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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. 2

VOL.2

COMMERCIAL/EDUCATION

最佳导视设计(中) 商业 / 教育

最佳导视设计

徐鑫,靳晓龙,李丹,刘欢,刘舒雨 译

平面设计

中 ( )

定价:118.00 USD ( 精 )

Hi-Design publishing


VOL. 2

Best Wayfinding 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

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Design COMMERCIAL/EDUCATION

最佳导视设计(中) He

商业 / 教育

徐鑫 靳晓龙 李丹 刘欢 刘舒雨

HI-DESIGN PUBLISHING


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Best Wayfinding Design

最佳导视设计

Copyright ©2015 by Hi-Design International Publishing (Hong Kong) Co., Ltd.

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.

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Best Wayfinding Design

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最佳导视设计


CONTENTS 目  录

151 Dalian AVIC International Square 中航国际广场

154 Hyatt Regency New Orleans Hotel and Convention Center 新奥尔良凯悦酒店和会议中心

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157 Custom Arabic Corporate Typeface for Burj Khalifa in Dubai 迪拜哈利法塔的自定义阿拉伯办公字体设计

商业类

Warminska 购物中心

080 Capri on via Roma

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commercial

076 Warminska Shopping Gallery 卡普里罗马市场

091 The Potsdamer Platz Quarter 安巴卡德罗中心

017 Akasya Acibadem New Generation Life Complex 安卡萨・阿斯巴德木新生代生活购物区

023 Centrum Galerie, Dresden 德累斯顿购物中心

028 Dot Baires Shopping 多特拜尔斯购物中心

034 Brookfield Place 布鲁克菲尔德大厦

039 Crown Metropol Hotel 皇冠大都市酒店

043 The Style Outlets 格调奥特莱斯

046 Melbourne Central Wayfinding 墨尔本中心导示系统

048 Westland Shopping Center 韦斯特兰购物中心

052 9h Nine Hours Hotel 9h 九小时酒店

062 Arneken Galerie, Hildesheim 希尔德斯海姆阿奈肯拱廊

066 Rosenberg Shopping Centre 卢森堡购物中心

069 Zorlu Center Shopping Center 佐鲁购物中心导示系统

098 QT Hotel QT 宾馆

education 教育类

102 Onomichi U2 尾道 U2

107 CityCenter 城市中心

112 Signage for Xishan Wanda Plaza, Kunming 昆明万达西山广场导视

116 Recoleta Mall

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008 Embarcadero Center

波茨坦广场

雷科莱塔购物中心

120 Boheme Bondi Development 邦戴海滩波希米亚购物中心

123 Xin Lin Wan Hotel, Xiamen 厦门全总疗休养中心

129 World on Yonge 央街世界

135 Signage of Hotel Indigo, Xiamen Harbor 厦门海港英迪格酒店

141 Haevichi Hotel 海维彻酒店

146 Gemdale Plaza, Beijing 北京金地中心

148 Vanke Zhubin Garden 万科珠宾花园

166 Federation University 澳大利亚联邦大学

170 Kangan Institute, Automotive Centre Of Excellence – Campus Way Finding Design 坎培门学院,卓越汽车中心——校园导示设计

182 Wayshowing at Te Ara Hihiko Te Ara Hihiko 的导视系统

188 CIT ULACIT Center for Innovation and Technology Transfer 科技大学创新与技术转化中心

192 Condé Nast College of Fashion & Design 康泰纳仕时装设计学院

196 Chobham Academy 乔巴姆学院

202 Destination UBC 目标卑诗

206 The Signage and Environmental Graphic Design for the Practice Center of Tongji University 同济大学实践中心标识和环境图形设计

212 Wayfinding System for the New School University Center 纽约新学院中心大楼

219 Monash University Wayfinding 莫纳什大学导视系统

221 University of the Pacific 太平洋大学

228 London School of Economics 伦敦政治经济学院


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商业类

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commercial


Embarcadero Center

Vice President In Charge

Location

Nate Cherry, Katie Sprague

California,

安巴卡德罗中心

Creative Director

United States

Cody Clark

Photographer

Design Team

David Whitcomb

DesignER

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RTKL

Benny Chu, Megan Cerda

Embracing the existing architecture and rejecting the demolition proposed

Rather than destroying or covering the architecture as other firms

by other design teams, RTKL is revamping the iconic Embarcadero Center

advised, RTKL’s team opted for a more sustainable approach, embracing

through a comprehensive branding, digital navigation and media program.

and repositioning the center’s architecture instead of constructing

Despite being an example of progressive urban development and a San

something from scratch. On a practical level, this approach reduces

Francisco icon since the early 1980s, the Embarcadero Center was in

material waste, but it also challenged the designers to find the virtue in

need of a solidified pedestrian experience, a new wayfinding and identity

the existing structure and pay tribute to its status as a San Francisco

program, and an overall rejuvenation. RTKL was selected by Boston

landmark.

Properties to master plan public and retail spaces, as well as develop a

The signage fabricator coordinated the removal of 15 tons of existing

new branding concept embodied through a wayfinding strategy and a

signage from the four buildings. Most of the old signage was broken

promotional and merchandising campaign. Ahead of current trends, the

down and recycled under San Franciscos Green Halo Program. Some of

team is committed to integrated digital signage and wayfinding, including

aluminum plate material was reused for structural reinforcements internal

pillars with navigation screens and apps for smartphones and tablets.

to the new signage system.

The digital program will not only pull Embarcadero Center into the 21st Century, but will make it easier to organize and advertise neighborhood events and connect the center to the wider community.

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RTKL 公司在主张维持现存建筑结构,反对其他设计团队提出的拆除计划的同

RTKL 团队在为安巴卡德罗中心设计标识导视系统时没有像其他公司建议的那

时,也正在通过综合品牌、数字导航和媒体方案等手段努力改进安巴卡德罗中心

样拆除或覆盖原有的建筑结构,而是选择了一种更为可持续的方式:保存并利用

的标识导视系统。

中心的建筑结构,而不是一切从零开始。从实用的角度来说,这种方式减少了材

虽然自 1980 年起,安巴卡德罗中心就是城市前进发展的典范、旧金山的地 标性建筑,但安巴卡德罗中心迫切需要一种确定的步行体验,以及新型的标识导

料的浪费,但同时也对对设计师提出了挑战,需要从现有结构中找到优势,并注 意本案旧金山地标的身份。

视系统,和全方位的革新。RTKL 公司由波士顿房地产公司选中,负责总体规划公

标识制作者将 4 座建筑上拆除的 15 吨重的原有标识进行了整合,大多数旧

共和销售空间,并通过导视策略、营销和商业活动拓展全新的品牌概念。领先当

的标识都已分解并由旧金山绿晕组织回收循环利用。一些铝板材被重新用于新的

前潮流,本团队致力于研发一体化数字标识导视系统,比如柱子上的导航屏幕,

标识系统的内部加固结构中。

智能手机和平板电脑中的相关应用等。这项数字程序不仅能够使安巴卡德罗中心 更好地融入 21 世纪,还能够使该地区更利于组织、进行相关宣传活动和策划,并 使安巴卡德罗中心与更广阔的区域相联系。

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Akasya Acibadem New Generation Life Complex 安卡萨・阿斯巴德木新生代生活购物区

Client SAF GYO A.Ş. (Saf Reit) Design coordinator (owner) Ms.Zeynep Akdilli Oral, Ms. Nazan Ayasgil, Ms.Yasemin Kaya Location Istanbul, Turkey

Designer

Photographer

bomancreative

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Akasya and Mr. Ali Bekman

Akasya Acibadem - New Generation Life Complex in Istanbul, Turkey – a

With further reference to the tree, all the information counters are

rising star on the shopping mall scene by well know developer SAF GYO

stylishly themed as bird’s nests, curved with a woven straw pattern and

A.Ş. (Saf Reit) opened its doors in 2014. Akasya takes its name from the

surrounded by a casual seating arrangement.

tree by same name but in Turkish there is also a word play meaning ‘white’

Restroom signage uses the familiar male female icons now pointing you

and ‘Asia’.

in the right direction.

How does a signage / way-finding system stand out in a space where

Double-sided interactive floor directories have raised touch screen

every tenant is screaming out for attention? With a wealth of expertise

LCD panels on one side and lowered panels on the other allowing for

in shopping mall and retail branding projects undertaken throughout

wheelchair access and children.

China, Hong Kong, Taiwan and the Middle East, Thai / Danish design

bomancreative also designed the restrooms along with various elements

studio bomancreative were invited to come up with solutions.

in the mall in parallel with the signage and wayfinding system.

A simple sandwich construction with ‘cut-out’ lettering and graphics in white and warm grey, referencing the tree, was chosen. The suspended ceiling signage has a white background with warm grey graphics on one side and warm grey backing with white graphics on the reverse. To help with orientation each sign also indicates the floor level.

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oo ks to re 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 安卡萨・阿斯巴德木——土耳其伊斯

坦布尔的新生代生活购物区——是购物中

心的后起之秀,2014 年由著名开发商 SAF  GYO A.S.(saf 房地产信托投资基金)开放。 安卡萨取名于一棵树,在土耳其的文字游 戏中意为“白色”和“亚洲”。

标识 / 导视系统如何在竞争激烈的环

境中脱颖而出?出于对中国、香港、台湾

和中东地区购物中心和零售品牌的设计有 丰富的专业经验,Thai / Danish 设计工作 室伯曼公司应邀设计解决方案。

标识采用简洁的夹层结构,以安萨卡

树为参照,标牌为暖灰与白色相间,标明 信息的字体淡出。吊顶标识的一面为白底

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暖灰色标牌,背面则为暖灰色底白色标牌。 为助于定位,每个标识上都标明了楼层信 息。

所有的咨询台以鸟巢为时尚主题,附

有弯曲的草编图案,近一步参考了安萨卡 树的内涵,周围随意设置了坐椅。

公共厕所的标识采用熟知的男女性别 图标为你指引正确的方向。 双面互动屏幕中的一面为位置较高的 LCD 面板触摸屏,另一面位置较低,供儿童 和轮椅用户使用。 伯曼公司还结合商场中的各类元素为 洗手间设计了风格一格的导视标识。

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Centrum Galerie, Dresden 德累斯顿购物中心

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Multi Development Germany GmbH Architect

Designer

Peter Kulka Architektur

Nathanaël Gourdin, Katy Müller, Antje Kolm, Daniel Perraudin, Katharina Triebe

Dresden GmbH

With over 120 retail units and a sales area of 52,000 square metres,

Taking a reference from the refracted form of the honeycomb on the

the Centrum Galerie Dresden is one of the largest inner-city shopping

exterior facade and the restrained black and white colour scheme

centres in Dresden. The architectural design of Peter Kulka integrates

of the architecture; monochrome, faceted information bearers with

the characteristic sculptured aluminium honeycomb of the original

backlit lettering were designed. The black background contrasts with

department store of 1978 into the new facade. The aim is for the

the light information, with its blurred contours reminiscent of neon

signage system to blend into the unique architecture whilst at the

advertising. They form a visual unit with the selected font and the

same time satisfying all functional requirements.

pictogram system.

The typology of the information elements comprises signs positioned on columns, suspended from ceilings and located flat upon walls or protruding. Along the mall are sign columns at the access and departure points of escalators and lifts, positioned parallel to the direction of movement. They combine an overview of the building with directions for the various floors. With regard to customer satisfaction, a cross-generational and internationally comprehensible pictogram system was developed.

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Client

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德累斯顿购物中心是德国最大的城市购物中心之一,占地 5.2 万平

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方米,拥有 120 多个零售摊位。皮特・库尔卡的建筑设计将 1978 年原 始商店的特色铝雕蜂窝结构应用于新格局中,标识系统设计既要融入到 独特的建筑风格中,也要满足所有的功能要求。 标识呈现信息的样式多样,有些固定在柱子上,有些悬挂在天花板 上,也有些固定在墙壁上或向外突出。标识柱沿商场置于扶梯和电梯的 出入口处,与移动的方向平行,标明建筑框架和不同楼层的方向。根据 客户的满意程度,专门开发了一套国际通用的跨时代图示符号系统。 本案借鉴外墙立面的蜂窝折射形式和内敛的黑白配色方案;信息以 背光刻字的形式展现在黑白底板上,黑色背景与发光字体形成鲜明对比, 其模糊的轮廓有霓虹灯广告之感,其所选字体和图示符号系统构成一个 统一的视觉整体。

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Dot Baires Shopping

Design Company Diseño Shakespear Location

多特拜尔斯购物中心

Buenos Aires, Argentina Client

Designer

APSA

Juan Shakespear, Ronald Shakespear, Martina Mut, Gonzalo Strasser

Photographer

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Alejandro Calderone

Conceptual values were taken in the original proposal where it defines the comercial strategy of the new shopping with the intention of placing it in the proper market area through innovation,technology and design. The architecture clearly shows the statements that formed part of the birth of the logo. The Isotipe morphology takes it's curves, movements and dynamic. Other elements of plan such as the roofs of the atrium and the pergolas over the terraces are mimicked by the use of leaves in the symbol of the brand, replicating its shape and composition.

本案的最初提案包含了购物中心的价值理念,即其商业战略,是通过创新、 科技和设计的手段使其置于合适的市场空间。建筑风格清晰地展示出品牌商 标诞生时的宣言。图形文字形态延续了其曲线、动态、流动型结构。正厅的 屋顶,阳台上的悬挂标识等都模仿了品牌商标中的树叶元素,复制了它的形 状和组成部分。

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Brookfield Place 布鲁姆菲尔德区

Design Company

Photographer

Gensler

Brookfield Place © Chris Leonard, courtesy of Gensler

Client Brookfield Properties Location

Brian Brindisi, AJ Mapes, Matthew Calkins

New York, NY

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Designer

Set over eight million square feet, Brookfield

Place sets a benchmark as the most robust retail development in Manhattan's downtown revitalization. To conceptualize a strategy for

the $250 million development housing world-

class retail, dining, and cultural programs,

布鲁姆菲尔德区,占地超过八百万平方英尺,被视为曼哈顿城区

Gensler understood the importance of

复兴计划中最强健的零售业发展地区。为定位两亿五千万房产开发、世

turning Brookfield Place into a lifestyle-based

界级购物、用餐和文化项目,Gensler 公司理解将布鲁姆菲尔德区转变

experience that delivers on its premium

为高生活质量区域的重要性,而这要得益于其优质的便利设施和前卫的

amenities and advanced arts program.

艺术项目。 在原有基础上进行革新,使得驾驭这个世界金融中心显得非常困

notoriously difficult to navigate, World

难, 改名后的布鲁姆菲尔德被定位为工作、生活、购物和用餐的首选

Financial Center and positions the renamed

之处。消费环境的定位是转变的重要方面,体现了发展的新气象。

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This renovation re-brands the former,

Brookfield Place as a premier destination for

通过访问调查、远景讨论、现场审查和建筑设计分析,Gensler 公

work, lifestyle, retail, and dining. Branding of

司的设计使我们全面了解了标识导视系统是如何更好地加强品牌效应,

the customer environment is a key aspect of

并利用此种信息使布鲁姆菲尔德形象化。设计概念意为永恒,并通过材

this transformation and embodies the new

料、结构和形式的简洁,来显示新布鲁姆菲尔德区的个性。

personality of the development. T h ro u g h i n te r v i e w s u r ve y s , v i s i o n i n g sessions, site audits, and architectural design analysis, Gensler established a thorough understanding of how signage and wayfinding could enhance the greater brand experience, and used this information to envision Brookfield’s new space. Design concepts were created to be timeless and to reflect a simplified vocabulary of materials, texture and pattern to embody the new Brookfield Place personality.

