destinations. What was the effect? The evidence gathered in the research phase (observing visitor behavior, interviewing locals and tourists, talking to the major institutions on site and other stakeholders such as the Austrian Federal Heritage Association) was instrumental in evaluating the outcome. – Immediately after implementation of the new system the amount of false inquiries at certain hotspots dropped dramatically. – Post-evaluation (asking test participants to perform the same tasks as in the research phase) showed much better usability and understanding of the space. – Better appreciation of the Hofburg in its entirety (“I didn’t know this was also part of the Hofburg”). The system has been in place since the summer of 2017 and additional positions are currently in planning.

Impressions from the design process: 1: research, 2: development, 3: post testing.

Contact: name: Veronika Egger and Lisa Ehrenstrasser company/organisation: benutz-bar GesbR e-mail: veronika@egger.pro, ehrenstrasser@idrdesign.net website: isdesign.at, idrdesign.net client: Burghauptmannschaft Österreich

96


Hofburg Wien Imperial Palace Vienna

BRONZE

In der Burg

GOal!

Burgtheater Domkirche St. Stephan

Graben

Michaelerplatz 1

Burg

In der Burg Volksgarten

6 2

B

3 Josefsplatz 4

R

Burgtheater

5 Domkirche St. Stephan

Hben Gra

10 Michaelerplatz

Volksgarten

12 2

rgri

3 Josefsplatz

ng

4

5

Heldenplatz

Maria-TheresienPlatz 15

Bu

10

Burggarten

9

Tourist-Info Vienna

11

Albertina-

8

13

Staatsoper

Opernring 7 platz

12

rgri

Burggarten

ng

17

Standort / you are here

9

Maria-TheresienPlatz

Staatsoper

13

Hofburg Information Hofburg Information

Opernring

Museumsplatz

Quelle Plandaten Hofburg 1835: Österreichische Akademie der Wissenschaften Ergänzung und Gestaltung: benutzbar.at

17

1

Albertina-

7 platz

H

14

Museumsplatz

8

6

e

Bu

B R

Tourist-Info Vienna

11

1

15 In der Burg

Kärntnerstraß

Dr.-Karl-Renner-Ring

Heldenplatz

16

14

aße Kärntnerstr

Dr.-Karl-Renner-Ring

16

Hofburg Wien Imperial Palace ViennaIn der

In der Burg, Michaelerkuppel

10

Heldenplatz, Festsaaltrakt

Standort / you are here

HOFBURG Vienna Sisi Museum Kaiserappartements Festsäle Hofburg Information Silberkammer Kongress- & Veranstaltungszentrum Hofburg Information Sisi Museum Imperial Apartments Congress & Event Center Silver Collection OSZE – Organisation für Sicherheit und In der Burg, Michaelerkuppel Heldenplatz, Festsaaltrakt 10 Spanische Hofreitschule Zusammenarbeit in Europa HOFBURG Vienna Sisi Museum SpanishKaiserappartements Riding School OSCE –Festsäle Organization for Security and Silberkammer Kongress- & Veranstaltungszentrum Co-operation in Europe Schweizerhof, ImperialSchweizerhof-Trakt Apartments Sisi Museum Congress & Event Center Quelle Plandaten Hofburg 1835: Österreichische Akademie der Wissenschaften Ergänzung und Gestaltung: benutzbar.at

1

Silver2 Collection Kaiserliche Schatzkammer Wien Spanische Hofreitschule Imperial Treasury Vienna Spanish Riding School

2

Heldenplatz, Burg und OSZE – Organisation fürNeue Sicherheit 11 Zusammenarbeit in Europa Lesesäle, OSCE – Organization for SecurityNationalbibliothek and Österreichische Hofburgkapelle Wiener Hofmusikkapelle Co-operation in Europe Schweizerhof, Schweizerhof-Trakt

Reading rooms, Austrian National Library

Imperial Chapel Wiener Hofmusikkapelle

Heldenplatz, Neue Burg Kaiserliche Schatzkammer Wien Papyrusmuseum Papyrus Museum 11 Josefsplatz, Redoutensaaltrakt Imperial Lesesäle, 3 Treasury Vienna Ephesos Museum Ephesos Museum Österreichisches Parlament Österreichische Nationalbibliothek Wiener Hofmusikkapelle Hofburgkapelle Haus der Geschichte Österreich* Austrian Parliament Reading rooms, Austrian National Library Imperial Chapel Wiener Hofmusikkapelle HousePapyrus of Austrian History* Museum Plenarsaal – Großer Redoutensaal Papyrusmuseum Josefsplatz, Redoutensaaltrakt 3 Ephesos Museum Ephesos Museum Heldenplatz, Corps de Logis Österreichisches Parlament Hof, Bibliothekshof H Parlament Pavillon 12 Haus der Geschichte Österreich* Austrian Parliament Pavillon Burg, Heldenplatz B Parlament Weltmuseum Wien House of Austrian History* Pavillon Ring, Heldenplatz Plenarsaal – Großer Redoutensaal R Parlament

Hofjagd- und Rüstkammer Heldenplatz, Corps de Logis Imperial Armoury 12 Weltmuseum Wien Sammlung alter Musikinstrumente Prunksaal, Parlament Pavillon Ring, Heldenplatz Rüstkammer of Historic Musical Instruments Österreichische Nationalbibliothek Hofjagd- undCollection Imperial Armoury Josefsplatz, Prunksaaltrakt State Hall, Austrian National Library Maria-Theresien-Platz

H Parlament Pavillon Hof, Bibliothekshof

Josefsplatz, Prunksaaltrakt

4 Pavillon Burg, Heldenplatz B Parlament R

4

5 6 7

8

9

Sammlung 13 alter Musikinstrumente Prunksaal, Josefsplatz, Augustinertrakt Kunsthistorisches Museum Wien Collection of Historic Musical Instruments Österreichische Nationalbibliothek 5 Augustinian Church Maria-Theresien-Platz Augustinerkirche State Hall, Austrian National Library Maria-Theresien-Platz

Josefsplatz, Augustinertrakt Stallburgtrakt

13

6

Church Augustinerkirche Stallburg Augustinian Stables Lipizzan Horses Stallburgtrakt

Albertinaplatz, Albertinatrakt

14

7 Stallburg Stables Lipizzan Horses

Albertina Museum Österreichisches Filmmuseum Albertina Museum Austrian Cinematheque

Albertinaplatz, Albertinatrakt

15

Österreichisches Filmmuseum Burggarten, Palmenhaus Austrian 8 Cinematheque

16

14

Kunsthistorisches Museum WienMuseum Wien Naturhistorisches Maria-Theresien-Platz Heldenplatz

15 Naturhistorisches Museum Wien

Heldenplatz

Äußeres Burgtor Outer Castle Gate

Volksgarten

Äußeres16 Burgtor Outer Castle Gate Volksgarten

Theseustempel Theseus Temple Sisi Denkmal Sisi Monument

Theseustempel Theseus Temple

Museumsplatz, MQ-MuseumsQuartier Wien 17 Sisi Monument Palmenhaus Sisi Denkmal Schmetterlingshaus Burggarten, Palmenhaus Wien Wien MQ-MuseumsQuartier Imperial Butterfly House Palm House17 Museumsplatz,Kunsthalle Schmetterlingshaus Palmenhaus Leopold Museum Kunsthalle Wien ImperialBurggarten Butterfly House Palm House mumok – Museum moderner Kunst Leopold Museum 9 Burggarten Stiftung LudwigKunst Wien Mozartdenkmal Mozart Monument mumok – Museum moderner

Mozartdenkmal Mozart Monument

Stiftung Ludwig Wien

* Eröffnung 2018 * Opening 2018

* Eröffnung 2018 * Opening 2018

97


Category:

Wayshowing

Project:

Rathaus Quartier Lustenau

What was the challenge? The Town Hall District of Lustenau, a Market Town in the Federal State Vorarlberg, consists of three different buildings: the Town Hall (built in 1958), the Building Administration (built in 1993), and the Villa (built in 1910). In terms of architectural history, post-war modernism, modern and heimat style meet here. The most difficult challenge was to find a system which refers to the different styles of the buildings. What was the solution? All access paths are equipped with rectangular steles that show where to find what. The logotype was derived from the façade lettering of the Town Hall (by Gnaiger, Götsch, in 1958). The coat of arms of the Market municipality was digitally prepared and restyled in the 1980s by the Vorarlberg design pioneer Othmar Motter. Due to the visitors‘ frequency a fast and reliable orientation through individual Town Hall departments is required, in order to move around directly in the buildings – Digital screen performs several tasks: Orientation, time indication, and event information. In contrast, tarnish and privacy protection provide a scenographic element: cultural and scenic sites along the Rhine river line symbolize the location and connectedness of Lustenau with this huge European river. What was the effect? Our orientation system combines this diversity with the means of signage and scenography into a modern service district for the citizens of Lustenau.

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

98


BRONZE

GOal!

99


Category:

Wayshowing

Project:

San Francisco International Airport Program

The complete redevelopment of Terminal 1 meant that assessing the experience of new environments and anticipating user needs from plans was challenging. The team worked collaboratively with airport operators, architects, planners, interior

designers, and other design specialists to first understand overall intent and then help shape a shared vision. The team needed airport management to share and trust in this “service design” approach, in order for them to become guardians of it over the coming years.

_ A people-centered approach to architectural design, spatial planning, composition and application of new products and services, _ A new sophisticated range of contextually appropriate information products, _ A new design language and visual identity for wayfinding that reflects SFO’s values and aspiration for ‘Calm Confidence’. Including bespoke product forms, set-outs, graphic templates, mapbases, pictograms and typography, _ A new online platform to manage and sustain the system.

What was the solution? The SFO Way provides a holistic approach to wayfinding, choreographing architecture, people and services as the foundation of the journey experience. The strategy influenced Terminal 1 design and a new ‘dashboard concept’ emerged integrating digital and static information in location responsive solutions, within a new, ‘Calm Confidence’, visual identity. ‘The SFO Way’ captures these design solutions as a vision, principles, guidance, and standards for a world-class experience, including:

19th St/ Oakland

Alcatraz Island Treasure Island

Golden Gate Bridge 101

Salesforce Transit Center 292, 397, 398 San Francisco 4th & King St

680

Mount Diablo

Lake Merritt

San Ramon

Fruitvale

Alameda

Coliseum For connection to Oakland International Airport

Alameda

22nd St

San Leandro

Caltrain

Daly City

Bayshore

South San Francisco

Colma South San Francisco

Pacific Ocean

West Oakland

San Leandro 280

Balboa Park

BART

Daly City

Oakland

12th St/ Oakland City Center

Bay Bridge

Embarcadero Montgomery St Powell St (Downtown) Civic Center 16th St Mission 24th St Mission Glen Park

San Francisco

The new system of information products was unified through a consistent visual identity and user interface. Through a process of engagement and co-design, the concept of modular information dashboards emerged to provide a recognizable and logical location for a variety of information.

South San Francisco

Castro Valley

Bay Fair

Pleasanton 580

San Francisco Bay

Castro Valley

Hayward

BART

West Dublin/ Pleasanton

Dublin/ Pleasanton

60 miles Modesto Yosemite National Park 200 miles Fresno 190 miles

92

SFO

South Hayward

You are here

Hayward

ge

What was the challenge? A $7 billion investment program at San Francisco International Airport — including the $2.4 billion re-development of Terminal 1 – provided a once in a generation opportunity to strategically rethink the role of wayfinding, its relationship and its experience value to over 70 million annual travelers. Previously, there was no standard approach for airport-wide wayfinding at SFO. Over time each new capital project created a new version, leading to functional and stylistic variation throughout the airport. This fragmentation highlighted major opportunities for improvement.

Livermore

M ate

o

Bri d

San Bruno 398

n

880

Sa

San Bruno

Union City

280

1

Millbrae Take BART to Millbrae for Caltrain Burlingame

San Mateo

84

Union City

Fremont

(Above, top) Printed Terminal Map, a guide for passengers and staff. (Left) Freestanding, backlit 3x2 Dashboard implemented within the new Harvey Milk Terminal 1, Boarding Area B.

100

D

um

ba

rt on

Bri d

ge

San Mateo

(Above, top) Detail of modular Dashboard, including; Terminal 2 Map highlighting ‘You Are Here’ and walk times, AirTrain Map, Levels Guide and Directory. (Above) Detail of the regional area transit map, used by airport guests to plan their onward journeys.


GOal!

BRONZE

Medical Clinic

Business and Career Center

A9 A10

Roasting Plant

Exhibition

Wayfinding Bold Wayfinding Semibold Wayfinding Medium Wayfinding Regular

Pick Up Stix

Restrooms

Marketplace

Wendy’s

Security Checkpoint A Gates

San Francisco Chronicle News

Up to AirTrain

Down to Walkway

A11

What was the effect? Initial feedback from SFO guests indicate A the new system is enabling better mental maps of the airport and better use of discretionary time. In addition, ACI’s Airport Service Quality (ASQ) surveys have shown a significant rise in customer satisfaction related to wayfinding.

A1 A2

A6 A7 A8

Aviation Museum & Library

Door 1

International Terminal

Gates

Door 1

Parking Garage via Level 3

Under Construction Down to Baggage Claim Door 2

Exhibition

Off-Airport Parking Shuttles

Down to Baggage Claim Check-in Zone 1

B1

Restrooms & Nursery

Door 3

Check-in Zone 2

B2

Door 4

Exhibition

Up to AirTrain

Hotel Shuttles

Security Checkpoint

Other Terminals B Gates

One of the largest impacts has been the change of culture within the airport community. The importance of wayfinding to the guest and its value to the airport as a whole are now well understood in the leadership team and across the broader B25 internal culture.

Contact: name: Mike Rawlinson company/organisation: City ID e-mail: info@cityid.com website: http://www.cityid.com/

Door 6

Up to AirTrain Down to Baggage Claim

Walkway via Exit AirTrain via Exit

Long-Term Parking Shuttles Door 7 Door 8

Door 9

B4 B5

Door 10

Terminal 2

Restrooms

Gates

Check-in Zone 3

4 mins walk 2 mins AirTrain

B26 B27

B19 B20

Mills Cargo NewsstandTerminal

B10 B11

Under Construction

1 mins walk

(Above, top) The identity includes colors, set-outs, mapbases, pictograms and bespoke typography.

Skyline News & Gifts

You are here Goldilocks Bistrot Bay Area

B21

Admirals Club

Animal Relief NYS Collection

B17

B14

Illy Caffé

Restrooms

Amy’s Drive Thru

B6

Bourbon Pub Exhibition GR Chocolate Boutique

B13

International Terminal

Restrooms & Nursery

Gates

Animal Relief

3 mins walk

1 mins walk

L'Occitane Starbird

B18

B3

Under Construction

DepARTures

Restrooms & Nursery

8 mins walk 4 mins AirTrain

The Little Chihuahua

B9

B Gates See Terminal Directory for food, drink, shopping and lounges at B gates

(Above, middle) Detail of map artwork for Terminal 1, boarding area B, featuring “You Are Here” and walk times, and nearby amenities and facilities. Artwork of AirTrain map that also works to reinforce guests’ mental map of the airport as a whole.

B7 B8

D C

C1

Gates

C2 5 mins International Terminal Check-in

Farmerbrown

Little Skillet

Grand Hyatt at SFO

C7 C9

C8

Millbrae BART

Restrooms, Nursery & Animal Relief Hudson News

C6

5 mins AirTrain

Terminal 1 BART

C3 C5

C4

Garage A

San Francisco & East Bay

Restrooms

Three Twins Ice Cream

Gates

7 mins walk 4 mins AirTrain

West Field Road 14 mins AirTrain

Departures Level

Exit Only

Delta Sky Club

International Terminal

C Gates

15 mins walk 8 mins AirTrain

17 mins AirTrain

49 Mile Market

4 mins walk 2 mins AirTrain

Garage G & BART

Restrooms

Terminal 1

Ride App Pickup

12 mins walk 6 mins AirTrain

Rental Car Center

C Gates

You are here

Parking Garage

BART Trains to City Garage G

B12

Exhibition

Security Checkpoint

3

Gates

Bun Mee

Exhibition

Flyaway by Drake's

Christian Science Reading Room

Green Beans Coffee

Down to Baggage Claim

Amoura Café

iStore

B15 B16

Door 11

Exit Only

Under Construction

Under Construction

B23 B24

B22

Long-Term Parking Shuttles

ABCDEFGHIJKLMNOPQRSTUVWXYZ A3 abcdefghijklmnopqrstuvwxyz A4 A5 1234567890 .,:?!(*)$&@

Samovar

They combine flight information displays (FIDs) with detailed map-based information and notification screens, assembled to A12 tailor to the unique context of each airport environment.

San José Caltrain

C10

(Above) Product scope showing the full family of designed products including variations of Dashboards, Pylons, Blades, Plaques and Monuments.

101

Dogpatch Bakehouse & Caffé

C11


Category:

Wayshowing

Project:

Kinderhaus Kennelbach

What was the challenge? To develope a child-friendly wayfinding system for the new building Kinderhaus Kennelbach. What was the solution? The main idea was growing up together and learning from each other. We had the idea of letting the children themselves come up with their own designs. Their drawings were placed as tarnish protection and pictograms and became the main players in the signage system. To emphasize the idea of growing the children can measure and compare themselves to the small and large drawings of the animals (related to the original scale). What was the effect? A place where children can grow, learn, play and feel good. The whole signage system works well together with the building’s architecture and creates a calm atmosphere. The children can explore and measure themselves with many different animals and objects created by their own.

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

102


PERSONAL FAVOURITE OF BARBARA & BRONZE

GOal!

103


Category:

Wayshowing

Project:

Lancaster City Centre

What was the challenge? Lancaster is ideal to explore on foot given its compact nature. Yet challenging in topography, complex routes and sightlines with landmarks not being able to be viewed from a distance. These challenges constrain pedestrian movement and reduce exploration to key destinations such as the castle and canal, which feel disconnected from Lancaster’s commercial centre. What was the solution? A wayfinding and interpretation masterplan for Lancaster was developed. The strategy was designed to encourage better place connection and encourage exploration “off the beaten track.” The solution was to put people before traffic, this included a new brand launched by Lancaster City Council. Our task was to expand the ‘small city, big story’ concept into a bespoke range of wayfinding structures for the city centre. The family of signs consisting of totem and directional signs, in-ground markers and cast stone structures reference local character through colour, materials, graphics and engraved patterning on stone bases. The signs are seen as a bronzed framed ‘treasure box’ to reveal local stories and provide clear navigational information. We developed ‘heads up’ mapping with 2D landmark elevations to help build peoples mental map of the city and key destinations. You are here points and walking circles promote the walkability of the city.

Contact: name: Sue Manley company/organisation: Placemarque e-mail: info@placemarque.com website: www.placemarque.com

104


SHORTLIST

GOal!

What was the effect? The wayfinding scheme provided a better experience for people moving around the city and gave better navigational information at arrival points into the city including train station, bus station and carparks. The sign locations were positioned strategically in main public spaces and along routes, encouraging people to walk more, stay longer and explore further. The design and implementation of the physical signage created a brand placement in the public realm. Each sign revealing one of the nine commissioned stories revealing Lancaster’s strong identity and historic character.

105


Category:

Wayshowing

Project:

GIS + Information Design: Map Design for City Parks (Canada)

https://data.edmonton.ca/

VISIONPLUS Mexico: GIS + Design: Creating Safe Spaces

VISIONPLUS Mexico: GIS + Design: Creating Safe Spaces

What was the challenge? The city of Edmonton, Alberta is a small core city, surrounded by a vast growth of suburban sprawl. The city is growing at an amazing rate and is in transition. There are many neighborhoods and pockets of suburbanism that are disconnected from each other. Urban parks in this City are increasingly threatened by development. These important areas play an important role in the social and psychological needs of citizens. To promote safety in the trail system for users, GIS data was collected to map 10 km of beginning, intermediate and advanced trails.

VISIONPLUS Mexico: GIS + Design: Creating Safe Spaces

What was the solution? Using a geographic information system (GIS), the team has collected spatial and geographic data that is relevant to visitors such as distance and difficulty level of each trail, landmarks and heritage/historical features, training areas, off leash areas, building and parking lot footprints and environmental features of the area.

106

50th Street 640

635

Elevation

What was the effect? This interdisciplinary project has demonstrated how using an underlying GIS system allows us to manipulate, analyse and present data in the ways that are best for the users of the trail system. This mapping system was applied to Edmonton Nordic Ski Club Trails as well as two other parks in the River Valley System totalling 10 km square.

630

625

0

100

200

300

400

500

600

700

800

900

1,000 1,100 1,200 1,300 1,400 1,500 1,600 1,700

Distance (meters)


SHORTLIST

GOal!

Contact: name: Gillian Harvey company/organisation: University of Alberta e-mail: gharvey@ualberta.ca website: ualberta.ca

107


Category:

Traffic and Public Transport

Project:

City Rail Map – Find yourself, even offline!

What was the challenge? The challenge was to create an easily understandable city map for large cities, allowing you to quickly and easily see where you are and how you can get from one place to another independently. This is especially true for first-time visitors in a city whose language or culture they are not familiar with. Our maps will show you the way. What was the solution? We decided to create a simple map showing major public transport routes, using small landmark icons as fixed points. Parks, rivers or mountains are shown as pattern areas that naturally limit urban space. Of particular focus were the important places such as transportation hubs or airports are often the entry and exit points on trips. You can also use placement markers to set your home or travel destination. It’s a handy mobile app, enabling you to see the most direct route, possible transfers as well as travel time. Simply search for stations or locations, even when you’re offline, such as when you are in the subway or have no network while abroad. This is available in all major languages and mobile devices. What was the effect? The City Rail Map app is loved by millions of users all over the world. Because the app is easy to use, it offers stress-free travel. In addition, there is an individual travel planner that you can share with friends and family. Each map has its very own layout where major geographical elements are shown to provide helpful information about the various means of transport. We have plans and projects for taking the app to the next level. We are now looking for partners who can help us make this possible so that one day we can provide City Rail Map for every urban location in the world.

108

Contact: Ansgar Vollmer Vollmer Design mail@vollmer-design.com https://vollmer-design.com


GOLD

tiCket pleaSe

109


Category:

Traffic and Public Transport

Project:

Kumano Kodo Pilgrimage Route Bus Information

What was the challenge? The Kumano Kodo pilgrimage routes were registered as UNESCO World Heritage in 2004 as well as the Santiago de Compostela in 1993. Although the number of foreign tourists has increased in recent years, guidance from transportation hubs / train stations to sightseeing spots was not sufficient in terms of multilingual information. Therefore, the bus information system of Nakahechi route was chosen to be developed. What was the solution? The bus routes in this area are operated by multiple companies, and the method of providing information has not been unified. Therefore, we decided to unify the guidance in this route. To solve the problem, the special committee consisting of the government, tourist information center, bus companies, academics and designers was formed and examined this issue for three years. Then we conducted a questionnaire survey on foreign tourists to investigate the inconvenience of bus services and other issues. As a result the following six items were practiced. - Continuous guidance from the station to the sightseeing spot - Integration of timetables and fare charts at bus stops that differ depending on the bus company - Unification of external sign display for bus vehicles - Unification of guidance methods inside bus vehicles - Providing guide maps near the bus stop - Design mutual communication support board between bus drivers and travelers

Dual pilgrim programme logotype

Target bus route Nakahechi from Ki-Tanabe to Shingu and Nachi

Integrated bus information system

110

Kumano Kodo pilgrimage route


SILVER

tiCket pleaSe

Continuous guidance from the station to the sightseeing spot What was the effect? To evaluate the results, we conducted a questionnaire survey on foreign tourists who visited Kumano area again, and confirmed the improvement results in the following items. - Bus users can now sightsee in the Kumano area without stress. - The unified information has enabled the guide to provide smooth information. - Attracting new tourists and return visits promoted exchanges and revitalized the local economy. In the future, the scope of implementation will be expanded to improve the entire Kii Peninsula.

Route map

Timetable Vicinity map Information (how to ride)

Contact: Kumano Foreign Tourist Transport Promotion Council furukawa_r0010@pref.wakayama.lg.jp http://www.tb-kumano.jp/en/ Unified bus stop signpole

Payment guide in the bus to support communication

111


Category:

Traffic and Public Transport

Project:

Taking Mobility as a Service to the next level

Nearby Dashboard Intelligent Clustering on Map Clustering as points at low zoom level to find the operating area, pins at high zoom level

Favorite Directions Shortcut to find a trip from the current location quickly home, or to another address

Categories for Transport Services For a better overview it is possible to categorize transport services Favorite Places Show different information per type and location based

What was the challenge? With Mobility as a Service solutions, end users (citizens, commuters, tourists, employees, and other travelers) in urban areas plan daily routes from A’s to B’s taking multi-modal trip options into account. Supplemented by booking and paying within the MaaS app, they can Contact: name: Stefanie Pichler / Stefanie Wappel company: Fluidtime Data Services GmbH e-mail: stefanie.pichler@fluidtime.com website: www.fluidtime.com

112

experience seamless mobility while remaining independent of private vehicles. For this purpose, a large number of different public and private transportation services such as bikesharing, carsharing, e-scooters, carpooling, metro and busses, needs to be integrated into a MaaS app, creating a high degree of

complexity and a great deal of visual information processing effort for users. Our task was to visualize transport services as well as other services. We had to create design elements that reduce complexity while maintaining an intuitive user experience during the search and booking process of travelers.


SILVER

What was the solution? With FluidGo, our whitelabel app, we designed an intuitive and lean MaaS Frontend solution that reduces the complex information by standardizing transport services. Furthermore, it simplifies user workflows during search and booking of routes. App users quickly receive information about departures, duration and cost of trips, nearby means of transport and booking details. Filter functions and categories make the app easier to use and provide more clarity and overview. Additional information such as driver details, driver ratings, CO2 savings per route or vehicle details are visually highlighted in an elegant and subtle way. It was significant not to overwhelm users with information, but to inform them sufficiently to proceed with the booking.

tiCket pleaSe

What was the effect? Smart mobility means focusing on the personal comfort, benefits, and preferences of urban travelers. With FluidGo we meet this demand by adapting the daily travel in cities to the end user. FluidGo is straightforward and designed for intuitive use. •

•

FluidGo is used as whitelabel for MaaS solutions across Europe such as in Sweden, Germany, Denmark and Austria. user groups: app features for registered users only in Stockholm; no registration required in Vienna for main functions

113


Category:

Traffic and Public Transport

Project:

Papercast Design System

Papercast is a ground breaking digital passenger information solution using solar powered wireless e-paper displays. It is highly versatile in terms of real-time updating, visibility, configurability and infrastructure independence.

What was the challenge? Challenges were how to create a universal system for presenting passenger information that is highly adaptable to a variety of contexts. And also, how to compensate for the lack of colour, how to streamline the development process on B2B level and finally, how to improve the clarity and relevance of information for the end-users. What was the solution? Based on the market requirements we developed modular information components on a common grid system. These “building blocks” can adapt to the given screen size, orientation and interaction requirements. The modularity enables the use of custom labels and other globally implemented identity elements specific to the transport system’s requirements.

Efficient scanning; a quick glance offers basic service number and first arrival time. Additional info is progressively visible.

A dedicated set of vehicle attributes icons can display occupancy and accessibility as well as on-board services.

Using icons, patterns and microanimations in order to emphasize important information.

Icons offering integrated hybrid and multi-modal transport options in a single view.

What was the effect? Papercast is already developing or deploying configurations for clients such as Flixbus, TfL, BVG, GTT, RTA and Metrolink. These are just some of the +120 worldwide projects. Most recently, the system has enabled Papercast to quickly offer solutions in regards to the COVID-19 measures*.

Contact: name: Matic Leban company/organisation: Matic Leban – visual communications designer for Papercast Ltd. e-mail: info@maticleban.com | azagar@papercast.com website: maticleban.com | papercast.com

114

The modularity of information components allows quick prototyping and is a basis for custom solutions. All newly developed components can be re-used.


SILVER

tiCket pleaSe

Shown display sizes are in proportion.

Adaptable to various use cases, placement, size and orientation such as overhead, bus stop, flagpole or wayshowing displays.

* Occupancy info shown as space left.

115


Category:

Traffic and Public Transport

Project:

London Surface Diagram

What was the challenge?

What was the effect?

To develop a universal mapping system that integrates London’s public transport systems within the M25 area which can be customised for specific purposes or seen as a whole.

London as a destination is above ground and the economy works by using the above ground infrastructure. Streets, landmarks and local identity are critical to generating a sense of surface geography.

The design of the famous Beck tube map from 90 years ago has not kept pace with the complexity of London and it is not graphically capable of integrating other transport modes. TfL now makes Beck style bus diagrams, limited by colour. London's 700 routes cannot, even locally, overlay the tube line colours.

The distribution of these centres is more organic than portrayed by lines on a Tube or rail diagram.

The challenge as been to reflect London at the surface instead of below ground which otherwise is distorted by linear diagrams for individual modes. What was the solution? To identify all the important and local centres and places including stations showing the transport connections between neighbouring nodes with non-conflicting visual language. In graphic theory terms, nodes are linked by arcs. Arcs are train lines or bus lines which are identified and marketed by different operators or companies. In effect, the nodes are ‘gateways’ to city activities and with transport connections and interchanges that offers a ‘post modern’ view of city life. The distinction is not that one is better than the other. We need both for different applications and reasons to understand London.

116

This nodal city concept challenges established mapping with a new alternative and realistic representation of London that has universal application in most large multi-centered cities. Cities are complex. When re-surfacing from below ground or leaving ground level transport, a traveller’s spatial knowledge of the surrounding area can be limited. It doesn’t give the best ‘mental map’ of an area and, indeed, in any big city particularly when judging walking distances and proximity of other transport options.

above: close up of vertical slice through central London

Quickmap has extracted the central area and adjacent areas in the design and publication of its own London allon-one and London bus products. The development of the concept continues with the prospect of incorporating real time information and animation and the ability to separate levels of information for different purposes. London Surface Diagram is a bird’s eye view of the Capital with fine local grain offered by print, web or handdrawn maps.

Quickmap : maps and mapmovies for cities London Studios quickmap.com + mapmovie.com +44(0)20 7813 3397 info@quickmap.com


BRONZE

above: wide area map covering part of north London

above: examples of the application of London Surface Diagram

tiCket pleaSe

https://www.quickmap.com/files/IIID-Quickmap-download-page.htm

below: London Underground diagram and London Surface diagram at every Tube station entrance?

117


Category:

Universal Design

Project:

Please touch! Designing an interactive tactile map for all

What was the challenge? How can tactile maps aid in navigating cities, even when the “city” is a large university campus? With over 38,000 students, 6,000 faculty, 24,000 staff, an airport, and a fire department, the University of California, Davis is a city within a city. The campus comprises 21.5 square kilometers connected by a maze of roads, bike paths, and pedestrian walkways, making it challenging to find one’s way around. The challenge is even greater for individuals who are blind or have low vision. What was the solution? The Student Disability Center and the Center for Design in the Public Interest at the University of California, Davis were awarded a Student Success Grant to design the first truly interactive tactile+audio UC Davis campus map. The project aims to improve and enhance physical access to the University for individuals with visual, learning, and mobility impairments as well as the greater campus community and its visitors. The map depicts the physical features of the Davis campus including buildings and athletic fields, guides users to accessible routes, and informs users of what they can expect at each location such as offices housed within individual buildings. A SmartPen programmed with audible cues works in tandem with the map to assist users in quickly locating buildings, offices, and accessible routes. In a hands-on group study course during two quarters, students in several disciplines collaborated to design and develop the interactive map and to evaluate its effectiveness through user feedback. The faculty-mentored student team, which included blind and low-vision

118

participants, identified the needs of community members and stakeholders, analyzed examples of tactile maps, researched audio pen technologies and tactile map best practices, developed a visual/tactile vocabulary, updated and organized facilities data for programming a SmartPen, and created a prototype for testing. Course instructors coordinated these efforts with an outside vendor to produce the final product.

Project team Team members include Susan Verba, Joshua Hori, Bret Yourstone, Zoe Martin, Kenna Fallan, Connor Wong, Carla Scroggins, Hannah Hill, and Jennifer Billeci. Contact Susan Verba, Center for Design in the Public Interest (DiPi), University of California, Davis sverba@ucdavis.edu http://dipi.design

University of California, Davis

23

Our campus “city”

residence halls

88.5 km

10 museums 13

bike paths

21,000 bicycles

21.5

square kilometers

100 acres arboretum/park

48 buses transit system

athletic fields

population

68,000

38,000 students 24,000 staff 6,000 faculty

Airport Fire department Police station

What was the effect? To reach the widest number of users, the map will be available for public use at strategic campus locations, including the Student Disability Center, Student Community Center, Welcome Center, and Center for Design in the Public Interest. As we explore how to transform our campus “city” into a more understandable and accessible place, we hope to encourage others to develop their own interactive mapping projects and to learn from our collective experiences.

Frank Welte at LightHouse for the Blind and Visually Impaired in San Francisco puts the prototype map to the test.


ALCLLUSIVE

GOLD

IN

Track

P

Interactive Tactile Map

N Legend

Pen Tools Help

?

Volume

P

P

Segundo Residence Halls

Building

Housing Area

Grass

Road/Bike Path

Parking

Walking Path

Water

Bus Terminal

P

Cowell

To Cuarto Residence Halls

Plant

Cruess

P

Speech

P The Domes

Tennis

and Env

ironme

Downtown Davis

Hickey

ntal

Social

Hunt

eye Veihm

Freebo

Student Health

Hoagl

ARC Pavilion

Asmund

and

s & Hum

anities

rn Young

Memoria Union

Wickson

son

Science

r

Activities and Recreation Center

Repeat

P

Courts

l

Dutton

Kerr

Colleges at La Rue

Voorhie

Wellman

Stop Fire & Police

Robbins

on Hutchis

Educa

Briggs

STOP

s

Science Lab

P

P

Rec Pool

t Studen nity Commu Center

Haring

Life s Science

s

Hart

Storer

Walke

s Lib Shield

r

P

tion

Sproul

Olson

rary

Pitzer Music

Student Farms The Grove (Surge III)

P

Art

Surge II

Rock

Silo Union

Chemis

Surge IV

113

Everson

Wright

try

Art An

nex

Giedt

Dairy

Bainer

Mrak

Kemper Physics

To West Village Tercero Residence Halls

Ghausi

Schaal Aquatic Center

P

Junger

man

P Kin g

Alumni Center

Academic Surge

P

Gallagher

Meyer

Med Sci 1C

P

Monda

Tupper

vi Cen

Welco

ter

me Cen

ter

Med Sci 1B Shrem Museum

Medical Sciences District

Maddy Lab

P Valley

Thurman Lab

Vet Med 3B

Vet Med 3A

Gourley

P

Pritchard Vet Med Teaching Hospital Vet Med 2

P

P

80

Map design process

Organizing data for the SmartPen audio

A SmartPen, programmed to read aloud fine details such as accessible entrances and office locations within the building, works in tandem with the map.

A visual/tactile vocabulary was developed to include raised buildings, articulated pathways, and colorful landscapes with tactile patterns.

A spreadsheet provided by Facilities was reworked to strip out nonessential data and edit and alphabetize building names for audio pen programming and easy updates.

119


Category:

Universal Design

Project:

Kumano Kodo Bus Communication Support Board

What was the challenge? Many the inbound visitors to the Kumano Kodo use buses to travel between their accommodation and the recommended start points of walking routes. There are four different bus companies that operate in the area. However, the drivers of each company can only speak Japanese and the extent to how much the companies had tried to cater to foreign guests varied significantly. With a large number of English, Chinese, and Korean speaking passengers, drivers could only communicate using a limited vocabulary and gestures. This led to increased stress on the part of the drivers and a situation where the passengers were unable to effectively communicate their questions. Questions about how to pay the fare, how long it would take to get to their destination, where to go after disembarking, and where the closest bus stop was to their accommodation were particularly common. What was the solution? Bus drivers differ significantly from those working at the tourist information centres. They are bound to strict time schedules and are thus unable to dedicate much time to talking to passengers. For this reason, it was essential to create a tool that would speed up the interaction with the passenger and allow them to solve their queries within roughly 10 seconds. We surveyed bus drivers from each company about the questions they were most asked and created a tool that meant they would only have to point to communicate. Because each of the four companies operate different routes and areas, we adjusted the questions and answers based on their requirements. Furthermore, to make it easier for the passengers, we distributed the tool throughout the bus so that the passenger would be able to think about their question before interacting with the driver.

120

The introduction page which leads to the categorized boards from A to G What was the effect? After implementing this tool, the drivers were able to comprehend the vast majority of the questions posed to them and answer them appropriately. Additionally, because the customers were able to see the questions and often find the answers whilst still remaining in their seats, questions posed to drivers decreased, helping the drivers

tremendously. Because of this, we were able to make their journey less stressful and more comfortable. Contact: Kumano Foreign Tourist Transport Promotion Council furukawa_r0010@pref.wakayama.lg.jp http://www.tb-kumano.jp/en/


GOLD

ALCLLUSIVE IN

Board A : Destination

Board D : Vicinity map

Communication board in a bus

Board B : Nearest bus stop

Board E : Transfers

Board F : Accommodation

Communicate with a driver in a bus

Board C : Money exchange

Board G : Toilets, Sickness

Communicate at the tourist information centre

121


Category:

Universial Design

Project:

Exhibition: »Of sheep and shepherds«

What was the challenge? On the site of the Fränkisches Freilandmuseum (Franconian open-air museum) there is a historic building that is actually a former sheep farm. In this tiny little house with 60 m² exhibition space the small permanent show »Of sheep and shepherds« should be housed. To this day the sheepfold is »in operation« and the visitors have direct insights to the living sheep! As the building is very small the challenge was to place all the content in the right way. What was the solution? We created an exhbition for everyone, but this offer is especially geared towards blind and visually impaired people – for those with cognitive limitations there is a special booklet in »easy language«. And for wheelchair users the accessibility into the building and to the exhibits were created. Wall-mounted display cases are wheelchair-adapted. Actually everyone has something of this inclusive implementation – especially children love to touch things, to open cabinets and to delve into the former way of shepherd-living! With tools, materials and descriptions, the different steps from sheep to wool are shown – each of these techniques has its own small screen on which runs a simple, amusing animation that explains the respective principle. What was the effect? Due to the small building a concentration to the really essential: with great success! The shepard-exhibition is a favored attraction: for impaired and handicapped people just as for everyone else, young and old!

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

122


GOLD

ALCLLUSIVE IN

123


Category:

Universal Design

Project:

Barrier-free orientation: »Landratsamt Ostallgäu«

What was the challenge? The goal was a guidance system for people with and without handicaps – with clear guidance for the blind and visually impaired, for wheelchair users, for deaf and cognitively impaired persons. From access to the room door. The building has 2, 3 or rather 4 levels, within there is a representative area but first of all long, narrow corridors. No chance to put information on walls, floors or ceilings. There was hardly any space for information in the heterogeneous building. What was the solution? Out of this situation, free-standing information elements were created that contain all the information plus wall versions for the staircases and small door plates on the individual rooms. Tactile floor indicators are taken into account as well as a tactile model of the building in front of the entrance. For accessibility, disabled persons normally use the two-senses principle which is to see and feel. This could be integrated well in the free-standing elements: at the correct height and with an inclination of 15° all information are shown tactile in Braille and pyramid font. In addition to that there are tactile floor plans each in the direction of view. These are also helpful for sighted visitors. The special feature: via a button you can have all the contents read aloud. What was the effect? An example of barrier-free design that is good-looking. A pathbreaking realisation which enables visitors of the Landratsamt Ostallgäu to get along: self-determined and unassisted. We are proud that the project receives a lot of media coverage.

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

124


PERSONAL FAVOURITE OF TATIANA & SILVER

ALCLLUSIVE IN

125


Category:

Universal Design

Project:

Fabriano Festival del Disegno

What was the challenge? Fabriano Festival del Disegno is a festival taking place every year in Milan, as an occasion for drawing-lovers of all ages to meet and share the joy of creating with colours and to give graphic form to their thoughts. The 2018 and 2019 editions were held at Castello Sforzesco but it continued with many creative events and workshops scattered throughout Italy. This initiative is nourished by the belief in the power of drawing as a means to help us see the world more clearly and as a vital tool for communication and social change. Drawing has the power to break down cultural and generational barriers enabling us to communicate in a universal language and helps us see things from different perspectives. The above principles have suggested the idea of a project that emphasizes the creation of an inclusive environment where different categories of people can find a way to express their own personality. The aim of the communication was in the first place to advertise this event as an activity open to all, even to those who think they cannot draw a line and in the second instance to allow visitors to orient themselves in the space, between the laboratories and the activities to be carried out.

Contact: name: studio +fortuna company/organisation: Fabriano e-mail: studio@piufortuna.it website: www.piufortuna.it www.fabriano.com/festivaldisegno

126

What was the solution? The inspiring idea for the communication project was the discovery of the pleasure of making a drawing. Letting forms, signs and colours carry us away, feeling weightless with a pencil or a brush in our hand. The project includes the whole identity system, from information to promotion: posters, wayfinding signs, maps, programs, instruction flyers and social communication. The central elements of the project are coloured silhouettes, agile and sinuous figures like the gesture of the hand while drawing a line. Soft as the marks of a paintbrush, they seem dancing and flying expressions of joy. Cheerful and festive, they welcome the participants at the entrance and guide them along the paths or help them find the venues through the map.


BRONZE

ALCLLUSIVE IN

What was the effect? This initiative has proven to be a real celebration of drawing in which adults and children participate every year with growing enthusiasm. The visitors, thanks to maps distributed in strategic points of the Castle and totems with indications of places and programs, were able to orient themselves and partecipate in the workshops. Thanks to the success over the years we are already working on the next edition of the festival.

DOVE doVE E QUANDO QuAndo

FABRIANO FESTIVAL DEL DISEGNO SAlA pAnoRAMicA Atelier d’artista

sabato 14 10.00 10.00 10.30 11.00 11.30 13.00 13.00 13.30 14.30 15.00 15.00 15.30 16.00 16.30 17.00 17.00 17.30 17.30 18.00 18.30 19.00

coRtilE RoccHEttA Laboratori creativi loGGiAto Laboratori creativi

lanza

i AulA didAtticA Atelier d’artista

info point

coRtilE ARMi Laboratori creativi

Apertura laboratori Apertura Gualchiera Angelo Gorlini Urban Sketchers Angelo Ruta Angelo Ruta Silvano Scolari Massimo Polello Silvano Scolari Massimo Polello Genovese | Manetta Emanuela Pulvirenti Pao Piero Guerriero Giulia Orecchia Genovese | Manetta Pao Live Daniel Tummolillo Piero Guerriero Giulia Orecchia Chiusura laboratori

Cortile Rocchetta Sala Panoramica Aula didattica Sala Bertarelli Sala Bertarelli Sala Panoramica Aula didattica Sala Panoramica Aula didattica Fabriano Boutique Sala Bertarelli Sala Panoramica Aula didattica Sala Bertarelli Fabriano Boutique Cortile Rocchetta Sala Panoramica Aula didattica Sala Bertarelli

doMEnicA 15

SAlA BERtARElli Atelier d’artista

10.00 10.00 10.00 10.30 11.00 12.30 13.00 13.00 14.30 14.30 15.00 15.00 16.00 16.00 16.30 17.00 17.30 17.30 18.00 18.30 19.00

cadorna

entrata

cairoli

Apertura laboratori Apertura Gualchiera Urban Sketchers Angelo Gorlini Piero Guerriero Piero Guerriero Emanuela Pulvirenti Pao Massimo Polello Silvano Scolari Giulia Orecchia Genovese | Manetta Massimo Polello Silvano Scolari Giulia Orecchia Genovese | Manetta Urban Sketchers Daniel Tummolillo James Clough Lalu | Matita Chiusura laboratori

Cortile Rocchetta Cortile Rocchetta Sala Panoramica Aula didattica Aula didattica Sala Bertarelli Sala Panoramica Aula didattica Sala Panoramica Sala Bertarelli Fabriano Boutique Aula didattica Sala Panoramica Sala Bertarelli Fabriano Boutique Aula didattica Sala Panoramica Sala Bertarelli Cortile Rocchetta

fABRiAno BoutiQuE Atelier d’artista Via Ponte Vetero 17, Milano a piedi 7 min

www.fabriano.com/festivaldisegno

cAStEllo SfoRZESco

coloRA lA MAppA

Fabriano Festival del Disegno è a cura di Fabriano in collaborazione con il Castello Sforzesco e Comune di Milano

127


Category:

Universal Design

Project:

CoSA Center of Science Activities

What was the challenge? CoSA Center of Science Activities in Graz is an exciting exhibition experience for curious explorers aged 12 and above, conceptualized by FRida & FreD and Universalmuseum Joanneum. 13 differently themed rooms in the CoSA were designed and implemented by various curators and design teams. A uniform graphic design should bring consistency to this diversity. What was the solution? A clear hierarchy of information ensures an entertaining reading experience at the stations. Yellow “Action Bubbles” with specific instructions demonstrate how visitors can take action at the stations, pictures and lively illustrations enrich the graphics. Overall, there are many digital stations in the CoSA, which have been implemented technically by several external partners. To guarantee a uniform graphic language, the structure of the screen design was based on various layout examples: recurring symbols as well as predefined text and graphic modules make it easier for visitors to navigate on the monitors. In terms of color, the designs were always adapted to the respective room color. What was the effect? The consistent graphic design arouses desire for knowledge and contributes significantly to a successful and wellrounded exhibition experience in CoSA. Photography: Stiefkind Fotografie, look! design Graphic production math quiz, turntable: Unter freiem Himmel / screens: Petra Heider

Contact: Stefanie Schöffmann look! design office@look-design.at www.look-design.at www.museum-joanneum.at/cosa-graz

128


SHORTLIST

ALCLLUSIVE IN

Gut zu wissen!

Spalte

3mm

Spalte

3mm

Headline Klein

10,5mm

Headline Englisch

Fließtextfeld klein über fünf Spalten Foto: Center of Science Activities Bildcredit

25,2mm

33,6mm

2 Spalten

Here is another short info that is not important at first glance, but may be of more use to those who are particularly interested.

Wieso kann eine Stewardess Tee einschenken, obwohl sich Tee und Tasse mit 900kmh bewegen?

Handschrift

Why is a stewardess able to pour tea, even though tea and cup move at 900kmh?

