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Bank of America Tower, New York City Designer: C&G Partners Architects: Cook + Fox, Adamson Associates Owner: Durst Organization Contractor: Tishman Construction Corporation Project Scope: Marquee letters, building entrances, lobby and elevator signage, and 52 floors of interior signage.
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Leading the Way Leslie Gallery Dilworth helped broaden the scope and influence of environmental graphic design. 16 Firm Foundation The work of 2010 SEGD Fellows Virginia Gehshan and Jerome Cloud is based on human factors research and a rigorous design process. 25 Public Engagement It’s a read/write world: The 2010 SEGD Design Awards were dominated by projects that invite interaction. 26 Honor Award: Badge of Honor Gensler creates a dramatic memorial to LAPD’s fallen officers. 30 Honor Award: Finding the Future Environmental graphics promote collaboration in a massive Boeing aircraft factory. 36 Honor Award: Green Community Sustainable approaches and materials tell the stories of pioneering cities. 40 Honor Award: Legible London A new wayfinding system strives to make London a walkable city. 42 Honor Award: The Color of Hope Art and design projects nurture hope and healing in a Rwandan village.
Honor Award: Word Play Bright color and playful text enliven a performing arts center. 48 Honor Award: NYC, Virtually The Official NYC Information Center is a digital-era waystation. 50 Honor Award: Green Cabinet of Curiosities The scientific specimen box gets a modern-day, sustainable reinterpretation. 52 Honor Award: The Wayfinding Handbook David Gibson writes a seminal guide to urban wayfinding. 56 Merit Awards 80 Lot with a Little Awards 84 Jury Awards
Columns 8 11 87 87 88
From the Editor by Leslie Gallery Dilworth Up Close: Leslie Gallery Dilworth Design Marketplace Ad Index Get Lost
On the cover: Bikeway Belém is a 7,362-meter bike route along the Tagus River in Lisbon. P-06 Atelier’s wayfinding and graphics help energize the diverse urban spaces along the way—including a pier that bears the words of Portuguese poet Alberto Caeiro’s verse celebrating the river. Photo: João Silveira Ramos. Story, page 58
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segdDESIGN is the international journal of environmental graphic design and the Society for Environmental Graphic Design. Opinions expressed editorially and by contributors are not necessarily those of SEGD. Advertisements appearing in segdDESIGN do not constitute or imply endorsement by SEGD or segdDESIGN. Material in this magazine is copyrighted. Photocopying for academic purposes is permissible, with appropriate credit. segdDESIGN is published four times a year by the Society for Environmental Graphic Design. Periodical postage paid at York, PA, and additional mailing offices. Subscriptions: US $200/year, Canada and Intâ€™l $275/year. Send US funds to segdDESIGN, 1000 Vermont Ave., NW, Suite 400, Washington, DC 20005. To charge your order, call 202.638.5555.
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SEGD BOARD OF DIRECTORS Officers President: Wayne McCutcheon, Entro Communications, Toronto Vice President: Amy Lukas, Infinite Scale Design Group, Salt Lake City Treasurer: Gary Stemler, Nordquist, Minneapolis Jill Ayers, Design360, New York Jennifer Bressler, Hunt Design, Pasadena Teresa Cox, APCO Graphics, Atlanta Peter Dixon, Prophet, New York Paul Gable, Gable Signs, Baltimore Michael Gericke, Pentagram, New York Sue Gould, Lebowitz | Gould | Design, New York Mary Grems, FMG Design, Houston Edwin L. Hofmann, Limited Brands, New York Lonny Israel, Skidmore, Owings & Merrill, San Francisco Cybelle Jones, Gallagher & Associates, Bethesda James Keppel, thirty three thousand feet, Boulder Kelly Kolar, Kolar Design, Cincinnati Tali Krakowsky, Apologue, Los Angeles Phil Lenger, Show+Tell, New York John Lutz, Selbert Perkins Design, Chicago Daniel Montaño, Little, Charlotte Tucker Trotter, Dimensional Innovations, Overland Park, KS Mark VanderKlipp, Corbin Design, Traverse City, Mich. Alexandra Wood, The Holmes Wood Consultancy, London Ex Officio Steven Stamper, fd2s, Austin (Past President) David Middleton, Kent State University, Kent, OH
Society for Environmental Graphic Design The global community of people working at the intersection of communication design and the built environment.
