SEGD26

SEGD26

SEGD26 With this annual awards publication, SEGD recognizes awardwinning people and projects who, through their commitment to innovative design in the built environment, set standards of excellence for experience design. The SEGD Achievement Awards celebrate outstanding individuals whose vision raises the bar of excellence in experience design: mentors championing emerging professionals and students, advocates expanding access for people with special needs, and innovators behind bespoke storytelling solutions, each leaving a remarkable impact on our field of practice and our broader community. Since 1987, the SEGD Global Design Awards have set the benchmark for experiential design, honoring work that connects people to place through storytelling, meaning, and impact. For the second year, the 2026 awards recognize sustainability as a defining quality of excellence. Winning projects across the awards’ seven categories highlight the breadth of our community, from a disassemblable pavilion built to leave no trace, to signage designed to ease a child’s fear in a hospital hallway, to a storybook that carries Indigenous voices and regional ecosystems into the everyday, creating an experience that lets complexity coexist with beauty.

Introduction From the CEO of SEGD We are living through a complicated moment, and this year’s SEGD Awards Annual is a reminder of what our community offers in response. People rarely remember the details of a space, but they remember how it made them feel: welcomed, understood, safe, seen. Every project and honoree featured here was shaped by someone who understood that, and who chose to design for feeling as much as for function. As we celebrate the 2026 award winners, I am struck by how much of this year’s work leans directly into complexity rather than away from it: histories that are hard to tell, conditions that are hard to navigate, communities whose needs are too often an afterthought. Our honorees met these challenges with clarity, care, and craft, proving that good design does not simplify the world so much as help us hold it. To our members, sponsors, partners, and volunteer leaders: thank you for fueling this momentum. Your support and thoughtfulness ensures that SEGD remains a place where ideas thrive, connections deepen, and design continues to make an enduring impact. With gratitude, Cybelle Jones, CEO

Publisher SEGD Editor-in-Chief Cybelle Jones Editor Sarah Miorelli Art and Copy Editor Kristin Bennani Editorial Offices 1701 Rhode Island Ave., NW Office 3-132 Washington, D.C. 20036 202.638.5555 segd@segd.org Advertising Sales Kristin Bennani kristin@segd.org © 2026 SEGD26 ISBN: 978-1-940297-62-0 Opposite Page Best of Show Winner, Netherlands Pavilion at Expo 2025 Osaka Photo credit: Tellart & Zhu Yumeng

SEGD26 is the annual publication of SEGD, the Society for Experiential Graphic Design. Opinions expressed editorially and by contributors are not necessarily those of SEGD. Placements appearing in SEGD26 do not constitute or imply endorsement by SEGD or SEGD26. 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.

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Intro

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Letter from the Publisher

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Achievement Awards Honoring the people and companies setting the standard for excellence

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Best of Show An interactive Pavilion that shows insight into the Netherlands’s evolving relationship with water.

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Sylvia Harris Award Honoring the legacy of Sylvia Harris (1953—2011), a passionate advocate of design for the public good Honor & Merit Awards

Opposite Page Sylvia Harris Award Winner, Sculpting History at the Valentine Studio: Art, Power, and the “Lost Cause” American Myth, Photo credit: Naho Kubota Photography

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Branded Environments

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Digital Experiences

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Exhibition

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Placemaking

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Public Installation

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Strategy/Research/Planning

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Wayfinding

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Winner’s Index

SEGD Achievement Awards Sponsored By

Pentagram is a multi-disciplinary, independently owned design studio. Our work encompasses graphics and identity, strategy and positioning, products and packaging, exhibitions and installations, websites and digital experiences, advertising and communications, data visualizations and typefaces, sound and motion. Our 23 partners are all practicing designers, and whether working collaboratively or independently, they do so in friendship.

Achievement Awards

2026 SEGD Fellows Jonathan Jackson Donna Lawrence Despina Macris Mark Ross Distinguished Member Hannah Anderson Insight Award Port of Portland Educator Award Debra Satterfield Chapter Chair Award Chairs of the Cincinnati Chapter: Suzanne Hopkins, Mikayla McMellan, and Mike Ruehlman

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Jonathan Jackson 2026 SEGD Fellow

At the age of ten, Jonathan Jackson had a stack of looseleaf sketches of Nike shoes he wanted his mother to send to the company. She didn’t realize designing shoes was a real profession, but she knew of architects. She asked if he’d heard of Frank Lloyd Wright, Mies van der Rohe, and Le Corbusier, bought him books, and told him maybe he should be an architect. By thirteen, Jackson knew he wanted to study architecture, and he credits his single mother with opening a door most parents wouldn’t have known existed. That early exposure to architecture, paired with a growing pull toward graphic design, became the foundation of WSDIA, the studio Jackson co-founded with Sarah Nelson Jackson after the two met while she was finishing her degree in graphic design at Boston University. The name, short for “WeShouldDoItAll,” reflects the studio’s founding belief that a person, and a practice, should be capable of many things at once. WSDIA moves fluidly between typography, brand systems, exhibitions, and spatial design, treating graphic identity not as a finishing layer but as something that can shape how a space feels and moves. The studio’s early years were built on work for Nike, first designing logos and retail graphics, then a 25,000-square-foot exhibition for the 2010 World Cup in South Africa. The work was substantial enough to put WSDIA on the radar of Ralph Appelbaum Associates, who approached the studio to join the design team for the Smithsonian’s National Museum of African American History and Culture. It became WSDIA’s first museum project, and its longest, at five years, a scale and pace of work the studio had never faced before. The studio has maintained that range of work ever since, most recently completing the Tekαkαpimək Contact Station, the welcome center to Katahdin Woods and Waters National Monument in Maine with the Wabanaki Nations. WSDIA has grown into a practice built on transparency, mentorship, and the belief that good work doesn’t require chasing awards or attention. In this conversation with SEGD CEO Cybelle Jones, Jonathan reflects on the projects that shaped him, what it means to design across cultures and histories that are not his own, and what he hopes the next generation carries forward.

Opposite Page Jonathan Jackson, 2026 SEGD Fellow Photo credit: Jonathan Jackson Achievement Awards | SEGD26

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What did the years between studying architecture and starting WSDIA look like? I held onto architecture through college. After Kent State, I worked at a couple of architecture studios in New York, picking up graphic and spatial jobs on the side until I was spending more time on those than my day job. Eventually, I was let go, and honestly, I was thrilled. It meant I could finally do this full time. My mom, who’d paid for an architecture education, was less thrilled, but I took that as motivation more than discouragement. The name “WeShouldDoItAll” is a strong statement. Where did it come from? It’s from a line in Robert Heinlein’s novel, Time Enough for Love, which I was reading for an architecture project in college. The quote lists everything a capable person should be able to do, and that idea stuck with me: a person should be able to do many things well. I always knew I wanted to run my own practice, and I knew that would be the name, whenever I got the chance. How did WSDIA go from a two-person studio to the practice it is today? Once we landed the Smithsonian project, Sarah came on full time, and steadying both the financial and creative sides let me focus purely on the creative work. That instinct, building something transparent enough that everyone on the team understands how the business actually runs, not just the design side, has stayed core to the studio ever since. In the years between our two kids, Sarah focused mostly on the financial and project management side. After our second child, she found what she really wanted to do: she became a certified postpartum doula and is now considering midwifery. We restructured around that, reducing the team from a peak of nine people to six today, and decisions that used to sit with the two of us are now made democratically by the whole team. Your work has ranged from Nike to the Smithsonian to a national monument developed with Indigenous nations. What tells you a project is worth taking on? We score projects against three things: does it have cultural impact, does it pay well, and is it good for the portfolio. Most hit two of three. It’s rare to hit all three, and the ones that hit only one are usually ones we should pass on, though lean years have forced our hand more than once. That decision isn’t just mine or Sarah’s. The whole team weighs in, which keeps us honest and aligned on why we do the work we do.

Opposite Page Nike NYHQ Photo credit: WSDIA (above) Opposite Page Smithsonian’s National Museum of African American History & Culture, Making A Way exhibit, Photo credit: Alan Karchmer (below) 10

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Achievement Awards | SEGD26

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Your five years on the Smithsonian’s National Museum of African American History and Culture and your recent work with the Wabanaki Nations on the Katahdin Woods and Waters Visitor Center both involved sensitive histories. What did those projects teach you? The Smithsonian project taught us patience and how to really listen. We worked with six curators across two galleries, and everything moved more slowly and required far more iteration than the commercial work we’d done before. It’s also what turned WSDIA into a real studio, with real scheduling and our first full-time hire. Katahdin pushed that further. We spent three years working weekly with the Wabanaki Nations, the Maliseet, Mi’kmaq, Passamaquoddy, and Penobscot, and everyone on the project completed Indigenous sensitivity training before we began. I came to see how much a typical design process mirrors extraction: research taken rather than given back. Unlearning that took real trust, and it wasn’t always comfortable. I’d put that project alongside the Smithsonian in terms of what it asked of me, as a designer and as a person. What do you hope your team and the next generation of designers, carries forward from how you’ve built WSDIA? Transparency matters enormously to us. Our team has access to contracts and invoices and understands how a studio actually runs, so if they ever want to start their own practice, they have the tools to do it. Nobody teaches that in design school, and I want people who come through WSDIA to leave with more than a portfolio credit. One moment has stayed with me. During the install of an exhibit called “Men of Change,” a curator introduced me to a thirteen-year-old visitor who’d just said he wanted to become a designer. That’s the whole point: giving kids who don’t know this world exists a way in, the way my mother once did for me. What still brings you joy in this work? My kids, honestly. They don’t care what I do for a living, and there’s something grounding about stepping into their world instead of mine. Basketball is my release, too. Beyond that, I stay inspired by what my peers are doing, gallery shows, music, and honest conversations about how everyone’s getting through this moment. Design can be a lonely field if you let it. I’d rather build bridges with the people doing it alongside me.

Opposite Page Tekαkαpimək Contact Station Photo credit: James Florio (above) Opposite Page Schomburg Center Centennial Photo credit: WSDIA (below) Achievement Awards | SEGD26

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Donna Lawrence 2026 SEGD Fellow

Donna Lawrence has spent four decades shaping how audiences encounter history, science, and culture inside museums, visitor centers, and cultural spaces, often through cinematic experiences unlike anything found in a traditional theater. As founder of Donna Lawrence Productions (DLP) in Louisville, Kentucky, she has helped define what immersive, place-based storytelling can be, from the earliest large-scale multi-projector installations to the theatrical, large-format, and multi-sensory work that shapes the field today. Born out of the need to connect audiences with sweeping stories in relatively few minutes, a form she refers to as haiku, her practice is based on a simple principle: connect visitors with the unique convergence of forces at the heart of a story, in a deep and authentic way, and you connect them with the larger, reverberating, on-going world of that story. DLP’s 1985 installation at the Kentucky Derby Museum, choreographing 97 slide projectors around a 360-degree space, had no precedent anywhere in the world. Nearly two decades later, animating the vision, DLP brought live actors and theatrical staging into the National Constitution Center. In between and since, Lawrence’s films and installations have covered subjects ranging from the Civil War and civil rights to the future of energy, often becoming the primary way they encounter a place’s story. DLP has remained independent throughout, headquartered in a historic 160-year-old building in Louisville, reconfigured to support the evolving creative and technical requirements of a close-knit team of longtime collaborators spanning the country. That philosophy has made Lawrence one of the field’s most respected voices on how to tell difficult, high-stakes stories with both rigor and heart. Her work is a reminder that the most powerful experiences are rarely about spectacle. They are about finding the “root of the root” of the story, the unique convergence of forces out of which the larger story flows. In this conversation, Donna reflects on her creative process, the collaborations that have defined her career, and what four decades of independence have taught her about staying true to the work.