Handwriting

Creditangaben für Foto, Illustration, Film, etc.

Bildunterschrift Caption

Hier steht noch eine weitere kurze Info, die nicht auf den ersten Blick wichtig ist.

Wissensfrage falls vorhanden (Antwort soll sich aus dem Text/der Illustration ergeben)

Bildunterschrift

2,5pt Linien für zusätzliche Illustrationen im Indesign

10,5mm Here is another short info

1,25pt

NERDINFORMATION

that is not important at first glance. Fließtext klein über beliebig viele Spalten möglich

16,8mm 3mm

3 Spalten

Hier steht noch eine weitere kurze Info, die nicht auf den ersten Blick wichtig ist, sondern eher fuer besonders Interessierte von Nutzen sein kann.

15mm

Spaltenabstand schmal

9 Spalten

NERD INFORMATION 15mm

Nerdinformation falls vorhanden

Hier steht ein Call-to-Action! Here is a Call-to-Action!

Call-to-Acton, sofern das Exhibit interaktiv ist; setzt sich aus drei Bubbles zusammen; kann beliebig aus den drei Größen zusammengesetzt werden

129


Category:

emergency/safety

Project:

floodscape

The dormant stage of the app lets you simulate and explore a potential tsunami scenario in your local area.

What was the challenge? Floodscape focuses on the changing situations in the case of a tsunami. In an emergency, visual perception and situational awareness may be restricted due to the impact of sensory symptoms (panic, tunnel vision or limited motor skills), thus calling for a linear course of action to enable the user to concentrate at the task at hand. What was the solution? Floodscape is a mobile application designed to educate its user about possible inundation zones resulting from a tsunami in their communities. Ongoing user engagement through interactive simulation is the prime focus of the initial (dormant) state of the app. In case of an actual tsunami the app registers the event and adapts its UI accordingly. Crucial life-saving wayfinding information will be displayed in a contextual manner considering contrast, typography, limited user attention and ease of use. Estimated time of arrival, current location, escape routes and notifications to neighbours and relatives are all unambiguous in the design, functionality and usability of the app. The industrial design practice of calm design inspired the concept of this tsunami warning and education app. What was the effect? By complementing an original design with a dormant (hidden) level of visual information that only appears in case of an emergency, the public’s resistance to disaster education and risk reduction can be overcome. Both levels are complementary and unambiguous in their usability but are different in their function.

Contact: name: klaus kremer company/organisation: Massey University e-mail: k.kremer@massey.ac.nz website: kremerconcepts.com

130

dormant state (for education)

active state (for emergency)

intro

simulation

warning

risk maps

response maps

support

contacts

message


PERSONAL FAVOURITE OF ROB & GOLD

quick access menu

group setup

projected inundation zones

personal threat + escape routes

dormant riskmap

S

S

active response map

In a real tsunami event, the UI adapts to the developing threat presenting visual information in tune with your changing mental state and narrowing focus. Risk maps change to response maps galvanising attention and calling you to action.

see the app in action: https://youtu.be/t3jTw9fR3zU

A modular interface allows the user to combine quick messaging to individual groups.

131


Category:

Emergency: COVID-19 Projects

Project:

COVID-19 Urgent Care Communication

What was the challenge? During the COVID-19 crisis, clarity, speed and accuracy are key to effective communications. Faced with hundreds of people coming to the emergency room and rapid assessment centers, and no appropriate communication tools, we decided to start the printables project. We wanted to meet the needs of physicians and patients by collaborating on a solution that addresses access and inclusiveness for a diverse population in urban Canada, within the resource constraints of COVID-19 lockdown. What was the solution? The COVID-19 Printables Project is an open access, web delivered set of adpatable, printable 1 pagers in plain languge, inforgraphic style on key comunication needs, in multiple languges. The project includes printables on self-management, self-isolation, testing, apartment building safety, communicating when someone is isolated in hospital, and the difference between distancing, isolating, and isolating while sick. The resources are updated based on public health guidelines and can be edited by staff at hospitals and clinics to adapt to their local guidelines and protocols. What was the effect? Centers and clinics are now downloading and adapting these all over the world, and new languages were added daily - we now have over 47 languages. Since the printables are open access, physican reviewed and meet public health guidelines, they have been particularly helpful for reaching vulnerable groups, newcomers, and refugee communtities.

Contact: name: Dr Kate Sellen company/organisation: OCAD U e-mail: ksellen@faculty.ocadu.ca website: www.healthdesignstudio.ca

132

The example on the left is typical of patient information at hospital sites. Often copied multiple times and not usually in color. Printing and managing two sheets in an emergency room with PPE on is cumbersome. Color printing, stapling or two sided printing is not usually available. Icons and headings don’t often relate directly to the message. Low literacy and multiple languages may not be available.

Inclusive, Plain Language, Adaptable, Reassuring, 1 Page Printouts We committed to creating high priority printable communications covering the detailed needs for an emerging crisis in an inlcusive and spreadable way. Step 1 - distilling text heavy advice into simple steps and concepts, and creating simple, friendly, and flexible inlcusive icons

Step 2 - constructing an information design strategy based on process (e.g. leaving your apartment), place (isolating at home), or state (feeling worse)

Step 3 - consistent supportive language on staying home

Step 4 - multidisciplinery review with a team of physicians, public health, and patient experience specialists Step 5 - identifying information that must be left editable for adaptation to local guidelines or resources, and translation.


COVID-19 PRIZE & SILVER

Printables respond to top priorty communication needs The two most requested sheets are self-management of COVID-19 and how to self-isolate if you are sick. We have identified 25 prirotiy languages with refugee services groups.

S

S

Awareness, Access, and Use We launched the project in less than 7 days and have over 40 languages. The project was spread over social media via medical groups and physicians, and then picked up by community health centres and public health organisations from many locations and regions. The endoresement of Canadian Association of Emergency Physicans enabled smaller health centres and groups to confidently download, adapt, and use the materials.

The materials can work as printouts, posters, and as digital media. All icons and wording can be reconfigured when guidelines change. The materials are now being turned into digital animations for spread over additional social media platforms.

The project is a collaboration between many partners. We thank all our volunteers and translators for their support.

133


Category:

Emergency

Project:

Information for High Risk Populations

What was the challenge? The wide prevalence of drug overdoses in Alberta during Covid-19 has left many high risk populations without access to information on how to live safely during a pandemic. Some high risk populations that have a risk of overdoses have very little access to health education and many of them live on the street. Alberta Health Services produced quick guidelines for communities at risk during Covid-19 in the week of April 24, 2020. What was the solution? Information materials were written and designed to be distributed at high risk sites such as Supervised Drug Injection Sites, Community Centres for high risk adults and youth and for Essential workers that treat street youth. Illustrations are original and guidelines were developed in conjunction with a team of stakeholders. What was the effect? These prototypes will be distributed to Community based programs, Opioid Dependency Programs and Supervised Consumption Services and will be tested with users at the sites in the form of a survey. Prototypes and user testing is ongoing and guidelines will be developed as we discover new ways to reach vulnerable population and decrease the spread of Covid-19.

Safer Use DURING COVID-19. Take Care

1

20 sec

• Wash your hands with soap and water, hand sanitizer or alcohol wipes for at least 20 seconds. • Prepare your own drugs.

• Wipe surface with a disinfecting wipe.

Do Not Share

2

• Needles or syringes (rigs), cookers, filters, joints, cigarettes, pipes, straws, bottles. • Wipe equipment before use. • Throw out used equipment in sharps bin.

3

Be Space Aware • Stay at least 2 metres (6 feet) apart.

2m

Plan & Prepare

4

• Illness may change your tolerance to drugs. Using less or changing how you take them may help (e.g., swallowing instead of smoking).

CLEAN + DISINFECT to prevent COVID-19.

• Stock up on supplies, equipment and naloxone.

Clean visible dirt with

• You may go into unplanned • Soap or baby wipes for withdrawal. Talk to your health • The drug supply may change – hands and body care provider or harm reduction • Detergent for clothing start low, go slow. agency about what you can do and surfaces

1

• Stagger use with someone who Disinfect to destroy can call for help if needed. the virus with • Disinfectant wipes (e.g., Clorox, Lysol) for surfaces

Don’t mix products!

• Bleach or hydrogen peroxide for surfaces • Alcohol (at least 70%) for hands and surfaces

What to Clean

2

• Wash before and after cleaning your space, and before and after using drugs • Drug packaging: baggies, vials, packets, foil, papers • Counter, table or surface before and after use • Faucets, door knobs, drawer or cabinet handles • Any equipment being reused (e.g., lighter, pipe) • Equipment packaging (e.g, syringes, cookers, condoms)

134

4

20 sec

• Take care of your skin to avoid skin breakdown from frequent cleaning. • Use lotion, petroleum jelly, or whatever is available.


SILVER

S

S

What you can do to PREPARE FOR COVID-19. Distance yourself

1

• Stay at least 2 metres (6 feet) apart from others. • Need to give someone something? Set it down and move back 2 meters.

2m

Plan ahead

2

3

• Regular supply may be a problem, and sources may be different.

• Prepare for poisoning or withdrawal. Stock up on naloxone. Talk to your health care provider.

• Call friends who can get you what you need during isolation.

Stock up in case of isolation • Have 14 days of supplies, like drugs and equipment, or other necessities.

• Get a larger sharps container, or more smaller ones. wipes

Have an isolation plan

4

• If you have a fever, cough, shortness of breath, difficulty breathing, sore throat, runny nose, test positive, or have been near someone who might have COVID-19, isolate.

• Stay in your own space.

• Do not share: use your own items (toiletries, food, linens).

• If you don’t have a place to isolate, call 811 for help.

Contact: name: Gillian Harvey company/organisation: University of Alberta e-mail: gharvey@ualberta.ca website: ualberta.ca

135


Category:

Covid-19 Projects

Project:

Tookit wayfinding schools

What was the challenge? Schools and child day care facilities were closed during the Covid-19 crisis. In recent events the institutions are opening doors again. By opening there are new guidelines how to manage and control schools and child day care by introducing strict government guidelines. These guidelines include keeping distance and creating walking routes in and out of the building. The government provides posters for hygiene, but not for routing and wayfinding. What was the solution? We have created a free toolkit wayfinding to create routes and signs for schools. The toolkit covers a step by step guide on doit-yourself creating corona-proof wayfinding. The toolkit comes with guidelines for placement and templates for posters in Microsoft Word. The posters include a 3-step wayfinding system; entry area, wayfinding and facilities. The posters can be changed and printed by the schools themselves. The toolkit is a Covid-19 guide for quickly creating save routes and wayfinding.

/designworkplan

What was the effect? Many schools and child day cares in The Netherlands have used the toolkit wayfinding. The do-it-yourself method is proven to be a good solution for quickly creating concise and consistent messaging. This project is a self initiated side project to share our wayfinding knowledge on creating routes and signs.

Contact: name: Sander Baumann company/organisation: /designworkplan e-mail: sander@designworkplan.com website: www.designworkplan.com/nl

136

Toolkit bewegwijzering

Stappenplan ! !

Gebouw

Omgeving

Bepaal het route scenario Bepaal aan de hand van de plattegrond van het gebouw het route scenario. Zie pagina's 4, 5, 6, 7 met voorbeelden.

! !

"# $%&'(!&'!)**+!,-!./'0!*++&&'! 1"!2,0&%!23!4&%52%(&%6! 7# 8*9):!;/<!0&!/'(*'(!4*'!)&:! =9)22+>+&/'! ?# @*!'/&:!'**%!;/''&'A! B# $+/<3!2>!"#C!D&:&%!*3=:*'0!4*'! &+.**%!! C# E20%*!0&!+&&%.%*9):!**'(&&3:! )&:!.*'!,!,-!./'01%&'6! ;%&'(&'!F!2>)*+&'! G# H22>!4/*!0&!5/<.*':!0/%&9:!-&(! &'!)2,0!*3=:*'0! I# J%*(&'K!$&+!L**D! M9):&%'**D!2>! N:&+&322'',DD&%O!

Gescheiden looppaden Maak zoveel als mogelijk gescheiden looppaden met vloerstickers en geef de looprichting aan.

"#$! "#$%&'%!

Bewegwijzering Gebruik de WORD templates voor het maken van de bewegwijzering posters.

Advies:

Advies:

Advies:

_Zorg voor veilige routes rond en in de

_Gebruik een hoog contrast kleur voor

_Print de posters op minimaal A3 formaat

gebouw(en) _Bij voorkeur geen ouders in het gebouw

een scheiding, zoals geel. Minimale breedte van de tape 50 mm

_Voor bezoekers is het uitgangspunt zo

_Gebruik minimaal 30 cm ø pijlen

min mogelijk en zo kort mogelijk binnen _ Plaats huisregels bij de ingang(en) van het gebouw _ Test het scenario of het werkt en pas aan waar benodig

_Gebruik minimaal 60 cm ø voor trefpunt

Toolkit bewegwijzering

cirkels

420 x 297 mm _Bij grotere ruimtes en gangen print de posters op A2 formaat 420 x 594 mm _Plastificeer de posters indien mogelijk _Huisregels bij de ingang(en) _Maak duidelijke "IN" en "UIT" routes _Positioneer de posters aan de hand van de voorbeelden op pagina's 13, 14

Pagina 3

/designworkplan


S

SILVER

S

Posters en stickers

Waar plaats je de informatie

Regels

1. Breng en haal uw kind alleen (1 ouder of verzorger) 2. Wacht bij de ingang van het schoolplein 3. Ga niet naar binnen! 4. Blijf op 1.5 meter afstand van elkaar 5. Zodra de leerkracht aangeeft het kan u uw kind(ren) brengen / ophalen 6. Loop via de zijkant direct weg en houd afstand 7. Vragen? Bel Naam Achternaam op {telefoonnummer}

Richtlijn Naast de deur

Op de deur

Gang / wand

Los staand bord

2-1_A3_Huisregels-ingangschoolplein.docx

Halen en brengen

• Wacht totdat de leerkracht aangeeft dat ze uw kind kan aannemen / afgeven • Volg de “UIT” borden naar de uitgang • Brengen en halen is alleen op dit “Trefpunt” • Ga niet naar de groep • Indien niemand aanwezig is wacht totdat iemand u komt helpen • Bij vragen bel {tel.nummer}

Groep xx

• Ga niet de groep in • Ophalen en afgeven alleen bij de deur van de groep • Houd voldoende afstand tot de leerkracht • Bespreek het ophaal of wegbreng tijdstip en kom op het afgesproken tijdstip • Volg de “UIT” borden naar de uitgang • Bij vragen bel {tel.nummer}

Kantine • Houd de kantine netjes en schoon • Houd voldoende afstand tot je collega’s • Niet meer dan 2 personen tegelijk in de kantine • Was je handen regelmatig • Ontsmet de deurkruk en lichtknop regelmatig

duidelijk de huisregels weer _Gebruik korte directe zinnen en vermijd lange teksten _Plaats de huisregels bij de ingang van het gebouw in A3 _De regels zijn als WORD bestand eenvoudig zelf aan te passen en te printen

3-1_A3_Regels-halen-brengen.docx

3-2_A3_Regels-groep.docx

3-3_A3_Regels-kantine.docx

Vloersticker

Gecentreerd

De algemene huisregels gelden voor het gebouw.

_Geef in een stappenplan

Vloerstickers zijn goed online verkrijgbaar.

_Bij voorkeur een

Bovenzijde 160 cm

gematteerde afwerking van 300x300_Blauw_Pijl.pdf

de sticker

300x300_Blauw_Kruis.pdf

_Slijtvaste vloerstickers _Let op! Bij leveranciers is

A4

A4

A3

A4

A3

A4

A3

er vaak een verschil tussen

A4

A3

binnen en buitenkwaliteit.

A3

Streep

600x600_Blauw_Trefpunt.pdf 1500x50_Geel_Baan.pdf

/designworkplan

Aan de zijde van de deurkruk

Gecentreerd op de deur

Meerdere posters naast elkaar op de wand

1500x50_Geel-Zwart-Baan.pdf

Toolkit bewegwijzering

Pagina 9

/designworkplan

Posters bewegwijzering

Losstaand bord

Verwijzen IN

Plaats de poster naast de deur aan de zijde van de deurkruk of op het midden van de deur.

600x600_Blauw_afstand-houden.pdf

Advies hoogte

_Positioneer de poster met de bovenzijde

IN

IN

IN

IN

Voorbeelden voor “IN” verwijzen.

_Verwijs vanaf het beginpunt (ingang) naar het trefpunt of naar een specifieke groep

op 160 cm. _Zo is de poster voor iedereen leesbaar, ook voor mensen in een rolstoel.

TREFPUNT 4-1_A3_IN_Links-Trefpunt.docx

Verwijzen UIT

UIT

TREFPUNT 4-2_A3_IN_Rechtdoor-Trefpunt.docx

UIT

TREFPUNT 4-3_A3_IN_Rechts-Trefpunt.docx

UIT

GROEP xx 4-4_A3_IN_Trap_Links_Omhoog_ Groep.docx

UIT

Voorbeelden voor “UIT” verwijzen.

_Verwijs vanaf het trefpunt (overdracht) of vanaf een specifieke groep naar de uitgang

UITGANG /designworkplan

Toolkit bewegwijzering

Pagina 13

/designworkplan

5-1_A3_UIT_Links_Uitgang.docx

UITGANG 5-2_A3_UIT_Rechtdoor_Uitgang.docx

UITGANG 5-3_A3_UIT_Rechts_Uitgang.docx

UITGANG 5-4_A3_UIT_Trap-Rechts_Omlaag_ Uitgang.docx

Toolkit bewegwijzering

Pagina 10

/designworkplan

Posters Trefpunt en faciliteiten

Waar plaats je de informatie

Trefpunt

Trefpunt Alleen hier halen/brengen

Voorbeelden

6-1_A3_Blauw_Trefpunt_halenbrengen.docx

Faciliteiten

Maximaal 2 personen tegelijk in de lift

7-1_A3_Blauw_Lift-2.docx

Naast de deur

Op de deur

Dubbele deuren

Treftpunt / losstaand

Wacht streep

/designworkplan

Trefpunt Wacht hier op de leerkracht

6-2_A3_Blauw_Trefpunt_wacht-hier. docx

Maximaal 1 persoon tegelijk in de toiletten

7-2_A3_Blauw_Toilet-1.docx

Trefpunt Wacht hier

6-3_A3_Alert_Trefpunt_wacht-hier. docx

Houd 1.5 meter afstand

7-3_A3_Blauw_Balie.docx

Toolkit bewegwijzering

Geen toegang voor ouders. Kinderen hier ophalen en wegbrengen.

6-4_A3_Alert_Geen-toegangschoolplein.docx

6-5_A3_Blauw_Deur_wacht.docx

Houd rechts aan

7-4_A3_Blauw_Route.docx

Wacht voor de deur A.U.B.

Schoolplein

Trefpunt Hier wachten

7-5_A3_Blauw_Wachten.docx

Pagina 11

/designworkplan

Posters aanpassen

Word Teksten wijzigen Open het WORD bestand en klik het tekstvak. Selecteer de tekst en pas deze aan. Gebruik de knoppen "stijlen" voor de juiste lettergrootte. Druk op “SAVE” op “OPSLAAN” om de poster op te slaan.

Trap

Lift

Looprichting

Natuurlijke scheiding

Natuurlijke scheiding

Via “PRINT” kunt u de poster printen. Pijl of pictogram wijzigen Klik het pictogram aan om deze aan te passen. Met de rechtermuisknop of knop kies “Afbeelding wijzigen”, selecteer de gewenste pijl of pictogram in het mapje Pijlen of Pictogrammen

Toolkit bewegwijzering

Pagina 14

/designworkplan

De nummers van de posters correspondeert met de WORD bestanden. Toolkit bewegwijzering

Voorbeeld route bij ingang schoolplein

De namen van de bestanden zijn een beschrijving van het pictogram. Pagina 12

/designworkplan

Voorbeeld route in gebouw met gescheiden in- en uitgang

Schoolplein

Trefpunt in gebouw

1. Breng en haal uw kind alleen (1 ouder of verzorger) 2. Wacht bij de ingang van het schoolplein 3. Ga niet naar binnen! 4. Blijf op 1.5 meter afstand van elkaar 5. Zodra de leerkracht aangeeft het kan u uw kind(ren) brengen / ophalen 6. Loop via de zijkant direct weg en houd afstand 7. Vragen? Bel Naam Achternaam op {telefoonnummer}

2-1

6-1 3-1

UIT

4-2_A3_IN_ RechtdoorTrefpunt.docx

Schoolplein

UITGANG

5-1

6-4

2-1

5-1_A3_UIT_ Links_Uitgang. docx

Geen toegang voor ouders. Kinderen hier ophalen en wegbrengen.

6-4_A3_Alert_ Geen-toegangschoolplein.docx

5-2

1. Breng en haal uw kind alleen (1 ouder of verzorger) 2. Wacht bij de ingang van het schoolplein 3. Ga niet naar binnen! 4. Blijf op 1.5 meter afstand van elkaar 5. Zodra de leerkracht aangeeft het kan u uw kind(ren) brengen / ophalen 6. Loop via de zijkant direct weg en houd afstand 7. Vragen? Bel Naam Achternaam op {telefoonnummer}

Gebouwingang 2-3

Gebouwuitgang

UIT UITGANG

2-1_A3_ Huisregelsingangschoolplein.docx

5-1_A3_UIT_ Links_Uitgang. docx

Schoolplein

5-1

Poster positie + nummer Voorbeeld looproute

Poster positie + nummer

1. Breng en haal uw kind alleen (1 ouder of verzorger) 2. Wacht bij de deur totdat u naar binnen kunt 3. Indien een andere ouder in de gang staat, wacht totdat deze op voldoende afstand is 4. Ga niet naar de groep, halen en brengen alleen bij het “Trefpunt” 5. Volg de “IN” en “UIT” borden en houd afstand 6. Vragen? Bel Naam Achternaam op {telefoonnummer}

2-3_A3_ Huisregelsgebouw-trefpunt. docx

UIT UITGANG

5-2_A3_UIT_ Rechtdoor_ Uitgang.docx

Trefpunt Alleen hier halen/brengen

6-1_A3_Blauw_ Trefpunt_halenbrengen.docx

Halen en brengen • Wacht totdat de leerkracht aangeeft dat ze uw kind kan aannemen / afgeven • Volg de “UIT” borden naar de uitgang • Brengen en halen is alleen op dit “Trefpunt” • Ga niet naar de groep • Indien niemand aanwezig is wacht totdat iemand u komt helpen • Bij vragen bel {tel.nummer}

3-1_A3_Regelshalen-brengen. docx

UIT UITGANG

5-1_A3_UIT_ Links_Uitgang. docx

5-1

Voorbeeld looproute

Krijtcirkcels en/of lijnen

TREFPUNT

Trefpunt 2-1_A3_ Huisregelsingangschoolplein.docx

Schoolplein

IN

5-1

Gebouwingang

5-1

De namen van de bestanden geven de richting van de pijl aan.

4-2

Krijtcirkcels en/of lijnen

Kind(ren) ophalen / wegbrengen bij ingang van het schoolplein.

Toolkit bewegwijzering

Maak een routing bij de ingang van het schoolplein met een gescheiden looprichting.

Posters voor buiten moeten geplastificeerd worden.

Kind(ren) ophalen / wegbrengen op een vast trefpunt in het gebouw met gescheiden in- / uitgang.

Pagina 4

/designworkplan

Toolkit bewegwijzering

Maak zoveel als mogelijk gescheiden routes voor "IN" en "UIT". Gebruik vloerstickers voor het aangeven van het treftpunt.

Zorg voor zicht op de binnenruimte van buiten zodat je kunt zien of er iemand in de gang voor je is. Maak wacht cirkels/lijnen voor de ingang.

Maak in het gebouw duidelijke “IN” en “UIT” routes en zorg voor een duidelijk trefpunt bij de overdracht.

Pagina 6

/designworkplan

137


Category: Project:

Emergency / Safety CoronaVirus-Navigator

What was the challenge? At the beginning of February, during a trip abroad via various airports, I realized that the information about the spread of the corona virus was becoming increasingly threatening. In search of more concrete data, I discovered the LiveTracker of the Center for Systems Science and Engineering (CSSE) at John Hopkins University, USA - developed with the good intention of providing quantitative, geographically located data as an alternative to emotional headlines.

Contact name: Andreas Schneider company/organisation: IIDj e-mail: as@iidj.nt website: https://api.iidj.net/coronavirus/

138

However, after having visualized similar issues before, such as the spread of radioactivity after the catastrophe of 2011/03 in Northern Japan, I immediately understood that the principles chosen for the presentation would rather cause/support misunderstandings. Circles, which by their size should indicate the number of cases, are inevitably read as geographical coverage in the context of the underlying map. This problem becomes more and more acute with increasing numbers and hence larger circles. The choice of colors – red/black – induces a feeling of ominous threat, which impedes sober communication and understanding.


SILVER

What was the solution? CSSE has to be credited for providing daily updated lists of cases, identifying infections, recoveries, and fatalities per country or province apart from their map-based dashboard. This has allowed me to create a constantly updated 3-D view where cases are represented by vertically growing bars, distinguishing the three levels available in the data. On inspection, these elements show detailed information such as location, date of update, and a categorized list of cases. To be fast, I choose GoogleEarth as platform. Since I soon found out that most people cannot see this format, a second version followed, which made the interactive earth view available for standard browsers – also on mobile devices. Later, the snapshot of the current status has been updated to include a time-slider allowing to browse past data to the present

What was the effect? When I saw the 3-D presentation for the first time, my understanding of this crisis changed radically. The place where the virus was first identified had an incomparably higher number of cases than any other place nearby. All affected places were gathered in a small part of China, which clearly shows the need to provide data by identifiable significant agglomerations/ communities - and not by arbitrary political entities - such as provinces or countries. Nevertheless – even today, the spread is still communicated mainly on a countryby-country basis, which emphasizes the sense of US against THEM and reinforces the urge to build walls and barriers while a coming together and joining of forces across borders is really needed.

S

S

api.iidj.net/coronavirus/ api.iidj.net/coronavirus/timeline api.iidj.net/coronavirus/kml

139


Category: Project:

Emergency: COVID-19 Look out for each other

2m

What was the challenge? Even during strict pandemic lockdown, there are public places where people still unavoidably congregate, like food shops, pharmacies, banks, etc. Information about risk-minimizing behaviours during this crisis needs to be thorough, clear, respectful but authoritative and look professional and trustworthy. Designing information that ticks all these boxes takes time and skill, but in order to keep everybody safe, these designs need to be free and widely available. While uncertainty surrounds the future, we know that some of these new behaviours will become normal and expected, and the sooner we all learn them, the better.

What was the solution? We designed a modular set of graphics and messages that can be combined in order to communicate new behavioural rules to the public upon entering public spaces in a clear and authoritative way. Anyone can download for free, print and display according to their specific needs on the relevant customer contact points. We open-sourced the textual elements in order to create versions in as many languages as possible.

What was the effect? Shortly after we published the graphics bundle, we received a request from the Tyrolean Chamber of Commerce, to make these graphics officially available to all businesses in the area, as well as requests from larger companies to adapt the graphics to their corporate graphic identity, thus helping us sponsor the project widely. The project is alive and ongoing, with new graphics being added as the crisis develops.

planning information

shopping cart retrieval

building entrance

shopping area

sitting waiting room

reception

Top: life-like illustrations are more friendly than more abstract pictograms, but devoid of detail for a more immediate understanding Above: Accompanying texts have been translated into 11 languages. Right: The graphics bundle is accompanied by a service design guide for non-designers, to help them identify the critical moments in their users’ journey so they can apply the posters and symbols in the optimal context.

140

queueing area

checkout


BRONZE

S

S

Above: the project in use. Below: some posters can be personalized according to the users’ particular needs, and all can be printed in color or black and white in standard sizes.

Only

Accesso limitato #PrendiamociCura

max

Pers.

people at a time www.motas.design

#Lookoutforeachother

Zugang limitiert www.motas.design

#AufeinanderAchtgeben

Contact: name: Sol Kawage, Christian Lunger company: motasdesign e-mail: office@motasdesign.com website: www.motas.design

141


Category: Emergency/Safety Project: COVID-19 Prevention Manual What was the challenge? With the rapid spread of COVID-19 all over the world, the threat of a pandemic has become real. If stronger prevention and control measures, as well as a decisive cutoff of the infection source, are not carried out, a more severe outbreak of COVID-19 will take place worldwide and bring great aftermath and harm to the global economy and residents’ daily life. In the face of the increasingly severe epidemic situation worldwide, we exert our wisdom of design in the battle against this epidemic, adhering to the principle of "people-oriented". Aiming at enhancing public awareness, understanding, recognition, and prevention of this new disease, improving the level of social security efficiently, and reducing or avoiding the harm caused by it, “COVID-19 Prevention Manual” makes it easier for the public to learn how to prevent the coronavirus through the form of pictures and words. What was the solution? Popularizing the knowledge of the COVID-19 as well as enhancing public awareness and the ability of its prevention and control is one of the key guarantees to win the battle against the epidemic. For this reason, we designed the “COVID-19 Prevention Manual” with cartoon images inside its pages. The main content of the manual is divided into six parts: “Transmission and Epidemic Characters to COVID-19”, “Clinical Feature and Response to COVID-19 Cases”, “Prevention and Control Measures”, “Prevention and Control Requirements for Special Groups and Sites”, “Common Disinfection Methods”, and “Common Errors in Prevention and Control”. It deals with public confusion during the process of epidemic prevention and control, and provides solutions to the public, which helps to implement the current work of the epidemic prevention and control 142 orderly. more

What was the effect? in vulputate velit esse molestie consequat, vel illum dolore eu feugiat nulla facilisis at vero eros et acc umsan et iusto odio dignissim qui blandit praesent luptatum ril delenit augue duis dolore te feugait nulla facilisi. Nam liber tempor cum soluta nobis eleifend option congue nihil imperdiet doming id quod mazim placerat facer possim assum. Sit amet, consectetuer adipiscing elit, seddiam nonummy nibh euismod tincidunt ut laoreet dolore magna aliqam erat volutpat. Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper suscipit lobortis nisl ut aliquip ex ea commodo consequat..

Contact:

name: Xiaowei Lv company/organisation: Sino-German Industrial Design Center e-mail: design_center@vip.163.com website:http://sgcidesign.com


BRONZE

S

S

143


Category:

Corporate Design and Communication

Project:

Optimizer, buidling a tool for data-driven logistic optimization

What was the challenge? Since globalization has increased the activity of goods importation and exportation, the logistic cells have to handle an increasing number of requests for transport (air travel, sea travel, road travel etc.). The transportation logistics can cost up to tens of thousands of euros each year for the big exporters. That is why each optimization in the process of handling the requests can lead to huge benefits timewise and money-wise.

Each operator in a logistic cells handles between 100 and 600 transport requests per day and considers between 1000 and 5000 paths possibilities. The goal for the operator is to minimise the cost while preserving the quality of services and delivery delays.

What was the solution? We have created a tool for logistics operators to optimise the planification of goods transportation. Thanks to an optimized algorithm developed by ekino’s data scientists, our solution can take multiple parameters into account : - Physical constraints of the goods (weight, volume, etc.) - Regulations constraints (temperature, risk of explosion, etc.)

- Delivery delays requested by the client (anticipate the travel time) - Different level of service requested Cost of each services

144

The operators usually finds solutions based on their work habits without being able to explore all the possibilities since there are usually thousands of possible paths for

We have designed a fast and user friendly interface for the operators that allows the planning of hundreds of goods transportation in seconds (instead of several hours). When designing the interface, the primary objective was to allow the operator to easily view the transport requests he received. Then, once the optimization algorithm was completed, the optimal route had to be displayed as clearly and concisely as possible, along with key transport information. Particular attention was paid to the visual transcription of the benefits provided by the algorithm.

each request. Moreover, these tasks can be very time consuming because of the lack of proper planning tools : a lot of paperwork, multiple applications and maps, etc. As a consequence, the operators don’t have the time to put the effort in their real missions : handling the incidents and follow up of the critical events each request.


SILVER

B2C C2B

What was the effect? The tool suggests relevant goods grouping that will take into account all the constraints while providing the best solution from an economical point of view. Our solution helps to save money on transportation, but also to be more environmentally friendly, by ensuring that each transport is well filled and avoiding half empty carriage. For the logistic operators, it’s a simple and user-friendly interface that is simplifying their everyday job. It’s also a time saving solution that allows them to focus on their main mission.

Contact: name : Orianne Trouillet company/organisation : ekino e-mail : orianne.trouillet@ekino.com website : https://www.ekino.fr/

145


Category:

Corporate Design and Communications

Project:

Visual contracts for Shell

What was the challenge? Traditional contracts are written in legal jargon and hard to understand. So negotiation takes longer than it should, and no one except the lawyers understand what’s in them. Shell are pioneering a new approach to contracting, in which the speed of negotiating a deal is a key differentiator. Clear, user-centric contracts are a key part of this. What was the solution? Working with the International Association for Contract and Commercial Management (IACCM) we developed a proof of concept for consultation within Shell, transforming a series of typical contract clauses into plain language, with clear navigation and visualisation. Shell’s lawyers were supportive and we moved to a full contract for one division – Marine Lubricants. The solution is a shift in genre: we turned a legal document into a user guide. This means making it easy to skim read, and to see the question which each clause is answering. The information architecture prioritises action-oriented information, with any purely legal clauses relegated to the back of the document.

right This is the contract after Shell’s lawyers had translated the original one into plain language. But it still wasn’t usable.

Price The price of the Marine Lubricants will be the price shown in the Price List which is in force on the date we receive the Nomination from you. This price is valid for 30 days from the date of the Nomination. If Delivery takes place after this 30 days period, the price shown in the updated Price List will apply.

3.2

below This is exactly the same text in our visual format, with generous space, and skimmable headings and notes in the left-hand margin.

We will provide you with at least 30 days’ prior written notice of any proposed changes to the price which results from a price review and/or to the range of Marine Lubricants available. If you think the increased price is unreasonable, you may, within 30 days of receiving our notification, notify us of this in writing (Objection). Within 10 days of receipt of your Objection, a representative from your company and our account manager (Representatives) shall confer at least once to discuss the matter in good faith and seek to resolve it in an amicable manner. If the Representatives are unable to reach agreement within ten business days of a referral being made to them then you may terminate the Agreement by giving us 30 days written notice.

4.

Charges

4.1

In addition to the prices payable for Marine Lubricants, you will pay us for the following: 4.1.1 all charges listed in the Price List, including those for delivery by barge and packed deliveries; 4.1.2 any expenses incurred because of the Master of the vessel rejecting, cancelling or significantly delaying the whole or any part of a Delivery; 4.1.3 any mooring or unmooring charges or port dues which may be incurred in connection with any Delivery; 4.1.4 any duties, taxes (other than taxes on profits), or other costs which we, or the Delivery Company, incur or are liable for, in respect of a Delivery; 4.1.5 where we deliver to you from duty paid stocks, the amount of the duty; 4.1.6 any additional costs related to a Delivery including payments for overtime and surcharges; and 4.1.7 port price differentials and any additional charges detailed in the Port Services Guide and Price List.

5.

The design was delivered in Microsoft Word so it can be maintained and adapted by Shell’s contracts team.

Payment

5.1

All payments will be made in US dollars by electronic wire transfer to the bank account stated on the invoice and you will ensure that the payment reaches us by the due date. We may charge interest on any amounts not paid by the due date at a rate of 6% per annum, or, if higher, the maximum rate allowable under applicable law.

5.2

Unless otherwise agreed, all payments will be due 30 days from the date of Delivery.

5.3

You will take all steps necessary to allow you to make electronic wire payments to our bank account.

5.4

If you owe us any money, we may deduct this from any payment we make to you under the Agreement or any other agreement between us.

5.5

All payments must be paid by you.

5.6

Each Party agrees that it is familiar with, and will comply with, all relevant laws, regulations, rules and requirements relating to anti-money laundering.

5.7

You guarantee that your payments to us will not constitute the proceeds of crime in contravention of anti-money laundering laws.

5.8

Either Party may terminate the Agreement immediately by giving the other Party written notice if, in its reasonable opinion, the other Party is in breach of any of the provisions of section 5.6 (and or 5.7 with respect to you), and cannot provide evidence that it has complied with those sections.

6.

Credit

6.1

If, in our opinion, your financial condition worsens in any way, we may require payment before the date due (which may mean before Delivery) or we may require you to give us some form of security for payment.

6.2

In addition to our other rights, if, at any time you: 6.2.1 have exceeded any credit limit we have set, we may suspend deliveries under the relevant Nomination (if they have not already taken place) or terminate the relevant Nomination; and/or 6.2.2 fail to pay us when payment is due, or give us the security we require, we may suspend deliveries under any and all Nominations (if they have not already taken place) or terminate any and all Nominations and assert all our rights against the vessel(s) concerned and we have a lien for the price of the Marine Lubricants delivered. Neither we, nor the Delivery Company will have any liability to you.

7.

Delivery

7.1

Delivery will be made in bulk or packed form as near as reasonably possible to the vessel.

7.2

Delivery will be made during the usual hours of work at the Delivery Port.

7.3

We, or the Delivery Company, will provide you with the Material Safety Data Sheet (MSDS) to you in accordance with mandatory industry standards. You must ensure that your vessels, or customers, receive the MSDS before Delivery, and you must provide any language translation as necessary.

7.4

Where a Delivery is by barge, you will provide free of cost, a clear and safe berth for the barge alongside the vessel's receiving lines and the assistance of qualified staff to secure the barge moorings. This safe access means the use of the accommodation ladder. If the position of the barge does not fit with the position of the accommodation ladder a pilot ladder should be rigged up. The receiving vessel is responsible for safe access to and from the barge. Vessels, including tankers, will be bunkered in turn as promptly as possible, but we will not be liable for any losses which you may suffer due to (i) any delay caused by congestion at the terminal or the availability of barges, (ii) clear and safe berth not being possible, or (iii) there being no qualified staff available to assist with the mooring. We will also have the right to refuse an ex-pipe Delivery if we think your vessel is unsafe to receive a Delivery.

7.5

You will provide ready and safe access to any equipment used in connection with Deliveries, and will not obstruct access to this equipment. Delivery will not start until the Pre-delivery Check List has been completed and signed by or on behalf of us and you.

2

Ordering, payment and delivery 2

Nominations

2.1 You will give us, or our representative, your Nomination. Your Nomination will specify

A Nomination is a list of what you need, and when

• grades • quantities • method of delivery • type of products (including whether bulk or packed) • port or place of delivery for each vessel and expected date of arrival at a Delivery Port, taking into account the Minimum Notice Period. For confirmed Nominations, we, or the Delivery Company, will make reasonable efforts to satisfy the Nomination but will otherwise have no liability.

What if your requirements change

2.2 If you change your requirements without cancelling or amending your Nomination or if you don’t give the Minimum Notice Period you will pay our or our Delivery Company’s related expenses.

If the vessel arrives early

2.3 If the vessel arrives earlier than your nominated arrival date, we will try to supply the vessel but our supply obligation remains timed to the nominated arrival date. We will inform you if any circumstances prevent a Delivery.

If a vessel is more than 10 days late

2.4 Your vessel must arrive at the Delivery Port within 10 days after the nominated arrival date. Nominated day

If your vessel has not arrived at delivery port

10 days

3

Price We hold the price for 30 days

What was the effect? The simplified contract has halved the negotiation time for a typical contract, because less time is spent trying to agree what the document says. Shell is now rolling out the design across all similar contracts.

2.3.1 charge a No-Show Fee; 2.3.2 cancel your Nomination; and 2.3.3 return the ordered Marine Lubricants to our inventory. 3. 3.1

We may: • charge a no-show fee • cancel the order • return the order to inventory

3.1 The price of the Marine Lubricants will be the price shown in the Price List which is in force on the date we receive the Nomination from you. This price is valid for 30 days from the date of the Nomination. If Delivery takes place Delivery Payment after this 30 days period, the price shown in the updated Price List will apply. day

3.2 We will provide you with at least 30 days’ prior written notice of any proposed changes to the price which results from a6%price review and/or to the range of Marine 30 days (or higher) interest charged on amount due Lubricants available.

We give you at least 30 days notice of a price rise

If you think the increased price is unreasonable, you may, within 30 days of receiving our notification, notify us of this in writing (Objection). You object within 30 days?

N

New price

Y

We meet to discuss within 30 days

Y Agreement within10 days?

7.6

Neither we, nor the Delivery supply Marine Lubricants if a g export this, but the permit has n

7.7

On completion of a Delivery, representative, will sign a Shi be retained by the master or yo

due

Within 10 days of receipt of your Objection, a representative from your company and our account manager (Representatives) shall confer at least once to discuss the matter in good faith and seek to resolve it in an amicable manner.

8.

Health and Safety and Envir

8.1

If a Pollution Event occurs: 8.1.1 which is caused by a Party who has cau compensate the othe Company as applica taken under section 8 8.1.2 we may at any time, and stop the Polluti Marine Lubricants a you will provide all steps; and 8.1.3 You will supply us, any documents an Pollution Event or an of a Pollution Event ask you for, or that law.

8.2

You will be responsible for th repair of any of our equipment during the Delivery. You wil problems with the equipment w

8.3

The Parties confirm that they environmental laws and gover have environmental policies i Lubricants processes.

If the Representatives are unable to reach agreement within ten business days of a referral being made to them then you may terminate the Agreement by giving us 30 days written notice.

N

Shell’s visual contracts won the FT Intelligent Business award, and was also awarded a Contract Innovation Award by the IACCM.

146

You can terminate agreement with 30 days notice

Shell Marine: Terms • July 2018

GTC: 2/10

9.

Risk and Title

9.1

Delivery will be completed an either: 9.1.1 for bulk Deliveries, w the flange connectin receiving facilities pr 9.1.2 for Delivery in conta 9.1.2.1 when delivering to when the goods vehicle to the grou 9.1.2.2 when delivering b using our barge’s goods are landed o


SILVER

7.6

7.7

law. 10.2

On completion of a Delivery, the master of the vessel, or your representative, will sign a Ship’s Receipt, and two copies will be retained by the master or your representative.

8.

delivery BulkSafety and Environmental Requirements Health and Bulk by barge delivery

Lubricant passes your ship’s flange Lubricant passes Lubricant passes your ship’s flange your ship’s flange

Shell’s risk Shell’s risk

8.1.2

we may at any time, take reasonable steps to control and stop the Pollution Event, remove the escaped

Marine traditional Lubricants and clean the affected aim area and delivery Adversarial: contracts to Bulk you will provide all reasonable assistance with those Bulk by truck delivery Bulk delivery steps; and to ship 10.3 by truck delivery outwit the other party into accepting by truck Bulk 8.1.3bytobarge You will supply us, or the Delivery Company,risk. with ship Bulk Bulk

Shell’s risk Shell’s risk

Pumped delivery from tanker or IBC Pumped delivery

Lubricant passes your ship’s flange

risk Pumped delivery to ship Lubricant passes the delivery any Shell’s documents and concerning frominformation tanker or IBC Lubricant passes delivery Shell’s risk to ship from tanker or IBC your ship’s flange by barge Lubricant passes flange Pollution Event or any programme foryour theship’s prevention by barge risk your ship’s flange to ship Shell’s Shell’s riskEvent as we, or the Delivery to ship of a Pollution Company Lubricant passes

Ignored: they are only referred to during ask you for, or that are required by any applicable Delivery law. by Shell commercial Delivery negotiations, and then only Delivery in IBCs by Shell by Shell 8.2 You will be responsible for the proper use, maintenance, and in IBCs consulted during disputes oror used indamage in IBCs repair of any of our equipment that you your agents Bulk during the Delivery. You will immediately inform us of any delivery litigation problems with the equipment which occur during the Delivery. Bulk Bulk by truck Lubricant passes your ship’s flange your ship’s flange

Shell’s risk

IBC is landed from vehicle to ground IBC is landed IBC is landed from vehicle to ground from vehicle to ground

Shell’s risk Shell’s risk

8.3

9. 9.1

9.2

delivery delivery to ship

Shell’s risk

Visual contracts are inspired by ‘proactive law’ (read Helena Haapio’s work at Lexpert. com). Instead of drafting a contract with a law court as the potential audience when Friendly: contracts are designed to be What to do if there is a pollution • if the Pollution Event is caused by ango act or omission ofit’s a Party, the Partyto whodesign has things wrong, better it event Any complaint about the quality Lubricants caused the Pollution Event must compensate the other Party (including the Delivery read andor claim understood byof Marine customers during must be made in writing, within 30 days of Delivery. If you do Company as applicable)to for be the cost of any steps taken; understood by users – so everyone not notify us of any issue within this period, you will have no negotiations, not just lawyers • you will supply us, or the Delivery Company, with any documents and information right to make a claim. concerning the Pollution understands Event or any programme for theit prevention a Pollution what says,ofand litigation is Event as we, or the Delivery Company ask you for, or that are required by any The quantities of Marine Lubricants delivered will be measured by volume, and calculated Actually used: theyat standard are atemperature usefulatapplicable guide law. to avoided. 15 degrees Celsius unless we tell you otherwise. You or your representative may You witness and check the weightsregularly and You will beto are responsible if you 8.2 responsible for the proper use, maintenance, and repair of any the relationship and consulted measurements at thedamage time ofour Delivery. The quantity toofbe equipment our equipment that you or your agents damage during the Delivery. You will entered on the Ship’s Receipt will be the measurements given inform us of any problems with the equipment which occur during the delivery of goods orimmediately services. bymanage us or Delivery the Company.

Your risk

Your risk Your risk Your risk Your risk Your risk

10.4

Your risk Your risk Your risk

Delivery.

