Best Wayfinding Design Vol.1 by Helen Lee Studio

Design

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Best Wayfinding

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Design

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Best Wayfinding

Hi-design International Publishing Co., Ltd

高迪国际出版

VOL. 1

VOL.1

OFFICE/CULTURE

最佳导视设计（上）办公 / 文化徐鑫，靳晓龙，李丹，刘欢，刘舒雨译

最佳导视设计

平面设计

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Hi-Design publishing

Best Wayfinding re

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Design OFFICE/CULTURE

最佳导视设计（上）

办公 / 文化

徐鑫靳晓龙李丹刘欢刘舒雨译

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VOL. 1

HI-DESIGN PUBLISHING

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Best Wayfinding Design

最佳导视设计

HI-DESIGN publishing

Edited by Hi-Design International Publishing (Hong Kong) Co., Ltd. URL: http://issuu.com/hidesignpublish Email: info@hi-design.hk ISBN 978-988-16585-4-8 Chief Editor: Elaine Chou Book Designer: Jiening Jiang All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or any other information storage and retrieval system, without prior permission in writing by the publisher.

Best Wayfinding Design

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最佳导视设计

CONTENTS 目录

115 EPO Engenharia EPO Engenharia 办公园

118 Ochanomizu Sracity 御茶之水天城

122 Supertanker Zurich 苏黎世超级油轮

126 Notting Hill 诺丁山

130 Schunk Group Spatial Graphics + Guidance and Signage System 雄克集团空间图形和导示标识系统

134 The Terrace at Alie Street Sign System and Wayfinding 艾利街露台的标识导视系统

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138 Segreen Wayfinding & Signage 涩绿公园标识导视系统

053 3M Australia HQ 3M 澳大利亚总部

办公类

联合利华

064 ANZ Centre 833 Collins St Environmental Design and Signage

014 Green Horizon, Lodz 罗兹市绿色地平线办公楼

020 Edelweiss House 雪绒花之屋

026 Building AnkerstrasseBäckerstrasse Ankerstrassee-Bäckerstrasse 大厦

029 Yarra Valley Water 雅拉河谷水务公司

035 TNT Green Office TNT 绿色办公室

040 Signage DR 丹麦国家广播公司标识系统

045 Concordia Design 康科迪亚设计

049 East Thames Housing Association Headquarters 东泰晤士住宅协会总部

德意志养老保险中心

074 Green Towers 绿塔

082 Stadtwerke Essen Wayfinding System & Graphic Interface

Stadwerke Essen 导视系统 & 图形界面

092 1 Alie Street Identity and signage

DTED 内部导视与系统标识

culture 文化类

澳新银行中心８３３柯林斯街的环境设计与标识设计

069 Deutsche Rentenversicherung 008 DTED Interior Graphics & System Signage

弗罗茨瓦夫市绿日办公楼

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office

059 Unilever

145 Green Day, Wrocław

艾利一号街的标识视觉设计

097 Signage System for Artist's House 艺术家之家导视系统

102 Centre d'art contemporain – Genève 日内瓦当代艺术中心

107 Nokia Design Helsinki 赫尔辛基诺基亚

109 Alta Diagonal Wayfinding 阿尔塔办公楼标识标牌设计

112 AachenMünchener Insurance 亚琛保险公司

152 Citizen Plaza FUKUCHIYAMA 福知山市民广场

159 Flaxman Library 弗拉克斯曼图书馆

162 Kounosu City Central Library in Saitama Prefecture 琦玉县鸿巢市中心图书馆

167 BIBLIOTEKET 瑞典皇家图书馆

173 Museum of Byzantine Culture 拜占庭文化博物馆

177 Seiro Township Library 圣龙町立图书馆

182 Obro Jagtvej Library Obro Jagtvej 图书馆

185 Magion Library 美智恩图书馆

190 Kunshan Culture & Art Center (KSCAC) 昆山文化艺术中心

194 Design Museum Holon – Signage and Wayfinding System 霍隆设计博物馆的标识导示系统

198 User Experience for a School Library 学校图书馆的用户体验

203 Signage System for the International Red Cross and Red Crescent Museum 国际红十字会博物馆的标识系统

207 Visual Identity and Signage System for Ichihara Lakeside Museum 市原湖畔博物馆的视觉识别和标识系统

212 The Black Ensemble Theater Identity and Signage 黑乐团剧院识别和标识系统

216 Museum Wiesbaden 威斯巴登博物馆

219 Fundação Dom Cabral Signage System Fundação Dom Cabral 商业学校标识系统

222 Vorarlberg Museum Signaletik 伏拉堡博物馆标识系统

224 JAM, Japanese American Museum 日裔美国人博物馆

228 Vancouver Community Library 温哥华社区图书馆

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办公类

office

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DTED Interior Graphics & System Signage

South Australian Department of Trade and Economic Development Adelaide, Australia

Location

DTED 内部导视与系统标识

Photographer Rob Geh

DESIGNER

该项目是阿得雷德中心商业区的一栋全新五层办公楼的内部公共空间设计。近期由Ｍｏｔｉｖ公司设计完成的

Motiv Brand Design

简洁标识体现出ＤＴＥＤ的品牌特点。鲜亮的色调是本案设计的基本元素，办公区的每个楼层都大胆地使用了不同的色调，以区分不同楼层的主要活动范围。雕塑材质的指示牌由色块和镶嵌面板构成，并首先在场外组装并进行无痕拼接，然后就地安装。走廊、接待处、主题屏幕、釉面贴花、会议室私密

The design called for the creation of interior public spaces through 5

thematics formed part of the total project.

遮板、指示标识、楼层标牌以及门厅主题都是都是本项

levels of an entirely new office building in the Adelaide CBD. Central to

Motiv Brand Design (MBD) were responsible for interior design and

目的组成部分。

the brief was the expression of the DTED brand, recently developed by

creative brand installation. Motiv worked in conjunction with MPH

Motiv.

architects (Adelaide). Sculptural panels were manufactured and installed

A distinctive colour palette was developed as a basic element of brand

by Custom Works (Adelaide).

guidelines and each level of the new DTED offices was boldly colour-

Reception areas/foyer and signage were manufactured by Rodney

coded to reflect each level’s main area of activity. A sculptural texture

Robertson & Associates (Adelaide) under the supervision of Paul Jones.

was developed by formulating irregular blocks attached to modular

Project Building Managers: ISIS Adelaide.

室内设计以及创意品牌设计由ＭｏｔｉｖＢｒａｎｄＤｅｓｉｇｎ（ＭＢＤ）公司与阿得雷德设计师ＭＰＨ合作完成。雕刻嵌板由阿得雷德ＣｕｓｔｏｍＷｏｒｋｓ公司制造并安装。接待处、门厅标牌在ＰａｕｌＪｏｎｅｓ的指导下由阿得雷德ＲｏｄｎｅｙＲｏｂｅｒｔｓｏｎ＆Ａｓｓｏｃｉａｔｅｓ公司制造。项目建筑管理商为ＩＳＩＳＡｄｅｌａｉｄｅ公司。

panels, assembled off-site and ‘invisibly’ butted together and installed in situ. Corridors, reception areas, theme screens, glazing decals, meeting room privacy screening, directory signage, floor level identities and foyer

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罗兹市绿色地平线办公楼

Skanska Location

Designer

Lodz, Poland

Medusagroup, Joanna Sowula, Xenia Mrozowska, Kolektyf

Photographer

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Green Horizon, Lodz

Execution

Karolina Kosowicz

The graphic design of this project tells a story of a factory operating between 1924 and 2005. Today in its place we can see a big office block that was certified by energy saving LEED Silver. Visual complexity of this project uses originality of historic graphics and documents illustrating the textiles factory of Ajzyk Piaskowski. Black and white designs are visible by the entrance and lift corridors, whilst colours are there to identify 4 different entrances and parking for the building

本案的图形设计讲述了一间工厂在１９２４－２００５年间运营的故事。现在在工厂的原址上我们可以看到一座雄伟的、获得ＬＥＥＤ能源与环境设计先锋奖银级认证的办公楼。本案的视觉组合运用了原有的历史图形和一些描述ＡｊｚｙｋＰｉａｓｋｏｗｓｋｉ纺织工厂的文件。入口处和电梯通道旁黑、白两色的设计显而易见，同时不同的颜色用来区分该建筑４个不同的入口和停车场。

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Edelweiss House

Design Company

雪绒花之屋

Location

Leaf Design Pvt. Ltd. Mumbai, India Area

Designer

Taruna Verma, Tanvi Dalal, Anuja Selva, Sandeep Ozarde

21,182 m2

Edelweiss House is envisioned to be a center of empowerment enabling

雪绒花之屋预想成为动力的中心，使员工如催化剂般富有活力，并将企业品牌

employees to act as catalysts, extending the brand into designing of the

在空间设计上中得以体现。对雪绒花公司品牌环境的构想承载着与金融改革共鸣的精

space. Conceiving the brand environment for Edelweiss office premises

品财富理念。空间设计将想象与一系列手工折纸艺术品结合起来，既营造出精密复杂

entailed crafting wealth from ideas that resonated with the values of

的空间，又体现了公司无穷的创新精神。雪绒花公司的核心理念就是“创新想法的同

financial innovation. The space design combined imagination with a series of origami craft renditions, expressing both the sophistication of the space and the endlessly inventive spirit behind the company. At the core of Edelweiss, is the conviction to “create ideas yet protect its values”. In sync with the brand personality and new values – all workspace areas

时保护其价值”。为了与品牌特点和新的价值观同步，所有工作区都要摆脱遮掩和保密的控制。因此折纸手工的创新形式与金融界与众不同的开放、透明和高效的理念相符，也为未来的发展方向铺设了一条鼓舞人心的道路。商标化的折纸视觉语言用其现代的抽象理念和时尚形式指明了一条更大胆的新方向。

were to do away with frosting and privacy controls. Thus the innovative forms of Origami resonated with the open mindedness, transparency & efficiency – that is disruptive in the financial world. And also paves a more courageous way of looking into the future. Branded origami visual language with its modern abstractions and contemporary forms paved the way to a bolder, new direction.

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Building Ankerstrasse –Bäckerstrasse 项目名称中文翻译

Client Stiftung Abendrot Photographer Büro4

Designer

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Büro4 AG für Gestaltung + Kommunikation Zurich

Signage concept for an office building in Zurich’s District 4. The renovated industrial building in the inner courtyard has two postal addresses: Ankerstrassee and Bäckerstrasse. Two newly created signs differentiate the two building entrances: anchor and pretzel.

设计说明中文翻译设计说明中文翻译设计说明中文翻译设计说明中文翻译设计说明中文翻译设计说明中文翻译设计说明中文翻译设计说明中文翻译设计说明中文翻译设计设计说计说

Yarra Valley Water

Senior Creative / Conceptual Design Matt Ryan

雅拉河谷水务公司

Junior Designer / Finished Art Ilana McMorran Photographer

Gray Puksand

Mark Duffus, MD Photography

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Designer

The design was to respond to Yarra Valley Water and celebrate the

graphics package that had been developed uniquely for each building on

essential service this client provides to the community.

campus.

This theme continues to drive the graphic design, which was inspired by

I n d i v i d u a l b ra n d i n g i c o n o g ra p hy a n d u n i q u e c o l o u r p a l e t te s

the movement and beautiful array of colours evident as the spectrum of

were developed for each building on site, supported by the integrated

light becomes visible as it refracts through water.

environmental graphic treatments throughout each building.

A multi-faceted geometric design featuring an infinite number of over

This calculated use of colour within the building's branding and

lapping pentagrams strives to represent an impressionistic response to

iconography created a secondary reference of building location without

the clients core business (Melbourne's largest municipal water supplier)

having to display additional levels of information, reducing the number of

by emulating the effects of the refraction of light through water, in what

signs and directional aids required. By reducing the amount of information

can ultimately been seen by the naked eye as a myriad of triangles.

users needed to recall, movements between departments and buildings

This design methodology formed the basis on which a heavily researched

was now a simple act, regardless of nationality or age simply through

and designed way finding package was conceptualised.

clean design and sound colour theories

This package not only achieved its objective by reducing congestion and general confusion around heavy traffic areas whilst displaying minimal information, it also complemented all aspects of the environmental

本次设计是为应雅拉河谷水务公司这需，反映其为社区所提供的重要服务。该主题成图形设计的驱动，进而受到运动和光线经水折射展现出光谱的靓丽色彩的启发。本案为多面几何设计，无数重叠的五角星通过模拟光通过水的折射呈现出客户的核心业务（墨尔本最大的市政自来水供应商），这样最终就可以看到无数的三角形。这种设计手法在经过缜密研究和设计后，逐渐成形为整套导视系统。这套系统不仅减少交通拥堵区域的拥堵和混乱，达到了预期目标，同时也以最简方式提供信息，而且作为补充，也为校园里的每座大楼专门设计了多方面的环境图形导视。

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在每座大楼完整的环境图形系统的支持下，每座建筑都具有独特的品牌图标和色调。大楼品牌和图标上色彩的精心使用，为大楼导向提供了辅助参考，也就不需要

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额外提供信息，这样减少了所需的方向指示和标识的数量。通过减少用户需记的信息量，公寓和大楼之间的通行现在变得非常简便，简洁的设计和完善的色彩体系使

得国籍和年龄都不再是隔阂。

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TNT Green Office

Client

TNT 绿色办公室

TNT Photographer Thijs Wolzak

Designer

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Studio Dumbar

In 2009 TNT opened their new Green Office in Hoofddorp. Designed by Dutch architect Paul de Ruiter, this pioneering project was heralded upon completion as the most sustainable building in Europe. Commissioned to design the building’s signage system, Studio Dumbar had to consider the guiding principles that characterised its design: sustainability, transparency, and personality. The signage system we designed employs colour and materials in their simplest form. The signage system suits the spirit of its surrounding, communicating information clearly without being intrusive. The concept of light is integral throughout the building. For example, workspaces are located on the outer edge of the building, with transparent glass walls looking onto the building’s interior. Window graphics were introduced to ensure that people working in the offices enjoy privacy whilst benefiting from the energy and function of natural light.

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２００９年，ＴＮＴ公司在霍夫多普开设了新的绿色办公室。该大楼由荷兰设计师保罗・德・鲁伊特设计，这座先锋式的建筑在完成伊始，就被誉为欧洲最可持续化发展的建筑。自被委任设计这座建筑的标识系统以来，登贝设计公司便思考将可持续性、透明性和个性化融入设计中。该标识系统以极简的方式利用色彩和材料。本案与其周边环境融为一体，传达信息清晰，毫不突兀。并且十分注重整个建筑中光线的概念。例如，办公区域设于建筑的外缘，阳光可透过透明玻璃，射入建筑内部。窗户上的图

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形确保职员能在保护隐私的同时也享受自然光。

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Signage DR

Designer

Front Nordic

丹麦国家广播公司标识系统 Creative Director

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Masoud Alavi

Masoud Alavi designed the Danish National Broadcasting Corporation's (DR) image graphics and integrated signage for a new state-of-the-

ＭａｓｏｕｄＡｌａｖｉ设计的丹麦国家广播公司（ＤＲ）图像图形和整体标识系统融入哥本哈根最先进的总部中，该总部是由五栋各具特色的大楼组成的建筑群。

art Copenhagen headquarters, a 5-building complex with 5 different architectural concepts.