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Crown Metropol Hotel

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皇冠大都市酒店 Designer

Maurice Lai, Ryan Guppy

Design Company

Architecture and

Fabio Ongarato Design

Interior Design

Client

Bates Smart

Crown

Photographer

Creative Director

Shannon McGrath

Fabio Ongarato

Crown Metropol, the third hotel in the Crown Entertainment Complex,

皇冠大都市酒店是墨尔本皇冠娱乐中心的第三家酒店,于 2010 年 4 月开业。酒

opened in Melbourne, April 2010. Its 658 rooms making it the largest hotel

店共包括 658 间客房,这使其成为了澳大利亚境内最大的酒店,也是首个皇冠旗下的

in Australia and the first under the Crown umbrella to cater for a more

休闲酒店,更好地满足了城市商务和休闲消费者的需要。此项目的建筑设计师是贝兹

urban business and leisure clientele. With architecture designed by Bates

斯玛特,FOD 公司主要负责酒店的名称、品牌标识、印刷品标识牌和酒店以及“28”

Smart, FOD was responsible for the name, brand identity, print collateral

酒吧的相应标识的设计。“28”是位于酒店第 28 层的高级天际酒吧和“ISIKA”住宅

and signage design for not only the hotel but also ‘28’, the exclusive sky

式水疗馆。这些新型城市休闲地点的图形语言和视觉标识给人们带来了安静私密的高

bar on Level 28 and residential spa ‘ISIKA’. The graphic language and visual

端享受,这也与其建筑灵感相一致。

identities for these new urban leisure destinations reflects a quiet, personal sophistication, in keeping with its architectural aspirations.

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The Style Outlets

Client

格调奥特莱斯

Design Direction

Neinver Rocio Martinavarro Location

Designer

Barcelona, Spain

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Mayúscula Brands

Corporate wayfinding system for Neinver's shopping centers The

本案为内文的购物中心所设立的企业导视系统。在原有的视觉识别系统

Style Outlets. Based on an existing visual identity, consisting of

基础上,包括三角形条带和为每个中心设计的相应色彩,Mayúscula 公司的

triangles strips and a corporate color for each center, Mayúscula

设计在黑色的背景上突出信息,达到最佳可视化状态,将色彩置于第二层,

has worked a solution that highlights the information on a black

如斜角和标识的两侧。本案的导视系统是整体性的,双语的和模块化的。作

background for optimum visualization, relegating colors to a second

为主要元素的三角形被突出强调,并转换运用到所有其它类型的标志中:如

level on bevels and sign sides. The wayfinding system is corporate,

在斜角,在指引位置和方向的较高标牌上运用,以引起立即关注,在顾客示

bilingual and modular. The triangle is enhanced as the main element

意图或停车场的运用,来标明区域和楼层。

and transferred to all sign typologies: in bevels for positional and directional ceiling and wall signs, in a triangular prism for corporate totems, on the coronation of floor totems to call immediate attention, in custom pictograms or in the parking lot to identify zones and floors.

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Melbourne Central Wayfinding 墨尔本中心导视系统

Design Company Büro North Client GPT Completion Date

Designer

2013

Soren Luckins, Finn Butler

The Melbourne Central shopping complex is one of the city’s major retail hubs Buro North have been working closely with GPT Group to develop a new Wayfinding strategy for the centre, transforming it from an inwards-focused precinct strategy to one that focuses on the site as a major city thoroughfare. The key has been to connect Melbourne Central to its surrounding destinations – and create a strong integration with the CBD network. By looking closely at how users treat the space, the strategy has been developed to address the user’s needs more accurately by promoting

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ease of movement, connectivity to retail spaces,

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landmarks – universities, public transport, public

increased retail activity and circulation through the centre.

The design solution has been created to be

responsive and sympathetic to its context,

with materials drawn from the architectural fabric. The aesthetics of the signage have been considered so that they comfortably exist within, and apart from the retail context.

墨尔本中心商业建筑群是这座城市主要中心之一, Buro North 公司与港普泰建筑设计机构携手为它设计了一 种新型的导视系统,从而使其从对内的管辖模式转变成以 地址为中心上,而该地址位于城区主干道上。关键是要将 墨尔本中心与其周围的地标相关联——大学、公共交通、

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其它公共场所等——并且要融入周围的 CBD 网络。 通过仔细观察用户的行为方式,一系列能够精准定位 用户需求导视策略被制定出来,包括:提供更便捷的指示, 增强与零售区域的联系,增加零售活动和人流等。 这一设计方案的材料是从原建筑结构中所得,因此与 购物中心的环境是琴瑟和鸣的。标识的美学效果也被考虑 在内,从而使其脱离商业环境而成为美好的存在。前期一 些标识部件已经安装完毕,看起来非常完美。

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Westland Shopping Center 韦斯特兰购物中心

Location Bruxelles, Belgium Photographer Thomas Van Den Driessche

DESIGNER

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Hoet&Hoet, Florence Watrin

The Westland Shopping Center mall is located at the heart of Brussels

Hoet&Hoet developed a colourful identity that reflects the diversity of

(Belgium). Built in 1972, its identity had become obsolete and incoherent. It

brands and the people who go there, with transparency effects that

was time to redefine its guidelines and differentiate the place.

emphasize accessibility, meeting and sharing.

Working with the mall managers and a specialist firm, Hoet&Hoet first

The graphic identity highlights content and invites to discovery, providing a

carried out a market study. It then sought to put words to ideas to define

multi-dimensional visual experience.

a positioning that could be translated into all types of media and forms of communication. The message is based on four positioning keywords and the tone of voice: conviviality, accessibility, diversity and discovery. A warm tone, open and welcoming, positioning the "Westland Shopping" brand as a village in the heart of the city, a village where it’s nice to walk around.

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韦斯特兰购物中心座落于布鲁塞尔(比利时)的中心。始建于

1972 年,识别系统早已过时且不甚连贯,是时候重新定义并进行修 整了。 与商场管理人员和专业公司合作,Hoet&Hoet 公司首先进行了 市场调查。力求通过文字来表达一个定位,此定位可应用于所有类 型的媒体和传播形式。这些信息是基于四个定位主题词和基调:欢乐, 方便,多样和发现。亲切的基调,开放而且友好,将韦斯特兰品牌 定位为在城市中心的村庄,能好好散步的村庄。 Hoet&Hoet 设计了多彩的标识系统,反映了品牌的多样性,到 那里的人们,能感受到强调方便,遇见和分享等强烈效果。 图形标识强调内容,倡导发现,为人们提供多维的视觉体验。

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9h 九小时酒店

Masaaki Hiromura Interior Design

DESIGNER

Takaaki Nakamura

Fumie Shibata

Photographer Nacasa & Partners

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Fumie Shibata

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9h Nine Hours Hotel

Product Design

It is said that the time of staying in a hotel for a business traveler is

foster good relations. Rules can be forced and restricting, but manners

approximately nine to ten hours. Neither more nor less than that. A

act as a union bringing people together.

hotel stay should preferably be simple, time when you can relax and be

9h is a communal space for people to relax and be comfortable. 9h

yourself. 9h is the concept of staying with seven hours sleep combined

begins as a place for people who appreciate and share common

with an additional hour for sleeping and grooming.

courtesy.

9h offers organic and inorganic elements of a hotel conceptualized in a consistent design manner. Simply designed 9h has neither inconsistency nor meaningless decoration. All the objects fit into one of three design categories: FLAT FORM and TEXTURE. Each category has its own appropriate value simple and satisfying. No luxuries and yet contentment is created by a new form of (design) Practicality. An infrastructure is defined to be a key urban structure. It remains constant, unchanging and reliable even over the course of time. 9h aspires to be an infrastructure to supporting business lifestyles. 9h offers the same consistent services and facilities. In the city a place offering space and comfort. Manners come to light in any places where people interact. They help to

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一名商旅住店的时长大约为九到十个小时,不多也 不少。住店简约为好,在此期间你能够放松下来做你自 己。9h 就是以七小时睡眠、一小时休息与一小时洗漱的 理念而设计。 9h 将有机与无机元素融入酒店的设计理念。设计 简洁的 9h 酒店没有不协调或多余的装饰。所有物件的 设计都符合三大设计类别之一:平面、模板和构造。每 个类别都有其简约而令人满意的使用价值,其令人满意 之处不在华贵而在其新颖的实用价值。 基础设施是重要的城市结构,甚至长期保持持久性、 不变性和可靠性。9h 旨在成为提供商业化生活方式的基 础设施、始终如一的服务和设施,并成为城市中舒适的 文明举止显现于任何人际交往的场所,这有助于建 立良好的关系。规则以强制的方式限制人们,而文明的 举止能够让人们聚一起。 9h 酒店是一个舒适轻松的共享空间,是欣赏文明、

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举止文明之人的共同休憩之所。

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休闲场所。

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Arneken Galerie, Hildesheim

希尔德斯海姆阿奈肯拱廊街

Client Multi Development Germany GmbH

Designer

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Nathanaël Gourdin, Katy Müller, Katharina Seitz, Friederike Kühne, Felix Wissing

The Arneken Galerie expands the city-centre shopping facilities available

阿奈肯拱廊街扩展了希尔德斯海姆城市中心购物设施,城市建筑被重新规划,

in Hildesheim. Urban structures are recreated, joined by "new" square

加入了“新”的广场和街区。零售店铺、公园区和儿童护理中心被规划在不同层

and street situations. Retail units, park areas and a child care facility are

次的空间中。该购物中心的零售区占地 18 平方千米,并定于 2012 年开放。

planned on several levels. The shopping centre, with a retail surface area

东西、南北向的军工大路交叉点是希尔德斯海姆早期贸易中心形成的基础,

of 18,000 m², is set to open in 2012.

中世纪的商业活动常聚于此。单个信息标识上的线条图案呈现出交易线路和城市

The crossing point of the great east-west and north-south military

的内部构造。这些图案穿过整个地面框架和部分标牌。个性化的图标系统通过非

roads formed the basis for the early trading centre of Hildesheim, where

语言交流为游客与外国观光者提供了基础设施信息。

economic activity was already developing in the middle ages. The lined

标识系统应用于室内外,为观光者提供了阿奈肯拱廊街六个楼层的信息,以

patterns on the individual information elements represent trading routes

及公园区和城市的持续通道的信息。客观现代化的圆角设计为所有类型的信息标

and inner-city structures. These are found across the whole of the floor

识提供了基础。

overviews and part of the sign posts. An individual pictogram system augments the infrastructural information via non-verbal communication for tourists and foreign visitors. The signage system is employed in both indoor and outdoor areas. It provides visitors with information on 6 floors within the Arneken Galerie, with its park areas and the continuing passages in the urban area. An objective and contemporary design with rounded edges forms the basis for the typology of all information elements.

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Designalltag Rinderer GmbH

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卢森堡购物中心

Client

Graphic Designer

UBS Fund Management (Switzerland)

Adrian Roth, Fabian Aeschlimann, Fabian Rietmann, Janine Kühner

AG Genossenschaft Migros Ostschweiz

Location

Design Director Felix Rinderer

Winterthur, Switzerland

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Rosenberg Shopping Centre

The Rosenberg Centre is a combination of retail, restaurant and living

卢森堡购物中心是一个集零售,餐饮和居住于一体的购物中心,有超过四十

space. Over forty specialised stores, children’s play area, parking space

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for 300 cars and 400 bicycles plus 151 apartments are housed in a

座公寓,均坐落在这座具有现代设计感的建筑里。

contemporary architectural design.

这栋大楼的总体布局和结构特点是本案的路牌和标识的设计灵感。一方面,

The layout and construction of the building were the source of inspiration

拔地而出的斜线被运用到了路牌的设计上,另一方面,这栋楼的正面形象也被纳

for the form of the standing signs and notices. On the one hand, the

入到其它标识设计元素的建构中。这些设计元素给予了卢森堡购物中心不可混淆

skewed lines of the floor plan were reflected in the standing signs, while

的识别形象。

on the other the features of the building’s facade were projected on to

这些元素选材精良,制作精心,依据标识牌的不同,文或是被刻入,或是被

the arrangement of the other signage components. These elements give

表面装裱,或是被喷漆,或是被粘贴上去。煤炭色、黄色和白色的使用是根据这

the Rosenberg Centre its own unmistakeable identity.

栋楼的颜色引用而来,并且这些标牌均被安放在足够显眼的地方。

The elements are well made using top-quality materials; depending on the signs in question, lettering is engraved, surface-mounted, painted or stuck on. The anthracite, yellow and white colouring used for the signs was

用在新建的卢森堡购物中心的标识系统确保了游客、快递公司和住户能准确 轻松地定位自己的位置,也保证了快递送达的效率和居住购物环境的舒适。

borrowed from the building and the elements positioned to ensure that they stand out clearly from their surroundings. The signage used at the newly-built Rosenberg Centre makes certain that visitors, delivery companies and tenants can orient themselves with ease and guarantees efficient delivery and a pleasant stay.

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Zorlu Center Shopping Center

佐鲁购物中心导视系统 DesignER

Location

Gökhan Karakuş

Istanbul, Turkey

Industrial Designers

Photographer

Gözde Kavalcı, Gamze Derinöz

Gözde Kavalcı

Graphic Designers Philippa Tamsin, Ezgi Aşar

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Emedya Design, Istanbul, Turkey

Design Lead

The Zorlu Center Shopping Center wayfinding project was realized in

highly specific architectural style.

the mixed used Zorlu Center project located in the middle of Istanbul

The Emedya Design Zorlu Center shopping center wayfinding project

between the business district of Zincirlikuyu and the residential areas of

consisted of the four primary wayfinding sign types: identification,

Levent and Ulus. The Zorlu Center Shopping Center consists of 170.000m2

direction, orientation and regulation. Totems containing floor

floor space over 4 floors containing shops, cinema, restaurants, services

identification, floor plans and interactive touch screens were placed on

and children’s play area as well as being the central element connecting

the circular circulation route of the connector wayfinding strategy both

the other primary functions of Zorlu Center that include the Raffles

in outdoor and indoor areas, directional hanging signs on intersecting

Hotel, residential apartment towers, offices and the Zorlu Center PSM

corridors and peripheral zones, orientation panels next to elevators, flag

performing arts center. The wayfinding strategy by Emedya Design was

identification signs inside corridors, direct door identification and free

based on the architectural plan by Emre Arolat Architects and Tabanlıoğlu

standing portable information boards for regulatory and announcement

Architects of Istanbul and the operational needs of the project owner

functions. Orientation maps for each floor were designed taking

Zorlu Gayrimenkul, subsidiary of Zorlu Holding conglomerate. The primary

into account the Zorlu Center Shopping Center, other functions and

wayfinding strategy consisted of a connector model based on a circular

surrounding context including public transportation routes.

circulation realized through the placement of 4 sided floor standing

The designs developed by Emedya Design were based on the

totems at key decision making points on the route. These totems

asymmetric and angular architecture of the Zorlu Center while also

addressed circulation from all sides because of the open plan while also

reflecting Emedya’s principal Gökhan Karakuş’s research in design

meeting the architect’s requirement to reduce the number of hanging

derived from patterns and geometry. Aluminum was the primary material

signs due to the highly detailed decorated ceiling.

used in the production of these signs due to its flexibility in use in

In developing the wayfinding project for Zorlu Center Shopping Center

outdoor and indoor areas, ease of production and recyclable properties.

important criteria taken into account by Emedya Design included non-

Emedya Design developed a custom graphic language of pictograms

standard floor plans (for a shopping center), differences in grade

for the wayfinding system that was in harmony with the branding and

between the two primary entrances, vertical circulation between floors

typographic standards of Zorlu Center.

via elevators and escalators in differing locations on each floor and a

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该项目的实施地点在佐鲁中心,一个建筑面积为 7 万平方米的综合建

筑。基本的导视系统包括建立在一个环流导向基础上的连接器模式,具体 实现方式是在导视路线的关键点放置四面图腾式路牌。四面路牌可以面向

各个方向指示,符合开放式设计,同时还可以满足建筑师提出的尽量减少 悬挂标识的要求,因为建筑物的天花板已经装饰繁复了。

在设计佐鲁中心的导视项目的过程中,Emedya 设计公司提出了几点重

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要准则:使用非标准化的地面路线图(因为本案是购物中心);两个主入

口间要有层级差异;楼层之间人流通过电梯和扶梯上的垂直流动;高度精 确的建筑风格。

Emedya 设计公司设计的佐鲁购物中心导视项目包括四种基本的导视标 牌种类,分别是身份识别、方向导视、方位定位和公告板。包括地面标、

地面路线图、互动触控屏这三部分的图腾柱式路牌被分别放置于室内外循 环路线的重要位置上,指向悬挂标牌则被放置在走廊交汇处和其它外围区

域,定位标牌位于电梯旁边,旗帜式识别标牌位于走廊内,还有门牌标识 和独立的用于发布信息和通知的公告板。每层楼的定位地图的设计过程中 都考虑到了佐鲁购物中心的实际情况和其他功用,以及包括公交路线在内 的周围环境问题。 本案是基于佐鲁中心的非对称且有棱角的建筑结构特点而设计,也反 映出了 Emedya 设计公司主要设计者 Gökhan Karakuş 对图形和几何学的设 计研究。这些标牌都是铝制品,因为铝在室内外都具有良好的适应性,而 且易于生产和回收。Emedya 设计公司为该导视系统的图标定制了一种象形 图形语言,与佐鲁中心的品牌和字体效果和谐共融。

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Weronika Jaronska, Tomasz Gietka, Tomasz Glebowski

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Warminska 购物中心

Design Company

Location

Kuryłowicz & Associates Sp z o. o.