Opposite Page Donna Lawrence, 2026 SEGD Fellow Photo credit: Donna Lawrence Achievement Awards | SEGD26

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How did you find your way into this field, and what led you to found Donna Lawrence Productions in Louisville in the 1980s? I grew up playing and incessantly listening to music, fascinated by how music travels and changes across cultures and centuries. That interest led me toward documentary radio production. I moved to Louisville, took a temporary job working on educational media. The producer I was assisting unexpectedly left town, and I ended up finishing his project, working with sound and picture for the first time. I was hooked. Within eight years, we’d built a 360-degree, 96-projector surroundsound production, the first of its scale in the world for the Kentucky Derby Museum. You’ve talked about getting to “the root of the root” of a story. What does that process look like? Many of our projects challenge us to connect the audience with a huge story, in a fraction of the runtime of a feature film, often fifteen minutes or less. Over time I noticed a pattern: keep asking what is the “root of the root”...of a story, and you arrive at a unique combination of factors, or forces, whose convergence drives what follows. Take Motown. It exists because a successful farmer in Georgia heard about the manufacturing jobs in Detroit and moved his family there at a particular cultural moment. Then he starts his own business with his sons, but one of them, the young Berry Gordy, was mesmerized by the sounds playing on speakers outside record shops and jazz clubs in Detroit at that time. That’s the kind of convergence that makes a story powerfully coherent, rather than arbitrary. At a time when museum storytelling leaned on traditional documentary film, you brought theatrical elements, and eventually live actors, into the work. What made you push in that direction? We’ve been fortunate to work with collaborators who were open to seeing their own work as a starting place for what we could bring to the party. At the National Constitution Center, the original concept called for a docent who would speak to visitors sitting in a circular space while scenic images were projected on the 360 wall behind them. Once we saw the shape of that space for the welcoming in “We the People,” it inspired the idea of using a full theatrical experience with narrative structure. The docent became an actor, and over the course of the show, projections expanded until every surface in the room was activated in service of the story of the U.S. Constitution. Much of your work deals with contested or emotionally difficult history. How do you approach storytelling when the stakes of getting it right are so high? There are two things at work. The first is what we’ve already talked about: digging down to the deepest forces that drive a story takes you to a place that tends to transcend differences in surface observations. 16

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Opposite Page Kentucky Derby Museum “The Greatest Race” was originally installed by Electrosonic as a 96-slide projector show in 1985, subsequently breaking new creative, production, and technical ground through 3 technical transformations engineered and installed by CED. Hilferty and Associates, Museum Design, Vernor Johnson and Associates, Architect, Available Light, Immersive Lighting 2025, Audiovision & Downtown Recording, Soundtrack design and recording. Produced and directed by DLP Photo credit: Donna Lawrence Productions (above) Opposite Page National Constitution Center “Freedom Rising” is a live actor 360 production that uses moving scrims, projection on all surfaces, and immersive sound to connect audiences with the origins and living force the U.S. Constitution is in our lives today. RAA, Museum Design, Electrosonic, AV Integrator, Nancy Seruto, Theatrical Consultant, Downtown Recording, Soundtrack Studio, Theatrical/Lighting Installation Design, David Sirola. Produced and directed by DLP Photo credit: Donna Lawrence Productions (below)

Achievement Awards | SEGD26

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Few people argue with those root forces once you pull back the curtain. In fact, most people find their own experiences in that story if you go deep enough. The second thing at work is more practical. The audience in many museums is often the subject of the story itself, so if any part of the experience doesn’t ring true, we hear about it immediately. Fortunately, that immediate feedback and collaboration usually happens over the course of working on the project, keeping the community’s voice at the center of every phase of a project, and long after opening day. You’ve sustained an independent company for four decades. What has it taken to keep evolving while staying independent? Our tools have moved through four technical evolutions, from early multi-image projection to multi-source video, and digital workflows to the blend of digital and theatrical environments we see today. What hasn’t changed as much is our team. We’ve added people slowly and built an extraordinary group of collaborators and creators based here in Louisville and located across the country. What still brings you joy in this work after all these years? It’s those moments of discovery, at every stage of a project. It can be the first time you’re learning about a subject hands-on, walking a site, or sitting with scientists talking through the future of energy. It’s the moment you finally see through to how an enormous story can be conveyed simply. The hardest thing is to find simplicity, and it’s exhilarating when that happens.

Opposite Page National Museum of Racing and Hall of Fame “Journey to the Hall of Fame” follows the path of some of Thoroughbred racing’s greatest horses, jockeys, and trainers in a square 360 theater. At the conclusion, the final scene resolves into Hall of Fame monitors that come to life for visitors to interact with all past and current members of the Hall of Fame. Gallagher & Associates, Interactive Design, Electrosonic, AV Integration, Downtown Recording, Soundtrack Recording, Theatrical Design, David Sirola, Produced and directed by DLP. Photo credit: Donna Lawrence Productions (above) Opposite Page Museum of the American Revolution The story behind “Washington’s War Tent” concludes with a dramatic reveal of Gen. George Washington’s field tent, a rare artifact. HealeyKohler, Exhibits Design, Electrosonic, AV Integrator, SH Acoustics, Audio and Acoustics Systems, Downtown Recording, Soundtrack Recording, Theatrical Design, David Sirola, Produced and directed by DLP. Photo credit: Donna Lawrence Productions (below)

What do you hope the next generation of storytellers and designers of experiences carry forward from your approach? The only words that really come to mind are “make it count,” whatever that means for you, in your discipline, with the resources you have. It’s still about how you connect people with a story, whether you have words at your disposal or are letting an environment do the talking. What does SEGD mean to you as a community? SEGD is a community built around a single, remarkable factor: the environment itself, the “z-axis,” which opens up nearly infinite ways to enrich an experience. I hope the conversations that come out of this recognition, this one included, explain the way this community has been useful to me.

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Despina Macris Mark Ross 2026 SEGD Fellows Some design partnerships begin with a shared philosophy. Others begin with a single project that refuses to let go. For Despina Macris and Mark Ross, founders of Australia’s Dotdash, it began with curiosity. When they met in Brisbane in the 1980s, neither imagined a career devoted to wayfinding. Despina was an art director who had worked around the world before leaving advertising to pursue more meaningful creative work. Mark had studied architecture, immersed himself in theater and contemporary dance, and explored performance as a way of understanding space. Collectively, they had worked across graphic design, fashion, exhibitions, retail environments, set design, and performance long before experiential design had a name. That interdisciplinary beginning still defines Dotdash today. Rather than seeing wayfinding as signage alone, they view it as the intersection of architecture, storytelling, human behavior, and visual communication. Every project asks the same essential question: How can people feel confident, comfortable, and connected to the environment around them? Since establishing Dotdash in 1987, the studio has become one of the world’s most respected wayfinding consultancies, completing thousands of projects across multiple sectors. Their work spans Olympic Games, children’s hospitals, museums, zoos, World Heritage sites and world expos, as well as town and city centers, parklands, airports, and public transport systems. Quietly, it has shaped how millions of people move through the world. Their work is grounded in rigorous systemsthinking, but equally informed by empathy, accessibility, and an unwavering belief that clarity is an act of generosity. Their partnership is equally complementary. Despina speaks about language, emotion, inclusion, and the psychology of visual communication. Mark naturally gravitates toward architecture, spatial relationships, and the choreography of movement through place. Together, they have spent nearly four decades demonstrating that successful wayfinding is never simply about helping people find their destination. It is about helping people understand where they are, how they belong, and how design can quietly support every journey. Project by project, that thinking has helped shift wayfinding from an afterthought into a discipline valued in its own right—one the studio now helps pass on directly, regularly connecting with Brisbane high schools to introduce students to a career most have never heard of.

Opposite Page Despina Macris and Mark Ross, 2026 SEGD Fellows Photo credit: Glenn Hunt Achievement Awards | SEGD26

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You both came into environmental graphic design through very different paths. How did those early experiences shape the practice you would eventually build together? Despina Macris: Neither of us imagined we’d end up in wayfinding. My path began with an art scholarship, then commercial illustration and advertising with Leo Burnett in Brisbane, Vancouver, Toronto, Rome, and Athens. It was an incredible education, but eventually I realized I wanted design to contribute something more meaningful than selling products. I moved into theater and costume design because it brought together storytelling, making, and people. Back in Brisbane there was a small creative community of architects, artists, fashion designers, and performers. That’s where Mark and I met. Mark Ross: My background was architecture, but I was equally drawn to contemporary dance and experimental theater. We were designing costumes, sets, posters, and performances, all before Dotdash existed. Looking back, those disciplines became the foundation of our practice. Architecture taught me about space. Theater taught me sequence and movement. When World Expo ‘88 arrived, those worlds came together. We weren’t just designing graphics or buildings. We were designing experiences before there was a name for it. Dotdash has always worked across healthcare, transport, education, civic spaces, and culture. What connects every project? Despina Macris: It always begins with people. I’m a synesthete. Tuesdays are green, Wednesdays are yellow, numbers and letters have colors too. It’s just how I sense the world around me, and that translates into my work. If information is confusing, people become anxious. If it’s clear, they feel confident. I’ve always believed clarity is an act of generosity. Growing up in a Greek family also shaped my thinking. Hospitality, celebration, craftsmanship, and making people feel welcome were simply part of everyday life. Design should do the same. Mark Ross: The project changes, but the process doesn’t. We begin by understanding the place, its culture, landscape, architecture, and the people who use it. Wayfinding isn’t something you apply to a place. It grows from understanding the place itself. We’ve never thought of ourselves as sign designers. We’re designing the relationship between people and their environment. Accessibility and inclusion have become defining characteristics of your work. What has that taught you about design? Despina Macris: Accessibility isn’t a checklist. It’s empathy. Not every disability is visible, and not everyone understands space in the same way. Good wayfinding reduces anxiety and allows people to navigate 22

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Opposite Page Brisbane Multilingual Signage, Brisbane, 2022 Photo credit: Dotdash (above) Opposite Page Queensland Children’s Hospital, Brisbane, 2015 Photo credit: Dianna Snape (below)