丹麦国家广播公司（ＤＲ）是一家国有公司，分别播放多平台的新闻、文化和娱乐节目。ＤＲ是一个公共服务媒体供应商，能够覆盖全国信号和听众接收点。

The Danish Broadcasting Corporation, DR, is the state-owned Danish

２００６年ＤＲ从“电视之城”和“无线电之家”搬到了新址“ＤＲ小镇”。此项

media company broadcasting multi-platform news, culture, and

目的挑战性在于要从视觉上为这五座完全不同的建筑创造一个方便用户的、色彩

entertainment. DR is a Public Service media provider with full-country coverage and audience connection.

鲜艳的标识系统，同时能够强化ＤＲ的新形象。

When DR moved from "TV City" and "Radio House" to its new location, "DR Town" (DR Byen) in 2006. The challenge was to visually integrate the five very different buildings by creating a user-friendly, colourful wayfinding sign system which also reinforced the new DR image.

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Concordia Design

Design Company Brandburg in cooperation with no4

康科迪亚设计

044

Location Poznan, Poland

Designer

Maciej Kawecki, Kuba Jankowiak

Concordia Design – an old printing house converted into a design and

form and decided to reverse roles and focus on interaction. This is when

creativity center. Here design means the process of defining goals,

wayfinding became more of a playfinding. We used white boards against

innovative work, novel solutions and business implementations.

a white background. The floor you are on is shown by the words and

The logo combines a couple of elements: first there is the blue line.

icons shooting out like sprouts. This system invites you to come closer

Mobile and flexible, it takes form of the objects it describes. It is dynamic,

and get in touch with the information. Your sensory journey starts with

follows shapes, creates things but also denies them. Another element

various textures and materials. Materials are important to our senses. We

is the expanded typography. The spaces make the user experience

used contrasting surfaces like the rough brick wall and the shiny surface

the logo as ideas that are being either separated, analyzed or joined,

of the board. Some elements became hyperbolic, like spatial elements

synthesized. It denotes betweenness, a process.

of 2.5 meters signing the floor – they are both objects and information.

The shape of the line and the logo appear in multiple areas, such as

Arrows bend around wall corners. Room numbers hover just 30 cm above

stationery, everyday objects, lines inside the building as wall graphics,

the ground instead of the usual eye-level. Large-scale steel boards with

LED screens as info displays, in communication without actually using

letters cut out in Concordia font placed in open spaces of the building

the logotype, as installations outside the building, in printed materials, in

encourage the people to communicate. Even the stairs and floors carry

wayfinding solutions or corporate gadgets.

messages. They all invite you to start a dialog, to play and get involved.

In the wayfinding system we rejected the standard rule of function over

They capture the creative spirit of the place.

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康科迪亚设计——老印刷工坊变身为设计创意中心。在这里，设计意味着目标明确、作品创新、方案新颖和项目实施。本案标志结合了一组元素：首先有一个移动灵活的蓝色线状元素，可组成任意图形，它变化万千，不仅可以模拟形状、创造新奇，也可以变形。另一个元素是放大版文字。让用户体验到或分散或整合的构想。这就是中间作用。

企业标志与线型形状应用于各种场地，如办公用品、日常用品、建筑墙壁上的线型图标、呈现信息的ＬＥＤ屏幕，或是未投入使用却已用于与用户交流的商标原型，如：建筑外表装饰、印刷材料、导视方案或公司小玩意。我们摒弃了导视系统中功能重于形式的标准规则，决定互换角色并专注于互动，此时导视系统便成为了一种寻乐系统。我们在白色背景上使用白板，像嫩芽一样剑出的文字和标图会明示你所处的楼层。该系统邀你近距离观察，与信息互动，你将在各式各样的图案和材质中开始你的感官之旅。材质给我们的感觉很重要，我们采用了粗砖壁面和光滑板面这两种对比表面，一些元素的应用相对夸张，比如楼板上２．５米高的空间要素——它们既是建筑元素也提供信息。箭头随墙角弯曲，房间号码不再置于通常与视线水平的地方，而是悬挂在距地面约３０厘米处的位置。大型不锈钢板上裁出康科迪亚字样，固定在建筑的空地，鼓励人们进行交流，甚至楼梯和地板上都附有信息。它们鼓励你交流、娱乐、参与其中，这些都体现了该地的创新精神。

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East Thames Housing Association Headquarters 东泰晤士住宅协会总部

Creative Director Gareth Howat & Jim Sutherland Client East Thames Housing Association

Designer

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Gareth Howat, Jim Sutherland & Mark Wheatcroft

The environmental graphics and wayfinding scheme is designed for

本案设计是为伦敦东部的斯特拉特福德东泰晤士住宅协会总部设计的环境标

housing association East Thames’ group headquarters in Stratford,

识及导示系统。该协会的品牌标识主题为“日出”，象征着太阳从东方升起。通

east London. Based on the Group’s brand identity theme of ‘sunrises’,

过运用光、影和反射原理，一个简化的圆形“太阳”形状以及相关色调，我们创

referencing the sun rising in the east. Using the principles of light, shade

造出了一种利用反射和透射日出颜色形成的创新型系统。此方案的基本原理是利

and reflection, a simplified circular ‘sun’ shape and a relevant colour

用白墙上反射回来映在图标标识上的颜色制造“发光”的效果。嵌装玻璃的透明

palette, we created an innovative system using reflected and transparent

色使自然光的颜色能够投射整个建筑。另外，应用图形和设施也呼应了“阳光”

sunrise colours. Creating ‘glowing’ iconography and wayfinding by

主题，包括公共区域的２米宽的时钟，伦敦东部居民的“日出”摄影作品和东泰

bouncing colour from the reverse of signs against white walls of the

晤士的客户，都展示了一个充满了乐观与希望的未来。

building provided the base for their scheme. Transparent colour applied to glazing let natural light cast colour throughout the building. In addition, applied graphics and installations captured the theme of the ‘sun’, including a 2m clock in the public space alongside photography of local sunrises submitted by residents across east London and clients of East Thames to convey an optimistic and hopeful future.

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Design Team

3M Australia HQ

Paul Tabouré, Jon Zhu Client

3M 澳大利亚总部

Colliers Project Services Location Sydney, Australia

Designer

Photographer

THERE

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THERE

全球创新巨头３Ｍ公司设于澳大利亚的新总部占地８平方千米，需要一个庞

The new 8,000sqm Australian HQ for global innovation giant 3M, required

an extensive signage and wayfinding package that would compliment the 大的标识和导视系统设计，从而烘托也是由ＴＨＥＲＥ公司设计的宽敞的品牌环境。我们提出了一个完整的标识设计方案，紧扣３Ｍ品牌“掌控新概念连锁反应” extensive branded environment also designed by THERE. We delivered a complete signage solution that captured the 3M brand 的核心理念，发扬３Ｍ以创新为核心的品牌文化。该方案涵盖所有内外部标识、 essence ‘Harnessing the chain reaction of new ideas’ and celebrated the 导视系统标识及底柱与规定的定制设计。各种材料和饰面由若干喷涂铝板构成，这些铝板条由激光进行切割，并弯折

culture of innovation which is at the heart of 3M. The scope included all

custom designed, internal and external identification signage, wayfinding 成形，最后拼接为图形。公司深远的历史在８０平方米浮雕墙上按时间顺序呈现， signs, plinths and statutory.

展示了公司品牌近百年的演变。

A variety of materials and finishes were utilised with each sign fabricated from a single, folding, laser cut piece of powder coated aluminium. The company’s rich heritage was further celebrated with an 80sqm routed timeline wall relief that showcased the company’s brand evolution over the last hundred years.

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Unilever

DESIGNER

Bruce Mau Design

联合利华

Unilever is a global organization with the ambitious goal of doubling the also developed a series of global guidelines for the application of the size of its business by 2020, while committing to increasing its positive refreshed brand across various collateral, including digital and social social impact and reducing its environmental footprint.

media platforms, packaging, corporate communications materials and

BMD was tasked with creating a new communications framework and stationery. visual identity system that would humanize the brand, and demonstrate One of these guidelines documents, the Global Building Guidelines, Unilever’s Sustainable Living commitments. The system is founded on the describes the application of the branding system to the built idea of telling real stories about real people. The system relies heavily on environment. BMD developed a framework for how the brand comes photography, patterning and typography to create a more approachable to life in space. To test and refine the guidelines, we rolled out two key brand, as a means by which to communicate the small ways in which sites: Kingston in the UK, and Four Acres, a residential training facility in Unilever is making a big difference around the world.

Singapore. At each site, we designed and implemented an architecturally

Once the basic framework had been defined, BMD worked with Unilever’s integrated and impactful expression of Unilever, authentic to the global global brand team to direct the rollout internally and externally. We brand, while relevant to the local market.

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联合利华公司是一家全球企业，它所制定的目标十分具有野心，即至２０２０年将其业务规模扩大一倍，同时承诺增强其积极的社会影响，并减少其对环境的破坏。ＢＭＤ公司受任为联合利华公司设计一个新的交互和视觉识别系统，打造一个人性化品牌，并彰显其可持续发展的承诺。本案基于讲述真人真事这一理念，该系统在很大程度上依赖照片、图形和字体，以营造一个平易近人的品牌。在小处沟通，注重细节，这也是联合利华能够成为一家在世界范围内都与众不同的公司的原因之一。

一旦确定了基础框架，ＢＭＤ公司便同联合利华公司的全球品牌团队制定对内对外的新产品推广计划。我们也制定了一系列全球性方针，使新品牌更好地适应多样的媒介，包括数字和社交媒体平台、包装、企业通信材料和文书。在这些方案中，全球建设方案描述了将品牌系统应用于建设环境的理念。ＢＭＤ公司所设计的框架能够使该品牌在空间内焕出生机。为检验和改进这些方案，我们在两个主要场所推行：英国的金斯顿和新加坡ＦｏｕｒＡｃｒｅｓ培训和发展中心。在每个场所，我们的设计与建筑融为一体，并有力地表达了联合利华的理念，既同当地市场息息相关，也忠实于这一全球品牌。

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澳新银行中心８３３柯林斯街的环境设计与标识设计

Daniel Peterson, Fabio Ongarato Client

Architecture and Interior Design

Australia and New Zealand Banking Group

ANZ Centre 833 Collins St Environmental Design and Signage

Designer

Creative Director

Earl Carter

Fabio Ongarato

HASSELL

Photographer

ANZ, renowned for its strong work culture, has a new head office which

light well.

is home to over 6,500 staff. In collaboration with HASSELL and BLL, Fabio

As part of the environmental graphics package a diverse range

Ongarato Design devised a comprehensive wayfinding and environmental

of supergraphics and installations were created to suit varied hub

graphics system that matches ANZ’s cultural needs and workplace values.

environments, and to encourage staff interaction. Each of the hub

The wayfinding system was created as an extension of the architecture.

environments designed to suit the wide variety of occupant profiles

Elegant sculptural forms were directly inspired by the shifting planes that

and requirements these were termed; ‘Play’, a space focused around

are detailed in the architecture and the concept of an ‘urban canvas’

competition and teamwork. Create’, a space designed to encourage open

or ‘civic’ space. Through a process of rigorous integration with the

mindedness and house a connection to the history of ANZ. ‘Grow’, a place

architecture the signage system functions as an extension of the space,

of respite, tranquility and rejuvenation. ‘Move’, a connection to the wider

rather than appearing as a layer on top of the space, operating as a

urban metropolis, a dynamic and energetic space and ‘Click’, a high tech

series of extrusions resulting in an intuitive and architecturally harmonic

space based around technology and global connectivity.

solution. Beyond the aesthetic response one of the key challenges was the sheer size and scope of the wayfinding strategy required for a 13 storey building with 3 separate lift cores and a central 10 storey atrium

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澳新银行享誉浓厚的企业文化，新总部的员工超过６５００人。在与ＨＡＳＳＥＬＬ和ＢＬＬ设计公司的合作中，ＦａｂｉｏＯｎｇａｒａｔｏ工作室策划出一种综合导视与环境视觉系统，符合澳新银行的文化需求和职业价值观。导视系统的开发是建筑的扩展，优雅的雕刻图形的灵感源于建筑中变幻的面板，也是“城市画布” 或“市民”空间理念的呈现。通过与建筑之间紧密的融合，标识系统更像是空间的拓展，而不是凌驾于空间之上，二者无论在感观上还是在结构上都能和谐地融为一体。除了视觉美感，主要面临的挑战之一就是

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导视系统庞大的规模和范围，要求在建筑共有１３层中，３个电梯空间，还有一个高达１０层的中庭采光井。作为环境标识设计方案的一部分，一系列超大图标和设施被设计出来，与不同的中心环境相衬，以促进员工间的互动。对各个中心环境的设计旨在符合

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用户特征和需求；“比赛”是一个专注于竞争与团队合作的空间。“创新”空间旨在促进思维开放、承载了澳新银行的发展历史。“发展”，一个休息、安静、重获能量之处。“移动”是动态的、朝气蓬勃的空间。

“点击”则是基于全球互联与技术的高科技空间。

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Deutsche Rentenversicherung Bund 德意志养老保险中心

Team Nathanaël Gourdin, Katy Müller, Friederike Kühne, Daniel Perraudin, Katharina Seitz,Felix Wissing Client

Designer

HPP International Planungsgesellschaft mbH

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Gourdin& Müller

As the largest German pension insurance company, the Deutsche

The zoning of the areas is coded using different colours.

Rentenversicherung supports employees from the beginning of their

These facilitate orientation and are already in use in the calling

working lives until retirement. The architects HPP Hentrich-Petschnigg

system of the waiting area. The colour differentiation is continued in

& Partner were assigned with the renovation of a multi-storey office

the signage and continues through until confirmation of arrival. Here

building. A signage system was developed for the information and

large, three-dimensional characters on the glass dividing walls of the

advice office on the 1st floor to guide the customers from the waiting

consultation areas serve as destination identification.

area to the consultation area. Around 500 customers are handled each day at the Berlin site. In order to improve guidance of the flows of visitors the 59 consultation areas were divided into two zones and renumbered. Guidance is located systematically on pillars, which structure the open-plan office spatially and visually as well as providing the necessary longerdistance effect.