Your risk

Pumped delivery

Proactive Law and information design

Simple: visual contracts are designed so that the commercial agreement is easily understood by the customer.

delivery to ship Event occurs: 8.1 If aby Pollution barge Complex: complex legal text tries by barge 8.1.1 to which is caused by an act or omission of a Party, the ship to ship Party who has caused the Pollution Event must to reduce risk andthecover all(including possible compensate other Party the Delivery Company as applicable) for the cost of any steps contingencies. taken under section 8.1.2; Shell’s risk

During bulk barge deliveries, we or the Delivery Company, will take two representative samples of the Marine Lubricants which will be individually labelled and numbered uniquely. You or your representative may witness this. One sealed sample will be given to the Master of the vessel and the other one kept by us or the Delivery Company for 30 days, or longer if the law allows (“Period”). At the end of the Period, our sample may be discarded unless you have made a complaint or Your risk sign a claim under section After 10.3delivery within you the will period referred to7.9in On completion of a Delivery, the master of the vessel, or your representative, Your risk section 10.3, in whichReceipt case our sample will be kept for analysis will sign a Ship’s Receipt, and two copies will be retained by the master or your Your risk by the laboratory referred to in section 10.8. For road tanker representative. deliveries one representative sample of the Marine Lubricants (taken during delivery or at loading from the lubes oil blending 8.1 If a Pollution Event occurs: 8 Health and safety plant which is sealed and given to the customer. We shall have we may at any time, take reasonable steps to control and stop the Pollution Event, and access to samples kept byenvironmental the lubes oil blending plant.•No remove the escaped Marine Lubricants and clean the affected area and you will samples are retainedrequirements for pumping ex-IBC as quality can be provide all reasonable assistance with those steps; investigated against batch numbers for ex-IBC products.

Visual contracts are:

Traditional Bulk contracts are:

by truckconfirm that they will comply with The Delivery Parties all applicable Lubricant passes 10.5 If there is a dispute about the quantity delivered, you may state by truck from tanker or IBC by Shell in Shell’s risk government Your risk your ship’s flange Pumped delivery to ship to comply 8.3 The Parties confirm that they will comply with all applicable environmental laws environmental laws and regulations and that they Delivery risk Your riskmuch you think We Pumped delivery to ship Shell’s how hasboth beenagree delivered on thewith Ship’s Receipt Lubricant passes Delivery from tanker or IBC packages risk Your risk Lubricant passes tankerconcerning or IBC by Shell in Shell’s policies have environmental infrom place their your ship’s flange environmental laws and policies and government regulations and that they have environmental policies in place Goods areMarine landed when you sign it. by Shell in your ship’s flange packages Shell’s risk Your risk from vehicle to ground Lubricants processes. packages concerning their Marine Lubricants processes. Shell’s risk Your risk Goods are landed Goods are landed from vehicle to ground 10.6 If the Ship’s Receipt is clean, this will be evidence that the from vehicle to ground RiskDelivery and Title quantity delivered was correct. If theduring Ship’s Receipt9.1is Delivery will be completed and title and risk will pass to you: 9 Risk and title by Shell Delivery amended in accordance with section 10.5 above, you will pay Delivery in IBCs Delivery will beShell’s completed and title and risk will pass to you risk Your risk deliveryby a barge by Shell • orthat if delivering operated by us and for the amount we, or the Delivery Company, say has been IBC is landed by Shell either: either 9.1.1 for bulk Deliveries in IBCs Shell’s risk Your risk from vehicle to ground in IBCs Shell’s risk delivered, butusing you will stillbarge’s be able to makeequipment, a claim in respect Your risk our lifting when the IBC is landed 9.1.1 for bulk Deliveries, when the Marine Lubricants IBC is landed pass from vehicle to ground of the quantitygoods delivered, the claim received within Delivery in from vehicle to ground areiflanded onis the deckbyofusthe vessel; the flange connecting the delivery facilities with the • when the Marine Lubricants pass the flange containers: 30 days of the Delivery. If you do not notify us within this time Deliveryreceiving in facilities provided by you; or Delivery in Shell’s barge connecting the delivery facilities with the receiving period, you will have no right to make a claim. Any disputes containers: for Delivery in containers: containers: Shell’s risk Your risk &9.1.2 lifting gear facilities provided by you. which cannot be resolved will be dealt with as set in section Shell’s barge Delivery Goods are landed Bulk Shell’s 9.1.2.1barge when delivering to a quay or other onpoint on land, Bulk Shell’s risk Your risk deck & lifting gear by Shell in delivery 10.8. Shell’s Your risk & lifting gearwhen Delivery Goods are landed therisk goods are landed fromGoods the are delivery delivery Delivery by barge landed packages Shell’s risk Your risk Bulk on deckare landed by Shell in byto barge Your risk ship Shell’s risk Goods vehicle to the ground; on deck by Shell in delivery Lubricant passes Shell’s risk Your risk to shipbeen If risk the Marine Lubricants have transported or stored your in ship’s flange packages Shell’s risk from vehicle to ground 10.7 Your packages by barge 9.1.2.2 when delivering by a barge operated byareus and Shell’s risk Your risk Lubricant passes Goods landed your ship’s flange containers you have provided then Shell’s you may Goods are landed risk not make a quality Your risk to ship from vehicle ground using our barge’s lifting equipment, whento the passes or ifMarine delivering by barge or vehicle andLubricant using from vehicle to ground claim about• those Lubricants. your ship’s flange goods are landed on the deck of the vessel; lifting equipment provided and operated by you, 9.1.2.3 when delivering by barge or vehicle and using quality ofby Marine Lubricants Delivery inlifting equipment provided and operated by you, 10.8 Any dispute • about or if the delivering a barge operated byofusthe and when the goods are lifted off thedelivered deck barge will, unless there has been a serious error or fraud, be resolved containers: Delivery inwhen the goods are lifted off the deck of the barge using our vehicle; barge’s equipment, when the or off the Bulk Delivery in other’s by an independent laboratory selectedlifting and agreed by the Parties containers: Bulk delivery or off therisk vehicle; or Delivery in containers: Shell’s Your lifting gear goods on the will deck the vessel; delivery or,risk if the Parties cannotare agree, the laboratory beof chosen by bylanded truck other’swhen delivering by barge, and youGoods lifted containers: Bulk 9.1.2.4 havearecontracted other’s by Shell’s The risk laboratory Your risk Pumped delivery totruck ship Delivery in Shell’s risk Your risk off barge lifting gear therisk President of the Energy Institute. will be delivery Delivery in Lubricant passes Shell’s barge Shell’s risk Your lifting gear from tanker or IBC with a third-party service provider or operator to Goods are lifted Your risk Pumped delivery to ship Shell’s risk containers: your ship’spasses flange Lubricant Goods are lifted truckindividually labelled requested to validly test byboth samples from tanker or IBC containers: Shell’s risk Your risk & lifting gear off barge provide pump ex-IBC service, immediately your ship’s flange Shell’s barge off barge Your risk Pumped delivery to ship Shell’s risk Goods are before landed Shell’s barge taken in accordance with section 10.2 above. The resultor IBC of this Lubricant passes from tanker Shell’s risk Your risk on deck & lifting gear the pump ex-IBC service. your ship’s flange Your risk & lifting gear Shell’s risk Goods are landed independent testing by the laboratory shall be final and cannot • if delivering in intermediate bulk containers (IBCs) Goods are landed on deck be disputed by either Party unless there has been a clear error on deck Delivery to a quay or other point on land, when the IBCs The responsibility for connecting the bulk delivery facilities Delivery by Shell or fraud. provided by us, or the Delivery Company, to the receiving are landed from the delivery vehicle to the ground. by inShell IBCs Shell’s risk Your risk Delivery is landed • or if delivering barge or vehicle andIBCusing in IBCs by Shell’s risk Your risk facilities that you provide, will be in accordance with the by Shell from IBC isvehicle landedto ground Delivery in 11. Technical Service from vehicle to ground in IBCs Shell’s custom of the Delivery Port. risk Your risk lifting equipment provided and operated by you,

This section defines the point at which containers: Delivery in of the product is transferred ownership Delivery in Delivery in give lifted you any other’s If we, or the Delivery Company, or 9.1.2 Delivery in containers when the goods are offfree thetechnical deck of theforbarge containers: containers: containers: 10. Quality, Measurement and Samples lifting gear advice or services, these are provided voluntarily (unless you Delivery in other’s or off the vehicle; Delivery in other’s other’s to the customer (and therefore who owns have paid for this advice or service separately), and neither we, containers: lifting gearLubricants will • if delivering to a quay or other point on land, containers: 10.1 The Marine conform with the Specification. All lifting gear lifting gear other’s nor the Delivery Company will be liable for any losses you other’s when the goods are landed from the delivery other warranties (express or implied), terms or conditions are lifting gear Port in connection thedelivery advice or facilities services. provided by us, or the The Delivery decides who 9.2 The responsibility connecting thewith bulk lifting gear the risk at each in the process). It is forsuffer vehicle to the ground; expressly excluded to thepoint fullest extent permitted by applicable makes the connection Delivery Company, to the receiving facilities that you provide, will be in line with the much clearer when shown visually. custom of the Delivery Port. IBC is landed from vehicle to ground

Shell’s risk

Goods are lifted off vehicle Goods are lifted Goods Goods are are lifted lifted off vehicle off off vehicle barge Goods are lifted Goods are lifted off barge off barge

Shell’s risk Shell’s Shell’s risk risk

Shell’s risk Shell’s risk

10

Delivery Company, will be required to nts if a government permit is required to mit has not been obtained.

elivery, the master of the vessel, or your gn a Ship’s Receipt, and two copies will ter or your representative.

d Environmental Requirements

Neither we, nor the Delivery Company, will be required to supply Marine Lubricants if a government permit is required to export this, but the permit has not been obtained.

B2C C2B

10

curs: sed by an act or omission of a Party, the has caused the Pollution Event must the other Party (including the Delivery applicable) for the cost of any steps section 8.1.2; ny time, take reasonable steps to control e Pollution Event, remove the escaped ricants and clean the affected area and vide all reasonable assistance with those

pply us, or the Delivery Company, with ents and information concerning the ent or any programme for the prevention n Event as we, or the Delivery Company or that are required by any applicable

Quality, measurement Delivery in and samples containers:

Delivery in Delivery in other’s containers: containers: lifting gear Shell’s risk other’s law. other’s Shell’s risk lifting gearsamples How many to lifting gear Shell’s risk

Your risk Your risk

Delivery byDelivery Shell in by Shell in packages Delivery packages by Shell in packages

Shell’s risk Shell’s risk

Shell’s risk

Goods are landed from vehicle to ground Goods are landed from vehicle to ground Goods are landed from vehicle to ground

Delivery 10.1 The Marine Lubricants will conform with thein Specification. All other warranties 3 Delivery in containers: containers: (express or implied), terms or conditions are expressly excluded to the fullest extent Shell’s barge Delivery in Shell’s & liftingbarge gear Shell’s risk containers: Goods are landed permitted by applicable law. & lifting gear Shell’s risk on deckare landed Goods Shell’s barge

Goods are lifted

Your risk

Shell Marine: Terms • July 2018 & lifting gear Shell’s risk

Goods are landed on deck Goods are landed on deck

Simple actions such as the taking of 10.2 During bulk barge deliveries, we or the who retains them The Delivery Portrepresentative decides who 9.2Marine The Lubricants responsibility for connecting the bulk will take two samples of the 1 sample taken for master of delivery vessel facilities provided by us, or the samples samples (forprovide, quality which be individually labelled andDelivery numberedCompany, uniquely. makes the will connection to theproduct receiving facilities that you will control) be in linekept with the for 30 days You or your representative may witness this. One sealed custom of the Delivery Port. 1 sample taken for Shell or Delivery Company sample will be given to the Master of the vessel and the other are highlighted and explained through one kept by us or the Delivery Company for 30 days, or longer if the law allows (“Period”). At the end of theThe Period, our Lubricants will conform with the Specification. All other warranties 10.1 Marine Quality, measurement bulk deliveries, we or the Delivery Company, will take two sample may be discarded unless you have10.2 made aDuring complaint or barge visualisation. risk off vehicle Bulk barge deliveriesYour Your risk Goods are lifted Goods are lifted Delivery off vehicle Company, off vehicle

Delivery in Delivery in containers: containers: other’s Delivery in lifting gear other’s containers: lifting gear other’s lifting gear

Shell’s risk Shell’s risk Shell’s risk

Goods are lifted off barge Goods are lifted off barge Goods are lifted off barge

(express or implied), terms or Marine conditions are expressly to the fullest extent representative of the Lubricants which excluded will be individually labelled 10.3 within the period referred to samples in section 10.3, in which case our sample will be kept for by analysis permitted applicable and numbered uniquely. law. You or your representative may witness this. by the laboratory referred to in section 10.8. For road tanker deliveries one representative sample of the Marine Lubricants Delivery sealed sample will be given to the Master ofinthe vessel and the other one kept by Delivery in Bulk barge deliveries How (taken manyduring samples to or take, and from One containers: delivery at loading the lubes oil blending containers: other’s if the law allows (Period). us or the Delivery longer plant which is sealed and given to the customer. We shall have Company for 30 days, or Delivery in who retains them other’s lifting gear Shell’s risk containers: Goods are lifted access to samples kept by the lubes oil blending plant. No lifting gear 1 sample taken for master ofother’s vesselShell’s risk off vehicle Goods are lifted At the end of discarded unless you have made a samples kept samples are retained for pumping ex-IBC as quality canthe be Period, our sample may be off vehicle lifting gear Shell’s risk Goods are lifted investigated against batch numbers for ex-IBC products. 30off days complaint or claim under section 10.3 within the period referred to for in section vehicle 10.3, under section andclaim samples

1 sample taken for Shell or Delivery Company

10.3

case our sample will be kept for analysis by the laboratory referred to in Any complaint or claim about the qualityin of which Marine Lubricants must be made in writing, within 30 days section of Delivery. If you do 10.8. 10.2 not notify us of any issue within this period, youDuring will havebulk no barge deliveries, we or the Delivery Company, will take two right to make a claim. representative samples of the Marine Lubricants which will be individually labelled Road tanker deliveries and numbered uniquely. You or your representative may witness this.

10.4

The quantities of Marine Lubricants delivered will be measured by volume, and calculated at standard temperature at One sealed sample 1 will be given to the Master of the vessel and the other one kept by sample taken and given to the customer 15 degrees Celsius unless we tell you otherwise. You or your samples kept us the or the Delivery representative may witness and check weights and Company for 30 days, or longer if the law allows (Period). for 30 days measurements at the time of Delivery. The quantity to be Samples kept by Shell lubes blending plant the end ofgiven the Period, our are sample may beatdiscarded unless you have made a entered on the Ship’s Receipt will be theAt measurements by us or Delivery Company. complaint or claim under section 10.3 within the period referred to in section 10.3,

10.5

in which our sample will be kept for analysis by the laboratory referred to in If there is a dispute about the quantity delivered, youcase may state during delivery or at loading from the lubes oil blending plant. This is sealed how much you think has been delivered taken on the Ship’s Receipt section 10.8. and given to the customer. when you sign it.

ble for the proper use, maintenance, and uipment that you or your agents damage You will immediately inform us of any ipment which occur during the Delivery.

hat they will comply with all applicable nd government regulations and that they olicies in place concerning their Marine

take, and

Your risk

Your risk Your Your risk risk

For road tanker deliveries, one representative sample of the Marine Lubricants is

If the Ship’s Receipt is clean, this will Samples be evidence thatalso the kept by Shell’s lubes oil blending plant. are Road tanker deliveries quantity delivered was correct. If the Ship’s Receipt is amended in accordance with section 10.5No above, you willare payretained for pumping ex-IBC as quality can be investigated against samples for the amount that we, or the Delivery Company, say has been 1 sample taken and given to the customer batch numbers for ex-IBC products. samples kept delivered, but you will still be able to make a claim in respect veries, when the Marine Lubricants pass for 30 days of the quantity delivered, if the claim is received by us within onnecting the delivery facilities with the Samples are kept by Shell at lubes blending plant 30 days of the Delivery. If you do not notify us within this time ilities provided by you; or period, you will have no right to make a claim. Any disputes in containers: which cannot be resolved will be dealt with as set in sectiondeliveries, one representative sample of the Marine Lubricants GTC: For road tanker is 6/10 vering to a quay or other point onShell land, Marine: Terms • July 2018 10.8. goods are landed from the delivery taken during delivery or at loading from the lubes oil blending plant. This is sealed the ground; 10.7 If the Marine Lubricants have been transported or stored and given to thein customer. vering by a barge operated by us and containers you have provided then you may not make a quality barge’s lifting equipment, when the claim about those Marine Lubricants. Samples are also kept by Shell’s lubes oil blending plant. anded on the deck of the vessel;

Your risk Your risk

Your risk

Your risk Your risk

Contact:

Your risk

GTC: 5/10

name: Rob Waller e-mail: rob_waller@mac.com website: robwaller.org

Your risk Your risk Your risk

This project was undertaken with the International Association for Commercial and Contract Management. The team for the prototype stage was Rob Waller (design and layout), Stefania Passera (graphics and icons) and Jenny Waller (language simplification). The final version was designed by Rob Waller, with simplified legal text written by Eversheds Sutherland.

Your risk Your risk Your risk

10.6

leted and title and risk will pass to you

147


Category:

Corporate Design and Communications

Project:

AI WOW

What was the challenge? Artificial Intelligence (AI) is not only the result in the laboratory, but affects our industry, medical care, education and other parts in our lives. However the society is filled with words such as “Human will be replaced by AI”, “AI will bring threats and crises to human society”, “AI will rule humanity”. These words make the public frightened and even rejection of AI. It is important for the general public to know where it is now and what the future is. What was the solution? In order to make distance between AI and the public closer, we started the AI WOW project. In this project, we design infographics and motion graphic by using visual information design methods, including: visualize related information, select experiences in life as a theme, and use the way of storytelling. We also set up a website to carry all the works, so that the public can reach and understand the knowledge about AI easily. What was the effect? After understanding the relevant knowledge and applications of AI, we will not continue to be afraid. Instead, we will start to accept it, know how to accept it, and be able to imagine the possibility of creating more AI for good. With 18 months efforts so far, we have thousands of readers and has received the attention of the government, the support of the Ministry of Science and Technology, more experts in the field of AI have joined the cooperation. Up till the present moment, we are still working hard to produce wonderful works.

Contact: name:Taiwan Tech company/organisation:VIDLab e-mail:vidlab007@gmail.com website:www.vidlab.net

148

LOGO

MASCOT DESIGN

N

KEYVISUAL

WEBSITE

MOTIONGRAPHICS

INFOGRAPHICS


BRONZE

Website

B2C C2B

Motion

149


Category:

Corporate Design & Communications

Project:

Sea Wall Construction Methods

What was the challenge? TDL-Creative were approached by BAM Nuttall, a civil engineering and construction company, to help design a set of step-by-step guides as part of a tender submission. The tender was for constructing a range of sea walls along a strip of coastline in Portsmouth.

What was the solution? We decided early in the process that due to the complexity and information required at each step, designing the illustrations on an isometric plane would be best. This would allow the client and bid evaluators to get a better sense of the construction actions and dimensions.

The challenge was to take a selection of hand drawings and technical plans, work with the subject experts to understand them and then create clear and consistent visual methodologies. These would also have to be completed quickly, to a strict timeline.

Working from the hand drawn scribbles and technical plans, which were only provided in various 2D planes, an isometric block was created for each phase. We worked closely with the bid team to check and iterate the graphics throughout, ensuring an accurate result.

We were restricted to A1 panels, which would contain up to 9 illustrated steps and include a geographical reference. The visuals had to incorporate BAM Nuttall’s branding and style throughout.

Key areas of the drawings were highlighted using brighter, saturated tones, whilst passive areas used more muted shades. This helped the user to quickly identify areas of construction relevant to that step.

Each illustration used a combination of alphabetical reference labels and colour coding to direct the user to the relevant annotations. Applying the reference labels to the isometrics allowed them to be clear without the overcomplication of directly adding the annotations, which in turn allowed for more detailed text. Graphic devices such as arrows were used to reinforce some of the annotations on the illustrations, showing the direction of works, or transference of material. Maps were added next to the steps on each panel to show where the work was taking place, and provide a view of the project as a whole. In total six A1 sized sequences were designed, each with multiple steps.

1.2 SHEET 06 Construction sequence of Tudor Sailing Club Slipway

A

NO

1

D RT

F

H

B A

SO

UT

2

3 D

C

H

B

A Install sheet piles for Type 1 encasement walls either side of slipway B Install working / piling platform down each side of slipway

C Install temporary cantilever sheet pile flood wall down each side of slipway

E Complete the flood wall by installing the sheet piles across the bottom end of the slipway F Install cantilever sheet pile retaining wall across the top of the slipway

C

D Construct Type 1 encasement wall up to the interface with the slipway

E

H J

G

4

5

I

6

J

I I Working away from the landward end, drive the remaining permanent works sheet piles to level J Again, working away from the landward end, place the precast, inverted-T slipway foundation units (complete with starter link bars protruding towards the sheet pile foundations)

G Excavate out existing slipway to formation level. Spoil hauled away to temporary storage area (Compound 3) H Excavate out (remove) landward ramp access to slipway

K

K

K Install link bars into sheet pile in-pans and pour in situ stitch between precast units and sheet piles L At the same time, install prefabricated rebar cages to capping beam at seaward end of new slipway, install double-sided shutters and pour in situ capping beam

L L

N

7

Examples of the hand drawn sketches and technical plans we received.

M Place and compact granular engineering fill along length of new slipway and to slipway access ramp N Remove cantilever sheet pile retaining wall across the top of the slipway

M

8 O Pour massconcrete slabs to slipway and access ramp P Remove cofferdam pile across the bottom of the slipway

O

9

M

P

M

Q Install prefabricated rebar R cages, shutters and pour final sections of in-situ capping beam R Removal of remaining cofferdam piles (either side of slipway) can occur outside of restriction window

R

Q

NB: The slipway will be closed to the sailing club and watersports centre from (and including) steps ‘F’ to ‘P’

A finished sequence demonstrating isometric illustration technique.

150


BRONZE

1.2 SHEET 05 Construction sequence of new seawall Types A & B Type 1–5 (behind wall) Type 1–5 (infront of wall) Type 1–5 (behind wall with modifications) Type 6 and new sea wall tie-in Type A & Type B Slipways

1

F

2 G

B

E

C

A

Install silt curtain Excavate to formation from behind existing sea defence

C

Cast spoil in a bund between excavation and silt curtain

D

Provide temporary works support of existing seawall where necessary

E

Nibble existing apron where necessary and remove any sheet piles

F

3

F

G

H

A

B

I I

D

Steps

Install sheet piles with excavator-mounted vibro-attachment (Movax), from behind existing wall if possible – otherwise during tidal window from foreshore

Install MS anchor bolts and weld angle “tangs” to seaward and landward sheet piles Place blinding where required I Place foundation slabs and shims where required for receiving the revetment steps

G H

4 J L

K

J

K

Lift in precast concrete revetment steps, which will include protruding starter bars at both seaward and landward faces Tie link bars and lacers onto protruding starter bars

N

5

L

Place foundation stitch concrete NB: Protect green concrete during spring tides

B2C C2B

What was the effect? BAM Nuttall were very happy with the final product, reporting that this was the first time sea walls had been illustrated in this style for a tender submission. The isometric design has now been adopted across their other projects. This style increased understanding of the construction process, and helped their submission to stand out against their competitors. We are working with the client on more construction sequences, and have built a relationship where they also think with this final output in mind. When we receive a brief, they are more detailed, providing guidance in a way that aligns with the diagrammatic process.

6

M

O

Install shims where necessary to top of revetment steps to support precast wall in a level position N Lift in precast wall section and provide temporary propping

“Thanks for all your hard work, they do look amazing and will add real value to our submission...” O

M

7

S

Pour stitch into landward sheet piles and mass fill concrete to back of wall

BAM Tender Planning Manager

P

Q P

Drill through existing seawall and into ground, install drainage pipes and fit flap valves

Q

Regrade excavated spoil and place and compact fill behind wall

The sequences were positioned next to ‘highlight’ maps which allowed the viewer to identify where the works were taking place along the coastline.

Contact: name: Oliver Tomlinson company/organisation: TDL Creative e-mail: info@TDL-creative.com website: tdl-creative.com

151


Category:

Corporate Design and Communications

Project:

City of Liepaja in Infographics

What was the challenge? The task of the design was to enable the city to communicate its uniqueness, socio-economic status, accomplishments and set goals more memorably. We offered to create a uniform communication package for use in printed and digital media, which would wittily highlight the quality of the city from various aspects, thus promoting Liepaja as a cultural and tourism destination. What was the solution? Visualizing Liepaja, we converted statistics into infographics representing the city. 12 infographics showcase the city via a uniform communication package including calendars and digital animations online. Visually, the infographics reflect the city’s existing identity. Each graphic hides a red dot – a starting point not a full stop, and a catalyst for new ideas and the unique year to come. What was the effect? Laconic data visualizations reveal facts, but leave room for the imagination – the city’s trademark wind revives data about Rožu Square and its 1,000 flowers, the sea nearby and its ever changing waves, and Liepaja’s Art Nouveau buildings, etc. Witty copy begs the question - what connect facts that would otherwise just be dry statistics. The communication package is used to showcase Liepaja. The calendar is a great gift for visitors and is appealing to local residents. In turn, digital animations showcase the city via social media and presentations.

Contact: name: Inguna Elere (H2E) company/organisation: Design studio H2E e-mail: info@h2e.lv website: www.h2e.lv/eng/

152


BRONZE

B2C C2B

January

April

August

153


Category:

Corporate Design and Communication

Project:

Reception Room of Japan Post Holdings Co., Ltd. Head Office

What was the challenge? This is a signage design for reception room of Japan Post Holdings Co., Ltd. Head Office. As one of our corporate images, stamps are used to create a decorative ceiling graphic that are extensively installed over an entire room. Usually, equipment is installed on office ceilings and it is something that does not stand out, but by providing gigantic ceiling graphics, we have attempted to give our visitors a sense of astonishment. In addition, despite these ceilings being for an indoor space, they can also be seen when outside, so they also function as signages that display our corporate presence in our neighborhood. What was the solution? The graphics use the same pixel ratio for stamps to provide an abstract representation, and it also takes into account how they are viewed based on the viewing distance. By making the pixel resolution grainy, the art on the stamps can clearly be seen from crosswalks and the plaza outside, as well as from the front desk of the reception office, but inside the reception rooms, they merely look like large pixel patterns, making it easier to concentrate on meetings. The colors used for the pixels are our three corporate colors of red, blue, and green, and different brightness and the overlapping of colors creates the appearance of the stamp. By dividing them up into zones based on their color, they also function as guidance signs. Additionally, by minutely adjusting the size and position of the pixels, along with each of the equipment and glass partitions, it maintains the continuity of the graphics, reasonably unifying the sign graphics with the rooms.

Contact: name: Kenichi Hirate company/organisation: TERADADESIGN ARCHITECTS e-mail: k_hirate@teradadesign.com website: http://www.teradadesign.com/

154

The pixel patterns are in proportion to the smallest unit of stamps from the size of 1yen stamps.

18.5 22.5

18.5 a

22.5a

What was the effect? By making stamps into ceiling graphics, it induces conversations between our employees and visitors who come from all over Japan and countries from around the world. There are so many topics that can be talked about, such as about the stamps, colors, and Maejima Hisoka. Even for people meeting for the first time, there will inevitably be a conversation about them, which will allow for the meeting to progress smoothly. Likewise, due to the effects from the lighting that illuminate the ceilings, the lit up ceilings at night gives this Tokyo office neighborhood a more gentler appearance, and this also becomes one part of the new scenery in town.

smallest pixel

ďź? normal stamp


BRONZE

Flying geese and full moon

Beauty looking back

The arrangement of the glass partitions and equipment makes it possible for the graphics not to be divided up.

The pixel patterns in proportion The names of the stamps to stamps installed on the glass are used for the names of walls control the line of sight. the conference rooms, and the nameplates display one of the actual stamps.

glass partition

air conditioner

sensor [85φ]

emergency lighting [72φ]

sprinkler [60φ]

18.5 18.5 a 22.5

speaker [180φ]

22.5 a

Maejima Hisoka

B2C C2B

= normal stamp

155


Category:

Corporate Design & Communication

Project:

Das Rote Wien in Zahlen

What was the challenge? How to communicate historical data from Vienna in a form that is engaging, attractive and easy to understand for a wide range of people, while using the new Corporate Design Guidelines for the City of Vienna (Colors, Fonts and Symbols) What was the solution? Divided into seven topics, each chapter begins with spreads that communicate statistical facts as information graphics, followed by a longer reading text that provides the backgrounds and contextualizes the graphs. What was the effect? The result are two entertaining books plus a poster that use information graphics to explain the specific nature with which “Red Vienna” offered reforms for the Viennese population that still today, some 100 years later, prove to be the basis for making Vienna one of the most liveable cities in the world.

This is a cooperation between the City of Vienna, department Economic Affairs, Labour and Statistics and the University of Art and Design Linz, department Visual Communication

Designers:

Tina Frank, Raul Izkierdo, Clemens Schrammel, Julia Singer

Contact:

Kunstuniversität Linz Abteilung Visuelle Kommunikation www.ufg.at/viskom

156


BRONZE

B2C C2B

157


Category:

Corporate Design and Communications

Project:

CD: »Tegel-/ Breiten-/ Buchenbergbahn«

What was the challenge? Three mountain cable cars next to Füssen should visually jointly be organized. What was the solution? All three cable cars (Tegelbergbahn, Breitenbergbahn, Buchenbergbahn) appear individually and in different combinations – therefore we were looking for a modular brand solution. With it, an addition of the signets became possible. These combine everything essential and important in a reduced, typographical implementation. The distance and feeling of width which you have in the mountains on a clear day reflects in the lettering. At the same time, a communication concept on the basis of the new CD was developed. This is based on the combination of photos and illustrations worked out in the style of the 1960s. Credibly, unexcited (as opposed to the usual tourism advertising) and sympathetic, the figures develop their own lives: When they point the way to the shuttle bus on the alpine slide and so on ... What was the effect? The developed corporate communication shows a completely different visuality on the tourism sector – wherever the sun shines, blue skies, happy people, children playing ... The combination of photos and illustrations opens rooms, more and not »real representable« statements can be made, and topics visualized … The flyers sell like hot cakes – they had to be reprinted with higher circulation.

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

158


BRONZE

B2C C2B

Signet Darstellung 1/9

Tegelbergbahn · Stand 10.10.2018 designgruppe koop · Rückholz

Basis-Versionen Für alle Anwendungen.

159


Category:

Corporate Design and Communications

Project:

Landmark Planning 2019 website redesign

What was the challenge? Landmark Planning is a high-quality niche town planning consultancy based in Leicester, United Kingdom, operating throughout the Midlands area. Their website www.landmarkplanning.co.uk was designed in 2002, and was in use until the end of 2018 (1st version). In 2019 Thomas Bohm (Director of User Design, Illustration and Typesetting) worked with Landmark Planning once again to redesign their website, producing their 2nd version (running from 2019 onwards), which would be fit for their users, potential new clients, and the future. The 1st version website (2002–2018) had served them well, which used a simple and straightforward design, but the website code and technology had not really been updated since 2002. The website used very little proper and meaningful HTML formatting (which by default provides some degree of accessibility), many ALT tags for images were missing, their ‘Recent project examples’ section did not make use of images well (that would be useful and beneficial for potential clients and were not large enough to see all the details), the main body text was Arial 12pt, there was no real text editorial style, and the website still used HTML frames throughout. I had many meetings in the Landmark Planning office with the director and employees, we talked at length about what was needed.

Contact: name: Thomas Bohm company/organisation: User Design, Illustration and Typesetting e-mail: info@ userdesignillustrationandtypesetting.com website: www. userdesignillustrationandtypesetting.com

160

Using the information gained at meetings, I then emailed all Landmark Planning’s employees with a questionnaire to send back to me via email (they were told not to discuss what they had written to anyone else, or other employees, they were also told that their feedback would not be held against them and that it would be handled anonymously, and that they could say anything they liked: positive or negative). Here are some of the questions asked: • What works well, or does not work well? • What do old clients and new clients want to know and see from the website (what would they want in terms of getting them to put a new project or enquiry through you, or when using a new town planning company)? • Is there anything the website could do that would make Landmark Planning function better as a business, for example, business efficiency? • Have you ever heard from someone externally comment on the website positively or negatively? Have you ever heard someone say ‘I cannot do this’ or ‘I am having trouble with this’? • Is there anything you find difficult or hard to use (text or graphics)? Furthermore, the client had received feedback from 2 people outside the business about critical design issues with the 1st version website. All of this gave us extra starter information about the problems and requirements for the project. I also had further meetings with the client probing to find out what ‘potential clients’ would want and would want to know and see from the website. Additionally I visited, evaluated and assessed around 40 other similar town planning business websites to see how they communicate with their users. What was the solution? The redesigned website was not radically

different in aesthetics than the 1st version, we built upon the good of the 1st version and improved where needed. Here are the main design improvements: • We used a body text size that was 18pt (Google recommends no less than 16pt, for good reasons as well). • Used a typeface that was legible, aesthetically pleasing and fitting for what the client does and wants to be seen to be about. • The navigation bar was moved from the right of the screen, to the left, to improve usability on large desktop monitors, when a right side navigation bar can be too far away from the main content on the left. The navigation bar is reloadable, which means if a user closes or opens the navigation bar, if they then resize their screen, it will reload back in depending on the viewpoint width. It was very difficult to find a solution that would do this. • All webpages, except 2 issues, pass the Web Content Accessibility Guidelines (WCAG) to level AA, checked using the WAVE Accessibility Extension by WebAIM (using the version before 3.0.4, 15 Nov 2019). The code for Google maps does not agree with the checker, and there was a minor lack of color contrast in the navigation bar. Except for these issues, the website was very close to level AAA (the highest of the 3 levels). • We checked all webpages with various screenreaders (unfortunately screenreader software differs and they do not all produce the same result, but in all cases, we made improvements and made it work as well as possible with the specific screenreader). • The website has a skip navigation option. • We wrote an extensive and friendly website accessibility statement, with a link to it at the bottom of all webpages. • Major improvements and simplification were done to the main website sections (as seen in the navigation bar).


SHORTLIST

• Defined use of heading hierarchy and sectioning main body content. • All images were optimized for best quality and speed ratio and all images had properly written ALT tags describing the image content. • We established a text editorial style for all text content. This added greater clarity to text content reducing potential confusion for readers. • The ‘Project examples’ section was greatly improved: images were larger than previously, we used many headings to section and draw out the different types and parts of information for each project case study, that people and potential new clients are going to want to know, and to see quickly and clearly, when possibly considering using Landmark Planning’s services. • Latest HTML code used, utilizing the Bootstrap framework. We also used icons/ pictograms (originally the size of the icon code was 576KB, we stripped out unnecessary icons reducing the file size to 5KB). • We put a massive amount of work into improving the clarity and order of all their previous conferences, 53 in total. Information was provided in PDF format where available, but also as large JPG images because people using a mobile phone cannot open PDFs. • Improved search engine presence. ‘Town planning Midlands’ was identified with the client to be the most important and popular search term for them. A search for ‘Town planning Midlands’ shows that the Landmark Planning website is on the 1st page of Google results (at not by luck). • We used Google ‘Event’ rich snippets so their current events get displayed better. • The website was cross device tested. PC and Mac using: Chrome, Firefox and Safari. Also mobiles: iPhone 8 (iOS version 12), using Safari 12. iPhone 7 (iOS version 12), using Safari 12. Samsung Galaxy J3 (Android version 8), using Chrome 74.

Towards the end of the project, I went again into Landmark Planning with a newly updated version of the website redesign project, and there were a number of ‘design problems’ that I listened to, analyzed, noted and then fixed, that people were having with the new redesign. Some included very tricky to fix internet browser bugs. What was the effect? Sometimes well designed items produce a quiet response. Because of good and considered design for lots of different types of people, the website creates a professional, strong and aesthetically pleasing image of the business. It is highly accessible and usable, which aims to give people what they need and want. Some people say a design cannot be accessible and usable and still look good... hopefully this project disproves the statement. The website now gives Landmark Planning every chance of winning million pound town planning projects. All text content is in a better tone

B2C C2B

and is clearer and more precise. The 1st version website was not very usable on a mobile device, the 2nd version is now fully responsive. The website design should last for many years to come, without the need to typically redesign again in a few years time. People can now view their 53 past conferences much better on whatever device they are using. This furthers adds credibility to Landmark Planning against competing businesses. We also made public, and in an obvious way (at the bottom of every webpage) our accessibility and usability commitment. The project was an example of a high level of design skill being applied, with a tonne of fixing and optimization, very little was left unaddressed. The client and employees also have to be praised and awarded, as they fully committed to the design process and we all worked very well together, in a critical and productive way (never battling).

2 webpages from the 2019 redesigned 2nd version Landmark Planning website www.landmarkplanning.co.uk.

2 webpages from the 1st version Landmark Planning website, which ran from 2002–2018 (before the 2019 redesign version).

161


Category:

Corporate Design and Communications

Project:

blueLAB

What was the challenge? The Coworking Space at Rondo was looking for a design that would make the added value of coworking space visible and give it a unique identity.

Contact: Stefanie Schรถffmann look! design office@look-design.at www.look-design.at

162

What was the solution? The operating company has significantly influenced the direction of coworking space with topics such as Design Thinking or New Work in recent years. The joy of experimentation, the open-mindedness for new ideas and the variety of methods, they can now be recognized within the graphic language and felt in the interior design. The glass stickers next to the elevator remind us with a wink of the elevator pitch and welcome guests to coworking. Doors, furniture and walls contain humorous and encouraging sayings familiar from workshops. In the kitchen, illustrations in the style of Graphic Recording show what is behind the doors.

White surfaces alternate with black chalkboards, warm orange contrasts with gray upholstery and light wood of the furniture. What was the effect? Thanks to the new interior design, the coworking space in the Rondo combines everything that is needed for flexible and comfortable working: Modern architecture, an ideal infrastructure and plenty of room for networking. Photography: Stiefkind Fotografie


SHORTLIST

B2C C2B

163


Category:

Products and Services

Project:

Russmedia BesucherfĂźhrung Druckerei

164


BRONZE LIK

EI

What was the challenge? The international media company Russ­ media also has its own printing centre at the Schwarzach site. Guided tours of the plant provide an insight into the creation of the daily newspaper “Vorarlberger Nach­ richten” and inform about the processes in the printing plant. The aim was to enhance the tour with designed stops. What was the solution? The striking “Russmedia red” and graphic print screen elements reflect the company core at all stations. Memorable icons, inter­ active stations with descriptive illustra­ tions complement the visitor tour. Multiple hands­on station make the tour’s topics come alive. The tour provides insights of the entire process of a print shop: Starting with topics such as exposure and printing the tour then leads to the paper warehouse and the shipping department. A movable

T!

photo point in the shape of a real sized paper roll at the end of the tour rounds off the experience. What was the effect? The combination of interactive stations and interestingly prepared facts resulted in an entertaining tour through the Russmedia print company. A positive side effect is the created appreciative atmosphere for Russmedia’s employees. Photography: look! design

Contact: Stefanie Schöffmann look! design office@look­design.at www.look­design.at

165


A

B

C + Institutionen 3278

ca

du

ee se

mp

fe

hl

un

ng

M

k d Landwirtschaftskammer Tirol er M itg Heilpädagogische lie Gesellschaft Diözese Innsbruck -d e Österreich (HGÖ) Kath. Bildungswerk

r

KPH-Edith Stein

Mitgliedergemeinden

4

mo

ns

r B ild Ebe

erd

ate

e

Mitgliedergemeinden

n

Tiro Gemeind + 28

Universität Innsbruck Bildung + 3330 3

t

r a l eQuelle s

FIREWALL

Schu

Rings

Mitgliedergemeinden

Mitgliedergemeinden

S

o

s o f f e n s i v e

LANDKARTE DES TiBS

R

S es aße d

E

L

Mitgliedergemeinden

B

T

Mitgliedergemeinden

tr

R O I T

nba

ne

L

LS

-S

n-

Refo rm en

m

OER-Koge 3297 +

pe

A

Co

de

O

en rab -G

e

v

Tiroler Bildungsforum Mitgliedergemeinden

Mitgliedergemeinden

D i

tiv

si

Z

AK Tirol

ß e G r o

as

Laufende Artikel Mitgliedergemeinden

oc

Fachhochschule Kufstein

ea

IT-SCHULNETZWERKE/ LAN

n

sst

ge

Mitglie

Urheberrechtsgipfel 2932 +

in

jektwebs

ng

i t a l i s i e r u n

166

r

lu

tt u

g

Atelier Christian Mariacher Maria-Theresien-Str. 27 6020 Innsbruck, Austria info@ateliermariacher.at www.ateliermariacher.at

R

Cr

Förderverein Lebenshilfe Tirol BIDOK Montessori Schule Ibk Ge Villa Blanka b

5

Contact:

ick

MOBILE-DEVICES sta

Stadt Innsbruck

irg

tw

l-Pro

Aus

En

st

su Ge

Ta l

der

park Bildung Nach

i ge halt

S SL -Sup

des

e aß

t

N at i o n a l

Einzelpersonen BFI Tirol

3

+ BMBWF 2133

or

n

Sc

hu

le

BINE + 3678

de

g

What was the effect? This unusual presentation created emotionally strong reactions which ranged from baffled rejection of the idea to plain delight. At any rate, a strong emotional reaction to the products of a service institution like this is more than we could have hoped for compared to the alternative of setting up a ‘normal’ information folder.

Va l l e y

N

tio

gti ro

P

2

What was the solution? Rather than producing a standard information booklet we decided to depict these things in terms of a fantasy map. This folded A3-sized map was wraped in a four-page A4-sized folder. The latter was preprinted with contacts and further information plus an empty field to be printed on by the client. This bundle could be holed and placed into a regular A4+ sized binder.

A

am

1

R

Namlos + 3268

T

p

What was the challenge? The ‘Tiroler Bildungsservice’ (TiBS) is a regional institution in the Tyrol which offers a broad range of services for teachers and schools, including online-platforms and general IT topics, coaching etc. As both-, the structure and vast field of work of ‘TiBS’ is difficult to communicate, the main interest of the briefing was just that: making the benefits clear the institution has to offer.

n

Map for TiBS

l

Project:

Products and Services

g

Category:

C

ur

ce

-E

be ne


BRONZE LIK

EI

l o

T

/A

bt .B

ild un

R LehrerInnenWIKI

Mount WIKI + KustodInnentag 2098

i n

lo g ta

en) lös

me

e

M

le

sg

on ti

ak

e

Großstädte der IT-Standards

O

ro

l

F

3

S KIBET Service

Aussichtspunkt

n

s

n

e

B

Hafen

ild

un

gsb

e rat u n g Ö ste rr

4 ei

ch

ESF-BMBWF + 50 tzw l e r k T i ro

Ne

BAfEP KK

G

N

Ti

TFBS E

r BHS

U

BMS PTS ng

D

e

Brücke

ldu

e

( D e n ke n l e r n e Microsoft-Lizenzierung Raffinerie

en e

r n, P

ru

ka Fähren

.bi

-D

lta

ob

W

LD BI

NETWORK-CITY s e ASO d rw EB E

EIS

rt

N

pe

e u u n g t r d v a e r b e n o I n e r d

L

r

p

Dossiers

Observatorium

P

L e s e n

o rK Schwerpunktthemen

Re

ift

a m a r s t r

a

d i

2

n

t i o n

K

de

tio

d

al

on

gi Re

G

Mitgliedergemeinden

ilb

gs

E

v

S U

N

Aussichtspunkt

ppo

e

N et zw er kl

Lesen in Tirol

-Su

tr

ssi

n

g

B

e

uu

ma

s ng

e

ol

I

L

Se

n ah

a

Tir

D

b

S l

Stau-

[ damm

[

o

nd

LSR Tir o

i v

a din or

T iroler Bil dun

econd

i r

e

l

First/S

od

- M e r g T r Lä

eb

mo

Pädagogische Hochschule Tirol (PHT) + 2987 ildungsdirektion + Beirat s s 3431 a

a

Quelle

W-LAN

TSN Doku

w

T

SCHULSERVER

Tiroler meindeverband + 2858

LS

c

Sumpf des Vergessens

Urige Hütte

L a g o

r

S

Schulenbeiträge

SN

nk

e

-

1

Leuchtturminsel

Riff der Widerstände

h

TSNmail

nba

t ec TSN conn

-Kogel 297 +

Mount Mc TSN N 3010 l + u

ra

-L

aha

Fähren

t e n s i e D z e t

I C E

Mitgliedergemeinden TSNm

s el

TSN

ße

ß

up ort -S p

a

Flughafen

l

TSN

ev

tr

e

Testatoll

SCHULLIZENZIERUNG BASIS MICROSOFTLIZENZIERUNG

V

r o l T i

MEZ Medienzentrum + 1998

Mitgliedergemeinden

R

R

a

rr

oo

Tirol + 2001

d

E

G

sch

Quelle

F

ta gni co in

DVT

a Datenverarbeitung

I n h a l t: I n g.   M a rku s F i l l afer, D esign: w w w.atel i er m a r i a c her.at

E

L

T

D

n

+ AMF 1803

T!

NMS Horte

S

FS KG

L LLA A VS N D AHS SCH HUM AFT

Straßennetz der Vor-Ort-Beratung

5

G

Redaktionseinrichtungen

167


Category:

Products and Services

Project:

Bike Bag User Instructions

What was the challenge? To design a set of user instructions that enabled a customer to quickly and easily assemble a bicycle bag, and disassemble their bicycle so that it would fit in the bag. The customer would want to do this quickly with no fuss, and have the reassurance their bicycle was safe.

What was the solution? Working remotely with the team and their specialist manufacturing partners, we developed user scenarios to pinpoint the critical steps on the product assembly. These scenarios helped us to understand the environment and state-of-mind of the user as they interacted with the product.

Our client, ‘Douchebags’ had an inspiring company mission they wanted to influence the design solution of the instructions “Make better journeys through smarter travel gear”.

Alongside photographs, we requested the client to record a video of them assembling the bag with commentary; this brought the scenarios to life and gave us valuable product knowledge helping us decide on how to display the information.

Douchebags’ new products were often in development right up until they went into manufacture, at which point instructions also needed to be printed/sewn into products. So, finding the magic window for the instruction design with the client was very important. Due to the product being developed in Sweden we were unable to have face-toface meetings or hands-on interaction with the product. The brief restricted the format to two A4-sized panels that were to be stitched directly into the bag, therefore a minimal number of steps was essential. Fewer words also meant the instructions could be used by their global customer-base.

Test prints from their printer allowed us to examine visual acuity; checking typesize, appropriate illustration line weights and colour to ensure legibility in the printing process. For the instruction steps we developed a system of colours and illustration style (block and line styles) to highlight action areas. This allowed the user to quickly identify key focus areas. True to Douchebags’ established brand, we worked towards minimal worded instructions and created a snappy ten-step guide. Time constraints meant user testing was organised on-site with the Douchebag’s teams which they fed back to us.