Olsztyn, Poland

Graphic Designer

Photographer

Weronika Jarońska, Karolina Miklaszewska, Julia BiernackaBiałoszyńska

Daniel Chrobak

Cooperation Magdalena Krześniak, Rajmund Rajchel

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Warmińska Shopping Gallery

The Visual Information System in the public spaces of “Galeria

been carried out consistently on all levels – vertical communication

Warmińska” Shopping Centre building was implemented in order to

elements, decor of the elevators, elevator halls (walls, floors,

provide clear information about the centre, communication routes,

suspended ceilings), elevator shaft painting and painting of the pillars

and locations of individual zones and functions of the facility.

on the parking zone level, painting of parking spaces, parking zones

This objective has been achieved with the help of, among others,

signage and the structures and walls in the exits from interconnecting

information pylons, multi-direction signs placed in the nodal points

walkways of the centre, are made of materials and painted in colours

of interconnecting walkways, directional signs, colours distinguishing

being in line with designed colour scheme. The same colours are

individual zones of vertical communication between the centre levels

also used in designing the pictograms informing about vertical

and the parking areas.

communication and pointing to blue or green zone.

The concept of spatial elements of Visual Information System carriers

In addition, the colours were used to section off the public toilets

refers to forms and materials used in the architectural solutions and

zones with their access corridors – the colour of materials and the

in the interior design of the centre.

colour of surfaces in this zone is yellow.

The colours used for centre interior design are white, graphite and

Elevator halls and elevator transporting to cinema, bowling alley,

natural colours of concrete and stone (two shades of grey). Such

fitness centre and administrative offices have also been distinguished

colours selection makes a “background” for colouristic identification/

by colour – the colour prevailing in these zones is fuchsia.

information.

Evacuation staircases situated near the exterior elevations, as well as

The vertical communication in the centre and in the parking area is

self standing staircases are painted in the same colour as the interior

divided into two zones – north (blue) and south (green). This idea has

walls – orange.

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Warmi

ska 购物中心建筑公共空间中的可视化信息系统旨在提供购

物中心信息、通行线路以及各个区域的位置和设施的功能信息等。本案 完成了信息塔、互连走道节点上的多方向标识和路标设计,应用不同颜 色将中心场地和停车区域中垂直通道的各个区域区分开来。 可视化信息系统载体中空间元素的概念是指材质与形式在该中心的 建筑方案和内部设计的应用。 室内设计的核心颜色使用了白色、石墨色及混凝土和石材的自然色 (两种不同深浅的灰色) 。这种颜色选择为色彩识别 / 信息打造了“背景”。 中心区和停车区中的垂直通道被分为两个区域 —— 北区(蓝色) 和南区(绿色)。该理念也体现在其它各个层面上——垂直通道元素、 电梯装饰、电梯厅(墙面、地面、吊顶)、电梯井墙壁和停车场中的支柱、 停车位的颜色、停车区标识以及中心互连通道出口的结构和墙壁,其材 质和喷漆采用与设计配色方案一致的颜色,用于显示垂直通道信息和蓝 此外,我们使用该颜色将公共卫生间区域与其入口走廊分隔开来, 而该区域的材料和表面都应用了黄色。 电梯厅和到达电影院、保龄球馆、健身中心与行政办公室的电梯也 利用颜色区分,这些区域大多应用紫红色。

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我们将靠近外墙立面的疏散通道楼梯和自立式楼梯都漆成相同的颜 色——橙色,与内墙同色。

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色或绿色区域导向的图标设计也采用了相同的颜色。

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Capri on via Roma

Location

卡普里罗马市场

Gold Coast, Australia Photographer Trevor Mein

Designer

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Landini Associates

Landini Associates developed the strategy and designed the market Oversized graphics feature throughout and play on the market name’s hall interior, identity, way finding and graphics for Capri, the Gold’s Italian roots; CIAO! and MERCATO stand at 4.2m on painted blades Coasts long awaited waterfront fresh-food market. Over 50 specialist greeting customers from the road and water respectively with a cheeky food retailers can be found here, including a greengrocer, supermarket, wink, whilst inside illuminated mesh graphics add a mechanical edge delicatessen, artisan bakery, chocolatier and wine and beer merchant. to the likes of BON APPITITO, PESCE, CARNE and SUPERMERCATO. The Complementing the take-home food offer are a plethora of espresso amusing and flirtatious Italian tone of the graphics humanizes and bars, cafes and fine dining waterfront restaurants, as well as a licensed enlivens their industrial scale. The Italian continues down to the 175fish emporium accessible via boat drive thru.

space car park below, dividing sections as towns Ancona, Bologna, Cataia

Landini created a light and open space that enables the food and natural and Dolomiti. Capri celebrates food as leisure; the environmental graphics surroundings to be the hero, a space for people to meet, greet, eat and and way finding are aimed at enhancing this in a humorously welcoming relax. The identity draws inspiration from the traditional market stall manner. framework. Yellow is the signature color, featuring throughout graphics and way finding, down to an energetic injection in the aggregated concrete floor.

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超 大 图 标 将 市 场 的 意 式 风 情 展 现 得 淋 漓 尽 致; 涂 漆 条 上 4.2 米 的 CIAO !

Landini Associates 公司为卡普里策划并设计了室内市场、标识、导视系统 及图标,这是个黄金海岸一直青睐的新鲜海滨食品市场,有 50 多家特色食品零售

和 MERCATO 标识分别从马路上和水中不停地向顾客闪烁 , 而照明网状图标上 BON 

商,包括果蔬店、超市、熟食店、面包作坊、巧克力工厂及葡萄酒和啤酒工坊,

APPITITO, PESCE, CARNE 和 SUPERMERCATO 这些字体却机械地移动着。风趣浪漫的

除了这些可以带回家的美食,这里还有许多意式咖啡吧、酒吧、高档海滨餐馆、

意式风情图标使这片区域更富人性化与活力。意式标识也竖立在具有 175 个车位的

以及乘船直通的正规水产品商场。

地下停车场内的,以城镇的名字 Ancona、Bologna、Cataia 和 Dolomiti 将其划分开

Landini 公司打造了一个开放明亮的空间,美食丰富、风景怡人,供人们约会、 来。卡普里休闲时光提供美食 ; 环境图标和导视系统旨在以诙谐的流行的方式营造 交谈、餐饮和休闲。标识图案的设计受传统市场摊位结构的启发,采用黄色作为

这种吸引人的氛围。

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标志性颜色,贯穿图标和导视系统中,也穿插在聚合混泥土地面中。

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The Potsdamer Platz Quarter 波茨坦广场

Client PPMG Potsdamer Platz Management GmbH Location Berlin, Germany

Designer

Photographer

Moniteurs Communication Design

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Stefan Schilling, Moniteurs

The Potsdamer Place Quarter is one of the most visited places in

波茨坦广场是柏林最受欢迎的游览圣地之一,每天有超过十万人来此参观,

Berlin. Up to 100,000 people come here daily to experience the unique

感受其独特的购物、娱乐和世界主义的氛围,而其中最多的就是是来此参观的游

mix of shopping, entertainment and cosmopolitan flair – many of

客。所以这片包含地下停车场的 68000 平方米空间的导视,扮演着广场的主要角色。

them are tourists, for whom orientation around the 68,000m2 space,

Moniteurs Communication 设计公司以正式且主题鲜明的理念赢得了本案导视系统

including underground car parks, plays a major role. Moniteurs won the

的设计权:放射型的标识形状来源于周围自身的地形结构。三个地下停车场均被

competition to design the orientation system with a formal and thematic

清晰标示,并用色彩重新装饰,使这片空间的氛围更加轻快。地上和地下的导视

concept: the radial profile of the signs is derived from the typography

系统现在得以无缝对接,图解和内容也相互联系。

of the neighbourhood itself. All three underground car parks were given clear designations and a colour-coded restructuring, which also served to lighten the atmosphere of the spaces. Above ground and underground orientation systems now seamlessly overlap and the graphics and content are interlinked.

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QT 酒店

Location

Paul Tabouré, Cloud White, Jon Zhu

Gold Coast, Australia

Client

Photographer

Amalgamated Holdings Limited

Designer

Materials

THERE

Vinyl, Acrylic, Stainless Steel,

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QT Hotel

Design Team

Simon Hancock

LED, Neon

The inaugural QT Hotel Series in the Gold Coast is born. Working with

黄金海岸的首家 QT 连锁酒店已经诞生。我们与尼克・戈兰姆建筑事务所

Nic Graham & Associates architects we were charged with creating a

合作负责创作此次的全面品牌包装,同时包括各类标识导视系统,本案也是

comprehensive branding package, which also included the overaching

由 AHL 设计的一系列主题宾馆之一。本案模块化的室内导视系统利用意想不

signage and wayfinding for the hotel, in what is planned as a series

到的材料,营造一种奢华而又平易近人的感觉,给人创造一种难忘的经历。

of themed hotels developed by AHL. The modular internal wayfinding

结合本案的总体规划和导视设计规划,创造了一个带有 QT 标志的多彩高空广

system utilises unexpected materials to provide a luxurious yet

告牌,利用 LED 灯技术不断更换形状和颜色,给本就独具特色的黄金海岸天

approachable feel, creating a memorable experience of the hotel. As

际增添了一抹新的多彩元素。

well as masterplan and design of the complete signage schedule, a multi coloured skysign of the QT logo was created and utilises LED lighting technology to be constantly shifting and changing colours, resulting in a colourful new addition to the iconic Gold Coast skyline.

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UMA / design farm Art Director

尾道 U2

Yuma Harada Space Designer

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Design Company

SUPPOSE DESIGN OFFICE

Designer

Photographer

Yuma Harada, Keisuke Yamazoe

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Yoshiro Masuda

We have created the logo and the visual identity of Onomichi U2, a new resort complex for cyclists. The facility is located in the Japanese city of Onomichi, in the Hiroshima Prefecture, and offers a complete range of services, including shop, bakery, restaurant and the Hotel Cycle, the first hotel in Japan designed exclusively for cyclists. Logo of Onomichi U2 connects "U" and "2" little bit abstract, and has an element of an anchor that means space people rest, another element that spreads to outside from center black circle. 我们设计了此次尾道 U2 的标识和视觉识别,这是一个为骑行爱好者 所建的新型度假村。它坐落在日本的广岛辖区的尾道市,并且为骑车人提 供完善的一些列包括购物,面包房,餐馆和临时住宿服务,这是日本第一 个专门为骑行者所设计的旅馆。 尾道 U2 的标识使用“U”和“2”两个小型的抽象元素,并且有一个 锚的元素寓意休息的地方,另外一个元素则是由中心向外辐射的黑圈。

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CityCenter

Client

城市中心

Las Vegas, Nevada

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DesignER

Gensler

CityCenter, Las Vegas © Jeff Green coutesy of Gensler

MGM MIRAGE Location Photographer CityCenter, Las Vegas © Ryan Gobuty courtesy of Gensler

With the objective of creating a cosmopolitan, urban center at the

active environment and addressed the specific needs of each

heart of the Las Vegas Strip, MGM Mirage carefully assembled a team

property's personality.

of design industry leaders to realize its vision and charged Gensler

Planning, designing and implementation was completed in an incredible

with overseeing the collective design team.

66-month schedule. Our design thinking led the way for many unique

Gensler was the master architect on the 18.6 million square foot

solutions, innovative fabrication techniques and use of materials. Each

development but was also responsible for the project’s brand design,

coming together to complete the urban placemaking objectives and

signage and wayfinding. CityCenter has an incredibly diverse brand

communicate the CityCenter brand in the built environment.

and environmental graphics program. Four distinct residential brands, one resort casino, world-class retail, entertainment and dining venues— brand strategy for each developed by Gensler. The collective unifies to create an unprecedented development in Las Vegas. Because it was a new type of development on the Las Vegas strip, Gensler's role as the executive design concern also included the interpretation and adaptation of the local sign code. Gensler's oversight of the entire development's signage and wayfinding program helped to ensure the property was well integrated into the highly

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Renderings/Site Plans: CityCenter, Las Vegas © Gensler

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MGM Mirage 酒店集团为了实现其在拉斯维加斯一带创造一个时尚的城市中心

的愿景,精选了一支设计产业中的精英团队去完成他们的设想,并要求 Gensler 公 司负责监督这支集体设计团队。

Gensler 公司不仅承担了占地 1860 万平方英尺的开发区的建筑设计,还负责 其品牌设计和标识导视设计。 城市中心有一套极其多样的品牌和环境设计项目。四个清晰的住宅品牌,一 个度假别墅,还有世界顶级零售商场,娱乐区域和餐饮会所——每一项品牌战略 都是由 Gensler 公司研发。这个团队团结协作,创造了一个拉斯维加斯史无前例的 开发区。 由于这是拉斯维加斯一带的新型开发区,Gensler 公司作为本案唯一的设计公 司,还在此次设计中演绎融合了当地的符号代码。在 Gensler 公司的监督负责下, 整个开发区的标识导视项目都能够有助于区域特征与多变的环境浑然一体,并迎 合每一个区域特征的特别需要。 计划、设计和完善的过程在 66 个月就得以完成。我们的设计思路为独特的设 计方案、创新的制造技术和材料的使用指引了前进的方向。每一项成果都完成了 城市建筑的目标,并在建筑环境中表达了城市中心的品牌。

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Signage for Xishan Wanda Plaza, Kunming 昆明万达西山广场导视

Client Wanda Group Location Kunming, Yunnan Province, China

Designer

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Zhu Kenan

The design originated from the building design of Xishan Wanda

根据万达广场的建筑设计理念,建筑理念来源于昆明的市花 --- 山茶花,

Plaza, which has been inspired by the image of camellia, the city

由此衍生出建筑的装饰曲线,根据这个元素,我延展出大图腾(精神堡垒的

flower of Kun Ming. A big totem (a fortress of mind) was derived from

造型)并且结合城市雕塑的概念,使之成为局部的亮点,从而达到吸引顾客

this element to highlight the area and draw customers’ attention. It is

的目的,同时对建筑语言是一个呼应,目前项目正在施工。

also an echo of the architecture language of the building. The project is in progress now.