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He 不同区域采用了不同的颜色加以区分。

作为德国最大的养老保险公司，ＤＲＶ在劳动者开始工作到退休期间一直为其提供服务。建筑师ＨＰＰＨｅｎｔｒｉｃｈ－Ｐｅｔｓｃｈｎｉｇｇ＆Ｐａｒｔｎｅｒ受命翻新这座

以上技术已运用到等候区的传呼系统中，可以协助定位。不同颜色会

多层办公楼。为了引导客户从等候区到达咨询区，特在一层的咨询办公室建

一直在标识牌中延续，确保客户到达目的地。咨询区的玻璃隔墙上有大号三

立了一套标识系统。

维立体文字，可以起到目标识别的作用。

柏林区的德意志养老保险中心每天会接待约５００名客户。为完善客流导示，５９个咨询区被分成了两大区域并进行重新编号。引导标识系统化地设置在柱子上面，使办公室在空间上和视觉上呈开放式结构，并提供了必要的远距离效果。

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Skanska

Kolektyf Client Location Wroclaw, Poland

Designer

Photographer

Medusagroup + Joanna Sowula

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Green Towers

Execution

Bartosz Holoszkiewicz

Bespoke graphic for wayfinding in this building was designed by Medusagroup, however the execution was given to Kolektyf who developed the details. Green Towers is the first site in Poland that has obtianed the platinum award of LEED Shell & Core. This project not only plays a part in finding your way within the builiding, but it’s also an attractive graphic element which makes Green Towers very unique. This project is also adding value by its ‘eco-factor’by visually promoting energy saving, recyclying and takig the stairs. 这座建筑的导示系统的定制图标由Ｍｅｄｕｓａｇｒｏｕｐ公司设计，执行部分则交给了制作细节的Ｋｏｌｅｋｔｙｆ公司。绿塔是波兰首个室内外都获得ＬＥＥＤ铂金级认证的建筑。这项工程不仅让你能够在建筑内寻找方向，而且通过非常有魅力的图形元素使绿塔变得独一无二。本案在视觉上提倡能源节约、循环利用和楼梯的使用，这些环保理念更增添了其价值。

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现代办公环境即工作流程的安排和氛围的营造。早在２００８年，德国公共事业运营商ＳｔａｄｗｅｒｋｅＥｓｓｅｎ扩建并重新装修其办公区域时，就定下了这两个目标。公司总部辅楼于２０１２年竣工，以透明为建筑基调，大部分由玻璃构成，建筑宏伟典雅，却能很好地透过光线和视线，布局对称，四分之一圆弧形的边线具有几何动感。这种独特的建筑结构被应用于一款综合图形界面之中，一系列相关视觉元素融入到编码、标识与告知、辅助导航之中，突显了这座五层建筑的构架——包括工作、社会与基础设施空间，两层地下停车场以及户外设施。每个细节——甚至逃生与救援预案——都按依此设计。为本案设计的精细的导视系统方案正在有效运转，网格状等宽ＨＡＲＤＣＡＳＥ字体的应用打造出为技术疯狂，或者说略带怀旧未来风的视觉形象，与建筑结构和企业形象完美呼应。同样的呼应也体现在面积达６００平方米玻璃隔断墙上，这里遍布环环相扣的条纹和圆弧。这些装饰由数学算法随机生成，连绵不断却又各不相同，为整座建筑增添了一种令人印象深刻的浓

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厚氛围。

Designer

Dmitri Lavrow Design Company

Location

HardCase Design

Essen, German

Client

Photographer

Stadwerke Essen

Markus Schwalenberg, Lev Khesin

Architect

Stadwerke Essen 导视系统＆图形界面

Frithjof Eisenberg

来看，半透明膜有助于较好地保护员工和访客隐私，同时保留室内的可见性。白色磨砂贴膜用于会议室和技术设施中，亮闪闪的灰色的“日夜”膜则用于装饰办公室。

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Stadtwerke Essen Wayfinding Systen & Graphic Interface

然而玻璃墙的设计并非仅仅出于外表美观。从实用主义角度

This same resonance informs a graphic structure of interlocking stripes

atmospheres. Stadtwerke Essen, a German public utilities operator, aimed

and circular segments covering some 600 square metres of glass partition

at both goals back in 2008, as they decided to expand and rearrange

walls. Derived from a random-based mathematical algorithm, the continuous

their office space.

non-repeating ornament creates an impressively dense atmospheric effect

Transparency is the architectural leitmotif of the company’s headquarters

throughout the building.

annexe that was accomplished in 2012. Constructed of glass for its most

Yet the glass wall design is not just a matter of æsthetic excess. In the

part, the elegant edifice is monolithic, yet pervious to light and sight. The

pragmatical sense, the semi-transparent membrane helps provide and fine-

building has a clear symmetrical layout, with a sense of fine geometrical

tune privacy for employees and visitors, at the same time retaining partial

flow due to its quadrant edge curves.

visibility of the interior. White diffuser film is used for conference spaces

This distinct architectural form translates into a comprehensive graphic

and technical facilities, shimmering grey ”day-and-night“ film decorates office

interface. An extensive set of visual elements provides for coding,

rooms.

signage and information, aids navigation, and emphasizes the structure

Dmitri Lavrow, principal of HardCase Design: ”While addressing functional and

of the five storey building – including working, social and infrastructural

æsthetical issues alike, we do meticulously follow the purpose, character,

spaces, two underground parking levels, and outdoor facilities. Every

and formal style of built space. Rather than creating an additional physical

detail – even the design of escape and rescue plans – follows this

surface, we want to have graphic design evolve from and blend organically

scheme.

with architecture. We do not intend to be dissonant or even loud – yet we

An elaborate typographic concept is operative for the wayfinding

make a point of being sharp and articulate. A building should (and will) not

system. The grid–based, monospace HardCase font family makes for a

remain the same once we have entered and manipulated it.“

Modern working environment is about arranging workflows and creating

technoid, somewhat retro-futuristic look that resonates well with both architectural and corporate image.

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艾利一号街由伦敦金融城公司所有并管理，本案设有带厨房、浴室等公用区域的办公室。作为重建项目的一部分，我们负责整个建筑的标识与导视系统的设计。我们参照建筑的主入口形式设计了一个醒目的标牌，由两种形式组成：为突出办公室公共视觉层次，我们采用两种重量的箭头。每个楼层设有不同的识别颜色，同样的颜色也醒目地用于每层楼的入口和介绍楼层分布的标识牌上。

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我们为不同类型的房间、楼梯和电梯分别设计了定制图标，使之在走廊中尽可能地清晰可见。为降低成本，我们与标识制造商密切合作，以适应现成的标识系统类型。铝制刷面采用两种不同程度的灰色，我们在紧张的预算内成功地实施了设计

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方案。

Photographer

艾利一号街的标识视觉设计

Commercial Art

1 Alie Street Identity and signage Designer

Commercial Art 1 Alie Street is owned and managed by the City of London Corporation.

room types, stairways and elevators. These were designed to provide

The building consists of offices with common use areas such as

maximum contrast and visibility along the building’s corridors.

kitchens and shower rooms. As part of a redevelopment project we

In order to keep costs down we worked closely with the sign

were commissioned to develop a new identity along with signage and

manufacturer to adapt an off the shelf system of sign types. A brushed

wayfinding throughout the building.

aluminium finish has been specified with content applied in two different

A bold typographic approach was developed referencing the form of the

greys. An effective solution was designedand installed within a tight

building's main entrance. Content was rationalised into two kinds: office

budget.

and communal and a visual hierarchy was developed using two different weights of arrow. Each floor was assigned an identifying colour. These colours are prominently applied at the entrance to each floor and are referenced on the main reception directory sign. A set of bespoke pictograms were developed to signpost specific

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Signage System for Artist's House 艺术家之家导视系统

Client ARTIST'S HOUSE Completion Date

studio fnt

2013

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Designer

The signage system for ARTIST'S HOUSE is designed based on the form factors from its historical building such as windows and beams. 艺术家之家的导视系统设计灵感源于这座历史悠久的建筑所包含的图形元素，如窗户和光线等。

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Centre d'art contemporain – Genève 日内瓦当代艺术中心 Designer

Location

Neo Neo

Geneva, Switzerland

Client

Photographer

Centre d'art

Neo Neo, Thuy-An Hoang, Xavier Erni

contemporain – Genève Desk in collaboration with Absolument Tout and Nicolas Perrottet

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Thuy-An Hoang, Xavier Erni

Design Company

The design is creation of the new visual identity for the Kunsthalle of Geneva. The identity includes the signage and various printed matters. The signage concept is based on a very simple idea: each floor of the Kunsthalle is represented by one of the logo's line. The entire program of the exhibitions is divided by floors. It is directly integrated and changed every 3 months with vinyle lettering stickers placed on the walls between the permanent wood elements (oak).

该项目为日内瓦艺术馆全新的视觉识别系统，包括标识和各种印刷制品。标识的设计源于一个简单的构想：艺术馆每个楼层由一条标志线来体现。楼层将整个展览活动划分开来，墙壁上的木质元素（橡木）固定不变，而其中间的乙烯基贴字每３个月进行更换完善。

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Nokia Design Helsinki

DesigNER

Commercial Art

赫尔辛基诺基亚

photographer Commercial Art

The signage system for Nokia’s Head offices, with reference to the shapes and colours of the brand and in response to the materials and architecture. The signs were developed with a simple template system allowing for rooms to change use with refreshable labels and with colours denoting location. We collaborated with a manufacturer on the sign production, making a bespoke system with signs built from layers of colour perspex using

这次为诺基亚总部设计的标识系统，主要是参照诺基亚品牌的形状和颜色以及对材料和这栋建筑的印象而设计的。本案的标识，是由一个有改变空间的样板系统升级而来，其系统里包括可翻新的商标和指示位置作用的调色方案。我们在制作标牌时与一个厂商合作，用诺基亚的品牌颜色做出了一个用有色有机玻璃为材料的标牌定制系统。为了支撑此次的标识和字体，我们同时也设计了相应的图标系统来指示方位和规模。

Nokia brand colours. Supporting the signs and typeface, a pictogram family was developed with usage guidelines for placement and sizing.

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Alta Diagonal Bulding Identity 阿尔塔办公楼标识标牌设计

Client Deka Inmobilien Location

Designer

Barcelona, Spain

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Clase bcn

The starting point for this project was coming up with the name, based on the idea of the building’s location in Barcelona. This neighbourhood of the city is popularly known as the zona alta ‘high(-end) district’ in the Diagonal area. Bearing in mind the fact that the building in question is an upmarket office block, Alta Diagonal captures the project in a nutshell. To give the building its own personality and reflect its location on Avinguda Diagonal ‘Diagonal Avenue’, we made a series of diagonal cuts through the typeface to stress its “graphical location” in the city of Barcelona. The elements in the design of the building’s signage were deliberately oversized to correspond to the exact size of the pieces of cladding to create highly visible signs that fitted with the architecture. This integration continued in the same vein with the choice of material: stainless steel. A material totally in keeping with the other materials selected by the team of architects charged with redesigning the building.

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本案最初的名称源于建筑在巴塞罗那的地理位置。该城市附近是著名的阿尔塔一带对角线区域中的 “高（端）区”。该建筑是一座高档的办公大楼，阿尔塔对角线大楼从整体上把握了本案的设计理念。

为赋予建筑个性，反映其在“对角线大道”的位置，我们将一系列对角元素融入字体，强调其在巴塞罗那的“形象地位”。建筑标识中的元素被故意放大，使其与其覆面大小相符，以形成与建筑相称、可见度高的标识。该标识设计继续采用相同的材料：不锈钢，这与负责建筑重新装修的建筑团队选材完全一致。

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亚琛保险公司

Client

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AachenMünchener Insurance

Location

Aachen, Germany

Designer

Photographer

Moniteurs Communication Design

Stefan Schilling

The new headquarters of AachenMünchener Insurance captivates

亚琛保险公司新设总部的开放式构架设计吸引了众多游客。一架玻璃天桥将

visitors through its open architecture. A glass bridge connects the

建筑的各部分连接起来，并为步行区和购物区腾出了空间，增加了整个城市的吸

different parts of the building and leaves room for a pedestrian zone and

引力，同时也满足了不同用户群体的特殊需求，如亚琛ＡａｃｈｅｎＭüｎｃｈｅｎｅｒ公司的

shops. This enhances the overall urban attractiveness and also serves

客户及其供应商。莫尼特公司将平面基本概念直接应用于导向系统标柱的形状、

the particular demands placed upon it by the various groups of users,

材质和颜色设计：高高的矩形标识栏上不仅标明了信息，还可从标识栏下看到建

i.e. the clients of AachenMünchener and its suppliers. Moniteurs adopted

筑大楼。直接标于亚琛建筑上的小型标识也为用户提供了导向。

the basic concept of the façade, by directly deriving the shape, material and colour of the orientation system columns from it: tall rectangles hold the information, but nevertheless allow a view of the building behind. This is complemented by discreet signs directly on the AachenMünchener building.

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EPO Engenharia

Client EPO Engenharia

EPO Engenharia 办公园

Location Belo Horizonte, Brasil Photographer

Designer

Rafael Motta

Greco Design

In order to create the signage system for Escritório Parque ("Park Office"), we heard what the place and its nature had to tell us, as well as the human interventions in the area. Hence, gabions placed around the hills near the construction site served as a reference for the wire mesh we used on the signage, and the

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chromatic palette was defined based on the distinct colors of the phyllite - a typical rock of the area. The pictograms were based on the sinuosity of Gustavo Penna's architectural design. The identification totens were named "Sculpture Letter", and they provide a clear demarcation of each building area. These largescale letters filled with green can also be a meeting point, being

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easily recognizable even from afar.

为了给ＥｓｃｒｉｔóｒｉｏＰａｒｑｕｅ（办公园）创建一套标识系统，我们了解

了此地及其自然环境所传达的信息，以及此地人类活动对自然的影响。因此，我们在本标识系统中用到的铁丝网，其参照物就是建筑工地附近山上的石笼网，而且主色调也是基于本地的一种典型岩石——千枚岩的独特颜色。标识系统的图形符号继承了巴西建筑设计师ＧｕｓｔａｖｏＰｅｎｎａ的建筑设计错综复杂的特点。标识图形被称为“字母雕塑”，它们为每一座建筑区域都划分了清晰的分界线。这些被绿色填充的大型字母也可以作为约会地

点，因为它们可以从远处轻易地辨认出来。

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Location Tokyo, Japan

6D-K Co., Ltd

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Ochanomizu Solacity

Designer

This project is a VI (Visual Identity) and Sign plan of the office building,

这项设计是一个办公楼的视觉标识与标牌设计计划，坐落在东京御茶之水车

located in front of the station in Tokyo Ochanomizu. Usually office

站的前方。通常办公楼不会设置视觉标识，原因是居于其中的各家公司会有自己

building may not set VI because there is the replacement of various

的标识。然而，这片区域有相当多的相似的建筑，因此一般在地下，地上和入口

companies. However, a lot of similar buildings are built in this area.

处等很难区分。找到自己身在何处本身就是个难题。于是我设计了视觉标识而且

Therefore, hard to find the under ground, above ground, and the

决定在本案的视觉标识上设计一个标识点。这片区域被称为御茶之水，顾名思义

entrance etc. There is a difficult point to be incomprehensible where

为一个干净的水源地。（Ｏｃｈａｎｏｍｉｚｕ：ｍｉｚｕ的意思就是水．），因此要在这栋楼

oneself is. So I produced VI and decided to design the Sign centering on VI. This area called “Ochanomizu” has the meaning of a clean water place. (Ochanomizu: mizu means water.) It is expressed in the naming of "Solacity" concept to the building. (Solacity: Sola means sky.) Visuals

上表达天空之城的概念（Ｓｏｒａｃｉｔｙ：Ｓｏｒａ的意思是天空．）这样的视觉是为了营造一种用淡蓝色描绘水墨画的接触。这样的视觉效果既不会只强烈地表现水，也不会明显地表现天空，两者互相影响，相得益彰。

created with a touch of ink painting with light blue ink. I produce the visual which does not have strong identity to be seen in both water and the sky.

