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society for experiential graphic design | fellow + achievement + global design awards annual

2017, SEGD17

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Society for Experiential Graphic Design A multidisciplinary community creating experiences that connect people to place




John Lutz (President), Selbert Perkins Design, Chicago Bryan Meszaros (Vice President), OpenEye, South Amboy, N.J. Patrick Angelel (Secretary/Treasurer), CREO Industrial Arts, Everett, Wash. Jill Ayers (Past President), Airspace, New York Kathy Fry, Mayer/Reed, Portland, Ore. Cynthia Hall, fd2s, Austin, Texas Graham Hanson, Graham Hanson Design, New York Kris Helmick, Two Twelve, New York Christina Lyons, FIT, New York Mike McCarthy, DCL, Boston Paul McConnell, Intersection, New York Stephen Minning, BrandCulture Communications, Sydney Anna Crider-Sharp, Two Twelve, New York Gary Stemler, archetype, Minneapolis Julie Vogel, Kate Keating Associates, San Francisco




388 Grant Street, SE Atlanta, Georgia 30312 Local: 404-688-9000 Toll Free: 988-877-APCO Email: Website:

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Atlanta Stephen Dubberly, Danny Roberts, Grady Brown, Austin Frauke Bartels, Sam Pease, Boston Kayte Muse, Jack Bryce, Brisbane, Australia Despina Macris, Santiago Crespo, Charlotte, N.C. Scott Muller, Kelley Deal, Julie Maggos, Chicago Joe Lawton, Hannah Anderson, Cincinatti Margaret Lange, Austin Frith, Dallas Angela Serravo, Denver Jim deRoin, Zach Kotel, Lucy Richards, Edinburgh, Scotland Simon Borg, London John Emshwiller, Los Angeles Gretchen Bustillos, Jesse Yungner, Minneapolis Gretta Frye, Ben Johnson, Anthony Ferrara, New York Ben Whitehouse, Tristan Valencia, Taylor Loutsis, Linzi Eggers, Philadelphia Sara Pasch, Amy Rees, Gretchen Wilde, Phoenix Julian Wiese, Trish Nhan, Anthony Morrison, Portland, Oregon Karen Ryan, Brittney Butler, Richmond, Virginia TJ Daly, Chris McCampbell, San Diego Brian Dyches, Darlene Van Uden, Salt Lake City Barton Strawn, Ellen Spurlock, San Francisco Sarah Szekeresh, Annelle Stotz, Seattle Lee Ater, Elizabeth Skolmen, Wu Duan, Shanghai, China Nicholas Bannikoff, Sydney Carlo Giannasca, Cynthia Damar-Schnobb, Toronto Philip Novak, Daniella Pilossof, Vancouver, Canada Susan Mavor, Christopher Smith, Washington, D.C. Liza Rao, Wellington, New Zealand Nick Kapica, Jo Bailey,

Publisher Clive Roux, CEO Editor-in-Chief Kate Heller Art Director Justin Molloy Executive and Editorial Offices 1900 L St., NW Suite 710 Washington, D.C. 20036 202.638.5555 Advertising Sales Kristin Bennani 202.713.0413 Kathleen Turner 703.657.9171 Editorial, Reprints 202.638.5555 SEGD17 is the annual of SEGD, the Society for Experiential Graphic Design. Opinions expressed editorially and by contributors are not necessarily those of SEGD. Advertisements appearing in SEGD17 do not constitute or imply endorsement by SEGD17. Material in this magazine is copyrighted. Photocopying for academic purposes is permissible, with appropriate credit. Periodical postage paid at Laurel, Md., USA, and additional mailing offices.

BEST OF THE BEST SEGD’s constant goal is to educate, connect and inspire our global community of professionals creating experiences that connect people to place. In that spirit, we present our second print annual, SEGD17, which honors the people, companies and projects setting the standards of excellence in experiential graphic design. This publication features the “best of the best” in experiential graphic design, recognized through the SEGD Global Design Awards and SEGD Achievement Awards. The 2017 SEGD Global Design Award winning projects are wholly interesting and delightful to review, ranging from an installation that helps students understand the value of recycling to an elegant wayfinding solution inspired by the hulls of ships to an entire museum dedicated to every aspect of making and appreciating wine. Winning projects notably employed innovative uses of materials and technology to create truly integrated solutions. The everexpanding range of international projects also presents a shift in the larger design community toward developing more meaningful experiences. “Technology is changing human behavior and environments faster than ever before. The solution requires groups

of designers from various subsets who together can understand systems and shape stories to help make sense of it all,” remarks Paul McConnell (Intersection, New York), the 2017 SEGD Global Design Awards Chair. “People come to physical spaces for a physical connection. They’re putting their personal screens away, looking up more frequently and demanding more from their spaces. It’s an orchestrated experience of traditional and digital communications that provides value. As our field expands and our spaces are reimagined, the SEGD Global Design Awards will continue to recognize a cross-section of purposeful and inspirational solutions.” We hope you’ll find inspiration and enjoyment in the industry-leading projects and people highlighted in the pages of SEGD17. But your exploration of the 2017 SEGD Global Design Awards and 2017 SEGD Achievement Awards shouldn’t end here—this is just the beginning. You can discover so much more and gain deeper insights perusing the award galleries, reading motivating interviews with recipients and watching videos of the awards ceremonies in Miami at Clive Roux, CEO

Postmaster: Send address changes to SEGD17, 1900 L St., NW, Suite 710, Washington, DC 20036. © 2017 SEGD17 ISBN: 978-1-940297-34-7

The 2017 SEGD Global Design Awards jury, (back row, l-r) Paul McConnell, Intersection (chair); Keith Helmetag, C&G Partners; Udo Schliemann, Entro; Christina Lyons, FIT; Patrick Blanchard, NBBJ. Front row, l-r: Kristine Matthews, Studio Matthews; Carlo Giannasca, Urbanite, part of Frost*collective; Rachel Einsidler, Airspace; Michael Freimuth, Franklyn. (Photo: SEGD) SEGD16 SEGD17 — 5


9 Achievement Awards SEGD honors the people and companies who are setting the standards for excellence in experiential graphic design.

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10 SEGD Fellow 2017 SEGD Fellow Jan Lorenc of Lorenc+Yoo Design takes joy in inconsistency.


21 Best of Show The Light Frieze installed on the façade of the Kunstmuseum Basel in Switzerland wows with its new and seamless integration of media.

27 Sylvia Harris Award Sylvia Harris (1953–2011) was a passionate advocate of design for the public good. This award honors her work and her legacy.



31 Honor Awards The 2017 Honor Awards illustrate the variety and complexity of experiential graphic design today, from inventive uses of materials to striking visual metaphors.

51 Merit Awards From high-tech to handcrafted, the 2017 Merit Awards show how the experiential graphic design field is evolving, while retaining its core values.