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雷科莱塔购物中心

Carval Investors Location

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Recoleta Mall Designer

Buenos Aires, Argentina

Juan Shakespear, Ronald Shakespear, Martina Mut

Photographer Gastón Colla

Located in Buenos Aires, the mall comprises seventy five retail units and ten cinema theatres, managed by Village Cinemas. The visual identity of this commercial centre aimed to cater for this privileged

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city context which was calling for a broader offer than the prestigious Village Cinemas complex. The Shopping Mall includes a wider mix of retail units including food, technology, fashion and culture, becoming the most up-to-date and dynamic shopping centre of the area. It is from this concept that emerges the idea of a multicolour palette expressed in the “R”symbol/ capital letter as a container of this idea and of future communications. The type of the logo (Charter) was chosen to balance the expression of the capital “R”, with its more conservative connotation.

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该购物中心位于布宜诺斯艾利斯,由乡村影院公司运营,容纳了 75 个零售店铺和 10 个电影院。该商业中心的视 觉识别设计的目的是使之与这一带声名鹊起的都市区相配,而不是仅与著名的乡村影院集团相配。这座购物中心涵盖 品类繁杂的零售店铺,其中包括食品、科技、时尚和文化,业已成为此区域最现代化的动态购物中心。从此概念出发, 我们萌生了使用多色块大写“R”标志来承载这种思想和与未来进行交流的想法。该商标图样的使用(特许)是为了 平衡大写字母“R”较为保守的内涵。

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邦戴海滩波希米亚购物中心

Place Associates Client Toga Group 2013

Michelle Teh and Stephen Au

Boheme is a mixed-use precinct in the heart of Sydney’s iconic location, Bondi, providing residential apartment suites, boutique hotel, and a retail plaza in one destination. The streetscape has been carefully considered to provide an infill that reflects the height, rhythm and masonry buildings. The contemporary wave-like external façade and coastal inspired interiors reflect its prime position whilst embracing the beachside culture. As a one of a kind development in the region, an entirely customised set of icons and design guidelines were created for Boheme. This ensured that the interior spaces and the wayfinding signage system aligned perfectly with the development branding. Whilst keeping the icons consistent throughout the complex, different materials were used to distinguish the three zones. Specifically, laser cut brass, acrylic and timber

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Completion Date

Designer

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Design Company

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Boheme Bondi Development

letterings respectively represented the apartment, hotel and the retail hub. This holistic approach allows for a much more intuitive and natural way of navigating within the space. 波西米亚购物中心是一个综合性商业区,位于悉尼市中心的地标区域——邦 戴海滩。该中心设有可供住宿的公寓套房,精品酒店和零售商场。街景建设经过 精心设计,能够体现建筑的高度,节奏和砖石结构。现代的波浪状外观和海滨风 格的室内装饰反映出它尊崇的地位,也与海滩文化相融合。 作为当地发展的一种形式,波西米亚购物中心所使用的整套标志和设计方案 都是特别定制的。这确保内部空间和导视标识系统和正处于发展中的建筑品牌完 美结合。同时在保证整个建筑群标识一致的前提下,使用不同的材料来区别三个 不同区域。具体来说,激光切割黄铜,亚克力和木质文字分别代表公寓,宾馆和 购物中心。这种全面的方法使得在空间内的导航更加直观和自然。

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Xing Lin Wan Hotel, Xiamen 厦门杏林湾大酒店 Designer

Mo Jinguo (DEFI) Located in an advantageous site, the coastal area of Xin Lin Wan, Xing Lin Wan Hotel is an upscale destination for vacation and recreation with its unique view of both the lake and the sea. The basic pattern of signage has adopted the sign of All China Federation of Trade Unions (ACFTU) and the fan-shape, a feature of the interior design to integrate the signage into the space. In addition, it could impress customers with its creativity. Ultra clear frosted glass, a kind of material with smooth and special textual quality, together with silk printed patterns in the back, are used

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as information panels in the interior signage system, providing a sense of art for customer while reading the signage. The sings for restrooms feature the local dress style of Hui’an women, adding

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cultural sensation to the hotel.

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地处杏林湾海域的五星级酒店,地理位置得天独厚,临湖面海,是一个 度假、休闲型的高档酒店。结合酒店的度假风格,运用全国总工会的标志, 以及建筑设计中所共有的造型特点——扇形,来作为标识的基本设计样式, 不仅使其能更好的融入建筑空间,也使得标识的造型具有一定的独创性,让 客人耳目一新;室内标识使用超白磨砂玻璃这种细腻而有特殊质感的材质效 果来设计信息面板,加上背面丝印的图案,即丰富了室内空间的材质效果, 同时也让客人在读取信息的时候多一分艺术享受。卫生间图标借鉴了当地“惠 安女”的服饰特点,给酒店增添了不少地域文化。

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World on Yonge 央街世界

Design Company

Completion Date

Entro Communications

July, 2014

Client

Photographer

Darcon Inc. / Liberty Development

Gerald Querubin

Design Director

Designer

Vincent Matthieu Gratton

Sarah Danahy, David Acevedo, John Pereira

Fabrication & Installation

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Forward Signs

World on Yonge is a new 4-ha (10-acre) mixed-use development project constructed by Liberty Developments and Darcon Inc. and located just north of Toronto in Markham, Ontario, Canada. The site includes various services and buildings including a main public shopping mall, a grocery store, a hotel, two residential condominium towers with retail to serve residents, offices, and underground parking. Entro sought to represent a modern, urban community with designs that reflected the energy and distinctive nature of the mixed-use space. Through the use and combination of vibrant colours, distinct patterns and elegant typography, Entro was able to create a unique wayfinding identity that is highly visible, elegant and efficient. In a heavily signed environment such as a shopping mall, creating an efficient wayfinding system can often be a challenge. Retail signs compete for the attention of shoppers and if wayfinding signs are added to this mix, it can often result in ‘over-signing’ whereby signs become lost in a confusing environment.

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He 央街世界是一个新的 4 公顷(10 英亩)的混合发展项目,由自由发展和达肯 公司开发,座落于加拿大安大略省万锦市的多伦多北部。此处提供多种服务,配套 包括大型公共购物中心,杂货店,酒店,两座包含零售区、办公区和地下停车场的 住宅塔楼。 Entro 力求呈现现代的城市社区,其设计反映了能量和多用空间的独特特点。 通过鲜艳颜色,奇特图形和优雅的字体的使用和组合,Entro 设计出的独特的标识 导视系统识别度高,优雅并有效。在标识云集的环境中,比如商场,创造出高效的 导视系统一直是个挑战。销售标识会争夺消费者的注意力,而且如果导视系统也混 入其中,往往会导致“过度标识”,在那样的混乱的环境下,标识也会失去其作用。

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Signage of Hotel Indigo, Xiamen Harbor 厦门海港英迪格酒店 Designer

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Mo JInguo (DEFI)

As the only global branded boutique hotel in Xiamen, Hotel Indigo Xiamen Harbour locates in the central business district in the Gold Coast Area in the city with impressive views of Gulangyu Island, which has been known as “the Garden on the sea”. Implicaitons of unique trading history and humanitairan stories of Xiamen can been found everywhere within the boutique hotel. With “reflection” and “profile” as the orginal desinging idea, a great deal of decorative elements related to history and culture of Xian men has been used in the interior design. The adoption of mirror reflection material can illustrate a kind reminiscence to history and culture of Xiamen, while the reflective effects has been enhanced by frosted surfaces carrying letters. Since the hotel is built on a huge block of granite, the profile design has been choosen to incorporate with the interior design yet conveying the modernity of the building and the interaction with granite.

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厦门首家品牌精品酒店,为于厦门“黄金海岸”商业中心区内,与海上花 园鼓浪屿遥海相望。是一座处处折射着厦门独特的贸易历史及人文故事的精 品酒店。  “反射”与“切面”是标识创意出发点——酒店内装运用了很多有关于厦 门历史与文化的装饰元素,因此标识运用镜面反射材质来体现对厦门历史文 化的一种追忆,而磨砂面材质作为文字信息的载体,也进一步强调了镜面材 质的反射效果;由于该酒店的地理位置是在一块巨大的花岗岩之上,为了取 得标识本身的现代性,以及与花岗岩的互动性,所以选取了内装的切面设计,

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这样在内装空间中也能够与室内设计取得统一性。

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Haevichi Hotel 海维彻酒店

Designer

Project Manager

Total Impact

JEI, chargh

Client

Location

Haevichi hotel & Resort Co.,Ltd

Jeju Island, Korea

Art Director

Photographer

Zew Kang

Zew Kang

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Zew Kang

Design Company

Haevichi hotel & resort was built in 2007, 6-star hotel on the Jeju

海维彻度假酒店建于 2007 年,是位于韩国济州岛的六星级酒店。济州

island. Pyoseon south of Jeju Island is located in a quiet village. Jeju

岛南部的表善坐落于一个安静的村庄中。济州岛是火山岛,汉拿山是其主要

Island is a volcanic island, dominated by Halla-san (Halla Mountain)

山脉。海风、海浪和石头是这里长久以来的存在。酒店就在海的附近,有很

Because, wind and wave and famous local stone is a long time.

多的黑色玄武岩。因此,设计中的区域特点由此而来。

Hotels near the sea in the future, and is full of black basalt. Regional

海风和海浪:流线型的曲线;

characteristics of the design concept was created.

黑色玄武岩:材质的颜色。

- Wind and waves: a streamlined curves

每个标识牌都能体现对用户导视需求的分析。

- Black basalt: Material color

整体设计被应用于图形中,用箭头指示方向并选用特定字体,标识是

Analysis of the customer's way finding took the position of each

以功能分类的,取决于方向和定位信息质量。

sign. Universal design applied to pictogram, indicating the direction of the arrows, have been selected font. Signage was classified by function, depending on the direction and location information quantity

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Gemdale Plaza, Beijing

(CBD)金地中心,总建筑面积 151,351 平 方米,由美国 SOM 担纲设计,景观设计为美 国 LLA。以 CBD 时尚白领为目标客群,“金 地广场”以最具现代时尚感的建筑手法、科 学合理的商业规划、独具匠心的业态品牌组

He

Design Company

金地广场位于位于北京中心商务区

UP DESIGN CO.,LTD Creative Director

北京金地中心

Zhang Yi Location

DESIGNER

Beijing, China

Xu Duanping

合,力求充分满足忙碌中的白领一族的时尚 追求。区别于东长安街沿线的众多高端奢侈 品定位商业项目,“金地广场”通过主推 Fast Fashion——这一与都市白领阶层最贴 近的潮流元素,并充分融合与地铁 1 号线大 望路站无缝连接的交通优势,真正打造“北

Located in CBD, Beijing, Gemdale Plaza covers an area of 151,351

The design of the environment wayfinding and business atmosphere

square metres. The American Company SOM was appointed as

had integrated the architect and interior of the building. We tracked

the designer of the architecture. LLA contributed to its landscape

to the source, and adopted three-dimentional construction method

design. Targeting the White Collar group, Gemdale Plaza caters for

to create a priorneering spirit of the project by using the shape of

the White Collar Workers’ taste of fashion through the complex of

diamond faces, incoperating the environement with the architecture.

contemporary architecture, reasonable business plans and a unique

With its function and beauty in form, the wayfinding system had

combinaiton of business brands. Being different form the business

impressively directed the project to become the new landmark of the

projects aiming at upscale luxuries, together with the advantage of

East CBD.

京 CBD 时尚中心”。 在环境导视及商业氛围营造上,上行 线设计从源头出发,结合建筑外观和内装, 运用了立体派的构建手法。采用钻石切面的 大块面造型,演绎出项目的现代先锋气质。 与景观与整体建筑完美融合。即满足了环境 导视系统的功能作用,又具有强烈的形式美 感,令人印象深刻。使项目以突出的设计成 为 CBD 东大门新地标。

direct commute to DaWangLu Station in Subway Line 1, Gemdale Plaza advocates “Fast Fashion”, a vogue closest to urban White Collar life, to create the fashion cetre in CBD Beijing.

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万科珠宾花园

Creative Director Zhang Yi Location

DESIGNER

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UP DESIGN CO.,LTD

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Vanke Zhubin Garden

zhuhai, Shenzhen, China

Xu duanping

The unique Modern Lingnan architectural style, the appropriate

business district around the lake, and a five-star hotel.

business planning, and contemporary fashionable elements have

We have borrowed the special element of the old Zhuhai hotel, for

made Vanke Zhubin Garden the model of urban complex and city

instance, the colored palette windows, to build up a strong visual

residence in the Pearl River Delta, or even throughout China. As

effect in the design of the environment wayfinding system. The use

the first top downtown building complex in South China area for

of colored palette can not only arouse memories of histroy and

the Vanke Group, the revonation of Zhuhai Hotel has drawn the

culture, but also reflect vitality of new business by its bright and

experience of Xintiandi·Shanghai. Part of the old building has been

dynamic feature. High quality has been illustrated by form, color and

preserved to be revitalize for the history of the city. The project

material to establish a integrate business environment, revealing the

consists of three parts: first-class residence, international lesiure and

spirit of respecting history and inheriting urban humanity.

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万科珠宾花园以独特的现代岭南建筑风格、合理的业态规划定位,添加 现代时尚生活元素,成为珠三角乃至全国的都市综合体和城市豪宅典范。作 为万科在华南地区首个真正意义上的市中心城市顶级综合体项目,珠海宾馆 改造项目借鉴了上海新天地的成功经验在保留部分建筑的基础上,赋予城市 历史新的生命力,项目包含顶级住宅、环湖国际休闲商业街区、五星级酒店 等三部分。 在整体环境导视系统设计中,上行线设计借鉴原珠海宾馆独具特色的建 筑元素,如拼花彩色玻璃等,形成强烈的视觉效果,彩色透明色块的运用,

Dalian AVIC International Square

Design Company UP DESIGN CO.,LTD Creative Director Zhang Yi

中航国际广场

Location

DESIGNER

Dalian, China

Xu Duanping

在唤起对历史与文化记忆的同时,具有明快生动丰富多变的特征,反映新生 商业的活力。从形式、色彩和材质等多角度体现高品质特点,浑然一体的商

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业环境,体现了秉承尊重历史记忆、传延城市人文的精神。

Designed by Richard H. Driehaus Prize winner Robert A.M. Stern, the

from the building to provide a comprehensive VI image and a design

prestegious master of neoclassic architecture, Dalian AVIC International

of the environment and wayfinding system. The profound yet detailed

Square complex has become the landmark of Dalian City. The superior

design has successfully build a bridge of communication between the

location in Zhongshan Road, the overlapping zone of three major trade

architecture and the environment, the outdoor and interior space and

area in the cetre of the city, together with super luxurious Skyline Club

human being.

have enabled the project to become the first and only winner of the Golden Bauhinia Awards in Dalian, making it a top building project similar to Tomson Riviera in Shanghai. Inspired by the form of architecture and the environment, Up Design Company has created classical Art Deco Style by abstracting elements

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由著名新古典主义建筑大师,曾赢得 2011 年“理查德・德赖豪斯”奖的斯 特恩担纲设计的中航国际广场,已成为大连的标杆性城市建筑群。项目凭借中山 路、三大商圈交汇处、城市核心区域的绝佳的地段、天际会所等超豪华的项目配 套等因素,荣膺香港金紫荆花奖,成为大连唯一获此殊荣的项目。是齐名于上海 上行线设计从建筑形态及项目气质等角度出发,提炼建筑中的元素,打造出 经典的 Art Deco 风格,为项目提供了全程的 VI 形象及环境与导向系统设计服务。 以沉稳大气、细节丰富的设计,在整体建筑与环境,室内与室外的空间与人之间, 建构了一个完整的品牌设计体系。

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汤臣一品的顶级高端项目。

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DesignER

Jan Lorenc, Chung Youl Yoo, Mac Liu Lorenc+Yoo Design Inc Client

Art Director

Hyatt Regency New Orleans

新奥尔良凯悦酒店和会议中心

Creative Director Jan Lorenc

Chung Youl Yoo

He

Design Company

Completion Date 2013

Photographer Rion Rizzo

Hyatt Regency New Orleans recently underwent a $200,000,000

provided signage in major decision points. The signage program had

新奥尔良凯悦酒店近期投资 2 万美元进行扩建工程,将前门放置到原本后门

expansion program which placed the front door where the back

to be much more defined and bold in the spaces as opposed to a

的位置,并聘请了标识供应商来重新制作标识系统。本案的一大难题是原酒店内

door had been, and hired a sign vendor to redo the signage. The

background element with too much information. Effective signage for

在的问题由于复杂的扩建变得更加复杂。我们的任务就是要对酒店和会议中心进

problem was that the inherent issues that existed with the original

complex environments reflects on the facility positive memory during

行分析,通过直接点对点、以及点对更小的部分的导示来解决导示难题。我们的

hotel were complicated by the much more complex expansion. Our

the visit and certainly the positive memory to incur a return visit

任务是要“简化”名称,对酒店相应地区的命名提出简化建议;“定义”节点,

task was to analyze the hotel and convention center and to ease

without any bad wayfinding memories.