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Supertanker Zurich

Swiss Life Property Management Zurich

苏黎世超级油轮

Architect

Stücheli Architekten Zurich

DESIGNER

Photographer

Büro4 AG für Gestaltung + Kommunikation Zurich

Büro4 and Markus Bertschi

It’s a “supertanker”, a gleaming landmark in the Binz district of Zurich. Starboard side and port side form the basis of the graceful signage system. And from the top deck you can see the Lake of Zurich...

整个建筑群位于苏黎世的Ｂｉｎｚ区，如同一艘“超级油轮”。左弦和右弦为导视系统的基础设计，高雅美观。在甲板上即可俯瞰苏黎世湖。

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Design Team

Notting Hill

Yunakov Ivan, Kornienko Olga, Karpov Andrey

诺丁山

Kyiv, Ukraine

Location Area

Designer

170 m2

Yunakov Architects

Photographer

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Oleg Stelmah (Electraua)

The studio space is divided into 4 main areas: 2 halls, entrance lobby and technical facilities (storage room, lavatory, dressing rooms, makeup room)

工作室空间被大致分为四个主要区域，两个大厅，前厅，和技术设备区（储藏间、盥洗室，更衣室和化妆间）。

Rooms are named like London’s blocks, that operate on the semantic contrast: aristocratic area Kensington and creative area Chelsea.

这些房间以伦敦的街区命名，来彰显其语义上的对比，比如贵族区肯辛顿和创新区切尔西。

The first hall is called “Kensington”. This is a large, bright room, with lots of different backgrounds for photos.

第一个大厅空间宽阔明亮，背景众多，可以搭配不同图片，因而被命名为“肯辛顿厅”。

The second hall named “Chelsea” is chamber, dark and a bit “underground”,

第二个大厅名为切尔西厅，光线较暗，有一些隐秘，营造出创意而艺术的感觉。

as well as Chelsea considered creative and art quartal.

此外还有一个报告厅，被用来进行一些知识性的讲座、对各类艺术方案的问

There’s also a briefing zone. This area is for introductory lectures or

题讨论和各类艺术项目的目标讨论等。

formulation of the problem and main goals for various art projects.

所有入口门上都有独具特色的文字。从技术层面讲，他们并非价格不菲，但

All entrances -portals have their own inscriptions. Technically, they are

是制造工艺也绝不简单。这些文字标牌均由的ＭＤＦ嵌板上切割而来，并装有隐藏

made in not expensive and easy way. Cutting out the inscription on the

的ＬＥＤ灯。为了实现灯光效果，某些门与墙壁刷成了同样的颜色。当房间里的灯

MDF panels with hidden LED lighting. Some portals are painted in the same color with walls, this had been done for light effect. When all lights

全部关掉时，隐藏在字母中的ＬＥＤ灯闪闪发光，字母的阴影也就凸显出来。

in room is switched off but only LED lights in the letters is on, the effect of illuminated letters and their shadows appears.

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雄克集团空间图形和导示标识系统

22quadrat

创世，就是由无穷的力量、表达、巧合、纯粹的能量和几十亿个微小的颗粒所构成一个巨大整体，不

Schunk Grounp/Cooperation with mma architects

停地移动并进行发展式变革。这是永无止境的过程：

Location

时而完全静止，时而有着爆发力表现，时而却缓慢

无限循环的开端创造出新事物——时而充满活力，

Schunk Group Spatial Graphics + Guidance and Signage System

Designer

世界上独一无二的快乐将要开始了。生命是美好的，因为活着的每一分钟都是新的开始。所谓

Heuchelheim, Germany Photographer Patrick Voigt

移动，时而不受控制地流动。最小的微尘：看起来微不足道，但它们凝聚在一起却能够形成恒星和行星——从而创造生命。我们将这种颗粒诠释成了最简单的图形原型——点。这样一来每个人都可以充分理解，不分年龄、种族、

“The only joy in the world is to begin. It is good to be alive because

dot. Comprehensible for every human being, regardless their age,

living is beginning, always, every moment.”

nationality, education and faith.

Cesare Pavese (1908-50), Italian writer

Out of this arose the allegory of the Schunk-world: thousands of

The creation of our world, shaped by unrestrained powers,

employees are part of a bigger picture. They are individual carbon

计的员工们都是巨大画面的一部分。他们是单个的

expressivity, coincidence, pure energy and the union of billion

particles, able to create something new and great, but only in

碳粒子，足可以创造新事物并与其他元素紧密相连。

small particles to one vast entirety, that constantly moves and

connection with other elements.

教育程度和信仰。这一切都造就了雄克世界的象征意义：数以千

这种动态持续的变化过程贯穿整个建筑结构，

evolutionary-revolutionary changes. Eternal processes: recurring

This dynamic, constantly changing, process moves through the entire

陪伴着访客们，牵起他们的手——一起在不断地热

beginnings creating something new - sometimes dynamically,

architecture, accompanies the visitors, takes them by their hands -

闹与安静中徜徉。

sometimes completely quiet, sometimes explosively expressive,

always in motion between loud and quiet.

sometimes slow, sometimes uncontrollably flowing.

The first drawings of mankind already originated in hand and finger

The smallest part, the dust particle: seemingly insignificant, however

prints.

人类的第一幅画已经由手指完成。

its conglomeration creates stars and planets - life. 22quadrat interpreted the particle to its simplest graphical archetype - the

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The Terrace at Alie Street Sign System and Wayfinding 艾利街露台的标识导视系统

Location London, UK Photographer Commercial Art

Designer

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Commercial Art

The Terrace at 1 Alie Street is a new suite of rooms that offers

艾利一号街的露台是一处新式建筑，可供举办各类会议。我们同伦敦金

a host of meeting and conference facilities. We worked with the

融城管理小组合作，为其设计名字．可视语言和导视系统。该设计将服务位于

City of London portfolio management team to develop the name,

艾利一号街的所有商家和伦敦金融城办公室。这里的命名源于周边实际环境。

visual language and wayfinding for the new space. The facility will

户外露台连接到这些房间，这些开放区域为会议的举办提供一处更加灵活区

be available to all businesses that are based in 1 Alie Street and at

域，且传达出友好的气息。

other City of London offices.The name was derived from the actual

该露台设计起初是为了满足沟通需求，如举办会议，讨论和社交活动。

environment itself. Adjoining the rooms is an outdoor terrace that

为了达到这个效果，每个房间都以伦敦历史上著名的作家命名。每个房间都

opens up to offer a more flexiblearea for conferences and hospitality.

有一个标志性的名字，使预定流程简单易行。这些名字也为该地区的市场推

T h e Te r ra c e fa c i l i t i e s a re p r i m a r i l y a b o u t c o m m u n i c a t i o n :

广活动赋予了明确的身份。

meetingsconferences and networking. In response to this, each room was named after a famous historic writer with associations to London. This provides each room with an iconic name, making it easy to manage the booking process. These names will also provide a distinctive identity whenmarketing the space.

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Segreen Wayfinding & Signage

Design Company Lombardini22 S.r.l. Client CBRE Global Investors Location

涩绿公园标识导视系统

Milan, Milan Photographer

DesigNER

Dario Tettamanzi

Lombardini22; Lorenzo Casanova

The Wayfinding & Signage project born from the need is a new business park of 44,000 square meters, it is consists of 3 buildings and several accesses both vehicular and pedestrian. The goal was to create a system of immediate, intuitive and recognizable signage, as well as to fit out and enrich

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the environment through design elements coordinated

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to guide and accompany the visitor at Segreen. Segreen

with the brand image of the business park.

The strength of the project are the 3 big letters that

identify the 3 different buildings. They are relevant and radical elements, like sculptures, like pieces of art.

The materials used to create the elements of the signage are all already present in the architectural

design of the business park: galvanized steel for exterior

该标识导视项目源自于为游客提供引路和导向服务的需求。涩绿公园

elements, aluminum painted charcoal grey for the interior. Types of signs:

是一个新建的商业公园，占地面积达４４０００平方米，包括三座建筑和多个车辆和行人入口。本案旨在建立一个即时且直观的标识识别系统，同时，运用与该商业

• Welcoming (illuminated logo on exterior gate)

公园品牌形象相一致的设计元素，也大大丰富并提升了该公园的环境氛围。

• Wayfinding (Interior and Exterior Totem, wall graphics painted)

本案的特色之处即以三个不同的字母分别代表三个建筑。这三个字母相互关联且时尚前卫，既可视作雕塑，也可视为艺术品。

• Identification (Panels for special areas { Canteen ,

标识的制作材料早已体现在本公园的建筑设计过程中：外部采用镀锌

Bath , Nurseryt, etc.}, giant letters in piazza, designated

parking spaces)

铁板制作，而内部则由喷涂为深灰色的铝合金制成。

• Safety ( collision window decals, panels, escape routes)

标识种类

Elements created:

●欢迎标识（照明标识，放置于大门处） ●指路标识（室内外标识，为有色的墙壁图形）

• 3 Bright Signs (the largest is 10 * 3m)

●识别标识（特殊区域专用嵌板

• 3 letters identifying building (very important dimension 2.5 * 2.5 mt)

●安全标识（逃生窗口标识、嵌板和逃生通道）

• 21 Totem in total (8 external and 13 internal)

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｛餐厅、浴室、托儿所等｝，为大型字

母式样，放置于广场、专用的停车场）

• identification panels (placeholder) for parking

创建元素：

• painted mural handwriting (255 sqm)

●３

• 12 identification panels (baths and special areas)

●代表建筑的

• 48 security features including window graphics and

●共计

floor plans of escape

● １２

个识别专用嵌板（浴室及专用区域）

● ４８

个安全标识包括逃生窗口标识和逃生平面图

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个照明标志（最大的为１０＊３ｍ）３个字母（尺寸为２．５＊２．５ｍｔ）

２１个标识（８个室内标识，１３个室外标识）

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Green Day, Wrocław

Location

弗罗茨瓦夫市绿日办公楼

Wrocław, Poland Client

Designer

Skanska

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Aleksandra Matyas, Kolektyf

This project encompasses graphics and wayfinding not only for communal spaces and outside signange for the whole building. It also includes graphic design for a client occupying 6 floors. Every floor for this building has been given its own geometric figure and colour. Communal spaces have been kept as neutral as possible using minimal amount of colour - whereas in open spaces and bathrooms colours are more visible. 这项工程包含图形和导视设计，这不是仅针对整栋楼的公共空间和外部标识，还包括为６个楼层的客户所设计的图示。建筑的每一个楼层都被赋予了独特的几何图形和色彩。公共空间尽可能用最少的颜色来保持中性——相反在休憩区和洗手间则会用到较为显眼的颜色。

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文化类

CULTURE

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Architect

Completion Date

Yasui Architects & Engineers, Inc

2014

Client

Takumi Ota

Fukuchiyama-city Location Kyoto, Japan

Photographer

ujidesign

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Citizen Plaza FUKUCHIYAMA

This building includes public library, citizen exchange center and

本案由公共图书馆、市民交易中心和就业援助中心构成。

employment support center.

该建筑的顶角为弧形，这种富有特色的形状被应用于标识设计和所有其它

Upper corners of this architecture are rounded shape.

This

元素中，如图书馆的书架、座椅、书桌、照明设备、街区设施甚至自行车停放处。虽然标志通常由字母构成，但我们在其中设置圆角大门，突出了其视觉识

characteristic shape was developed to sign design and all other elements like the bookshelf of the library, chairs, desks, lighting

别系统。

equipment, street furniture and even the bicycle parking lot.

因其位于京都行政区，所以选用日式传统色调“Ｅｎｊｉ”（深红）为主色。

Although logotype is usually designed by only letters, we put a gate

标识系统的设计易于各年龄阶段的用户理解。

on it with its corners rounded. It emphasizes the visual identity of the facility. For the key color, Japanese traditional color “Enji”(deep red) was chosen because of its location, Kyoto prefecture. The signage were intelligibly designed for users of wide range of generations.

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Flaxman Library 弗拉克斯曼图书馆 Designer

Stephanie J. Kim, Tuan Pham, Justin Tang Design company

Assistant Director of Design and Construction Joanna Goebel Executive Director of Facilities Services Sarah Hicks Assistant Director of Facilities Services Michael Plummer Research & Access Services Librarian Holly Dankert Photographer Klmjro

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klmjro

Architecture Wheeler Kearns Architects Client School of the Art Institute of Chicago Materials Carbon Fiber Vinyl Typeface FF Speak Fabrication Vision Graphics Director of Design and Construction Ron Kirkpatrick

The Flaxman Library is a center of discovery. It invites students and faculty

of call numbers. This linear organization was facilitated by vertical rather

to explore and learn. Our goal was to make the library more accessible

than horizontal signage that reflects the placement of the books on the

by introducing a system that is transparent, habitable, and modular to

shelf. We reorganized the multiple levels of information on one plane to

accommodate a growing collection.

create a single point of reference. By repeating this system on each shelf,

The fragmented organization of reference points (aisle number, call number,

we established a pattern that aids fluid navigation.

and category) made browsing difficult. Gaps between sets of shelves

Our comprehensive design solution, with the help of a map, ultimately

containing a single range of call numbers disrupted continuity.

creates a more intuitive experience for library users.

We sought to fix these problems by examining them from the point of view of two common user types: browsers and targeted searchers. To accommodate browsers, the new signage lists the categories contained within each shelf. For targeted searchers, each sign displays a linear range

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He 弗拉克斯曼图书馆是发现的中心。它鼓励学生和教员们去探索、去学习。我们的目标就是要通过引入一种透明、宜居、模块化的系统来使图书馆更加便利，以适应日益增长的馆藏需求。参照点（包括通道编号，图书编目号码，目录）碎片化的组织结构加深了浏览的难度。书架间的间隙所包含的图书编目号码是独立的，扰乱了馆内的连续性。我们力图从两类常见用户的视角去检查这些问题并将其修复：浏览者和目标搜寻者。为帮助浏览者，新的标识系统在每一个书架上都列出了目录；为适应目标搜寻者，每一个标牌都显示出图书编目号码的范围。这种线性组织结构呈垂直状，而不是水平状，从而更好地反映出书籍的放置位置。我们重组了同一个水平面上的多重信息，以创建单一的参照点。通过这一系统在每个架子上的重复出现，我们建立了流动辅助导航模式。我们的全方位的设计方案，再加上导视图，最终为图书馆用户创造出更直观的用户体验。

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Kounosu City Central Library in Saitama Prefecture 琦玉县鸿巢市中心图书馆

Client Kounosu city Art Director / Chief Designer Shogo Kishino

Designer

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Shogo Kishino, Miho Sakaki

本案是为鸿巢市琦玉县的公共图书馆所设计的标识系统。

This is a signature system design for the public library in Kounosu City,

内部设计主要是以木质材料来营造一种温暖的感觉，而其他的也都选用暖色

Saitama Prefecture. The interior design mainly used wood materials to create a sense of

调元素来迎合主设计基调。这使得各年龄阶段的人得以汇聚在这个公共建筑里去尽情享受阅读的乐趣，

warmth, and all other design chose warm-toned elements to match the whole keynote.