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PROGRAM SPONSORS* 3M AGI Archetype Art of Context Center Pointe Signs Classic Exhibits Colite International Color-Ad Signs & Exhibits CREO Industrial Arts Designtex Direct Embed

fd2s Future Systems Gallagher & Associates Gelberg Signs Gemini GKD MediaMesh Graphtec Harbinger Image Mill Imagine Displays ISA

L&H Signs Ledconn Marcel Machler Matthews Paint McCann Systems NanoLumens Nanov Display Neiman & Company Openeye Global PCL Graphics SES Branded Environments

SenovvA Showdog Brand Handlers SignAgent Signcomp SNA Tangram Design Urban Sign Walton Signs Yazi Graphic Design *Sponsors as of August 29, 2017



2017 SEGD Fellow Award Jan Lorenc, Lorenc+Yoo Design 2017 SEGD Distinguished Member Award Kelly Kolar, Kolar Design 2017 SEGD Arrow Award SH Immersive Environments 2017 SEGD Insight Award M.D. Anderson Cancer Center

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Georgia Pacific Distribution Center Exhibit Space, Denver This corporate exhibit tells a three-part story about process, products and customers. Scale was important, as it was located in a vast distribution space. Photo: Ed Lacasse 10 — SEGD17

Jan Lorenc’s storied practice is rooted in a formula resulting in anything but the formulaic: reaching a holistic understanding of each and every project that informs a totally unique experience.


orenc recently took his position in the pantheon of SEGD Fellows at the 2017 SEGD Conference Experience Miami, beside experiential graphic design trailblazers including Massimo Vignelli, Lance Wyman, Wayne Hunt, Robert Venturi, Sue Gould, David Gibson, Donald Meeker and Michael Reed, among others. Lorenc holds degrees in industrial design, architecture and visual communication, and he and his multidisciplinary firm have received numerous honors and accolades over 39 years since the founding of Lorenc+Yoo Design. Lorenc is the author of an exhibit design textbook,“What Is Exhibition Design?” and serves as a frequent design lecturer and adjunct professor of exhibition design at Savannah College of Art and Design (SCAD), as well as at the Georgia Institute of Technology. Despite the recognition and success, Lorenc was noticeably humble about this particular award. “Frankly I was surprised that I was awarded this fellowship, but I’m honored and grateful,” he remarked. “I feel like a bit of an outsider because we approach things from an architectural standpoint, even though graphics play a big role.”

While Lorenc may be surprised, others in the community are decidedly not. “I have admired Jan’s work over a period of many years,” writes Jerome Cloud, FSEGD, of Cloud Gehshan Associates. Wayne Hunt, FSEGD, of Hunt Design began his commendation with, “Jan has been a largely unsung EGD superstar for a very long time.”

When did you first become interested in design?

As a kid, I was always drawing. I can remember drawing in Poland and certainly later, when I came to the United States, my interest grew. When it came time for me to go to college, I was thinking about art school, but my parents expressed strong doubts about my future livelihood as an artist. We had a friend of the family who was familiar with the Bauhaus, and he suggested I go to Illinois Institute of Technology (IIT) in Chicago for architecture instead. My SAT English score was not high enough to make the cut-off for the architecture program, yet I was determined to go to IIT. Everyone knows what architecture is: It’s buildings.

Fish in the Garden Identity and Wayfinding System, Guanzhou, China This branding, sculpture and signage system was designed for a hotel in coordination with SCDA Architects and Landscape Architects. Photos: Lorenc+Yoo Design

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With industrial design, however, I had to do some research. I planned to get into the Institute of Design and then transfer to architecture within a semester. I got into the program and the first semester was just amazing; the curriculum was a lot of theory and photography. It wasn’t until later that the methodology was taught. While I was learning all these skills, I was still thinking I would transfer upstairs to architecture. So I went up to see what those students were up to—they were drawing little bricks and I-beams and windows all inspired by Mies Van Der Rohe and I thought, ‘Man, this is really boring compared to all this exciting stuff I’m being immersed in at every single class.’ Industrial design was just an amazing, amazing way for me, so I stayed on.

Why experiential graphic design?

That’s a good question. Early into my career in industrial design, I served as design director at Ted Peterson Associates (an offshoot of Unimark), which had undertaken the identity and signage program for Target stores—one that continues to be used today. That was my

Meridian Business Campus, Fort Lauderdale, Fla. This was the firm’s first major sculptural identity composition in the landscape. Photos: Lorenc+Yoo Design

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first contact between graphic design and something dimensional, but it wasn’t all that dimensional compared to the work I later moved my firm into. When I started my firm in 1978, I actually started doing industrial design for the first couple of years. When we moved to Atlanta, the opportunities came two-fold: doing work both in industrial design and environmental graphics. Then I got a project that was huge at the time. It was a couplemillion-square-feet convention center. I started to really learn about architecture at that point: division of space, the differences in measurement conventions and how to move people through a big complex environment. At that point, the work in signage actually became more interesting than the product design and there was greater opportunity in it as I grew the firm. When we started doing work in the Midwest, I became more interested in architecture. Coming off of an industrial design undergraduate degree and master’s in graphic design, I decided I was going to go back to school in 1990 for a master’s in architecture because I wanted to become a better space designer. I kept the firm active while I returned for my architectural degree.

I always hunger for new challenges, whether it’s going back to school or doing projects in a different country or market. Experiential graphic design is broad enough for exploration. When I first started in experiential graphic design, it was so pigeonholed. For example, I hadn’t done fifty hospitals so I wasn’t qualified. It was that kind of attitude. At one point, we did specialize in commercial developments and we learned a lot, but after awhile for me, personally, it became formulaic. I still feel like I don’t want to do the same thing day in and day out. For a small firm of ten people, that’s why we do a broad mixture and we’re able to get some monumental-scale projects and pull them off.

Which projects or achievements affected the trajectory of your career?

I got my first design job in my sophomore year of college. I worked at a corporate identity firm called Design Consultants Incorporated. After that, I worked in a small firm called E. Burton Benjamin Associates. In my senior year, I became the design director there. It was a pretty well-known firm at that

Top: Vanke Plaza, Shenzhen, China The Art Deco kit of parts and marketing center building at Vanke Plaza are a great example of “architectural jewelry.” Photo: Vanke

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Above: Wildwood Sculptural Identity Design, Atlanta The Wildwood project was designed as a major focal identity as well as a signage system. This project was pivotal to Lorenc+Yoo Design’s national recognition. Photo: Lorenc+Yoo Design

time, but the work was humdrum. I designed this little thing that’s probably still out there: It’s a little thing with blue water in it and when it tilts back and forth it creates a wave. I designed that thing and I thought, ‘I don’t want a career filled with garbage like that.’ We’ve had a number of clients who’ve been instrumental in pushing me. Even early on in my career, there was a commercial office development project called Wildwood where we designed this piece of signage that became a sculpture as opposed to just a sign. That was a launching point for my approach to experiential graphic design. It’s so much more than a pylon with nice text on it. In exhibit design, our firm did a project for Georgia Pacific Distribution Division that I enjoyed immensely because it became so free-spirited in telling the story of a division that sells construction materials. Doing work overseas and specifically in China was a big stepping stone for me personally, as well as for the firm. We began doing wayfinding for a large residential-commercial complex and the client asked us if we’d done any architectural façade work because they wanted us to enhance the design of this