Achievement Awards | SEGD26

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independently with dignity. The same philosophy guides our work with Indigenous communities. We begin by listening, not designing. The stories belong to the community, not to us. Our responsibility is to help communicate them respectfully. Mark Ross: Every project teaches humility. The more people you meet, the more you realize there is no typical user. Designing for difference isn’t a constraint. It’s simply good design. Australia is now recognized as a leader in environmental graphic design. What feels distinctly Australian about your approach? Mark Ross: Australia has always had to think differently. We’re geographically isolated, so we’ve learned from around the world but adapted those ideas to our own landscape, climate, and culture. That thinking is now being tested on perhaps the largest wayfinding challenge we’ve ever faced. I was invited to contribute my experience to the team developing the strategy for the 2027 Simhastha Kumbh Mela in Nashik and Trimbakshwar, India. Up to 120 million pilgrims are expected to gather over the 21 month duration, with single days exceeding 25 million people. At that scale, helping people understand where they are, where they need to go, and how to move safely through deeply sacred, layered urban environments—many for the first time and many without a common language—becomes an extraordinary wayfinding challenge. It’s not simply about moving people efficiently. It’s about helping people from different cultures and languages feel safe, oriented, and connected, while respecting a sacred landscape. Every visit reminds us that wayfinding begins with observation and humility. Despina Macris: Projects like this reinforce that every culture already has its own intelligence. Our role isn’t to impose a design language. It’s about discovering what already exists and making it more accessible. What does becoming an SEGD Fellow mean to you? Despina Macris: SEGD has always felt like a community. The friendships and shared commitment to improving people’s lives have meant as much as the professional recognition. Mark Ross: The Fellowship isn’t about looking backward. It’s about becoming part of a lineage. We learned from people who shaped this profession before us. Now we hope the next generation takes it somewhere none of us can yet imagine. Opposite Page Thomas Dixon Centre, Brisbane, 2024 Photo credit: Alanna McTiernan (above) Opposite Page Cardwell Foreshore, Cardwell, 2013 Photo credit: Andrew Watson (below) Achievement Awards | SEGD26

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Photo courtesy of Hannah Anderson

Hannah Anderson Senior Designer, Kolar Design SEGD Distinguished Member The SEGD Distinguished Member Award recognizes an individual for demonstrating outstanding volunteer efforts while significantly contributing to the direction, growth, and excellence of SEGD programs. Past winners include Jessica Schrader, Simon Majarian, and George Lim. Hannah Anderson is a past member of the SEGD Board, a former Co-Chair of the Cincinnati Chapter and currently a Co-Chair of the Emerging Experiential Professionals (EXP) committee. How did you get started in design? What drew you to Experiential Graphic Design (EGD), specifically? I studied graphic design at DAAP, University of Cincinnati, where several professors came from an EGD background. My first hands-on exposure was interning with the National Park Service at Harpers Ferry, where my mentor trained me on wayfinding, materials, and explaining accessibility standards to clients. I was fascinated by the direct impact that EGD work has on our lived experience within a place, and the longevity of it. I’ve long thought 26

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that design majors should require psychology and sociology partnerships in their studies. Which projects have significantly shaped your career? It’s more about the projects where the partnership between client, designer, and fabricator feels symbiotic, almost like play. One favorite was an interior workplace project for an industrial client, where we built feature walls out of metal widgets, pipes, and electrical cord, figuring out with fabricators how to manipulate these materials to look like art. Today, I gravitate toward the most complex strategic projects, because I’m usually the one connecting the dots across a system. How did you discover SEGD, and how did you get involved? I first heard about SEGD through a National Park Service connection, then joined once I was working full-time. I stayed locally involved in Cincinnati for years before a chapter chair called me up and asked if I’d take over.

Photos courtesy of Hannah Anderson

From there, I spoke at the Young Designers event, joined its committee, then got nominated to the SEGD Board, serving a term through COVID and the CEO search. When my term ended, I went all-in on what’s now the EXP program, co-chairing it with Jonathan Posnett. What advice would you offer emerging professionals? Showing up is what matters most, even when you’re nervous, scared, or wondering if you belong in the room. It takes courage, but it also takes someone else seeing something in you and being willing to open a door. Mentorship can’t be forced, but if you keep showing up and having conversations, someone will notice. We can’t grow just sitting in our seats; doing good work matters, but it’s not how you grow. What’s exciting you about the field right now? It feels like we’re on a precipice, and we don’t yet know what’s on the other side. I see the benefits of AI, but I’m also standoffish toward a lot of it. It’s made me appreciate the analog side of things and lived experience even

more. I hope we’re at an awareness point rather than a catastrophic one. A reminder that the human element is what justifies why our field is important and can’t be replaced. Anything else you’d like to share? Mostly gratitude for partnership. The work I’ve done with EXP wasn’t done alone. I’ve had a great co-chair in Jonathan Posnett, plus Liz Griswold, George Lim, who we carried the torch from, and now Jaclyn Marlo. It’s heartwarming to know the work was appreciated and valued, and to see it live on even when I’m not involved day-to-day.

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Photos courtesy of the Port of Portland

Top Photo: Photo courtesy of the Port of Portland Bottom Photo: Sally Painter, Courtesy of Mayer/Reed

Port of Portland SEGD Insight Award The SEGD Insight Award recognizes visionary clients who demonstrate the impact of experiential design by commissioning projects and initiatives that significantly enhance or promote opportunities for the field and practitioners. Past recipients include the UCSF Signage Governance Committee (SGC), The Southeastern Pennsylvania Transportation Authority, and the National Museum of African American History and Culture.

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The Port of Portland is an economic powerhouse in the Pacific Northwest, overseeing marine terminals, business parks, and airports, including Portland International Airport (PDX). The Port recently completed a major transformation of PDX that doubled the airport’s capacity while improving flow and accessibility, strengthening local character and seismic resilience, and slashing energy use through a range of sustainable innovations. Working in lockstep with local partners, from architects, makers, and engineers to interior and graphic designers, wayfinding experts, and everyone in between, the Port brought regionally inspired designs to life with a wide range of mobilities in mind. The result is a smooth, welcoming journey through a world-class airport, one that reflects the Pacific Northwest’s character at every turn.

Photo courtesy of Debra Satterfield

Cincinnati Chapter Co-Chairs top to bottom; Suzanne Hopkins, Mikayla McMellan and Mike Ruehlman, Photos courtesy of the SEGD Cincinnati Chapter

Debra Satterfield SEGD Educator Award

SEGD Cincinnati Chapter Suzanne Hopkins, Mikayla McMellan and Mike Ruehlman SEGD Chapter Chair Award

The SEGD Educator Award recognizes academic members who have demonstrated the cultivation and practice of design across practice areas of SEGD, namely, experiential and environmental graphic design, interaction design, exhibition design, creative technology, installation, and public good projects. Past recipients include Timothy McNeil, Neeta Verma, Dr. Elizabeth (Dori) Tunstall, and Yeohyun Ahn. Debra Satterfield is a Professor of Design at California State University, Long Beach, with extensive research and publications in design for social inclusion, behavioral change, neurodiversity, social justice, and accessibility. She is an Ambassador with the International Society of Service Innovation Professionals, a member of the academic advisory board for SEGD, and a member of the scientific advisory board for the Human Side of Service Engineering. Satterfield leads DESIGN CARES, an initiative supporting student workshops, a micro-food pantry, design outreach for social justice, and a design materials exchange, aimed at improving success for at-risk students in the Design Department.

The SEGD Chapter Chair Award recognizes outstanding volunteer efforts made while significantly contributing to the direction, growth, strength, and excellence of SEGD both regionally and internationally. Past recipients include SEGD Washington, D.C. Chapter, SEGD Vancouver Chapter, and Kayte Muse. The SEGD Cincinnati Chapter has built a vibrant design community through thoughtful programming, meaningful partnerships, and a commitment to professional growth. Rooted in the strong bond between the city’s professional and emerging design communities, the chapter is a model for engagement, regularly hosting events through its Student Chapter at the University of Cincinnati’s DAAP Communication Design program. By collaborating with local design organizations to produce Cincinnati Design Week and the Cincinnati Design Awards, the chapter has expanded the visibility of experiential design. Through portfolio reviews, project tours, workshops, and networking events, it fosters an engaged, inclusive community reflecting SEGD’s collaborative spirit. Achievement Awards | SEGD26

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SEGD Global Design Awards Sponsored By

Driven by the shared passion and creativity of our design community, DCL is your reliable collaborator for custom signage, experiential design elements and integrated tech solutions. As an ongoing supporter of the SEGD community, DCL would like to congratulate all of our design partners for their creative achievements, inspired solutions and commitment to design excellence. See our ad on page 38

Best of Show

Netherlands Pavilion at Expo 2025 Osaka

NETHERLANDS PAVILION AT EXPO 2025 OSAKA Best of Show, Life Centered Design Award, Honor Award Design Firm Tellart Client Ministry of Foreign Affairs, Netherlands, Netherlands Enterprise Agency (RVO) Location Osaka, Japan Category Digital Experiences 32

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Design Team Tellart Collaborators RAU Architects (architecture), Asanuma (construction), DGMR (engineering), BeWunder (fit-out and av hardware supplier), Tellart Productions (media design), Resonate (sound design), Return to Earth Studio (ai film), Kessels Kramer (graphic design), Plomp (renders), Studio the Future (cultural consultancy), Cooloo (fixed furniture supplier), Het Anker (NL) – Loose furniture supplier), Studio Mae Engelgeer (curtain designer supplier), Kojima Shoten Inc. (traditional japanese paper lanterns supplier) Photo Credits Tellart & Zhu Yumeng (photography), Tellart (videography) Project Area 1,157 sq mt Project Date April 2025 Juror Comments “Interactivity rarely inspires such human, warm, and touching feelings as holding these orbs of light and energy. Then what they bring to life is a seamlessly immersive and magical world 360 imagery, discovery, and interaction. Congratulations on a remarkably fluid blend of so many disciplines into an unforgettable experience.” “This digital experience is wholly unique, interactive, educational, and delightful, whilst addressing a quite serious and complex topic around water conservation and ecology. By incorporating the glowing ball, held by each visitor, I imagine the experience would have been extremely engaging, thereby forming a lasting and impactful memory.”

Netherlands Pavilion at Expo 2025 Osaka Best of Show, Honor Award, Life Centered Design Award, Sustainability Impact Recognition The Netherlands Pavilion at Expo 2025 was commissioned by the Ministry of Foreign Affairs and the Netherlands Enterprise Agency, and was realized by the consortium consisting of Tellart, RAU Architects, DGMR (Engineering), and Asanuma (Construction). The pavilion is a story-driven, immersive space where visitors can experience a narrative about the country’s evolving relationship with water. Drawing from the country’s experience living below sea level, the Pavilion invites visitors to explore how Dutch water expertise has evolved from managing a threat to partnering as an ally in more eco-conscious living. This Dutch way of working and collaborative mindset, ‘common ground,’ is the Pavilion’s core concept. Guided by a personal orb, an interactive device that powers and responds to installations throughout the pavilion, visitors become active participants in the story. The visitor experience unfolds across four distinct phases within a 1,157-square-meter space. The interactive journey begins with receiving a personal orb, a glowing sphere that responds to movement and proximity, guiding each visitor through a personalized experience. As visitors move through the space, their orb activates installations that bring stories to life. The narrative progresses as visitors advance through the Pavilion, with every element from the architecture to each interactive touchpoint contributing to a coherent story. In the first space, each visitor activates their orb by holding it to the check-in mirror. The activated orbs can power 4 interactive walls in the following space that each reveals a chapter of the Netherlands’ water story; from centuries of land reclamation and flood defence to innovations in floating infrastructure and water reuse. Through gestureresponsive visuals and kinetic animations, visitors are invited to trace the country’s evolving mindset: from resisting water, to living with it, to partnering with it. The Pavilion’s iconic sphere features a 360° AI-generated film. The film traces the evolving partnership between the Dutch and water. During the film, the personal orbs sync individually to emphasize the personal experience and serve as a call to action. In the final space, visitors gather in a circle in front of an interactive infinity mirror. The installation leverages advanced technology and invites visitors to put the ‘common ground’ mindset into practice by stepping into a literal circle to create a collaborative and generative artwork.