What was the effect? Designing the instructions during product development meant they both evolved together, highlighting usability challenges for both design disciplines. To our surprise, the instructions were used by the client in their online how-to video explainer, where they featured heavily alongside their video. After seeing how the client was using our instructions, not just on the product, but chopped up in video, we decided to produce an animated version of the instructions. Moving instructional imagery helped to sympathise with the users (we thought it was difficult for them to focus on static instructional steps and moving video at the same time when presented side by side), keeping them engaged and immersed with the product. Douchebags liked our new approach and we are currently in discussions to produce an updated version. “We believe the instructions turned out to be what we wanted; nice design, easy to read and with not too many pages...” Douchebags Product Development

Contact: name: Oliver Tomlinson company/organisation: TDL Creative e-mail: info@TDL-creative.com website: tdl-creative.com

168

Award-winning travel gear


SHORTLIST LIK

EI

T!

T H E KI T 2pt 1pt 0 . 75 p t 0.5pt 0.25pt 2pt 1pt 0 . 75 p t 0.5pt

S A N G B L EU 1 1 p t b l a ck

SA NG B L E U 1 2pt bl a c k

SA N G B L EU 1 3 p t b l a c k M I N ION PRO 1 1 pt bl a ck

M I N ION PRO 1 2 pt bl a ck

M I N ION PRO 1 3 pt bl a ck

0.25pt 2pt 1pt 0 . 75 p t 0.5pt 0.25pt 2pt 1pt 0 . 75 p t 0.5pt

S A N G B L EU 1 1 p t re d

SA NG B L E U 1 2pt re d

SA N G B L EU 1 3 p t re d M I N ION PRO 1 1 pt re d

M I N ION PRO 1 2 pt re d

M I N ION PRO 1 3 pt re d

0.25pt

P R E PA R I NG T H E B I KE

01

S T R I P T HE B I K E

02 6pt 5pt 4pt 3pt 6pt 5pt 4pt 3pt

The first design sketches covering key steps in the assembly process, highlight details and some ideas on layout. Sketching enabled us to test concepts quickly and identify tricky elements.

Test prints were vital in determining fonts, typesize and line weight legibility. We needed to consider where the final product was going to be printed, and what would compliment client branding.

Detail showing a number of design solutions including movement arrows, ghosting of hidden or irrelevant features, and highlighting (using colour and scale) key elements.

169


Category:

Didactics

Project:

Atlas of Palestinian Communities in Israel

What was the challenge? Since as of today little to no information on Arab-Palestinian communities in Israel exists (in particular, no high quality information in the form of explanatory maps), this project is intended to correct this information deficit. It claims to be an encyclopaedia resp. reference work for teaching and research providing demographic, geographical and statistical information. What was the solution? This bilingual atlas (english/arabic) has two reading directions (the arabic introduction is to be found in the, for western people, «back part» of the book). All maps were specifically designed for this project and supplemented with detailed information about community-sizes, their coordinates, population, density and origin of their inhabitants. On the basis of general maps and information graphics, the chapter on statistical data analyses population structures and compiles cross-comparisons. What was the effect? The «Atlas of Palestinian Communities in Israel» summarizes on 468 pages how Israel’s Arab-Palestinian population (1.32 million people resp. 17% of the total population) is structured and provides for the first time a comprehensive, easily accessible and detailed overview of all Arab-Palestinian communities in Israel. It provides basic information on these communities as well as their structure of local populations and geographical characteristics. Structured according to the six geographical districts of Israel, it contains an additional chapter on statistical data and infographics.

Contact: name: David Büsser / Luca Eusebio company: Reform / Studio Eusebio e-mail: mail@palestiniancommunities.com website: www.palestiniancommunities.com

170


GOLD GOT IT.

171


Category:

Didactics

Project:

Exhibition: »Museum Illertissen«

What was the challenge? The small town of Illertissen wanted to redesign their local museum. It took a lot of persuasiveness as some members of the local historical society were skeptical towards a contemporary implementation for a long time. But the request of the Cultural Office of Illertissen was creating a new visual appearance. What was the solution? Together with a historian, we developed a concept that focused on people – so the story of a city is the sum of people’s »coming and going«. Biography steles are therefore a consistent element – as well as the children’s cubes. At the beginning an »object-planet« awaits with countless exhibits, then comes the interactive archive wall: drawers trigger projections onto the pictures, films etc. are integrated … at the very end the »Kempter-Kabinett« is dedicated to the Illertisser painter, with a bay window and the opportunity to draw and exhibit yourself. Wars, migration, crafts and industry … everything is addressed in the other rooms. Playful, visual, staged and sensitive. A separate children’s level with closeness to the spatial themes is completing the permanent exhibition. What was the effect? Overall concept of the new Museum Illertissen are people. The focus on stories with a personal connotation runs like a golden thread through the museum. Locals as well as classes and tourists discover the story of Illertissen’s townspeople in a very new light. Thereby they see the city with different eyes.

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

172


SILVER GOT IT.

173


Category:

Didactics

Project:

Planetary Coin Collection instructions

?

INSTRUCTIONS

X

There are two ways to use your copy of Planetary Coins. 1. Unclip the magnetic

clip, then open the front cover, and read the pages like a book. OR

BEFORE YOU START

STEP 1

STEP 2

STEP 3

STEP 4

STEP 5

You will need a clean, empty surface, such as a table, bench or floor.

Place your copy of Planetary Coins FACE DOWN on the surface.

Rotate the book so the magnetic clip is facing away from you.

Unclip the magnet, leaving it lying flat on the surface.

The book is divided up into in 3 folded sections.

(You’ll need a large space – the solar system is big).

(You will be looking at the back cover).

(The barcode on the back cover will be bottom right, near you).

You MUST always unclip the magnet before opening the cover to avoid tearing the pages.

(The first section is connected to the back cover).

CAREFULLY lift the top 2 sections up so they stand at 90 degrees.

2. Follow these

instructions to view the contents as a diorama.

Position it near the right corner of the space in front of you, so there’s room to fully open it out to your left.

Grab the top 2 sections ONLY .

the third section lying on the surface to your right (this section has the front cover under it).

LEAVE

mint_planetary-coins_instructions_fa.indd 1

What was the challenge? The Royal Australian Mint develops several ranges of collector coins a year. The Planetary Coins Solar System Ten Coin Collection features the Sun and all the planets of the solar system including the dwarf planet Pluto. It came in a lavish pop‑up book that folded out to a full diorama presentation. Unfortunately, simply opening the book the wrong way could rip the pages or crush the pop‑ups.

CONTINUED…

What was the solution? After several attempts to open the book without damaging it, we worked out it could only be done if the book was lying face down. We developed an instruction leaflet plus an animated version for online

STEP 8

STEP 9

STEP 10

Grab the last panel.

Grab the next 2 panels.

(You must open this panel first).

Open them up and place them on the surface.

Move up to the last 2 panels.

Open it up and place it on the table. Neptune will pop up.

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

mint_planetary-coins_instructions_fa.indd 2

VIDEO

174 IIIDaward-Entry Transmission 1.indd All Pages

Jupiter and Saturn will pop up.

Open them up and place them on the surface.


SILVER GOT IT.

use – see https://youtu.be/k8U6Hrn4mm4. I used my phone to take multiple images of my colleague John as he performed the micro‑tasks required to safely set up the diorama. I redrew these in Illustrator, paring everything back to the highlighted essentials. I also changed John’s attire, so he looked like a NASA astronaut.* What was the effect? This coin collection was a universal success – it sold out, with zero complaints about the book self‑destructing.

STEPS 6 AND 7

STEP 7

unfold the top 2 sections towards your left.

LEAVE

the third section lying on the surface (this section has the front cover under it).

GENTLY

Each of these sections fold out to 2 pages.

DON’T try to unfold the third section – it isn’t part of the diorama and you could damage it.

When you have finished there will be 5 black panels lying flat on the surface.

MORE STEPS OVERLEAF

LEAFLET 5/7/17 3:43 pm

! AN

US

UR

AN

US

M

ER

C

U

R

Y

UR

HOW TO GO BACK TO THE BOOK FORMAT

STEP 11

STEP 12

STEP 13

When you do this the Sun will spin, and the Earth will pop up.

pop up the remaining planets – Mercury, Venus, Mars and Uranus – by pulling the tabs provided with your pointer finger.

Enjoy using the diorama to find out about our solar system and to admire your Planetary Coin collection.

MANUALLY

Push the tabs back so the planets lie flat. (Or they’ll be squashed). CAREFULLY fold the panels back, and then the 3 sections.

For further information on how to open your pop-up book please scan code above or visit: www.youtube.com/ australianmint

Re-clip the magnet. END

5/7/17 3:43 pm

*We commissioned Melbourne musician Nick Wilson to compose the electronic backing track for the animated version.

175 12/5/20 10:25 pm


Category:

Didactics

Project:

1519

What was the challenge? 1519 was the year that Kaiser Maximilain I. died. His legacy after his death was impressive and shaped the region. The application 1519 conceptualizes and visualizes his heritage and illustrates social life at the turn of the modern era in ten different locations. The app provides users with a historical on-site experience and guides them to bygone and still intact monumental structures of his reign. What was the solution? A narrative audio guide tells stories of the everyday life of the residents at the time and draws a line from the past to the present: streetart, animation and dance performances make historical traces contemporarily available. What was the effect? The app became the standard tool for tourism-guides and teachers to show Maximilians history in Tyrol.

begeistern Gesellschaft

Pakete

Sonstiges

begeistern Startpaket

Gesellschaft

Pakete

Kategorie

Verben/Tätigkeitswörter

Kategorie

Verben/Tätigkeitswörter

Hände

2

Hände

2

Handform

SCH-Hand

Handform

SCH-Hand

begeistern Gesellschaft

Pakete

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

176

Sonstiges

Sonstiges

Startpaket

begeistern Startpaket

Gesellschaft

Pakete

Sonstiges

Kategorie

Verben/Tätigkeitswörter

Kategorie

Verben/Tätigkeitswörter

Hände

2

Hände

2

Handform

SCH-Hand

Handform

SCH-Hand

Startpaket


SILVER GOT IT.

177


Category:

Didactics

Project:

Denksportweg

What was the challenge? The Katholisches Bildungswerk Tirol is a certified education institution and educational platform for senior citizens. In order to motivate its clients to keep active both physically and mentally, and to improve their autonomy and well-being, they hired us to develop an exercise trail with instructions for a series of physical and mental activities. The instructions need to be clear, age-appropriate, cost-effective, and allow the exercises to be performed without a trainer as usual. In addition, the design must appeal to older people, even those who do not see themselves as old, and take into account the fact that people might respond to different incentives to carry out such exercises. For example, a sense of community might be what draws women in, whereas competitive comparison might be more interesting for men.

linken Arm heben

rechten Arm heben

klatschen Above: left and right (linken Arm, rechten Arm) mirrored in the illustrations to facilitate coordination. Right: clothing and hairstyles can evoke active and healthy senior citizens, but they are still age-neutral. Opposite: Example of trail stations.

178

What was the solution? We designed a 10-station exercise trail – The Denksportweg – that can be produced locally with readily-available materials, by communities or associations with limited budgets. It is durable and easy to install. Together with our client we conducted surveys among their members in order to develop the exercises and clarify the information required in the instructions. We combined simple texts with illustrations of both male and female figures of undetermined age in order to maximise understandability and inclusivity. We paid special attention to the clothing and hair styles in the figures, so that the users can perceive themselves positively in the illustrations, and we tested our designs throughout the process. Of particular significance is the way we dealt with the problem posed by the inverted laterality of a frontal figure in relation to the viewer. When the instructions

show a figure moving the left arm, we noticed that participants automatically mirror the figure and move their right arm, so we adapted the textual instructions to reflect this. Sometimes, we avoided this ambiguity in the text by simply mentioning “one side” and “the other side”, instead of left or right. This significantly reduced the cognitive load for the users.


" Hinweis: Kann auf dem Weg zur nächsten Station ausgeübt werden.

Impressum: Diözese Innsbruck, Katholisches Bildungswerk Tirol, Riedgasse 9, 6020 Innsbruck • Bei Beschädigung kontaktieren Sie bitte Tel. +43 512 22 30 48 01

BRONZE

GOT IT.

What was the effect? The directions were thoroughly tested and found to be clearly understood by people in different age groups. Participants found the design of the instructions motivating and made them keen to carry out the exercises. Since each exercise includes variations in difficulty and intensity, they can remain interesting and afford repeated use, as well as engage groups with members of varying ability levels, enhancing the sense of community. The exercise trail is now available as a complete, production-ready package that, thanks to the standardised components and simple design, can be implemented in a very short time with a small financial investment. Our client has received positive feedback from users and coaches, and the trail will be adopted by several municipalities in Austria in Summer 2020.

Übung

100, 97, ...

1. Stellen Sie sich eine Uhr in Ihrer Körpergröße vor.

11

12

KONZENTRATION RÄUMLICHES VORSTELLUNGSVERMÖGEN 1

SELBSTEINSCHÄTZUNG

lassen sich eine vom Partner vorgeben.

10

2

ALLTAGSTIPP

3. Zeigen Sie mit dem linken Arm den Stundenzeiger und mit dem rechten Arm den Minutenzeiger.

4. Ziehen Sie 30 Minuten ab und

3

9

zeigen dies mit den Armen.

5. Wiederholen Sie die Übung

mit 5 verschiedenen Uhrzeiten.

3. Folgen Sie dabei mit Ihren Schritten einer gedachten Linie.

• Können Sie sich die Zeiger vorstellen und darstellen?

2. Überlegen Sie sich eine Uhrzeit oder

• Konzentrieren Sie sich auf den Sekundenzeiger einer analogen Uhr. Folgen Sie dem Zeiger konzentriert mit den Augen. Versuchen Sie dies eine Minute lang durchzuhalten.

" Hinweis: Kann auf dem Weg zur nächsten Station ausgeübt werden.

FORTGESCHRITTENE

4

8

•Ziehen Sie statt 30 Minuten 20 oder 35 Minuten (bzw. eine andere selbst gewählte Anzahl an Minuten) ab.

6

ALLTAGSTIPP

• Bilden Sie Summ einzelnen Ziffern vo nummern oder Auto

FORTGESCHRITTENE

Mehr Information unter www.denksportweg.com 512 22 30 48 01 Impressum: Diözese Innsbruck, Katholisches Bildungswerk Tirol, Riedgasse 9, 6020 Innsbruck • Bei Beschädigung kontaktieren Sie bitte Tel. +43

Mehr Information unter www Impressum: Diözese Innsbruck, Katholisches Bildungswerk Tirol, Riedgasse 9, 6020 Innsbruck • Bei Beschädigung kontaktieren Sie bitte Tel. +43 512 22 30 48 01

Discofieber KOORDINATION KONZENTRATION SICHERHEIT IM ALLTAG

1. Strecken Sie Ihren Arm seitlich weg und schwingen Sie ihn im Kreis.

SELBSTEINSCHÄTZUNG

• Schaffen Sie alle 8 Wiederholungen? Bei Schwierigkeiten reduzieren Sie die Anzahl an Wiederholungen.

2. Tippen Sie zugleich mit dem

gegenüberliegenden Fuß abwechselnd seitwärts, nach hinten und vorwärts.

ALLTAGSTIPP

• Benutzen Sie als Rechtshänder im Alltag die linke Hand und umgekehrt. Versuchen Sie z. B. Ihre Zähne als Rechtshänder mit der linken Hand zu putzen!

3. Wiederholen Sie diese Übung 8 mal. 4. Wechseln Sie nun den Arm und

das Bein und wiederholen Sie die Übung erneut 8 mal.

FORTGESCHRITTENE

C

B

• Wechseln Sie bei jeder Wiederholung den Arm und das Bein.

A

Mehr Information unter www.denksportweg.com Impressum: Diözese Innsbruck, Katholisches Bildungswerk Tirol, Riedgasse 9, 6020 Innsbruck • Bei Beschädigung kontaktieren Sie bitte Tel. +43 512 22 30 48 01

179

• Bilden Sie Summen aus den einzelnen Ziffern von Telefonnummern oder Autonummern.

AKTIV IM LEBEN

FORTGESCHRITTENE

name: Markus Scheiber, Christian Lunger company: motasdesign e-mail: office@motasdesign.com website: www.motas.design

• Malen Sie Muster in die Luft, während Sie die Übung durchführen.

Mehr Information unter www.denksportweg.com

Contact:

Übung

1/11

SELBSTEINSCHÄTZU

• Je weniger oft muss, um weiterre desto besser!

• Malen Sie Muster während Sie die Übun

5

7

FORTGESCHRITTENE

3er-Schritten abwärts (100, 97, 94, …).

AKTIV IM LEBEN

Ach du liebe Zeit!

ZAHLENKOMPE KONZENTRATIO

• Malen Sie Muster in die Luft, während Sie die Übung durchführen.

2. Zählen Sie im Gehen von 100 in

Übung

6/11

Mehr Information unter www.denksportweg.com

1. Gehen Sie in gewohntem Tempo los.

• Bilden Sie Summen aus den einzelnen Ziffern von Telefonnächsten oder Autonummern. " Hinweis: Kann auf dem Weg zurnummern Station ausgeübt werden.

AKTIV IM LEBEN

Drei gewinnt

Impressum: Diözese Innsbruck, Katholisches Bildungswerk Tirol, Riedgasse 9, 6020 Innsbruck • Bei Beschädigung kontaktieren Sie bitte Tel. +43 512 22 30 48 01

4/11


Category:

Didactics

Project:

Museum goes wild

What was the challenge? A unique collaboration merges the natural world with the digital. The Tyrolean State Museums and the Bergbahnen Fieberbrunn have created the first digital hiking path in Europe: 1 nature preserve, 10 stations, 100 minutes – digital hiking fun for the whole family. What was the solution? The archives of the Tyrolean State Museums contain thousands of specimens which naturally can also be found in the great outdoors; however, many of these biological, botanical and geological finds don’t garner much attention. We wanted to change this by using modern technology to show off the treasures within the museum and the natural world around us. The Wildseeloder, or the area in the valley between Lärchfilzkogel and the flank of the Wildseeloder (Rauhe Wildalm) was ideal for this: a digital way to experience nature, guided by a specially developed app – educational, entertaining and fun. What was the effect? The Wildseeloder was the most popular family attraction in the whole region within weeks of launching the digital way.

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

180


BRONZE GOT IT.

181


Category:

Didactics

Project:

Pseudonyms A. Ch.

What was the challenge? January 29, 2020 marked the 160th anniversary of the birth of the great Russian writer and playwright Anton Pavlovich Chekhov. A.P. Chekhov is a creator of bright memorable images, a subtle psychologist, a master of subtext, a peculiar combination of humor and lyricism. Creative people very often take other names and surnames – for euphony or to create intrigue. The use of a fictitious full name is also typical for writers. Many classics published their works under fictitious surnames, writers still write under pseudonyms today. Chekhov used dozens of all kinds of pseudonyms (only 42 pseudonyms of the writer are known). So far, they have not been fully disclosed. The function of the comedian’s pseudonym was not so much to hide genuine authorship as to amuse the reader, want to intrigue him, hence variability, deliberate confusion - the reader should try to guess the authorship of the story himself.

What was the solution? In the course of studying Chekhov’s biography, memories of individual episodes of his life, his literary heritage, an information poster was developed that allows you to get acquainted with the creative pseudonyms of the great Russian writer A.P. Chekhov. The spectacular main inscription, color scheme, font and layout, interesting details will attract the attention of youth to this topic. The design focuses on key information.

What was the effect? It was important for me to find these pseudonyms of Chekhov and to interest young people with this information, and perhaps this is what will prompt

182

the young man to take the book of A.P. Chekhov from the shelf and enjoy reading. Also, to popularize classical literature, expand knowledge about the life and work of A.P. Chekhov, develop motivation for intellectual activity, the need for communication with the world of classical literature, inspire reading and books.

Contact: name: Nastya Vaskovich company/organisation: Vitebsk State Technological University e-mail: nastyavaskovich172@gmail.com website: fd.vstu.by


BRONZE GOT IT.

183


Category:

Didactics

Project:

2019 Voter Guides

What was the challenge? Recognizing that the principles of wayfinding can be leveraged to help people move through complex information as well as through complex spaces, the New York City Campaign Finance Board enlisted Two Twelve to design the 2019 Voter Guides, both for the Primary and the November General Election. The most recent iteration of the nonpartisan guide—sent to every registered voter in the five boroughs—informs New Yorkers about their early voting options and encourages participation in the upcoming election. The 32-page document outlines important dates and voter rights, illustrates step-by-step instructions for marking your ballot, explains the City’s matching funds program, introduces the candidates running for office, and summarizes ballot proposals and what they will mean for New York residents.

GET SMARTER

Know Where To Go

Campaign Finance Board 100 Church Street New York, NY 10007

With sections dedicated to frequently asked questions and contact information for candidates and the Board of Elections, as well as directions to additional online resources, the Voter Guide offers a wealth of information.

Did you receive this Voter Guide in the mail? Check the cover to find out where you vote on November 5th. OR Check voting.nyc to see a copy of your ballot and click “Where to Vote” to confirm your poll site location before you go.

ABOUT VOTING Sign up at nycvotes.nyccfb.info or text NYCVOTES to +1-917-979-6377 to receive email and text alerts from us, so you never miss another election! And make sure to keep up with all the latest voting reform developments at nycvotes.nyccfb.info/nycvotesblog.

OR +1 917 979 6377

Call the Board of Elections at 866-VOTE-NYC to find out where you can vote early.

NYC VOTES

Make a Voting Plan The Day You Go Vote

Today

Campaign Finance Board 100 Church Street New York, NY 10007

Pick a time

Contact: name: Shi-Anne Shakes company/organisation: Two Twelve e-mail: sshakes@twotwelve.com website: http://www.twotwelve.com

Choose a good time to vote and put it on your calendar. Remember, you can vote early starting on October 26th (see page 4). Tell your family and friends to join you.

Double-check your poll site location

Note your poll site location (if you are voting early, your poll site may be different from where you would vote on November 5th).

Visit voting.nyc to doublecheck your poll site location.

Bring this Voter Guide with you

VOTE Bring your family and friends with you! Read up on the candidates and ballot proposals

184

Find your polling location

Make an informed decision

Read up on the candidates and check out their video statements at voting.nyc. 2019 General Election November 5 | Polls are open 6:00 am to 9:00 pm

3


BRONZE GOT IT.

What was the solution? Two Twelve approached the design of this information strategically; our goal was to empower individuals to sort, process, and understand the content quickly and clearly.

rean, and Bengali versions were provided to voters in targeted areas.

With approximately 5 million registered voters in New York City, this information tool offers a tremendous opportunity for connection but demands clarity to communicate effectively. For our team, distinguishing between types of content was a top priority. Two Twelve’s designers developed a consistent visual style for election-specific content, differentiating information that requires voters’ immediate attention from more general information.

Understanding NYC’s Matching Funds Program

What was the effect? The new design delivers the updated, user-friendly look the NYC Campaign Finance Board was after. It also provides a functional framework for future editions.

Candidates talk to New Yorkers and collect small-dollar contributions

Candidates raise enough small-dollar contributions to qualify

For the first time in history, an election law introduced early voting to New Yorkers, tightening the timeframe for designing and producing an information tool that was essential for informing voters and encouraging an early voting habit.

Qualifying candidates can have every dollar matched with up to eight dollars of public funds

Candidates agree to limit their spending

2019 General Election November 5 | Polls are open 6:00 am to 9:00 pm

11

Two Twelve established a clear, consistent identity for the most pertinent information, utilizing bold blue text for headlines and highlighting key text in red. The Voter Guide for the November 2019 General Election contains 15 pages dedicated to ballot proposals, and Two Twelve designers worked in close collaboration with the Campaign Finance Board and their in-house design team to organize this information for maximum clarity. Supplementary information provides context on voters’ rights and resources for additional information, and it is presented S M T W throughout the document in brightlyT NONPARTISAN F YOUR S GUIDE TO CITY ELECTIONS SINCE 1989 colored boxes, each with its own visual identity. This content is eye-catching, but distinct in style from the information that 24 25 26 directly addresses the upcoming election, VOTE EARLY! candidates, and ballot measures. 27 28 29 30 31 1 FOR 2 The combination of these two categories THE of information allows for flexibility in the layout—a feature that is essential for a 3 4 5 6 document produced in multiple languages. 7 8 9 The dual English-Spanish version was deployed throughout the City; Chinese, Ko10 COUNCIL DISTRICT 45 11 12 13 14 15 16

VOTER GUIDE OCTOBER

EARLY

VOTE

CITY YOU

NOVEMBER

WANT

Early Voting: October 26 – November 3 General Election: November 5

185 EARLY VOTING PAGE 4

HOW TO VOTE PAGE 8

MATCHING FUNDS PROGRAM PAGE 10

CANDIDATE PROFILES PAGE 12

BALLOT PROPOSALS

FREQUENTLY ASKED QUESTIONS

PAGE 15

PAGE 30


Category:

Didactics

Project:

Explaining Li-ion battery improvements (motion graphic)

What was the challenge?

What was the solution?

Although basic working principles of Li-ion battery is illustrated diagrammatically before, it is challenging to explain the subtleties that go into “improving” them to a broad audience. IMR at SUNY Binghamton wanted to visually explain the underlying principles of lithium intercalation at the atomic level given that their member Stanley Whittingham received the 2020 Nobel prize in chemistry for developing the lithium ion battery. They wanted to make a scientifically rigorous explanation of of the Li-ion battery to a range of stakeholders—from college students and researches to the private and public decision-makers—by utilizing infographics.

Design strategy and framework : A design session was established at the IMR between designer Ersan and material scientists led by Louis Piper in which a visual strategy was created that would guide viewers from the visible down to the atomic levels of the Li-ion battery. A compositional framework was created that displayed the wristwatch and explodedview of its battery on the background. Over this background, inset frames were overlaid to show zoom-in views of battery components at relevant scales.

The brief was to create a motion graphic that would show how a battery powers a device during discharge while showing how charge moves at the atomic level during discharging to highlight the materials properties that ultimately determine the battery’s performance. The graphic would begin at the human scale showing a visible battery inside a wristwatch, then zoom into the battery’s microscopic and atomic layers to show how the subtleties of its structure effected the battery’s functions. This infographic would serve to guide education, research, and public dissemination of battery science.

Contact: name: Gökhan Ersan and Louis Piper company/organisation: IMR at SUNY Binghamton e-mail: gersan@binghamton.edu website (link to motion graphic) : https://youtu.be/alJGuc5OtFE

186

Visual Language and Storyboard: Subsequent design sessions were established at the IMR between designer Ersan and Louis Piper to develop a visual language for the scientific components and to flesh out the visual story and to storyboard the animation. A visual language was established to express atoms at three scales taking inspirations from cutting-edge published results in the literature. Atom’s electronic structure was portrayed by the Bohr (spdf orbital) model. Crystal structure was referenced from scientific modeling software Vesta. The dynamic motions of the crystal lattice was informed by quantum mechanical computations and modeling. Microstructures (nanowires) were referenced from SEM imagery, and solutions to quantum mechanical calculations were reproduced from https:// doi.org/10.1038/ncomms12022. All of these elements were built as vector graphics. Animation and motion graphics Crucial motion graphics were created within Adobe AfterEffects. All of the vector and motion-graphics elements were brought together and animated on

AdobePremiere Pro. The final animation shows how Lithium atoms split into electrons that feed the wristwatch as well as lithium ions that move from the negative pole of the battery towards the positive end. Battery is drained after all lithium ions migrate to the positive end. Several inset frames show in detail the performance of the nanowire in facilitating lithium’s movement. What was the effect? Infographics of lithium ion batteries focus on the lithium ions shuttling back and forth between electrodes, but this infographic includes the ionic and electronic motion within the electrode. This motion graphic not only reveals how the capacity of the battery is related to the ability of the cathode to store lithium, it emphasizes how the atomic structure of the electrode can limit the capacity i.e. inhomogeneous insertion. It is then intuitive to the audience that modifying the geometric structure can facilitate easier lithium insertion resulting in better/ faster batteries. Before this graphic came to life, it was a thoroughly challenging effort to explain the multiple levels of materials science and engineering required to develop next-generation batteries to multiple stakeholders.


SHORTLIST GOT IT.

Inset frame showing a single Lithium ion moving through a nanowire that resides within battery’s positive end (cathode).

Inset frame showing Lithium ion causing nearby atoms to pucker while passing through the nanowire.

Inset frame showing Lihium ions filling up battery’s cathode.

187


Category:

Didactics

Project:

Commercial Waste Zones Report

What was the challenge? In 2018, Two Twelve worked with the New York City Department of Sanitation to produce an engaging and accessible document that addresses commercial waste zones and the department’s plan to radically reform the current system of private carting in the five boroughs. The plan will divide the city into 20 zones and select private carters through a competitive process. This proposed restructuring of the current system will reduce truck traffic, strengthen service standards, and establish a new regulatory framework. What was the solution? Capitalizing on our expertise in information design, Two Twelve developed a document that highlights key information and employs maps, charts, and infographics to illustrate the findings of an in-depth analysis of the current system. The thoughtful application of graphic elements strengthens the department’s argument in favor of a streamlined approach to commercial waste zones, and highlights both the opportunities of the proposed plan and the inefficiencies of the current system. What was the effect? The private carting industry became controversial due to allegations throughout the years, motivating rigorous campaigning and planning for government oversight and bill for commercial waste zones. The final report, titled “ Commercial Waste Zones: A Plan to Reform, Reroute, and Revitalize Private Carting in New York City,” acted as a call to action and educational tool targeted towards New York City Council members. The report proved to be a success, as the bill for a safer, more organized system was signed into law in October 2019.

188

Contact: name: Shi-Anne Shakes company/organisation: Two Twelve e-mail: sshakes@twotwelve.com website: http://www.twotwelve.com


SHORTLIST GOT IT.

NEW YORK CITY DEPARTMENT OF SANITATION

COMMERCIAL WASTE ZONES

INTRODuCTION

24th St. Brooklyn Number of Customers

3R

D AV

E.

11

Number of Carters

9

24

ST.

E.

TH

5T H AV

NEW YORK CITY DEPARTMENT OF SANITATION

COMMERCIAL WASTE ZONES

INTRODuCTION

55th Dr. Queens

Commercial Waste Collection Today

Number of Customers

58TH ST.

14

Number of Carters

11

55TH DR.

.

VE EA

RIC

U MA

NEW YORK CITY DEPARTMENT OF SANITATION

COMMERCIAL WASTE ZONES

INTRODuCTION

FIGURE 5 Bay St. Staten Island

Overlapping Carter Activity in All39Five Boroughs

Number of Customers

Every night, more than 90 operational carters pick up refuse, recyclables, and organics from businesses in New York City. Establishments ranging from restaurants and retailers to office buildings and hospitals rely on private carters to collect their waste and keep their businesses running smoothly. New Yorkers also rely on these same companies to help keep their streets clean and garbage free.

Overlapping operations from different carters lead to an excess of truck

Number of in Carters AVE. traffic local areas. This is true for commercial streets in all five boroughs.

UT

ST. BAY

TN 7For example, trucks from nineCHESdifferent companies will make stops on a two

block stretch of 24th Street in Brooklyn to service 11 businesses. . Each dot color represents a different carter making a collection stop. LVD LAN

B

HY The photograph on pages 16-17 shows a single strip mall serviced by five different carting companies.

15

Number of Customers

BROADWAY

W 57th St. Manhattan 122 W 57

TH

Number of Carters

ST.

8TH

AVE.

26

However, these private carters operate in a disorganized market plagued by inefficiency. In some parts of the city, more than 50 carters service a single neighborhood, and an individual commercial block may see dozens of private waste collection trucks on a given night. Figure 1 shows the number of private carters that service customers in each community district.

FIGURE 1

Jackson Ave. Bronx E 149

TH ST .

Number of Customers

N AVE

.

25

JACKSO

Number of Carters

10 E 13

8TH

14

ST.

Number of private carters servicing customers in each Community District

19

32 32

Based on 2016-2017 BIC Customer Register

In some parts of the city, more than 50 carters service a single neighborhood, and an individual commercial block may see dozens of private waste collection trucks on a given night.

48 52 49

46

49 47 42

37 47

27 25 49 49

47

30 39 36 24 28 42 34 32 33 29 32 31 31 25

54 Carters

16 14 Carters

15

25 25

25

37

36 33 40

27 29

24 33

54

43

Number of carters per zone

28

18

29 22 22 23 25

33

30 37

30

16

14

10

189


Category:

Didactics

Project:

Imaginary worlds

190


SHORTLIST GOT IT.

191


Category:

Didactics

Project:

Flagship Products

192


SHORTLIST GOT IT.

What was the challenge? The Qualifizierungsagentur Oststeiermark offers tailor-made training courses for students and apprentices in the catering and hotel industry on the products apple, elderberry, chokeberry, beetle bean, horseradish, pumpkin and thermal and mineral water. In the course of an EU project called “Flagship Products”, the task was to develop an interactive solution for imparting knowledge about these six leading products from Eastern and Southern Styria. What was the solution? In order to increase the learning success of the students, wooden boxes with learning material were created. Each box includes six interactive modules and a total of between 65 and 95 individual components. In addition to training manuals, the boxes can be used to playfully deepen what the students have learned under supervision. What was the effect? With the different contents of the boxes, all senses are addressed while learning with them: Each box includes oversized picture boards for explaining the respective product, recipe cards and tasting suggestions as well as estimation questions and fun games. The instructors and students love to work with the boxes and their various possibilities. The boxes and training manuals are already used in five schools for agriculture and food industry and in the training courses of the QUA Academy. Photography: Stiefkind Fotografie

Contact: Stefanie Schöffmann look! design office@look-design.at www.look-design.at

193


Category:

Didactics

Project:

Quellenhaus

What was the challenge? To give visitors an insight into the source of the thermal spring, its 40-year success story should be represented in an exhibition. The limited space of just 15 square meters was a particular challenge in the implementaion. What was the solution? Due to limited space, the building’s facade was also integrated in the exhibition design. The exhibition comprises a total of seven thematic areas, together they form a coherent visitor experience. Personal testimonies, artifacts and clear graphics shed light on the various aspects and effects of the thermal water discovery. In total, an understandable and exciting tour of the fascinating event, from which the entire region has since benefited, was created on just a few square meters. What was the effect? The exhibition in the Quellenhaus takes visitors far back in time and deep below the surface of the earth, to the origin of the thermal spring. Exhibits like rock samples, drilling tools and newspaper reports document the history of the thermal spring and its impact on health and tourism. The exhibition vividly conveys knowledge for both young and older guests and guides through milestones in the success story of the Quellenhaus. The design elements on the building’s facade make the building a striking landmark in the surrounding park area, overlays and transparent effects arouse curiosity about the exhibition. Photography: Stiefkind Fotografie

Contact: Stefanie Schöffmann look! design office@look-design.at www.look-design.at

194


SHORTLIST GOT IT.

195


Category:

Didactics

Project:

Mondi Neusiedler – Paper Production

What was the challenge? The signboards for visitors inside the mill had to be renewed. This gave the possibility to show the industrial process of paper production as well as the special features of this mill. The Illustrations should be easily understandable by laypersons but also technically accurate. What was the solution? We developed a series of illustrations, considering feedback by technical and marketing staff.

Vom Holz zu Zellstoff From wood to pulp

Stoffaufbereitung

Stock Preparation

What was the effect? People said the information is easily accessible. Technicians, Sales and Management were equally pleased.

Pulp is the most important primary fibre for the paper industry. In the sulphite or sulphate process, lignin and resin are separated from the fibre.

Qualitätssicherung

Quality Control

Various fibres and auxiliaries are used. Mineral fillers have a significant effect on the opacity, colour absorption and smoothness of the paper.

Kleinformatschneider Cut size Finishing Line

Contact: name: Barbara Weingartshofer company/organisation: Nau*Design e-mail: info@nau-design.at website: www.nau-design.at

196

Comprehensive measurements ensure continuous quality.

The folio sheeter cuts reels of paper into sheets according to customer requirements.


SHORTLIST GOT IT.

Papiermaschine PM 5

Paper machine PM 5 80 – 100°C

Trockengehalt Solid content

1%

PM 5

25 %

4,4 m

50 %

98 %

65 %

700 m/min

95 %

80 – 300 g/m2

400 t/d

PM 6

The main task of the paper machine is to extract water from the applied fibre mixture by filtering, pressing and drying. The main components of a paper machine are the headbox, the wire section, the press section, the dryer section and the reel.The illustration is accompanied by a comparison of the two paper machines in the mill by width, speed, range of grammage and capacity.

Rollenpackanlage Reel Packaging Line

Palettierer

Palletiser

Automatisches Fertigwarenlager Automated Finished Goods Warehouse

Eye-to-sea

Eye-to-sky

The reels get ready for transport. Depending on how the reel is placed on the pallet it’s called “eye-to-sea” or “eye-to-sky”.

In order to keep the paper dry and clean, the pallets are shrink-wrapped.

The warehouse appears frenetic as all shelf operating devices can work simultaneously to prepare a shipment.

197


Category:

Didactics

Project:

Lown Institute, “Medication Overload: America’s Other Drug Problem”

What was the challenge? The Lown Institute is a nonprofit with the mission of advancing bold ideas for a just and caring health system. This is achieved by partnering with a network of collaborators to expose poor health care values, promote health equity policies, engage consumers and health care professionals, and identify and nurture innovators that are contributing to the field. In an effort to gain a grant for its national strategy and action plan, the Lown Institute needed to organize and develop a framing paper that would examine the scope, harms, and drivers of the medication overload crisis. What was the solution? Working alongside the Lown Institute and brand consultant, Noam Bar-Zemer, Two Twelve served as design-thinking consultant to support the Institute’s initiative to garner support and awareness surrounding the need for polypharmacy’s reduction. We worked with the Lown project team on gathering information and developing the direction of communications to effectively convey the dangerous rise in the number of medications taken by older Americans. We then designed the graphics and layout to most effectively present the information.

Drivers of Drivers of Medication MedicationOverload Overload

“When Manuel arrived at our clinic, he did not look like a man who two months earlier had been golfing three times a week.” — Dr. Deepa Ramadurai Internal medicine resident, University of Colorado

Clinician Story Hitting the Target But Missing the Mark When Manuel* arrived at our clinic, he did not look like a man who two months earlier had been golfing three times a week and was able to take care of his young grandchildren. He said he was fatigued all the time and often dizzy. After looking at Manuel’s medical record and hearing his story, I had a hunch that polypharmacy was the cause of his symptoms. Considering his age and increased risk factors for heart attack and stroke, it was possible that his previous doctor had increased his blood pressure medications, which can cause lethargy and dizziness.

What was the effect? The resulting comprehensive report was published in April 2019 and acts as a persuasive call to action. The Lown Institute was equipped to engage a wide audience of pharmacies, clinicians and clinician specialty groups, patients, patient advocacy groups, and families/caregivers in order to communicate the message of harmful polypharmacy and create a sense of urgency to get the public involved.

Despite the potential adverse side effects, older patients are regularly given these medications because physician guidelines recommend more aggressive treatment of high blood pressure for all patients, no matter their age or other conditions. Sure enough, Manuel’s previous doctor had added more medications to his regimen a few months ago to try to lower his blood pressure. He was on four different blood pressure medications — a beta blocker, a vasodilator, a calcium channel blocker, and an angiotensin receptor blocker.

(*not patient’s real name)

21

198

We created a plan based on Manuel’s risk profile to gradually taper and eventually discontinue two of the hypertension drugs he was on. Once he stopped taking these drugs, his symptoms of lightheadedness and fatigue stopped completely. His blood pressure also remained stable over the following year.

Medication Overload: America’s Other Drug Problem | Lown Institute


SHORTLIST GOT IT.

Contact:

Interventions to address medication overload PART 1

Medication Overload: Understanding the Scope and Impact

name: Shi-Anne Shakes company/organisation: Two Twelve e-mail: sshakes@twotwelve.com website: http://www.twotwelve.com/

What is Shared Decision Making? In recent years, clinicians and patients have embraced shared decision making as a critical element of a trusting clinician-patient relationship. In this process, clinicians ask patients about their goals and values rather than assume them, inform patients of the potential harms and benefits of their various treatment options, and invite patients to be active participants in their health care decisions.71 Often, patients are able to learn about their treatment choices from “patient decision aids,” which are cards, brochures, videos and other means of conveying in simple, clear terms the essential information they need to be able to make an informed decision. Despite its power to improve care, shared decision making has been difficult to implement in practice. Few clinicians elicit patient concerns before making treatment decisions, and clinicians who do ask patients about their goals often interrupt patients within a matter of seconds.72 Other studies show that clinicians fail to include an adequate explanation of the potential harms and benefits when presenting treatment options. Thus, while the shared decision-making movement is increasingly recognized as important, medical practices have a long way to go to integrate shared decision making into decisions about medications.

PART 2

Drivers of Medication Overload

No single cause explains the dramatic rise in the number of medications older people are taking. Rather, a broad array of forces is at work, with three overarching aspects of our health care system contributing to the epidemic of medication overload: A Culture of Prescribing The culture of prescribing has convinced patients and clinicians that there is a “pill for every ill.” Information and Knowledge Gaps Clinicians and patients lack critical information and skills they need to appraise the evidence and make informed decisions regarding medications. A Highly Fragmented System of Care Our fragmented health care system, with its multiplicity of health care professionals in a variety of settings, leads to more — and more inappropriate — prescribing.

Empower patients and families

Patients and families are the ones most directly affected by prescribing decisions, yet too often health care professionals make treatment decisions unilaterally, without exploring the patient’s goals, values, or preferences, or explaining the harms and benefits.72 Similarly, patients and families are often the first to recognize a side effect that affects a patient’s ability to function, but their observations may be dismissed or minimized by health care professionals. Patients must be empowered to share questions and concerns regarding medications with their clinicians. Questions such as “When will we know the drug works?” and “How will we know when to stop it?” should be routine. Clinicians, in turn, should welcome such discussions. This practice, known as shared decision making (see What is shared decision making?), must be integrated into health care practices through medical training and continuing education. In addition, decision aids for both patients and clinicians should be created, validated, and made widely available.78

29

Medication Overload: America’s Other Drug Problem | Lown Institute

199


Category:

Editorial

Project:

dueminuti. Historical Atlas of Emergency

What was the challenge? EMERGENCY is a humanitarian NGO that provides worldwide free medical treatment to the victims of war, poverty and landmines. https://en.wikipedia.org/ wiki/Emergency_(organization) Emergency was founded in 1994. The aim of the project was therefore to tell 25 years of the history of this organization (1994-2019). The need to have reliable and comprehensible information even by nonexperts is perhaps even more important today than it was when Otto Neurath–in view of what he called a “feeling of global responsibility for the happiness of others”– gave body to the idea of using graphic tools to increase the level of individual knowledge of citizens. This work focused on social awareness and scientific dissemination.

Student projects of Università Iuav di Venezia Master’s degree in Product design and visual communication

Contact: name: Luciano Perondi / Simona Morini / Paola Fortuna / Mara Rumiz organisation: Università Iuav di Venezia / Emergency / Studio +fortuna e-mail: lperondi@iuav.it / paola@piufortuna.it website: www.iuav.it / www.emergency.it / www.piufortuna.it /

200

What was the solution? The students of the master course in product and communication design of Iuav University of Venice have designed for this purpose a book series of historical atlases, websites, board games and an exhibition, showing the various facets of the projects created by this organization. To get to know Emergency’s activity, it was essential to be in tune with the spirit that animates the association. Then students, students and teachers worked throughout the semester and developed their projects in the organization’s own headquarters, in collaboration with the staff and volunteers, coordinated by Mara Rumiz, Head of Emergency Projects in Venice. Each project displayed a different aspect of the organization, from the architectures created to the effect of the projects on society, to the experiences of the staff and volunteers involved. The aim of the project is to make the data and the human aspects of the association’s projects comprehensible to the public through graphic design.

dueminuti is the title of the exhibition created by the students in which the story of Emergency is presented through the students’ works. “dueminuti” means “two minutes”, and this is a time that indicates a precise result: on average every 2 minutes a person has been treated by Emergency in the last 25 years. Essentiality and generosity, simplicity and precision, efficiency and humanity, welcoming and safeness. These are the words and the principles around which the exhibition path has been realized, conceived as a “bubble”, a space where we can stop before resuming our journey, where we can read, explore, play and therefore learn. The exhibition was entirely made with poor or recycled materials. All the elements of the exhibition are modular and adaptable to different spaces, therefore the exhibition, conceived as a traveling event, will be set up in other venues.


?pu S‘tahw

SILVER

what‘S up?

Emergency nel mondo - Atlante storico N 42°38’

N 8°38’

N 7°1’

E 12°40’

Italia

N 14°35’

N 33°5’

N 33°46’

Iraq

Afghanistan

IRQ

AFG

IT

E 29°29’

Sudan Repubblica Centrafricana

SLE

RCA

SUD

Khartoum Centro pediatrico, Centro Salam Nyala Centro pediatrico

Port Sudan Centro pediatrico Goderich Centro chirurgico, pediatrico N 8°38’

Laboratorio di design della comunicazione 1 AA 2019/20

Bangui Centro pediatrico N 42°38’

Docenti: Luciano Perondi Simona Morini

Con: Paolo Giardullo e Paola Fortuna

N 7°1’

Collaboratore: Lorenzo Toso

N 14°35’ Emergency: Mara Rumiz Francesca Basile Sara Ragni

Rossella Miccio Pietro Parrino Giorgia Novello

Ashti Centro sanitario per profughi

Kabul Centro chirurgico

Sulaimaniya Centro di riabilitazione

Lashkar-Gah Centro chirurgico

Cambogia

Le pareti sono trasparenti, invisibili e all’interno c’è un ospedale N 33°5’

N 33°46’

KHM

E 11°50’

Sierra Leone

E 29°29’

Anabah Centro chirurgico, pediatrico, maternità

Palermo Ambulatorio

Battambang

E 44°10’

Marghera Ambulatorio

E 44°10’

Immaginate di trovarvi in una bolla

Polibus

E 11°50’

N 13°30’ E 12°40’

What was the effect? What we present is the result of an educational path carried out in the Communication Design Laboratory 1 and in the Philosophy course held by Luciano Perondi and Simona Morini, collaborator Lorenzo Toso, with the contributions of Paola Fortuna (exhibition design), Paolo Giardullo (data science and social research). The course has trained students to display statistical and cartographic data. Particular attention was paid to the integration of data with the expressive aspects of the graphic design, as well as to teach the basics of web design, game design, and exhibition design. Addressed to a general public, the project aimed at transmitting to each reader and visitor the values and the mission of Emergency together with the activities carried out in all the world and its future projects.