Wind Creek Casino B.B. King Club, Montgomery, Ala. Approximately one-third of the firm’s work is in casinos all over the country; they design spaces and thematic areas, crafting the whole space, look and feel. Photo: Rion Rizzo, Creative Sources Photography SEGD17 — 13

building. As a result of my constant thirst for a new challenge, we said we’d do it even though we hadn’t done anything like that before. It was scarier than hell. That was how we got into what we call ‘architectural jewelry.’ That project catapulted us into designing full buildings in China. Another Chinese project we worked on that is wrapping now is a faux version of Lucerne, Switzerland, where people live and work. It’s essentially a mini-town where we touched nearly everything. We did a signage and wayfinding system for it, as well as placemaking from the pavers to the sculptures and fountains to whole buildings. In my career, even though it seems like a quirky project, it was a wonderful experience to be able to do all kinds of different things, not just the signage. The whole idea of creating an experience in a space came full circle for me on that project. More typical wayfinding and placemaking projects have been important to us over the years too. We still do things like campus signage, business parks and retail centers. In fact, probably a third of our work is in casinos all over the country; we design spaces and thematic areas, crafting the whole space, look and feel.

“Lucerne,” Nanchang, China Lorenc+Yoo Design orchestrated the entire look and feel of this recreation of Lucerne, Switzerland, in Nanchang, China, from the signage to the sculpture. Photo: Greenland

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“ None of the stuff we’ve done anywhere would be possible without collaboration. Building a trust and a friendship is critical; if you get adversarial or egotistical, things are going to collapse. By collaborating well, we’ve been able to grow with every single project we’ve done. ”

Riverside Metropolitan Sales Center Wayfinding and Architectural Jewelry, Shanghai, China Working with Robert A.M. Stern to create a classically inspired, high-end Art Deco project, the firm achieved a stunning result, from custom millwork and lighting elements to creating the entire sales path from arrival. Photo: Lorenc+Yoo Design

What project are you most happy with?

It’s hard to say. It always seems to be the last project I worked on that’s my favorite.

The themes of storytelling and collaboration come up a lot in discussions of your work. What roles do they place in your practice?

None of the stuff we’ve done anywhere would be possible without collaboration. Building a trust and a friendship is critical; if you get adversarial or egotistical, things are going to collapse. By collaborating well, we’ve been able to grow with every single project we’ve done. Every project is storytelling. There’s storytelling in everything you do, from using the right font to using the right colors; it plays a role in everything we do. It may not literally be crafting fairy tales like the Opalus project, but every project has a story to tell.

What do you think will be your design legacy? What do you want to be known for?

I don’t know. I guess I want to be known for not having a

design formula—but for going and trying different things. Twenty-five years ago, I was doing a project for IBM and Gwathmey Siegel was the architect. I presented my work to the client, as well as Charles Gwathmey and Bob Siegel. Gwathmey was the design partner at that firm and he made a comment that my work doesn’t have a consistent look and feel. I thought, ‘Well, that’s a compliment.’ I thought it was a great thing. Another example was with Massimo Vignelli over the years. He presented and talked about his five fonts that he uses, his square, sphere and cube. I thought it was limiting and I always got into arguments with him during meetings. As I grew to be more mature, I came to really respect Vignelli’s vision. Eventually, we became friends, and I feel that he honed his craft while continuing to explore and enjoy variety. I still don’t know if we have a recognizable look and feel to what we do because it’s a look and feel that we craft individually for each project. Is there a legacy in inconsistency, or is it just a personal joy and maybe not so much a legacy?


Opalus Branding and Marketing Experience, Guangzhou, China Lorenc+Yoo designed a storyline for this residential development using sculpture, architectural patterning, custom lanterns, fountains and more. Photos: Vanke

More information at

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Each year, SEGD honors the people and companies setting the standards of excellence, ethical practice and improvement in the field of experiential graphic design.

2017 SEGD Distinguished Member Award For demonstrating outstanding volunteer efforts while significantly contributing to the direction, growth and excellence of SEGD programs

Kelly Kolar Kolar Design (Cincinnati)

Shortly after founding Kolar Design in 1990, President and Chief Creative Officer Kelly Kolar, joined SEGD and has since furthered the association as an involved supporter, board member and ambassador. Kolar has set herself apart as a creative talent, using her love of design and understanding of the human element to transform built environments. Her firm creates impactful, branded experiences for clients including Cincinnati Children’s Hospital, MercyHealth, Carnegie Mellon University and Washington University. Kolar, who has won many design awards, also has lectured nationally and internationally and has taught at her alma mater, the University of Cincinnati’s College of Design, Architecture, Art and Planning.

P&G, Seoul, South Korea Brand Experience Design: Kolar Design Architects: Aidea architects Fabrication: DK Publicite Photo: Courtesy of Kolar Design

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2017 SEGD Insight Award

2017 SEGD Arrow Award

For consistently commissioning experiential graphic design programs that significantly enhance or promote opportunities for the field and experiential graphic design education and demonstrating a long-standing commitment to recognize the field

For demonstrating exemplary service or dedication to advancing technologies and manufacturing in experiential graphic design and striving to provide the highest quality in products and services to the field

M.D. Anderson Cancer Center

SH Immersive Environments

Access Wayfinding System M.D. Anderson Cancer Center, Houston Design: fd2s and M.D. Anderson Cancer Center Fabrication: Graphtec, Inc. Photo: David Omer

Donor Recognition, Bronx, New York Design: Wildlife Conservation Society Fabrication: SH Immersive Environments Photo: Stephan Roy


The M.D. Anderson Cancer Center launched their groundbreaking integrated wayfinding system in 2004 and now houses a Graphics and Wayfinding Group within their organization that has maintained and enhanced the system over the last 10 years as facilities doubled to 18 million square feet. They have been working with SEGD member firms for years. Today they are piloting indoor location technology.

More information at

(Fabricator, manufacturer or material supplier)

SH Immersive Environments has been a strong supporter of the SEGD community since 1999. Through the use of their exclusive FOLIA and ALTO products, SH Immersive Environments creates a variety of graphic surfaces including— but not limited to—signage, flooring systems, partitions, murals, cladding and tables. The company also designs, builds and installs corporate environments.