使空间更加清晰,和在关键地点“提供帮助”。我们还要使客人顺利地从大堂中

the wayfinding issues by having the wayfinding direct from node

回到他们各自的房间,这是一段复杂的路程。我们在关键点都安置了标识符号。

to node and to smaller sections once you arrived at that node Our

这套标识系统需要在信息量巨大的背景元素下更加明显而且突出。酒店设施中,

task was SIMPLIFY the nomenclature by recommending a simpler

复杂环境下的有效标识会给游客在游览的过程中留下积极印象,而对导示系统无

naming structure for the hotels components, By DEFINING the areas

不良印象的客人自然会成为回头客。

of the nodes so that clarity of spaces existed, and by ASSISTING in wayfinding concerns at decision points. In the lobby our task was to get the guests to their rooms which was a complex journey. We

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Custom Arabic Corporate Typeface for Burj Khalifa in Dubai

Mamoun Sakkal Programmer

Project Manager

Photographer

Aida Sakkal

Linda Popovic

Design Company

Client

Mamoun Sakkal; emerystudio

Sakkal Design, emerystudio

Emaar Properties, United Arab Emirates

Creative Director

Location

Garry Emery

Dubai, United Arab Emirates

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迪拜哈利法塔的自定义阿拉伯办公字体设计

DESIGNER

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Burj Khalifa (formerly Burj Dubai) is a shining symbol, a beacon of

urban development and relevant to traditional and contemporary

progress and national confidence, an icon for the new Middle East.

Dubai culture.

The tallest man-made structure in the world, the tower is pivotal in

Letterforms for internal and external signs:

fulfilling the country’s desire to become a major tourist destination

A Custom version of the Arabic typeface Shilia was designed for

and the city to become a major financial and trading hub in the

Burj Khalifa signage system by Mamoun Sakkal in collaboration with

Middle East.

emerystudio. The functional requirement for the alphabet was to

Public information system design intentions:

generate messages of equivalent length in both Arabic and English

The intentions guiding the design of the Burj Khalifa development

languages.

were to create a harmonious fusion of the traditional culture, Islamic

Burj Khalifa Shilia has condensed proportions to allow sign messages

geometric principles, internationalism and modern technology.

to be as large as possible within a fixed space, it harmonizes with

Emerystudio’s wayfinding and signage design approach for the public

the contemporary geometric sign structure design and with the

information system responds directly to the design philosophy and

architectural design of Burj Khalifa, it maintains a good balance

cultural agenda of the architecture, urban planning, landscaping and

between clear communication and contemporary design values, and

other principal design elements. The design intention is to provide a

has a high degree of legibility across diverse lighting conditions and

comprehensive public information system that is appropriate to the

viewing distances.

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哈利法塔(迪拜塔)是一个耀眼的符号,一座进步与民族自信的灯塔, 是新中东的一座圣像。该塔是世界最高的人造建筑,迪拜希望通过该塔成

为中东主要的旅游胜地,同时将这座城市打造成中东主要的金融贸易中心。 公共信息系统设计目的:

He

该设计引领了哈利法塔发展的设计方向,旨在将传统文化、伊斯兰几 何原理、国际化和现代科技和谐地融合为一体。艾米工作室公共信息系统 的导视和标识系统设计方式与建筑的设计理念与文化、城市规划、园林绿 化等主要设计元素直接呼应,旨在提供一个综合公共信息系统,既有利于 城市发展,又与传统和现代迪拜文化相关。 内外部的标识字形:

Mamoun Sakkal 和艾米工作室合作为哈利法塔标识系统设计了一定制 阿拉伯 Shilia 字体,该字体的功能是使阿拉伯语与英语信息等长。 哈利法塔的 Shilia 字体结构紧凑,使标识信息最大限度地在展示在固 定空间内,与现有的几何标识结构设计和建筑设计和谐交融,在易于交流 与现代化设计之间保持了良好平衡,在不同光照条件和观看距离下都可以 清晰识别。

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教育类

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education


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Federation University

Design Company Büro North

澳大利亚联邦大学

He

Client

Designer

Federation University

Soren Luckins, Finn Bulter

Büro North were engaged by Federation University (formerly The University

the addressing and made room identification easier and more user-centric.

of Ballarat) to develop a signage and wayfinding solution for their new

The focus of our design response was primarily based around the

Science and Engineering building. The new building, located at the southern

integration of the signage with the architecture.

edge of the Mount Helen Campus, houses the Science and Engineering

The tangible benefits delivered by our signage were clarity and ease of

Precinct, and is a hub for student and staff activity on campus. Büro North,

navigation. The rationale we adopted simplified user journeys and made

working closely with SKM S2F, designed the signage to merge seamlessly

decisions easier. The personality created by both the typeface and graphic

with the built form to deliver the required information in an engaging way,

patterns suited the function and aspirations of the building, and the

well suited to the function and activity of the building.

signage design integrated beautifully with the architecture, while at the

Federation University has grown organically over time across multiple

same time delivering a flexible and updatable solution in an innovative way.

campuses. As a result, a rationalisation of the building addressing standards needed to be undertaken to simplify the user journey and optimise wayfinding. To that end, Büro North reviewed the existing room, level and building naming standards and provided recommendations that simplified

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He Büro North 设计公司受澳大利亚联邦大学(从前被称为巴拉瑞特大学)的

我们的设计的专注点最初是基于建筑和标识的一体化。SKM S2F 预先考虑到

委托,为其新的科学与工程大楼设计标识导视系统。这座大楼位于海伦山校区的

标识的要求,在相邻门处的空间使用了电镀过的夹板,以便我们利用。我们将这

南侧,由 SKM S2F 设计,科克雷蒙建筑公司为主建筑商。该大楼设有科学与工程区,

些空间作为图形指示区域,每一层均不相同,也用来应用与房间号码和房间名称

而且也是学生在校园团体活动的中心。比罗诺思同 SKM S2F 密切合作,所设计的

信息。 本案标识给 SEB 带来的实实在在的好处便是在房间识别的清晰性和导航的方

标识同建筑形式本身融合的天衣无缝,不但引人入胜,更传递出必要信息,并很 好地适应了大楼的活动和功能。 随着时间的流逝,巴拉瑞特大学在多个校区不断壮大。因此,需要实行一个 合理的建筑命名标准,简化用户出行,优化导视系统。为此,比罗诺思研究了这

便快捷。我们所采用的基本原理就是简化用户出入,使其决策更加简单。字体和 图形体现出人性化的理念,适于这座大楼的功能和灵感,而且标识设计和建筑本 身完美结合,同时,以更加创新的方式提出了灵活高端的解决方案。

些已存房屋,层数和建筑命名标准,并提出了建议,旨在简化名称,使房间识别 更简单,更以用户为中心。

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Kangan Institute, Automotive Centre of Excellence – Campus Way Finding Design 坎培门学院,卓越汽车中心——校园导视设计

Designer

Gray Puksand 2012 Senior Creative / Conceptual Design Matt Ryan Junior Designer Sarah Linklater Photographer

He

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Mark Duffus, MD Photography

To complement the Institute’s world leading automotive technical training

four screws for the classroom identifier signs. This particular method is

facilities, a unique way finding methodology was conceptualised that no

completely hidden to maintain the level of refinement that was exhibited

longer relied upon traditional navigational aids and responses. Part of this

throughout the building's architecture and design.     

approach focuses quite simply on the user’s immediate surroundings, not

Purposefully designed elements within the way finding suite pay homage

their ability to orientate themselves to an imaginary North point, to gain an

to some of Australia's most iconic historical motoring achievements,

understanding of where they are within the building.

celebrating cultural eras via design style, shape or colour. Exterior totem

Using this Relative Room Positioning (RRP©) system, only relevant

signage design and their use of materials were selected to compliment the

information (based on the users location, immediate surroundings and

most notable architectural features of the building.

intended destination) is provided, significantly reducing the amount of

The methodology behind the navigation from outdoor urban spaces

information the user must process and recall. Greatly reducing the level of

to workshop or classroom destinations needed to be an intuitive process

intimidation usually associated with the confronting amount of visual clutter,

that provides the traveller information as they journey through the space,

(typically associated with many public and "off-the-shelf" way finding design

enjoying an open exploration of the learning environment.

solutions). Designing a package to be adaptive to the changing academic and commercial needs of the institute required an install friendly design, just

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He 为了与世界领先的汽车技术培训设备相称,本案设计了一种独特的不再依赖

这套导视系统中有一些专门设计的元素,意在向一些澳大利亚汽车发展史中

于传统导航和回应的导视方法。这种方式只关注用户实时所处的环境,从而知道

的重大成就致敬,通过设计的风格、形状和色彩颂扬文化时代。室外图形标识设

自己在建筑的位置,而不是通过假想的北方来给自己定位。

计和用料向这座建筑最著名的结构特点予以致意。 从露天城市空间到车间和教室的导航方法需要是自然的过程,从而使游客在

房间相对定位系统(RRP©)仅提供相关信息(基于用户位置、所处环境和目 的地信息),从而很大程度上减少了用户必须处理和记忆的信息量。这大大减少

此地游览时既能够得到所需信息,同时又能徜徉在这片空间,探索学习的奥妙。

了面对一大堆混乱的视觉元素时的不知所措(比如许多公共导视以及直接借用的 导视方案)。 一套适用于多变的学院学术和商业需求的系统需要有亲和力的设计,教室的 标牌只需要四颗螺丝钉。这种特别方法藏而不露,确保了整个建筑结构和设计中 所体现出的精致。

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Wayshowing at Te Ara Hihiko

Design Company

Te Ara Hihiko 的导视系统

Client

SV Associates

Athfield Architects Location

Designer

Wellington, New Zealand

He

Nick Kapica

The environmental graphic design within Te Ara Hihiko encourages visitors

used for the building wayshowing.

to spatially de-code the building thus reducing the signage requirements to

The CoCA Graduate Attributes: Creativity, Virtuosity, Understanding,

a minimum.

Autonomy, Connectedness and the te reo Maori: Toi, Mohio, Matauranga,

Centrally situated on the Massey University Wellington campus and built into

Mana, Whanaungatanga, have been cast into the concrete structure of

a rapidly sloping section of land, visitors can enter on three different levels.

the building, providing a permanence that contrasts with the wayshowing.

The wayshowing was required to incorporate the campus wide system of

The words are set at varying depths into the concrete and correspond in

letters denoting floor levels, in Te Ara Hihiko visitors are introduced to this

alignment and depth across the two languages, these are bisected by the

concept quickly as they enter the building.

sliding glass door creating a playful relationship between them.

The two official languages of New Zealand, te reo Maori and English have been non hierarchically presented in this completely bilingual wayshowing. Te Ara Hihiko Welcome Wall A prefabricated concrete slab within the entrance lobby to Te Ara Hihiko provides the site for a welcoming message. The experimental typeface ThreeSix was chosen to contrast to the neutral typeface Aktiv Grotesk

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Te Ara Hihiko 的环境图示设计鼓励参观者 从空间上破译建筑语言,以便将标识需求降低 到最小。 Te Ara Hihiko 位于梅西大学惠灵顿校区的 中心,建在一个陡峭的斜坡上,参观者们可以 从三个不同的楼层进入这里。这一导视系统需 要一个校园范围内的楼层导视文字系系统,进 入这里时参观者们能够很快地接受到这些概念。

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新西兰有两种官方语言,土著人的毛利语 和英语。这两种语言都系统地存在于这一完整 的双语导视系统中。 Te Ara Hihiko 欢迎墙 Te Ara Hihiko 欢迎墙是预制混凝土平板结 构,在 Te Ara Hihiko 的门厅入口处,写着欢迎 辞。选择“三六”试验型字体是为了和建筑导 视的中性 Aktiv Grotesk 字体相对比。 CoCA 的校训:“创造”、“技艺”、“理解”、 “自主”,“连结”以及相应的五个毛利语单词: “Toi”, “Mohio”, “Matauranga”, “Mana”,  “Whanaungatanga”, 都被铸在建筑的混凝土结 构中,和导视系统不同,它是永久的。这些词 语镶嵌在不同深度的混凝土中,并且两种语言 的步调和深度相一致,被滑动玻璃门分成两部 分,创造出一种有趣的关系。

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CIT ULACIT Center for Innovation and Technology Transfer

Designer

Beth Novitsky, Andrea Plenter Design Company

Location

Gensler

San José, Costa Rica

Client

Photographer ULACIT

科技大学创新与技术转化中心

CIT - ULACIT - Center for Innovation and Technology Transfer

CIT, an extension of Latin American University of Sciences and

and bold graphics.

Technology (ULACIT) located in Plaza Tempo, Escazú, Costa Rica, offers

Since it’s opening in March 2013, the university has had great success

training and certification in new technologies, project management and

attracting new students and developing new programs. The flexible

English language studies. Working closely with the client, Gensler worked

nature of the identity lends itself well to other printed materials such

to visually convey CIT’s innovative approach to teaching and learning

as posters and collateral used within the space, with the pattern of

through a new brand identity program based on concepts of pixels, seen

triangles and squares themselves used as “pixels” to create illustrations

from a 3D perspective and expressed in both 2D and 3D applications. A

and other graphic elements.