Previous and Opposite Page Netherlans Pavilion at Expo 2025 Osaka Photo credit: Tellart & Zhu Yumeng Best of Show | SEGD26

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SEGD Life Centered Design Award Sponsored By

Moss is a solutions design-led, technology-driven, global custom manufacturing partner serving branded experiences. For more than 65 years, ingenuity and boundless creativity is at the heart of what we do. We bring your vision to life. Our experts are an extension of your team—blending materials, technology, and technique to achieve expert results.

Sylvia Harris Award

Sculpting History at the Valentine Studio: Art, Power, and the “Lost Cause” American Myth

SCULPTING HISTORY AT THE VALENTINE STUDIO: ART, POWER, AND THE “LOST CAUSE” AMERICAN MYTH Sylvia Harris Award, Merit Award Design Firm Studio Joseph Client The Valentine Location Richmond, Virginia Industry Vertical Exhibitions 42

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Design Team Wendy Evans Joseph (principal), Monica Coghlan (project designer), Alexandra Adamski (architectural designer), Ksenia Dynkin (content strategy, media strategy), Ruben Gomez Diaz, Wonwoo Park (designer), Anthony Roy, Brandon Studer, Fiorella Basso (graphic designer) Collaborators Glave and Holmes Architecture (architecture), Capitol Exhibit Services Inc (fabrication), Kjellstrom and Lee Inc (contractor) Photo Credits Naho Kubota Photography (photography) Project Area 640 sq ft Project Budget Under $250,000 USD Project Date January 2024 Juror Comments “This is a brave and tremendously effective installation. In recent years many have said, ‘ok to tear the statues down, but they should be in music so we won’t forget the history and can learn from it.’ You did that and deserve kudos for taking the step and doing it with excellence.” “The project perfectly demonstrated the importance of design meeting the cultural landscape of today, while bringing an incredibly thoughtful experience to life.” “So much of world history is riddled with racism; at the same time, it’s important to find a balance between acknowledging history without condoning it or erasing it. This small museum invited the public to lend their voices to how the sculpture should be represented, and the exhibit design was thus carefully and thoughtfully considered and presented.”

Sculpting History at the Valentine Studio: Art, Power, and the “Lost Cause” American Myth

Sylvia Harris Award

Edward Valentine (1838-1930) was a renowned BeauxArts sculptor and a key figure in the Lost Cause mythology that permeated the nation after the Civil War through his portraiture of the Confederacy leadership. He was prolific with stone sculptures, plaster casts for home settings, and monumental bronzes of Confederate leadership in public venues, including Stonewall Jackson on Richmond’s Monument Avenue and Robert E. Lee in the state’s capital. Valentine also produced racist sculptures of local Black People with exaggerated features. The museum relocated his studio to its campus in 1936 and has displayed his work there ever since. In 2021, its director decided to repurpose the building as an honest examination of sculpture in the broader context of racist ideology and its implications in the public realm through civic monuments. Due to the sensitivity of the subject matter and the complexities of the political environment, the museum hosted multiple public engagement sessions before the design study began and at each milestone of the process. Community input via online surveys, focus groups, group tours, and public programs shaped the final installation as the public voice was given decision-making agency. The design team tested both content and interpretation to confirm a meaningful historical narrative and ensure that the use of artifacts would be understood as intended. The installation includes three visitor experiences that combine physical design, media projection, collections, and analog community feedback. They work together to reinforce the content strategy of “Power Play,” which details the use of racist ideology in different facets of society. We present tactics of control and subjugation individually supported by evidence. These include violence, economic policy, educational segregation, political power, religion, and media. Though the studio is small, there is seating, and people learn, reflect, and engage in dialogue. The exhibition features a 15-minute presentation organized into three equal segments, each beginning with Valentine’s work followed by specific Lost Cause tactics. There is no audio, and visitors may join at any point to follow the story. The sculptures illuminate in coordination with diagrams, animations, maps, and photography, giving dramatic effects that simultaneously disempower their presence. A separate area provides visitors with analog feedback. The studio displays community responses online and in the studio to reflect current sentiment.

Previous and Opposite Page Sculpting History at the Valentine Studio: Art, Power, and the “Lost Cause” American Myth Photo credit: Naho Kubota Photography 44

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Branded Environments Category Sponsored By

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Honor & Merit Awards Branded Environments

Golden State Warriors Practice Facility The Chuan Malt Whiskey Distillery: Where East Meets West in Sublime Harmony Center of the Running Universe Crusoe Harborside SCADStory Atlanta

GOLDEN STATE WARRIORS PRACTICE FACILITY Honor Award Design Firm Populous Client Golden State Valkyries Location Oakland and San Francisco, California Industry Vertical Sports 48

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THE CHUAN MALT WHISKEY DISTILLERY: WHERE EAST MEETS WEST IN SUBLIME HARMONY Honor Award Design Firm BRC Imagination Arts Client Pernod Ricard Asia Location Emeishan, China Industry Vertical Exhibitions 50

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CENTER OF THE RUNNING UNIVERSE Merit Award Design Firm NBBJ Client Brooks Running Inc. Location Seattle, Washington Industry Vertical Workplace 52

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CRUSOE Merit Award Design Firm Gensler Client Crusoe Location Denver, Colorado Industry Vertical Workplace Merit Awards | SEGD26

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HARBOURSIDE Merit Award, Sustainability Impact Recognition Design Firm Frost Collective Client Mirvac Location Sydney, NSW, Australia Industry Vertical Workplace 54

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SCADSTORY ATLANTA Merit Award Design Firm BRC Imagination Arts Client Savannah College of Art and Design Location Atlanta, Georgia Industry Vertical Education Merit Awards | SEGD26

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More chances to get recognized! Award winners and finalists are among the highest viewed pages on SEGD.org. Enter your projects and get recognized for design excellence in 2027.

Details available at SEGD.org Merit Awards | SEGD26

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Digital Experiences Category Sponsored By

Mad Systems is an award-winning audiovisual/ interactive consultancy, design and integration company specializing in exhibits for museums, visitor centers, briefing centers and theme parks. We are a majority woman-owned business that uses creative technology to develop long lasting and easy-to-maintain systems. Mad implements the latest technology using non-proprietary equipment whenever possible. See our ad on page 63

Honor & Merit Awards Digital Experiences

Hoover Dam Visitor Center Netherlands Pavilion at Expo 2025 Osaka Atlantis, The Palm - The Lost Chambers Aquarium “Depths of Discovery”

HOOVER DAM VISITOR CENTER Honor Award Design Firm Northern Light Productions Client US Bureau of Reclamation Location Boulder City, Nevada Industry Vertical Museums 60

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ATLANTIS, THE PALM - THE LOST CHAMBER AQUARIUM “DEPTHS OF DISCOVERY” Merit Award Design Firm AVI-SPL Client Atlantis, The Palm Location Dubai, United Arab Emirates Industry Vertical Education 62

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Exhibition Category Sponsored By

Eos Lightmedia is a specialty design-integration firm that pushes the boundaries with light and technology to transform the built environment. Our award-winning team uses the latest specialty lighting, audiovisual, sensing and controls technology to create lasting experiences that inspire. We offer a full suite of turn-key design and build services for the permanent implementation of creative and entertainment light and media technologies in the built environment.

Honor & Merit Awards Exhibition

Folger Shakespeare Library Museum Exhibition Gallery and First Folio Engagement Hunterian Museum Sculpting History at the Valentine Studio: Art, Power, and the “Lost Cause” American Myth 12th SITE SANTA FE International: Once Within a Time Fallout: Atoms of War & Peace FAMily Discovery Center Grand Egyptian Museum – Tutankhamun Gallery Lost Shtetl Museum The Great Void. The Holocaust in Liepāja. Worcester Art Museum Arms and Armor Galleries

FOLGER SHAKESPEARE LIBRARY MUSEUM EXHIBITION GALLERY AND FIRST FOLIO ENGAGEMENT Honor Award Design Firm Studio Joseph Client Folger Shakespeare Library Location Washington, D.C. Industry Vertical Exhibitions 66

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HUNTERIAN MUSEUM Honor Award Design Firm Casson Mann Client Royal College of Surgeons, London Location London, England Industry Vertical Exhibitions 68

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12TH SITE SANTA FE INTERNATIONAL: ONCE WITHIN A TIME Merit Award Design Firm A Practice for Everyday Life Client SITE SANTA FE Location Santa Fe, New Mexico Industry Vertical Museums 70

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FALLOUT: ATOMS FOR WAR & PEACE Merit Award Design Firm Kudos Design Collaboratory, KASA Collective Client Poster House Location New York, New York Industry Vertical Museums Merit Awards | SEGD26

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FAMILY DISCOVERY CENTER Merit Award Design Firm Storyline Studio, LLC. Client First Americans Museum Location Oklahoma City, Oklahoma Industry Vertical Museums 72

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GRAND EGYPTIAN MUSEUM – TUTANKHAMUN GALLERY Merit Award Design Firm ATELIER BRÜCKNER Client Ministry of Antiquities Location Giza, Egypt Industry Vertical Exhibitions Merit Awards | SEGD26

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LOST SHTETL MUSEUM Merit Award Design Firm Ralph Appelbaum Associates Client Public Establishment “Lost Shtetl” - Museum of Seduva Jewish History Location Šeduva, Lithuania Industry Vertical Museums 74

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THE GREAT VOID. THE HOLOCAUST IN LIEPĀJA Merit Award Design Firm Design Studio H2E Client The Uniting Foundation, The Liepāja Museum Location Liepāja, Latvia Industry Vertical Museums Merit Awards | SEGD26

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WORCESTER ART MUSEUM ARMS AND ARMOR GALLERIES Merit Award Design Firm TSKP x IKD Client Worcester Art Museum Location Worcester, Massachusetts Industry Vertical Museums 76

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2027 SEGD Conference Experience Atlanta Mark your calendars and start making plans for the Annual Conference at the Hilton Atlanta!