Centro chirurgico N 13°30’

Progetto di: Raffaele Geronazzo Giulia Montesi Valentina Nitti

The link to the video of the project http://bit.ly/2VwwxCo

201


Category:

Editorial

Project:

Master of destruction (for «Frankfurter Allgemeine Quarterly»)

What was the challenge? To give the reader an interesting, surprising and informative insight into the challenges of sustainability that we are facing as a society in everyday life. From a design perspective the challenge was to create a visual language for a series of information graphics and to visualise interesting and meaningful facts by appropriate and playful graphic means. What was the solution? The three pages with different infographics deal with different aspects of modern western lifestyle. The first double page visualises four aspects on the subject of «plastic»: Where does microplastic come from? Which companies produce most of our plastic waste? How long does plastic waste remain? And who are the biggest per capita polluters within the EU? The third page shows the climate impact of digital data exchange and online video streaming, the average carbon dioxide balance of a German citizen and the water consumption for selected food products. What was the effect? The illustrative information graphics invite readers to further deal with the subject matter and gain insights within the topic of «Sustainability» and make the huge problem of the destruction of the environment tangible and visible. It is impressive that not only plastic and waste pollute the environment, but also our digital activities of our everyday life!

Contact: Barbara Hahn, Christine Zimmermann Hahn+Zimmermann mail@hahn-zimmermann.ch https://hahn-zimmermann.ch/ projekte/faz-quarterly

202


?pu S‘tahw

SILVER

what‘S up?

203


Category:

Editorial

Project:

Data Brochure “Focus on Gender”

What was the challenge? Data collected within the framework of gender monitoring enable the University of Vienna to monitor the representation of women and men and their developments. The aim is to regularly examine the representation of men and women in all organisational entities and on all hierar­ chical levels at the University in order to indicate changes throughout the years. What was the solution? The brochure needs to reflect the serious environment of the university. We wanted people to get some essential informations out of it, but at the same time provide the complete detailed information. So we added Isotype­inspired abstracts to point out some issues. What was the effect? Academics usually prefer very accurate numbers and graphs. Despite the prejudice of low precission of isotype graphics the readers were pleasantly surprised by the impact of this straight depiction. You can take a look at the brochure at personalwesen.univie.ac.at/en/ > Gender equality & diversity > Gender monitoring > Data brochures

Contact: name: Barbara Weingartshofer company/organisation: Nau*Design e­mail: info@nau­design.at website: www.nau­design.at

204

One example of Isotype­inspired abstracts: At the beginning 70 % of the students are female. From Bachelor to PHD, at every step more women than men get lost. So they are nearly equally represented at PHD­level.


?pu S‘tahw

BRONZE

what‘S up?

1

2 Female representation is shown in color, male in grey. 1

2

4

Table of the most important mangement positions combined with the main building of the University. Donut­Graphs show for each faculty the available positions at different levels as well as the gender ratio within them. 3

4

3

Parental leave over time

Women are more likely to work part­time than men.

205


Category:

Editorial

Project:

Antonia Phonetics

What was the challenge? Antonia Phonetics is a phonetic typeface that was developed as a close interplay of linguistics and typography as well as science and aesthetics. Since the 1920s the philology institute in Innsbruck is successfully documenting german dialects in the phonetic transcription called Teuthonista. What was the solution? Characters from the Latin and Greek alphabets as well as completely newly developed symbols are used as notation of basic sounds. Combining (diacritical) characters above and below the base character convey phonetic graduations. Furthermore signs can be bracketed and set as be super- or subscript. This complexity allows for an efficient and phonetically accurate transcript of spoken language on paper, however in times of increasing digitalisation this can be a daunting task. Therefore the fully digital font Antonia Phonetics was developed. With its comprehensive character inventory compound characters can easily and intuitively be typed and transcripted systematically. What was the effect? Well, it is now the first time language can be preserved in Bavaria, Tyrol and SouthTyrol. So academics are pretty excited about that.

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

206


?pu S‘tahw

BRONZE

what‘S up?

207


Category:

Editorial

Project:

Book “The history of Latvian jazz 1922-1940“

What was the challenge? The book is a historical scientific research about the development of jazz in Latvia in the first half of last century. The challenge was to show facts, black-and-white photographs, data collection and analysis in a way that the reader can feel the vitality and joy of jazz without losing readability and clarity. What was the solution? The solution was to use a contrast principle to reflect data and facts, in which historical materials are intersected with a modern data display approach. Additionally, there are used the possibilities of offset printing – black and white photographs combined with 2 bright spot colours – yellow and purple. What was the effect? The book created the sense that jazz history is being told from a contemporary viewpoint. It is told objectively in terms of both content and feelings. As a result of the design solution, the use of the book has extended from scientific literature to popular reading to non-specialists.

I POSMS

1922

1924

II POSMS

1926

1928

III POSMS

1930

1932

IV POSMS

1934

1936

1938

1940

8. attēls. "Jaunāko Ziņu" numuru ar džeza publikācijām daudzums %.

Contact: Gundega Kalendra Agentura Raugs gundega@raugs.eu raugs.eu

208

Jau uzskaites procesā autors pārliecinājās, ka tieši sludinājumi, to biežums un cita informācija, kas rāda džeza un ar to saistīto ansambļu un mūziķu darbību konkrētajā laika posmā, ir galvenā ass, ap kuru, kompilējot pārējos informācijas avotus, iespējams rekonstruēt Latvijas džeza hronoloģiju un attīstību līdz 1940. gadam. Autors nav sīki statistiski analizējis iegūtos datus, ņemot vērā, ka tie neatspoguļo ainu pilnībā. Taču arī šie viena avota − vienas avīzes − dati pārliecinoši rāda džeza kā fenomena stabilo un regulāro esamību šajā laikā. Tādēļ turpmākā analīze un iegūtie rezultāti nav jāuztver kā absolūti, taču tie nenoliedzami sniedz svarīgu informāciju par pētījuma objektu, ļaujot vispārināt un izdarīt secinājumus. Pētot džeza sludinājumu dinamiku, konstatējama tās saistība ar valsts ekonomisko un politisko stāvokli (sk. 1. pielikuma 1. tabulu un 8. attēlu). Samērā lielam sludinājumu skaitam 1927.–1928. gadā (1927. g. – 190, 1928. g. – 177 sludinājumi) sekoja to konsekventa samazināšanās no 1929. gada līdz pat 1933. gadam, pēc kura rādītājs palielinājās, īpaši strauji – no 1936. gada līdz 1940. gada maijam. Jau 1940. gada jūnijā sludinājumu skaits sāka sarukt, un šī tendence izsekojama līdz pat laikraksta slēgšanai 1940. gada 9. augustā.27 Lielo kritumu līdz 1933. gadam varētu saistīt ar pasaules ekonomisko krīzi no 1929. gada līdz 1931. gadam, kas iespaidoja arī Latviju.28 Turpmākais relatīvi nelielais publikāciju daudzums līdz

11. attēls. Sludinājumos visbiežāk minētās vietas, kurās atskaņots džezs.

27 1940. gadā pavisam iznāca 180 avīzes numuri. 28 Pasaules ekonomiskā krīze jeb Lielā depresija sākās ASV 1929. gada 29. oktobrī (t. s. melnā otrdiena) ar strauju akciju cenu samazināšanos Ņujorkas biržā, izraisot biržas paniku un banku masveida bankrotus. Tādējādi ASV radās milzīgs bezdarbs, daudzu firmu bankrots un mājsaimniecību izputēšana. Krīze ātri pārņēma arī citas valstis, kuras finansiāli un ekonomiski bija saistītas ar ASV. Pakāpeniska atgūšanās no krīzes sākās tikai 1933. gadā, taču saimniecisko atveseļošanos pārtrauca Otrais pasaules karš. Viens no krīzes rezultātiem bija ekstrēmistisku (komunistu un labējo) politisko spēku popularitātes pieaugums un nākšana pie varas vairākās valstīs. 62

68


?pu S‘tahw

BRONZE

what‘S up?

209


Category:

Future Concepts

Project:

Urban Data Patterns

What was the challenge? The aim of the self-initiated project was to make extensive data sets accessible by merging visual design and programming. Data aggregation was avoided as much as possible in order to reveal data-specific visual patterns. The viewer should be able to develop a «feeling» for the data and to gain visual insights into the huge amount of raw data. This approach contains much potential, especially with regard to «Big Data». What was the solution? We used a variety of data from the urban context within this project: passengers in public transport, trees in the city, lost property, defects in city infrastructure. The project used public data from Open Data platforms as well as data from municipal offices. The goal was to visually encode and link different parameters to provide enhanced interpretation of the data. Visual concepts were specifically tailored to data, focusing on experimentation with form and code. What was the effect? The generative data patterns developed during the project give an insight into different aspects of urban life. «Urban Data Patterns» provides an unusual look at the city and its data. The result of the project was presented within exhibitions and presentations. The visualisations were also fed back to the data owners and triggered interesting discussions about the added value of the data patterns.

Contact: Christian Schneider; Barbara Hahn, Christine Zimmermann (Hahn+Zimmermann) mail@hahn-zimmermann.ch http://urbandatapatterns.ch

210


GOLD

thAt‘S it!

211


Category:

Future Concepts

Project:

ForwardThinking Visual Summaries

What was the challenge? After an employee survey, Kier founded the ‘ForwardThinking’ Project, with the goal of understanding and providing a place for innovation. To facilitate this project a group of ‘champions’ were selected to meet every quarter and create content for wider engagement. As an output from the quarterly meeting the group would send out minutes, detailing what had been discussed and the associated actions. The Innovation Director at Kier approached TDL to consult and provide a solution on how they could improve their communication, focusing on the minutes in particular. The quarterly meeting spanned over six hours, including presentations and discussions. In order to make sure people actually engaged with these notes, we were provided with the following constraints: » Must capture meeting details including attendees » Must be easy to read and understand quickly » Must fit on one page » Must be easily shareable

Sketched concept for the visual summary

What was the solution? In order to provide the right solution, we felt that we had to understand the format and content, so our first recommendation was for one of our designers to be based on-site. This allowed the designer to understand the structure of the meeting, the way in which the champions discussed key points and how decisions were made. The designer took notes and made sketches during the meeting which could be taken away and sorted into an engaging format. The six hour meeting was distilled onto one A3 sheet. A sketched version of the visual summary was provided to the client to check and provide feedback, before the final artwork was created. Modular design The visual summary chunked minutes into segments that echoed the structure of the meetings, ordering the information chronologically so it could reflect the flow of conversation.

Example of meeting notes document

212

Each module starts with a title, the presenter/facilitator followed by the content and finally a key point or quote from that session. This allowed the user to scan the summary quickly, or identify particular areas of discussion.

Meeting details The first section outlined the details of the meeting including the location, aims, attendees and any additional information about the overall project. The attendees were mapped onto a mini visual of the room layout, which reflected their actual seating arrangements during the meeting. This was particularly useful for champions using the visual summary as an aidemémoire post event. Graphic elements Throughout the visual summary we used iconography and diagrams to support or replace text. The iconography became part of a recognisable visual language, which was used consistently across the visual summaries, and provided to the champions for use in other communication activities. This repeated use allowed users to see linked sections across the series, and therefore progress on ideas and developments in individual projects. Typography Typesize and weight was used throughout to separate levels of information, with key points in larger text, and further detail applied in smaller text. This helped users to scan through the summary, or delve in further if they had more time.


GOLD

Kick off Session 3 0 O C T OBER 2017

L OUGHB OR O UGH UNI V ER S IT Y L OND ON

A IM

To kickstart a safe environment encouraging the sharing of ideas, facilitated by a ‘shadow board’ who will be responsible for managing and nurturing the innovation culture within Kier.

W HO?

A diverse set of individuals from across Kier’s Business.

V I S ION & PR O GR E S S

S E S S ION 1

M A R K AUS TIN ¡ INN OVATION DIR EC T OR

Innovation Consultancy

1

14

2

13 12 11 10

3

I N N O VAT I O N AT K I E R CHAMPIONS

6

9 8 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

4 5

The Kier Innovation Forum

1000+ forward thinkers

400 Ideas

ÂŁ200k invested in ideas

7

Mica Latouche Property Elle Gregory BIM Dan Smith IT - Mobile Apps Robert Toon Building UK. - East. Karl Ashcroft Property Huw Evans Corp. Responsibility Amarjit Samra Utilities Craig Melvin TDL-Creative Wayne Travers Housing. Maint. Bella Seaden HR Simon Waterfall Highways Mark Austin Innovation Markie Reeds Innovation James Melia BOOST Andrew Humphries The Bakery Apologies Ralph Yea Infrastructure Chris Richardson Workplace Serv. Denise Horton Environmental

Contributors Infrastructure (3.5%) Clearbox (33%) Building UK (1%)

COST BASE ÂŁ40M Can be used ‘x’ amount of times

Lifecycle Performance

Potential I.T. Living Utilities Highways

ÂŁ1m fund to support ideas over 12 months ÂŁ50k max. per idea

ÂŁ200k invested in past 5 months 2

1

3

4

5

Can be re-invested

of Corporations think it’s 86% crucial to innovate 82% of Corporations believe working with startups is important 23% of Corporations believe working with startups is critical

Startups accept failure as a risk

WHAT

OUR MI S S ION Make a difference

BUT C O R P O R AT E I N N O VAT I O N IS TOUGH!

6

7

8

Looking for quick wins

10

48 Technical Papers

11

Ideas

I N N OVAT I O N I S S E L F B E L I E F. THIS IS JUST THE BEGINNING.

RIGHT RIGHT RIGHT RIGHT

RESOURCES PEOPLE PL ACE TIME

Scale up the wins

Edison365 Ideation collation software

10 – 12 Weeks D C

A

Productivity project • Knowledge Management • Productivity tracking

Using a points system

64 From the Roadshow

W HO A R E W E ?

IDEA JOURNEY

NURTURE TO SUCCESS

12

VOICE INGINEER S FA C I L I TAT E

B

Entrepreneur Exploration

Co-create / Sandbox

Scale Up

A

Inspiration Sessions / Challenges

B

Matchmaking Sessions

C

Smallest First / Step Tests

C

Scale the winners

N O O N E E L S E I S AT T H I S S TA G E O F T H O U G H T I N YO U R I N D U S T RY.

Balanced business

Facilitators that empower everyone and challenge the way that Kier thinks. An accelerator group to manage ideas.

Recognise the value in the ideas and their potential application in other areas

De-risk: Make lots of small bets

Let voices be heard

W E A R E C ATA LY S T S , FA C I L I TAT O R S , C H A N G E M A K E R S & F I R E S TA R T E R S

Corporates try to eliminate it

Lots of small changes to make a big difference 9

Opportunity for longevity

‌ AND WE CAN’T AFFORD NOT TO CHANGE

We need to change the culture

Don’t jump to a solution

IDE A S A LR E A DY ‌ A ND MOR E T O C OME

120 Ideas in just 1 day

HOW

Entrepreneurs are building better products faster

R I S K Y BUS INE S S

WORK OUT NOT IN Create a belief system where others can empathise with your ‘why’. “People don't buy what you do; they buy why you do it.� - SIMON SINEK

WHY

AGILE THINK IN G ÂŁ800k left to invest in ideas

S E S S ION 3

M A R K IE R EED S ¡ INN OVATION M A N AGER HOW T O M A K E PEOPLE BELIE V E

MI S S ION C R ITIC A L?

NonTechnological

IN V E S TIN G IN IDE A S

â—Ž FINDIN G OUR W H Y

Unlock internal Kier innovation potential partners

Innovation is about bad ideas, or rather ideas that look like bad ideas

Off-site Working

B A K ERY

Corporations need to innovate or they will die!

Challenge Fund Potential – Match Funding Digital Transformation

Network of Entrepreneurs

Corporate innovation isn’t 21st Century

M A K IN G THE MO S T OF TA X C R EDIT S 2 0 1 5 –1 6 R&D £3.6M

S E S S ION 2 THE

W H Y D O W E NEED T O INN OVATE ?

Early Successes: Creation and implementation of an IT software bot to improve productivity across the whole business. Saved 28,000 man hours! 15

C OR P OR ATE INN OVATION W HO A R E THE B A K ERY ?

Embracing innovation and technology across the business

YOU A S K ED - W E LI S TENED

T H I S I S A N A 3 PA G E

A NDR E W HUMPHR IE S ¡ C O - FOUNDER

S TR ATEGIC OB JEC TI V E N O. 6

Ensure the business is supported by investment in technology and back office systems

thAt‘S it!

Supported by Mark Austin & Markie Reeds ‘Shadow Board’

Innovation Forum

Invest & Implement

Everyone has an equal opportunity for their voice to be heard at Kier

VO I C E

A S PA R T O F # F O R WA R D T H I N K I N G

W H AT ’S N E X T ? G E T P E O P L E E X C I T E D A B O U T # F O R WA R D T H I N K I N G C R E AT E A N O N L I N E P L AT F O R M F O R I D E AT I O N REFINE THE INVESTMENT PROCESS OUTLINE THE STRUC TURE THE BOARD WILL FOLLOW SHARE THE IDEA S!

Completed artwork for first visual summary

What was the effect? The first visual summary was well received, with more staff engaging with this type of communication than before. We were commissioned to continue developing the summaries, and then invited to attend and create additional summaries for the ‘Innovation Forum’, the other Kier innovation group. The visual assets applied to the meeting notes were extended to the wider project branding and encouraged an informationled approach to all communication documents for the meetings.

“The work TDL did brought the project and strategy to life and allowed us to communicate a complex message in an understandable and creative way.� Robert Toon, BIM Coordinator & FowardThinker

Contact: name: Oliver Tomlinson company/organisation: TDL Creative e-mail: info@TDL-creative.com website: tdl-creative.com

213


Category:

Research

Sinapsis (Synapses): a piece of software that promotes the use of open data to discover connections between companies that received public resources by corrupt governments in Latin America

Project:

Sinapsis graphic interface that shows the companies network from The Master Scam investigation

What was the challenge? Detect irregular companies in Mexico that receive public money. Animal PolĂ­tico is a digital and independent news outlet in Mexico City, specialized in topics such as human rights, migration, drug trafficking, corruption, security, politics and inequality.

Contact: name: Yosune Chamizo Alberro company/organisation: Animal PolĂ­tico e-mail: yosune@animalpolitico.com website: 214sinapsis.lat

During two of our biggest corruption investigations (The Ghost Companies of Veracruz and The Master Scam) we worked through: How could we detect irregular companies? With the volume of data we had, could information design and technology give us additional insights to our manual analysis? The hardest part was conceptualizing the project. It started with hundreds of public documents, a hypothesis and a lot of information to process. So we started to develop a tool as we were structuring and advancing the investigation. At the beginning we were going to develop only a dashboard showing coincidences between companies, and as time passed on

we kept adding features. First a node map, later a georreferenced map, data analysis and statistics on the databases. Additionally, we faced challenges with the interdisciplinary nature of the team: information designers, journalists and developers work in very different ways. Being able to communicate effectively and build this product took us 3 years! What was the solution? Sinapsis, a tool to discover connections between companies. Beyond the platform, Sinapsis is also an investigation methodology. The way in which we processed data had to be easy for journalists (that generally don’t have a


PERSONAL FAVOURITE OF BETTINA, ENRICO, STEFAN & GOLD lot of technical knowledge) and functional for a developer (machine readable). Part of this process was generating a CSV template that could be easily opened in Excel for journalists to work on and understand, and that could be uploaded to Sinapsis at the same time. Gathering the information from different sources was done manually, however, being able to categorize and standardize the information has proven very valuable for the investigation of government-companies corruption schemes in Latin America. Technically, the platform is built with React (ES6), making it modular, flexible and scalable. It uses as its main library D3.js and the visualizations are SVG files to allow designers and journalists to export it in different formats according to their needs, providing small news outlets and freelance journalists without resources with graphic material ready to publish. Sinapsis doesn’t only show the visualization of connections; it also gives statistics on sums and number of coincidences; a geographic interactive map that georeferences addresses providing strategic insights for field research;

an exportable CSV with the lists of coincidences; and it is possible to export the data in JSON formats (for developers and data analysts) as well as a .sinapsis file that has the full project to facilitate collaboration between investigations. What was the effect? Animal Político has already published two very important investigations done with Sinapsis on corruption in Mexico: The Ghost Companies of Veracruz and The Master Scam. The latter revealed that the Mexican Federal Government disappeared 7,670 million pesos (around 400 million dollars) through 186 companies. These investigations won the National Journalism Award. Even more important, they have been the basis for the prosecution of several former and current public officials in Mexico. It is a tool that has been proved and used. Only a couple months into its publication, there are already 180 different projects using it and at least 5 people forking the code on GitHub to adapt it to their needs. The tool builds community through a Telegram channel open to doubts and suggestions; and is working on the process

FOUND

of systematizing information on corrupt companies across Latin America. To date, we have allies collaborating from Argentina, Bolivia, Brasil, Chile, Colombia, Costa Rica, Ecuador, Guatemala, Honduras, Panama, Paraguay, Peru, Dominican Republic and Venezuela. The project has had international recognition, the United Nations Office on Drugs and Crime invited us to their regional convention in Quito, Ecuador for the experience we had with this tool and it was also accepted at the TicTec conference in Iceland and the CSV conference in Washington (unfortunately Sinapsis could not be presented in these two conferences because in both cases there were cancellations due to the Coronavirus). -------------------------------Sinapsis Team: Yosune Chamizo Alberro, Gilberto León, Mauricio Martínez Robles, Jesús Santamaría, Elizabeth Cruz, Ethan Murillo, Jorge Ramis, Nayeli Roldán, Manuel Ureste, Miriam Castillo, Arturo Ángel, Tania L. Montalvo, Francisco Sandoval, Daniel Moreno.

215


Category:

Research

Project:

The DNA of information graphics

What was the challenge? Development of an analytical framework for visualization design options constructed from fundamental building blocks (DNA) of visual encoding and composition.

What was the solution? 1) A diagram visualizing the framework for an academic paper. See below. 2) Numerous visualizations analysed into a DNA sequence, a description in one sentence, and a DNA tree diagram. See www.VisDNA.com and a small selection opposite.

Information to be visualized

The DNA of visualization

What was the effect? Provides information designers and researchers with a more comprehensive tool than previously available for the (de)construction of a wide range of visualization types. Images 1 and 4 opposite: DataVizProject by Ferdio, Creative Commons Attribution-NonCommercialNoDerivatives 4.0 International License: www.datavizproject.com

Mode of encoding

types of information

What does it look like?

CAP configuration and visual appearance

Where? ( How much or how many?) ( Which order or ranking?) ( Which group or category?)

LOC spatial location

When? ( How much or how many?) ( Which order or ranking?) ( Which group or category?)

TIM point in time

How much or how many? ( Which order or ranking?) ( Which group or category?) ( What proportion?)

QUA quantity

What proportion? ( How much or how many?)

PRO proportion

Which order or ranking? ( Which group or category?) ( Does a given relationship hold?)

ORD order

nominal

Which group or category? ( What does it look like?) ( Does a given relationship hold?)

CAT category

Does a given relationship hold? (between two entities) ( Which order or ranking?)

REL relationships between entities (being true or false)

visual encodings

Mode of correspondence

Visualizations and their visual components can be: con constructed using var varied through lin linked using

of visual encoding being either literal or non-literal

... ... ...

PIC picturing

 

MAP mapping

depicting

AXI positioning along an axis

Mode of depiction ranging from mim mimetic to sch schematic

SIZ sizing REP repeating ORP ordering by position

 

quantitative (metric)

 

information that visual encodings can show:

ordinal

...

question answered ( possible transformations)

Contact:

GRA gradient coding PRP proportional partitioning

Clive Richards Birmingham City University UK clive.j.richards@me.com

GRP grouping by position



COL colour coding SHA shape coding

Yuri Engelhardt University of Twente NL yuri.engelhardt@utwente.nl

BOU grouping by boundary



ADJ coupling by adjacency

NES nesting

www.VisDNA.com

visual components

layout principles

directions

Reference elements

Visualizations can be composed of:

Visualizations can be con.structed using arrangement in (an/a): ary array reg regular grid pog polar grid asd array with a shared dimension osd overlay with a shared dimension ard array of dimensions sta band stacking bun bundling cfr constrained freedom

for con, con, ADJ , BAR and RAM : hor horizontal ver vertical ang angular rad radial spi spiral

axis lines tick marks axis labels grid marks legends etc

basic visual components: SYM symbols PCO pictorial components TEX textual components CLI connector lines DCL directed connector lines BAN bands BND boundaries LIL line locators SUL surface locators DIS disks BLO blocks BAR bars RAM range markers PAR partitions GLY glyphs POS spatial positions composite visual components: VIS visualizations

...

216

CNC connecting visual encodings are expressed using

can be tag•ged with

...

Visualization pattern a particular 'well-formed' combination of DNA building blocks

for SIZ and PRP : wid width len length

Visual treatment rhetoric style decoration backgrounds etc A specific visualization expressing that information


BRONZE

Pattern & specimen 1 Technical illustration

Information* DNA Specification by natural language

VIS A technical illustration con is constructed using CAP ► PIC picturing of PCO pictorial components that tag are tagged with ... ► TEX textual components.

DNA tree diagram

VIS │ ┌────con────┐ │ PCO │ │ │ tag │ │ PIC TEX ▲ CAP

2 Comic strip

3 Hans Rosling bubble chart

4 Pie chart map

5 Encoding tree diagram that describes itself

VIS A comic strip con is constructed using hor TIM ► ORD ► ORP ordering by horizontal position of VIS visualizations that con are constructed using CAP ► PIC picturing of PCO pictorial components.

▲ ...

VIS │ ┌────con────┐ hor VIS │ │ │ ┌────con────┐ ORP PIC PCO

▲ TIM──►ORD

▲ CAP

VIS A Hans Rosling bubble chart con is constructed using hor QUA ► AXI positioning along a horizontal axis and ver QUA ► AXI positioning along a vertical axis of SYM symbols that var vary through QUA ► SIZ sizing and CAT ► COL colour coding.

VIS │ ┌────con────┐ ┌──┴──┐ │ hor ver SYM │ │ │ │ │ var │ │ ┌──┴──┐ AXI AXI SIZ COL

VIS A pie chart map con is constructed using LOC ► MAP mapping of DIS disks that var vary through QUA ► SIZ sizing and that ▲x ► con are constructed using │x ► ang PRO ► PRP proportional angular partitioning into PAR partitions that var vary through QUA ► SIZ sizing and CAT ► COL colour coding.

VIS │ ┌────con────┐ │ DIS │ ┌─────┴───┐ │ var ┌──con───┐ │ │ ang PAR │ │ │ │ │ │ │ var │ │ │ ┌──┴──┐ MAP SIZ PRP SIZ COL

VIS This encoding tree diagram that describes itself con is constructed using ver ┌─► ORD ► ORP ordering by vertical position of │ CAT ► TEX textual components that │ var vary through │ CAT ► COL colour coding and that │ lin are linked using │ hor │ REL ► ADJ coupling by horizontal adjacency and └── REL ► CNC connecting by CLI connector lines and DCL directed connector lines.

FOUND

▲ QUA

▲ LOC

▲ QUA

▲ QUA

▲ QUA

▲ CAT

▲ ▲ PRO──►QUA

▲ CAT

VIS │ ┌──con────┐ ver TEX◄───────────┐ │ ┌───┬─┴────┐ │ │ var lin ┌─lin─┐ │ │ │ │ │ │ │ │ │ hor │ ┌─┴─┐ │ │ │ │ │ │ │ │ ORP COL ADJ CNC CLI DCL │ ▲ ▲ ▲ ▲ │ ORD CAT REL REL CAT──────┘ ▲ │ └───────────┘

* TIM Point in time LOC Location QUA Quantity PRO Proportion ORD Order CAT Category CAP Configuration and appearance REL Relationships

... Placeholder for any type of information

Transformations between these types of information are shown as grey arrows.

217


Category:

Research

Project:

Publication: »Schön und gut« by Andreas Koop

What was the challenge? The publication is about values which are a very diffuse term in relation to design. What have values to do with design? Why do we need values when we design something? I wanted to bring my thoughts and my engagement with this topic on paper ... In a way that should be inspiring and entertaining. But also with insistence – showing the necessity to think and act on one’s own responsibility. What was the solution? My motivation writing a book on the value of design was high. I saw the need for the topic in my daily work in the graphic studio and as lecturer. The subheading »what changes by value-based design« is already the main conclusion... What potential capacity has design when it is not the executive of marketing? Design should make sense and should create a benefit. The general aspect should be that it is good for everyone – not only for the client. So the book is dealing first with the question why value-based design is necessary for our society. And in a second step examples are given. They propose how one can rethink processes as a designer ... What was the effect? Finally, after six years of work, the book appeared in May 2019. The book attracts a lot of attention and interest – and is probably going to get the »standard work« for valuebased design. Due to the book inquiries for lectures are very high in the last year.

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

218


BRONZE

FOUND

219


Wiener Melange – Who lives where in Vienna? Wiener Melange Who of lives where in Vienna? Residential mix by–place birth – Vienna , rest of Austria Residential byVienna, place of1 January birth – Vienna and abroadmix – in 2018 , rest of Austria and abroad – in Vienna, 1 January 2018 Wiener Melange – Who lives where in Vienna? Vienna Vienna is a diverse city with respect to the place ofbirth birth where of – Vienna Wiener Melange Who lives in Vienna? Vienna Residential mix by–place of , rest of Austria in Figures its population: a little less than 50 % are born in Vienna , is abroad a diverse city with respect to the place ofJanuary birth of – Vienna Category: ResearchVienna Residential mix by place of birth , rest of Austria in Figures and – in Vienna, 1 2018 about a third is foreign-born while the rest (17 %) is born in its population: a little less than 50 % are born in Vienna , other provinces of Austria . The maps show the residential and abroad – inwhile Vienna, 1 January 2018 about a third is foreign-born the rest (17 %) is born in mix and concentration of the three groups in 23 municipal other provinces of Austria . Thelives maps show the residential Project: WienerVienna Melange – Who where in Vienna? districts and 250 census districts of Vienna. Wiener Melange – Who lives where Wiener Melange – Who lives where in in Vienna? Vienna? Vienna

Vienna Vienna in Figures in Figures

Methodology The ternary colour-coded maps are based on the tricolore colour scheme developed by Methodology Jonas Schöley & Ilya Kashnitsky. Tricolore The ternary colour-coded maps are based maps compositions, in this on thevisualise tricolore ternary colour scheme developed by case three categories of province/country Jonas Schöley & Ilya Kashnitsky. Tricolore of birth of the population of Vienna, 1 January maps visualise ternary compositions, in this 2018.three categories of province/country of case birth of the population of Vienna, 1 January Methodology 2018. The ternary colour-coded maps are based on the tricolore colour scheme developed by Methodology Jonas Schöley & Ilya Kashnitsky. Tricolore The ternary colour-coded maps are based maps compositions, in this on thevisualise tricoloreternary colour scheme developed by case categories of province/country Jonasthree Schöley & Ilya Kashnitsky. Tricolore of SHARE OF RESIDENTIAL POPULATION BY birth ofvisualise the population of Vienna, 1 January maps ternary compositions, in this PROVINCE/COUNTRY OF BIRTH IN VIENNA’S Methodology Methodology 2018. case three categories ofbased province/country of MUNICIPAL DISTRICTS, 1 JANUARY 2018 The ternary colour-coded maps are SHARE OF RESIDENTIAL POPULATION The ternary colour-coded maps are basedBY of the population of Vienna, 1 January on thebirth tricolore colour scheme developed by on the tricolore colour scheme developed by PROVINCE/COUNTRY OF BIRTH IN VIENNA’S Jonas2018. Schöley & Ilya Kashnitsky. Tricolore JonasMUNICIPAL Schöley &DISTRICTS, Ilya Kashnitsky. Tricolore 1 JANUARY 2018

2

2

mix and concentration of the three groups in 23 municipal 1

Vienna is a diverse city with respect toby theplace place of of birth of Residential – in districts and 250 census districtsmix of Vienna. mix byborn place of birth birth – Vienna Vienna ,, rest rest of of Austria Austria in Figures Figures , its population: aResidential little less than 50 % are in Vienna Vienna is a diverse city with respect to the place of birth of and abroad – in Vienna, 1 January 2018 abroad inrest Vienna, January 2018 foreign-born while–the (17 %) is 1born in What was the challenge? about a third is and 3

4

1

3

Residential in 23 districts of Vienna, , its population:mix a little lessmunicipal than 50 % are born in Vienna other provinces of Austria . The maps show the residential How to map the population of1about Vienna January a third2018 is foreign-born while the rest (17 %) is born in Residential mix in 23 municipal districts of Vienna, mix and concentration of the three groups in 23 municipal RESIDENTIAL MIX AND other provincesVienna of Austria . Thecitymaps show the residential by showing the residential mix1districts by CONCENTRATION is with respect January Vienna is a a diverse diverse city of with respect to to the the place place of of birth birth of of and2018 250 census districts Vienna. 4

2

2

its a less than in RESIDENTIAL MIX AND mix and concentration of the three 23born municipal its population: population: a little little lessgroups than 50 50 % %inare are born in Vienna Vienna ,, 1 Vienna in Melange place of birth Vienna’s municipal CONCENTRATION about a is while Innere Stadt (1st district) is districts and 250 census of Vienna. about a third thirddistricts is foreign-born foreign-born while the the rest rest (17 (17 %) %) is is born born in in closest to the city’s overall other and census districts: Vienna, other 1average Vienna Melange other provinces provinces of of Austria Austria .. The The maps maps show show the the residential residential mix and concentration of the three groups in 23 municipal Innere Stadt (1st district) is mix and concentration of the three groups in 23 municipal Residential mix in 23 districts Austrian provinces and from abroad. closest to the city’s overall districts andmunicipal 250 census districts of Vienna.of Vienna, 1

3

4

1

3

1 January 2018 Residential mix in 23 municipal districts of Vienna, 1 January 2018 Residential mix in 23 municipal districts of Vienna, 1 1

%)

N(

OR

A-B

%)

NN

N(

V IE

OR

A-B

NN

15

AD

20

AB

RO

504

AD

15

RO

50

A

2

AD

RO

AB RO

AB

20

4 25

AB

NN

AD

)

(%

RN

NA

%)

IE N

N(

OR

A-B

25

30

NN

4

25

V IE

1

4

50 30

A BA B R OR O A DA D

3 3

4 4

30 30

A

1

3

3 3

50

NN

3

4

65 65 25 25

1 1

55

4045

353

35

V IE

60 60

40

40

45

251 3 Vienna total: 60 20 1 Vienna-born: 55 2 1 46.9 %4 20 4 2 15 65 Born in other Austrian 2 15 1 Vienna total: 60 35 40 45 provinces: 3025 35 3040 16.9 45% 50 30 35 45 50 Vienna-born: 46.9 % 240 Foreign-born: 36.2 % (%) (%) 65 FOREIGN-BORN Born in otherFOREIGN-BORN Austrian (%) FOREIGN-BORN provinces: 25 30 16.9 35% 40 45 Foreign-born:FOREIGN-BORN 36.2 % (%)

55 55

2 2

40

(%) FOREIGN-BORN 35

50

V IE

1

4

4 Highest share of foreign4 Highest share of foreignborn population born population Rudolfsheim-Fünfhaus Rudolfsheim-Fünfhaus (15th district) (15th district)

Vienna total: Vienna total: Vienna-born: 46.9 % Vienna-born: 46.9total: % OTHER Born inVienna other Austrian Born in other Austrian provinces: 16.9 % AUSTRIAN PROVINCES Vienna-born: 46.9 % provinces: 16.9 % Foreign-born: 36.2 %35 Born in other Austrian Foreign-born: 36.2 %

2

3

OTHER Vienna total: provinces: 16.9 % 40 AUSTRIAN PROVINCES Vienna-born: 46.9 40 Foreign-born: 36.2% % 35 Austrian Born in other 35 provinces: 16.9 % 40 45 40 OTHER Foreign-born: 36.2 % POPULATION BY SHARE OF RESIDENTIAL OTHER 30 AUSTRIAN PROVINCES AUSTRIAN PROVINCE/COUNTRY OF35BIRTH IN VIENNA’S 50 35 PROVINCES 3 35 45 CENSUS DISTRICTS, 1 JANUARY252018 40 SHARE OF40RESIDENTIAL POPULATION BY 40 30 55 40 OTHER PROVINCE/COUNTRY OF BIRTH IN VIENNA’S 35 50 3 35 45 20 AUSTRIAN PROVINCES 1 DISTRICTS, 1 JANUARY 45CENSUS 252018 SHARE OF RESIDENTIAL POPULATION BY 60 30 35POPULATION 4 SHARE OF RESIDENTIAL BY 30 55 PROVINCE/COUNTRY OF BIRTH IN VIENNA’S 50 3 OTHER OTHER PROVINCE/COUNTRY BIRTH IN VIENNA’S 50 2 15 3 CENSUS DISTRICTS, 1OF JANUARY 2018 2540 20 AUSTRIAN PROVINCES AUSTRIAN PROVINCES 6555 CENSUS DISTRICTS, 1 252018 401 JANUARY 60 55 35 20 80 4 20 1 25 302 35 40 OTHER 4535 50 20 60 15 1 440 45 60 AUSTRIAN 4 PROVINCES 65 OTHER 2 15 40 (%) FOREIGN-BORN OTHER 2 SHARE OF RESIDENTIAL POPULATION BY 15 AUSTRIAN PROVINCES 80 65 40 20 3060 AUSTRIAN 20 PROVINCES 65 8040 25 30 4535 50 IN VIENNA’S PROVINCE/COUNTRY 50 4035 20 45 80 25 30 35 50 OF BIRTH 3 45 25 30 35 40 45 50 CENSUS DISTRICTS, 1 JANUARY252018 (%) FOREIGN-BORN (%) FOREIGN-BORN SHARE OF RESIDENTIAL POPULATION BY 40 40 30 60 60 55FOREIGN-BORN 60 (%) 60 40 PROVINCE/COUNTRY OF BIRTH IN VIENNA’S 50 40 3 20 1 CENSUS DISTRICTS, 1 JANUARY 3 252018 60 60 40 4 40 55 60 80 60 40 20 OTHER1 2 3 4 15 3 2 AUSTRIAN 20 PROVINCES 65 1 80 20 3 1 480 20 6080 20 2 1 4 40 45 604 2 25 3080 3520 40 OTHER 50 20 1 2 4 15 40 60 20 2 40 60 20 AUSTRIAN PROVINCES (%) FOREIGN-BORN 65 FOREIGN-BORN (%)

1 1

1 January 2018 Residential mix in 250 census districts of Vienna, 1 January 2018

2 2

1

4

3 3

2

AN IAN I ARNIAN T R ITARIAN N TRI STR S T RST S S AU ) AUS A UR AU)%) A UR AU ) ) ER (% ER (%) E ROTHE C(E%S (E ROTHE (E%S (% OTH ES TH ES O T HIN EVINSO T HIN EINS C I N I N CI N O I N C I NBORN IPNRCOI N ORN IPNRCOV R N P R OOVR N P R O V R N O VR N B O V B O P RB O P R B

4 4

3

BO

Vienna-born: 34.8 % Vienna-born: % Born in other 34.8 Austrian Born in other Austrian provinces: 16.8 % provinces: 16.848.4 % % Foreign-born: Foreign-born: 48.4 %

VIE N -BO NA-B OR RN N( (% %) )

Vienna-born: 36.5 % Vienna-born: % Born in other 36.5 Austrian Born in other Austrian provinces: 26.8 % provinces: 26.836.6 % % Foreign-born: Foreign-born: 36.6 %

-BO

V IEV IE N NN N A -BA -B O RO R N (% N (% ) ) V 50 50

2

1

35 45 30 35 40

40 40

45 45

2

3 Highest share of population 3 Highest share of population born in other provinces of born in other provinces of Austria Austria Neubau (7th district) Neubau (7th district)

FOREIGN-BORN (%) AUSTRIAN PROVINCES AUSTRIAN 35 PROVINCES35 35

IA NIA N S T RS T R A UA U ) ) E R E R (%(% O T HO T H E S E S IN IN IN CIN C R NR N O VO V B OB O P RP R

4

Vienna-born: 58.4 % Vienna-born: % Born in other 58.4 Austrian Born in other Austrian provinces: 14.4 % provinces: 14.427.2 % % Foreign-born: Foreign-born: 27.2 %

25

A

2 Highest share of 2 Highest share of Viennaborn population Vienna-born(22ⁿd population Donaustadt district) Donaustadt (22ⁿd district)

30

IA N IA N STR STR AU ) AU ) ER (% ER (% OTH ES OTH ES IN IN C IN IN C RN PROV ORN PROV B

65

1

3

15

20 35 1 35 40 45 504 OTHER 40 OTHER 2 15 40 OTHERAUSTRIAN PROVINCES

60 25

BO

3

4

4 25

V IE

1

NN

Vienna-born: 46.4 % Vienna-born: % Born in other 46.4 Austrian Born in other Austrian provinces: 18.9 % provinces: 18.934.7 % % Foreign-born: Foreign-born: 34.7 %

PROVINCE/COUNTRY OF BIRTH IN VIENNA’S 3 1 PROVINCE/COUNTRY OF1BIRTH IN VIENNA’S 60 MUNICIPAL DISTRICTS, JANUARY 2018 OTHER MUNICIPAL DISTRICTS, 55 2 1 JANUARY 2018 AUSTRIAN PROVINCES 65

V IE

born population Vienna-born: 34.8 % Rudolfsheim-Fünfhaus Born in other Austrian (15th district) provinces: 16.8 %

2

A

Vienna-born: 34.8 % Born in other Austrian provinces: 16.8 %% Vienna-born: 36.5 Foreign-born: 48.4%% Born in other 34.8 Austrian Vienna-born: provinces: 26.8 % Born in other Austrian Foreign-born: 36.6 % provinces: 16.836.5 % % Vienna-born: Foreign-born: 48.4 % Born in other Austrian provinces: 26.8 % Foreign-born: 36.6 %

2

1 Vienna Melange 1 Vienna Melange Innere Stadt (1st district) is Innere Stadt district) is closest to the(1st city’s overall closest to the city’s overall average average

A A N NN N V IEV IE

Born in other Austrian provinces: 18.9 % Foreign-born: 34.7 % Vienna-born: 36.5 % Born in other Austrian provinces: 26.8 %% Vienna-born: 58.4 Foreign-born: 36.6%% Born in other 36.5 Austrian Vienna-born: provinces: 14.4 % Born in other Austrian Foreign-born: 27.2 % provinces: 26.858.4 % % Vienna-born: Foreign-born: 36.6 % Born in other Austrian provinces: 14.4 % Foreign-born: 27.2 %

RESIDENTIAL MIX AND RESIDENTIAL MIX AND CONCENTRATION CONCENTRATION

NN

Vienna-born: 58.4 % Born in other Austrian provinces: 14.4 % Foreign-born: 27.2% % Vienna-born: Vienna-born: 58.4 46.4 % Born Born in in other other Austrian Austrian provinces: provinces: 14.4 18.9% % Foreign-born: 27.2 % Foreign-born:46.4 34.7% % Vienna-born:

40 AUSTRIAN PROVINCES

35 SHARE OF RESIDENTIAL POPULATION BY 35 45 PROVINCE/COUNTRY OF40BIRTH IN VIENNA’S 40 30 MUNICIPAL DISTRICTS, 1 JANUARY 2018 SHARE OF50RESIDENTIAL POPULATION BY 353 45 PROVINCE/COUNTRY OF BIRTH IN25VIENNA’S 55 30 SHARE MUNICIPAL OF RESIDENTIAL POPULATION 1BYJANUARY DISTRICTS, 2018 SHARE OF RESIDENTIAL 50 POPULATION BY 20

V IE

What was the solution? ViennabornMIX population RESIDENTIAL AND Residential mix in 23 municipal districts of Vienna, 1 Vienna Melange (22ⁿd district) 1 CONCENTRATION The maps2Donaustadt areStadtshare based on the ternary Highest of 1 January January 2018 2018 Innere (1st district) is Viennaborn closest to thepopulation city’s overall 1 Viennascheme, Melange Donaustadt (22ⁿd district) “Tricolore”, average color coding Innere Stadt (1st district) is closest to the city’s overall developed by Jonas Schöley and average 3 Highest share of population born in other provinces of Ilya Kashnitsky. The composition of Austria 3Neubau share of population 2 Highest (7th born in other provinces of Viennaborn population people living in district) municipal or census Austria Donaustadt (22ⁿd district) 2 Highest share of Neubau (7th district) districts can be read by their colour Vienna-born population Donaustadt (22ⁿd district) encodings. The legend shows each 4 Highest share of foreign3 Highest share ofblack populationdot mapped district as4born a population small Rudolfsheim-Fünfhaus Highest share of foreignborn in other provinces of (15th district) born population Austria by the deviation in direction and 3 Highest share of population Rudolfsheim-Fünfhaus Neubau (7th district) borndistrict) in other provinces of (15th magnitude from the centrepoint of Austria Neubau (7th district) the ternary color legend, which rep4 Highest shareaverage of foreignresents Vienna’s residential born population Rudolfsheim-Fünfhaus Residential mix in 250 census districts of Vienna, mix. 4 Highest share of foreign(15th district)

IA N IA N STR STR AU ) AU ER (% ER (%) OTH ES TH ES IN IN C IN O IN C RN PROV ORN PROV B

3 3

4 4

RESIDENTIAL MIX AND Born in other Austrian CONCENTRATION provinces: 18.9 % 2 Highest share of Foreign-born: 34.7 %

BO

districts and 250 census districts of Vienna.

maps visualise ternary compositions, in this maps visualise ternary compositions, in this case three categories of province/country of OTHER case three categories of province/country of AUSTRIAN birth of the population ofPROVINCES Vienna, 1 January birth of the population35 of Vienna, 1 January 2018. 2018. OTHER 40