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From the Editor
Keep Up the Good Work
most of you know, after almost 13 years, I have stepped down as the executive director of SEGD, and am retiring to Galisteo, New Mexico, a little village of 260 near Santa Fe, where I have lived for seven years. Before I disappear from an active role in SEGD, I want to say thank you to each of you who together are the members and staff of this terrific organization. Thank you for the opportunity to enrich SEGD, and to learn from so many creative and imaginative people. How fortunate I have been!Â Â The field that has come to be known as environmental graphic design is healthy, vital, and exuberant. I believe this vibrancy is a result of you, the creatives who are working at the intersection of graphics, architecture, communication, city planning, branding, narrative and interpretive design, landscape architecture, interior design, and industrial design. This diversity has always been the strength of EGD, and will continue to be. To build on this, I have established a restricted fund within the SEGD Education Foundation to encourage interdisciplinary design studios and research at the academic level. It is our intent that a grant will be awarded annually to a school or faculty member to initiate an interdisciplinary design project or studio. I have made an initial contribution of $5,500 to establish this grant, which the SEGD Board has agreed to match, and to which individual board members and staff have already contributed funds. We believe it is important to the future of this field to encourage these interdisciplinary projects in our academic institutions. I invite you to join in supporting this initiative. Tax-deductible contributions can be made to this fund, the Leslie Gallery Dilworth Fund for Interdisciplinary Studies, through SEGD. Smart, creative, imaginative, original, careful, thorough, serious, clever, conscientious, concerned, fun, and dedicated are just some of the adjectives I would use to describe the members of SEGD. I will miss you. Please continue your good work!
Leslie Gallery Dilworth, FAIA
Contributions to the Leslie Gallery Dilworth Fund for Interdisciplinary Studies can be sent to: SEGD 1000 Vermont Ave. NW Suite. 400 Washington, DC 20005. For information, call 202.638.5555.
In Japan, Fugu is a prized delicacy yet one taste can lead to instant death. Slicing must be exact. Cooks must be licensed to prepare it. I raised my chopsticks in a toast as I put my fate in the hands of the chef.
ÂŠ 2010 Nordquist Sign Company, Inc.
Leading the Way Retiring CEO Leslie Gallery Dilworth has always seen a clear path for SEGD and environmental graphic design.
Leslie Gallery Dilworth loves to tell the story about her introduction to environmental graphic design. It was 1986, and she and her husband Dick had just arrived at the Philadelphia International Airport, back home from a vacation in Spain, where—despite not speaking the language—they had been easily able to navigate the country’s roads and cities. But on the way home from the airport, they got lost. “Of course I’d been to the airport countless times and certainly knew my way home,” recalls Dilworth. “ But in following the signs, we wound up at a dead end in front of a city dump.” The experience led Dilworth, at the time the executive director of Philadelphia’s Foundation for Architecture, to spearhead a groundbreaking urban wayfinding program called Direction Philadelphia. The program, which included financing, legislation, “Leslie has helped management, and maintenance of a comprehensive sign system, open all our eyes to still exists today. It also helped the scope and cement Dilworth’s belief that potential influence wayfinding, urban placemaking, storytelling, and other aspects of of environmental environmental graphic design are graphic design.” crucial components in dynamic cities, not just ornamentation. Eleven years after her airport adventure, Dilworth—then working as a consultant—was asked to evaluate SEGD and develop a strategic plan for its future. In 1998 she became SEGD’s executive director and, working closely with the Board of Directors, worked to return the organization to sound financial footing and develop a plan for its growth. The direction was clear: reshape SEGD by widening the scope of its membership to include not only the creatives who design and fabricate signage, but those in allied fields who work at the intersection of communication design and the built environment. “I realized that there were many people who influenced this field but who did not consider themselves to be ‘environmental graphic designers’ in the narrow sense,” notes Dilworth. SEGD’s real strength, she told the Board of Directors, was its position at the confluence of a wide range of design disciplines affecting the built environment. “When Leslie came on as executive director, we were an organization—and a field—in its adolescence. Leslie had a grownup vision for us,” says Wayne Hunt, FSEGD, past president of the SEGD Board of Directors and principal of Hunt Design (Pasadena).
Dilworth became SEGD’s executive director in 1998. One of her first duties was organizing the SEGD annual conference, held that year in Washington, D.C.