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Congratulations, SEGD 2017 Global Design Award Winners. You create experiential spaces worth celebrating. 3M Commercial Solutions is proud of our meaningful partnership with the talented SEGD community. We enjoy helping you elevate the customer experience and bring visions to life. • Signage • Graphics • Di-Noc™ Architectural Finishes • Fasara™ and Dichroic Glass Finishes • 3M™ Décor Overlaminates

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© 3M All rights reserved. 3M, Di-Noc and Fasara are trademarks of 3M. 182017. — segd 17

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Kunstmuseum Basel Light Frieze

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BEST OF SHOW + HONOR AWARD Kunstmuseum Basel Light Frieze Construction and Transport Department of the Canton of Basel-Stadt, Städtebau & Architektur, Hochbau Basel, Switzerland

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Project Area 1,132 sq ft Open Date April 2016 Design Firms iart ag, Christ & Gantenbein Design Team iart ag: Valentin Spiess (creative director, chief engineer); Steffen Blunk (project manager); Oliver Heyerick, Gordon Jaentsch (system engineers); Lucien Iseli (media designer) Christ & Gantenbein: Emanuel Christ, Christoph Gantenbein (architects); Julia Tobler, Michael

Bertschmann, Stephanie Hirschvogel (project managers) Consultants ZPF Ingenieure AG (structural engineering), Pro Engineering AG (electrical planning), Ludovic Balland (typographer) Fabricators Petersen Tegl (brick fabricator), Multivision LEDSysteme GmbH (specialty LED fabricator) Photo Credits Derek Li Wan Po (photography), iart ag (videography)

Co-created by iart ag’s engineering and design team and architects Christ & Gantenbein, the Kunstmuseum Basel Light Frieze was a part of the building expansion design in 2010. The museum is located in the center of Basel, Switzerland, at the intersection of five streets. The light frieze fulfills the museum’s need for external communication by making visible its rhythms, exhibitions and events on the façade of the building. This allows the museum to provide insight into its activities, without actually revealing what is inside—piquing the interest of passers-by. Designed to be an integral part of the architecture, the effect of the light frieze is produced through a symbiosis of stone and light, dynamically emblazoning the building’s brick façade with words and graphic elements. For the viewer, the play of light and shadow emerges is fleeting and yet seems to be as solid as the masonry itself. From the very beginning of the project, instead of using banners, flags or screens, the design team searched for a

media solution that is both architectural and facilitates communication. To them, a building’s façade is always more than just a wall and a framework for the entrance: It always reflects—albeit in very different ways—the aspirations, the essence and the functions of the building. The frieze was developed and implemented iteratively over the course of several years through the use of feasibility studies and phenomenological tests. The design and architecture team also created a complex 3-D simulation in order to determine visibility from different axes and streets leading to the museum. The subtle way the frieze is enlivened by light allows the façade to change its character, seeming sometimes more and sometimes less transparent, suggesting diverse interactions between the building’s interior and the urban space. During the course of a day, a delicate balance of shadow emerges, shifting with the natural light; at night, the frieze creates the illusion that the façade is porous, as if one could view into the building.

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The three-meter-high and 115-meter-long frieze encircles the building at a height of 12 meters. Sensors on the roof of the building determine the amount of light that falls on each of the individual segments of the façade in order to adjust the luminance of the LEDs accordingly. The reflection on the bricks creates an indirect light that can be used to display both text and graphics. The light frieze proves that the desire for timeless architecture and the incorporation of new media are not mutually exclusive. The project effectively brings the stylistic element of a frieze into the digital age both technologically and aesthetically— without stripping it of its original context. By providing a lively moving element within an otherwise static architecture, it physically presents the museum as the dynamic organization it is.

“ This project is simply breathtaking. It redefines what it means to integrate digital environmental graphics with architecture in the public realm. It totally blurs the lines between communication design and built environment design where both are read as one unified expression. ” —Jury comment

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Main Distribution 16 15 14


Distribution per segment


Standard Stones

+ 12m


40 10 09

Light Sensor

08 07

max. 8m


max. 8m 05

04 03

Frieze Stones

+ 9m 02 01 01

Elevation Frieze Area

Elevation Cabling to LED Modules

Cabling Structure


Dark Pixel

Front View

Bright Pixel

LED Light = Sunlight

Section Negative Display

More information at

Front View Negative Display

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CALL +1 202 638 5555 SEGD.ORG /JOIN


Who, Like Me, Is Threatened?

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SYLVIA HARRIS AWARD + MERIT AWARD Who, Like Me, Is Threatened? Center for Civil and Human Rights Atlanta

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Sylvia Harris (1953–2011), the founder and principal of Citizen Research & Design, was a passionate advocate of design for the public good. The Sylvia Harris Award honors her work and her legacy.

Project Area 330 sq ft Open Date June 2014 Design Second Story, part of SapientRazorfish Design Team Chris DeWan (creative lead), Matt Arnold (technical lead), Joe Condon (production lead), Erin Aigner (content strategist), Neil Gallagher (senior designer), Norman Lau (senior experience designer), Philippe Laulheret (technologist), Marc Lehman

(motion designer), Swanny Mouton (art director), Vanessa Patchett (A/V producer), David Waingarten (story director), Rockwell Group (exhibition design) Consultants Human Rights First (media partner) Fabricators Design and Production Incorporated (A/V integration) Photos Second Story, part of SapientRazorfish

In 2014, the Center for Civil and Human Rights opened in Atlanta as a hub for education, connection, collaboration and action. By challenging visitors to understand their role in helping others and empowering them to “take the protection of every human’s rights personally,” the museum sheds much-needed light on a variety of global issues and, most importantly, the people experiencing them. The installation utilizes interactive mirrors to mimic the experience of standing face to face with another person, listening to their story. As visitors approach, depth-sensing cameras respond to their presence. Looking into interactive mirrors, they can see strangers returning their gaze, each labeled with a single identifier: “I am ________.” Visitors select the label that resonates with them and then are able to watch interviews with individuals who have been persecuted because of that label or trait. The stories are poignant, real testimonials from a diverse cross-section of people around the world. By allowing visitors to literally see themselves in others, the installation promotes an empathetic frame of mind— the ideal condition for further exploration of the exhibitions.