2 2

4

Vienna-born: 46.4 % Born in other Austrian average provinces: 18.9 % Foreign-born:46.4 34.7% % Vienna-born:

AD

AB

AD

A BAB A R OROA BARBROOA A DD A DD AD

RO

AB

20

4

NN

V IE

FOREIGN-BORN (%)

AD

NN

%)

A -B

OR

N(

V IE V IE

60

1

A

1 1

2 2

4 4

40 40

VIE

NN

VIE

NN

20

A

2

VIE NN

20

40

RO

AD

RO

4

60

FOREIGN-BORN (%) 40 60

A FOREIGN-BORN (%)

40 40

3

1

RO

AD

1

2

AB

A

3

60

80 80

60

4

20 20

AD

NN

40

FOREIGN-BORN (%)

RO

2

20 60

4

AB

1

AB

VIE

Data from Statistics Austria

4

3

AD

VIE NN A-B A-B OR OR N( N( %) %)

Data from Statistics Austria

3

1

RO

VIE

FOREIGN-BORN (%) FOREIGN-BORN (%)

A

Based on the tricolore colour scale for ternary compositions by Jonas Schöley & Ilya Kashnitsky: www.github.com/jschoeley/tricolore Based on the tricolore colour scale for ternary compositions by Jonas Schöley & Ilya Kashnitsky: www.github.com/jschoeley/tricolore

20 20

60 60

AB

NN

20 20

A BA B R OR O A DA D

VIE A-B NNAB OR N ( ORN ( %) %)

40 40

3 3

AN IAN IAN TRIAN TRI STR STR S AU ) AUS AU ) AU ) ER (% ER (%) ER (% ER (% OTH ES TH ES O T H E SO T H E S I N I N CI N O I N C I N I N CI N I N C R N P R OOVR N P R O V R N O VR N O V B O P RB O P R B

80 Data from Statistics Austria80

60 60

60 60

BO

Data from Statistics Austria

40 40

IA NIA N S TSRT R A UA U ) ) E RE R ( %( % O TOHT HC ECSE S ININ ININ R NR N O VO V B OB O P RP R

Based on the tricolore colour scale for ternary compositions by Jonas Schöley & Ilya Kashnitsky: www.github.com/jschoeley/tricolore Based on the tricolore colour scale for ternary compositions by Jonas Schöley & Ilya Kashnitsky: www.github.com/jschoeley/tricolore

Data from Statistics Austria Data from Statistics Austria

V IEV IE N NN N A -BA -B O RO R N (N ( % )% )

A

AB

NN

Based on the tricolore colour scale for ternary Based on the by tricolore forKashnitsky: ternary compositions Jonas colour Schöleyscale & Ilya compositions by Jonas Schöley & Ilya Kashnitsky: www.github.com/jschoeley/tricolore www.github.com/jschoeley/tricolore

NN

Originally published at wien1x1.at – Wien, größte Stadt des Burgenlandes: Über „Zuagraste“ in der Hauptstadt. Blog post by Ramon Bauer, Roman Seidl and Originally published at wien1x1.at – Wien, größte Stadt Franz Trautinger: www.wien1x1.at/site/wien-zuagraste/ des Burgenlandes: Über „Zuagraste“ in der Hauptstadt. Blog post by Ramon Bauer, Roman Seidl and Franz Trautinger: www.wien1x1.at/site/wien-zuagraste/

20

4

3

40

NN

Originally published at wien1x1.at – Wien, größte Stadt Originally published at wien1x1.at – Wien, Stadt des Burgenlandes: Über „Zuagraste“ in der größte Hauptstadt. des Burgenlandes: „Zuagraste“ in der Hauptstadt. Blog post by RamonÜber Bauer, Roman Seidl and Blog post by Ramon Bauer, Roman Seidl and Franz Trautinger: www.wien1x1.at/site/wien-zuagraste/ Franz Trautinger: www.wien1x1.at/site/wien-zuagraste/

VIE

Visualisation by City of Vienna (Municipal Department 23 – Economic Affairs, Labour and Statistics) and University of Art and Design Linz (Department of Visual Visualisation by City of Vienna (Municipal Department Communication) 23 – Economic Affairs, Labour and Statistics) and University of Art and Design Linz (Department of Visual Communication)

40

40

1

V IE

2

2

220

3

20 40 60 OTHER OTHER AUSTRIAN PROVINCES FOREIGN-BORN (%) AUSTRIAN 20 PROVINCES 80 20 80

AA N NN N V IEV IE

University of Art and Design Linz (Department of Visual *Communication) Outlier area: abylow number of population Visualisation City of Vienna (Municipalplus Department homes for Labour studentsand andStatistics) refugees and 23residential – Economic Affairs, University of Art and Design Linz (Department of Visual *Communication) Outlier area: a low number of population plus residential homes for students and refugees

60 60

60

Vienna total: Vienna total: Vienna-born: 46.9 % 60 % Vienna-born: 80 46.9 Born in other Austrian Born in other Austrian provinces: 16.9 % 2 provinces: 16.9 % Foreign-born: 36.2 % Foreign-born: 36.2 20% 80

2

3

Originally published at wien1x1.at – Wien, größte Stadt des Burgenlandes: Über „Zuagraste“ in der Hauptstadt. Blog post by Ramon Bauer, Roman Seidl and Originally published at wien1x1.at – Wien, größte Stadt Franz Trautinger: www.wien1x1.at/site/wien-zuagraste/ des Burgenlandes: Über „Zuagraste“ in der Hauptstadt. Blog post by Ramon Bauer, Roman Seidl and Franz Trautinger: www.wien1x1.at/site/wien-zuagraste/

AB

A BA B R OR O A DA D

N(

OR

A -B

A

Communication)

Born in other Austrian provinces: 15.8by % City of Vienna (Municipal Department Visualisation Foreign-born: % Labour and Statistics) and 23 – Economic68.2 Affairs,

80

FOREIGN-BORN (%)

40

60

IA N IA N STR STR AU ) AU ) ER (% ER (% OTH ES OTH ES IN IN C IN IN C RN PROV ORN PROV B

NN

Foreign-born: 38.8 % * Outlier area: a low number of population plus residential homes Vienna-born: 16.0 %for students and refugees Visualisation by City of Vienna (Municipal Department Visualisation City of Viennaand (Municipal Department Born in other Austrian 23 – Economicby Affairs, Labour Statistics) and 23 – Economic Labour and(Department Statistics) and provinces: 15.8 % University of ArtAffairs, and Design Linz of Visual University of Art and Design Linz (Department of Visual Communication) Foreign-born:16.0 68.2% % Vienna-born:

20 40

BO

V IE

%)

A

* Outlier area: a low number of population plus * residential Outlier area: a low for number of population plus homes students and refugees residential homes for students and refugees

AB AB RO RO AD AD

NN

2

3

Foreign-born: 38.8% % Vienna-born: 33.7 * Outlier area: Austrian a low number of population plus Born in other residential27.5 homes provinces: % for students and refugees

RO

)

(%

RN

-B O

NA

%)

N(

OR

NN

V IE

VIE

A -B

NN

IE N

V IEV IE N NN N A -BA -B OR OR N (% N (% ) )

V IE

FOREIGN-BORN 20 40 (%)

A

4

NN

1

Vienna-born: 16.0 % Vienna-born: % Born in other 16.0 Austrian Born in other Austrian provinces: 15.8 % provinces: 15.868.2 % % Foreign-born: Foreign-born: 68.2 %

VIE

1

4

A A N NN N V IEV IE

A

3 3

3

IA NIA N S T RS T R AU AU ) ) E R E R (% (% O T HO T H E S E S IN IN IN CIN C RNRN OV OV BO BO PR PR

2 2

3

4 Highest share of foreign4 Highest share of foreignborn population* born population*

A

2

2

RO

V IEV IE N NN N A -BA -B OVROI R NE N (N%N (% ) A)

VIE NN A-B A-B OR OR N( N( %) %) V

A

1 1

NN

Foreign-born:16.0 68.2%% Vienna-born: Born in other Austrian Vienna-born: 33.7 % provinces: 15.8Austrian % Born in other Foreign-born: provinces: 27.568.2 % %

Vienna-born: % Born in other 33.7 Austrian Born in other provinces: 27.5Austrian % provinces: 27.538.8 % % Foreign-born: Foreign-born: 38.8 %

4 4

4

VIE

Born in other 16.0 Austrian Vienna-born: % provinces: 14.4 % Born in other Austrian Foreign-born: provinces: 15.812.9 % %

1

Vienna-born: % Born in other 72.2 Austrian Born in other Austrian provinces: 14.4 % provinces: 14.412.9 % % Foreign-born: Foreign-born: 12.9 %

3 Highest share of population 3 Highest share of population born in other provinces of born in other provinces of Austria Austria Vienna-born: 33.7 %

NN

Born in other 33.7 Austrian Vienna-born: % provinces: 16.4 % Born in other Austrian Foreign-born: provinces: 27.536.9 % % Foreign-born:33.7 38.8%% Vienna-born: Vienna-born: 72.2 % Born in other Austrian Born in other Austrian provinces: 27.5 % provinces: 14.4 % Foreign-born: 38.8 % Foreign-born:72.2 12.9% % Vienna-born:

1

4

2 Highest share of Vienna2 Highest share of Viennaborn population born population Vienna-born: 72.2 %

AA N NN N V IEV IE

Born in other Austrian Vienna-born: provinces: 14.446.7 % % Born in other Austrian Foreign-born: 12.9 % provinces: 16.4 % Foreign-born: 36.9 % Vienna-born: 46.7 %

3

Vienna-born: 46.7 % Vienna-born: % Born in other 46.7 Austrian Born in other Austrian provinces: 16.4 % provinces: 16.436.9 % % Foreign-born: Foreign-born: 36.9 %

VIE

Vienna-born: 72.2 % Born in other Austrian provinces: 14.4 % Foreign-born:72.2 12.9%% Vienna-born:

1 Vienna Melange 1 i.e.Vienna closestMelange to the city’s overall i.e. closest to the city’s overall average average

NN

Born in other Austrian provinces: 16.4 % Foreign-born: 36.9 %

2

3

VIE

Vienna-born: 46.7 % Born in other Austrian provinces: 16.4 % Foreign-born:46.7 36.9%% Vienna-born:

1

4

IA NIA N S TSRT R A UA U ) ) E RE R ( %( % O TOHT HC ECSE S ININ ININ R NR N O VO V B OB O P RP R

What was the effect? Residential overall Residential mix mix in in 250 250 census census districts districts of of Vienna, Vienna, 1 The three1 Vienna baseMelange colours of Johannes 1 January January 2018 2018 i.e. closest to the city’s overall Itten’s colour average circle – red, yellow and Residential mix in 250 census districts of Vienna, blue – are taught to every child at 1 January 2018 2 Highest share of ViennaResidential mix in 250 census districts of Vienna, bornknow population that green is the school. We 1 January 2018 share of Vienna1 Highest Vienna Melange mixture of2born andoverall blue, while the population i.e. yellow closest to the city’s average Melange mixture of1i.e.Vienna yellow andoverall red results in closest share to the of city’s 3 Highest population average born inThe other provinces of orange, etc. colours show the Austria 3 Highest share of population born in other provinces number of people aof certain origin. 2 Highest share ofof ViennaFOREIGN-BORN (%) Austria born population 25 30 35 40 45 50 The more2 Highest yellow a district, the more share of ViennaFOREIGN-BORN (%) 4 Highest share of foreignborn population people from other Austrian provincborn population* Vienna total: 43 Highest share es have been there on January Highestliving share of of foreignpopulation Vienna-born: 46.9 % born born population* in other provinces of Born in other Austrian Austria 1, 2018. Red indicates people born in Vienna total: provinces: 16.9 % 3 Highest share of population Vienna-born: 46.9 % Foreign-born: 36.2 % born in other provinces of Born in other Austrian Vienna and the more blue is shown Austria provinces: 16.9 % www.statistik.wien.at www.statistik.wien.at Foreign-born: 36.2 % in the colour mix, the more people 4 Highest share of foreignborn population* OTHER www.statistik.wien.at born abroad have been living in the AUSTRIAN PROVINCES Vienna total: 4 Highest share of foreign20 80 Vienna-born: district. born population* OTHER46.9 % www.statistik.wien.at Designers: Born in other Austrian AUSTRIAN PROVINCES Vienna total: provinces: % 20 16.9 80 Vienna-born: 46.9 Ramon Bauer, Tina Frank, Foreign-born: 36.2% % Hanna 40 in other 60 Born Austrian This is a cooperation between the provinces: 16.9 % Priemetzhofer, Roman Seidl Foreign-born: 36.2 % 40 60 City of Vienna, department Econom60 40 OTHER www.statistik.wien.at PROVINCES Contact: 60 AUSTRIAN ic Affairs, Labour and Statistics and 40 20 80 OTHER 80 20 Kunstuniversität Linz PROVINCES www.statistik.wien.at the University of Art and Design AUSTRIAN 20 80 Abteilung80Visuelle Kommunikation Linz, department Visual Communi20 40 60 40 60 20 www.ufg.at/viskom cation 40FOREIGN-BORN (%)60 Foreign-born: 48.4% % Vienna-born: 34.8 1 Vienna Born in otherMelange Austrian i.e. closest to%the city’s provinces: 16.8 Foreign-born: 48.4 % average


BRONZE

FOUND

221


Category:

Research

Project:

e.UI

What was the challenge? With the rapid development of information technology, mobile applications (Apps) had flourished both in quantity and quality. Numerous apps have been introduced to serve all different purposes; the content and functions provided are complicated than ever. It takes much time and effort for app designers in the process.

Application Design Tool Book improve design quality, speed up the time-consuming design schedule

What was the solution? This tool book included a thorough research on information structure of Apps in attempt to improve the efficiency of user’s interface design. Moreover, a deep analysis on App’s information structure has been done to integrated information classification into the layout ( 6 types : Expository type / Feedback type / Dialogical type / Indicative type App / Retrieving type / Others type ). This tool book provide app designers with a handy and valuable tool. What was the effect? This tool book analyzed different trends of Apps, introduced design guidelines, illustrated different types of App information structure, thus offers preferable information structure for Apps of different categories. Designers may refer to the classifications this tool book provides to gain further information, and utilize the suggested design guidelines and information structure to achieve their intention. This tool book aims to improve their design quality, speed up the time-consuming design schedule, and meet users’ needs.

Contact: name:Pei-Yi Lai / Tingyi S. Lin company/organisation:VIDlab, Taiwan Tech e-mail:m10610210@gapps.ntust.edu.tw tingyi.desk@gmail.com

222

01 TEMPLATES

02 INFORMATION

03 SUPPLIES


BRONZE

FOUND

START

Design new App

STEP 1

Choose App product function and find it type

STEP 2

Follow design guidelines

STEP 3

Choose App product service content

STEP 4

Follow this type information structure

STEP 5

Use information structure and supplies to thinking new design

223


Category:

Research

Project:

FACE-lifting the Euro Banknotes

What was the challenge? When the Euro was introduced in 2002, it was considered the European Union’s most chilling political and financial experiment. Around the world many experts were in doubt about the future acceptance and stability of the EU’s single currency. These uncertainties are clearly visible in the original design of the Euro banknotes by Robert Kalina: their visual style needed to be humble and unobtrusive. Unlike traditional paper money, the Euro banknotes were devoid of any references to important people, institutions, works of art etc. It was critical to the Euro’s success that the banknotes would not stir up emotions: Within the European Union no country should feel favored or left out by the Euro’s design, on a global scale no-one wanted to risk the young EU currency being ridiculed or disrespected by other nations. Roughly a decade later the Euro had proven itself a hard currency with billions of banknotes circulating globally. Due to the Euro’s success it was adopted by 5 more EU member states (2020 totaling 19 Euro countries) and had become the world’s strongest competitor of the US-Dollar. Hence it was time for the EU to express its improved self-confidence by a bolder banknote design. With the advancements in technology, it was certainly necessary to add new security features like semi-transparent materials, holographic threads or shiny emerald print. However, the primary reason behind a revamped Euro banknote design, was declaring the EU the leading power of Europe. But how to do it subtly, without intimidating other stakeholders on the European continent like the Council of Europe, OECD, NATO, etc.? What was the solution? The solution was creating an honest and trustworthy face for the Euro—the socalled “Europa series” by Reinhold Gerstet-

224

Europa Regina: the first allegorical map of Europe by Johannes Putsch (1534), Museum Retz. „The map is a glorification of the House of Habsburg, with the expression of a general hope for peace“ (Meurer, 2008). This notion was picked up in the revised Euro banknote design (Gerstetter 2013), when a portrait of Europa was introduced as a „security feature“.

ter shows the delicate portrait of a woman, when the bills are held against the light. The political strategy of using the Europa persona for declaring The EU’s (moral) entitlement to the continent was developed 500 years earlier by the Habsburg emperor Charles V. He once ruled the renowned “empire on which the sun never sets”. Just like the EU, Charles’ considered himself the legitimate leader of Europe, even though his empire never included all parts of it. For expressing his predominance towards

other aspiring sovereigns, in 1534 Charles commissioned the Tyrolean cartographer Johannes Putsch with the creation of a new map of Europe—the “Europa regina”. It portrayed the geographical territory of Europe in the allegorical shape of a noble lady. Effectively Putsch’s map shows many visual references to the current Euro banknote re-design by Reinhold Gerstetter: 1) Both depictions present a seemingly “complete map” of Europe—suggesting the issuer’s entitlement to the whole conti-


BRONZE

nent and not just parts of it. 2) Both maps envision Europe as an island surrounded by oceans—suggesting a paradisal idyll within fortified borders. 3) In both cases, Lady Europa is presented in a royal and Christian manner, adorned with jewelry and insignia of power, her head tilted like a Madonna immaculata or Madonna of Mercy—suggesting protection, as she gathers her people like children under her extensive cloak. The results of the research project build on the visual methodology of Documentary Picture Interpretation developed by Ralf Bohnsack (2009), myself and others. The focus of analysis is the reconstruction of formal design as a decisive carrier of implicit cultural knowledge. By comparative interpretation and logical reasoning this scientific approach allows for systematically reconstructing the cultural and practical meaning of visual design. What was the effect? The new “Europa series” of Euro banknotes is still a cautious, but much more articulate expression of the European Union’s claim for the European continent. At the introduction of the Euro, the original banknote design by Robert Kalina was explicitly open and vague, in order not to not stir up opposition at the

FOUND

Iconographic comparison: closeups from left to right: Habsburg Europa Regina map (Putsch 1534), Euro portrait window (Gerstetter 2015), Euro water mark (Gerstetter 2013). note the iconographic similarities: the facial expression, the tilted head, the pearl necklace etc. nota bene: Europa simultaneously provides and demands protection: her portrait serves as a security feature by protecting Europe and the value of the Euro banknote. But as a fragile lady, Europa also needs to be protected by a faithful ruler—500 years ago by the Habsburgs, now by the EU.

time. Ten years later the facelifted banknote design by Reinhold Gerstetter includes marked references to the “Europa Regina map” of the Habsburgs. Apart from suggesting a certain historical continuity of imperial power in Europe, the imagery of Europa also portrays the continent as a Christian paradisal empire (a Garden Eden?) that needs to shield itself towards adverse external influences (enemies, migrants, etc.). Oddly, apart from the word “Euro” and the abbreviation of the European Central Bank (ECB) there is no mention of “Europa”, “Europe” or “European Union” on the EU’s official currency. The absence of names is just as revealing as the absence of gaps in

10-Euro banknote, original series (Kalina 2002)—nota bene: this map already depicted all of Europe instead of just the EU member states; however, Europe is still attached to Asia on the right.

the EU and Habsburg maps of Europe. The visual analysis exposes the EU’s political information design—that one day the distinction between the “European Union” and the “European continent” shall be obsolete. Propaganda is most effective, when it seeps in unnoticed. Thus, the translucent portrait of Europa in the watermark of the new Euro banknotes carries the promise, that “Europe” and the “European Union” are really just two sides of the same face.

Contact: Stefan Hampl Sigmund Freud University stefan.hampl@sfu.ac.at https://www.stefanhampl.at/bildanalysen

10-Euro banknote, “Europa series” (Gerstetter 2013): revised Euro banknote design. nota bene: the map of Europe was moved to the left and now appears as a detached island protected by a border of stars—just like the paradisal continent in the frame of the allegorical Habsburg map (Putsch 1534).

225


Category:

Research

Project:

PICTOGRAPHY IN MOTION

What was the challenge? Although pictograms and motion are part of our day-to-day life, few are the examples that tie these two topics together. The aim of our study in connection with information design was to examine the significance of adding motion to a reality that is seen as being chiefly “analogue”. The creation of “meanings of complex information” is a task that requires information designers to take a systematic approach to the project, combining analytical, graphic elements and as we propose, animation This concept of interdisciplinarity is reinforced when it is observed that information design can also combine motion or animated images. What was the solution? Based on theoretical concepts, case studies and the results of field research that included interviews, surveys and focus groups, we developed and tested speculative propositions for adding motion to thirteen AIGA system pictograms. After the modification of the pictograms we collected data through interviews and focus groups with designers and non-designers. What was the effect? The research findings have led us to conclude that the introduction of motion could be an important contribution to facilitate the interpretation of pictograms and to enable them to develop in others ways, for example, to encourage civic behaviour, enhance the content of a message and to create emotional ties. We witnessed with this research that moving pictographs are better to decode, when compared with static pictographs. We also proved in this research that movement can help to understand the pictographic messages, because it improves the relation between form and meaning.

226

Main forms of contribution

Main forms of approach

# Increase effectiveness of the message # Reinforce message context # Create emotional links # Encourage civic behaviour # Update processes

# Humanization # Sequential chromatic change # Changing the perspective # Rotation with non-pragmatic elements # Highlight the elements

Contact (1):

Carlos Rosa designer, design professor IADE - Faculty of Design, Technology and Communication carlos.rosa@universidadeeuropeia.pt www.iade.europeia.pt www.carlosrosadesign.com

Contact (2):

Maria Diaz designer IADE - Faculty of Design, Technology and Communication mariamartins_95@hotmail.com www.iade.europeia.pt


EDITOR‘S CHOICE & BRONZE

FOUND

FINAL NOTES *This project is in revision to be published in a Springer publication.

227


Category:

Research

Project:

Diversity and Inclusivity by Design: Empowering Individuals

N.B. Information graphics to assist in reading and understanding the projects within the exhibition space.

What was the challenge? To design inclusively is to engage people deeply throughout the design process, to share practices and to amalgamate people’s unique knowledge into design interventions. Our society is changing and as a result of various factors, political, economic and cultural disputes, we change the way we communicate, ‘read’ information and co-design. Our research on diversity + inclusivity by Design (d+iD) investigates “what is enabled when designers design with, and for others?” We are challenging existing communication practices, to show how our information design processes could amplify, diversify and generate visual language that could inform, inspire and impact –where design acts inclusively regardless of disability, gender, ethnicity, vulnerability, language or age.

228

What was the solution? In a series of co-design methodologies and participatory design workshops, we focused on enabling and empowering elements of design processes that can positively engage with marginalised groups with a focus on the divided Mediterranean island of Cyprus. Through an international exhibition, our design outputs act inclusively by creating a positive social impact. The exhibition as the solution to the challenge and its visual language has focused on developing a dialogue amongst industry experts, scholars, artists, designers and the general public for the opportunity to create a multicultural and multidisciplinary exchange of ideas. This engagement has increased the outreach of the project and demonstrated the merits of how creative user-centric processes, namely the principles of information

design, have the ability to create agency in marginalised voices. The exhibition outputs include multisensory objects to educate visitors through information design and haptic techniques addressing issues such as gender equality, political conflicts and hidden disabilities. Every exhibit informs the spectator through various materials and audiovisual methods.

This research project was co-funded by The Cyprus High Commission in London and is a collaboration with a team of designers and international creative industries. The team: Hakim Ben Ahmed, Maya Angeli, Alina Dheere Babaletsos, Alexandros Kosmidis, Dr. Anastasios Maragiannis, Maria Christina Papaleontiou, Dr. Stacey Pitsillides, Dr. Marios Psaras, Giulia Romagnoli, Mala Siamptani, Magdalene Theodorou.


SHORTLIST

What was the effect? The channels used for the dissemination of the research project have been multiple and far-reaching, leading to a perceptual change in how diversity and inclusivity are understood in the context of a co-design process. The distinguished London Design Festival (LDF) covered the exhibition; a nine-day event (LDF overall attracts every year approximately 580,000 people and an additional 1 million passer-by audience

FOUND

Contact: from over 75 different countries). The outputs of the project are manifested in the form of an exhibition and catalogues and aimed to celebrate the works, by covering issues that extended to real-world discussions and debates regarding how design practices deal with diversity and inclusivity. The catalogue and exhibition are designed for the broad exposure and for engaging a wider multicultural audience.

name: Dr. Anastasios Maragiannis company/organisation: School of Design University of Greenwich, d+iD e-mail: a.maragiannis@gre.ac.uk website: diversityinclusivity.design

229


economia circolare =

DIGITALIZZARE

economia circolare =

Il tempo perduto mai si riacquista

economia circolare =

Meglio una gallina oggi o un uovo domani?

Tra il dire e il fare c’è di mezzo il mare

: BEFORE BEST 2/2910 : 12/0 BEFORE BEST 2/2910 Economia 12/0 circolare= Economia circolare= Economia circolare=

Economia circolare=

RE: EFO 1 5 T B BES 01/42 E: 17/ BEFOR 51 T BES 01/42 / 7 1 BEST BE FORE: 25/06/ 83 BEST BE 68 FORE 25/06/ 8368 :

E: BEFOR BEST 2/2910 0 12/

Economia circolare=

Economia circolare=

Economia circolare=

Economia circolare=

21 22

23

20

19

26 27

18 16 14 15

si compie nella condivisione 24

103 102

105

25

104 101 107

28

109

17

10

9

8

7

30

6

4

31

Iuav - Progetto opportunità 2019 - Economia Circolare =

11

#ecconomiaci #e onomiacirrcolareuguale

nulla si distrugge, tutto si trasforma 117

RE: EFO 1 5 T B BES 01/42 17/ 3

32

2

#economiacircolareuguale

BEST B EFORE 25/06/ 8368 :

106

100

29

12

Contact:

108

Iuav - Progetto opportunità 2019 - Economia Circolare =

nulla si crea, rinasce dalle cose 5

230

IUAV — PROGETTO OPPORTUNITÀ 2019 — ECONOMIA CIRCOLARE =

VALORIZZARE

13

name: Laura Badalucco / Paola Fortuna organisation: Università Iuav di Venezia / Studio +Fortuna e-mail: laurabada@iuav.it / paola@piufortuna.it website: www.iuav.it / www.piufortuna.it

IUAV — PROGETTO OPPORTUNITÀ 2019 — ECONOMIA CIRCOLARE =

RIGENERARE

124 125

126

123

118 116

127

122

119

121 120

115

114 113

128

Iuav - Progetto opportunità 201 19 - Economia Circolare =

What was the challenge? This work aims to enhance, to raise awareness and to provide a useful tool for the knowledge and the promotion of Sustainable Goals and, particularly, Circular Economy Strategies. The basic question was: how can design help to make the various aspects connected to the development of a Circular Economy evident and communicable, as a factor of innovation and competitiveness? Circular Economy Strategies are as important as they are complex to explain to a large audience. For its complexity, this theme is likely to be used superficially (often associated, by non-experts, only with recycling), without the people understanding of its real power and its ability to solve environmental problems due to the Linear Economy. It was therefore decided to study an Information Design System that could help understand the true essence of Circularity and its Strategies The project was entitled “Economia Circolare =” (Circular Economy equal to). To identify effective communication tools, it was decided to involve younger designers. A 5-day workshop was organized in Università Iuav di Venezia (Venice, Italy) on Circular Economy Strategies and their communication. The workshop was a part of the research “Opportunità - Circular Synergies for an efficient Market”, managed by Prof. Francesco Musco’s research team (Iuav) and funded by the European Social Fund 2014-2020.

IUAV - PROGETTO OPPORTUNITÀ 2019 - ECONOMIA CIRCOLARE =

Economia Circolare =

IUAV - PROGETTO OPPORTUNITÀ 2019 - ECONOMIA CIRCOLARE =

Project:

IUAV — PROGETTO OPPORTUNITÀ 2019 — ECONOMIA CIRCOLARE =

Sustainability

IUAV - PROGETTO OPPORTUNITÀ 2019 - ECONOMIA CIRCOLARE =

Category:

129 130 131 132

112 111

133

33

110

#economiacircolareuguale


GOLD

THINK

!

231

Il workshop è organizzato

OPPORTUNITÀ: Sinergie circolari per un mercato efficiente.

Promosso da:

Regione del Veneto 2014-2020

Università Iuav di Venezia Magazzini Ligabue 22-26 Luglio 2019

Il workshop è organizzato

OPPORTUNITÀ: Sinergie circolari per un mercato efficiente.

Promosso da:

Regione del Veneto 2014-2020

La scarsità di materie prime, dovuta alla sovrapproduzione industriale, ha portato allo sviluppo di un nuovo modello economico basato sulla valorizzazione dei prodotti e il loro ricircolo.

La scarsità di materie prime, dovuta alla sovrapproduzione industriale, ha portato allo sviluppo di un nuovo modello economico basato sulla valorizzazione dei prodotti e il loro ricircolo. ECONOMIA CIRCOLARE =

ECONOMIA CIRCOLARE = Il workshop è organizzato

OPPORTUNITÀ: Sinergie circolari per un mercato efficiente.

Regione del Veneto 2014-2020

Università Iuav di Venezia Magazzini Ligabue 22-26 Luglio 2019

Promosso da:

La scarsità di materie prime, dovuta alla sovrapproduzione industriale, ha portato allo sviluppo di un nuovo modello economico basato sulla valorizzazione dei prodotti e il loro ricircolo. ECONOMIA CIRCOLARE =

What was the effect? The result was a system of information panels, cards and Instagram’s posts on what Circular Economy really means and on what we can do to use it as a concrete solution for the Environmental Issues. Each group experimented with different communicative languages (from photography to illustration and typography) and different communicative tones (seriousness, irony, paradox, etc.) to effectively reach different audiences. All the projects was presented in an exhibition in Venice in July 2019 and in a Social Campaign on the pages of the Iuav Master in Circular Design. Until the end of September 2019, the campaign has tested the communication strategies and verified their effectiveness by increasing interest in these issues. In these pages we present some examples of the six campaigns.

Università Iuav di Venezia Magazzini Ligabue 22-26 Luglio 2019

What was the solution? During the workshop, 32 students of the Design Bachelor and Master of Università Iuav di Venezia worked on an infographic project for the promotion and knowledge of the Circular Economy keywords. Six groups of students studied an information campaign aimed at a very large and heterogeneous audience in Italy, starting from the Ellen McArthur Foundation RESOLVE Framework. The groups sought solutions to explain complex concepts such as those of the Framework (REgenerate, Share, Optimize, Loop, Virtualize, Exchange) in a simple, effective and fast way. The campaigns would use both the digital and social media opportunities and the paper medium (posters, postcards).


Category:

Sustainability

Project:

IUU Fishing Index

What was the challenge? A 2013 study estimated that illegal, unreported and unregulated fishing represents between 11% and 19% of all world fishing products, the equivalent of up to 26 million tonnes and valued at between $10 and $23 Billion. To combat this problem, two global entities have created the IUU Fishing Index, which provides a score based on objective criteria for all coastal countries, continents and ocean basins. The Index standardizes several indicators in order to generate a number that summarizes a whole scenario evaluated by experts and researchers.

232


CLIMATE PRIZE & SILVER

THINK

!

What was the solution? Our goal was to facilitate understanding and comparison of this data. This was done via a bespoke data visualization (the fishbone chart) and a website where the user can view the Index on maps, rankings, as well as full country profiles. The maps allow users to visualize IUU Fishing scores at a global level. We used the fishbone chart as an illustrative tool to present the IUU Fishing scores (individual ‘bones’ represent the coastal, flag, port, and general state responsibilities, with larger fishbones showing poor scores). The country profiles provide complete data for individual coastal states. Finally, the rankings show scores ranked by country and allow users to view these rankings filtered by the indicator type. What was the effect? The project discusses the implications of the Index scores in terms of the need for action, and the targets and indicators on IUU Fishing under Sustainable Development Goal 14, Life Below Water: “to conserve and sustainably use the oceans, seas and marine resources”. It has become a go-to place for information on IUU Fishing for experts worldwide.

Contact: name: Leandro Amorim company/organisation: Café.art.br e-mail: cafe@cafe.art.br website: www.cafe.art.br

233


TY

RO

E

Y

P

Y

EARTH DAY

CI

R

IM DO

R

PE AP D

IT!

IT!

S C OF MON R A H LIB

I MAPPED IT! resilient monroe

2018

PE AP D

GREEN MAP

! IT

234

I

O

MONROE COUNTY

Y

I MAPPED IT! IP

EN

CH

CH

H

EN

name: Kelly Salchow MacArthur student assistants: Rose Deneau, Malarie French, Larissa Moyer organisation: Michigan State University e-mail: salchow@msu.edu website: elevatedesign.org

M

FR

Contact:

What was the effect? The system was developed towards impacting and fitting appropriately within the community, from a grassroots approach. The initiative was launched on Earth Day 2018, and has been distributed through local schools and organizations, teaching residents about green mapping and local healthy food, and inspiring the next generation of environmental stewards as part of RRI’s Climate Literacy Program. The system instigates active participation, pride, health, inclusivity, learning, and connection in the community and natural environment.

PE AP D

L L N RO E TOW N S H IS L RAR IB

FR

What was the solution? A partnership between Kelly Salchow MacArthur and the River Raisin Institute (RRI) led to the Resilient Monroe Green Map System. It introduced green mapping —the practice of locating and plotting often overlooked green living, natural and cultural resources in an area—to the local community by focusing on fresh, local food resources. The system is interactive on both a personal and public level, designed to engage young and old. The success of the initial green map system led to additional partnership with the Monroe County Opportunity Program, and subsequent development of the Fresh Opportunity Green Map, which identifies food deserts, food pantries, and other resources. The maps utilize the international resource (and database) of the Green Map© icon system, which as

greenmap.org notes, “has engaged over 950 communities in 65 countries.” Each piece was produced as environmentallyresponsibly as possible. Maps were printed locally with soy-based ink on 100% postconsumer recycled stock (milled locally with hydro-power). Wooden medallions were lasercut locally. Woodless pencils were provided with children‘s mapmaking passport booklets. Rubber stamps were created (instead of stickers) to acknowldege mapmaking milestones. And 800 reusable grocery bags, made of 100% recycled plastic water bottles, were handed out.

E

What was the challenge? Located on the edge of Lake Erie, within the Great Lakes—the largest fresh water system in the world—Monroe, Michigan is an agricultural community that suffers a surprising disconnect between its local residents and fresh local food. Food deserts—limited access to fresh foods that constitute a healthy diet—exist for many low-income residents. Local non-profit organizations were searching for ways to inform the public of local food resources, while simultaneously educating them on green living practices (which directly impact the Great Lakes).

AR

Monroe Green Maps

TO W N TO

TO W N

S WN

R

Project:

IM

Sustainability

IM

Category:

B LI

resilient monroe GREEN MAP


SILVER

THINK

!

235


Category:

Sustainability

Project:

Green Iuav 2018

What was the challenge? The project involved teachers, students, researchers and technical-administrative staff, with an interdisciplinary approach. Borrowing the language from both digital and editorial domains, the report ponders on the university’s sustainability practices and informs on the numerous sustainable actions carried out during the year. What was the solution? Designing a sustainability report mean building a system of criteria. It is a quest to define the boundaries of a universe of meaning able to welcome stories and results of past events. It means drawing a panorama of a time in which every aspect deserves to be considered in the dimension of a global signifying unity. The harmony of the natural world translates to the pages through the deformation of the letters that, interacting with the venetian context and the wavy motion of the water, are signs of the flowing of time. The narrative, made of parallel levels, amazes with aerial images of the lagoon’s ecosystem and informs with specific textual and visual solutions (diagrams, information design, chirography). What was the effect? The ambition of the project is to redefine the book from an object to a cultural tool able to build new visions of the future and restore a balanced dialogue between the environment and humanity. – 24 x 31, p. 96; section sewn binding – Black and Pantone+ Metallics Coated – Munken Print White paper

Contact: students: Simone Cavallin, Francesca Cavani, Filippo Papa institution: Università Iuav di Venezia e-mail: comunicazione@iuav.it website: iuav.it

236


SILVER

THINK

!

237


Category:

Sustainability

Project:

Alphabet of Life

(German: Alphabet des Lebens, appreviation: A.de.Le.)

What was the challenge?

What was the effect?

Werkraum Bregenzerwald, an Austrian association for artisans and craftscompanies, exhibited a learning path into the 26 Biomimicry Life Principles (LPs)— understood as nature’s patterns for creating conditions conducive to life. Biomimicry, as a framework and practice, offers direction for sustainable design inspired by nature. The LPs form the core of this design approach and constitute its benchmark for sustainability. The specific exhibition design challenge was to translate the LPs into a comprehensible narrative for a broad audience.

The vision for this exhibition was to instill a passion in the audience for the inspiring abundance of nature’s wisdom, to introduce the Biomimicry Design Process, and to communicate the potential for applying the 26 Biomimicry Life Principles to all kinds of innovation and design challenges.

What was the solution? A multi-sensory learning adventure showcased the 26 LPs and demonstrated the Biomimicry Thinking Design Process and its potential for sustainable innovation. A life-size tree served as the main actor to exemplify the LPs through 26 organisms co-habiting its eco-system. These champions were chosen to showcase the 26 LPs and how organisms interrelate to cycle resources through the tree’s eco-system. Each of the 26 champions illustrate their functions in the system.

The Alphabet of Life fully embodied this vision on all levels. The interplay between biology, design and the relevant disciplines for the design challenge provided a playground for discovery and experimentation that inspired visitors of all ages. The exhibition created hope in their hearts that a transition into systemic sustainability is possible by perceiving nature as a model—for applying its strategies to human design, as a mentor—for looking to her as a teacher, and as a measure—for using the LPs as a benchmark for sustainable innovation.

Scientific Illustration: Monika Ernst A.de.Le. Typeface: Johannes Lang Photography: Roswitha Schneider

All those involved in the Alphabet of Life project became more conscious of their own role in the web of life. To learn more about the full scope of this exhibit please visit www.alphabet-des-lebens.net

Contact: Names: Elisabeth Kopf & Regina Rowland Company: Design Buero Baustelle E-mail: office@buero-baustelle.com Website: alphabet-des-lebens.net

238

A.de.Le Lausschrift: Johannes Lang & Elisabeth Kopf

To aid the ability to remember the LPs, the 26 letters of the Latin alphabet served as mnemonic device and led to the title of the exhibition: The Alphabet of Life.

Alphabet des Lebens Lernwerkstatt Natur 23. 6. — 6.10. 2018 Di — Sa 10 — 18 h Werkraumhaus Hof 800, 6866 Andelsbuch werkraum.at

Förderer

F o r s c h u N g s pa r t N e r


A.de.Le Lausschrift: Johannes Lang & Elisabeth Kopf

SILVER

THINK !

239


Category:

Sustainability

Project:

Interactive infographics on climate change in Minsk, Belarus

What was the challenge? People are constantly arguing about climate change, and at the domestic level they are finding out whether winters have become snowier, when was the coldest summer and how many temperature records were broken during the winter. The most reliable answer is given by the weather data, but it is necessary to show it correctly and clearly. What was the solution? The air temperature and snow depth during all history (ever recorded) in Minsk, Belarus was investigated in this infographics. With two columns of data (date, temperature / snow level) it was possible to answer these and many other questions regarding the weather and climate change. What was the effect? In addition to individual articles, fragments of it were used in many materials during the last years. For instance, after each season or the end of the year their totals are summed up. When the temperature in the city hits the record, the corresponding module is placed in the material. When meteorologists make predictions for a particular day, the module with all values of the temperature for today and the extremes are being shown. Snow infographics is updated and recalculated automatically every day.

When and how much the first snow fell.

When the last snow melted.

Top 10 of the snowiest winters.

Overview of snow over the past 80 years.

Temperature (as single module): https://public.tableau.com/profile/tut.by#!/ vizhome/weather_25/All Snow: https://news.tut.by/society/529926.html

Contact: name: Vadim Shmygov company/organisation: TUT.BY e-mail: iiid@vad.by website: http://infograf.by

240

Comparing the change in snow levels, we found the heaviest snowfalls in history.


BRONZE

THINK

!

The deviation of the average monthly temperature from normal.

The increase in the average temperature. You can select a year or particular season.

Graph for ten-year periods. Small multiple of temperature graphs for decades. You can see the breaks in the data on the graph (1917 revolution, wars).

Heat map of temperature.

Annual temperature calendar.

Weather on birthday. Personal warming chart.

The extremums of the chosen year.

An overview of the temperature spread.

The chosen year, against all the years.

241


Category:

Sustainability

Project:

Publication: Designing Sustainable Cities. Manageable Approaches to Make Urban Spaces Better

What was the challenge? In view of the fact that, by 2050, 70% of the world’s population will live in cities, the subject of “sustainable urban design” is an important issue for UNESCO’s Cities of Design. For some years now, we at the Institute of Design and Communication of the FH JOANNEUM— University of Applied Sciences, in Graz have increasingly shifted our contentrelated orientation towards an understanding of Design as a means to improve, repair and save the world. The goal was to find international experts, who are willing to share their up-to-date research results on social and urban design. The articles should be meant for the readers as inspiration and for imitation. Furthermore, to find as sustainable solutions as possible for the book production itself.

What was the solution? A book with international examples to show the potential of new designs. 7 current research contributions on socio design and urban planning describe and location-independent city projects that are recommended for stimulation and imitation. Taking into account that urban design can make a significant contribution to positive changes in environmental and social matters, the book presents seven inspirational examples for copying; included are analyses and measures for the cities of Detroit, Graz, Istanbul, Mexico City, and Puebla, as well as non-location bound projects. The authors investigate the efficiency of certificates, climate installations for urban spaces, and new ecological, architectural, and sociological concepts for mega-cities. A reader for stakeholders at the interface of social and urban design. The book is produced in the only Austrian cradle to cradle certified printing house. This means that the books are free from harmful substances in paper, color and glue.

Contact: name: Sigrid Bürstmayr, Karl Stocker e-mail: sigrid.buerstmayr@fh-joanneum.at, karl.stocker@fh-joanneum.at

242

What was the effect? Inspired readers all around the world and invitations for book presentations. One of the next events will be the book presentation at the Detroit Month of Design in September 2020. In addition, we are very happy that we could extend and strengthen our network of international designers who believe in the power of sustainable design. “Design for sustainability is no longer a future prospect; it is already under way in thousands of projects around the world. These transformative actions are changing design itself.” (Thackara, John 2013 “Foreword”, in: Walker, Stuart / Giard, Jacques (ed.), The Handbook of Design for Sustainability. London, New Delhi, New York, Sidney: Bloomsbury)


SHORTLIST

THINK

!

Edited by: Sigrid Bürstmayr and Karl Stocker With contributions of: Paul Draus, Breathe Earth Collective, Burcin Cem Arabacıoğlu, Ayşen Ciravoğlu, Ciğdem Polatoğlu, Paulina Cornejo Moreno Valle and Sylwia Ulicka Cover and Graphic Design: Verena Michelitsch, Printing: Gugler GmbH Birkhäuser 2020, ISBN: 978-3-0356-2198-3

243


Category:

Student Work

Project:

Information site “Woman and Work”

What was the challenge? Women's relationship with work at different stages of their lives is crucially important. For example, when they have to care for their children or parents on their own, when their partner in life is divorced from family or has passed away, when the woman herself has been ill or has been a housewife for a long time. All necessary information for women about work is found in 20 legislative acts and the official website of 13 public authorities. They inform, advise and fine at the same time. Information is written in bureaucratic and no user friendly language.

What was the solution? A source of information for women on work, business and taxation matters. Information is designed for 10 different target groups according to their life situation - mommies, disabled, housewives, re-emigrants, pensioners, women who are searching for new job challenges, as well as those who are unemployed. If a woman is a mommy, she will find here essential information on the benefits available to her during pregnancy and maternity leave. If a woman is unemployed or a re-emigrant, and she wants to return to the Latvian labour market, then she can find important information about employment agreements and salary calculation. If a woman wants to start a side hustle to make extra money, she can learn how to do work of authorship or work on the basis of a contract.

90 75

Roles and responsibilities of a woman during her lifetime

65

Illnesses and health care of parents both her and partner’s

55

Illnesses and health care of parents both her and partner’s

45

Education of children

Organizing celebration of family members

30

Pregnancy

Maternity leave

What was the effect? More than hundred women participated in website testing and greatly appreciated the prototype (https://invis.io/4EKMMQ3F2KD). Governmental institutions (the Ministry of Wellbeing and the State Revenue Service) have appreciated the idea of gathering all the information concerning employment and taxes on one website.

Illnesses and health care of the partner

Illnesses and health care of grandchildren

Illnesses and health care of grandchildren

Health problems of woman herself

Care of pets

Illnesses and health care of children

Education of children

Illnesses and health care of children

25

Studies

Relationship and marriage

18

Studies

The beginning of an independent life

Contact: name: information design Vineta Kreigere, graphic design Rūta Jumīte company/organisation: Art Academy of Latvia e-mail: vineta.kreigere@gmail.com website: www.lma.lv

244

0

Illnesses and health care Child of the partner care

Planning a baby


JURY PRIZE & GOLD

MASTER

sieviete un darbs

atpazīsti sevi?

I just returned to Latvia after a few years of working abroad, and now I want to find a job here. OPPORTUNITIES

I'm ill already for a year, and it's complicated to return at a job.

I am a foreigner

I study

OPPORTUNITIES

and I'm looking for a work in Latvia

and want to achieve financial independence

OPPORTUNITIES OPPORTUNITIES

I am unemployed — could I use this time to study something new? OPPORTUNITIES

I am a mother

I am a woman with disabilities

and I want to combine care of the child and a work OPPORTUNITIES

and it is complecated to find a job OPPORTUNITIES

If you want to establish business relationships.

Your tax rate depends on the level of your income

20

%

You will have to pay this tax rate if your yearly income is up to 20 004 €

What is the commercial register?