Atlanta, GA | November 4-6, 2027

Placemaking Category Sponsored By

Founded in 1971, Signs+Decal continues to set new standards for high-quality signage. For over 55 years, we have been a part of the construction industry in New York City, successfully completing numerous signage projects with major contractors, developers, architects, and designers. We owe our success to the quality of work we produce, efficiency, speed, and our competitive prices. See our ad on page 86

Honor & Merit Awards Placemaking

Harbourfront Centre Community Square La Nube STEAM Discovery Center Fort Churchill State Historic Park Sydney Children’s Hospital Placemaking & Environmental Graphics

HARBOURFRONT CENTRE COMMUNITY SQUARE Honor Award, Sustainability Impact Recognition Design Firm MJMA Architecture & Design Client Harbourfront Centre Location Toronto, Ontario, Canada Industry Vertical Urban and Civic 80

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LA NUBE STEAM DISCOVERY CENTER Honor Award Design Firm RSM Design Client El Paso Community Foundation Location El Paso, Texas Industry Vertical Museums 82

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FORT CHURCHILL STATE HISTORIC PARK Merit Award, Sustainability Impact Recognition Design Firm Ralph Appelbaum Associates Client Nevada Division of State Parks Location Silver Springs, Nevada Industry Vertical Museums 84

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SYDNEY CHILDREN’S HOSPITAL PLACEMAKING & ENVIRONMENTAL GRAPHICS Merit Award Design Firm Frost Collective Client Sydney Children’s Hospital Location Sydney, NSW, Australia Industry Vertical Healthcare Merit Awards | SEGD26

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MOYNIHAN TRAIN HALL Designed by BJD

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CORNELL TECH Designed by PENTAGRAM

At Signs and Decal Corp, we collaborate with design teams, architects, and developers to bring branded spaces to life from signature signage to full-scale custom features. For over 55 years, we’ve combined fabrication know how with a builder’s mindset, solving challenges, refining details, and delivering environments that reflect the intent behind the design. We’re hands-on. We’re deadline-driven. And we know how to take a project from concept to install without losing what made it exciting in the first place. Architectural signage. Feature walls. Custom fabrication. Whatever the scope, we bring experience, clarity, and follow-through.

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GRAND CENTRAL STATION Designed by VIA COLLECTIVE

In Memorium Clifford L. Selbert, FSEGD 1953-2026 Co-Founder, Selbert Perkins Design Few people shaped our field as profoundly as Cliff Selbert. A Fellow of SEGD and co-founder of Selbert Perkins Design, Cliff believed that design should inspire, orient, and connect people to one another. That belief guided an extraordinary body of work and helped define the discipline of environmental graphic design itself. He passed away peacefully on March 19, 2026, at the age of 72, after a long and courageous battle with cancer.

“Every place has a story. Every story has a place.”

Born in Amsterdam, New York, Cliff studied landscape architecture at the Rhode Island School of Design. His curiosity quickly carried him into graphic design, product design, and environmental communications, and he spent his career bringing those fields together into something new. More than 40 years ago, he founded a small studio built on the conviction that design could shape human experience. Alongside his wife and creative partner, Robin Perkins, he grew that studio into Selbert Perkins Design, an internationally recognized firm with studios in Los Angeles, Boston, Chicago, and Shanghai, and a global leader in branding, wayfinding, placemaking, and experiential design. Cliff’s work spanned civic, transit, healthcare, education, and commercial environments around the world. His vision lives on in landmarks including the LAX Gateway, Universal Studios, the World of Coca-Cola, and Canal City in Hakata, Japan. Across every project, he showed deep respect for context, culture, and the people a place serves. He wanted design to do more than inform. He wanted it to create belonging, and to make people smile. For all his accomplishments, Cliff valued people above projects. He championed a collaborative team approach and placed the highest value on mentorship and shared success. Generations of designers found in him a mentor, a collaborator, and a champion, and many of them are leading our field today because Cliff gave them room to experiment and grow. SEGD was fortunate to count him as a Fellow, a speaker, a thought leader, and a friend. Cliff is survived by his wife, Robin Perkins; his daughter, Galen Selbert-Perkins; his extended family; and a global community of friends, colleagues, and collaborators whose lives he touched. The SEGD community grieves his loss and celebrates a life that left the world more connected, more oriented, and more joyful. Merit Awards | SEGD26

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Public Installation Category Sponsored By

Dimensional Innovations (DI) is an experience design, technology, and build firm that liberates people from mediocre experiences. Our award-winning and global portfolio of work spans many verticals, including professional and collegiate sports, museums and zoos, children’s hospitals, corporate facilities, amusement parks, entertainment venues, civic and transit systems, and higher education spaces. See our ad on page 93

Honor & Merit Awards Public Installation

A Data Love Letter to the Subway Wind-Carried Campus Culture

A DATA LOVE LETTER TO THE SUBWAY Honor Award Design Firm Pentagram Client MTA Arts & Design Location New York, New York Industry Vertical Transportation 90

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WIND-CARRIED CAMPUS CULTURE Merit Award, Sustainability Impact Recognition Design Firm Neili Design Lab Client Shanghai Jiulong Model Middle School Location Shanghai, China Industry Vertical Education 92

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Theodore Roosevelt Presidential Library | Local Projects, Future of Storytelling

Children’s Healthcare of Atlanta | Earl Swensson Associates

We partner with creative teams to engineer, fabricate and build the ideas that aren’t meant to stay on paper. dimin.com Las Vegas Raiders – Al Davis Memorial Torch I MANICA Architecture, HNTB

Strategy/Research/Planning Category Sponsored By

Studio Loutsis unites daring creative ideas with insightful strategy and technical expertise. While our work is wildy diverse, a common thread weaves throughout our practice: we’re committed to crafting meaningful and lasting design in dialogue with contemporary culture.

Honor & Merit Awards Strategy/Research/ Planning

Masar Destination: Shaping Makkah’s Future through Connectivity and Culture Air Play Cincinnati Metro Signage and Wayfinding System: From Pole to Place

MASAR DESTINATION: SHAPING MAKKAH’S FUTURE THROUGH CONNECTIVITY AND CULTURE Honor Award Design Firm Endpoint Client Umm Al Qura for Development & Construction Location Makkah, Kingdom of Saudi Arabia Industry Vertical Strategy and Planning 96

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AIR PLAY Merit Award Design Firm Georgia Tech School of Industrial Design Client Georgia Institute of Technology, Children’s Museum of Atlanta Location Atlanta, Georgia Industry Vertical Museums 98

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CINCINNATI METRO SIGNAGE AND WAYFINDING SYSTEM: FROM POLE TO PLACE Merit Award Design Firm eXperiential Design Lab, College of Design, Architecture, Art and Planning, University of Cincinnati, OH Client The Southwest Ohio Regional Transit Authority (SORTA), Cincinnati Metro Location Cincinnati, Ohio Industry Vertical Transportation Merit Awards | SEGD26

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Wayfinding Category Sponsored By

The SignAgent platform simplifies your process, helping you create, design, plan, and manage accurate and effective sign programs, so that you can stop wasting time and start helping people get where they need to go. Whether you are designing a signage system for a healthcare facility, office building, stadium or university campus, SignAgent allows you to complete your work with accuracy and efficiency. See our ad on page 105

Honor & Merit Awards Wayfinding

The LEGO Group’s Boston Hub Driscoll Children’s Wayfinding System

THE LEGO GROUP’S BOSTON HUB Honor Award Design Firm Acrylicize Client The LEGO Group Location Boston, Massachusetts Industry Vertical Workplace 102

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DRISCOLL CHILDREN’S WAYFINDING SYSTEM Merit Award Design Firm FORMATION Client Driscoll Children’s Hospital Location Rio Grande Valley, Texas Industry Vertical Healthcare 104

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Partners 2026 Platinum Industry Partners

2026 Gold Industry Partners

2026 Silver Industry Partners

E S T. 1 9 7 1

2026 Bronze Industry Partner

Global Vision

Local Reach

One Company

Sponsors & Supporters 2026 Presenting Sponsors

2026 Program Sponsors

1220 Exhibits

ERCO

Pentagram

Archetype

Gable

Peregrine OKG

AVI-SPL (XTG)

HealyKohler

Pixera

Bitro Group

Hyperquake

PLI (Photo Lab Inc.)

BRC Imagination Arts

INCISEON

Reich&Petch

ClickNetherfield

Kolar Design

RSM Design

Color-ad Signs & Exhibits

LSI

Selbert Perkins Design

Luxam

SignAgent

Mad Systems

S+D Corp.

Marcel Mächler Inc.

SNA Displays

Matthews Paint

Solid Light

McCann Systems

Stratus

Design Minds

Modulex

Studio Loutsis

Dimensional Innovations

MOSS

Tangram Design

Multistudio

TFN Architectural

Nanolumens

Thought Process

NovaPolymers

Vestaboard

Oat Foundry

Vista System

Cortina Productions CRĒO Industrial Arts Daktronics DCL (Design Communications Ltd.)

DE Powder Coated Graphics DLP (Donna Lawrence Productions) Electrosonic Eos Lightmedia

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Winner’s Index

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BRANDED ENVIRONMENTS

48 GOLDEN STATE WARRIORS PRACTICE FACILITY Honor Award Design Firm Populous Client Golden State Valkyries Location Oakland and San Francisco, California Industry Vertical Sports Design Team Francisco Besa (creative director), Corey Mintz (design lead), Brianna Dallas (senior designer), Amber Luther (project manager) Collaborators A3 Visual (fabrication) Photo Credits Garry Belinsky (photography) Project Area 31,500 sq ft Project Budget $12,000,000 USD Project Date February 2025 Juror Comments “This is a riveting sports environment set into a full-on theatrical environment—fitting for the epic stories.” 50 THE CHUAN MALT WHISKEY DISTILLERY: WHERE EAST MEETS WEST IN SUBLIME HARMONY Honor Award Design Firm BRC Imagination Arts Client Pernod Ricard Asia Location Emeishan, China Industry Vertical Exhibitions Design Team BRC Imagination Arts Collaborators Neri + Hu (architect), Kingsmen Creatives (fabrication), Erik Desiderio Music, Mute Grab Photo Credits Pernod Ricard China, Kingsmen Creatives (photography), Pernod Ricard China (videography) Project Area 80,937 sq mt Project Budget Confidential Project Date January 2024 Juror Comments “The piece created several beautifully crafted, immersive environments that succeeded in being both unique and coherent. As a whole, the exhibit successfully told stories about the brand’s luxury aesthetic, the elements that make up their whiskey along with the sacred location that the distillery inhabits.” 52 CENTER OF THE RUNNING UNIVERSE Merit Award Design Firm NBBJ Client Brooks Running Inc. Location Seattle, Washington Industry Vertical Workplace Design Team Eric LeVine (principal in charge), Elliot Rupestock (project lead),