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“ ‘ Who, Like Me, Is Threatened?’ provides a welcoming while powerful and immediate encounter for any of us—forcing us to look inside ourselves to see what we find, literally and figuratively. Frankly, I wish we had these on every street corner.” —Jury comment

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AnyPixel.js Border City En/Gulf: Ecopoetics of the Gulf and Bay Etsy Global Headquarters Exhibitionism: The Rolling Stones Google Wayfinding Jinyi Cinemas Guangzhou Haizhucheng IMAX Rabobank Sydney Headquarters

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HONOR AWARD AnyPixel.js Google New York

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Project Area 300 sq ft Open Date June 2016 Design Google Consultants Felix Woitzel, Anders Hoff (artists and creative technologists); Selman Design (design)

Fabricators Deeplocal (engineering, development and fabrication) Photos Flies Collective (cinematography), Google Creative Lab (video editing), Mixtape Club (video music)

“ Making this system open-source demonstrates that these designers see the potential of AnyPixel to live and grow and change and are humble enough to know there are possibilities other than the one they created here. I am very excited to see the variety of weird displays people are going to create using this tool in coming years.” —Jury comment

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HONOR AWARD Border City FR-EE/Fernando Romero Enterprise London

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Project Area 502 sq ft Open Date September 2016 Design Pentagram Design Team Natasha Jen (partner in charge), Javier Arizu (designer), Veronica Hoglund (project manager), FR-EE/ Fernando Romero Enterprise (architect)

Consultants Liv Spencer (audio), SuperUber (animation design), Synoesis (project visualizations) Fabricators FR-EE/Fernando Romero Enterprise (model), The White Wall Company (plinth) Photos Nick Turner ©2016

“ A beautifully optimistic premise underpins this exhibition. The graphics are bold and simple in their resolution, resulting in a clear dissemination of the message.” —Jury comment

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HONOR AWARD En-Gulf: Ecopoetics of the Gulf and Bay Cynthia Woods Mitchell Center for the Arts, University of Houston Houston

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Project Area 390 sq ft Open Date December 2015 Project Budget $9,000 Design University of Houston Design Team Cheryl Beckett (graphic design faculty); Martha Serpas (creative writing faculty); Melanie Brkich, Erika Jo Brown, Dana Kroos, Georgia Pearle, Martin Rock, Nathan Stabenfeldt, Luisa Muradyan Tannahill (MFA/ Ph.D creative writing student

poets); Candice Cantu, Daniel Cardoza, Joe Castro, Jose Diaz, Roxy Dominguez, Aggie Forouhideh, Enrique Garza, Grace Gossen, Matt Hughes, Raafia Jessa, Yoko Kristiansen, Bill Meck, Helen Nerio, Tracy Ngo, Matthew Oakes, Jesus Palacios, Paulina Papke, Elisabeth Park, Nguyen Pham, Vanessa Ros Sosa, Thi Tran (BFA, graphic design students) Photos Studio 302 (photography); Yoko Kristiansen, Matthew Oakes, Elisabeth Park (videography)

“ The purity of this exhibition, film and branding breathes air into us all by evoking the primal and visceral elements of nature. It’s light, lyrical and certainly poetic while expressing a powerful message. Beautiful typography, palette and layout—executed with incredible care and sensitivity.” —Jury comment

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Etsy Global Headquarters Etsy, Inc. Brooklyn, New York

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Project Area 200,000 sq ft Open Date July 2016 Project Budget $530,000 Design afreeman Design Team Andrew Freeman (principal, creative director and designer); Hiann Lee, Alison Bloom (designers)

Consultants Gensler (architect), RGR Landscape (landscape architect) Etsy team: Jing Wei, (illustrator), Julia Hoffmann (global creative director), Jenny Kutnow (design director), Eva Green (senior project manager) Fabricators DCL Photos Ian Roberts ©2016, Emily Andrews ©2016

“ I love when branding gets literally baked into a structure—and that’s what the Etsy Global HQ feels like. A delicious blend of hieroglyphic illustrations, fresco-like ceiling work and that metal branded gateway… it’s just lovely. I’m smitten.” —Jury comment

More information at

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Exhibitionism: The Rolling Stones Exhibition iEC London

Project Area 17,000 sq ft Open Date April 2016 Design Pentagram Design Team Abbott Miller (partner in charge); William Russell (partner in charge); Sarah Adams, Tiziana Falchi, Jesse Kidwell, Yoon-Young Chai (designers) Consultants Mick Jagger, Keith Richards, Ronnie Wood, Charlie Watts (The Rolling Stones); Tony

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Cochrane, Thea JeanesCochrane (producers); Ileen Gallagher (curator) Fabricators Finn Ross and Adam Young of FRAY Studio (video and production design); Patrick Woodroffe and Adam Bassett and team at Woodroffe Bassett Studio (lighting design); Stephen Jones (milliner); Robin Brown and the Scenic Team at Paragon (set design); Benchworks (fabrication) Photos Ed Reeve ©2016

“ Start me up… Seeing a few photographs of this exhibit turned on the immersive wonder of journeying through the inaugural installation at the Saatchi Museum in London. The Rolling Stones’ creative engagement with iconic artists, set and costume designers continues today with their collaboration with the exhibit designers and media producers.” —Jury comment

More information at

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HONOR AWARD Google Wayfinding Google Kirkland, Wash.

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Project Area 217,800 sq ft

Fabricators Trade-Marx

Open Date July 2016

Photos William Wright, Studio Matthews

Design Studio Matthews Design Team Kristine Matthews, Cassie Klingler, Scott Ichikawa, Christoffer Hart Hansen (designers)

“ The brightly colored sculptural letterforms that reference the company’s brand entice both the visual and tactile senses and ‘pop’ from the clean white sign forms. The magic in this scheme is evident in the surprising treatment of the rear of the signs. This treatment put a smile on my face.” —Jury comment

More information at

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HONOR AWARD Jinyi Cinemas Guangzhou Haizhucheng IMAX Jinyi Cinemas Guangzhou, China

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Project Area 44,616 sq ft Open Date March 2016 Project Budget $4,500,000 Design One Plus Partnership

Design Team Ajax Law, Virginia Lung (design directors) Photos Jonathan Leijonhufvud

“ An audacious and boldly confident expression of typographic sculptural forms that beautifully integrates with the architecture and interior design.” —Jury comment

More information at

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HONOR AWARD Rabobank Sydney Headquarters Rabobank Sydney

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Project Area 80,729 sq ft Open Date June 2016 Design THERE Design Team Paul Tabouré (executive creative director); Charlie Bromley (head of environments, design lead);

Scott McNamara, Christina Maricic (designers); Danielle Senecky (project manager) Consultants Vert Design (industrial design), Geyer Sydney (architect) Fabricators Wizardry Imaging & Signs Photos Steve Brown

“ Rarely, we see large-scale graphic patterns in an office environment that not only relate to the business, here through patterns referring to agriculture by means of abstracts of cartography and land mapping, but also are distilled and refined to perfection and integrated with the wayfinding system. There is nothing to add or take-away from this program—it just sits right.” —Jury comment

More information at

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Old Croton Aqueduct Trail Graphics are embedded into curved steel for three sided trail markers that interpret and map the trail. Client: NYC Parks Designer: Nancy Owens Studio LLC, Laurel Marx Design “The capability, care and precision provided by Direct Embed were critical to the realization of this unique project.” Anne Berman, Nancy Owens Studio LLC.