这是一个使你平心静气，开阔心胸的地方。我做了许多３Ｄ立体图案并使其融入到标识系统中去，这也让人们可以更好

People of all ages can gather in this public facility to enjoy reading their favourite books. It’s a place to calm you down and rich your heart.

地理解这些图标的含义，而非冷冰冰地去阅读那些文字。

I made a lot of 3D pictograms and adopted a signature system which can

并且，为了显示这种暖调，我在每个书架上放置了带有数字的小灯，尽力将

help people to understand the meaning of the icons better rather than

台灯上的色彩元素加入到了编号标识中而恰如其分的成为一种矿物元素标识，并

just read the words literally.

匹配到了内部设计中。

In addition, to reflect the warmth sense, I also placed the lamps with numbers on the bookshelf, and tried to match with the interior design by adding a-colored element of the light to the numbering indication that was apt to become the mineral matter.

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BIBLIOTEKET

Client City of Copenhagen

瑞典皇家图书馆

Location Copenhagen, Denmark

Designer

Rama Studio

Rama Studio has created the logo,identity and signage for BIBLIOTEKET(The Library), a new public library in Copenhagen NV. The wayfinding signage is based on bold typography painted directly on the surface, to avoid cluttering the stretch metal walls. This is supplemented by a series of black aluminum signs on each floor and text on all doors. Shelf signage is custom made to fit the purpose and layout of each part of the library, and fits the visual style of the wayfinding signs.

瑞典皇家图书馆是哥本哈根西北部一座新的公共图书馆，拉玛工作室为其设计了商标、识别和标识系统。导视标牌直接在表面印刷黑体字来降低金属墙面的凌乱感，此外，作为补充，每个楼层都应用了一系列黑色铝质标识牌，所有门上也都印有信息。定制的书架标牌旨在与图书馆各部分的布局和功能相称，同时也与导视标牌的视觉风格相一致。

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Museum of Byzantine Culture 拜占庭文化博物馆 DESIGNER

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Beetroot Design Group

The Museum of Byzantine Culture aims in presenting various aspects

拜占庭文化博物馆主要是展现拜占庭与后拜占庭时期的各个方面的生活：艺术、

of life during the byzantine and post-byzantine periods: art, ideology, 意识形态、社会结构、宗教，以及历史演变过程和政治局面如何影响人民的日常生活。 social structure and religion, as well as how historical changes and the 该博物馆可以被认为是最重要的希腊现代主义建筑地标，也可以说是希腊最重要的 political situation were affecting people’ s everyday life. Arguably the 博物馆之一。塞萨洛尼基的拜占庭文化博物馆，委托甜菜根设计团队来设计本案的 most important Greek Modernist Architecture Landmark and of the most 标识。我们设计了外观被拉伸成为多边形的整块矩形材料作为路标，而矩形被拉出 important Museum institutions in Greece the Museum of Byzantine Culture 的角正好指明了方向。此外，我们还设计了一系列相似于传说中的拜占庭时期的马 of Thessaloniki, commissioned Beetroot to design its signage. We developed 赛克风格图标，而且用真正的马赛克石做的新３Ｄ“马赛克”形象。另外一个主要的 subtle colored monolithic information tablets whose outlines are rectangles 设计元素是对Ｈ＆ＦＪ惠特尼字体的改造，并在其中加入了象形文字，从而创造出独一 that are being “pulled” (into polygons) towards the direction they indicate. 无二的字体系统。 We also designed a set of new “mosaic” icons that were recreated in three

dimensions using real mosaic stones in a style similar to the fabulous Byzantine mosaics. Another major design element is the modification of the H&FJ Whitney typeface with additional glyphs and ligatures in order to create a unique branded typographic system.

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Seiro Township Library

Client Seiro-town Architect

圣龙町立图书馆

AXS Satow Inc. Location Seiro-town, Niigata, Japan

DESIGNER

Photographer

ujidesign

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Noboru Inoue, ujidesign

The structure of this building is like a combination of some houses. From this point, signage were designed in house shape. To recognize the shelves easily for the visitors, we put multiple colors on the classification book signs. We cared to make the house shaped signs have warm feeling. For the signs attaching to the bookshelves are thick and rounded, and for the object types are put between the books in boxed shape. The return-day calendar and to be quiet instructions are also designed in house shape.

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He 本案整体建筑设计如同房屋的组合，因此，各种标识也相应设计成房屋的形状。为了使读者更易识别书籍的摆放，我们采用多种颜色来标志各类书籍。我们希望房屋状的标识可以传递出一种温暖的感觉。粘贴在书架上的标识厚重且为圆角，而放置在书架上的则为盒状且更加棱角分明。同样，还书提醒日历和肃静标识也设计为房屋状。

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Obro Jagtvej Library

Client City of Copenhagen

Obro Jagtvej 图书馆

Location Copenhagen, Denmark

Designer

Copenhagen, situated in an old 5 story building. As part of a renewal project, Rama Studio designed a line of new signage and wayfinding. A large geometric shape near the entrance shows the general outline of the library. Parts of the shape is repeated on the entrance to each floor, and doubles as guide and decoration.

Obro Jagtvej bibliotek (Obro Jagtvej library) is one of the busiest libraries in

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Rama Studio

坐拥五层大楼的ＯｂｒｏＪａｇｔｖｅｊ图书馆是哥本哈根图书馆中最繁忙的图书馆之一。作为更新工程中的一部分，拉玛工作室设计了一套新的标识和导视系统线。邻近入口处一个大型的几何形状物体微缩了图书馆的大致轮廓。几何形状中的一部分重复在每层楼出现，既为向导，又为装饰。

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Magion Library

Client City of Grindsted

美智恩图书馆

Location Grindsted, Denmark

Designer

Rama Studio

The new library in Grindsted was completed in may 2012, as part of the

作为美智恩大楼的一部分，位于格林斯泰德的新图书馆于２０１２年五月建成。

Magion building. Rama Studio has created a visual identity for the Magion

拉玛工作室通过主入口处的商标，标识以及其他装饰赋予了美智恩图书馆独特的

Library through logo, signage and decoration of the main entrance.

视觉效果。

The main entrance is decorated with a typographic mix of quotes and

主入口处饰有书籍、诗歌和歌曲中的摘录的字符和形状。

glyphs from books, poems and songs.

宽敞的大厅内，七个由拉玛工作室专门设计的灯饰，标明了图书馆的主要区

Seven light signs, custom designed by Rama Studio, show the primary areas in the library’s large main hall. The signs are visible from the whole floor due to their high placement. Their visibility makes the room easy to navigate and enables the staff to clearly point out specific areas to visitors. The proportions of the main floor calls for large and clear signs for the

域。因为灯饰放置地很高，因此在整层楼的每一处看到。这样的可视性使得整个空间方向清晰，也能让员工可以清晰地给游客指路。每层楼的规模使之需要给主要书架设计大型而且醒目的标牌。本案的标牌可以从远处就能轻易地看到，也让各个区域更加容易区分。既可以作为一个功能性的导向，也可以作为一个印刷字母装饰。

primary shelves. The signage is readable from a distance and makes the room easy to navigate. It doubles as a functional guide and decorative typography.

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Kunshan Culture & Art Center (KSCAC)

Location

昆山文化艺术中心

Yongming Lee

Photographer

DESIGNER

Kunshan, China

KL&K Design Kunshan Culture & Art Center (KSCAC) is a multifunctional cultural

昆山文化艺术中心是集剧院、文化交流、会议、展览、休闲、娱乐等多功能

complex, which compiles theater, culture exchange, conference,

为一体的综合文化建筑，是昆山市建设完善“一体两翼”格局的重要步骤，由国

exhibition, recreation and entertainment. It is a milestone for Kunshan

内著名建筑大师崔恺担纲设计。一期建筑总面积７１２５５．８平方米。

in implementing the “one body, two wings” city planing policy. The

ＫＬ＆Ｋ设计负责本案的视觉识别和导视系统。标识设计概念抽取江南重要戏

architecture is designed by Cui Kai, a leading architect in China, with a

曲——昆曲的“水袖”元素，飘逸的形态巧妙地表现了建筑的流线型特色，并以

total area of 71255.8 sq meters for the Phase 1.

昆曲的胭脂红作为点缀，体现其文化特征。导视标志设计中，造型亦参考了水袖

KL&K Design is responsible for the visual identity and the wayfinding

的特色，使指示功能与艺术形式达到完美平衡。纵观品牌形象与导视设计，江南

system of the KSCAC. The Logo is inspired by the “water sleeve” of

文化、昆曲文化与中心的建筑特色有机和谐地融合在一起，获得各文化单位、市

Kunqu Opera, an important traditional opera in the Jiangnan region. The flowing shapes echo the streamline architectural features, while the

民大众的一致赞同。

signature carmine color taken from Kunqu has added a cultural remark to the Identity. The ‘water sleeve’ has also inspired the design of the wayfinding system, which demonstrates an elegant balance between form and directional functionality. The overall designs have harmoniously combine the regional and Kunqu cultures, as well as the architectural characteristics, are well accepted by cultural institutions and general public.

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Design Holon Location

Holon, Iarael

霍隆设计博物馆的标识导示系统

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Design Museum Holon – Signage and Wayfinding System

Photographer Elad Sarig

Designer

Adi Stern The signage and way-finding system of the Design Musem Holon

以色列霍隆设计博物馆标识导示系统的导向箭头与墙壁同为白色，打破了常

challenges common approaches using white arrows on white walls. The

规的设计方法。箭头从尾端到顶端由二维转换为三维立体，逐渐从墙上凸起，投

arrows, which are primarily discernible due to the shadow they cast

在墙壁的阴影使其可以清晰可见。箭头的形状与环绕着博物馆的考顿耐候钢梁的

on the wall, emerge from the museum walls and transform from two-

脉络和路径相互映衬，体现出博物馆设计的整体性。本案的难度在于既要创造一个简明清晰的系统，又不能喧宾夺主，破坏了设

to three-dimensional forms. The shape of the arrows echoes the flow and movement of the Corten weathering steel bands that surround the

计师隆・阿拉德的动态建筑结构。

museum building, creating a unity of design throughout the museum. The challenge in this project was to create a system that will be

此系统所用的字体是定制希伯来字体，包括三种语言文字：分别是希伯来语、阿拉伯语和拉丁语。

visible and easy to use, while not competing with Ron Arad's dynamic architecture. The system holds three scripts: Hebrew, Arabic and Latin and includes a custom propriatery Hebrew font, designed specifically for the project.

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在我在迪肯大学学习期间，其中一个任务便是为学校图书馆制定一个导视系统方案。我相信适当的标识会立即引起你的注意，并立即明白信息。当时，迪肯大学图书馆的当前的导视系统存在的问题是过于临时化了。例如，如果你行走在图书馆里，就经常会看见一张Ａ４纸，为你提供简单的路线指引。

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然而，无论整个建筑还是大厦内部都设计精良，而且，一进入大厦，便感觉宾至如归。这对在图书馆来说是非常重要的感觉，图书馆不只是去借书的地方，而是你学习，同朋友交流，结识新朋友，在未知的知识海洋里遨游的地方，是你消耗大量时间的地方。总之，图书馆是激发你做自己的工作，也是让你知晓如何让完成工作的地方。

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这就是为什么我设计的导视系统更亲近用户，即使是在远处也清晰可视，同时也会以自己的方式展现友好。这点点滴滴从入口处的欢迎标识开始，到图标的圆角，以及标识的形状，使用的字体中体现出来。

学校图书馆的用户体验

Location

User Experience for a School Library Melbourne, Australia

Designer

Photographer

Simen Strøm Braaten

One of the assignments I got while studying at Deakin University was to

Because a library is not just a place you go to borrow books. It’s a place

make a proposal for the wayfinding system in the school library.

where you study, talk to friends, meet new people, and explore areas of

I believe proper signage should catch your attention quickly, and get

information you're not familiar with yet. It’s a place where you spend a

the message across without hesitation. At the time, the problem with

large amount of time. In short, it’s a place that should inspire you to do

the current wayfinding situation at Deakin Library was that it felt too

your work, as well as provide you with what you need to get the work

temporary. For example, If you were to walk around the library you would

done.

often be met with a simple A4-sized sheet of paper, guiding you on your

That's why my wayfinding system is focused on being easily accessible,

way.

visible from a distance, and at the same time friendly in it’s own way. It

However, the architecture, and the interior of the building itself is very

starts with a welcoming message at the entrance, and trickles down to

well designed, and upon entering the building you actually feel welcome.

the rounded edges in the icons, the shape of the signs, and the typeface

This is an emotion that is tremendously important at a library.

I used.

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Signage System for the International Red Cross and Red Crescent Museum

国际红十字会博物馆的标识系统

Designer

Intégral Ruedi Baur Client

Eicher Werkstätten,

Ruedi Baur, Axel Steinberger,

Completion Date

Lisa Jacob, Stefanie Klekamp,

2013

Ueli Kaufmann, Marco Matti,

Photographer

Martina Schneider

Intégral Ruedi Baur

Musée international de la Croix- Intégral Ruedi Baur Location Rouge et du Croissant-Rouge Geneva, Switzerland Creative Team

In may 2013, the International Red Cross and Red Crescent Museum

２０１３年５月，国际红十字会博物馆的展厅在经过修缮和扩建之后重新开

reopened its renovated and extended exhibition spaces to house a

放，展厅内设有一个新的长期展览，以及全新的企业形象设计。自２０１１年竞

new permanent exhibition and to come with a new corporate design.

标成功以来，Ｉｎｔｅｇｒａｌ公司设计并实现了该馆全新的公共形象设计。在新展

Having won the competition for a new logo back in 2011, Integral

览《人道主义历程》主题的启发下，本案所设计的文字图形标识，将可视语

developed and realized a whole new public face of the museum.

言的说明性发挥的淋漓尽致：纯手工制作的标识，既是插图也是标题文字，

Guided by the main topic of the new exhibition «The Humanitarian

为博物馆和国际红十字会的工作营造了独特的氛围。这种理念不仅体现在印

Adventure», the studio designed a typographic logotype whose

刷材料和数码媒体上，且向外延展到到整个标识系统和博物馆的展览设计，

illustrative style became prevalent for the visual language: Literally

信息批示标识实际上是就地手绘完成的。

hand-made hatched signs, which appear both as illustrations and headline typefaces, create an individual typographic expression of the museum and the work of the International Red Cross. The illustrative concept carries through to the print material and digital media, and outwardly to the signage system and exhibition design in the museum, where the information was actually hand-drawn on site.

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Visual Identity and Signage System for Ichihara Lakeside Museum 市原湖畔博物馆的视觉识别和标识系统

Designer

Yoshiaki Irobe, Akiko Uematsu, Ryosuke Kato Design Company

Architecture

NIPPON DESIGN

KAWAGUCHI+TEI ARCHITECTS

CENTER, INC.