DIGITAL EXPERIENCES

Christina Sakura (design lead), Mandy Seever (project manager), Duncan Bennett, Yusuke Ito, Mara Stokke; Wan Fai Cheung, Kelly Griffin, Alicia Jenkins, Jasmine Mitchell, Ryan Mullenix, Ben Spicer, Miles Stemper, Emily Yensland (NBBJ architectural interiors), Jonas Kuo (NBBJ lighting) Collaborators Weber Thompson (architect shell and core), CRĒO Industrial Arts (interior signage and graphics), Tube Art Group (exterior signage), Shogo Ota (muralist) Photo Credits Sean Airhart/NBBJ, Ty Cole Project Area 250,000 sq ft Project Budget Confidential Project Date January 2025 Juror Comments “This project successfully executed a simple approach to branded environments, using nuances and details that have been meticulously planned out throughout the workplace. There is a cohesive sense of place and learning that makes it such a unique system that makes it a universe of running.” 53 CRUSOE Merit Award Design Firm Gensler Client Crusoe Location Denver, Colorado Industry Vertical Workplace Design Team Michelle Liebling (principal-in-charge), Glenna Tyndall (design manager), Ronnie Leone (designer), Abigail Parr (project architect), Sarah Harrison (brand designer), Chris Fato (brand technical designer) Collaborators Projex (fabrication) Photo Credits Jason O’Rear, copyright Jason O’Rear (photography) Project Area 32,247 sq ft Project Budget Confidential Project Date August 2024 Juror Comments “A brilliantly executed branded environment through the use of data and materiality that fosters a heightened sense of identity in the workplace. A simple approach to a highly effective brand storytelling seamlessly integrates with the interiors and architecture” 54 HARBOURSIDE Merit Award Sustainability Impact Recognition Design Firm Frost Collective Client Mirvac Location Sydney, NSW, Australia Industry Vertical Workplace

Design Team Vince Frost (executive creative director), Anthony Donovan (group creative director), Sarah Estens (creative director), Brenda Schofield (head of environments), Michael Pinn (senior designer), Fiona Boyan (associate design director) Collaborators Hassell (architect), Box and Dice (physical fabrication), Light Engine (digital fabrication), Rowena Walsh-Jarrett Photo Credits Toby Peet (photography), Fortem Media (videography) Project Area 500 sq mt Project Budget $60,000 AUD Project Date June 2024 Juror Comments “A perfect example of a wellintegrated, multi-media experience that utilizes the architectural material palette.” 55 SCADSTORY ATLANTA Merit Award Design Firm BRC Imagination Arts Client Savannah College of Art and Design Location Atlanta, Georgia Industry Vertical Education Design Team BRC Imagination Arts Collaborators Blur Workshop (architect), ID3 Group, Entech Innovative Engineering, Rosebrand (physical fabrication), Stimulant (digital fabrication), TechMDinc, X-Laser, NYXdesign, Michail by Michail Sykianakis, Henchmen, Eyebolls ltd, Erik Desiderio Music, Emery & Associates, EarsUp Sound Design, digiLED (HK) Ltd., dandelion + burdock, Clearwing Systems Integration, Black Wolf Productions Photo Credits BRC Imagination Arts (photography, videography) Project Area 2,500 sq ft Project Budget Confidential Project Date May 2025 Juror Comments “The piece itself speaks to the range of specialized talents and skills nurtured by its programs. I’m sure visitors are engaged and impressed by the level of artistry and creativity of the transporting experience.”

60 HOOVER DAM VISITOR CENTER Honor Award Design Firm Northern Light Productions Client US Bureau of Reclamation Location Boulder City, Nevada Industry Vertical Museums Design Team Northern Light Productions (media design): Tim Lay (principal/creative director), Andrew Kukura (principal/ creative director), Jesse Beecher (cinematographer/ editor), Barbara Seidl (media project manager); AldrichPears Associates (exhibit design): Marc Belanger (creative director), Tony Grant (project manager), Alix Noble (content developer), Ryan East (content developer), Tim Stott (exhibit designer), Yulia Semenova (graphic designer); Eos Lightmedia (av hardware and lighting): Steve Bedard (project manager), Luke Ellis (lighting designer), Jamie O’Connor (av designer) Collaborators Kubik Maltbie (fabrication) Photo Credits Northern Light Productions (photography, videography) Project Area 5700 sq ft Project Budget $395,442.50 USD Project Date July 2025 Juror Comments “Recreating the overhead walkway without existing footage to work with is a mighty task and seamlessly accomplished, resulting in an incredibly engaging experience for visitors, I’m sure.” 62 ATLANTIS, THE PALM - THE LOST CHAMBER AQUARIUM “DEPTHS OF DISCOVERY” Merit Award Design Firm AVI-SPL Client Atlantis, The Palm Location Dubai, United Arab Emirates Industry Vertical Education Design Team Juanjo Albala (creative technologist), Aaron Leishman (design engineer), James Taylor (project engineer), Neil Edden (business development manager) Collaborators BoraBora Studios (content creation and immersive media production), AVI-SPL Experience Technology Group (XTG) Photo Credits BoraBora Studios (photography, videography) Project Area over 65,000 sq ft Project Budget Confidential Project Date October 2025 Juror Comments “From the visitor’s perspective, you’ve Winner Index | SEGD26

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DIGITAL EXPERIENCES

EXHIBITION

eliminated all boundaries between water, human, deep sea environment, exhibitry, cinema, and setting. Tremendously challenging, mesmerizing, and beautifully realized.”

66 FOLGER SHAKESPEARE LIBRARY MUSEUM EXHIBITION GALLERY AND FIRST FOLIO ENGAGEMENT Honor Award Design Firm Studio Joseph Client Folger Shakespeare Library Location Washington, D.C. Industry Vertical Exhibitions Design Team Wendy Evans Joseph (principal), Monica Coghlan (director of design), Ruben Gomez, Wonwoo Park, Alexandra Adamski (designer), Brandon Studer, Anthony Roy (graphic design) Collaborators Becker & Frondorf (planning), Kubik Maltbie (fabrication), Bluecadet (media design), Storythings (interactive concepting) Photo Credits Naho Kubota (photography, videography) Project Area 2,559 sq ft Project Budget Confidential Project Date October 2024 Juror Comments “The project embraces the challenge of making centuriesold stories resonate with today’s modern audiences through the careful blending of artifacts with technological innovation in a visually compelling and experientially wondrous way.” 68 HUNTERIAN MUSEUM Honor Award Design Firm Casson Mann Client Royal College of Surgeons, London Location London, England Industry Vertical Exhibitions Design Team Roger Mann (creative director), John Pickford (project lead and director), Kirsty Kelso (storyline), Virna di Schiavi (senior designer), Corinne Tolson-Sevier (senior designer), Eleonora Francica (designer) Collaborators Hawkins\Brown (architect), Fraser Randall (planning), Beck Interiors (physical fabrication), Electrosonic (digital fabrication), ISO Design (av touchscreen and projected media), dPM (graphic design) Photo Credits ©Hufton+Crow (photography), ISO Design, Roger Mann, Casson Mann (videography) Project Area 500 sq mt Project Budget £4.6 million GBP Project Date May 2023 Juror Comments “A wonderfully rendered exhibition with such layered histories and a multiplicity of content. A beautiful graphic system that puts clarity and sophistication on the front

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and allows for meaningful engagement and learning throughout each moment of encounter.” 70 12TH SITE SANTA FE INTERNATIONAL: ONCE WITHIN A TIME Merit Award Design Firm A Practice for Everyday Life Client SITE SANTA FE Location Santa Fe, New Mexico Industry Vertical Museums Design Team Cecilia Alemani (curator), Marina Caron (assistant curator), A Practice for Everyday Life (lead design firm), Maxwell Holmes (director of exhibitions, SITE SANTA FE), Shannon McLean (graphic designer, SITE SANTA FE), Carolina Franco-Glenn (director of external affairs, SITE SANTA FE) Collaborators SITE SANTA FE, DCL Boston, Graphic Sky, FastSigns, Big Color Printing (Resolution Graphics), Blackout Graphics, Pronto Signs & Graphics (physical fabrication), Juan Pablo Tafur, Damon Griffith, Sabrina Griffith, Bonnie Lee, Samantha ManionChavez, Taylor Walsh Photo Credits Brad Trone, Erik Benjamins (photography) Project Area 12,000 sq ft Project Budget Confidential Project Date June 2025 Juror Comments “The elegant use of color and gradation defines the spatial program and contributes well to the gallery experience as a subtle, additional layer of art.” 71 FALLOUT: ATOMS FOR WAR & PEACE Merit Award Design Firm Kudos Design Collaboratory, KASA Collective Client Poster House Location New York, New York Industry Vertical Museums Design Team John Kudos (creative director), Robert de Saint Phalle (3d creative director), Amanda Knott (project manager), Fay Qiu (designer) Collaborators Full Point Graphics, Drive 21 (fabrication), Ola Baldych (creative producer), Mihoshi Fukushima Clark (production designer and manager), John F. Lynch (installation manager), Rob Leonardi (builder), Diego Cadeña (lead installer) Photo Credits Samuel Morgan (photography, videography) Project Area 2500 sq ft Project Budget $80,000 USD Project Date March 2025

Juror Comments “Dynamic graphics effectively activated the exhibition experience and unified the space.” 72 FAMILY DISCOVERY CENTER Merit Award Design Firm Storyline Studio, LLC. Client First Americans Museum Location Oklahoma City, Oklahoma Industry Vertical Museums Design Team Kelli Mosteller (final design approval), Shoshana Wasserman, Kimberly Rodriguez (co-curator), William Smith, Stuart Lee (designer), Jim Volkert (project advisor), Tim Willis, Howard Litwalk (design advisor), Melissa Stovall (project manager) Collaborators ADG Blatt (architecture), Storyline Studio, LLC., Exhibition Associates (planning), Cinnabar (built environment), Boss Display (climbing structure), SRC Fixtures (exhibit components), Deity Creative (exhibit component), EOS Light Media, Storyline Studio, LLC., Waystone, LLC. (digital fabrication); Mark Oliver (illustrator), Redhawk Construction (building construction), Shawver & Son, Inc. (electrical and building lighting), Lettering Express (graphics), OKCity Paint (building paint), CreekCo (infrastructurewelding), Chuck Overcash (interactive design), Brett Doar (interactive design), DSA Signage (lightbox signage), Title Concrete (concrete flooring), Mitchell Acoustics & Drywall, Metro Glass (glass storefront doors), CJM Heating & Air Conditioning, Bryans Flooring (carpet installation and trim), Eaton Quade (signage), Semper Fire Protection ) LLC (fire suppression system), KFC Engineering (infrastructure), and Greenlight 360 (3D scan); Tribal Partners: Absentee Shawnee Tribe of Indians of Oklahoma, AlabamaQuassarte Tribal Town, Apache Tribe of Oklahoma, Caddo Nation of Oklahoma, Cherokee Nation of Oklahoma, Cheyenne & Arapaho Tribes, Chickasaw Nation, Choctaw Nation of Oklahoma, Citizen Potawatomi Nation, Comanche Nation of Oklahoma, Delaware Nation of Oklahoma, Delaware Tribe of Indians, Eastern Shawnee Tribe of Oklahoma, Fort Sill Apache Tribe, Iowa Tribe of Oklahoma, Kaw Nation of Oklahoma, Kialegee Tribal Town, Kickapoo Tribe of Oklahoma, Kiowa Tribe of Oklahoma, Miami