He

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©Richard Hammond

new environmental graphics program serves not only to guide students in wayfinding, but also to create a distinctive, energizing brand for the University. Completed within an expedited schedule and on a modest budget, the overall design is bright, fresh and unconventional and incorporates neutral furniture, sharp finishes and extensive use of glass

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CIT 位于哥斯达黎加国埃斯卡苏市的天宝广场中,是拉美科技大

学的分校,提供新技术能力、工程管理和英语学习方面的培训和证书。 詹斯乐与客户通力合作,致力于从视觉上传达 CIT 的创新教学和学习

方法,该目标需要通过一套新的品牌标识方案来实现,本案借鉴像素 的概念,从 3D 角度观赏,透过 2D 和 3D 应用传达信息。一个新的环境 图标方案不仅能够通过导视系统指引学生,还能为大学开创一个独具

一格、鼓舞人心的品牌。整体设计明亮艳丽、不拘一格,将中性的设施、 鲜明的材质、醒目的图标和玻璃制品广泛应用,在紧迫的时间和紧张

He

的预算内得以完美融合。

自 2013 年 5 月开放以来,该大学已成功吸引了一批新生和新的 发展中项目。标识的灵活性能非常适用于其他印刷材质,如在空间内 使用的海报和附属品,三角形和正方形图案以自身为“像素”拼凑成 插图和其他图形元素。

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康泰纳仕时装设计学院

London, UK

Designer

He

Together Design

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Condé Nast College of Fashion & Design

In collaboration with the Condé Nast team, we worked hard to strike a

inspired by the ‘luxe minimalism’ of their space. And by using big numbers

balance between channeling their brand values and showcasing the brand’s

in the stairwells, and wall plaques with the same dimensions as Condé Nast

glamour and history, but without looking retro or too reminiscent of their

magazines, we added the stylistic echoes and dramatic flourishes that work

famous publications. In short, the branding needed an authority all of its

perfectly for this fashion forward institution.

own, with a cutting-edge vibe. Our solution combines timeless black and

The branding and signage system launched to great acclaim on social media

white, with a pared-back palette and modern typography. This sleek and

and plenty of column inches in the design press. Our client was delighted

stylish visual identity was implemented across everything from their logo

with the results, with Susie Forbes, Principal of the College, saying: ‘Working

and stationery to ad campaigns and printed materials.

with Together has been an inspiring and rewarding experience’.

The wayfinding system had to quietly complement the modern, minimal

我们与康泰纳仕设计团队合作,努力实现品牌价值引导和品牌魅力与历史展现 的协调,但又不能显得复古,或是过于怀念其旧作。简言之,该品牌需要一种前卫

architecture of their new space in Soho, London. It also needed to

梯井间,墙饰板与康泰纳仕杂志尺寸相同,我们使用的时尚元素和大胆装饰与本案 时尚前沿的身份相得益彰。 该品牌设计与标识系统受到社会传媒与大版面设计杂志的称赞。我们的客户对

的感觉,使其霸气外露。我们的方案结合了经久不衰的黑白颜色,辅以简单色调和

effectively guide people around the building; not only students during the

现代字体。光鲜时尚的视觉识别不论是在本案的商标、文具中,还是广告活动和印

daytime, but also visitors to industry events at night. We explored this day/

此很满意,该校校长苏西・福布斯表示:“本次合作鼓舞人心,收获颇丰。”

刷材料中都得以体现。

night theme to create our signage family. Featuring a monochrome colour

导视系统须与伦敦 Soho 区的这座现代化小型建筑融合,也需有效地为建筑周围

palette and a ‘tone on tone’ approach that plays with light and shadow, it’s

的人导向;这些人中既有白天路过的学生,也有夜晚参加商业活动的游客。我们开 发了这款日 / 夜主题,加入到标牌设计体系当中。受其空间“豪华极简主义”的启发, 本案以单色调和“同系配色”的形式为主,明暗色搭配,我们将大型数字设置在楼

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Chobham Academy

Creative Director Gareth Howat & Jim Sutherland

乔巴姆学院

Client Chobham Academy Photographer

Designer

Phil Starling

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Gareth Howat, Jim Sutherland, Marc Spicer

Chobham Academy is a school in Stratford, East London, which was built as part of the major developments for the London 2012 Olympics. Designed by AHMM, the main building of the state-of-theart campus is circular with a large open atrium, and circles feature heavily elsewhere, from windows and skylights down to material finishes. Taking a visual cue from the circles and an intellectual theme of constant learning and discovery, we created environmental graphics featuring over 1000 individual 'points of interest' – circular

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illustrations, photographs and diagrams which serve to surprise, inspire and educate. These appear throughout the school as part of window manifestations, screens, projections and signage to be discovered by students as they grow up in the building – from primary school classrooms with facts about colour, nature and shapes, to the secondary school and sixth form where the manifestations feature inspiring or thoughtful quotes to complement their learning. There is also an emphasis on facts about East London and the Olympics, which took place within sight of the building. Feature graphics include 'the illuminating wall' – a 25 metre graphic pattern made up of every single point of interest where the facts, quotes and pictures can be read by pupils in the day, and which light up the outside of the theatre building at night. Giant sports pictograms in the gym describe the feats of the 2012 Olympics, and projections of masks, dancers and local stars of stage and screen, light up the theatre foyer. The cafeteria is screened with illustrated facts and quotes based around food, and above the cafeteria service area are plates featuring quotes such as 'Take the feeling of hunger out of your gut and you're no longer a champion'.

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He 乔巴姆学院是伦敦东部斯特拉福德地区中的一所学校,是为了迎接 2012 年 伦敦奥运会所建建筑之一。该学院由 AHMM 公司设计,校园环境艺术感极强,主 楼为环形,并设有开放式天井,而环形元素也广泛应用于各个部分,上至窗户、 天窗,下至材料饰面。 我们从圆形的视觉和不断学习探索的主题获得灵感,开发了由 1000 个“趣 味标识”个体构成的环境图标——有助于激发、激励、施教的圆形插图、照片和 图表。这些遍布学院的图标是橱窗展示、屏幕、投影和标识的一部分,它们深受 在此成长的学生们喜爱——引导在此成长的学生去发现,从小学对颜色、自然和 形状的认知,到中学对标识表现特征的思考,以及对学习有益的格言警句。此外 还有与此地近在咫尺的伦敦奥运会元素。 特别的图标包括“照明墙”——一个 25 米长的图案,由各类资料、名言和 图像构成,白天可供学生阅读,夜间照亮剧院大楼。体育馆中的巨型运动图标描 绘出 2012 年奥运会盛况、面具演员、舞者及当地舞台和银屏明星的投影,照亮 了剧场大厅。餐厅大屏幕上放映着介绍说明,餐具上的名言警句环绕在美食周围, 餐厅服务区上镀着“求知若无饥渴之心,难成大事”的警句。

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Destination UBC

Client University of British Columbia

目标卑诗

Location British Columbia, Canada Photographer

Designer

© 2013 Roger Brooks/Applied

Applied

The University of British Columbia (UBC) is a ‘tier one’ university with an international reputation for research, academic achievement and its stunning campus. UBC’s philosophy includes ensuring that the public has access programs. These facilities include museums, galleries and performance spaces, as well as sports facilities used for the 2010 Winter Olympics. Wayfinding was included as part of a $46m UBC public realm program. Applied won an RFP for cultural attraction

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wayfinding; but following research including legibility analysis,

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to performances, exhibitions and events linked to faculty

student, staff and visitor interviews, and reviewing the emerging brand platform, a wider strategy to integrate

wayfinding for academic and casual visitor needs under

the idea of creating ‘Destination UBC’ was recommended. Applied consequently produced the detailed plan, custom signage specifications and a digital map system for pedestrian wayfinding as the first stage of delivery.

不列颠哥伦比亚(卑诗)大学在国际上享有盛誉,其科 研,学术成就和美丽的校园环境在世界上堪属一流。卑诗大

The installed wayfinding system includes four sign types:

学的导视系统设计原则是要确保公众可以顺利找到校园中的

1. Welcome map kiosks giving orientation at pedestrian entry points,

表演、展览、和相关学院的各项活动。导视建筑包括博物馆、 画廊和剧场,及其为举办 2010 年冬季奥运会所建的运动场馆。

2. Pylons providing mapping and directional information at decision nodes,

本案的导视系统是耗资 460 万美元的卑诗大学公共区域 项目建设的一部分。Applied 以其文化特色赢得竞标,但在随

3. Lecterns giving detailed information about athletic and residential facilities,

后的便捷度分析,学生,员工和游客调查,以及对发展中品 牌平台的分析中,我们发现,需要一个更广阔的导视策略来

4. Blade signs highlighting hidden routes and accesses.

整合学术和参观需求,由此产生了“目标卑诗”的理念。由

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An innovative mapping production system was built to deliver

此 Applied 最终设计出了一个详尽的设计方案,和响应的标牌

three map scales for signs in heads-up orientation, from a

明细,以及以导视系统为主导下辅助的行人数字化图示系统,

purpose-built ArcGIS database. Applied designed the system

这些已安装的导视系统包括四种标牌类型:

for UBC’s GIS team, who were given design templates and

1、迎宾图示亭给予行人全方位的地址向导。

documentation to allow them to maintain and produce maps directly.

2、路标塔在节点上提供地图和方向信息。 3、讲台提供有关运动员区详尽信息。

A bespoke icon suite was designed for use across all mapping and signs. Also included in the design package was a custom

4、剑型标牌使隐蔽的路线和入口明显化。

designed version of the Legible London 'citylith' which was the

从定制的 ArcGIS 数据库中,Applied 设计了一款新型地

first time this 'gold standard' in city wayfinding design was

图生成系统,通过专门设计的 ArcGIS 数据库,来生成地图,

implemented outside the UK, and in an institution. All signs

满足三个不同范围内的方位指示。Applied 为卑诗大学 GIS

were fabricated in British Columbia. The signs use concealed

小组设计了本套系统,该小组依据设计模版相关资料制作并

fixings and porcelain enamel panels hung on shot-peened

生成了地图。 本案特别定制了一套应用来到所有地图和标识上的图标。

stainless steel carcasses.

这套图标也被包括在当时特别定制版里的“便捷伦敦”的“城 市化”的设计包里。这也是 “黄金标准”的城市导视设计在 第一次在英国以外的地区应用,并且还是在一个大学里。所 有的标牌在不列颠哥伦比亚装配完成。这些标牌使用隐形固 定和瓷釉嵌板,悬挂在经过喷丸处理过的不锈钢骨架上。

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同济大学实践中心标识和环境图形设计

Designer

WuDuan, Gao Bo, Shi Ying, Liu Yuyun, Zhang Chenxi, Jiang Wangxi Design Company

Area

College of Design and 3,600 m2 Innovation Tongji University Photographer Location Liu Yuyun Shanghai, China

He

The Signage and Environmental Graphic Design for the Practice Center of Tongji University

实践中心是同济大学学生实训和创新实践的重要部分。该中心为两层建筑,

The practice center is an important part in students’ training and

and understanding each areas which will also help the wayfinding

innovation practicing in Tongji University. The Centre is about

process in the center.

3600sqm in space with two floors, which could hold over 500

Modern Chinese characters are developed and imbedded from the

该中心的装修设计集中于区域的重新分设和新的空间精神的开发,以激发教学与

students and teachers work together. Because of the huge size

hieroglyphics, which could be a combination of symbols and words.

学习中的创新,其目的专注于创新、艺术与合作,建立一个可激发学生实训积极

and complicated functions in the center, the renovate design focus

As cultural readers and interpreters, we look for characters combined

性与创造性的交流平台。空间按教学功能分为不同区域:开放式教学教室、讨论区、

on rezoning the space and create new space spirit which could

with symbols that overcome literacy or cultural barriers to help

展示区、实践区(焊接、铸造、铣削等)。由于所有的训练对学生(包括留学生)

stimulate innovative thinking while teaching and learning. The aim is

international users make sense of the space and the culture around

而言都是崭新的,我们想设计一系列以功能划分的符号,以助学生理解各个区域

focus on Innovation, Art and Cooperation, and wish to establish a

them. We designed a series of Chinese typography based on the

的功能,也有助于该中心的导视过程。

communicating platform which could motivate students to be more

according symbols to help communicating between space and users.

active and creative during the practicing training. The space is divided

The results from this project showed the redesigned characters on

国传统文化的解读者和阐释者,我们通过融入这种具有象征符号意义的文字设计,

into different areas according to the teaching functions such as: open

signs are powerful coded symbols that communicate a wealth of

帮助国外的读者更好地理解环境和文化之间的关系,克服由文化差异带来的理解

teaching classroom, discussion area, exhibition area, practicing area

space and cultural information. It is apparent that it does break down

障碍。由此,我们设计了一系列具有中国特色的字体,增强读者对空间意义的感知。  

(welding, casting, milling etc). Since all those trainings are new to the

some perceived barriers between languages to the international

students (including international students), we wanted to design a

users.

占地 3600 平方米,一共可容纳 500 多名师生在此工作学习。由于面积大、功能复杂,

中国的现代汉字由象形文字发展和演变而来,是符号与文字的结合。作为中

本案的结果显示,标识上重新设计字体是强大的编码符号,传达大量的空间 和文化信息。显然这确实打破了一些国际用户之间的语言感知障碍。

series of symbols based on the according function to help reading

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Intégral Ruedi Baur

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纽约新学院中心大楼

Client

Sign Painters

The New School

Overall Murals

Creative Team

Location

Ruedi Baur, David Thoumazeau,

New York, United States

Alexandra Bauch, Lisa Kitschenberg,

Completion Date

Stéphanie Brabant

2014

Production

Photographer

Signs & Decal Corp., Going Sign & servicing Co, Inc

Intégral Ruedi Baur and Overall Murals

This 17-storey building in the heart of Manhattan comprises seven floors of academic space with student accommodation and living quarters on the upper floors. The signage system is designed to be visible from the street, in the openings of the buildings facade, making a vertical typographical fresco which will be extended up to seven storeys in the central stairwells. A personalized typeface was created to meet the two dimensional and three dimensional symbolic and functional requirements

He

Wayfinding System for the New School University Center

这座 17 层的大楼座落于曼哈顿的中心,其中的 7 个楼层是学术空间,楼上 设有学生宿舍和生活区。标识系统在大街上和大楼正面的都较易识别,垂直的印 刷壁画一直延伸到中央楼梯井的第 7 层。个性化的字体满足了二维和三维的标记 和功能之间的相互协调。模型目前正在我们在巴黎的工作室创建。第一批原型也 正在纽约进行测试。新曼哈顿学院的设计概念适于新建的巴黎帕森设计学院。因 为本案是更加经典的豪斯曼风格,字体也据此做出了调整。

equally. Prototypes are currently being created in our studio in Paris. The first prototypes are also being tested in New York. The Manhattan New School’s design concept is adapted for the newly established Parsons Paris School. As this building is in a much more classic, Haussmann style, the typeface has been adapted to this context.

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Monash University Wayfinding

Design Company Büro North Client Monash University

莫纳什大学导视系统

Photographer Fraser Marsden

Designer

He

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Soren Luckins, Finn Butler

Büro North have been working closely with Monash University to develop a wayfinding system that supports their new master plan. The wayfinding system actively promotes higher quality pedestrian environments by connecting the campus to its urban realm, modifying internal circulation patterns and introducing intuitive building numbering. Utilising the university motto of ‘Ancora Imparo' or ‘I am still learning’ along with key values of Growth, Development and Progress, our design solution leverages the upturned triangle from the university crest to morph, develop, progress and bind larger and stronger forms. Using the triangle as the key design driver also allowed us to develop a completely modular and scalable

Büro North 设计公司一直致力于打造一款紧紧围绕和支撑莫纳什大学的新总体 规划的导视系统。这套导视系统通过将其校园与当地区域的结合,内在循环模式的 改进和直观的楼宇编号,高质量灵活地提升了其行走的环境与效率。 利用莫纳什大学“Ancora Imparo”或者“学习不辍”的校训,以及学校“成长、 发展、进步”的核心价值观,本案的设计思路使用向上的三角形来体现学校改变,发展, 进步的三个核心价值,以此来约束成更宽广、更强大的架构。运用三角形作为本案 的主要设计驱动,亦使我们可以形成一个具有完整模块化的结构和弹性解决方案。 我们的解决方案给莫纳什大学正在经历的新方向和重要的文化转变提供了一个 前进的方向。

solution. Our solution points the way forward for Monash University as it undergoes a new direction and significant cultural change.