Photographer

Art Direction

Tadashi Endo

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Yoshiaki Irobe

The Museum of Water and Sculptures was built in 1995 on a lakeside

road signs. The signage aims to enhance the rough textures of the

surrounded by nature, in Ichihara City of Chiba Prefecture. The number

renovated building while bestowing a sense of dynamic rhythm to the

of visitors to the museum had been declining along with the continued

walls. Museum souvenirs are printed with water surface patterns. We

dwindling of the population in this area, and this project aimed to

also designed a flip book-style notepad that depicts the shimmering of

renovate the aging facility and revive it as the “Ichihara Lakeside

the water surface, and clear files with patterns that change appearance

Museum.” In developing our designs, we were required to lay down a

depending on whether there is anything inside, to allow people to enjoy

communication plan that would encourage people to come to such an

images of the tantalizing, sparkling lake surface at home.

inconveniently located place, create a design that would offer a satisfying experience to visitors, and develop goods that people would take home as souvenirs to advertise the charms of the place. The logo mark that stylizes patterns on the water surface is a form of direct visual communication that aims to convey the snugness of the lakeside location. In our plan for the signage, we employed a method of printing information directly onto the rough surfaces of walls, like

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水和雕塑美术馆于１９９５年，建于千叶县的市原市一处被

大自然包围的湖畔。来此游览的旅客数量随着该地区人口持续

不断的减少而下降，而且本案意在更新老旧的设施，使之以“市

原湖畔博物馆”的新名重新焕发活力。在设计期间，我们被要求设计一个交流系统，使之能鼓励人们走进这个位置不太便利

的地方，而且该设计可以为游客提供满意体验，还要设计出个能让人们带回家的纪念品来宣扬此地魅力的设计。

风格化的水纹标志直观的表达出湖滨地带的舒适感。我们

的设计直接将信息印在粗糙的墙面上，如路标。标识旨在强调重装后大楼的粗糙质地的魅力，同时又赋予其律动的感觉。博

物馆纪念品印有湖面图案。我们还设计了翻转的书本式笔记本，上面描述了闪烁的水面，还设计了简洁的文件夹，上附图案会随内部物品增减而改变，让人们在家感受到湖滨的诱惑和闪耀。

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The Black Ensemble Theater Identity and Signage 黑乐团剧院识别和标识系统 Designer

Design and Project Lead Completion Date Rick Valicenti, Bud Rodecker 2012 3D Modeling and Design Photographer Baozhen Li Tom Rossiter, Location

William Valicenti,

Chicago, USA

Bud Rodecker

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Thirst

After 30 years on Beacon Street, the Black Ensemble Theater moved

在贝肯街拥有３０年历史的黑乐团局院内迁到了由建筑师莫里斯设计的一个

to a new theater designed by Morris Architects. Thirst gave the Black

新址上。Ｔｈｉｒｓｔ公司使黑乐团剧院的识别系统焕然一新，并为其设计了新的建筑

Ensemble identity a fresh look and designed the new building's signage

标识和环境图标。新识别系统的基础是两唇接吻的图案，代表着剧院的宗旨：通

and environmental graphics. At the base of the new identity is an icon

过戏剧来消除种族主义。该宗旨也反映在剧院外部黑白相间的屋顶标志牌上。镂

of a kiss, representing Black Ensemble Theater's mission: to eradicate

空雕刻在黑乐团剧院的大招牌上的吻唇图案的设计使人能够从两边都能看清。

racism through theater. The mission is echoed in the extruded canopy

Ｔｈｉｒｓｔ公司开发了一种定制标识字体，和杰克逊・卡瓦诺共同将Ｏｋａｙ字体改良并

sign on the exterior of the building through its alternating black and

广泛应用到建筑标识上整套字体当中。

white sections. The Kiss Icon was designed so that it could be read from both directions when cut out of the Black Ensemble marquee sign. Taking inspiration from the form of the Kiss Icon, Thirst developed a custom identity typeface and worked with Jackson Cavanaugh, of Okay Type, to refine it and expand it into a complete font which was used on the signage throughout the building.

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Museum Wiesbaden

Design Company Plural Berlin Location

威斯巴登博物馆

Wiesbaden, Germany Photographer

Designer

Arne Landwehr, Ed Restle

这栋建筑是德国著名建筑师西奥多・费舍在１９１２到１９２０年设计的。他以对称布局为特色，虽经过多次改建（例如后续的夹楼和楼梯的安装以及专用艺术展厅

Severin Wucher, Frank Übler, Kilian Krug

的整合），但本案的导视设计中的挑战是要建设一条完全不同于以往的贯穿整个建

The building was designed between 1912 and 1920 by the renowned

Both the corporate design system and the wayfinding system use a

筑的无障碍通道，这些都是本案导视设计中的挑战。

German architect Theodor Fischer. It features a symmetric layout,

specific set of colours in order to designate the areas of permanent

本案的导视系统是根据以下两条原则来设计的：

although numerous building alterations (such as the subsequent

collections and the areas of temporary exhibitions. The permanent

installation of mezzanines and staircases, and the integration of special

collections are designated by material references—such as beatgold for

artists’ rooms) as well as the need for a completely different barrier-

the Old Masters Gallery as a reference to picture frames, and micaceous

free pathway through the building were the challenges of the wayfinding

iron oxide for the Natural Science department as a reference to the huge

concept.

metal show cases. The temporary exhibitions feature particular spot

这种整体的设计系统与导视系统结合起来使用了一系列专门的色彩，以便区分

The wayfinding system of Museum Wiesbaden is based on two principles:

colours, the same which are used for the corresponding communication

永久性展区和临时性展区。比如代表名画家长廊的金色是从画框中衍化而来，氧化

1) Exploring ‘rambling trails’ throughout the museum is more desirable

media (posters, folders, microsites).

铁云母石色则代表着自然科学展区的金属陈列柜。临时展厅以某一点的颜色来作为

than following pre-defined routes, especially when the occupancy of

Colour-coded signposts show the way to specific collection areas; textile

其特色，对应的相应媒介（海报，文件夹和微型网站）上的颜色。

spaces is constantly changing. 2) ‘Minimal invasive’ add-ons outclass

banners designate the entrance to those areas; colour-coded artwork

fixed installations, especially when visitors are encouraged to explore the

labels provide on-site location feedback.

１、在博物馆中尽量寻找一种“信步小径”而不是死板的沿着事先设定好的路线去行走，尤其是在展出空间时常变化时。２、使固定指示的“侵入性”最小化，特别是当游客被鼓励去通过“信步小径” 去鼓起勇气去探索整个威斯巴登博物馆的时候。

以色彩为编码的路牌指引了一些特殊展厅的地点；布艺的旗子标明了相应区域的入口；具有同样彩色编码的展品标签也提供了现场的位置反馈。

Museum Wiesbaden off the beaten track through the collections.

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Fundação Dom Cabral Signage System

Client Fundação Dom Cabral Location Belo Horizonte, Brasil

Fundação Dom Cabral 商业学校标识系统

Photographer Rafael Motta

Designer

Greco Design

The signage project developed for Fundação Dom Cabral utilized the concept of projection with pictograms unconnected to the walls that could be recognized at a distance. The pieces were developed in consonance with the idea of holistic professional development directed towards the future, in accordance with the vision of Fundação Dom Cabral, which is today considered one of the best business schools in the world.

Fundação Dom Cabral 商业学校的标识系统利用了投影原理，将图标和墙壁分开，以使其能够从远处辨认出来。这种标识方式与未来的全面专业发展理念不谋而合，也与现今最好的商业学校之一——Fundação Dom Cabral 商业学校的期望相一致。

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Vorarlberg Museum Signaletik 弗拉尔贝格州博物馆标牌

Design Company Sigi Ramoser, Sägenvier DesignKommunikation Client vorarlberg museum Photographer

Designer

Darko Todorovic

Martin Platzgummer, Stefan Amann

Design Year

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2013

The vorarlberg museum is a state museum looking back on 150 years of

Additionally room names and small signage are carried out in response to

弗拉尔贝格博物馆是一家州立博物馆，该博物馆收藏、研究并展览当地出近

collecting, researching and presenting archaeology, history, traditions

the respective surfaces – words are polished out of patinated brass or

１５０年来的文物、历史、传统和文化，２０１３年７月新馆开放。ＣｕｋｒｏｗｉｃｚＮａｃｈｂａｕｒ

and culture of the region. In July 2013 it reopened in a new building.

golden marquetry is applied to dark wooden doors.

的设计风格使这座康斯坦茨湖边的博物馆在城市空间中变得令人瞩目。其内部的设

The architecture of Cukrowicz Nachbaur gives the museum a striking

Signage in public space includes the lettering above the main entrance,

计恬然静谧。墙壁和天花板应用粘土材质，地板采用原橡木，门由古色古香的黄铜

appearance in urban space as well as at the seaside of the Lake of

a LED screen and two canvas screens. The perception of historic events

和黑色烟熏橡木制成。弗拉尔贝格博物馆平时有五个展览同时对外开放。

Constance. The interior on the other hand is muted and quiet. Materials

and of history itself is ever-changing, depending on new findings or shifts

include brick-earth for walls and ceilings, raw oak floors and doors from

in culture and society. The lettering of the museum on the protective

patinated brass and dark, fumed oak. The vorarlberg museum always

roof accommodates this by changing it’s appearance depending on the

hosts five exhibition simultaneously.

incident light and the point of view. It was designed in collaboration with

成的标识系统。本案将标识与场地合二为一，并使其与展览图标明确区分开来。此外，

All this required a flexible signage-design gentle enough to match the

Stefan Sagmeister who created the corporate design of the museum.

房间名称和小标识与各自的表面相呼应，如在黄铜材质上打磨出的文字，还有黑色

atmosphere of the interior spaces, but strong enough to hold his own

The three displays on the facade refuse to do what they actually are

木门上的嵌金文字等。

against five different and changing exhibition graphics.

made for. They do not noisy advertise. They ask strange little questions

公共空间标识包括正门上方的字牌，一个ＬＥＤ屏幕和两个帆布屏幕。对于历史

We did not want to bring addition of materials or constructions to the

or make statements in plain black and white that correspond with the

事件和历史本身的观点随社会与文化中新的发现而不断变化。这一点反映在博物馆防

interior so we came up with a signage system consisting of light using

poster campaign.

护顶上的刻字中，它们的外观随着射入光线和角度的改变而变化。该设计是与博物馆

以上种种使得该图书馆需要一款灵活的标识设计，既能轻巧地与内部空间相匹配，又可在五种不同多变的展览图标中凸显出来。由于不想在内部增加材料或构造，我们开发了一款由建筑表面采光的电灯所构

the surfaces given by the architecture. This bonds the signage to the

设计公司开创者施德明共同合作完成的，建筑外部正面的三个窗口不是用来做闹吵吵

premises and makes it clearly distinguishable from exhibition graphics.

的广告的，它们可以通过展示一些奇怪的问题，或者仅仅是黑白文字来进行宣传活动。

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JAM, Japanese American Museum

Design Company Client

Winnie Yuen Design, Inc..

日裔美国人博物馆

Conceptual Project

Designer

Winnie Yuen T h e J a p a n e s e A m e r i c a n M u s e u m ' s m i s s i o n i s to p ro m o te

日裔美国人博物馆通过分享日裔美国人在其美国的经历来提升对美国种

understanding and appreciation of America's ethnic and cultural

族的理解和认识与其文化的多样性。因此，本案“ＪＡＭ”标志的主要设计理念

diversity by sharing the Japanese American experience. Thus, the

便是强调这种多文化融合的观念。

main concept of the JAM logo is to emphasis the idea of mixed

该标志由三个单词的首字母构成，而“ＪＡＭ”这个词本身表达的意义便是

culture.

融合。除英文版本外，这个标志还有一个日语版本，两个版本既可以单独使用，

By taking the initial letters to form the logo, the word "JAM" presents

也可以同时使用。圆也是其“ＪＡＭ”标志的另一个元素。它有合并的意义，同

the idea of mix. Beside the English version, the logo also has a

时也象征着日本自身的美学观念。此外，它也是设计本案环境导视系统的一

Japanese version, which is intended for use both individually and

个关键元素。依据同样在标识上使用的圆形，我们使用箭头来代替圆点，在

simultaneously. Circle is another element of the JAM logo. It has a

博物馆的不同展区显示其方向。

meaning of merging and also symbolizes the Japanese aesthetic itself. Moreover, it is also a key element in developing the environmental wayfinding system. Based on the same circle used in the logo, an arrow is used to replace the dot in order to display the direction to different parts of the museum.

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Vancouver Community Library 温哥华社区图书馆 Designer

Location

Fort Vancouver Regional Library District

Vancouver, Washington, USA

Architecture and Interior Design

Photographer C. Bruce Forster

The MillerHull Partnership Wayfinding Signage Fabrication Plumb Signs, Inc.

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Mayer/Reed

Client

connected to the library. At the main entry adjacent to the planned

design and wayfinding concept for the new Vancouver Community

plaza, sculptural letters spelling out “Library” invite interaction from

Library. A 200-foot long, four-story atrium is the open drawer,

visitors young and old in a celebration of literacy. Painted in lime-

exposing the library’s contents and encouraging exploration.

green, the 27 inch tall, 8 inch deep stainless steel letters straddle a

Wayfinding to the collection is integrated into an adventurous stair.

steel planter box, introducing the play of bold color, form and scale in

Super-scale letterforms painted onto the concrete underside of the

the wayfinding system.

A “drawer full of knowledge” metaphorically describes the building

exposed stair landings identify collection and program locations at a glance and is intended to promote use of the main stair instead of the elevators. A lime-green acrylic resin “pop of color” building directory at the base of the stair provides more detailed information. Dimensional floor numbers embedded into the painted steel walls at each floor landing are visible while ascending or descending. As you pass from the atrium into the library collections, the building becomes an orderly, streamlined display of books and technology with pops of color suspended overhead and mounted to furniture, highlighting collections and program areas. For maximum flexibility, these signs are designed with printed clear film inserts that can be changed by library staff. In the heart of the historic commercial core of Washington’s fourth largest city, the building is the cornerstone of a planned four-block 600,000-sf mixed-use development which will include a public plaza

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“装满知识的抽屉”隐喻新温哥华社区图书馆的建筑设

计和导视系统概念。长２００英尺，四层高的中庭形如打开的抽屉，将图书馆的内容陈列出来，鼓励大家探索。

图书导视系统与楼梯结合在一起，鼓励人们去探索。露

天的水泥楼梯平台上喷有超大号文字，使图书和项目位置一目了然，而且有意地提促进了主楼梯，而不是电梯的使用。在楼

梯的基础上，使用鲜亮的柠檬绿色的丙烯酸树脂材质的楼层分布图提供了更多的细节信息。每层楼的平台上都有嵌在喷涂钢

板上的立体楼层号，上下楼时显而易见。

当你穿过中庭，走向图书馆的藏品时，周围是一排排整齐的图书，而头顶上、家具上颜色鲜亮的设计使这里变得井井

有条，并使图书区和项目区凸显出来。为了使灵活性最大化，

这些标识被设计成透明的插卡式喷绘薄模，图书馆的工作人员可任意修改。

坐落于华盛顿第四大城市，历史和商业中心，这座大楼是一个覆盖四个街区、占地６０万平方英尺的综合开发项目的基石，该项目还包括与图书馆相连的公共广场。在紧邻广场的主入口处，标有“图书馆”字样的雕塑，吸引了来此寻求知识的男女老少。这些柠檬绿色，２７寸高，８寸深的不锈钢字母矗立在钢制花盆基座中，反映出导视系统中大胆颜色，形状和尺寸的使用。

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INDEX

Bruce Mau Design

Leaf Design Pvt. Ltd. They are an integrated brand design consultancy

Bruce Mau Design is a

that defines meaningful brand experiences through

multidisciplinary design firm specializing in brands

impeccably coherent strategies, design and digital & environments.

interactions.