Dilworth (right) worked with Deborah Sussman of Sussman/Prejza on the Direction Philadelphia program, which helped spawn a new generation of urban wayfinding systems.
It has been such a pleasure and a wonderful experience to be a colleague and Fifth Avenue Digital friend for so many years. You have been the driving force in making SEGD what it is today. I especially enjoyed the interviews that you conducted with the incredibly talented people that make up our organization. You have always been available when we needed your advice or a corporate connection and your tough critique of our advertising was appreciated but not without cursing. We will miss you a lot and wish you the very best in life for whatever the future At the TKTS boothmay in Times Square hundreds of eager show owe goers you wait in line hoping to snatch bring. I know that we still that bus ride, somewhere down the up discounted tickets variety Broadway andon Off-Broadway events. TDF contracted roadto awe willofmake good that. Until then.
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During Dilworth’s final conference with SEGD—also held in Washington, D.C.—she received SEGD’s Gold Arrow Award for her contributions to the organization.
“Leslie has helped open all our eyes to the scope and potential influence of environmental graphic design,” says current SEGD President Wayne McCutcheon, principal of Entro Communications (Toronto). He credits Dilworth for helping SEGD regain solid financial footing and for developing strong educational programs in both professional development and academic education. And he attributes SEGD’s strong role in areas such as ADA compliance, sustainability, and dynamic environments to Dilworth’s leadership. One of Dilworth’s other important legacies to the SEGD community is segdDESIGN magazine. Starting a publication devoted to EGD was on the top of her to-do list when she became involved with SEGD in 1997. In 1998, she produced a book, You Are Here, which showcased five years of award-winning EGD projects. Four years later, the SEGD Board of Directors began discussing the possibility of magazine publication and, in 2003, Dilworth persuaded them to take a huge risk by allocating the seed money for this venture. “I knew that EGD needed to define, showcase, and celebrate itself, and a magazine was the best way to do that,” Dilworth explains. “It was quite a gamble for a small nonprofit with precious few financial and staff resources—but it paid off.” Before retiring from her CEO post effective July 1, Dilworth took some time to look back over her tenure at SEGD over the past 12 years and to comment on the future.
What were your primary goals for SEGD during your leadership? First, to keep it on a sound financial footing so that it could provide resources for those who could benefit from information and education. And then, of course, to provide quality educational resources to this community. And to develop and produce an outstanding, financially self-sufficient magazine, to develop interdisciplinary programs in higher education, and to recognize that SEGD must provide a balance between responding to the members’ needs and preparing them for the future. What accomplishments during your SEGD tenure are you most proud of? The finances, the board, the programs, and the staff. And the friendships I have made here. I’m very proud of the fact that this organization operates as a responsible and vibrant nonprofit, with fine programs and publications, a balanced budget with a reserve fund, a dedicated board that represents leadership from this field, and a committed and outstanding staff of extraordinarily talented and smart people.
Q You’re an architect, a fellow of the AIA, and a trained
I like each of those words separately, but I still do not like the sound of them together. I think the term chases people away: When I say SEGD, then explain what it stands for, people get a puzzled look on their face and then ask me about “brownfields.” And society sounds so exclusionary. I guess I like the word resource, or center. What are your hopes for SEGD in the future?
landscape architect, and yet you’ve always been a tireless advocate for EGD. Why do you think EGD is so important to architects and architecture?
The range of environmental graphic design has enormous impact on our lives. Those who work in the field of EGD have considerable influence, which gives them great strength. If they recognize this, then others with whom they work will treat them with the respect they deserve. EGD is important to the public. I hate the fact that most architects think their buildings are too precious for signs and navigational clues that help the users. On the other hand, it always annoys me that some graphic designers think that because they can work in print, they can easily work successfully in three dimensions. An outstanding wayfinding program does not call attention to itself, but rather, calls attention to the information.
You’ve never liked the term “environmental graphic design.” What would you rename EGD (or SEGD) if you had your way?
I hope it continues to thrive and be dynamic. I hope it becomes truly international in order to respond to all those who can benefit from our resources, and in turn, becomes more diverse by having such broad representation and input. I hope that SEGD’s academic and research programs continue to expand, that the organization begins to publish books, and that SEGD becomes more of a resource to the agencies and regulatory bodies that influence signage, graphics, and communication in the built environment. segdDESIGN 13
Save the date!