Ohio Field Interpretive Landmarks at the Ohio State University Graphics wrapped onto three dimensional landmarks featuring large high resolution photographs and infographics. Client: Ohio State University Designer: MKSK “The print quality is amazing and embedding the graphics directly to structural substrates opens up all kinds of design possibilities to create spaces that connect people.” Niels Braam, MKSK

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Precision fabricated stainless steel dimensional letters and logos, new from Gemini. Bring your concept to life without compromises in scale or detail. Made-to-order, with new, industry-leading capabilities of letter strokes as narrow as 3/8” combined with the deepest returns in even the smallest letter sizes. Learn more at

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1 Martin Place Boris Yeltsin Presidential Center Media Façade Boy Scout Scott Visitor Center Closed Worlds The Contemporary Craft Center, Featuring Tara Donovan Cooper Hewitt, Smithsonian Design Museum Signage Designing Awareness with Placemaking for Goodman DinoStomp Fred Hutch Visitor Center Free Zone King’s Cross Plimsoll Knight Frank Placemaking


La Cité du Vin Permanent Exhibition LOOK/HEAR Mac Conner: A New York Life MahaNahkon CUBE Nest Experience Photography Interpretive Gallery Pipe Dreaming at FESTA Planned Parenthood Installation The Segregated Lunch Counter and Panorama of the Civil Rights Movement Seoul National University Arts Research Center Wayfinding Smart Bins Smithsonian Institution’s National Museum of African American History and Culture “Start an Evolution” Donor Recognition The Strand, American Conservatory Theater (A.C.T.) Tacoma Art Museum Rebrand and Sign Scheme Tadenava The Washington Post Written Wor(l)ds Xintangwanke Mall International Cinema

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MERIT AWARD 1 Martin Place Macquarie Bank Sydney

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Project Area 188,368 sq ft Open Date May 2016 Design Urbanite, a part of Frost*collective Design Team Carlo Giannasca (head of strategy and creative direction), Ant Donovan (creative director),

Sophia Noh (lead environmental design), Melanie Reid (senior design manager) Consultants Fitzpatrick and Partners Architects (architect), Macquarie Bank Fabricators Spike Design Photos Macquarie Bank

MERIT AWARD Boris Yeltsin Presidential Center Media Façade Yeltsin Foundation Ekaterinburg, Russia

More information at

Project Area 28,524 sq ft Open Date January 2016 Design Lichtwerke GmbH Design Team Stefan Hofmann (principal in charge); Alexander Klein, Daniel Becker (creative directors)

Consultants Boris Bernaskoni Architects, Ralph Appelbaum Associates Fabricators Lichtwerke GmbH Photos Werner Huthmacher (photography), Lichtwerke GmbH (video)

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MERIT AWARD Boy Scout Scott Visitor Center Boy Scouts of America Glen Jean, W. Va.

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Project Area 2,200 sq ft Open Date July 2016 Design Volume Inc, Studio Terpeluk Design Team Adam Brodsley (principal in charge); Eric Heiman (creative director); Brett

Terpeluk (exhibit designer); Bryan Bindloss, Jon Hioki (designers), Erin Kemp (project manager), Rachel Swaby (writer), Lake Flato (architect) Fabricators Delphi Productions Photos Joe Fletcher Photography

MERIT AWARD Closed Worlds Storefront for Art and Architecture New York

Project Area 868 sq ft Open Date February 2016 Project Budget $20,000 Design Pentagram Design Team Natasha Jen (partner in charge), Jan Hyun Han (graphic and type designer), Melodie Yashar (exhibition designer) Consultants Lydia Kallipoliti (curator and principal researcher); Alyssa Goraieb, Hamza Hasan, Tiffany Montanez, Catherine

More information at

Walker, Royd Zhang, Miguel Lantigua Inoa, Emily Estes, Danielle Griffo, Chendru Starkloff (researchers); Tope Olujobi (illustrator); Hamza Hasan (lexicon editor); Max Lauter (gallery manager and project coordinator); Bess Krietemeyer; Andreas Theodoridis; Cecilia Ramos; Alex Miller Fabricators Joseph Vidich of Kin & Company (fabrication); Christopher Adam Architectural Illumination Engineering (lighting); Farzin Lotfi-Jam, Sharif Anous, John Arnold of Farzin Farzin (VR) Photos Max Yawney, Jake Naughton

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MERIT AWARD The Contemporary Craft Center Featuring Tara Donovan The Contemporary Craft Center Los Angeles

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Project Area 16,000 sq ft Open Date December 2016 Design Art Center College of Design/ Brittney Teng

Consultants Brad Bartlett, Ivan Cruz, Miles Mazzie Photos Brad Bartlett (photography), Ivan Cruz (photography, videography)

MERIT AWARD Cooper Hewitt, Smithsonian Design Museum Signage Cooper Hewitt, Smithsonian Design Museum New York

More information at

Open Date December 2014 Design Pentagram Design Team Michael Gericke, Eddie Opara (partner in charge); Don Bilodeau (associate and designer); Elizabeth Kim, Jed Skillins, Qian Sun, Jessie Wu, Beth Gotham, Ken Deegan (designers); Amy Boyd, Kelsey Carter (project coordinators); Chester Jenkins of Village (typeface designer)

Consultants Gluckman Mayner Architects, Beyer Blinder Belle, Diller Scofidio + Renfro (architects); Local Projects (interactive design) Fabricators DCL Photos Peter Mauss/Esto

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MERIT AWARD Designing Awareness with Placemaking for Goodman Goodman Sydney

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Open Date January 2015 Design Urbanite, a part of Frost*collective Design Team Carlo Giannasca and Bridget Atkinson (design directors);

Charlie Bromley (designer); Bianca Mediati (design and project manager) Fabricators Didem Photos Goodman

MERIT AWARD DinoStomp Fort Worth Museum of Science and History Fort Worth, Texas

More information at

Project Area 160 sq ft Open Date November 2016 Project Budget $200,000 Design Ideum Design Team Ideum Technology Design: Darold Ross (senior designer), James Romero (3-D artist), Jim Spadaccini (creative director), Cheyenne Bsaies (project coordinator), Curtis Bennett (technical

director), John Mark Collins (producer), Ryan Leonski (lead developer), Cairn Overturf (Kinect developer) Museum Design/Conceptual Development Team: Amy Romans (executive director) Fabricators Ideum (video wall development), Chris Steinmetz (senior exhibit technician), Robert Dempsey (exhibit technician) Photos Ideum, Fort Worth Museum of Science and History

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MERIT AWARD Fred Hutch Visitor Center Fred Hutchinson Cancer Research Center Seattle

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Project Area 550 sq ft Open Date September 2015 Design Studio Matthews Design Team Studio Matthews (exhibition design and graphic design), GoCstudio (3-D design), Fred Hutchinson Cancer Research Center (content development,

copywriting), Pivotal AEI (lighting designer), Brown Bag Creative (final artwork preparation) Consultants Lease Crutcher Lewis (general contractor) Fabricators Pacific Studio Photos William Wright; Studio Matthews