索引

Motiv Brand Design

Gray Puksand

Branding is changing the way people feel, talk and live. They embrace

They develop brand systems, including visual identities, consumer

change, collaborate and evolve with emerging technology-driven

packaging, digital experiences and physical environments. Their designs

environments to responsibly manage today’s perpetual interconnected

bring ideas to life, transform brands and help businesses grow and evolve.

society. They strive to deliver excellence in their offerings that help clients

BMD clients and collaborators are shaping the future of their respective

identify opportunities, and bring together strategy and design thinking to

industries. They work with large international corporations, visionary

drive profitability, foster customer loyalty, differentiated brand presence

start-ups, expansive arts organizations, multi-stakeholder educational

and growth.

institutions, ambitious architects, city-builders and governments.

Brands come alive when a strong story is conveyed with passion,

Their immersive research methods and ability to listen ensure deep

commitment and excellence. This is reflected in their work spanning

understanding of the challenges and context their clients face. This

disciplines and platforms, and the skills of their team. By staying focused

enables them to deliver on their strategic goals, building on the core

on their core competencies in strategic, branding and digital design, they

attributes of their partner’s brands.

help businesses across industries.

They are committed to producing nothing less than world-class design.

They want Gray Puksand clients to be

a focus on brand design.

excited by their work. As a multi-studio

Their work is recognized for its depth of thought, clarity of purpose,

Their aim is to build meaningful and

architecture and interior design practice,

boldness of vision and impact.

memorable brands for their clients that

their experience in design enables them

Their team is comprised of globally selected graphic designers, architects,

enable them to stand out from the

to forge cutting edge, sophisticated work. The national team consists of

strategists, writers and managers with backgrounds in fine arts, multi-

competition, establish engaging relationships with their customers and to

accomplished and imaginative professionals who produce exemplary

ultimately increase their profits through thoughtful, creative and practical

designs for clients worldwide.

solutions.

Every client has different values. Collaboration is integral to their

Their highly credentialed creative team engage directly with clients

distinctive approach; their goal is to understand their client's underlying

meaning they are able to react quickly to their requirements - providing

values. Listening, contributing ideas and sharing research knowledge are

an efficient, adaptable and highly responsive service.

key aspects of their position as trusted advisors.

Their employees have wide ranging expertise across areas such as

Gray Puksand has earned a reputation as being leaders. Their modern,

branding, strategy, packaging, website design, copywriting, printing and

visionary designs emerge from contemporary social, cultural and

print management, photography, interior and environmental graphics.

technological evolutions.

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Motiv is a multi-disciplinary design studio with

Hat-trick Design

media, advertising, music, film, and business. Their diverse skills and experiences allow them to approach problems from many perspectives,

Established in 2001, hat-trick

pushing their insights and creative output beyond the expected.

is a multi-disciplinary design

They believe in the transformative power of design to generate new ideas

company working for a wide variety

that help institutions and businesses grow.

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of clients. Their aim is to provide their clients with the highest standard of creative design and project management. They believe that the best way to achieve this is for the director to be very hands-on and to lead the jobs from the front. Their passion is to produce work that achieves

Their extensive in-house expertise means they are able to offer a fully

its targets by creating memorable, engaging ideas that are noticed and

integrated service to their clients - providing an efficient and seamless

effective. They have a very broad experience in a wide variety of sectors:

approach to deliver successful projects.

Gourdin & Müller

in other words they bring to all their projects fresh and objective creative thinking, not formulaic answers.

Studio Dumbar

Büro4 AG für Gestaltung + Kommunikation Zurich

Their approach to branding is creative, flexible and involving. They’re not afraid to ask difficult questions or to give honest answers. They like to

Studio Dumbar is an international agency

The agency was founded in 1999 by

with a Dutch heritage.

Catherine Corti, Yvonne Robert, Stefan

feel their clients are part of the team. Their experience shows them that successful projects depend on commitment, clear communication and a

At the interface of urban space, architecture, product and graphic design;

shared understanding of the processes and issues involved.

information, guidance and orientation systems can impart more than information.

Studio Dumbar’s

Hunziker and Dominik Wullschleger.

colourful history began in 1977 when Gert Dumbar founded the company

Their conceptual approach enables the creation of unusual responses,

Since 2014 Raffael Suter is an associated

in The Hague.

reflecting place, theme or client, i.e. a specific context, which is also

partner of Büro4.

Design is at the heart of what they do. They describe their work as ‘visual

Büro4 is working in the fields of Corporate,

branding, online branding’, meaning they create every visible expression

Editorial, Information and Interaction

of a brand or organization — offline and online. This involves expertise in

highly developed analytical and design skills. Büro4 places an emphasis on teamwork. Whether analogue or digital, two- or three-dimensional,

represented appropriately. The adequate interaction between materiality, form, graphics and typography facilitates the realisation of identitypromoting solutions.

Founded in 1992 by partners Fabio Ongarato and

In addition, user friendliness, the representation of complex content and

It is in their nature to look for the pure essence — in the people they work

Ronnen Goren, based in Melbourne, Fabio Ongarato

the taking into account of heritage conservation aspects form the focus

with, and the projects they take on. It’s a mentality that helps them to

Design is renowned for the diversity of its work.

of our considerations. Sophisticated design and a high degree of functionality make signage

strategy, communication, branding and process-management.

Design. The people at Büro4 possess

Fabio Ongarato Design

build a great team and achieve extraordinary results, no matter how

The studio takes an open approach to graphic

media. From initial consultation to finished product. The agency received

complex or demanding a project might be.

design, operating across a variety of graphic

systems a key communication instrument for companies and institutions.

several international design awards in the past 15 years.

Studio Dumbar attracts talented individuals from around the world. Over

disciplines, from print to exhibitions to advertising.

Gourdin & Müller plans signage systems from conception to realisation,

the years, this has lead to an endless run of remarkable personalities and

FOD’s approach to design reflects their passion for

accompanying all project phases with the greatest of care and attention.

projects.

architecture, photography and contemporary art.

Nathanaël Gourdin and Katy Müll er share a love of detail and

They work across a variety of fields such as fashion, corporate, arts and

inquisitiveness. Each task brings with it the challenge of visualising

architecture deliberately crossing the boundaries between them.

complex interconnections via the structuring of content and sophisticated

Key projects have included an identity for the Australian Centre for

design. The objective of every debate is the formulation of solutions

Contemporary Art, An ongoing publication program and identity for

that can provide identity. The synergy of structural context, thematic

Gertrude Contemporary, a major monograph for artist Dale Frank, the

character and contemporary interpretation forms the foundation of our

they offer integrated, optimally harmonised design services across all the

Brandburg

There Over 10 years, they ’ ve been building

Brandburg is a creative studio developing

Australian edition of Big Magazine New York, a comprehensive signage

approach. Innovative manufacturing procedures and the unusual use of

brands, identities and environments with

innovative branding projects combining

and environmental program for the ANZ head-office in Melbourne, W Hotel

materials are characteristic of the realisations. Lecturing and university

meaning and impact, creating positive

graphics with design thinking tools and

Hong Kong and art direction for numerous Australian and International

projects also form elements of the field of activity of Gourdin & Müller.

change for their clients. At THERE, whether they’re creating a global brand

business strategy solutions. Actively

fashion brands, working with some of the most renowned fashion

or a memorable spatial experience – they combine strategy, creativity,

involved in promoting Polish design,

photographers internationally. Exhibitions include ‘Fashion Photography

design and production excellence in everything they do. Great brands, and

art and social events and speeding up startup initiatives, Brandburg

Now’ in collaboration with French curator Patrick Remy and “Unpublished”,

businesses, are built on a point of view – a way of seeing the world, and

shares creative ideas in various fields. In its portfolio the studio includes

a major exhibition on contemporary Australian and New Zealand fashion

changing it for the better. Their business holds dear four key values that

architectural branding and wayfinding case studies ranging from private

photography.

drive, inspire and keep them focused.

enterprise buildings to large-scale commercial sites. As a designer Maciej Kawecki overlaps up-to-date trends with emotions and senses. Co-author of Poland's first sense branding projects and workshops.

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Neo Neo

HardCase Design

Front Nordic

GRECO DESIGN

The practice – which is rather a

Neo Neo is a Geneva based graphic design

Greco Design was founded in

Front Nordic founded in 1997 by

multidisciplinary boutique than an agency

studio, founded in 2010 by Thuy-An Hoang

2005 as a design consultancy

Masoud Alavi.

proper – was founded by Dmitri Lavrow

and Xavier Erni. The studio tries to propose

with a focus on visual identity,

They create visual identities,

i n 1 9 9 4 i n D ü s s e l d o r f , Ge r m a n y , a n d

contemporary solutions, giving importance

editorial projects, signage and promotional material. Greco has also

a n d t h e i r p o r t fol i o i n c l u d e

subsequently relocated to Berlin. Lavrow

to details, emphasis typography and direct

featured in and received awards from both domestic and international

brand identity, art direction

holds a degree in Mathematic s from

messages. Mainly active in the cultural field,

publications, such as: D&AD (2014), iF Communication Award (2014 and 2013),

and graphic design. They

St.Petersburg University.

they work for museums, galleries, theaters,

Design Lions at the Cannes Lions Festival of Creativity (2013 and 2012),

have extensive experience

With the initial client base of public,

and film festivals. Since 2011 they are editing

Grand Prix - Red Dot Design Award (2013 and 2012), El Ojo de Iberoamerica

of production including print, websites, environmental design & moving

cultural and scientific institutions, HardCase Design have been involved

an annual newspaper about poster's called Poster Tribune that has been

(2013 and 2012), London International Awards (2012), Award and Honorable

image. Their services include design and art direction.

in large scale multi-disciplinary assignments: visual identities, corporate

awarded a swiss federal design grant.

Mention in III Bienal Iberoamericana de Design (2012), Idea Brasil (2014, 2013,

Their clients include:

typography, exhibition design and wayfinding systems.

2012 and 2011), How International Design Award (2012) and Print Magazine -

Danish Ministry Of Health, Danmarks Design skole, Danish Broadcasting

In the past few years, the focus of work has been increasingly shifting

Creative and Commerce (2011).

Corporation, Technical University of Denmark, Danish Parliament, Louisiana

towards spatial environments, both architectural and public.

Museum of Modern Art, TV2 Denmark and TRYG.

Several projects – such as the Corporate Design system for the City of

Moniteurs

Hanover (1996 – 2000) or the graphic interface for the Adventure of Space Flight exhibition (2006) – have won numerous national and international

Fo u n d e d i n B e r l i n i n 1 9 9 4 ,

the Russian Railway operator (2008), attracted polarizing attention in the

M o n i te u r s i s l e d b y t h r e e

design community. In 2014, HardCase Design was nominated by the

partners, Sibylle Schlaich, Heike

German Design Council for its annual award.

Nehl and Isolde Frey. They are an interdisciplinary team of around 14 people, composed of communications designers (digital media and print), architects and product designers, some of whom have been with us a long time and

ujidesign

LOMBARDINI22

6D-K Co., Ltd

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awards. A multi-script Cyrillic/Latin corporate typography system for RZD,

have implemented many projects with them. The focus of their work lies in the areas of information design and corporate design.

6D is graphic design office, represented by Shogo

Lombardini22 is a leading architecture and

Kishino, who is Art Director and Graphic Designer.

engineering company, a dynamic laboratory, a

He launched his own design office 6D in 2007,

space open to contamination and the territory,

and received Cannes Design Lions GOLD and

which generates curiosity and energy around

For them, information design means informing people directly, making

been in practice since 2005.

connections and making complex issues understandable. A part of

D&AD Awards Yellow Pencil and one show design

it. It is an international and multidisciplinary

They’ve been providing quality design solutions for

information design is the conception of an orientation system and,

awards Silver and Bronze, Design Festival for Asia

group of professionals, addressing the real

the clients in various fields; museum, architecture,

through it, the development of an architectural identity. Additionally,

food service industry, internet, publishing industry

Moniteurs’ spectrum includes the design of trade fairs and thematic

and so on.

exhibitions.

From small paper to grand commercial complex, it’s their pleasure to create visual solutions.

KL&K DESIGN Clase bcn

brands and projects… A way of providing solutions to real problems of identity and communication,

photography and gastronomy… An inspiration which they do not only seek professionally but also personally. Their objective is to improve, not to grow. They take care of every stage of the strategic and creative process, with a strict methodology which they develop along with their clients. They believe that the good results they obtain stem from this close collaboration, working hand in hand with their clients. On a day to day basis they aim for excellence, understanding and effectiveness, always in keeping with the demands of the brief itself. They see the final form as a consequence of a strategy. They work in all aspects of design but with a particular claim for typography and the element of surprise, looking for specific languages which are innovative and distinct helping to improve the standing of their clients. ClaseBcn, founded by Claret Serrahima in Barcelona, is an award-winning design studio made up of a team of young, international, multidisciplinary

L22 is dedicated to architectural design and engineering for major international clients on major projects in the Retail, Office and Hotel Residential markets. A company that has earned a prominent place in the panorama of Italian designers and today is also active abroad, especially DEGW Italia helps large companies design workspaces. It is a leader in

Yunakov Architects

years, the company has grown and expanded with

Yunakov Architects – The group of

offices in Hong Kong, Shenzhen, Beijing as well as

designing companies founded and

business interests in various parts of the PRC. They

headed by an architect Sergiy Yunakov,

the strategic consulting on ways of working and the interaction between physical space and business performance. DEGW Italia provides a valuable contribution to improve business results.

the Laureate of the State award, Merit

in the industry. As trend-setters in brand design in

of Architecture, an experienced teacher and architect for more then 30

China, they lead with international perspective and local experience, as

years. 20-years architectural activity enabled the company to lead the

well as an adept hand of amalgamating culture and business. In 2013,

architectural market of Ukraine.

KAN & LAU DESIGN was officially renamed KL&K DESIGN to mark the co-

Recently Yunakov Architects presented the new direction - Home Design

operation of the three generations of partnership, which with a dedication

headed by Ivan Yunakov, which instantly became a successful and

to innovate world-class China design, keeping us abreast of the times.

popular.