June 1 through 4 2011 SEGD annual conference + EXPO Hyatt Regency Montréal Montréal, CANADA
Montréal Montréal Inscrivez-le à votre agenda
1 au 4 Juin 2011 SEGD conférence annuelle + EXPO Hyatt Regency Montréal Montréal, CANADA
1000 Vermont Ave., NW Suite 400 Washington, DC 20005 www.segd.org
U.S. Citizens! Passports are required for entry to Canada. If you don’t already have one it’s a good time to start the process.
Firm Foundation 2010 SEGD Fellows Virginia Gehshan and Jerome Cloud have built their practice on intellectual rigor, systemic thinking, and a user-centered approach to information architecture.
When Virginia Gehshan and Jerome Cloud forged their design partnership in 1986, they intended to build an idea firm—one that leaned toward innovation and away from quick turnaround, fastmoney projects. Two-and-a-half decades later, clients seek them out for their thorough research and analysis, methodical design process, and perspective that recognizes signs are just one of many physical expressions of a brand or place. Cloud Gehshan Associates may be best known for its groundbreaking work on large, multi-component projects such as university campuses, medical centers, and park systems. Their work integrates identity, storytelling, signage, and information systems in a process they call placebranding.
They are also innovators. The firm was the first to incorporate sculptural elements into directional signage (University Center, Baltimore), created the first exterior interactive wayfinding kiosks (Johns Hopkins University), and created one of the first prototypes for branding, interpretation, and signage for the U.S. National Heritage Corridor system. Both are teachers and lecturers on design issues, and Gehshan—a past SEGD board member and president—authored many of SEGD’s foundation documents, including its Standard Form of Agreement, Process Guide, Fee Guidelines, and model RPF. The partners talked with segdDESIGN recently about the role of process, passion, and social consciousness in their work.
When you entered Cornell (Virginia), you had never heard of design. And starting at the Philadelphia College of Art (Jerome), you thought you wanted to be an illustrator. How did you find your way to design careers? Virginia: I was interested in psychology. I enrolled in the standard freshman courses, but needed an elective and discovered the design curriculum while paging through a course catalog. I took an introductory design class and loved it. I switched to product design (Design & Environmental Analysis) the next year and never looked back. It opened my eyes to a whole different world. Jerome: I thought I wanted to become an illustrator, but found my 2-D and 3-D classes much more engaging. I went to a presentation of student work by a young Swiss named Hans Allemann, an instructor in the graphic design department. I remember him describing the student exercises as a “visual language.” I was captivated by the typography studies and posters the students were working on. It seemed a bit arcane and mysterious, but it appealed to me. My subsequent study of drawing, color, typography, form, and image taught me to approach a problem in a systematic way without preconceptions. The process instilled in me the belief that I would find an acceptable solution and if I really applied myself, I might even find something unique. 16 segdDESIGN
“Theirs is a humanistic approach to design. Cloud Gehshan have for over two decades provided beautiful solutions that engage the mind and elevate the spirit.” —David Gibson, Two Twelve
What were your first design jobs, and how did you become involved with EGD? Virginia: I did some retail signing and exhibit design for Noel Mayo, an industrial designer who was my first employer. Then I worked for Daroff Design, an interior design firm. Most of my work was EGD for high-end corporate office buildings. I learned a lot, working side by side with the interior designers and architects. When I started my own firm, my first project was for Garden State Park racetrack. It was a very complex project with 49 buildings and a large site. I had to learn a lot very quickly. I developed a kit of parts (colors, fonts, racing silk patterns) from which to design the hundreds of individual
signs. I wanted each area to be unique while still contributing to a cohesive identity overall. Jerome: I first worked for John Andrew Gallery, director of the Office of Housing and Community Development in Philadelphia. He had pulled together a group of young people just out of architecture and planning school, a kind of think tank dedicated to addressing the urban decay in Philadelphia’s neighborhoods. I designed and produced a bilingual newspaper that chronicled the office’s policies, achievements, and programs. Next I worked for Alina Wheeler and Joel Katz, who had just formed Katz Wheeler Design. I was their first hire. We did identity, print, maps, diagrams, and some signage. Joel gave me a set of publications called “Choice or Chance,” created to introduce inner-city grade school kids
to architecture, urban planning, and design. The series was created by the Group for Environmental Education, which included John Gallery, Richard Saul Wurman, and Stefan Geissbuhler. Here were an urban planner, an architect, and a graphic designer working in close collaboration to bring these conversations into the classroom. This series gave me the sense that working as a traditional graphic designer wasn’t going to connect me with the communities and ideas I cared about.