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University of the Pacific 太平洋大学

Client

Location

University of the Pacific

San Francisco, USA

Building Construction

Photographer

Plant Construction

Donald Satterlee

Project Construction Manager Nova Partners

Designer

Signage Fabricator

RSM Design

He

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WeidnerCA

The University of the Pacific, Arthur A. Dugoni School of Dentistry is a

with the practice of dentistry and took that in to account when addressing

nationally renowned institution of higher learning committed to providing a

all facets of this project. Additionally, the high-end facility and impressive

world-class dental education for their students, as well as comprehensive,

state-of-the-art technology were funded thanks to groups of generous

affordable patient care for adults and children in a humanistic environment.

donors, and RSM took on the challenge of working with the University to

Visitors are known to travel far and wide in order to see the newest

honor these pivotal sponsors.

technologies being implemented by their staff. RSM wanted to convey a fresh new look for the University by creating clean, strong graphics with fun and playful pops of color. RSM developed a color palette that was inviting and non-threatening, to ease anxiety that is traditionally associated with dental offices. Staying true to the school’s innovative style and vision, RSM complimented the University’s cutting edge technology with powerful graphics that clearly communicate to a wide range of consumers who speak a variety of languages. RSM wanted visitors to associate an acute attention to detail

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He 太平洋大学的牙医学院是一所全美知名的高等教育机构,旨在为学生

使用不同语言的游客进行交流的图形来表达该大学的尖端技术。RSM 希望游

提供世界一流的牙科教育,同时也在一个充满人道主义的环境中为成人和儿

客可以把这种强烈的感觉刺激与牙科医学实践联系起来,并把这种联系带入

童提供全面且经济实惠的护理。游客为一览该学院使用的最先进的技术而在

本案的方方面面。另外,高端的设备和最尖端的科技均出自于大批慷慨的捐

此地到处游览。RSM 想通过设计简洁但强烈,颜色鲜艳,趣味十足的图形来

赠者的资助,而且,RSM 也同该大学合作,为重要的捐赠者设计了纪念墙。

传达出该大学崭新的面貌。RSM 利用友好且平和的色调,来缓解一般牙科诊 室带给人们的紧张感。 忠实于该学校的创新精神和视角,RSM 使用具有冲击力、能够更好地与

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Location London, UK Photographer fwdesign

Designer

fwdesign

The LSE required a comprehensive wayfinding and signage strategy from

LSE 所需要的是一套从公共区域到办公区的全面标识和导视系统。 本案通过一致且整体的标识系统使之呈现出来。 本案的标牌设计不仅作为一种指向,而且力求留下 LSE 彰显的社会 地位与品质,提供一种“品牌认可”,使之与公众,员工和学生的的身 份相呼应。 本案为导视地图所做的作图策略,延展了连接校园和外界区域的边 界,超越了和邻近的交通联系。保证了使用者可以无缝隙地穿进和穿出

He

the public realm to office door. This is delivered via a coordinated signage

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London School of Economics

system designed as an integral family. The signage is aimed to be more than a directional device and also seeks to celebrate the status and vitality of the LSE, providing ‘brand recognition’ and corporate identity to the public, staff and students. The mapping strategy was for a wayfinding map that extended beyond the boundaries to connect the campus to the wider area and nearby transport

这座城市,并与城市导视系统连接为一体。 外部标识策略也延伸到了大楼内部。根据与资产部门的协商,FW  Design 设计了一种新的校园范围的大楼标号和编号系统,对使用者来说 更为直观。 一种室内标识系统是为校园内的 23 栋楼的导航所设计。主导航区 设在新学术楼,主导航区配备有指南,指南附有详细说明和数字化样板

links. This ensures users can traverse seamlessly in and out of the city, and

图,它可以适应这所大学已经完工和在进行中的整个建筑的更新。

connect to a city-wide wayfinding system. The strategy for the external signage extended to the interior of the buildings. Following extensive consultation with the Estates Department, fwdesign developed a new campus-wide building code and numbering system that was more intuitive to the user. An internal signage system was designed for roll-out across the 23 buildings campus-wide. It was piloted at the New Academic Building and documented within a Signage Guidelines Manual. The manual, complete with specifications and digital templates will allow the University to manage the roll-out and ongoing updates entirely in-house.

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INDEX

Diseño Shakespear

索  引

Bruce Mau Design Diseño Shakespear is family

Bruce Mau Design is a multidisciplinary design

owned design consultancy

firm specializing in brands & environments.

founded in Argentina by Ronald

They develop brand systems, including

Shakespear 50 years ago,

visual identities, consumer packaging, digital

Diseño Shakespear is constantly

experiences and physical environments. Their

t r a n s fo r m i n g a n d e v o l v i n g .

designs bring ideas to life, transform brands

To d a y , t h e m u l t i d i s c i p l i n a r y

and help businesses grow and evolve.

design company is run by Ronald and his son Juan Shakespear, and

RTKL

Gray Puksand

BMD clients and collaborators are shaping

specializes in corporate identity programmes, corporate architecture,

the future of their respective industries. They

wayfinding systems, urban furniture design, web and literature design and

work with large international corporations, visionary start-ups, expansive

communications strategy. Diseño Shakespear wayfinding and branding

arts organizations, multi-stakeholder educational institutions, ambitious

projects as the Buenos Aires Subte, City Hospitals, Buenos Aires Urban

architects, city-builders and governments.

Signage Dot Baires Shopping and Temaiken Bio Park have been published

Their immersive research methods and ability to listen ensure deep

in most important books and publications in Germany, Japan, China, USA,

understanding of the challenges and context their clients face. This

England, Italy, France etc, and exhibited at the Centre Georges Pompidou

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

They want Gray Puksand clients to

(Paris) and the ICSID Triennale di Milano. Mayor exhibitions were held at the

attributes of their partner’s brands.

headquartered in Baltimore, MD. Founded

be excited by their work. As a multi-

Recoleta Center, National Fine Arts Museum and Centro Borges (Buenos

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

in 1946, RTKL carved out a niche in master

studio architecture and interior

Aires). Anthotogical exhibit at the Virginia Center for Architecture-AIA-

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

planning and design for government

design practice, their experience in

(Richmond) and the Katzen Arts Center (Washington DC).

boldness of vision and impact.

and private clients. Over the succeeding

design enables them to forge cutting

decades, RTKL evolved into a full-service

edge, sophisticated work. The national team consists of accomplished

firm, adding the disciplines of engineering,

and imaginative professionals who produce exemplary designs for clients worldwide.

design, and new project specialties including residential, offices, retail

Every client has different values. Collaboration is integral to their distinctive

centers, hotels, and health sciences projects. The past two decades

approach; their goal is to understand their client's underlying values.

have brought further expansion, with mixed-use, federal government,

Listening, contributing ideas and sharing research knowledge are key

entertainment, and branding and identity assignments.

aspects of their position as trusted advisors.

One of the top architecture and engineering firms in North America,

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

RTKL’s philosophy is currently practiced by 1,080+ architects, engineers,

visionary designs emerge from contemporary social, cultural and

planners and urban designers, landscape architects, interior designers, and

technological evolutions.

Their team is comprised of globally selected graphic designers, architects, strategists, writers and managers with backgrounds in fine arts, multimedia, advertising, music, film, and business. Their diverse skills and experiences allow them to approach problems from many perspectives, pushing their insights and creative output beyond the expected. They believe in the transformative power of design to generate new ideas that help institutions and businesses grow.

Gensler is a global design firm grounded in the belief that great design optimizes

MAYÚSCULA

business per formance and human

potential. Their 4,000 practitioners networked across 46 offices use global

graphic designers working in offices around the world, including Abu Dhabi, Baltimore, Beijing, Chicago, Dallas, Dubai, London, Los Angeles, Miami, Sao Paulo, Shanghai, and Washington, DC.

bomancreative

Gensler

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interior architecture, landscape architecture, and environmental graphic

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RTKL is an idea-based creative practice

Gourdin & Müller

perspective and local presence to innovate at every scale. Whether

They are Mayúscula, a branding

they are refreshing a retailer’s brand or planning a new urban district or

& d e s i g n s tu d i o i n B a r c e l o n a .

designing a super tall building, they strive to make the everyday places

They build global and multilingual

people occupy more inspiring, more resilient, and more impactful.

brands for start-ups, multinational

Projects of Note: Gensler is redefining Shanghai’s skyline with the

corporations, and creative agencies

Shanghai Tower, China’s tallest building; challenging the conventional

in need for a partner. They help in

office with our workplace research; reshaping how lifestyle brands engage

erasing barriers that restrain your

consumers; and envisioning a better urban future with our Reimagining

competitivity, whether expanding your business to emerging markets

Cities initiative.

like Asia and Middle East, or penetrating in developed markets like Europe.

A t t h e i n t e r fa c e o f u r b a n s p a c e ,

They also design for multilingual events and spaces.

commercial interior design studio

architecture, product and graphic design;

They have experience in bilingual and trilingual design, in Latin, Arabic,

with a Scandinavian origin. The studio

information, guidance and orientation

Chinese and Cyrillic. Furthermore, they have managed graphic production

is a multidiscipline design business

systems can impart more than

in India, China, United Arab Emirates and Hong Kong. Their collaboration

working international with main focus

information.

on Asia and Middle East. Creating

Their conceptual approach enables the

He

bomancreative is an Asia based

concept design for retail branding,

creation of unusual responses, reflecting

shopping malls, entertainment

place, theme or client, i.e. a specific

alleys and hotel design – any projects involving commercial interior

context, which is also represented appropriately. The adequate interaction

and architecture. We like doing things from scratch, be innovative and

between materiality, form, graphics and typography facilitates the

surprising and we sure don’t do things the normal way if it can be done

realisation of identity-promoting solutions.

better.

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

Their priorities are not merely to create aesthetic solutions and functional

the taking into account of heritage conservation aspects form the focus

designs. They also know that great design is a profitable investment with

of their considerations.

the potential to generate immediate financial returns for all their clients.

Sophisticated design and a high degree of functionality make signage

bomancreative is building the bridge between Scandinavian design

systems a key communication instrument for companies and institutions.

quality and the rest of the world practicing design for the past 20 years+

Gourdin & Müller plans signage systems from conception to realisation,

and since 2002 also out of Asia.

accompanying all project phases with the greatest of care and attention. Nathanaël Gourdin and Katy Müll er share a love of detail and inquisitiveness. Each task brings with it the challenge of visualising complex interconnections via the structuring of content and sophisticated design. The objective of every debate is the formulation of solutions that can provide identity. The synergy of structural context, thematic character and contemporary interpretation forms the foundation of our

Fabio Ongarato Design Fabio Ongarato Design is an internationally renowned and multi-award winning design studio founded in 1994 by Fabio Ongarato, Ronnen Goren

with local partners with European education and experience guarantee a succesful cultural immersion, meeting the maximum quality standards. Mayúscula in spanish is an upper case character used to start a sentence or to remark an idea. It is a metaphor of their leitmotiv, describing excellent brands that use creativity as an strategic tool to grow, stand out and connect with people across cultures.

and Geoff Bainbridge. Our focus is to build engaging and memorable

Büro North

brands through a holistic approach that engages our multidisciplinary capability. It is our passion and immersion in cultural discourse, which allows us

Büro North’s evidence based expertise in strategic

to create unique and dynamic experiences; which in turn, allow our clients

branding, design and wayfinding drives growth,

to stand out. By balancing strategic thinking and design innovation, we

sales and efficiency benefits for clients.

seek to realise outcomes underpinned by strong, singular thinking and ideas that define our clients competitive advantage and position them as leaders in their respective fields. Working collaboratively across may varied sectors and industries, our studio has built a multitude of influential brands over the past two decades which challenge, inspire and excite audiences and their communities alike.

Le d b y D e s i g n D i r e c to r S o r e n Lu c k i n s a n d Wayfinding Director Finn Butler, Büro North’s diverse and collaborative team integrates graphic design, industrial design and wayfinding to produce enduring outcomes. Büro North’s approach is to actively engage with each client to discover the absolute potential of a project and to resolve the communication and

approach. Innovative manufacturing procedures and the unusual use of

design issues with rigour, clarity and creativity.

materials are characteristic of the realisations. Lecturing and university

Both strategy and design are fused to create exciting and inspired

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

solutions expressed through brands, identities, publications, signage, environmental graphics and wayfinding.

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Hoet&Hoet

Emedya Design

There

Mo Jinguo / DEFI

Hoet&Hoet is a

Over 10 years, they’ve been building brands,

Mo Jinguo was born in Nanning, Guangxi in 1981 and

graphic design

identities and environments with meaning

graduated from College of Fine Arts at Guangxi Normal

agency founded by

and impact, creating positive change

University with Master’s degree. He has took part in

Ronane and Nick

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

graphic signage system design for many 5-star hotels,

Emedya Design is a wayfinding, environmental graphic, interactive design

memorable spatial experience – they combine strategy, creativity, design

international airports, large malls and hospitals. He is

and media practice located in Istanbul, Turkey.

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

quite experienced and has original ideas on signage

e s ta b l i s h i n g i t s e l f

With roots in interactive design for the web, they have since the early

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

design. His work is highly acclaimed by plenty of clients.

as “brandsetter” - is active in defining brand universe and designing it in

2000s focused on the architecture, construction and design sectors to

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

order to deliver outstanding communication tools going from brochures,

design and implement meaningful projects across a number of media

drive, inspire and keep them focused.

invitations, magazines, annual report, signage/wayfinding, packaging to

and platforms in Turkey and the region. Led by the designer, curator and

web applications, e-newsletters or other digital tools.

critic, Gökhan Karakuş, Emedya Design has created an extensive range of

Hoet&Hoet puts in place creative, innovative, coherent and efficient

international standard projects including wayfinding systems, exhibitions,

solutions for clients

web sites, magazines, and events with an eye towards usability,

Hoet in 1989. The

agency

-

advanced design and sensitivity to local cultures. Their clients have included Turkey’s leading firms such as Finansbank, Efes Pilsen, Eczacıbaşı, VitrA and Turkcell, governmental agencies such as Turkish Ceramics

Designalltag Rinderer GmbH

International Promotions Group, Istanbul Mineral Exporters’ Association Nabil Gholam and Emre Arolat Architects.

Designalltag design

Their office consists of a team of industrial designers, graphic designers,

agency is hallmarked

editors and interactive designers with extensive experience in the design,

by the typically Swiss

architecture and construction sectors.

values of devotion to detail, aesthetic a n d fu n c t i o n a l i t y . ideals

underpin all the

Ku r y l ow i c z & A s s o c i a te s

creative design projects that the agency tailors to its clients’ specific requirements. Designalltag enables clients to realise their goals, from initial concept through to effective implementation, by devising integrated solutions that are both sustainable and fit for purpose. Over the years, Designalltag has forged a solid reputation with a variety of corporate design and signage projects. Its work has gained recognition through publications and exhibitions and also thanks to the various national and international awards that the agency has received. Designalltag can trace its roots back to the 1960s, when Ruedi Rüegg first attracted attention to the agency’s design skills; Felix Rinderer continues this successful tradition today. For Designalltag, good design has the power to inform, to motivate, to involve and to guide. In order to reach its audience, visual communication must be straightforward and intelligible. To remain effective, it must also be individual and unique. Trends change, but good ideas have no expiry date.