EXHIBITION

Tribe of Oklahoma, Modoc Nation, Muscogee Nation, Osage Nation, Otoe-Missouria Tribe, Ottawa Tribe of Oklahoma, Pawnee Nation of Oklahoma, Peoria Tribe of Indians of Oklahoma, Ponca Nation of Oklahoma, Quapaw Tribe of Oklahoma, Sac & Fox Nation, Seminole Nation of Oklahoma, Seneca-Cayuga Nation, Shawnee Tribe, Thlopthlocco Tribal Town, Tonkawa Tribe of Oklahoma, United Keetoowah Band of Cherokees in Oklahoma, Wichita & Affiliated Tribes of Oklahoma, Wyandotte Nation, and Yuchi (Euchee) Tribe; Community Partners: James Pepper Henry (Kaw/Muscogee), Gena Timberman (Choctaw), Exhibition Associates, Arigon Starr (Kickapoo/Muscogee), J. Blake Wade, Michael D. O’Neal (Williams, Box, Forshee & Bullard, P.C.), Courtney Myers, Timothy Halloran, Oklahoma Forestry Department, Lee Allan Smith, and Henk Dawson Photo Credits Ben Winters, Circle House Media (photography), courtesy of First Americans Museum, Valentina Gutiérrez, VGM Visual Storytelling (videography), video editing by Storyline Studio, LLC, courtesy of First Americans Museum Project Area 5,000 sq ft Project Budget $6,500,000 USD Project Date September 2025 Juror Comments “‘Children’ of all ages must be drawn in by this wonderful realization of the mystery, beauty, and fun to be found in natural environments—especially this wonderful and playful expression.” 73 GRAND EGYPTIAN MUSEUM – TUTANKHAMUN GALLERY Merit Award Design Firm ATELIER BRÜCKNER Client Ministry of Antiquities Location Giza, Egypt Industry Vertical Exhibitions Design Team Shirin FrangoulBrückner (project director), Yijing Lu (project manager), Britta Nagel (creative director), Zöllner Tanja (head of design, tutankhamun gallery), Bernd Möller (head of showcase design), Sami Karam (project manager graphics) Collaborators Heneghan Peng Architects (architecture, landscape architecture), Art Engineering, Acciona Producciones y Diseno (physical fabrication), 2AV, iart, Quality Egypt (digital fabrication), Besix

Orascom (general contractor), HILL Ehaf (project controller), Bartenbach (lighting design), Goppion, Glasbau Hahn (showcases) Photo Credits Josef Sindelka (photography, videography) Project Area 81,000 sq ft Project Budget $46,090,000 USD Project Date November 2025 Juror Comments “The designers easily could have lapsed into making a bold design statement equal to the epic story being told. Instead, they brought an understated, quiet elegance to the design of the spaces that allows the artifacts to be the stars of the show, not the architecture.” 74 LOST SHTETL MUSEUM Merit Award Design Firm Ralph Appelbaum Associates Client Public Establishment “Lost Shtetl” - Museum of Seduva Jewish History Location Šeduva, Lithuania Industry Vertical Museums Design Team Büke Kumyol (creative director, project manager), Rick Sobel (project director), Carlin Wragg (director, RAA media), Paul Williams (senior content developer), Kirsten Amundsen (lead content manager), Maggie Jacobstein (content manager), Areej Kahn, Mary Choueiter, Robert Homack, Jesen Tanadi, Kelsey Mitchell (visual designers), Steve Lancefield (graphic production designer), Fabio Gerardi (senior visual designer), Christina Stone (Physical Designer), Daniel Greenfield (Physical Designer), Natalia Oliveri (Physical Designer), Sean Pattison (Visual Director, Renderings), Graham Kervin (Model Maker), Andrew Papa (Head of Production), Katarzyna Kozera (Lead Media Designer), Jamie Boud (Lead Motion Designer), Elena Kindy (Executive Production Coordinator) Collaborators Lahdelma & Mahlamäki Architects (architecture), Enea (landscape architecture), Hypsos (exhibit fabricator), Studio 2A (architect of record), Ecas (project manager), Trias (av integrator and software developer), 50 Lux (exhibit lighting designer), Heli Nikunen (architectural and exhibition lighting designer), Sehner (museum display cases), Tactile Studios (inclusive wayfinding and tactile designer), Mutrox (speciality sound theater designer), Karl Bucher (furniture

and millwork), Schorimaffioli (architectural stone and speciality stone), Glass Mäder (speciality glass), Baltijosplienas, Incorpus (general contractors), Spice Metal (speciality metal works), Dot Crew (interactive multimedia design), Made Music Studio (sound design), SideXSide Studios (documentary producer), UAB Starlinga (exhibition videography) Photo Credits Andrew Lee (photography), RAA Media (videography) Project Area 3,000 sq m Project Budget Confidential Project Date September 2025 Juror Comments “The realization of the intangible concepts of loss and remembrance through physical place and form creates a haunting environment that connects past lives to modern day.”

Location Worcester, Massachusetts Industry Vertical Museums Design Team Yugon Kim, Tomomi Itakura, Whit Iglehart (partners), Georgia Wiggins, Xinyi Ma, Aysenur Baructu (designers) Collaborators Kaplan Construction, South Side Design & Building, Zone Display Cases (physical fabrication), Richard Lewis Media Group (digital fabrication), Conform Lab Photo Credits © Ben Kou (photography), Richard Lewis Media Group (videography) Project Area 5500 sq ft Project Budget $6,000,000 USD Project Date November 2025 Juror Comments “Soaring, sweeping, engaging, and fascinating” are words that come to mind when walking into the world of this multi-faceted installation.”

75 THE GREAT VOID. THE HOLOCAUST IN LIEPĀJA Merit Award Design Firm Design Studio H2E Client The Uniting Foundation, The Liepāja Museum Location Liepāja, Latvia Industry Vertical Museums Design Team Ingūna Elere (creative director), Holgers Elers (lead designer), Mārtiņš Vītols (designer), Laura Lorence (graphic designer), Baiba Grīnberga (project assistant), Linda Rudzīte (project manager), Lauris Gundars (copywriter) Collaborators Elīna Škļara, Uniting foundation (content), Inna Gīle, Dace Kārkla, Sandra Šēniņa, Aija Raudina, The Liepāja Museum (content), Iļja Ļenskis, Jews in Latvia museum (content), Jānis Šiliņš, (content), Maija Meiere– Oša, (content), Normunds Rudēvičs, (content), Telman Guzhevsky (vocal), LTD REVERIE Trading Group (digital solution) Photo Credits Anna Olsen (photography, videography) Project Area 30 sq mt Project Budget Confidential Project Date January 2025 Juror Comments “An enriching experience with a thoughtful narrative that brings the dark, traumatizing history of the Holocaust to life in an accessible and interactive way.” 76 WORCESTER ART MUSEUM ARMS AND ARMOR GALLERIES Merit Award Design Firm TSKP x IKD Client Worcester Art Museum Winner Index | SEGD26

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PLACEMAKING

80 HARBOURFRONT CENTRE COMMUNITY SQUARE Honor Award Sustainability Impact Recognition Design Firm MJMA Architecture & Design Client Harbourfront Centre Location Toronto, Ontario, Canada Industry Vertical Urban and Civic Design Team Jeanne Ng (design partner-in-charge), Tim Belanger (experiential graphic design partner), Robert Allen (architecture partner), Hyaeinn Lee (landscape architect lead), Sandra Cook (project landscape architect), Kyrylo Lobach, Wesley Kwong, Steven Chen (design team) Collaborators Aldershot Landscape Contractors (contractor), Aqua Plans (spray feature), EMC Group (civil engineer), Smith+Andersen (electrical engineers and lighting), Barnbrook (branding) Photo Credits Scott Norsworthy, Rémi Carreiro (photography, videography) Project Area 4,352 sq mt Project Budget $7,600,000 CAD Project Date June 2025 Juror Comments “Beautifully designed, particularly with the connection of the paver pattern to the brand, but also functionally successful in so many ways. A true asset for the community that addresses multi-sensory, accessible, and sustainable needs.” 82 LA NUBE STEAM DISCOVERY CENTER Honor Award Design Firm RSM Design Client El Paso Community Foundation Location El Paso, Texas Industry Vertical Museums Design Team Harry Mark, FAIA (principal in charge), KK Closuit (lead designer) Collaborators Snøhetta (design architect, landscape architect), Exigo Architecture (architect of record), Superior Sign & Lighting, El Paso (physical fabrication), Gyroscope (exhibit design) Photo Credits Zach Burson (RSM Design), Casey Dunn, Scott Weaver (photography) Project Area 77,000 sq ft Project Budget Confidential Project Date August 2024 Juror Comments “Playful intelligence. An intelligent, whimsical graphic system designed perfectly with children 116

SEGD26 | Winner Index

PUBLIC INSTALLATION

in mind.” 84 FORT CHURCHILL STATE HISTORIC PARK Merit Award Sustainability Impact Recognition Design Firm Ralph Appelbaum Associates Client Nevada Division of State Parks Location Silver Springs, Nevada Industry Vertical Museums Design Team Nick Appelbaum (principal in charge), Rick Sobel (creative director), Andrei Vovk (physical designer), Jody Neal (content developer), Mat Mason (visual designer), Ipek Erdöl (graphic production)) Photo Credits Frame Architecture (architect), Gizmo Art Production, Inc. (fabrication): Mark Sabatino, Sequoia Pinterits, Borja Azpilgain, Roger Rasmussen, Wyatt Peck; Nevada Division of State Parks: Scott Egy, Kristin Sanderson Project Area 800 sq ft Project Budget $1,900,000 USD Project Date September 2025 Juror Comments “Even the still image accompanying this entry exudes the mysticism of the building and the site. To truly accomplish more with less—in a “whisper” as you described—is a great accomplishment. Thank you for setting a new bar for subtle power.” 85 SYDNEY CHILDREN’S HOSPITAL PLACEMAKING & ENVIRONMENTAL GRAPHICS Merit Award Design Firm Frost Collective Client Sydney Children’s Hospital Location Sydney, NSW, Australia Industry Vertical Healthcare Design Team Vince Frost (executive creative director), Anthony Donovan (group creative director), Sarah Estens (creative director), Fiona Boyan (design director), Brenda Schofield (head of environments), Alicia Devereaux (junior designer) Collaborators Billard Leece Partnership (architecture), Aspect (landscape architecture), John Holland Group (physical fabrication firm) Photo Credits Toby Peet (photography), Jonathan McIntyre (videography) Project Area 35,000 sq mt Project Budget $658,000,000 AUD Project Date December 2025 Juror Comments “Placemaking at its best: a

welcoming, cohesive illustrative system that gives a clear identity while unifying the patient experience. The illustrations bring joy to children when in one of their most vulnerable states.”