1. Historic Addiriyah (2009-present) We are bringing a world heritage site to life by creating a brand palette for Addiriyah and its eight precincts, then designing comprehensive wayfinding and interpretive signage. All graphic elements will be in both Arabic and English. Materials, including Cor-ten steel and limestone, are designed to complement the mudbrick architecture and the region’s current push for modernity and technology. 2. New York-Presbyterian Hospital/ Columbia University Medical Center (2003-06) For this comprehensive sign system, we began with a branding study that examined how to present the hospital and university both separately and together. This included diagramming the institutional relationships, building ownership, and sign sequence to clearly understand what the public should see when navigating the 27-building campus. Consistency, clarity, and use of the logotypes as “overbrands” or “underbrands” were all important in prioritizing wayfinding information, and extensive visitor testing was essential. 3. American Veterans Disabled for Life Memorial (2006-present) Dedicated to the more than 3 million American veterans living with permanent disabilities, the Washington, D.C., memorial will capture the voices of those who served and sacrificed for their country. Quotations aimed at conveying emotion and dignity will be inscribed in 50 freestanding glass panels, integrated with a series of large-scale images and bronze figures by artist Larry Kirkland. 4. Forbidden Drive (2000-07) This comprehensive sign system informs and educates park users. It includes park maps and rules, vehicular and pedestrian directional signs, and interpretive signs that cover subjects ranging from animals and plants to historic buildings and dams. Through this wealth of information, citizens become more aware of their public spaces, leading to a sense of pride and increased stewardship.
5. Hamad Medical City (2007-09) Authenticity is a crucial ingredient in effective placemaking; the more genuine, the more long-lasting it will be. The abundant cultural resources of Qatar—architecture, textiles, art, and native flora and fauna—provided inspiration for our graphic wayfinding program for Hamad Medical City in Doha. Images of familiar animals such as the Arabian horse and the camel will provide amusement for young patients in the pediatric facility. In the three adult facilities, we pay homage to traditional calligraphy and geometric patterns.
“Cloud Gehshan are leaders in both the practice and building of the profession of EGD. The firm leads by example with exemplary design and innovative practice, and Virginia has made enormous contributions to SEGD over her many years of involvement.” —Sarah Speare, colleague and former SEGD executive director
Your work is often founded on human factors and environmental analysis research. Why is that important? Jerome: One of the unique aspects of our process is the involvement of an environmental psychologist at the front end. Peter Hecht’s knowledge provides us grounding in human cognition and the factors important to helping people navigate space.
Virginia: Most designers think of wayfinding as a trail of breadcrumbs, getting people from Point A to Point B by signing all the decision points. That’s one way to approach it. We look at the bigger picture. Rather than responding to what’s there, we can rethink the system and manage the arrival and navigation sequence from the front end.
Q How did Cloud Gehshan get started? Jerome: We met at a local AIGA meeting in 1985. We had both admired each other’s work. Initially we decided to share space, and I moved into Virginia’s office, which was on the first floor of her home. We ran our separate practices side-by-side and slowly began pursuing projects
together as Cloud Gehshan Associates. Eventually, we phased out our original companies and merged. It was also an amazing time because our children were around the same age, and were all enrolled in the nursery school next door to Virginia and her husband Gary’s house. The yards were connected so we got to interact with our children every day. I would roll in with my son in the morning and head back home with him each evening. The whole thing just felt so perfectly tied together. I didn’t feel the stress that so many parents experience of working long days and not seeing their children as much as they’d like.
Q What is your partnership like? Virginia: We often disagree. Although it can bewilder the staff, we think it’s a good thing—we have to talk through issues to reach a conclusion. But overall we have the same core values and fundamental philosophies. Jerome: It’s really been the most extraordinary gift of my career to have someone with whom I truly connect, whose values and judgments I feel in sync with. I’m not saying we agree on everything. We’re both very competitive. But we’re interested in ideas, not styles, and we can always rely on each other’s integrity and commitment. We believe in the power of design to impact people’s lives in positive and memorable ways.
What are the core philosophies that guide your design practice? Virginia: A love of cities, towns, and Main Street. The desire to make a positive and lasting social contribution. And having a “sense of other,” both for the client and for the client’s audience. Only by putting yourself in their shoes can you design effectively.