Landini Associates

A world leader in Environmental Graphic

Studies architecture and art in Kyoto Seika Univ.

Design and Branding, Entro creates

and Inter Medium Institute in Osaka.

environmental graphics, brand identities, print,

Launched own design company 'UMA / design

publications and digital media. A vital influence

farm' in 2007. His field of activity is broad and inter-

on the design scene for over 48 years, Entro has created a variety of

disciplinary, including two-dimensional work such

innovative design solutions.

as book graphic design and three-dimensional

With offices in Toronto, Calgary and Zurich, Entro has an interdisciplinary

design such as exhibition and interior design.

team of 40 professionals in fields ranging from graphic design, industrial

GALAXY SIGN DESIGN

fo u n d e d i n 1 9 9 0 b y P r o f

In 2013, obedience to nearly 17 years

Stefan Kurylowicz.

extensive experience in sign system

To d a y , i t i s t h e m o s t

design, they set up their own business

renowned and titled

premises named “Yun Han (from the "book

architectural company in

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

the country. It employs 80

group of dynamic team of professionals,

experienced architects in offices in Warsaw and Wroclaw.

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

The studio can boast many prestigious realisations in the whole country.

development trend of clingy times and

It has experience in designing investments of every size and function.

constant innovation.

Throughout the time of its activity, the studio has gained the reputation

Since its establishment, the company has been committed to

of a reliable partner, able to present solutions of the highest quality within

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

the fixed time and budget.

chambers, commercial complex, condominiums, office premises, major

Besides standard and complex architectural services, the company also

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

offers counsel and support regarding advertisement and investment

most competitive strength design agency of China.

promotion.

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

The quality of the solutions delivered by the company has been awarded

renowned enterprises within home and abroad. Including Intercontinental

many times both in Poland and abroad. But the biggest prize is the rich

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

portfolio of satisfied customers. Many of which have been co-operating

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

with them for many years.

YOPINDO Group, Zhonghai Property Group, Ren Xin Real estate, Nan Tong Oasis Group, Central China Group, He Nan, Pengxin Group, Ronghui Group,

Landini Associates is

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

Moniteurs

a multi-disciplinary retail design and brand consultancy

is led by three

They are interested in the classic over the fashionable and many of their

they are evolving and redefining existing ones. They bring about a fusion of multiple disciplines resulting in an end product with a singular vision. This results in the best possible outcome for both their clients and their customers. Landini Associates is based in Sydney and is currently working in North America and Canada, the UAE, the UK, Asia and Australia. Clients include Loblaws, T2 (Unilever), Jones the Grocer (LVMH), Amore Pacific (Primera, Mamonde, Innisfree, Lirikos), Hilton Hotels, Westpac Bank Australia, Jurlique, Coles, Woolworths and various independents.

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

in 1994, Moniteurs

designers. They produce world class, simple yet effective work that lasts.

driven but creatively led, they are equally at ease inventing new brands as

a full range of services from communication strategies, graphics, wayfinding to industrial design. Our team is one of the largest and most accomplished design firms in North America. Entro’s clients are guided seamlessly across the various phases of their projects’ life-cycle – from forging the building blocks of the project of a comprehensive Environmental Graphic Design program.

up design co., LTD Focused on creativity, UP DESIGN has accumulated yearly hands-on experience on branding, wayfinding planning and graphic design. Throughout the project from early market research to design representation and realization guidance, with their own professional expertise, they seek every product difference to create distinct and prominent images for clients. UP DESIGN is one of early way-finding system planning companies for cities and building interiors. Over the long course of development, they constantly absorb foreign advanced knowledge and combine them with characteristics of domestic environment for the completion of numerous way-finding system planning and design projects. They are the long term strategic cooperative partner of renowned property companies such as Wanda, China Resources, Vanke, and China Merchants. They are working towards the path to become the top China design and creative organization.

Founded in Berlin

consisting of strategic planners, architects and interior, graphic and product

projects have a longevity that exceeds the market norm. Strategically

design, engineering, architecture, journalism and urban planning, offering

wayfinding and identity strategy through the design and implementation

A r c h i te c tu r e S tu d i o w a s

He

These

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

Kurylowicz & Associates Architecture Studio

awareness, clarity

Yuma Harada- born in Osaka, 1979.

oo ks to re

and Turkish and international design practices such Adams Kara Taylor II, The Swiss-based

Entro Communications

UMA / design farm

partners, Sibylle Schlaich, Heike 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 them a long time and have implemented many projects with them. The focus of their work lies in the areas of information design and corporate design. For them, information design means informing people directly, making connections and making complex issues understandable. A part of information design is the conception of an orientation system and, through it, the development of an architectural identity. Additionally, Moniteurs’ spectrum includes the design of trade fairs and thematic exhibitions.

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Total impact

Place Associates Place Associates is a property consultancy which

Founded in 2004, total impact is a global

creates strategies that position, market and

design company. They have established

activate places. This approach in managing and

themselves as a global trend leader by

developing places increases customer visitation,

forming partnerships with Brand Union,

spend and loyalty. Working with the owners

subsidiary of the WPP Group which is one

and operators of places, they provide the insight

of the world’s largest communications

which ensures that places develop a competitive

companies. Through the collaboration

advantage, allowing them to command a price

between Korean professionals, who are

premium and achieve financial returns above the market. Whether it is a

well equipped with field experience and knowledge, and European

retail, commercial, hospitality or mixed-use place, they create strategies

professionals with expertise in branding and corporate identity design,

that build, attract and encourage people to shop, work, learn, live, stay, eat

they have developed a strategic and creative design system.

or play at your place.

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Lorenc+Yoo Design

Together Design

Lorenc+Yoo Design creates spectacular places for the world’s finest brands. The firm designs award-winning museum spaces, trade show exhibits, sculpture, and wayfinding signage systems for clients in medicine, high technology, entertainment, education, hospitality, and real estate. Its multidisciplinary approach enlists the talents of storytellers, graphic designers, architects, and industrial designers to realize clients’ unique business goals beautifully.

Integral Ruedi Baur

Hat-trick Design E s ta b l i s h e d i n 2 0 0 3 ,

Established in 2001, hat-trick is a multi-

They

Together Design brings

disciplinary design company working

i n te r d i s c i p l i n a r y

energy and personality

for a wide variety of clients. Their aim

studio based in

to brands, helping them

is to provide their clients with the highest standard of creative design and

Paris and Zurich.

better connect with people. They help established brands work harder, and

project management. They believe that the best way to achieve this

They deal with questions of territorial identity. Their main activity lies in the

guide start-ups on their journey. And they do it all in a deeply collaborative

is for the director to be very hands-on and to lead the jobs from the

fields of corporate design and wayfinding systems. They also attend to

way, working closely together with their clients to find creative solutions

front. Their passion is to produce work that achieves its targets by

projects of classic graphic design and to those related to scenography and

that help them succeed. They’ve a wealth of experience in retail, food

creating memorable, engaging ideas that are noticed and effective. They

exhibition design.

and drink, beauty, licensing, arts and culture, and nonprofits. Their current

have a very broad experience in a wide variety of sectors: in other

The studios Integral Ruedi Baur were founded in 1989 in Paris and 2002 in

clients include Boots, Caffè Nero, Divine Chocolate, Royal Mail, Diageo, and

words they bring to all their projects fresh and objective creative thinking,

Zürich. Actually each studio has staff of about ten designers and project

The Health Foundation.

not formulaic answers. 

manager. Their tasks are of various sizes and scales, beginning with the

Their approach to branding is creative, flexible and involving. They’re not

design of a business card and extending to identification systems in

afraid to ask difficult questions or to give honest answers. They like to

urban space. In the field of way-finding they are busy with many different

feel their clients are part of the team. Their experience shows them that

assignments and themes - ranging from office buildings, hospitals and

successful projects depend on commitment, clear communication and a

airports to signage and information systems for cities and public spaces.

shared understanding of the processes and issues involved.

Their understanding of wayfinding exceeds the conventional approach

One of the most recognized placemaking firms in the world, Lorenc+Yoo has completed commissions for Vanke, Hines, the Mayo Clinic, SonyEricsson, Hyatt, Georgia-Pacific, Samsung, UPS, and many others. Founded in 1978 in Chicago and located today in a forested community minutes outside of Atlanta, Lorenc+Yoo Design serves clients worldwide,

are

an

including in China, Korea, India, Japan, the United Arab Emirates, and the

of traditional signage. They conceive orientation in space as a complex

United States

interaction of many different components and impulses. It is theirconcern to tune information and signs in architectural space. In a specific

Applied Büro North

oo ks to re

SV Associates

environment, depending on context and assignment, they strive to sharpen users’ senses to comprehend and orient themselves in space.

Applied is an international design consultancy with expertise in

SV Associates can be found in Berlin, Wellington,

Büro North’s evidence based expertise in

Amsterdam, S an Francisco, and Sydney.

strategic branding, design and wayfinding

Passionate about visual communication, they

drives growth, sales and efficiency benefits

approach and methods have evolved from many years of experience in

enjoy challenges, problem solving and delivering

for clients.

developing world-class wayfinding schemes for cities, campuses, parks,

excellent design. Through research and analysis

Led by Design Director Soren Luckins and

mixed-use developments and internal spaces.

RSM Design is an enthusiastic multi-

they generate exciting and relevant solutions that

Wayfinding Director Finn Butler, Büro North’s diverse and collaborative

Their objective is to provide people with relevant tools to optimise how

disciplinary design collaborative with

they believe add value to business.

team integrates graphic design, industrial design and wayfinding to

they use their environments. Providing people with confidence and choice

a major focus on the skillful marriage

Nick Kapica was born in 1967 in London and is the

produce enduring outcomes.

are central to their approach to information design. They are experts in

of the built environment with graphic

founder and partner of SV Associates. He now lives

Büro North’s approach is to actively engage with each client to discover

dealing with complex information and environments. They combine this

identity. RSM has built a reputation on

in Wellington, New Zealand where he is senior

the absolute potential of a project and to resolve the communication and

skill with editorial and design aptitude that keeps the end user front of

discovering and capturing the essence of each project in unique and

lecturer for Typography at Massey University and

designing legible systems for

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

compl ex environments. Their

RSM Design

design issues with rigour, clarity and creativity.

mind. They are a thinking company, adding value to their projects through

innovative ways that intrigue the imagination and engage the audience.

also their Academic Experience Designer. He has been a visiting lecturer at

Both strategy and design are fused to create exciting and inspired

well-researched and intelligent analysis of environment legibility and

From the creation of the initial project concept, identity, branding, and

the University of Arts in Bremen and has taught Visual Communication at

solutions expressed through brands, identities, publications, signage,

through their creative approach to information design.

architectural character, to the weaving of the appropriate image for

Ravensbourne College of Design and Communication.

environmental graphics and wayfinding.

Through their work on Legible Cities projects, they have created

the overall project and its many individual components, RSM strives

benchmarks in global wayfinding design. Their work has enabled them to

to magnify and enrich the interactive experience. Not fitting into the

explore many places – Legible London, the most comprehensive urban

traditional disciplines of architecture, graphics, or interiors their work blurs

wayfinding project of its kind, I Walk New York, a major pedestrian strategy,

the boundaries between the different approaches, yet incorporates

and extensive work in the City of Vancouver to help make it one of North

elements from all of them.

Passionate about visual communication, interested in architecture and design his favourite projects are those requiring a multitude of disciplines, Not afraid to tackle the unknown and excited by new challenges he is committed to delivering excellent design and maintains a fine eye for details throughout all projects. Nick enjoys bringing different people

America’s greenest cities.

together to achieve the best results for the challenging projects the studio

He

is able to attract.

emerystudio

Gray Puksand

fwdesign are design consultants specialising in the design of unique College of Design

wayfinding and information systems that

and Innovation (D&I),

Based in Melbourne,

They want Gray Puksand clients to be

To n g j i U n i v e r s i t y ,

emerystudio is a

excited by their work. As a multi-studio

was developed from

communication design

architecture and interior design practice,

the Art and Design

practice with a broad

their experience in design enables them

Department of the College of Architecture and Urban Planning, Tongji

scope of activities,

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

University.The establishment of the college aimed to better meet the

working across Australia, Asia, the Middle East, and the United Kingdom.

accomplished and imaginative professionals who produce exemplary

need for design and innovation because of social, economic, technological

Garry Emery is the creative director of the practice. He is regarded as one

designs for clients worldwide.

and environmental changes, especially to meet the need for design

of the world’s leading designers. He lectures internationally and his work

Every client has different values. Collaboration is integral to their distinctive

and innovation when China is turning from manufacturing China to

has been widely exhibited, published and awarded almost everywhere.

approach; their goal is to understand their client's underlying values.

creating China and when Shanghai is changing the way of economic

He has served on international juries for graphic design and national juries

Listening, contributing ideas and sharing research knowledge are key

growth and upgrading industrial structure, and to conform to Tongji

for architecture and urbanism.

aspects of our position as trusted advisors.

University’s sustainability-oriented discipline development strategy. The

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

college is committed to the mission of cultivating “sustainable designing

visionary designs emerge from contemporary social, cultural and

and innovating” leading talents needed urgently by the new era. The

technological evolutions.

overall goal of the college is to establish an international, innovative,

emerystudio

fwdesign

College of Design and Innovation (D&I), Tongji University

forward-looking and research-oriented world-class college of design with great sense of mission of the era, international perspective and native

communicate the identity and navigation of places and spaces. fwdesign is about communication. They understand users’ needs in the built environment and improve their experience by providing intuitive wayfinding and information systems. These are supported by brand translation, product design and implementation. They are enthusiastic advocates of inclusive design, using equality consultants at relevant stages on every project, believing absolutely that inclusive design benefits everybody. Part of their core expertise is in audit, strategy and user testing, which gives them acute insight into the varying needs of users. They strive to work and design sustainably, constantly reviewing and improving their processes to reduce their impact on the environment. fwdesign specialises in inspired but pragmatic design. With expertise in strategic wayfinding, user analysis, information graphics, mapping and product design, they translate brands and information into the public realm from initial concept through to practical implementation.

characteristics.

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Sakkal Design D r . M a m o u n S a k k a l i s fo u n d e r and principal of Sakkal Design in B ot h e l l , Wa s h i n g to n . P rov i d i n g graphic design and communication solutions to major national and international corporations, his firm has focused on Arabic calligraphy and typography since the 1990's and received several awards for calligraphy, graphics, and type design. His work is widely published. Dr. Sakkal is the Arabic typography expert for Microsoft and several of his Arabic fonts are now widely used as Windows system fonts.

design stuidio s Fumie Shibata (Creative Direction/Product Design) Product designer. She takes center stage in

re

industrial design fields from electronics product to

bo ok st o

daily goods. Her works have received acclaim in various design awards worldwide including, Red Dot Design Award, Gold Prize of If Award, in Germany,

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

Mainichi Design Awards and the Good Design Award.

Masaaki Hiromura (Sign&Graphic Design)

Graphic designer. He has expanded his design

activities in graphic design to special design. He has received various design awards prizes in Japan and overseas, these include, New Designer Prize from

the Japan Graphic Designers Association, Silver prize from the New York Art Directors Club, Good Design Award, Best prize of SDA Designs, KU/KAN(space)Award, Mainichi

Takaaki Nakamura (Interior Design)

He

Design Award.

Interior designer. Mr. Nakamura expresses his

design ideas through interior designs for a variety of commercial premises. He has received the

Grand Award of JCD Design Award, Design for Asia Award, the Gold Prize of the Good Design Award, and the Best Design Prize of DDA.

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Best Wayfinding Design Vol.2  
Best Wayfinding Design Vol.2  
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