23

31

%

%

You will have to pay this tax rate if your yearly income exceeds 20 004 €, but is up to 55 000 €

REED MORE

You will have to pay this tax rate if your yearly income exceeds 55 000 €

REED MORE

REED MORE

If you are a partner to a company, which has a yearly profit that exceeds 28 500 €, and you have more tha ten employees.

If you choose to pay the PIT

Y FOR PL

IO

03

LTAT

If your yearly profit exceeds 28 500 €, and you have more than five employees

04

If you work as a retailer in the field of real estate

A CO N

02

If your yearly profit exceeds 284 600 €

SU

01

N AP

You should register your economic activity in commerce register in these scenarios:

You will have to pay PIT advance payments four times a year: till the 15th of March, till the 15th of June, till the 15th of August and till the 15th of November. Even if there are some years without any profit at all, you will have to pay a tax of 50 euros into the state budget anyway.

You can apply for a record in the commercial register even if you do not suit any of these.

A P P LY F O R P I T

245


Category:

Student Work

Project:

Atlas Of No Direction Home

What was the challenge? Bob Dylan, who has been on the road since the 1960s, has played roughly 100 dates a year for the entirety of the 1980s, 1990s and 2000s—a heavier schedule than most other performers. Being on tour for almost one-third of the year and practically the entirety of his life poses the question: where does someone like Bob Dylan call home? Places are also a big theme in his song lyrics, with over 100 songs referencing them. His studio albums were also recorded in many different locations. I went through all this data and collected every small information containing places to then transform the gathered data into a designed object of information. What was the solution? The Atlas Of No Direction Home is a database filled with all the locations relevant to Bob Dylan’s career. It lists all the places mentioned in his songs, the towns where his studio albums were recorded, the venues of his tours, and other places that played an important role in his life. In addition to the database, maps show all the places mentioned in the book, as well as the locations of all the venues for Dylan’s ongoing Never Ending Tour. The content of this book is organized through the geographic coordinate system of the world. What was the effect? By taking a different look at the musician’s career another picture of the artist was created. Bob Dylan fans all over the world kept reaching out to me afterward to get more information about the project since it shows a side of Dylan no one has ever seen before.

Contact: name: Philipp Doringer e-mail: Pdoringer@gmail.com website: www.philippdoringer.com

246


GOLD

MASTER

247


Category: Project:

Student Lucky Island

What was the challenge? Outside of our visible spectrum of light there is a very big area of electromagnetic radiation. Scientifically it is light as well, as it consists of photons. The most dangerous part for the human being: gamma rays. They are characterised by a very small wave length and permeate almost all materials on earth. We cannot see them and generally only notice them when they are linked to radioactivity; when we deal with the consequences of atomic bombs and nuclear power plants. But how can we understand them when we never put measurements in relation? When you think of Japan you also think of what happened on 11th March 2011 at the Fukushima Daiichi nuclear power plant — the latest nuclear accident that shocked the world. But how are things there now? What can sensors monitoring radioactivity in Japan tell us today? And how can I bring this data from far away in Japan into awareness and put it in relation to radioactivity detected around the world? What was the solution? In this project I try not to value the consequences of the exposure to radiation but I want to build relations to get a better sense of their occurence. Therefore, I use the principle of sonification in order to make live measurements of monitoring stations in Japan “audible”. Ten stations in all over Japan deliver measurements of radioactivity in their environment.* Everytime there is a new value coming in, the according bell in my installation rings. With an AR-app you can read the latest values of each sensor and get interesting reference values for better understanding.

Fig. 1: complete installation

Contact: Michaela Lautenschlager University of Applied Sciences Würzburg-Schweinfurt hello@michiinjapan.de michiinjapan.de

248

Ten glass bells are connected to motors via nylon threads and are arranged geographically. The motors are controlled by a micro controller board that is communicating with a mini computer. I wrote a programme that reads the data from sensors stationed in Japan and updates its request once a minute. When a new value is detected, the bell that represents the associated sensor rings for some seconds. The fine glass chimes create an alarm like piercing ringing.


GOLD

MASTER

Fig. 2: AR app on tablet, showing additional information, the latest measurement and a simplified map of Japan

What was the effect? In several exhibitions I could already experience people engaging with the installation. It was very interesting to see people being astonished by the values in Japan in comparison to Germany’s – be it positively or negatively. It also sparked many discussions about nuclear power, natural radiation, the lack of knowledge in these fields as well as the general power of data visualisation respectively sonification or physicalisation. Fig. 3: detail of location labels

Fig. 4: detail of glass chimes

Each one has a tag (see Fig. 3) with information about the specific sensor and it’s location in Japanese characters that also works as a marker. With an AR app on a tablet (see Fig. 2) you can read the marker and get augmented information: the latest value of the station, reference values such as the average radiation level in Germany per year and a map that shows the sensor’s position inside Japan.

To create the highest possible tension between the layer of information you get when reviewing the measurements and the poetic installation itself and for cultural reference, I used traditional japanese wind chimes – named “furin” (see Fig. 4). They make the installation appear fragile and subtle, while bringing the sound into the analog and thus making the data more tangible and present for the viewer.

I realised that we (designers) need to “translate” specific data into intelligible and tangible constructs in order to give non-professionals access to the information coming from it. To make interesting and enjoyable data visualisations/sonifications/physicalisations for people to let them engage with environmental data in a captivating way and thus spark new thoughts, ideas and discussions about it. * Sensor data in the installation by: safecast.org, an online platform that collects and provides environmental data from sensors all over the world

249


Category:

Student Work

Project:

Sushi Map - How to Define the Food

What was the challenge? Taste experience is always a very abstract and subjective stuff. Some food critics will use metaphors to describe how food taste is or some restaurants’ menus will write down the exact weight of each ingredient used. Readers always need to imagine what exact the taste is by these plain texts. So, can we define the taste experience of a food in a visual way? Also, this project will try to explore the precision behind the art of food. What was the solution? I got the idea from food engineering and defined the food by three features, duration of food tasting, diffusion of food parts and change of taste intensity in mouth. From both quantitative and qualitative perspectives, I disassembled the change process of each ingredient to a color 2D image.Sushi, a food with precise proportion and independent raw material, is taken as a good example to experience this concept, obtaining a comprehensive color map. After that, grayscale processing, 3D voxel processing and texture processing were carried out to obtain a color 3D taste experience model finally. What was the effect? Based on this, a new type of sushi menu has been designed. It is a conceptual experiment for taste experience visualization and also an art practice for future menu or good food guide design.

Contact: name:Yanyi Lu company/organisation: Goldsmiths, UoL e-mail: ylusharon@outlook.com website: https://yanyilu.wordpress.com

250


GOLD

MASTER

251


Category:

Student work

Project:

The Sidewalk Atlas: A multi-scalar approach through interdisciplinary lenses

Pic. 1: A regular scene in Mexico City’s sidewalks. Photo: Nora Morales. What was the challenge? When information design students learn how to visualize spatial data they usually tend to jump into the representation stage right away, but how can we teach our students to reflect and value previous stages of the process, like getting involved in data collection instruments with other researchers or analyzing which platforms are pertinent for the budget and context of the research. This was the situation which the Spatial Information Design Class faced during the Winter of 2019 trimester, as part of their Master Degree Program (MADIC) at UAM University in Mexico City. Based on an ongoing research project: “Walkability, social and material production of space” done by Social Scientists and The Laboratory of Analysis and Socio-Territory (LAST) at the same University, students were asked to design and develop a data collection instrument to collect data, compute it and represent and suggest an open information dashboards platform in order to characterize the urban sidewalk: The Sidewalk Atlas.

There is no formal data generated that characterizes the urban sidewalks of this Megacity, than the usual, shown as a satellite image from Google or Street View maps, which shows the street location and visual information that corresponds to a specific moment in time but only considers the scale to street level. Imagine if we want to know more detailed qualitative and quantitative aspects of the sidewalk, such as width, type of material, height, tilting or objects or obstacles that compromise people’s walkability to be able to inform or assess public space more efficiently (See Pic. 1). What was the solution? Students immersed in a process in close relation to the social scientist, which started from the design of an analogous survey, collection and coding instrument that each of them prototyped and used, considering metrics and aggregation data from the scalable

model that considered attributes from street, sidewalk materials dimensions, objects, actors and activities that could define a more robust typology density and diversity for sidewalks in the city. They also explored interfaces for a mobile device for collecting the data and a suggestion for a website and did a comparative study for the “state of the art” of different digital platforms that could be used to show results and analysis for the research (See Fig. 2 & 3). The first prototype collection of data in 14 different locations is giving some preliminary good insights like: the maximum and minimum of street length covered by sidewalks, type of material, quantity and density of objects. Like 82% of the objects in the sidewalks are permanent, while 18% are mobile, and the main producer of them is the Government 42% while 32% percent relies on residents (See Fig. 4 & 5).

Contact: name: Students: Ivonne Ramírez / Daniela Pérez / Xiadani Álvarez Teacher: Nora Morales Zaragoza company/organisation: UAM Cuajimalpa e-mail: ivonne.a.ramirez@gmail.com

252

Fig. 2 & 3: Sketches for the analog instrument by Daniela Pérez.


GOLD

MASTER

Fig. 4 & 5: Collecting instrument designed by the MADIC’s information design students: Andrea Aguilar, Daniela Pérez, Ivonne Ramírez, Laura Álvarez, León Arango, Mónica Aguilar, Mónica Canto, Vanessa Hernández, Xiadani Álvarez. Teachers: Angélica Martínez and Nora Morales. What was the effect? The project is in the indicator construction stage as well as the generation of communication materials and webpage design. We believe that it is important to encourage this type of projects where involvement of information designers from the first stages of the research process is an advantage to experiment allowing to come up with a clear planning and organizations since the beginning (See Fig. 6 & 7). From the learning perspective, the interdisciplinary experience was an important factor, since other University departments and faculties were involved and students from different disciplines get to work from a wider social and learning range, our students took SIG classes from the social science teachers and the design students were in charge of tutting other students and surveyors on how to use the instruments.

Fig. 6: Dashboard proposal to visualize the data by Ivonne Ramírez.

*“Walkability, social and material production of space” is an academic research project in wich participate the following teachers: Dr. Salomón González, Mtra. Laura Quiroz, Guénola Capron, Jerónimo Díaz, Mtra. Nora Morales and Dra. Angélica Martínez de la Peña.

Fig. 7: Proposal of app to capture the data of the sidewalks by Xiadani Álvarez.

253


Category: Student Work Project:

WEAR WITH CARE, just right

What was the challenge? The textiles industry operates in an almost completely linear way: large amounts of non-renewable resources are extracted to produce clothes that are often used for only a short time, after which the materials are mostly sent to landfill or incinerated. This model has numerous negative environmental and societal impacts (especially if we consider that a large part of textile production is made of plastic). Furthermore, with the advent of the Fast-fashion model, production has been moved to third world countries, in order to have access to a cheap and unprotected labor force, leading the fashion industry to rank among the main industries for the risk of modern slavery and among the top five for pollution level. The document “Environmental impact of the textile and clothing industry, What consumers need to know” of the European Parliament indicates three possible “ways” to increase the sustainability of the fashion industry: extending longev-

254

ity of clothes, targeting consumers, improved collection and recycling. What was the solution? I chose to create a smartphone application associated with a browser extension whose main objectives are: - Turn the moment of buying clothing into a moment of ethical choice; - Make the user responsible for the care and disposal of items he owns to reduce the environmental impact during use and at the end of life; - Encourage new ways to enjoy fashion, such as renting and peer exchange. The app has three main functions: - in the shop, identify through an image recognition software the item of clothing that the user would like to purchase, showing on the one hand an evaluation of its sustainability (relying on third-party partner databases and broke down into factors that can be easily understood by the user, which

can also decide what to privilege according to one’s own value system), on the other hand a series of similar but more sustainable alternatives; - Encourage the use of rental services and the peer exchange, highlighting among the alternatives the garments that are available for hire and those that the user’s contacts have put in the exchange section (swap); - Improve the management and awareness of what the user already has, through the virtual wardrobe in which: each garment keeps memorized the instructions of how to take care of it and how and where to dispose of it when it’s time to ; the automatic outfit generator creates combinations of clothes favoring those used less, to extend their use; the Swap section allows to loan or exchange the clothes selected by the user with the list of his contacts, while the rental section helps in the management of timings. The browser extension (designed


SILVER

MASTER

for online purchase) is automatically activated when the user is on the page of a searched product on his browser, showing the evaluation and a series of alternatives, as the app, with the advantage that the user does not have to remember to use it, because it opens automatically. What was the effect? The positive impacts of the project are numerous: products that do not normally have a widespread distribution like those of fast-fashion, and maybe are only available on-line, are made accessible and easy to look for; the possibility of comparing alternatives decreases the urgency of purchase, induced (voluntarily) by fast-fashion brands, and therefore the impulse-purchase, encouraging to reflect on each purchase choice; the evaluation system designed to be easy to access but at the same time complete, in-depth and usable by the user according to his needs, enables him to make truly coherent choices with his own values, and being able to rely on information given by third party evaluators bypasses the green washing of companies and the mistrust that follows about what companies say about their products; the Wardrobe section helps to limit over-consumption and the decrease in garment use, as well as the impact of products during and at the end of life, making the user responsible also in the stages following the purchase, thus improving th collection and recycling.

Contact: name: Patrizia Berardelli company/organisation: UniversitĂ IUAV di Venezia e-mail: berardellip@gmail.com

255


Student Work

Project:

FASHION DATA POSTERS

60 55 50 45

Contact: name: Ailette Xiomara Córdova Castro company:The University of reading in cooperation with Fashion Revolution e-mail: a.cordovacastro@student.reading.ac.uk

256

70 65 60 55

VERO MODA

35 30 25

35 30 25

15 " Transparency may be the most disruptive and far-reaching innovation to come out of social media."

10 5

5 0

45

20

15 10

50

40

40

20

What was the effect? • Motivate consumer taking an interest in the brands they regularly purchase within the fashion industry. • Make consumers understand their role as a dominating element that sets the rules in the market. • Empower consumers to demand from the brands within the design industry to be more transparent and sustainable, in both their processes and practices. • Motivate consumers to make responsible decisions.

75

PULL&BEAR

65

RANKING FROM 2017 TO 2019

BERSHKA

70

80

MASSIMO DUTTI

www.fashionrevolution.org

85

UNITED COLORS OF BENETTON

75

#whomademyclothes

H&M MARKS & SPENCER

80

No brands reach to 100%

MANGO

What was the solution? The solution is to create a set of five posters using the Fashion Revolution’s ranking. The posters are divided by segments, to see a clear comparison between the brands that Fashion revolution include in their annual index.

85

HOW TRANSPARENT ARE THE FAST-FASHION BRANDS?

BANANA REPUBLIC

What was the challenge? Many popular brands take advantage of cheap sources of labour, unethical process of work and use synthetic material to create a fabric that pollutes the environment. Information about this issue is display in an annual document call “The Fashion Transparency Index” that Fashion Revolution an organisation committed to the well-being of the industry releases every year since 2017. This document showcase research made on many brands to create a rank based on transparency. Even though this information is open to everyone, its existence is ignored by most consumers. As a result, many brands diminished the importance to the index and decided not to be part of it.

ZARA

Category:

2018

2019

2020

0


SILVER

MASTER

80

75

75

70

70

65

65

60

60

55

55

50

50

45

45

40

40

35

35

30

30

25

25

25

20

20

15

15

30

10

" There is no beauty without truth and there is no truth without transparency.”

5 0

85 80 75

2018

2019

2020

HOW TRANSPARENT ARE THE AFFORDABLE LUXURY BRANDS IN FASHION?

35 30

50

45

45

45

40

40

40

35

35

35

30

30

30

25

25

25

20

20

20

15

15

15

0

0

PRIMARK

TARGET

2018

2019

2020

10

10

5

5

0

0

PUMA

65 60 CONVERSE

ASOS

GAP

OLD NAVY

SAINSBURY’S

GILDAN " Time has come for brands and retailers to make their entire supply chains transparent"

WRANGLER

50

VANS

55

RANKING FROM 2017 TO 2019

55 50

20 15 "We want to see the fashion industry, respect its producers and understand its processes."

10 5

2018

2019

2020

0

80

300cm 290cm

280cm

VAN HEUSEN

270cm 60

ASICS

45 40

55

RANKING FROM 2017 TO 2019

85

LULULEMON MONSOON BURBERRY JACK & JONES

ESPRIT

50

70

60

5

65

NIKE

55

75

60

5

70

JORDAN

60

80

65

10

75

RANKING FROM 2017 TO 2019

75

No brands reach to 100%

#whomademyclothes THE NORTH FACE

65

75

85

#whomademyclothes

65

10

www.fashionrevolution.org 70

80

No brands reach to 100%

70

WALMART

HERMÈS

35

80

HOW TRANSPARENT ARE THE MID-MARKET BRANDS IN FASHION?

70

AMAZON

40

85

www.fashionrevolution.org

NORDSTROM

45

ERMENEGILDO ZEGNA

VENETA HUGO BOSS

50

BOTTEGA

55

J.CREW

CALVIN KLEIN

60

RANKING FROM 2017 TO 2019

TOMMY HILFIGER GUCCI SAINT LAURENT

65

85

www.fashionrevolution.org

www.fashionrevolution.org 70

#whomademyclothes

TESCO ZALANDO

75

#whomademyclothes

No brands reach to 100%

ADIDAS

80

80

HOW TRANSPARENT ARE YOUR FAVOURITE FASHION RETAILERS ?

C&A

85

REEBOK

No brands reach to 100%

LOFT

HOW TRANSPARENT ARE THE LUXURY BRANDS IN FASHION?

85

85

55

260cm 250cm

50

240cm 45

230cm 40

220cm 35

210cm 30

200cm 25

25

20

20 15

15 10

" Transparency is not a choice. The only choice is, does it happen to you, or do you participate in it?."

0

10 5

5

2018

2019

2020

0

190cm 180cm 170cm 160cm 150cm 140cm 130cm 120cm

This material is thought to form a campaign to be promoted in advertising spaces like the underground and bus sites offer. This campaign covers one type of mayor consumers ranking from and age of 20 to 39 years old, with a low to high income. The data presented in this material is up to date to 2020 information and can be found on their website (www.fashionrevolution.org/ about/transparency/).

110cm 100cm 90cm 80cm 70cm 60cm 50cm 40cm 30cm

The posters promote the #whomademyclothes hashtag in order to invite consumers to be part of the Fashion Revolution’s movement.

20cm 10cm 0cm

257


Category:

Student Work

Project:

A Digital Certificate of Vaccination

What was the challenge? Shortly after birth, every child in Germany receives their Certificate of Vaccination to keep record on vaccinations. By adulthood the little yellow WHO booklet should be filled with at least thirteen vaccinations. But every second German is missing important vaccinations and 43% don’t know which diseases they’re protected against. Also many parents underestimate the terrible consequences of so-called childhood diseases: More than 50% of the two-yearolds haven’t received all necessary vaccinations.

International Certificate of Vaccination (WHO) Prof. Dr. Betsch, an expert for vaccination behavior at the University of Erfurt, explains the situation as follows: Most people are willing to be vaccinated – but keeping track of vaccinations is too much of a hassle. People are also often not aware that or when they should be vaccinated. The problem is intensified by the fact that 22% of the population don’t know where their Certificate of Vaccination is located. Unfortunately, there is no central vaccination register in Germany, which means if the paper document gets lost, there is no backup available.

258

left: dashboard view with color-coding shows one missing and two upcoming vaccinations right: In-deepth information about Diphtheria and the circular visualized vaccination status What was the solution? I developed a smart digital Certificate of Vaccination that helps people to better understand their vaccination status and keep track on their vaccinations. The iOS app also works as a secure backup to ensure your vaccination data can’t get lost. The Certificate of Vaccination app has four main sections: Vaccination status, vaccination calender, family account and travel vaccinations. Vaccination status All vaccinations are listed in a dashboard, sorted by disease. Missed or pending vaccinations are highlighted to immediately gain the users attention. Vaccinations that aren’t yet necessary or have already been completed are shown in a list of tiles. The vaccination status for each disease is visualized with a decreasing circle indicating how long the vaccination protection will last. The user is also able to read additional information on the specific diseases and learn why it’s important to be vaccinated against them.

Family feature To make life easier for families, parents are able to connect their children’s Certificate of Vaccination with their own. The family feature helps parents to schedule their kids vaccination appointments more easily. Vaccination calendar The calendar displays all vaccinations as a timeline in chronological order to give users a better overview. In addition to the past vaccination dates, the future vaccinations are also shown. Besides the purpose of information this form of visualization also shows the user that protecting your health with vaccinations is a life-long process. Travel vaccinations More and more people travel around the world either for business or holidays. This caused an increased need for additional travel vaccinations (e.g. yellow fever). The travel vaccination feature looks up all required vaccinations for the chosen destination and automatically reminds the user to get their vaccinations in time for their trip.


SILVER

MASTER

Smart notifications through nudging To remind people of their required vaccinations without opening the app I created an approach for smart notifications based on findings from behavioral science and psychology. Nudging influences human behavior through small communicative impulses without using prohibitions or rules. I combined nudging strategies with the so called 5C model, a scientific questionnaire to analyze which factors influence a persons motivation to get vaccinated. The results were used to create individual notifications for each user that fits their main motivating factors (e.g. risk perception, sense of responsibility) Exemplary notifications for users with an upcoming measle vaccination What was the effect? As user tests with a high-fidelity prototype of the digital Certificate of Vaccination have shown, the dashboard gave people a better overview and therefore they felt more secure in handling their vaccinations. Probands stated that the frequent notifications encouraged them to talk to their doctor about missing vaccinations. Especially parents found organizing vaccination appointments much easier with all their children’s data in one place. Being provided with additional information about the diseases raised the users awareness for the importance of vaccinations and the possible effects of missed vaccinations on their health.

Contact

left: vaccination calender view shows additional data via force touch on vaccination dots right: travel vaccinations feature with map and options to choose style of travel and time

name: Julia Hilt company/organisation: FH Potsdam e-mail: hello@juliahilt.de website: www.juliahilt.de

259


Category:

Student Work

Project:

Striking of Red Ruby Glass

What was the challenge? It is a common notion in the glass-welding community that making ruby red glass is a notoriously difficult task. Despite being one of the most aesthetic and emotion-evoking colors, its complexity often discourages its creation. It was rediscovered by European alchemists and glassmakers in the late 17th century, long after the ancient world had given up. The red glass piqued the interest of Hamburg physician, Andreas Cassiuse, who discovered the red coloring properties of gold chloride and inspired glass technologist Johann Kunckel von Lowenstern to successfully produce the colored glass. The challenge of producing this red color lies in the fact that the glass initially appears grey and turns red only after reheating. Its distinctive colors come from a “striking� process, where light reflects off gold nanoparticles of just the right size when reheated. The addition of colloidal gold to molten glass must be precise in order to achieve the ruby shade. The intensity and distribution of heat affect how the gold salts mold into the glass, hence the constant turning and flipping. Despite all of this, the red glass may still not heat evenly. As it heats and cools, the glass could change colors unexpectedly -turning orange or leaving bright streaks in the darker glass.

A glass entering the kiln for heating process.

Image Credit: Adobe Stock

What was the solution? Inspired by the intricate history of ruby red glass and the present challenges of glass making, I created an infographic detailing the manipulation of temperature to achieve a desired color. In essence, the glass must be evenly reheated at increasingly warmer temperatures to avoid malformation. This infographic acts as a systematic approach, which aims to alleviate the challenges of producing colored glass. As a visual concept of the relationship between heat and color, the infographic both literally and metaphorically strikes gold in gold ruby glass making. What was the effect? By combining typography, color subsequency, and tone hierarchy, this glass

PROPERTIES OF GLASS

T THERMAL

S

P

O

STRUCTURAL (INVISIBLE)

PROCESS (VISIBLE)

OPTICAL & COLOR

a) absorption, reflection and transparency b) additives & color effects that they cause in glass

260

infographic offers a systematic approach to a complicated procedure that has stumped the world for centuries. A first of its kind, the diagram was displayed at the 2020 Corning Museum of Glass exhibition as a pioneer in the field of visual narratives for glass making.

RECIPE FOR GLASS There are a few main ingredients used in glass making plus many additives for particular properties.

SAND OR SILICA

SODIUM CARBONATE

LIME OR CALCIUM OXIDE

(LEAD, BORON IRON, ETC)

OTHER ADDITIVES

COLOUR ADDITIVES

RUBY RED:

PURE METALLIC COPPER

Information from www.breakglass.org


SILVER

MASTER

STR I K I N G P R O C ES S

NOT ENOUGH HEAT VS. TOO MUCH HEAT Glass undergoes a striking process to achieve its expected color through molecular realignment. In a ruby glass, copper is responsible for color change. As the glass melts, the copper molecules and the associated oxygen molecules break apart and join with other molecules in the batch. Rapid cooling of the glass causes these hightemperature bonds to become permanent and leaves the glass clear. The magic of the ruby color is that these bonds can be broken at the annealing temperature.

Not enough heat- Not fully 'struck‘

Problematic if the glass is annealed in the kiln. The prologned heat exposure could finish the striking process.

Too much heat- ‘Overheat’ glass

The glass blackens and may appear burnt. In this case, the chemical reaction fails.

CHEMISTRY OF COLORED GLASS Glass can be colored in these ways:

DID YOU KNOW...

1) It can have transition or rare earth metal ions added 2) It can be due to colloidal particles formed in the glass 3) It can be due to particles which are colored themselves Here are some examples of typical chemical elements that are used to color glass:

Color doesn‘t appear until the glass is reheated to over

1,000 °F Contact:

IRON-SULFUR Fe-S

COPPER Cu2+

CHROMIUM Cr3+

MANGANESE Mn3+

ERBIUM Er3+

COPPER-TIN Cu-Sn

Report from Compound Interest 2015

name: So Youn (Alice) Kim company/organisation: State University of New York at Binghamton e-mail: soyounkimdesign@gmail.com website: soyounkimdesign.com

261


Category:

Student Work

Project:

争夺! Zheng duó!

What was the challenge? As a former student of Chinese as a foreign language, I found it difficult to understand all the complexity of such a language due to its differences in structure or syntax with Spanish. Slowly, I realized that the first steps to learn Chinese could be done through the understanding of the characters (Chinese writing), not only because they seem too hard to master, but because I became aware of its relevance to their culture and history. There is also a lack of didactic resources specially designed for Spanish speakers that study Chinese. When I was studying, I faced challenges in acquiring new and interesting learning material. Most of the times they were badly designed or too focused on grammar. What was the solution? Now, as a student of information visualization, I decided to design resources for learning and teaching Chinese, to make it easier for new learners. Radicals are the elemental structure units of characters. Based on radicals and their recognition, I proposed a boardgame: Zheng Duo! (‘to scramble’ or ‘to contest’). In this game, players use tiles to make sentences, or tiles arrangement using the radicals at the back of the tiles. Colors and shapes are used to differentiate nouns, verbs, adverbs, adjectives, measure words, and particles. By using a reference booklet, students can verify not only the basic rules but also an overview of basic grammar. This game was designed using a vocabulary set from the HSK 1 list (Chinese language proficiency exam) and a most frequently used word list. Students can check information such as the characters, their pronunciation, the type of word, and the radicals on both sides of the tiles.

262


SILVER

MASTER

What was the effect? So far, the game has gone through design iterations that have demonstrated an improvement in students’ skills by recognizing the structural parts of Chinese characters. Besides, their engagement in game activities is far superior to book-based exercises.

Contact: name: Alfredo Jimenez company/organisation: Metropolitan Autonomous University, Cuajimalpa e-mail: alfredojimenez@asu.edu

263


Category:

Student Work

Project:

The Big Friendly Giant

What was the challenge? How can we engage and inform the public about endangered species in New Zealand through the display of various information types. There is so much data and information put out into the world that it can be overwhelming sometimes. The challenge was to create a display about an endangered species in New Zealand. The display needed to include a range of information from statistics & facts to complete data sets. The display also needed to have a consistent visual aesthetic that clearly communicates the information.

What was the solution? Responding to this challenge I have created six posters about the New Zealand Kauri Tree. The overall narrative that I have created across all 6 posters is to tell the extensive story of the Kauri from past to present. They have been made to be viewed as a continuous series to be read from left to right. The first three posters introduce the Kauri Tree and its history. The second three are set in the present day and looks at what is being done to help save and protect the Kauri Tree from the current threat of Kauri Dieback Disease. Through a clear visual system the various segments of information can be clearly understood and interpreted.

Contact: Name: Aimee Bennett Organisation: Massey University, Wellington, New Zealand E-mail: aimeebennett45@gmail.com Website: aimeebennett45.wixsite.com/aimeemariedesign

264

What was the effect? Through the visual language of the posters the audience are able to gain a greater understanding and knowledge about the New Zealand Kauri Tree. This is because they are able to understand information and data that would normally be found in a wordy and complicated report is now shown in an interesting, informative and clear manner.


SILVER

MASTER

265


Category:

Student

Project:

Testing the improvement of first-aid instructions

What was the challenge? This was a short individual project that investigated the procedure for making an arm sling. First-aid instructions hold critical information, but often lack good design of their information, or clear sequencing of their steps that makes them understandable. The procedure for making an arm sling appears simple, but is deceiving in that the sling needs to be placed precisely and orderly. What was the solution? The solution was derived and validated through a short period of user-testing (results on right). My designed instructions follow the clean vector style of illustration often seen on first-aid and medical sites. I strived to balance appealing color and friendly elements with professional illustration and type, as to make the instructions attractive but serious in tone. For easy access and use, the instructions were designed to fit within the packaging of the trianglular bandage. What was the effect? In my initial tests, I observed that the user would always place the knot or corner (apex) of the triangle bandage in an imprecise place along the arm. If the user fails to tie the knot at the shoulder, the apex will not line up with the elbow, and the bandage will not be wide enough to support the whole arm. In my final interation of instructions (see next page), I found through subsequent testing that each participant was able to place the knot and apex in the correct positions, without any prompting. This resulted in a correctly supported forearm, and each user also did not forget to secure the arm at the elbow (see testing results on right).

In-class user-testing results

Question

Participant 1

Participant 2

Participant 3

1. Do you know what part of the arm needs to be immobilized?

yes

yes

yes

2. Can you identify the different corners of the triangle bandage?

yes

yes

yes

3. At what part of the body does the knot need to be tied?

yes

yes

yes

4. At what part of the arm do you place the apex of the bandage?

yes

yes

yes

5. How do you support the whole arm properly?

yes

yes

yes

6. How do you secure the arm at the elbow?

yes

yes

yes

yes = answered + performed correctly

Contact: Delia Cormier University of Alberta dacormie@ualberta.ca deliacormier.myportfolio.com

266

Instructions folded to fit within a first-aid kit.


SILVER

MASTER

How to make an arm sling

top corner

For the forearm.

An arm sling’s function is to hold the forearm in a raised position and immobilize it to avoid further injury. It can be used to treat upper arm injuries, wrist injuries, and rib injuries. The casualty must also be able to bend their elbow.

~1m

apex

Use a triangle bandage from a first aid kit OR a square cloth folded diagonally (about 1m).

bottom corner

1

Ask the casualty to support their injured arm. Gently pass the bandage under the arm.

2

Keep the apex at the elbow.

Keep the apex at the elbow.

3

Bring the bottom corner up to meet the top corner. Gently slide other the arm out of the bandage, and tie a knot at the shoulder.

Bring the bottom corner around the shoulder.

4

Adjust the cloth to make sure the whole of the arm is supported, down to the middle finger.

Tie the knot at the shoulder.

5

At the elbow, twist and tuck the corner so that it snugly fits around the elbow.

Twist the corner. Tuck in the corner.

6

Check the circulation in the fingertips every 10 minutes. (press the nail for 5 seconds, then release to see if the color returns within 2 seconds.)

If injury is severe, seek medical attention immediately.

Final designed instructions that were tested on classmates.

267


Category:

Student Work

Project:

Changing the Look of Privacy Infographic

What was the challenge? To develop an exhibition graphic that explains why designers and manufacturers choose glass as their input over other materials to create various types of artifacts. We were instructed to choose a category of glass and specific objects to make an argument with an exhibition poster that shows why glass was preferred for technical, aesthetic, economical and other reasons over other materials. What was the solution? Intrigued by the Smartglass technology, the design inspiration evolved to portray how three various forms of glass and privacy materials alter the level by which light moves through transparent to translucent and vice versa. These forms ultimately change the look of privacy. An isometric layout enables the viewer to peer couriosly through the visual elements of Alfred Hitchcock’s “Rear Window” storylines. What was the effect? Exhibition infographic (30”X40”) that can be used to compliment a museum display of nostalgic methods of privacy such as curtains or blinds to current or future smart technologies.

Contact: Cindy Knickerbocker Binghamton University cknicke1@binghamton.edu www.binghamton.edu

268


BRONZE

MASTER

269


Category:

Student work

Project:

Visualizing change in Nutritional Labelling Law for consumer foods. Towards a better understanding and legible policy.

What was the challenge? As part of the research involved in our final project at the Master of Information, Design and Communication (MADIC) program, we have to analyze and understand the New General Standard of Nutrimental Labelling Law set by the mexican government for consumer foods and packages known as NOM-051. The NOM-051 has caused a political buzz and diversity of opinions between consumers, marketers, government and industry, due to the fact that Mexico has one of the highest indexes of Diabetes and Obesity, especially in children. So it was hard to access reliable, and confident information. It is worth mentioning that the previous law was undergoing a revision and adjustment process from Government agencies and some NGO’s groups started to add social pressure with a prolabelling advertising campaign based on the model INFLUENCIA INTERNACIONAL EN NORMA MEXICANA

CÓMO SE HACEN LAS NORMAS EN MÉXICO

FAO

CXS 1-1985

CODEX ALIMENTARIUS

INTERNACIONAL

What was the solution? Our research project involves various aspects of the Nutritional Labelling Standard Law, its evolution and components, global influences, its legal and operational process, and the stakeholders involved in their reading and use, but in this work, we are focusing on one particular diagram, which was of great help, because it showed the NOM-051 process of transformation through a detailed reviewing and comparison of its components, visibilizing each of their goal and function (Sless, 2006). We focused on four main criteria: 1. Global influence (red): Organizations and other nutrimental standards involved 2. Process of transformation of a national law (blue): Legislative branches, agents involved their role, type of norms 3. Parts of mexican labelling standards (yellow):

applied in some South American countries. The main argument of the campaign claimed that the new labelling will help children make better decisions of what they eat, reducing child obesity. We started by studying the official government documents published at the Daily Federal News which uses mainly technical, legal and formal language. And asked ourselves a few questions: ¿How to “make sense” of a highly complicated legal document?, ¿How could we translate “the traditional language of policy” and make it easy for everyone to understand?, ¿Could we use information design to find flaws in the actual labelling norm to inform a better practice labelling system? We even attempted to go further and ask if policy makers can benefit from our findings and design more legible and efficient policies.

CAC/GL 1-1979

ETIQUETADO DE ADITIVOS ALIMENTARIOS. REV. 2016 ETIQUETADO DE ALIMENTOS PARA REGÍMENES ESPECIALES. REV. 2009

CXS 180-1991

OMS

MODIFICACIONES A LA NORMA (2020)

ETIQUETADO DE ALIMENTOS PREENVASADOS. REV. 2018

CXS 107-1981 CXS 146-1985

NORMAS SOBRE EL ETIQUETADO DE ALIMENTOS

CÓDIGO DE ALIMENTOS

COMPONENTES DE LA NORMA MEXICANA (2010)

INFLUENCIA EN LA NORMA MEXICANA

CODEX STAN 1-1985 ETIQUETADO DE ALIMENTOS PREENVASADOS

DIRECTRICES

CAC/GL 2-1985 CAC/GL 23-1997

ETIQUETADO DE ALIMENTOS PARA FINES MEDICINALES. REV. 1991 - LEY GENERAL DE SALUD - LEY GENERAL DE EQUILIBRIO ECOLÓGICO Y PROTECCIÓN AL AMBIENTE

MARCO LEGAL DEL ETIQUETADO NUTRIMENTAL DE ALIMENTOS PREENVASADOS EN MÉXICO

- LEY FEDERAL DEL CONSUMIDOR

NOM-051-SCFI/SSA1-2010

- LEY DE BIOSEGURIDAD

LEYES

- APLICADA EN 2010-

- LEY FEDERAL DE METROLOGÍA Y NORMALIZACIÓN

REGL AMENTOS

- LEY DE PRODUCTOS ORGÁNICOS

PODER LEGISLATIVO

- LEY DE TRANSPARENCIA Y ACCESO A LA INFORMACIÓN PÚBLICA GUBERNAMENTAL

LEYES

- HACE LAS LEYES -

NOM

DE USO OBLIGATORIO

NMX

RECOMENDACIÓN DE PARÁMETROS

NORMA OFICIAL MEXICANA

NACIONAL

¿CÓMO SE HACEN LAS LEYES?

PODER EJECUTIVO

- PONE EN PRÁCTICA -

INVESTIGACIÓN E INFORMACIÓN METODOLÓGICA

INFORMACIÓN QUE SE TRADUCE EN UNA

COMPONEN LA NOM-051

NORMA NORMA MEXICANA

- REGLAMENTO DE LA LEY DE EQUILIBRIO ECOLÓGICO Y PROTECCIÓN AL AMBIENTE EN MATERIA DE EVALUACIÓN DE IMPACTO AMBIENTAL

REGL AMENTOS

- REGLAMENTO DE LA LEY GENERAL DE SALUD EN MATERIA DE CONTROL SANITARIO DE PRODUCTOS Y SERVICIOS

PODER JUDICIAL - MEDIADOR -

- NOM-002-SCFI-2011: CONTENIDO NETO, TOLERANCIAS Y MÉTODOS DE VERIFICACIÓN

+ NOM

OBLIGATORIA

- NOM-008-SCFI-2002: SISTEMA GENERAL DE UNIDADES DE MEDIDA

ETIQUETADO PARA ALIMENTOS Y BEBIDAS NO ALCOHÓLICAS PREENVASADOS-INFORMACIÓN COMERCIAL Y SANITARIA

LOS E

- NOM-030-SCFI-2006: INFORMACIÓN COMERCIAL, DECLARACIÓN DE CANTIDAD

NORMAS

- NOM-043-SSA2-2012: EDUCACIÓN PARA LA SALUD ALIMENTARIA - NOM-086-SSA1-1994: ALIMENTOS Y BEBIDAS NO ALCOHÓLICAS CON MODIFICACIONES - NOM-106-SCFI-2017: CARACTERÍSTICAS DE DISEÑO Y USO DE LA CONTRASEÑA OFICIAL

NOM-051-SCFI/SSA1-2010 - MODIFICACIÓN 2020-

Qué

PROYECTO DE MODIFICACIÓN A LA NORMA OFICIAL MEXICANA NOM-051-SCFI/SSA1-2010

Dónde

EL CAMPO DE APLICACIÓN DE ESTA NORMA INCLUYE A LOS PRODUCTOS PREENVASADOS COMERCIALIZADOS EN TERRITORIO MEXICANO CON LAS SIGUIENTES EXCEPCIONES: - ALIMENTOS Y BEBIDAS CON OTRAS ESPECIFICACIONES DE NORMAS MEXICANAS - ALIMENTOS Y BEBIDAS A GRANEL - ALIMENTOS Y BEBIDAS ENVASADOS EN PUNTO DE VENTA - OTROS PRODUCTOS QUE DETERMINE LA AUTORIDAD

Contact: name: Students: Ivonne Ramírez / Karen Bonilla / Mónica Aguilar Teacher: Nora Morales Zaragoza company/organisation: UAM Cuajimalpa e-mail: ivonne.a.ramirez@gmail.com

270

Cuándo

PRIMERA NORMA PUBLICADA 05 DE ABRIL DEL 2010 MODIFICACIÓN APROBADA 24 DE ENERO DEL 2020 PUBLICACIÓN EN DOF 27 DE MARZO DEL 2020 ENTRADA EN VIGOR FASE 1 1º/10/2020 - 30/09/2023 FASE 2 1º/10/2023 - 30/09/2025 FASE 3 1º/10/2025 - 30/09/2028

Quiénes

Para qué

SECRETARÍA DE SALUD

SECRETARÍA DE ECONOMÍA

SE ENCARGA DE LA PREVENCIÓN DE ENFERMEDADES Y PROMOCIÓN DE LA SALUD DE LA POBLACIÓN, ASÍ COMO DE ESTABLECER LAS POLÍTICAS DE ESTADO PARA QUE LA POBLACIÓN EJERZA SU DERECHO A LA PROTECCIÓN A LA SALUD.

TENEMOS POR OBJETIVO DESARROLLAR POLÍTICAS DE INNOVACIÓN, DIVERSIFICACIÓN E INCLUSIÓN COMERCIAL, ASÍ COMO DE ESTÍMULO A LA INVERSIÓN NACIONAL Y EXTRANJERA, PROPICIANDO EL APROVECHAMIENTO DE LOS RECURSOS E IMPULSANDO LA PRODUCTIVIDAD CON EL FIN DE CONTRIBUIR AL BIENESTAR PARA LAS Y LOS MEXICANOS.

COFEPRIS

PROFECO

PROTEGER A LA POBLACIÓN CONTRA RIESGOS A LA SALUD PROVOCADOS POR EL USO Y CONSUMO DE BIENES Y SERVICIOS, INSUMOS PARA LA SALUD, ASÍ COMO POR SU EXPOSICIÓN A FACTORES AMBIENTALES Y LABORALES, LA OCURRENCIA DE EMERGENCIAS SANITARIAS Y LA PRESTACIÓN DE SERVICIOS DE SALUD MEDIANTE LA REGULACIÓN, CONTROL Y PREVENCIÓN DE RIESGOS SANITARIOS.

EMPODERAR AL CONSUMIDOR MEDIANTE LA PROTECCIÓN EFECTIVA DEL EJERCICIO DE SUS DERECHOS Y LA CONFIANZA CIUDADANA, PROMOVIENDO UN CONSUMO RAZONADO, INFORMADO, SOSTENIBLE, SEGURO Y SALUDABLE, A FIN DE CORREGIR INJUSTICIAS DEL MERCADO, FORTALECER EL MERCADO INTERNO Y EL BIENESTAR DE LA POBLACIÓN.

- 29 MIEMBROS DE LA INICIATIVA PRIVADA - 21 INSTITUCIONES DE GOBIERNO - 6 ORGANIZACIONES DE LA SOCIEDAD CIVIL - 3 INSTITUCIONES DE SALUD NACIONAL - 2 INSTITUCIONES DE SALUD INTERNACIONAL - 2 MIEMBROS DE LA ACADEMIA

ESTABLECER LA INFORMACIÓN COMERCIAL Y SANITARIA QUE DEBE CONTENER EL ETIQUETADO DEL PRODUCTO PREENVASADO DESTINADO AL CONSUMIDOR FINAL Y DETERMINAR LAS CARACTERÍSTICAS DE DICHA INFORMACIÓN. ESTABLECER UN SISTEMA DE ETIQUETADO FRONTAL PARA INFORMAR DE FORMA CLARA Y VERAZ SOBRE EL CONTENIDO DE NUTRIMENTOS CRÍTICOS QUE REPRESENTAN UN RIESGO PARA LA SALUD EN UN CONSUMO EXCESIVO.

Cómo

MODIFICACIONES FÍSICAS


BRONZE

MASTER

for our purpose it let us understand the social and political dimensions of the labels by relating to other stakeholders like producers, commercial and marketing industries and consumers of food products.

Goals function and graphic elements 4. Changes in the New Labelling Standard Norm (green): Who: Organizations involved (creators), Where: Type of consumer, foods that includes, When: temporality (previous norm (base), preparation, modification, published, approved, comes in force, For what: aim and purpose; How: comparative study of new components on labelling and their function. The diagram itself was of great help to understand and simplify the Official document (originally 37 pages) and identify the purpose of each component and by understanding its purpose and applications, and which agents (institutions and organizations) were involved in their changes were able to understand their influence and motivations of the new labelling law. The diagram is also a good source to assess the changes done in the new labelling but

What was the effect? To visualize complex information as a diagram, let us identify contradictions, ambiguities, and information flaws in the written document, but most importantly, we were able to find expressed goals that are not translated clearly to achieve the behaviour of the required practice. The use of technical and formal language to communicate in legal documents might be worth considering, because of the ambiguities and misunderstandings it causes for no expert people, nevertheless there are elements of the labelling system law that creates gaps of information that each sector interprets

for their convenience. Finally, we believe that this analysis -enabled by the diagram- contributed directly to our main research goal: To make better labellings systems for people and it might help us to scale to the next level by influencing policy makers to pursue better and more legible laws. * Acknowledges We want to thank Nora A. Morales for the translation and guidance for this work. *References Sless, D. 2006. Writing about medicines for people: Usability Guidelines for Consumer Medicine Information. Melbourne, Communication Research Institute of Australia (CRI). González de Cossío, M. 2016. Diseño de información y vida cotidiana. México, Designio.

010

S NO CIÓN

GDA (GUÍAS DIARIAS DE ALIMENTACIÓN)

OBJETIVO SEGÚN LA NORMA

MOSTRAR LA CANTIDAD DE NUTRIENTES CRÍTICOS QUE CONTIENE EL ALIMENTO, ES DECIR, AQUELLOS QUE PUEDEN CAUSAR UNA ECNT; Y LA CANTIDAD DE ENERGÍA POR PORCIÓN Y TOTAL DEL EMPAQUE.

Este envase aporta:

ELEMENTO GRÁFICO

Grasa saturada Cal/kcal

%

Otras grasas Cal/kcal

Azúcares totales Cal/kcal

Sodio mg/g

%

%

%

Energía Cal/kcal

% de Nutrimentos diarios

INFORMACIÓN NUTRIMENTAL Tamaño de la porción: 1 pieza (50 g) Porciones por envase: 3 piezas Cantidad por porción:

1 pieza (50 g)

Contenido energético:

205 kcal (858 kj) 1 pieza

LOS ELEMENTOS DEL ETIQUETADO NUTRIMENTAL

TABL A NUTRIMENTAL

SU FUNCIÓN ES MOSTRAR LOS NUTRIENTES DEL ALIMENTO (DESGLOSADOS) Y CUÁNTO DE ESOS NUTRIMENTOS SE CONSUME POR PORCIÓN.