MERIT AWARD Free Zone Goat Farm Arts Center Atlanta

More information at

Open Date September 2015 Design Second Story, part of SapientRazorfish Design Team Joel Krieger (executive creative director); Hunter Spence (director of technology); Emily Fridman (studio director); Scott Hickman (creative director); Pavani Yalla (experience design lead); Matthew Lewis (studio technology

manager); Casey Mann (producer); Andy Pruett (technologist); Mauricio Talero (senior art director); Stephany Gill, Matheus Meneghel (art directors); Ashton Grosz (senior experience designer); Kathryn Beane (senior content strategist) Fabricators MASS Collective Photos Second Story, part of SapientRazorfish

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MERIT AWARD King’s Cross Plimsoll Argent London

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Open Date January 2016

Consultants David Morley Architects

Design Holmes Wood

Fabricators Cobal Signs

Design Team Lucy Holmes, Alexandra Wood (creative directors); Amanda Morrison, Eileen Tunbridge, Ian Moore, Shomil Shah (designers)

Photos Luke Hayes

MERIT AWARD Knight Frank Placemaking Knight Frank Sydney

More information at

Project Area 17,222 sq ft Open Date September 2015 Design THERE Design Team Paul Tabouré (executive creative director); Charlie Bromley (design lead); Jon Zhu (senior designer); Christina Maricic, Justine Lesmana (designers); Lisa Kanani (project manager)

Consultants Geyer Sydney (architecture), Vert Design (industrial design) Fabricators Spike Design (signage fabrication) Photos Steve Brown

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MERIT AWARD La Cité du Vin Permanent Exhibition La Cité du Vin City of Bordeaux Bordeaux, France

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Project Area 32,292 sq ft Open Date June 2016 Project Budget $8,596,935 Design Casson Mann Design Team Roger Mann (creative director), Gary Shelley (lead designer), Laure Cheung (project manager), Kirsty Kelso (head of interpretation), XTU Architects (architect)

Consultants Grand Angle, Moving Stars, MG Design France, Sim et Sam, Clap 35, Les films d’ici, Mazédia​, Squint Opera (media production) Fabricators Potteau Labo (setwork), Sequoia (exhibition graphics), Art Concept (lighting) Photos Nick Guttridge, ANAKA

MERIT AWARD LOOK/HEAR Fred Lazarus IV Center Leidy Gallery, Maryland Institute College of Art

Project Area 149 sq ft

Design Team Ran Zheng (designer)

Open Date March 2016

Consultants Ellen Lupton, Jennifer Cole Phillips, Jason Mathews Gottlieb, James Rouvelle

Design Ran Design/Maryland Institute College of Art

Photos Ran Zheng


More information at

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MERIT AWARD Mac Conner: A New York Life Museum of the City of New York New York

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Project Area 2,000 sq ft Open Date September 2015 Design Studio Joseph Design Team Wendy Evans Joseph (principal in charge), Monica Coghlan (project manager)

Consultants Anita Jorgensen Lighting Design (lighting consultant) Fabricators Random Exhibit Services Photos Eduard Hueber, ArchPhoto, Inc.

MERIT AWARD MahaNahkon CUBE Pace Development Bangkok, Thailand

More information at

Project Area 1,600,000 sq ft

Consultants Büro Ole Scheeren (architect)

Open Date July 2016

Fabricators Shrim Asia (fabrication), Bit Studio (digital development)

Design Pentagram Design Team Eddie Opara (partner in charge), Brankica Harvey (associate and designer), Pedro Mendes (designer)

Photos Pentagram (photography, videography), Bit Studio (videography)

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MERIT AWARD Nest Experience Nestlé Vevey, Switzerland

Project Area 37,673 sq ft Open Date June 2016 Project Budget $10,613,550 Design Tinker Imagineers Design Team Tinker Imagineers (experiential design), Concept Consult Architects (architecture), YiPP (interactive design) Consultants Rina van der Weij (artwork), Tonwelt (audioguide),

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Ziaja & Dorst (voice overs), Most (sound design), March 21/André Kloer (mini documentaries), Lucid Pixel (3-D particle animation), Rockfish Recording Studio (musicscape) Fabricators Bruns (production décor, furniture), Mansveld (AV and lighting hardware), Rapenburg Plaza (lighting design) Photos Mike Bink Photography (photography), Wim Verbeek/Eurocasters (videography)

MERIT AWARD Photography Interpretive Gallery San Francisco Museum of Modern Art San Francisco

More information at

Project Area 1,500 sq ft Open Date May 2016 Design Second Story, part of SapientRazorfish Design Team Norman Lau (creative lead); Don Davies, Donald Richardson (technical leads); Martha Almy (production lead); Matt Arnold (senior engineering specialist); David Brewer (senior backend systems specialist); Chris Carlson, Jeremy Rotsztain (senior technologists); Philippe Laulheret, Adam Paikowsky (technologists);

Vanessa Patchett (A/V producer); Nora Bauman, Alyssa Glass (senior content strategists); Jinu Yang (senior art director); Swanny Mouton (art director); Chris DeWan (design director); Sarah Schulte (senior designer); Jordan Tull (senior environmental designer) Consultants Adobe Labs (digital experience design), Snøhetta (architecture), BBI (AV Integration) Fabricators David Bertman Designs Photos Second Story, part of SapientRazorfish

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MERIT AWARD Pipe Dreaming at FESTA Te Putahi, FESTA Christchurch, New Zealand

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Project Area 172 sq ft Open Date October 2016 Project Budget $347 Design Massey University

Design Team Tzu-Shiuan Huang, Rachael van Wieringen, Sarah Joubert, Nicki Gordon, Katie Deller, Maggie Meiklejohn, Nicole Gesmundo, Franziska Steinkohl, Calvin Lai Consultants Jo Bailey, Nick Kapica (instructors); Julia Morison (artist) Photos Jo Bailey, Nick Kapica

MERIT AWARD Planned Parenthood Installation Planned Parenthood

Open Date December 2016 Design Pentagram Design Team Paula Scher (partner in charge), Courtney Gooch (associate and designer), Rory Simms (designer), Sarah McKeen (project manager)

Consultants Gardiner & Theobald (owners representative), Matiz Architecture & Design (architect) Fabricators CREO Industrial Arts Photos Peter Mauss/Esto

New York

More information at

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MERIT AWARD The Segregated Lunch Counter and Panorama of the Civil Rights Movement Smithsonian National Museum of African American History and Culture Washington

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Open Date September 2016 Project Budget $201,806 Design Ralph Appelbaum Associates, Cortina Productions

Consultants Freelon (architect of record), Adjaye Associates (design architect), Davis Brody Bond (architecture design team) Fabricators Design and Production, Inc. Photos Cortina Productions

MERIT AWARD Seoul National University Arts Research Center Wayfinding Seoul National University, College of Fine Arts Seoul, South Korea