90 A DATA LOVE LETTER TO THE SUBWAY Honor Award Design Firm Pentagram Client MTA Arts & Design Location New York, New York Industry Vertical Transportation Design Team Giorgia Lupi (creative director), Ruby Powers (project coordinator), Rachel Crawford (project manager), Giorgia Roscini (animator) Yoshi Torralva, Julia Saimo, Ed Ryan, Liz Ryan, Zach Scheinfeld (designer) Collaborators Samuel Morgan (still photography), Samuel Morgan (video direction), Fahnon Bennett (cinematography) Photo Credits Brian Griffin; Hadley Fruits (photography); Joseph Altshuler (director), Hadley Fruits (videographer) Project Date October 2025 Juror Comments “A beautiful, dynamic visual narrative that poetically brought to life the reality of the rather gritty, unappealing NYC Subway system.” 92 WIND-CARRIED CAMPUS CULTURE Merit Award Sustainability Impact Recognition Design Firm Neili Design Lab Client Shanghai Jiulong Model Middle School Location Shanghai, China Industry Vertical Educational Design Team Jia Lin, Jiaqing Wu Collaborators Angi Works (fabrication) Photo Credits Yuchuan Pu (photography) Juror Comments “This piece managed to take an abstract concept and bring it to life in a relatable way as a design system. The combination of kinetic and digital elements then took this to the next level by bringing the system into physical space.”

STRATEGY/RESEARCH/PLANNING

WAYFINDING

SEGD STAFF

96 MASAR DESTINATION: SHAPING MAKKAH’S FUTURE THROUGH CONNECTIVITY AND CULTURE Honor Award Design Firm Endpoint Client Umm Al Qura for Development & Construction Location Makkah, Kingdom of Saudi Arabia Industry Vertical Strategy and Planning Design Team Fariz Ahmad (project director), Elisa Grossetete (associate director - wayfinding strategy and creative design), Sarah Arafat (creative lead), Haifa Rafeeq, Mufaddal Husein, Harshita Raj (wayfinding designer) Photo Credits Umm Al Qura for Development and Construction, Endpoint (photography), Umm Al Qura for Development and Construction (videography) Project Area 1,200,000 sq mt Project Budget Confidential Project Date March 2026 Juror Comments “An incredible depth of research, analysis, and strategy. A case study that all signage consultants should study on how to successfully plan a comprehensive signage and wayfinding system.”

102 THE LEGO GROUP’S BOSTON HUB Honor Award Design Firm Acrylicize Client The LEGO Group Location Boston, Massachusetts Industry Vertical Workplace Design Team Michael Prisco (senior designer), Carly Klaire (lead designer), Robin Gillard, (head of production) Sean Drennan (senior artworker), Zoe Maslen (design director), Hannah Rummery (global creative director), Michelle Lynch (account director), Michele Farruggia (junior designer) Collaborators BDG Architecture + Design (architecture), DCL (Design Communications Limited) (fabrication) Photo Credits Eric Laignel, © LEGO Group (photography) Project Area 157,000+ sq ft Project Budget Confidentia Project Date May 2025 Juror Comments “It is a remarkably simple and effective signage and wayfinding system that infuses form and function while playfully representing the iconic brand identity of LEGO.”

CEO Cybelle Jones

98 AIR PLAY Merit Award Design Firm Georgia Tech School of Industrial Design Client Georgia Institute of Technology, Children’s Museum of Atlanta Location Atlanta, Georgia Industry Vertical Museums Design Team Jojo Brauer (concept ideation, concept development and testing, fabrication, project management), Peter Xuanyu Guo (concept development and testing, 3d printing) Collaborators Hyun Joo Oh (instructor) Photo Credits Jojo Brauer (photography, videography) Project Area 100 sq ft Project Budget $200 USD Project Date May 2024 Juror Comments “A truly unique and super creative idea to connect children—through a bicycle pump—to the power of air to move, inflate animate physical objects. No child or adult participating in this exhibit will forget it!”

99 CINCINNATI METRO SIGNAGE AND WAYFINDING SYSTEM: FROM POLE TO PLACE Merit Award Design Firm eXperiential Design Lab (XDL), College of Design, Architecture, Art and Planning (DAAP), University of Cincinnati, OH Client The Southwest Ohio Regional Transit Authority (SORTA), Cincinnati Metro Location Cincinnati, Ohio Industry Vertical Transportation Design Team Muhammad Nafisur Rahman, UC DAAP School of Design (project design lead and wayfinding research direction), Micah Shannon, Anh Hoang (designer and research assistants), Khaled Shammout, SORTA (client strategy and transit planning), Steve Anderson, SORTA (transit development and implementation), Danilo Palazzo, Vikas Mehta, UC DAAP School of Planning (project management) Collaborators A&AGraphics Photo Credits Muhammad Rahman, DAAP, SORTA (photography) Project Area 289 square miles Project Budget $6,500,000 USD Project Date April 2026 Juror Comments “Such a thorough and thoughtful approach to signage that puts the needs of the community and users first in an innovative way. The modular, systems-thinking model with multiple layers of feedback puts this strategy framework into a uniquely effective solution.”

Director of Operations Jennette Foreman

Director of Membership and Media Nadia Adona Director of Sales and Marketing Kristin Bennani

Membership Experience Manager Rachel Moran

104 DRISCOLL CHILDREN’S WAYFINDING SYSTEM Merit Award Design Firm FORMATION Client Driscoll Children’s Hospital Location Rio Grande Valley, Texas Industry Vertical Healthcare Design Team Philip LeBlanc (principal in charge), Andrea Novali (art director), Bruce Chao (designer), Nadia Tran (project manager), Duane Farthing (documentation) Collaborators Hardman Signs, NEC, Maverick Murals (fabrication), Gerry Muyshondt (driscoll marketing senior director) Photo Credits Tyler Swanner (photography, videography) Project Area 175,000 sq ft Project Budget $160,000 USD Project Date November 2025 Juror Comments “To create crystal clear Wayfinding in a playful, cheerful way that brings a playful spirit into this environment is a true gift to its little patients.”

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Thank you!

To the SEGD Chairs and members of our diverse committees and initiatives, we extend our sincere thanks for your unwavering dedication, volunteerism and leadership. You are the backbone that empowers us to deliver enriching educational experiences and memorable events throughout the year.

2026 SEGD Committee and Event Chairs Academic Task Force Joell Angel-Chumbley

Emerging Experiential Professionals Hannah Anderson

Accessible Design Task Force Jessica Schrader

Jaclyn Marlo

Achievement Awards Traci Sym AI Advisory Committee Leslie Wolke

Jonathan Posnett Fellow Committee Alan Jacobson, FSEGD Global Design Awards Abigail Honor (Chair) Joanne Chan Peter D. Cook

Professional Practice Groups Digital and Interactive Media: Judith Zissman, Nathan Lachenmyer, Sara Smith; Museum Exhibition and Experience Design: George Mayer, Natalie Zanecchia, Ann Neumann; Wayfinding and Experiential Graphics: Amy Rees, Samuel Pease, Daniela Pilossof Racial Justice Commission Michael Denison

Chapter Chairs Darlene van Uden, Liason

Margaret Zivkovich

SECD Bootcamp Facilitators George Lim, Simon Majarian, Chris McCampbell, Jessica Schrader, Koni Sims, Mike McCarthy, Rush Otis, Amy Rees, Jonathan Mugmon, Ashley Wysong, Ezz Osman, Pan Hu, Sarah van Haastert, Nathan Lachenmyer, Cheryl Catterall, Joe Whitesides

Leah Ferguson

Membership Committee Kris Helmick

Conference Experience Kansas City Jackie Berra

Jonny Peterson

Strategy & Revenue Committee Mark Kuhn

Auction for Excellence Dana Michaelis Brand Committee Joanne Chan

Wendy Manning Rick Smith Taylor Loutsis (Conference Brand)

Lucy Holmes Donna Lawrence Taylor Loutsis Neil Mendoza Gerald Sastra

Museum Exhibition PPG Symposium Michael Denison Karen Werth

If you are interested in knowing more about how you can get involved and volunteer, you can reach out to segd@segd.org.

Amy Rees Sustainability Committee Genell Zuciya Joel Krieger Xlab Leslie Wolke

SEGD Board of Directors President Vice President Treasurer

Aki Carpenter, Ralph Appelbaum Associates (RAA) Kris Helmick, Arcadis Mike McCarthy, DCL (Design Communications Ltd.)

Joell Angel-Chumbley (Education Liaison), City of Cincinnati Joanne Chan, Turner Duckworth Nu Goteh, Room for Magic and Deem Journal Mark Kuhn, Oat Foundry Taylor Loutsis, Studio Loutsis Wendy Manning, Demeter Strategy Design Dana Michaelis, Nanolumens Jonny Peterson, Gensler Amy Rees, Exit Design Dayton Schroeter, SmithGroup Traci Sym (Past President), Plus And Greater Than Darlene van Uden (Chapter Chair Liaison), Elevate

SEGD Chapter Chairs Atlanta Chris Bowles, Melanie Malkin, Dana Michaelis Austin Frauke Bartels, Robin Piazza Boston Jenn Contois, William Galligan, Jessica Grant, Kayte Muse, Kyle Wolfe Charleston Jennifer Boyles, Melina MacFarlane Charlotte Conor McGee, Dan Neifert Chicago Riley Atlas, Corinn Hanson (Posudevsky), Thon Lorenz, Ryan Odom, Katie Osborne Cincinnati Suzanne Hopkins, Mikayla McMellan, Mike Ruehlman Columbus Peter Beck, Dani Sims, Jeffrey Stemen Dallas Patrick Schmidt Denver Maddie Bonthron, Amanda Eggleston, Sarah Harrison, Zach Kotel Detroit Julie Day, Everett Keyser, Jon Moses India Yash Kanitkar, Cherishma Mehta Kansas City Sarah Onken, Kate Schmidt London Billy Griffin, Ian Whybrow, Nicola Wordsworth Los Angeles Mohamed Khalfan, Anait Kokonyan, Simon Majarian, Andria Radick Minneapolis Chris Haar, Heather Novak-Peterson New York Melissa Budinic, Bhawika Mishra, Varini Nathany, Andy Outis, Tristan Valencia Orange County Josh Huckleberry, Madison Kast, Chris Setchell Orlando Corey Kopach, Lisa Lowe Philadelphia Korrie Leer, Karen Mulry, Hannah Olin, Jessica Stoffers Pittsburgh Erin Foster, Miranda Hall Raleigh Lizz Alfano, Christine Sorrell, Emma Wallace Richmond Brittney Butler, Rebecca Kelly, T.J. Ronayne Riga Ingūna Elere, Baiba Grinberga Salt Lake City Holly Nichols, Darlene van Uden San Diego Chris McCampbell, Patrick Mulholland San Francisco Alexander Jeongco, John Kolesar, Regan Mahoney Seattle Haley Anderson, Dana Grange, TJ Hoving, Cheryl Huffman, Christina Sakura Sydney Stephen Minning Toronto Timothy Belanger, Dan Glasswick, Vivien Lin, Raymundo Pavan Vancouver Jessica Acevedo, Genevieve Tyack Washington D.C. Aanya Arora, Carrie Bruns, Mike Denison, Jonny Peterson Wellington Nick Kapica