Grasas Totales (Lípidos): Grasas Saturadas Grasas Trans Grasa Monoinsaturada Grasas Poliinsaturada Colesterol Sodio Carbohidratos Azúcares Fibra

3 piezas (150 g) 616 kcal (2574 kj) 3 piezas

%VNR* (1 pieza*)

16.10 g 3.80 g 0g 5.04 g 5.24 g

48.3 g 11.4 g 0g 15.12 g 15.72 g

29% 17% 0% -

0g 40.32 mg 13.00 g 2.22 g 2.38 g

0g 120.96 mg 39 g 6.66 g 7.14 g

0% 2% 4% 10%

*Los porcentajes de Valores Nutrimentales de Referencia (%VNR) para la población mexicana de acuerdo a la NOM-051-SCFI/SSA1- 2010. Basados en una dieta de 2000 calorías. Sus valores diarios pueden ser mayores o menores dependiendo de sus necesidades calóricas.

LISTA DE INGREDIENTES

010 OBLIGATORIO

LOS INGREDIENTES MÁS PREDOMINANTES EN EL ALIMENTO SE ENLISTAN PRIMERO Y SE SIGUE EN ORDEN SEGÚN EL CONTENIDO. SE MUESTRAN LOS NUTRIMENTOS QUE PUDIERAN CAUSAR ALERGIAS A PERSONAS CON UNA CONDICIÓN PARTICULAR, Y EL CONTENIDO DE GLUTEN.

Ingredientes: Hojuelas de Avena Natural, Amaranto, Almendras, Chía, Linaza, Girasol, Canela, Royal, Pizca de Sal del Himalaya, Aceite de Coco Fundido, Miel de Abeja en Polvo, Extracto de Vainilla, Miel Maple, Leche de Almendras.

- LOS ELEMENTOS DE LA SUPERFICIE PRINCIPAL DE EXHIBICIÓN SON: MARCA, CONTENIDO NETO, DENOMINACIÓN DEL PRODUCTO Y ETIQUETADO FRONTAL. EL RESTO DE LA INFORMACIÓN PUEDE INCORPORARSE EN CUALQUIER OTRA PARTE DEL ENVASE. - LOS PRODUCTOS QUE TENGAN SELLOS O LA LEYENDA DE EDULCORANTES, NO DEBEN INCLUIR EN LA ETIQUETA PERSONAJES INFANTILES, DIBUJOS ANIMADOS, CELEBRIDADES, DEPORTISTAS, MASCOTAS, JUEGOS Y DESCARGAS DIGITALES QUE INCITEN EL CONSUMO.

EMPAQUE

OPCIONAL

- LAS DESIGNACIONES DE CALIDAD DEBEN ESTAR AVALADAS POR EVIDENCIA CIENTÍFICA Y SER COMPRENSIBLES Y NO ENGAÑOSAS. LOS PRODUCTOS QUE LAS USEN NO DEBEN EXCEDER MÁS DE UN SELLO EN EL ETIQUETADO FRONTAL.

SELLOS

- SE PUEDE EMPLEAR INFORMACIÓN QUE INDIQUE QUE EL ENVASE NO AFECTA AL AMBIENTE, EVITANDO QUE SEA FALSA O EQUÍVOCA PARA EL CONSUMIDOR.

ETIQUETADO FRONTAL DE ADVERTENCIA

ONES FÍSICAS

SUSTITUYE AL ETIQUETADO GDA

- DEBEN INCLUIRSE LOS SELLOS EN LOS ALIMENTOS QUE EN 100 G O 100 ML: - EL CONTENIDO DE KCAL TOTALES SEA MAYOR O IGUAL A 275 (SÓLIDOS) O 70 (LÍQUIDOS) - EL 10% DEL TOTAL DE ENERGÍA PROVENGA DE AZÚCARES LIBRES O GRASAS SATURADAS - EL CONTENIDO DE GRASAS TRANS SEA MAYOR O IGUAL A 1% - EL CONTENIDO DE SODIO SEA MAYOR O IGUAL A 300 MG (SÓLIDOS) O 45 MG (LÍQUIDOS) - LOS SELLOS SE DEBEN DE UBICAR EN LA ESQUINA SUPERIOR DERECHA DE LA SUPERFICIE PRINCIPAL DE EXHIBICIÓN.

- OCTÁGONO COLOR NEGRO QUE CONTIENE LA LEYENDA EN LETRA (EN ALTAS) ARIAL BOLD

ESPECIFICACIONES DE DISEÑO

- MARGEN BLANCO SOBRE EL CONTORNO DEL OCTÁGONO CON FONDO CUADRO BLANCO - FIRMA DE LA SECRETARÍA DE SALUD EN ALTAS Y LETRA ARIAL EN NEGRILLAS

- CUANDO EL ALIMENTO TENGA MÁS DE UN SELLO SE DEBE SEGUIR ESTE ORDEN: CALORÍAS, AZÚCARES, GRASAS SATURADAS, GRASAS TRANS, SODIO.

SISTEMA DE INFORMACIÓN PARA LA POBLACIÓN SITUADO EN LA SUPERFICIE PRINCIPAL DE EXHIBICIÓN. MUESTRA DE MANERA VERAZ, CLARA, RÁPIDA Y SIMPLE, CUANDO UN PRODUCTO PRESENTA UN CONTENIDO EN EXCESO DE NUTRIMENTOS CRÍTICOS Y ENERGÍA, ASÍ COMO LOS SELLOS O LEYENDAS PARA EVITAR SU CONSUMO EN LOS NIÑOS.

ELEMENTO GRÁFICO

EXCESO CALORÍAS

EXCESO GRASAS SATURADAS

EXCESO SODIO

SECRETARÍA DE SALUD

- LOS PRODUCTOS CON POCA SUPERFICIE PRINCIPAL DEBEN INCLUIR UN SELLO CON EL NÚMERO DE SELLOS QUE LE CORRESPONDEN.

LEYENDA PRECAUTORIA

- CUANDO EL PRODUCTO CONTENGA CAFEÍNA ADICIONADA EN LA LISTA DE INGREDIENTES, SE DEBE INCLUIR LA LEYENDA PRECAUTORIA EN LETRAS MAYÚSCULAS “CONTIENE CAFEÍNA EVITAR EN NIÑOS”, LA CUAL FORMA PARTE DEL SISTEMA DE ETIQUETADO FRONTAL. - LAS LEYENDAS: “CONTIENE CAFEÍNA EVITAR EN NIÑOS” O “CONTIENE EDULCORANTES - NO RECOMENDABLE EN NIÑOS”, DEBEN IR EN LA PARTE SUPERIOR DERECHA DE LA SUPERFICIE PRINCIPAL ABAJO DE LOS SELLOS.

ESPECIFICACIONES DE DISEÑO

- USAR LETRA ARIAL EN NEGRILLAS PARA LAS LEYENDAS “CONTIENE CAFEÍNA EVITAR EN NIÑOS” Y “CONTIENE EDULCORANTES, NO RECOMENDABLE EN NIÑOS”

CONTIENE CAFEÍNA EVITAR EN NIÑOS CONTIENE EDULCORANTES, NO RECOMENDABLE EN NIÑOS

- SE DEBE DECLARAR: ENERGÍA, PROTEÍNA, HIDRATOS DE CARBONO DISPONIBLES (CORRESPONDIENTES A AZÚCARES Y AZÚCARES AÑADIDOS), GRASAS (SATURADAS Y TRANS), FIBRA DIETÉTICA, SODIO Y CUALQUIER OTRO NUTRIMENTO QUE SEA IMPORTANTE. - ES DE USO OBLIGATORIO LA DECLARACIÓN NUTRIMENTAL (TABLA NUTRIMENTAL) Y LA INFORMACIÓN NUTRIMENTAL COMPLEMENTARIA (SELLOS Y LEYENDAS PRECAUTORIAS).

ETIQUETADO NUTRIMENTAL

GENERALIDADES

- LOS ALIMENTOS QUE NO CONTENGAN SELLOS Y LEYENDAS PUEDEN DECLARARLO DE FORMA ESCRITA MEDIANTE LA FRASE “ESTE PRODUCTO NO CONTIENE SELLOS NI LEYENDAS”.

INFORMACIÓN NUTRIMENTAL

- TODOS LOS NUTRIMENTOS Y CALORÍAS DEBEN DECLARARSE POR 100 G Y 100 ML.

Tamaño de la porción: 1 pieza (50 g) Porciones por envase: 3 piezas

- SE PUEDE DECLARAR TAMBIÉN POR PORCIÓN O POR ENVASE.

TABL A NUTRIMENTAL

- SERÁ VERIFICADO POR COFEPRIS Y PROFECO.

- DECLARACIÓN NUTRIMENTAL DEL PRODUCTO TAL Y COMO SE CONSUME. - SE PUEDE PRESENTAR EN CUALQUIER FORMATO MIENTRAS CONTENGA LA INFORMACIÓN REQUERIDA. - TAMAÑO DE FUENTE POR LO MENOS DE 1.5 MM DE ALTURA Y DESTACAR EN NEGRITAS: CONTENIDO ENERGÉTICO, GRASA SATURADA, AZÚCARES AÑADIDOS, GRASAS TRANS Y SODIO.

- PUEDEN UTILIZARSE DECLARACIONES DE PROPIEDADES QUE DESTAQUEN LA AUSENCIA O NO ADICIÓN DE SUSTANCIAS A LOS ALIMENTOS, SIEMPRE QUE NO SEAN ENGAÑOSAS.

Cantidad por porción:

1 pieza (50 g)

Contenido energético:

205 kcal (858 kj) 1 pieza

ELEMENTO GRÁFICO

Grasas Totales (Lípidos): Grasas Saturadas Grasas Trans

Grasa Monoinsaturada Grasas Poliinsaturada Colesterol

Sodio Carbohidratos Azúcares Fibra

16.10 g

3.80 g 0g 5.04 g 5.24 g 0g

40.32 mg 13.00 g 2.22 g 2.38 g

3 piezas (150 g) 616 kcal (2574 kj) 3 piezas 48.3 g

11.4 g 0g

15.12 g 15.72 g

0g

120.96 mg 39 g

6.66 g 7.14 g

%VNR* (1 pieza*) 29% 17%

0% -

0% 2%

4% -

10%

*Los porcentajes de Valores Nutrimentales de Referencia (%VNR) para la población mexicana de acuerdo a la NOM-051-SCFI/SSA1- 2010. Basados en una dieta de 2000 calorías. Sus valores diarios pueden ser mayores o menores dependiendo de sus necesidades calóricas.

- SE PUEDEN REDONDEAR LOS VALORES Y HACER USO DEL TÉRMINO “APROX” EN PORCIONES.

- LOS INGREDIENTES DEBEN DECLARARSE EN ORDEN CUANTITATIVO DECRECIENTE DE PROPORCIONES, INCLUYENDO LOS INGREDIENTES COMPUESTOS (SALVO QUE SEAN MENOR AL 5% EN CONTENIDO).

LISTA DE INGREDIENTES

- SE DEBEN DECLARAR LOS ADITIVOS ALIMENTARIOS QUE DESEMPEÑAN UNA FUNCIÓN TECNOLÓGICA EN EL ALIMENTO. - SE DEBEN DECLARAR LOS AZÚCARES ANADIDOS EN ORDEN CUANTITATIVO DECRECIENTE.

Ingredientes: Hojuelas de Avena Natural, Amaranto, Almendras, Chía, Linaza, Girasol, Canela, Royal, Pizca de Sal del Himalaya, Aceite de Coco Fundido, Miel de Abeja en Polvo, Extracto de Vainilla, Miel Maple, Leche de Almendras.

- SE DEBEN DECLARAR AQUELLOS INGREDIENTES O ADITIVOS QUE PUEDEN CAUSAR HIPERSENSIBILIDAD, INTOLERANCIA O ALERGIA: GLUTEN, HUEVOS Y DERIVADOS, CRUSTÁCEOS, PESCADO, MOLUSCOS, CACAHUATE, SOYA, LECHE, NUECES, SULFITO, CASEÍNA, ADITIVOS, SABORIZANTES.

271


Category:

Student

Project:

Battle of the Buses

What was the challenge? Isolation and loneliness is a growing problem in New Zealand. Although we spend so much time surrounded by people, we are all so absorbed in our devices that we miss the small opportunities to share a smile or start a conversation. Public transport has the potential to connect people and spark friendships so I have used this location as an opportunity to intercept our isolating habits. How might we create a non confronting tool to encourage passengers to engage in friendly banter on the bus? What was the solution? Battle of the Buses is an initiative putting digital multiplayer games on the bus. I aim to bring people together though friendly competition, games, humour, sarcasm, puns and chickens‌ This initiative is founded on the idea that teamwork builds relationships and creates positive environments. Players will join the team on their bus by connecting on their phone. They will then enter the teams lobby as they wait for a team on another bus to get ready to verse them. The game is displayed on multiple screens throughout the bus and controlled from the players’ phone. This enables the entire bus of commuters to be involved in the game and root for their team! Each bus is ranked on the pecking order and with each win they climb the ladder and get closer to being the top bus. The pecking order scoring (the leaderboard) is a city wide competition, it’s a conversation point not only within your own bus but also at home or work. With the same people catching the same bus every day, they will be determined to get on top. To create the friendly atmosphere, I used illustration as my form of information design. This allowed me to portray all the required information in an awkward funny visualisation.

272

Posters throughout the city. Limited information focuses attention on humorous illustrations

Home

Avatar

Lobby

Controller

What was the effect? Competition is a huge driver for people to get involved and do well. With the whole bus invested in their team, the game has the potential to change the entire atmosphere of the bus to a fun, relaxed and playful setting. In keeping the text to a minimum, I designed the illustrations to portray the awkward bus atmosphere in a funny, casual, relatable way. Through sparking small conversations and smiles between people who we see every morning on the way to work, Battle of the Buses has the potential to create friendships and improve mindset and wellbeing.

Contact: name: Phoebe Gardiner company/organisation: Massey University e-mail: p.gardiner@hotmail.co.nz website: pgardiner.myportfolio.com


BRONZE

MASTER

Whether a team wins or loses, players have the option to gift their team mate one of their own drumsticks. The drumstick gifting feature encourages small positive connections between teammates.

The game is displayed on multiple screens throughout the bus and controlled from the players phone.

Players can customise their avatar at the interactive bus stop and then scan the QR code to sync with the app.

Pecking order

273


Category:

Student Work

Project:

Evolution of Lenses

What was the challenge? The challenge I was presented with for this project was to create an infographic poster to highlight an invention that utilizes glass. I chose eyeglasses as my subject and I wanted to focus on their evolution – specifically, the different materials that were used to make them and how their design changed and adapted throughout history. The goal was to create a concise and compelling design that would get the message across clearly and with an eye-catching presence. What was the solution? After doing research, I decided to pick three key versions of eyeglasses from various time periods. They each represent models with the most major changes that occurred throughout the history of the construction of eyeglasses. It starts with the first pair of eyeglasses ever made, followed by the first that had ear fasteners, and finally a modern design – which are the most widely used today. Under the illustration of each pair are short descriptions of their significance. I created icons stemming from each lens to visually depict qualities that they share or set them apart from each other: weight, breakability, cost, and scratch-resistancy. What was the effect? The outcome is a clear, visually appealing presentation of how glass has been used to benefit the vital human sense of sight from as early as the 15th century. It shows the often overlooked impact and importance that glass has in our daily lives. Although glass is no longer the leading material choice for lenses, it was the foundational element that enabled the essential adaptations that led us to the glasses we know and wear today. Contact: name: Mary Horohoe e-mail: mhoroho1@binghamton.edu website: https://mhoroho1.wixsite.com/ maryhorohoe

274

Design Concepts and Sketches:


BRONZE

MASTER

1475

glass was blown into two discs and placed in frames connected by a rivet, creating the ďŹ rst pair of eyeglasses

evoluti

n f lenses

1725

polycarbonate

crown glass

soda-lime glass

adding potassium oxide increased the clarity and optical quality of lenses, which were set in frames that could be fastened to the wearer

20 1 8

replacing the glass with polycarbonate l e n s e s m a d e f o r s a f e r, lightweight, and more durable eyewear

275


Category:

Student Work

Project:

A cartographic exploration of the Jewish life in Vienna

What was the challenge? The aim of the project was to learn more about the Jewish life of Vienna’s Second District. Since I was living in the same neighborhood, it has been a part of my life for years and our lives touched many times. Crucial for this project was to keep in mind that this is still a sensitive subject and by not forgetting the dark history the topic carries. So finding the right way and language to communicate this topic was one of the biggest challenges. After months of intensive research in libraries, the Jewish Museum of Vienna, and district offices, I gathered enough information and data to create visual representations of the information I gathered. What was the solution? In the end, I focused my research on three categories:Jewish life in the Second District of Vienna until 1938, the deportations of Jews taking place between 1938 and 1945 in this district, the Jewish life in Vienna’s Second District today. I was using maps to show all these three aspects, on three individual maps. The last map contains all three aspects so the viewer can see where Jewish life in Vienna was once to where it is today. I also made a booklet containing the maps, which also tells the history of the Jewish Community in Vienna. The maps contain blind embossing, as well as Riso print on digital print. What was the effect? Visually learning about the transformation of the life of this community through the last hundred years. Remembering the past but also looking at present and see how this community evolved again through the years to a thriving neighborhood.

Contact: name: Philipp Doringer e-mail: Pdoringer@gmail.com website: www.philippdoringer.com

276


BRONZE

MASTER

277


Category: Project:

Student Virtual Data Cosmos

What was the challenge? Where do cosmic X-rays come from? During my PhD in astronomy, I was involved in a project from the University of Würzburg and Dr. Remeis Observatory Bamberg, which aimed at automatically classifying new sources (e.g., in star or galaxy) in the large observation database of an X-ray satellite. To classify an X-ray source the observational data is analyzed, compared to properties of known objects and put in context with our current understanding of how X-ray emission is produced in the universe. Every new unidentified X-ray source may thus harbor new discoveries and challenge our current understanding of physics. Satellites are continuously observing the universe and the data archives reach dimensions of big data with several tens of parameters describing more than 500,000 X-ray observations. To automatically characterize each source in such a large and complex data set, we astronomers used different machine-learning (ML) algorithms. However, due to the size of the data set, it was not possible to clearly visualize the resulting class distribution of the data with conventional scatter plots and histograms and evaluate the results visually. This made it hard to understand the relationships between parameter values and source types and the mechanism of the algorithm remained opaque. For my bachelor thesis in design, I was thus interested in the challenge to visualize this big data set in an interactive and intuitive way to facilitate the visual exploration of its internal structures and relationships.

Contact: Dr. Annika Kreikenbohm University of Applied Sciences Würzburg - Schweinfurt hello@annok.de www.annok.de

278

Fig. 1: Class room – overview of the class probability distribution of four ML algorithms for a big data set of unidentified cosmic X-ray sources. Each ML algorithm results in a color-coded point cloud following the principle of similarity. Objects close to the center of a sphere have a high probability of belonging to that class. This probability decreases with distance and objects are oriented towards spheres of alternative classes. What was the solution? The solution is an interactive data visualization in virtual reality (VR) in which the data define the aesthetics and atmosphere of the virtual world. By interacting with a concrete virtual environment users can explore the abstract and non-visual data space. The VR experience consists of two spaces („class room“, see Fig.1, and „parameter space“, see Fig. 2) where users can move continuously from one space to another. The class room visualizes the classification results of the X-ray sources by different ML algorithms as color-coded point clouds (see Fig. 1). This room allows users to explore the class probability distribution within the data base: How did an algorithm classify the unknown X-ray sources? What is the probability of a source of belonging to that source class? What could be an alternative classification? The data mapping follows the principle of similarity: Each X-ray source is represented by one data point per

ML algorithm which are linked together (Fig. 3). The data points are located in the class sphere of the source’s most likely classification. For data points close to the center of a sphere there is a high probability that the source belongs to the class. This probability decreases within increasing distance to the center. Sources with low probability may only differ slightly from sources of another class and the points are oriented towards spheres of their alternative classifications. Users may explore the relationships between data points of different class spheres by changing the position of the spheres in real-time. For each source, users can activate its quantitative information on demand or zoom into its parameter space (Figs. 2 & 3). This space depicts the parameter values (e.g., observed X-ray intensity) of activated data points that were the basis for an ML algorithm to classify the X-ray sources in a given way (e.g., a certain type of galaxy, BL, or star, CV). The parameters values of


BRONZE

MASTER

a source are mapped onto the outline of (semi-) circles. During the classification process the ML algorithm has ranked the parameters according to their characterization power. This ranking is used to define the order and size of each parameter circles. This way circles of each source form a characteristic path in space, like DNA. Similar sources occupy overlapping regions, while those of different classes are separated. By actively changing the parameter ranking users can define their own classification scheme and explore the results to critically evaluate the results of the ML algorithm. What was the effect? The visualization of this big data set in VR allowed us to simultaneously illustrate many different dimensions of the data. For the first time during the scientific analysis, we were able to clearly visualize the complete data set of >500,000 data points without compromises. The data mapping of the parameter space emphasized similarities and differences of X-ray sources by following their traces in space. This representation yielded a better understanding of why an ML algorithm classified a source in a certain way and made clear why it failed to characterize others sources. In general, the advantage of scalability in VR allows users to both dive into the data clouds to analyze details (see e.g., Figs. 2 & 4) and get an overview of the overall distribution of sources. Additionally, the immersive data visualization is fun to work with. It encourages users to focus longer on their data and have a better feeling of what information is hidden in the data set. Overall astronomers as well as scientists of other fields (e.g., bio informatics) who also work with big data are very excited about this visualization and asked for further cooperation on upcoming projects.

Fig. 2: Parameter space – overview of the parameter values used by a ML algorithm for activated source. Each parameter is represented by a (semi-) circle, which forms a characteristic trace for a X-ray source. Similar objects occupy the same regions in space which demonstrates the sorting process of each algorithm.

Fig. 3: Activated data points present detailed information of its underlying classification algorithm. The parameter ranking of the ML algorithm (see text) is visualized as minimalistic pie chart. Data points of the same X-ray source are linked and show how the classifications differ from one ML algorithm to the other.

Fig. 4: All actions are initiated by the VR controllers and through direct interaction with the data objects. Icons and pointers show the possible actions of the user. The left hand holds the menu where the user can activate tools or zoom into the parameter space of selected objects. The right hand transforms into the selected tool.

279


Category:

Student Work

Project:

Grenzen

What was the challenge? The wall separating the US and Mexico is all over the news, but what many don’t know – it’s not the only one. Worldwide, there are countless border fortifications as well as natural borders. The purpose of this project is to visualize these borders and make them more understable through a wide range of facts. What was the solution? To achieve this, I went through every piece of information, filtered and categorised everything in lots of folders and sheets. Drawing inspiration from real borders, the book is divided into two parts and a neutral center. The first part is about natural borders like oceans, seas, lakes, rivers, mountains and deserts. Followed by a neutral part, displaying the survey results of the question: “Which geographical and political borders do you know?” The second part is about artificial borders like countries and the fences and walls that fortify them. To achieve a clear separation, different colours and papers were used. Wanting to display more information and allowing people to interact with the data even more, I included something with almost endless possibilities – a digital map. What was the effect? The combination of book and digital map help people understand borders and their consequences. The book is less about geographical orientation and more about the various forms and sizes of the different borders. Scales enable comparability and infographics show the facts behind the forms. Through the digital map, a more detailed interaction with the topic is made possible. You can literally explore the world’s borders by getting information about sizes, reasons etc., while also understanding what the situation is like through actual images.

280


BRONZE

MASTER

Ozeane & Meere

CAN

70 Jahre Mauern & Zäune

2

19 50

19 51

19 52

19 53

19 54

1961

Eiserner Vorhang

1960

1962

1963

1964

19 7 0

19 7 1

19 7 2

19 7 3

19 74

19 80

19 81

19 82

19 83

19 84

19 9 0

19 9 1

19 9 2

19 93

19 94

2000

2001

2002

2003

2004

2012

2013

2014

3 Berliner Mauer

Pazifischer Ozean 161 800 000 km2

1

7

38

34

4

118

5 8 1. (Nord-) Pazifik

6. Chihuahua

Art:

Ozean

Art:

Wüste

Fläche:

161 800 000 km²

Fläche:

362 600 km²

Indischer Ozean 70 560 000 km2

6

MEX

2. Rocky Mountains

5. Sonora

Art:

Gebirge

Art:

Wüste

Art:

Fluss

Fläche:

991 691 km²

Fläche:

320 000 km²

Länge:

2 334 km

7. Colerado River

9/11

Arabisches Meer 3 86 2000 km2

3. Großes Becken

4. Mojave

Art:

Wüste

Art:

Wüste

Art:

Fluss

Fläche:

541 727 km²

Fläche:

124 000 km²

Länge:

3 034 km

8. Rio Grande

2010

2011

Mittelmeer 2 510 000 km2 Bering Meer 2 000 000 km2

Indien Asien

CHN PAK NPL

BTN

BGD MMR

113

Pakistan (PAK)

Bangladesh (BGD)

Myanmar (MMR)

Die „Line Of Control“ soll Waffenschmuggel und die Infiltration durch pakistanische Separatisten verhindern.

Mit dem Zaun möchte Indien Schmuggel, illegale Migration und Terrorismus reduzieren.

Indien erhofft sich mit dem Zaun grenzübergreifende Kriminalität und Schmuggel (Waffen, gefälschte Währung, Drogen) einzuschränken.

Bewachung

Bewachung

Doppelter Zaun mit NATO-Draht, Bewegungsmelder, Wärmebildkameras, Flutlichter

Bewaffnete Grenzsoldaten, Wachtürme und Flutlichter

Länge: 1 624 km

Länge: 2 736 km Länge: 500 km

Höhe: 2 m

Höhe: 2-4 m

Material: Beton, Stacheldraht

Material: Stacheldraht

Contact: Sandra Unterkircher: unterkircher.sandra@gmail.com www.saunter.at

281


Category:

Student Work

Project:

Blackout 2003 – A Disaster in Six Phases

What was the challenge? On August 14, 2003, hundreds of cities across the midwest and northeast went dark as the United States experienced the worst blackout in its history. Over the course of months, the story grew more complex as more nuanced aspects of the blackout emerged. We all became armchair experts on the fragmentation of the power grid, real versus reactive power, and the interconnectedness of US/Canadian electric. And what better way to learn about these macro-concepts, than to analyze one material moment, one traceable chain of human and machine events that reveals the totality of the state of electricity in North America. What was the solution? We focused on the following objectives: • Sift through a large amount of complex and sometimes conflicting reportage and pull from these texts the most relevant data • Connect this data into a cohesive, compact, engaging, accurate narrative • Choose appropriate strategies of display for each part of the narrative and combine these display strategies into a cohesive, flowing whole • Design a narrative that works on both a macro-level and micro-level What was the effect? Our completed project takes the form of a 20 x 32 inch composite. Created in collaboration with Monica Zhang. Accompanying website: blackout-2003.webflow.io/

Contact: name: Lela Johnson company/organisation: School of the Art Institute of Chicago e-mail: lelasjohnson@gmail.com website: lelajohnsondesign.com

282


BRONZE

MASTER

283


Category:

Student Work

Project:

Motorways in Europe

What was the challenge? Motorways exist for more than 90 years. They describe the idea of expressways without intersections and oncoming traffic. Because of their rapid national as well as international transportation opportunities and locomotion, motorways got very popular. Now, the European motorway network covers almost 63.394 km. But how is the European motorway network distributed across the countries? How safe are the highways in each country? How fast can I drive in the respective countries and what does it cost to use them? ... What was the solution? With all the mentioned questions the concept and design of the European motorways landingpage started. A databased* onepager with interactive data-elements offers clear structured important information about European highways. 1. Motorway network separated in countries, lengths and amount of motorways 2. Planned expansion of the motorways 3. Different vehicles of using motorways 4. Traffic jams and speed limits 5. Toll costs, toll stations and toll revenues 6. Security risk and fatal accidents + seasonal differentiation *Datasets by European Commission, Statistisches Bundesamt, Eurostat, UNECE, Bundesanstalt für Straßenwesen

What was the effect? Providing a tool with important information about European motorways (incl. data up to the past 10 years) for traveler, professional drivers and people interested in traffic.

Contact: name: Bettina Susanne Mörz company/organisation: University of Art and Design Linz e-mail: connect@bettinamoerz.com

284


BRONZE

MASTER

285


Category:

Student work

Project:

Magazine “Nonprofits & Designers�

What was the challenge? There are many not-for-profit organizations with social and ecological goals in Latvia and numerous designers-strategists who work on creating design solutions. However, the collaboration between designers and non-profit organizations is rare, so in this project I did research to understand the underlying reasons. What was the solution? The magazine breaks the stereotypes between designers and non-profits and to encourages mutual understanding and communication. This is a solution media simultaneously for both parties, and it contains both — 10 designer and 10 non-profit organization stories. The magazine was handed out to both parties and caused surprising results. Firstly, it turned out the organizations were surprised and very interested in design methods as a tool for potentially achieving their goals. Secondly, the designers were interested in working with the organizations after learning that the necessary funding could be provided, and the aims of non-profits are exciting and intellectually challenging. What was the effect? With the first issue of the magazine, I have established a basis for communication and building collaborations between non-profits and designers, who now wants to take the next steps in solving real problems. Even several partnerships have already been established.

Contact: name: Ruta Jumite company/organisation: Art Academy of Latvia e-mail: hi@rutajumite.com website: rutajumite.com

286


BRONZE

MASTER

287


Category:

Student Work

Project:

Ausstellungskonzept „Arm und Reich�

What was the challenge? Although there is sufficient wealth in Austria, poverty remains widespread. According to the poverty report (Statistics Austria, EU-SILC 2018), 1,512,000 people or 17.5% of the population in Austria were at risk of poverty or exclusion in 2018. The task was to design a major exhibition on this subject and to raise awareness of the problem. What was the solution? During I was working on the topic and reading some reports about it, I deliberated which statement my exhibition should convey at all. What does poverty and wealth mean to me? Is there a sign or even a symbol that describes this problem? The triangle! This became the basic concept element of this exhibition. The triangle with a few rich people at the top and a lot of poor people on the ground. Those poor who struggle to survive look up to the rich, the rich look down. What was the effect? I expanded the idea of triangles in the exhibition. From the exhibition cubes, the light, the graphics of the guidance system, the typography to the floor plan (it is not directly perceived by the visitors, but may be subconsciously due to the narrowing and expansion of the wall structures). The entire project contains the exhibition design including the selection of exhibits and texts, a design for logo, poster and merchandising products as well as the implementation of the print product. Perhaps one day it would be possible that the triangle will turn upside down!

Contact: name: Sarah Gaggl company/organisation: FH Joanneum Graz e-mail: sarah.gaggl@edu.fh-joanneum.at website: www.sarahgaggl.space

288


SHORTLIST

MASTER

”The world‘s most primitive people have few possessions, but they are not poor. Poverty is not a certain small amount of goods, nor is it just a relation between means and ends; above all it is a relation between people. Poverty is a social status. As such it is the invention of civilization.” Marshall Sahlins, Stone Age Economics

289


Category: Category: StudentStudent Work Work Project:

Project: Text, Algorithmic A. Text:A.AText: Text,AAlgorithmic Text,Text,

Artifi cial Text Artificial Text

What was the challenge?

rithms for those who What was the challenge? rithms for those who ”Through algorithms, one can see through 1. use computers, smartphones, apps, and/ ”Through algorithms, one can see through 1. use computers, smartphones, apps, and/ human society.” or Internet, human society.” Algorithms are considered neutral.orThey Internet, 2. are neither a programmer, a mathematiAlgorithmsare areactually considered are neither a programmer, not neutral. because They they are2. mancian, nor a statistician,a mathematiare actually made not because theypolitical are mancian, nor a3.statistician, tools. Social, and personal reside in a country, where citizens are bemade tools. Social, personal aspects political perform aand signifi cant role 3. in reside the in country,administered. where citizens are beinga digitally production andcant usagerole of such tools. Besides, aspects perform a signifi in the ing digitally administered. learning material for algorithms, are What was the effect? production anddata, usage of such tools. Besides, as society. are Thethe firsteffect? motive of making this guidebook data, learningcompletely material same for algorithms, What was these reasons, algorithms (can) per- was to understand the following questions, completely same For as society. The first motive of making this guidebook a task that no one has expected: hu- as a non-programmer. What is an algorithm? For theseform reasons, algorithms (can) per- was to understand the following questions, man discrimination. But not everyone is dis- Which influences algorithms and artificial form a task that no one has expected: hu- as a non-programmer. What is an algorithm? criminated by them, but only those who are intelligence have on me and on (internaman discrimination. But not everyone is dis- Which influences algorithms and artificial neither male, white-skinned, heterosexual tional) society? What are the meanings of criminated bynor them, but onlyThis those who isare have on me What and might on (internaindigenous. reality calledintelligence “algo- generated texts? the future of neither male,rithmic white-skinned, heterosexual tional) society? What areAbove the meanings bias”. books look like? all, how canofwe crenor indigenous. This reality is calledare “algotexts? Whatalgorithms might thein future These algorithms alreadygenerated being ate objective order toofbuild a rithmic bias”.widely applied in various fields in innumerbooks look(digitally) like? Above can wesociety? creequalall, andhow democratic These algorithms areAnd already able countries. more being than half ate of the The same questions might/should objective algorithms in order to build a be be unknowingly widely appliedpopulation in variousis fibeing/can elds in innumerto the people associety? well, who reside (digitally) asked equal and democratic discriminated. a society, which is socially, be economiable countries. And more than half of the The in same questions might/should administratively, and/or politically population is being/can be unknowingly asked to cally, the people as well, who reside assisted/ruled algorithms and artificial discriminated.What was the solution? in a society, which isbysocially, economiBeing mindful of the above facts, the follow- intelligence. By reading this guidebook and cally, administratively, and/or politically ing scenario was developed and enacted. trying to answer these questions, the first What was the solution? assisted/ruled by algorithms and artificial A dataset for an algorithm* was created, and the most important step will be taken Being mindfulbased of theonabove facts, the follow- intelligence. By reading this guidebook and the collection of texts about “al- towards awareness of the importance of ing scenario gorithmic was developed andlearning enacted. trying these algorithms, questions, their the ficurrent rst apbias.” After from this da-to answer understanding A dataset fortaset, an algorithm* created, the most important step will be taken the algorithmwas wrote four texts,and which plication, and feasible negative and positive based on theare collection of texts “al- different. towards awareness of the importance of contentwise and about stylistically impacts by them. gorithmic bias.” After learning from this da-alsounderstanding Concurrently, the project author wrote algorithms, their current apa text, based samewhich dataset. Its sub- A. taset, the algorithm wrote on fourthetexts, a text, algorithmic text, artificial plication, andText: feasible negative and positive topicsand arestylistically blind trust indifferent. technology, impacts fragile bytext fills a lacuna between the present, the are contentwise them. non-inclusive data, wrote examples and possible future, and believing and imagining Concurrently, and the project author also for discriminatory a text, based reasons on the same dataset. Itsalgorithms, sub- A. and Text: aalgorithms. text, algorithmic text, artificial ways to digital democracy. topics are blind trust in technology, fragile text fills a lacuna between the present, the (* Specifically, the algorithm “recurrent and non-inclusive data, examples and possible future, and believing and imagining neural network” was applied. RNN operates reasons for discriminatory algorithms, and algorithms. on the linear progression of time. Thus, it Contact: ways to digitalis democracy. being employed in the field of language, name: So Jin Park (* Specifically, “recurrent music,the timealgorithm series prediction, etc.) company/organisation: student/recent neural network”These was applied. operates in the book graduate five textsRNN are comprised on the linearA.progression of time. Thus, it cial Contact: Text: a text, algorithmic text, artifi text. e-mail: sojinpark.seoul@gmail.com is being employed the fiand eldfunny of language, It is a in simple guidebook on algo-So website: name: Jin Park www.sojinpark.info music, time series prediction, etc.) company/organisation: student/recent These five texts are comprised in the book graduate A. Text: a text, algorithmic text, artificial text. e-mail: sojinpark.seoul@gmail.com It is a simple and funny guidebook on algo- website: www.sojinpark.info

290


SHORTLIST

MASTER

291


Category:

Student

Project:

How Glass Can Feed the Earth

d ate -co nd ed a oil ght n li ve

What was the challenge? The challenge was to answer the question “why glass?” and represent this solution by comparing three different objects.

HOW GLASS CAN FEED THE EARTH

es

us diff er air pap des vi ted oa pro d-c and tion oile ht ntila lig ve

Greenhouses provide an environment for plants to thrive all year round, lessens energy, and uses more sustainable building materials. Different building materials exist: paper, recorded in the sa

early 1400s from the Joseon Dynasty in South

it sm ht, tran f lig ss o Gla h % ss is hig ut le d b fuse dif

Korea, plastic and glass. Each material has its

R E

P

A

P

a its sm t, ran ligh t s of s as Gl h % ss i hig ut le ed b fus dif

s

se

fu dif stic ht lig

Pla

own trade-offs, yet in light of these, glass still emerges as the most efficient building material.

WASTE OUTPUT although an outdated

A L G

FOOD OUTPUT

material, hanji (oiled paper)

heated paper greenhouses were

degrades quickly over time

S

only used in the winter

S

WASTE OUTPUT glass offers more longevity, and

FOOD OUTPUT

recyclable materials, and cuts the

glass greenhouses produce

needs for chemicals

throughout the year and utilizes

A

L

P

space efficiently

IC

T

S

What was the solution? The solution was to answer the question “why glass?” for greenhouses. Using three different materials--paper, plastic, and glass--the infographic compare and contrasts the benefits and drawbacks of each material, such as cost, amounts of light diffusion, production amounts, product and waste outputs.

WASTE OUTPUT plastic has short longevity and degreades quickly FOOD OUTPUT

What was the effect? By comparing the three materials, each element can be seen. Plastic is the least expensive material, while paper is the most expensive, but both have drawbacks. Using the visual aid, glass greenhouses can be seen as the better, more sustainable option for food production through greenhouses.

plastic is a cost-efficient material to create more greenhouses and

s

create more food

se

iffu cd sti ght a l i l P

s

GL

e fus dif er ir ap s a d p vide e t a ro -co nd p ion t ed a oil ght ntila li ve

AS

S

HO FE

Green

thri

mo

buil sa mit ns ht, tra f lig ss o is la G h % ss hig ut le ed b fus dif

earl

Kor FOOD OUTPUT

glass greenhouses pro ow

PL

AS

throughout the year eme and

space efficiently

P

TIC

R

E

P

A

es

fus dif stic ght li

WASTEOUTPU OUTPU WASTE

Pla

although an outda

FOOD OUTPUT

G

heated paper greenhouses were

S

S

A

L

FOOD OUTPUT

only used in the winter

plastic is a cost-efficient material to create more greenhouses and create more food WASTE OUTPUT recyclable materials, and cuts the

glass greenhouses produce

needs for chemicals

throughout the year and utilizes

A

L

P

Contact:

space efficiently

IC

T

S

name: Brenda Son company/organisation: Binghamton University e-mail: bson4@binghamton.edu website: brendason.com

WASTE OUTPUT plastic has short longevity and degreades quickly FOOD OUTPUT plastic is a cost-efficient material to create more greenhouses and create more food

292

glass offers more longevity, and

FOOD OUTPUT

plastic has short long

material, hanji (oiled p

degreades quic degrades quickly ove


SHORTLIST

MASTER

HOW GLASS CAN FEED THE EARTH

s

e fus dif er air p a s d p ide ate rov co d p on n ati a l ht nti ve

thrive all year round, lessens energy, and uses more sustainable building materials. Different building materials exist: paper, recorded in the early 1400s from the Joseon Dynasty in South Korea, plastic and glass. Each material has its degrades quickly over time

WASTE OUTPUT

although an outdated

own trade-offs, yet in light of these, glass still material, hanji (oiled paper)

material, hanji (oiled paper)

R

degrades quickly over time

PA

PE

Greenhouses provide an environment for plants to

WASTE OUTPUT

degreades quickly

space efficiently

create more food

create more greenhouses and

plastic is a cost-efficient material to

FOOD OUTPUT

TIC AS PL s se

longevity and

(oiled paper)

quickly kly over time

fu dif stic ght li

n outdated

Pla

OUTPUT UTPUT

sa mit ns ht, tra f lig ss o Gla h % ss is hig ut le ed b fus dif

GL

AS

S

plastic has short longevity and

r emerges and utilizes as the most efficient building material.

ently

throughout the year and utilizes

FOOD OUTPUT

WASTE OUTPUT

glass offers more longevity, and Korea, plastic and glass. Each material has its TPUT recyclable materials, and cuts the es produce own trade-offs, yet in light of these, glass still needs for chemicals

glass greenhouses produce

early 1400s from the Joseon Dynasty in South

se iffu r d ir pe a pa es ted rovid a -co nd p ion t ed a oil ght ntila li ve

more sustainable building materials. Different

s

thrive all year round, lessens energy, and uses

building materials exist: paper, recorded in the

needs for chemicals

FOOD OUTPUT

HOW GLASS CAN heated paper greenhouses were FEED THE EARTH only used in the winter

WASTE OUTPUT

FOOD OUTPUT

WASTE OUTPUT

although an outdated

glass offers more longevity, and

R

only used in the winter

PE

recyclable materials, and cuts the

emerges as the most efficient building material.

heated paper greenhouses were

own trade-offs, yet in light of these, glass still

emerges as the most efficient building material.

Korea, plastic and glass. Each material has its

early 1400s from the Joseon Dynasty in South

more sustainable building materials. Different

building materials exist: paper, recorded in the

thrive all year round, lessens energy, and uses

Greenhouses provide an environment for plants to

PA

HOW GLASS CAN FEED THE EARTH

Greenhouses provide an environment for plants to

293


Category:

Student Work

Project:

Isolated Ideas

What was the challenge? Living in social distancing, quarantine or selfisolation isn’t always easy. Especially when these situations are forced on you. The new situation caused by the COVID -19 Pandemic has an effect on us, not only on a healthy and dramatic level. Also on a very personal emotional level. We change. Our thoughts might change and definitely your routine changes. Our emotions are sitting in a roller coaster with us. And most importantly our perception gets a new interesting angle. What was the solution? During this situation new ways of communication and perceptions are appearing or intensiving. We share stuff, maybe more than before. We try to compensate our loss

of social contact with other things. The time we got to slow things down opened our mind and ideas. Strong exchange about our feelings of the three of us made us curious about how other people feel, how other people see the situation and if they have the same thoughts?.The goal of that project was to collect and share thoughts of our perception. Therefore, we started to create the archive “isolated ideas“ on Instagram. The Design of our archive is compact and reduced to the necessary to put the content of the people in the front. This clean and reduced design goes along with every kind of content. We chose Instagram as our archive platform because it is interactive, you reach a lot of people and it is the one platform where the most individual brought things are

Contact: name: Lorenz Andexer, Matthias Pöschl, Katharina Zvetolec organisation: FH JOANNEUM Graz e-mail: isolated.archive@gmail.com website: www.instagram.com/isolatedideas/

294

shared. Our goal was to inform, connect and collect. The nice effect of little entertainments in between on the platform, makes it more fun to follow. What was the effect? Sharing these thoughts show that we are all going through same phases. We all have our struggles or positive, never had before, moments and ideas. The exchange with others let us grow together. Also the archive proves the changes of our perception in isolation. Looking at the interaction on our archive it shows that people like the idea and like reading and seeing the thoughts of the others. We are very happy that people like our idea and are as passionate as we are about collecting unique ideas.


SHORTLIST

MASTER

295


Category:

Student Work

Project:

Community garden _audz_ (grow!)

What was the challenge? I did not want my children to think that tomato grows in the super- market and their best friends lives in a virtual world. Meanwhile grandma lives alone in her apartment and is forced to sign up in “tiktok” to “meet” her family. Challenge was to create a PLACE where generations and different societal groups can interact, spend meaningful time and learn. What was the solution? As an answer, i created a community garden “audz” ... and not only me, but together with my family and local city dwellers who started to see purpose of being together, partici- pation, responsibility and caring for a common good. Together we made PLACE where to interact, share and acquire knowledge, enhance deeper understanding about synergy between nature, human and time, and foster the value of self-grown food. What was the effect? Society transformations. Unexpectedly high society engagement in every urban community garden _audz_ development stage - starting from idea brainstorming workshops to building constructions, planting, maintaining and interacting. We created a PLACE for all and a PLACE that insipred others to think about urban gardening possibilities, desire to garden and spread project idea further! We were together!

Contact: name: Nora Gavare university: Art Academy of Latvia e-mail: nora.gavare@gmail.com

296


PERSONAL FAVOURITE OF YOSUNE & SHORTLIST

MASTER

297


ZOOM CEREMONY 2020

298


299


6 sessions 343 participants from very early morning to midnight 9 time zones, 23 countries some snaphots (unfortunately not all of you‌)

300


301


IIIDAWARD TOUR

• RIGA, VITEBSK KATOWICE • MUNICH, VIENNA

• EDMONTON • NEW YORK

• TANABE

• MEXICO

• MUMBAI

• SAO PAULO

• SYDNEY AWARD ON TOUR

Thank You for joining the IIIDaward-2020 sharing your expertise and making this award precious. Looking forward to meeting You at the IIIDaward-Tour and welcoming you again in 2023

iiidaward.net

Yosune, Bettina, Barbara, Justyna, Tatiana, Kyoko, Rob, Marco, Enrico, Stefan and Stefan together with Caja Ballan - Graphics Andrea Aufieri - Social Media Sophie Foessleitner - Admin Hannah Sobol - Photos Vit Kocourek - Web Martin Foessleitner IIIDaward 2020 is organized on behalf of IIID by hi-pe.at 1070 Vienna, Lindengasse 56 Austria welcome@hi-pe.at © 2020

302

• WELLINGTON


GOOD

‘S IT! FOUND

INCLU

. T I T GO

THAT

B2C C2B

S S

T

I H

MASTER

ALL SIVE

K

TICKET PLEASE

E E

P I T

UP

! K N

? WHAT‘S UPW

G O

International Institute for Information Design

E N

A L !

IIID

! T X

IIID International Institute for Information Design


NA

BOOK

rd a w IIIDa 0

202

tio nD esi gn

THE

COMPILATION OF AWARDED SUBMISSIONS

VIEN

a Int orm ern Inf r o ationa f l Institute

iiidaward.net

IIID International Institute for Information Design

2020