The company caters for a wide array of design domains, each with

Yunakov Architects creates and keeps archive of scientific and technical

Commercial Art was a design consultancy founded

a dedicated department. Their clients will receive an integrated suite

information.

and ran by Eamonn O’Reilly and Rick Sellars.

of comprehensive design services, from cultural analysis, strategy

To develop project documentation, Yunakov Architects uses present-

The studio was active from 2007 to 2013, producing

positioning, brand identities, packaging and product design, marketing

day achievements and developments in the field of designing and

design solutions for corporate, cultural and retail

and promotion, wayfinding system as well as interior design. Well-known

engineering, and in the field of IT-technology as well.

brands.

past clients include leaders of their respective industries: Bank of China,

Having strategic project for development and using techniques of project

The aim was always to be collaborative with their

Watsons Water, Erdos, Li Ning and Bama Tea, and governmental projects

management in work, Yunakov Architects has clear business-process

clients, and understand their business objectives

such as Kai Tak Development. Our work has helped these enterprises

structure, that ensures terms and performance standards required.

continuously create value for their brands and set standards for their own

Yunakov Architects involves only highly-professional licensed companies

role.

industries, and has in turn influenced the modern Chinese lifestyle.

for outsourcing, such as MEP-engineering.

Both directors are now working independently in the UK.

In the future, the company will further adopt professional management,

Yunakov Architects and constructors of the studio improve their

resource integration and develop strategic design systems. The company

professional skills permanently by studying and assimilating the

has a vision of advancement and aims to become the pinnacle of

experience of domestic and foreign design companies.

Chinese design.

The field of activity of the company includes designing of residential, office,

overseas, and have received numerous awards

Architect of Ukraine, a corresponding member of the Ukrainian Academy

bearing in mind the audiences to

world of culture in all its aspects: music and fashion, film and dance, art,

Lombardini22 operates with two brands: L22 e DEGW Italia.

in the Mediterranean area.

serve more than 200 clients from both China and

facilitating change, but carefully

and ideas, not just following trends. Their inspiration feeds mainly on the

and control of the project and the inspired interaction of diverse skills.

Design was established in 1976. Within almost forty

a n d a d d v a l u e to c o m p a n i e s ,

They always strive to use contemporary language, based on concepts

the full involvement of the client in leadership

consultancy jointly operated by its two founders, Dr

Mr Hong Ko. KL&K Design’s predecessor, Kan & Lau

which helps them all to go forward

estate market with an approach based on

Silver, JAGDA New Designer Award and ADC Award and more.

KL&K DESIGN is an internationally renowned design

Kan Tai-keung and Mr Freeman Lau, together with

They see design as an essential tool

whom they are talking.

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ujidesign is graphic design firm based in Tokyo, has

Commercial Art

and how design can play a integral and productive

commercial, hotel complexes, administrative and industrial buildings, and

professionals. In 2001 two new partners joined: Daniel Ayuso, Creative

cottage in Kiev and other cities of Ukraine as well.

Director and Sandra Parcet, Executive Director.

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Winnie Yuen Design

Adi Stern

Mayer/Reed

Yoshiaki Irobe

Winnie Yuen is a designer working in print

With over 30 years of

Prof. Adi Stern is a graphic designer,

Graphic Designer / Art Director

design, branding and packaging along with

experience working with

typeface designer and a design

Graduated the masters program at the

explorations in userbased interaction design

public spaces, Mayer/

educator. Since 2008, Adi serves

Tokyo University of the Art, then entered

and illustration. Her passion to explore, ability

Reed, Inc. is engaged

as the Head of the Department

Nippon Design Center Inc. After working for

to collaborate with people, methodological

in placemaking and

of Visual Communication at the

Hara Design Institute, he established his

design perspective and deep interest in

wayfinding projects that shape communities. Established in 1977, the

Bezalel Academy of Arts and Design

own design institute in 2011.

human-centered design keep her energetic

22-person, Portland-based design studio provides visual communications,

in Jerusal em. He runs his own

Recipient of the SDA Awards, JAGDA

as a designer. Her website is a display of past

product design, landscape architecture and urban design services in

design studio specializing in both

Awards, JAGDA New Designer Awards,

projects and current works in progress.

the US and internationally. The firm’s work in creating places for human

design for cultural institutions, and in book design and typography.

Winnie studied at Art Center College of Design after three years of

activity explores the social, cultural, ecological and historic contexts that

In addition, Adi writes, consults and lectures on the design and history of

majoring the Interdisciplinary Computing and the Arts major in UCSD.

shape these environments.

the Hebrew script.

Tokyo ADC Awards and D&AD Nomination Awards, One Show Design Silver Pencil. A part time lecturer at the Tokyo University of the Arts.

She was born and raised in Hong Kong, moved to San Francisco in 2001.

Many of his works have been exhibited internationally and have won

Currently, she lives in Los Angeles.

awards worldwide, including the Tokyo Type Directors Club (TDC) Award and the New York Art Directors Club (ADC) Silver and Bronze Awards.

Kolektyf

Dani Rubio Arauna, Rai Pinto

Kolekty f specialises in creating wa y finding systems, wall graphics and infographics.

Dani Rubio Arauna was born in Santander

Kolekty f is design company from Wroclaw

and has a degree on Graphic Design by Eina

(Poland) operating since 2005. They bring together

University. His work focuses on corporate

experienced architects and designers who

identity, editorial design and environmental Eskenazi for six years. Nowadays he runs his own studio in Barcelona for major clients such as Fundació Agbar, Albert and Ferran Adrià, Generalitat de Catalunya or Sant Joan de Déu Hospital. He is a Typography and Editorial design teacher. His work has been recognised many times by awards

They put particular emphasis on creating a coherent vision for each project and give attention to every nuanced detail. Their work centers on the design, materials, and precise execution – they complete each of

their concepts ourselves, right down to the last touches, on site. They are known for their functional and striking graphic statements which have been implemented in utility spaces.

such as ADC*E and Laus.

Rai Pinto Rai Pinto studied Industrial Design at Escola Massana and has a degree on

KL&K DESIGN

Interior Design by Eina University. He has worked with Llongueras Clotet Architects and other renowned teams. His work as a freelance includes

practice based in Chicago. They work

Fighting against perfection with hand drawn typography

with the design, cultural, and civic

through My Cup Of Type (.com). And collecting quotes, aka.

communities.

knowledge bombs, and presenting them beautifully on

As designers they cultivate

Whatever Floats Your Quote (.com).

conversations. They engage

Recently he’s taken the design mentality into filmmaking,

in a process of discovery and

and as a result co-founded a studio focusing on presenting people, services, and products through video.

e x p e r i m e n t a t i o n , fo c u s i n g o n concept, craft, and artful investigation. Their work lives at the threshold between art and science, resulting in keepsake artifacts and unique experiences. Thirst believes design is integral to the human condition. It is ubiquitous, nourishing and transformative. Design allows them to connect with one another and compels them --to slow down and pay attention.

an internationally

as well as designs for private homes and commercial spaces. His studio is

renowned design

located in Barcelona. His work has been published many times by national

consultancy

and international magazines such as Interior Design Magazine, Bob to name a few.

Thirst is a communication design

more side projects than he has clean socks.

KL&K DESIGN is

projects for Casa Decor, La Casa dels Xuklis and Sant Joan de Déu Hospital,

Magazine, Casa Viva, Diario Design, Proyecto Contract and Via Sanitaria just

Thirst

Simen Strøm Braaten is a designer at heart. He also has

oo len ht he D tp le es s:/ nle ign /is e@ B su y oo u. ah ks co o to m o.c re /h o el m en le eo nl in eb

graphic s. He has teamed up with Mario

originated from artistic circles.

Simen Strøm Braaten

oo ks to re

Dani Rubio Arauna

jointly operated

by its two founders, Dr Kan Tai-keung and Mr Freeman Lau, together

Plural Berlin

GALAXY SIGN DESIGN

with Mr Hong Ko. KL&K Design’s predecessor, Kan & Lau Design was

In 2013 , obedience to nearly 17 years

Plural is an association of

and expanded with offices in Hong Kong, Shenzhen, Beijing as well as

extensive experience in sign system

information design experts

business interests in various parts of the PRC. They serve more than

design, they set up their own business

based in Berlin.

200 clients from both China and overseas, and have received numerous

premises named “Yun Han (from the "book

Since 2005 Plural has

awards in the industry. As trend-setters in brand design in China, they

of songs" means “galaxy” .)Times” It’s a

been developing targeted

lead with international perspective and local experience, as well as an

group of dynamic team of professionals,

communication strategies, turning information into orientation and

adept hand of amalgamating culture and business. In 2013, KAN & LAU

t h e y w a l k e d i n t h e fo r e f ro n t o f t h e

conceiving sophisticated interactive tools.

DESIGN was officially renamed KL&K DESIGN to mark the co-operation of

development trend of clingy times and

The members of Plural attach great importance to working together with

the three generations of partnership, which with a dedication to innovate

constant innovation.

their clients and regarding them as partners. In this manner they conceive

established in 1976. Within almost forty years, the company has grown

Integral Ruedi Baur Founded in 1989

world-class China design, keeping us abreast of the times.

Since its establishment ,the company has been committed to

landmark projects with institutions and organisations from the fields of

in Paris and 2002

The company caters for a wide array of design domains, each with

sign system design and research , such services as five-star hotels

technology, culture, science and media.

in Zurich, Intégral

a dedicated department. Their clients will receive an integrated suite

,chambers,commercial complex, condominiums, office premises, major

Both Prof. Severin Wucher and Dipl.-Designer Kilian Krug are involved in

Ruedi Baur is an

of comprehensive design services, from cultural analysis, strategy

transportation hubs, parks. At present, Yun Han Times has become the

university teaching and academic programs, along with participating in

interdisciplinary studio dealing with questions of identity, representation

positioning, brand identities, packaging and product design, marketing

most competitive strength design agency of China.

international design juries.

and orientation. The focus of their work is corporate design and

and promotion, wayfinding system as well as interior design. Well-known

The advanced designs and ideas have won us the trust from many

wayfinding systems, but also classic graphic design and identification

past clients include leaders of their respective industries: Bank of China,

renowned enterprises within home and abroad. Including Intercontinental

systems, scenography, public space design, digital and interaction design.

Watsons Water, Erdos, Li Ning and Bama Tea, and governmental projects

Hotels Group, Hilton Hotels Group, Banyan Tree Hotels & Resorts, Poly

Conceiving orientation in space as a complex interaction between many

such as Kai Tak Development. Our work has helped these enterprises

Group, Wanda Group, SOHO China, ZhongHong Group, CapitaLand,

different components and impulses, their understanding of wayfinding

continuously create value for their brands and set standards for their own

YOPINDO Group, Zhonghai Property Group, Ren Xin Real estate, Nan Tong

exceeds the conventional approach of traditional signage. It is their

industries, and has in turn influenced the modern Chinese lifestyle.

Oasis Group, Central China Group, He Nan, Pengxin Group, Ronghui Group,

concern to integrate information and signs into architectural space. In a

In the future, the company will further adopt professional management,

Chong Qing, Guo Min Group, Tian Jin, Hong Shan Group, Wonder Mall Group,

specific environment, depending on context and assignment, they strive

resource integration and develop strategic design systems. The company

Shi Jia Zhuang, Touch SPA Group, Shang Hai, etc.

to sharpen users’ senses to comprehend and orient themselves in space.

has a vision of advancement and aims to become the pinnacle of Chinese design.

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Stephaniejkim

studio fnt

They are friends who meet at midnight under

Studio fnt is a Seoul based graphic design studio

the full moon to find Klmjro.

that works on prints, identities, interactive/digital

Klmjro is a way of thinking, but it is also a

media and more. It collects fragmented and straying

place. It is a place where things are upside

thoughts, and then organises and transforms them

down, inside out, bottom up and vice versa. It

into relevant forms.

is a place of the foreign and of the unknown. It is an ecosystem that nurtures their curiosity and synthesizes their ideas. Klmjro is the action, not the result. It is the murky hours between points A and B. It is a fleeting moment whose ephemeral glow can only be shared as the shadow that it casts.

Sägenvier DesignKommunikation S ä g e n v i e r i s a n a g e n c y fo r d e s i g n communications in Dornbirn / Austria c o n d u c te d b y S i g i R a m o s e r . T h e y a r e

Rama Studio

communication designers with heart and mind and are positioned between small

Rama Studio is a graphic design studio working in a

graphic ateliers and large full-service agencies.

broad range of media, often with collaborators from

Sägenvier, like it is today, has arisen from a

other creative disciplines. With a background in art and

27 year-partnership of Sigi Ramoser, Sandro

Scherling, Kurt Dornig and Hermann Brändle.

music Rama Studio maintains a creative and critical Architecture has been a continued field of interest and

brand “Sägenvier” chains the other free ateliers. A range of cooperation’s

collaboration, working with visual identity and spatial

with known ateliers and agencies in Vorarlberg and Vienna verify the open

design for cultural institutions and architectural offices.

and project-centered way of working, enrich and encourage their good

Rama Studio's work combines the precision of digital

positioned work for design and communication.

oo len ht he D tp le es s:/ nle ign /is e@ B su y oo u. ah ks co o to m o.c re /h o el m en le eo nl in e

bo ok st o

approach with ambitious and personal results.

After the foundation of an own atelier by Kurt Dornig in 2011, the umbrella

tools with the spontaneous and analogue, creating

living and diverse visual solutions — ranging from clear, simple communication to curious and challenging design.

Rama Studio was founded in 2007 by designers Stefan Mylleager and

22quadrat

Thomas Frederiksen, both MA in design from the Danish Design School.

Beetroot

"The only joy in the world is to begin. It is good to be alive because living is beginning, always, every moment." Cesare Pavese (1908-50), Italian writer T h e c r e a t i o n o f t h e i r wo r l d , s h a p e d b y unrestrained powers, expressivity, coincidence, pure energy and the union of billion small particles to one vast entirety, that constantly

awarded communication design office and think

moves and evolutionary-revolutionary changes. Eternal processes:

tank that provides design services and solutions to a

recurring beginnings creating something new - sometimes dynamically,

worldwide clientele. Their team is consisted of experts

sometimes completely quiet, sometimes explosively expressive,

with a wide and diverse arrange of skills in the creative

sometimes slow, sometimes uncontrollably flowing.

field. Beetroot's creative mission is to discover, develop

The smallest part, the dust particle: seemingly insignificant, however its

and utilize the true essence of a brand, product or

conglomeration creates stars and planets - life. 22quadrat interpreted the

service and then grow and expand them into being

particle to its simplest graphical archetype - the dot. Comprehensible for

recognised, appreciated and praised all around the

every human being, regardless their age, nationality, education and faith.

globe.

Out of this arose the allegory of the Schunk-world: thousands of

Beetroot Design Group is a visionary creative group

employees are part of a bigger picture. They are individual carbon particles,

based in Thessaloniki that creates and develops self-initiated projects.

able to create something new and great, but only in connection with

Their team is consisted of talented and enthusiastic designers with a

other elements.

common goal to communicate via stimulating social awareness with

This dynamic, constantly changing, process moves through the entire

a sense of humor. The team's interests vary from philosophy to politics,

architecture, accompanies the visitors, takes them by their hands -

from ethics to aesthetics, from the self to social issues and its approach

always in motion between loud and quiet.

challenges norms, abolishes restrictions and champions the teamwork

The first drawings of mankind already originated in hand and finger prints."

Beetroot Design Group is a Thessaloniki based, multi-

spirit.

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