More information at

Project Area 76,080 sq ft Open Date March 2015 Design Seoul National University, YIEUM Partners Design Team Seoul National University Visual Communication Design: Kyung Sun Kymn (creative director); Do Yeon Yang, So Hee Kim, Min Kyoung Lee, Hye Eun Leem (designers)

YiEUM Partners: Jang Won Ahn (principal in charge); Dong Chan Seo, Dae Ho Kim (creative directors); Ga Ram Kim, Jung Woo Yang (project managers); Sung Yul Park, Eun Ji Kim, Chang Suk Yoo, Jun Young Woo (designers) Fabricators H2E Design Photos Won Suk Lee YiEUM Partners: Dae Ho Kim, Sherwood Choe

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MERIT AWARD Smart Bins University of Washington Seattle

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Project Area 39 sq ft Open Date February 2016 Project Budget $40,000 Design University of Washington Design Team Aaron Brakko, Chris Jung, Kosuke Shiraishi and Donglu Song (concept); Karen Cheng, Kristine Matthews (design directors); Carly Lynch (still waste photography); Hart Boyd (stop-motion photography);

Dana Lee, Fanny Luor (motion graphics and videography); macMonkey Studio (programming) Consultants Emily Newcomer (UW trash and recycling); Jack Johnson (UW head garbologist); Linda Wagner (senior researcher); Chad Hall, Jordan Kiga, Sarah Reitz (researchers) Fabricators Pacific Studio Photos Carly Lynch (photography), Sarah Reitz (videography)

MERIT AWARD Smithsonian Institution’s National Museum of African American History and Culture

Project Area 85,000 sq ft Open Date September 2016 Project Budget $87,000,000 Design Ralph Appelbaum Associates Consultants Freelon Adjaye Bond, SmithGroup JJR, Luce Group,

SH Acoustics, Charles Morrow Associates, WSDIA, Local Projects, Resident Genius, Studio Sumo, Pentagram, Lord Cultural Resources Fabricators Design and Production Incorporated, Hadley Exhibits, Pacific Studios, Smithsonian Channel Photos Ralph Appelbaum Associates

Smithsonian National Museum of African American History and Culture Washington

More information at

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MERIT AWARD “Start an Evolution” Donor Recognition University of British Columbia Vancouver, British Columbia

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Project Area 700 sq ft Open Date May 2016 Project Budget $345,000 Design PUBLIC Architecture + Communication Design Team Susan Mavor (creative lead); Scot Geib (associate designer); Sarah English, Rafaela Kilos, Kyle Elderhorst (design support); Eos Lightmedia (interactive

programming); NGX Interactive (interactive concept); PFS Studio (landscape architecture) Consultants UBC Properties Trust (project management), Syncra Construction (installation and logistics) Fabricators CDM2 Lightworks/Lumid (fabricators), Innovative Signage (engraver) Photos Nic Lehoux, Susan Mavor, Ewan Geib (photography); Geoff Webb (videography)

MERIT AWARD The Strand, American Conservatory Theater (A.C.T.) American Conservatory Theater (A.C.T.) San Francisco

More information at

Project Area 20,000 sq ft Open Date May 2015 Design Skidmore, Owings & Merrill (SOM) Design Team Lonny Israel (graphic design studio lead); Nicholas Gerstner (graphic design project manager); Brad Thomas, Dan Maxfield, Pauline Cheng, Nathan Bluestone (designers); Michael Duncan, FAIA (design director); Gene Schnair, FAIA (managing partner); Keith Boswell,

FAIA (technical partner); Maurice Hamilton, AIA (senior technical architect); Gayle Tsern Strang, AIA (project manager); Aaron Jensen, AIA (senior design architect); Joan Young Park, Beatrice Hsu (technical designers); Sally Anderson (specifications); Yuji Nishioska; Lisa Hedstrom; Richard Henocha; Jeffrey Bajamundi; Douglas Smith; Eric Cole Fabricators Thomas Swan Signs, DSA Phototech Photos Bruce Damonte

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MERIT AWARD Tacoma Art Museum Rebrand and Sign Scheme Tacoma Art Museum Tacoma, Wash.

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Project Area 16,000 sq ft Open Date November 2014 Design Studio Matthews Design Team Kristine Matthews (art director), Cassie Klingler (lead designer), Frances Nelson (designer), Beth Grim (production)

Consultants Olson Kundig Architects (architect), Bonewitz LLC (project management) Fabricators Berry Signs Photos William Wright, Studio Matthews

MERIT AWARD Tadenava Association of Memorial Museums, SJSC “State Real Estate”

Project Area 5,705 sq ft Open Date July 2016 Design Design studio H2E Design Team Holgers Elers (lead designer); Inguna Elere (lead designer, graphic design); Dagnija Balode (project manager);

Laura Lorence (graphic designer); Girts Arajs, Martins Vitols (3-D designers); Charly Bloedel (graphic designer, wayfinding); Anete Liepa (layout designer) Fabricators H2E Design Photos Design studio H2E: Gvido Kajons, Inguna Elere

Dunava Parish, Latvia

More information at

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MERIT AWARD The Washington Post The Washington Post Washington

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Project Area 283,034 sq ft Open Date January 2016 Design Gensler Design Team Steven Joswick (design director), Hannah Olin (designer)

Consultants Rand Construction Corporation Fabricators PhotoWorksGroup, Gelberg Signs Photos Garrett Rowland

MERIT AWARD Written Wor(l)ds Cynthia Woods Mitchell Center for the Arts, University of Houston Houston

More information at

Project Area 390 sq ft Open Date December 2014 Project Budget $1,000 Design University of Houston Design Team Cheryl Beckett (graphic design faculty); Peter Turchi (creative writing faculty); Jeff Albers, Dana Kroos, Danny Wallace (creative writing students); April Ayugat, Dawn Baxter, Yu-Lin Chen, Jose Cruz, Susan Dastaran,

Francisco Delgado, Megan DeMaranville, Jim DeVega, Camille Domangue, Andy Freestone, Andres Garcia, Stef Gonzalez, Sasha Ichoonsigy, Kathleen Kennedy, Michelle Lam, Jonathan Lopez, Crystal Pham, Maria Ramirez Jaller, Sarah Salazar, Katie Shockney, Corbin Spring, Alex Tomic, Dan Vo (graphic design students) Fabricators Xstickers Photos UH Graphics, Studio302

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MERIT AWARD Xintangwanke Mall International Cinema Hubei Xiang Sheng Yin Xing Entertainment Management Co., Ltd. Wuhan, China

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Project Area 37,997 sq ft Open Date February 2016 Project Budget $5,072,243 Design One Plus Partnership

Design Team Ajax Law, Virginia Lung (design directors) Fabricators Wuhan JinPu Building Decoration Engineering Co. Ltd. Photos Jonathan Leijonhufvud


Los Angeles Courthouse Federal Seal car ving progress

New Los Angeles Courthouse Federal Seal Car ving in Indiana Limestone 2016

More information at

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Leaders in





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