Jerome: We believe clients seek us out because of our thoughtful process in analyzing problems, our ability to develop innovative, strategy-based solutions, and our drive to deliver results that exceed expectations. At the same time, we’ve supported family-centered values, and have tried to inspire the best in people. This means we measure success by what we embrace, what we create, as well as who we include and how we manage our projects. 18 segdDESIGN
You’ve also refined your process for capturing your clients’ perspective and defining the unique problems associated with each project. How does that work? Jerome: One of the tools we’ve developed over the years is message mapping. We spend a lot of time with our clients trying to coax out what they’re trying to achieve, what they think about themselves, and where they think they should be headed. Our visual mapping/audit is a system architecture that allows us to move away from subjective factors and identify objective ones, which helps the group come to consensus. Virginia: As a designer, you never want to have a great answer to the wrong question! This is an amazing tool that helps us define or redefine the problem. It’s a valuable point of reference that our clients use to write letters, raise funds, or describe project goals internally. And it’s a touchstone for our design team.
In an ever-more-complex built environment, how do you think the role of signage and graphic communications is changing? Virginia: Once exotic, EGD is now commonplace; it is a given on many project types. More clients are aware of it. And as environments grow increasingly complicated, the need for EGD is more clear. There is no question that EGD will become more and more integral to projects, both because of greater awareness and increasing complexity. Electronically-based wayfinding and interpretation elements will be incorporated into more and more design solutions. But the social space will change, and not necessarily for the better. I recently went to a design exhibit where everyone was plugged into iPods. They got lots more information but the exhibition space was eerily silent. No one was discussing or debating the content, and people were not sharing thoughts or laughter. The space was dead. Jerome: In the past 20 years, we’ve seen rapid growth in our field as new technological infrastructure has been put in place. The last decade feels like prologue to the next phase of even more rapid innovation. I’m certain the range of tools and services we can provide and deploy in the service of our clients and their communities has already expanded beyond our ability to keep pace.
As a result, environmental design will increasingly become a profession of allied disciplines. These alliances are the only way we will achieve the kind of cross-platform integration of information that our clients and their communities need to function and be effective. Everything we know will continue to be important and useful, and everyone we know with special knowledge and skills will be potential members of an extended team...a fine-tuned network of specialists with each link improving the next.
6. The University of Texas at San Antonio (2009-10) As part of the campus master plan, we assessed best practices for visitor maps, both digital and printed, including databases, content, human factors, design, and evolving technologies. We then designed a comprehensive vehicular and pedestrian sign system including gateways, directionals, orientation stations, sheltered kiosks, parking ID, maps, banners, and building identification.
7. Johns Hopkins University Homewood Campus “i-Site” kiosk (2003) A network of 12 computerized kiosks created one-stop wayfinding centers for visitors. Recognizing that different people would access the information in different ways, we provided three access points: touch the map, the LCD screen itself, or push one of the buttons. The anodized-aluminum map works like a conventional static map, but is also interactive. 8. Midland, Michigan (2004-07) Home to Dow Chemical Company and Dow Corning, Midland, Michigan, boasts an unusual collection of early modern architecture designed by Alden Dow, a disciple of Frank Lloyd Wright. The wayfinding system identifies the city’s five major districts and helps visitors find cultural, shopping, and recreational destinations.
9. The University of Texas at Austin (2005) UT Austin has thousands of first-time visitors, a densely packed central campus, ongoing construction projects, and multiple visitor garages. We developed a comprehensive pedestrian and vehicular sign system that provides immediate help by better defining campus edges, providing highway trailblazers, creating standards for banners, and improving pedestrian wayfinding. 10. University Center (1994) Finding ways to express our clients’ visions of themselves in physical ways has been a big part of our practice. The sign vocabulary for this huge complex is based on the double helix—the building block of life—reflecting the university’s focus on biotechnology and the life sciences. This was the first time metallic sculptural elements were added to directional signage.
11. PECO (2009-present) A beloved Philadelphia landmark for over 30 years, the digital messages atop Philadelphia Electric Company’s building have announced countless events important to the city. But the display was a dinosaur, with inefficient bulbs, primitive software, and aging components. We studied options for changing over to LED lights, researching the latest display technologies and operating systems. The resulting LCD display has a wealth of capabilities for both video and static images.
2011 SEGD Design Awards Program Deadline January 31
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