p 3 / 20 Biennale Internationale Design St.-Etienne Ruedi Baur, Paris (FR), Zurich (CH) labo-irb.eu ruedi-baur.eu The exhibitions of the biennial were all located on the old industrial area of Saint-Etienne, therefore the project we developed is more a question of identity and visual presence than a question of wayfinding signage. Around ten basic totemic structures were implanted on the exhibition area and in front of the railway station. Each structure presents the information in a colored and joyful graphic design. Because of the low budget and the length of the manifestation, we used poster paper glued on simple wood boxes for the totem. The graphic informations needed on other spaces and in the city were printed in black and white on the same paper, directly glued on the walls. Photography: Alice Ferré und Afrouz Razavi.
p 4 / 38 Ruhr Museum L2M3, Stuttgart (DE) l2m3.com One part of the Zollverein Coal Mine world cultural heritage site is the former coal wash plant converted by Rem Kohlhaas, that has housed the Ruhr Museum since January 2010. The visual identity in the form of DNA code is constituted by a typographical system that imprints itself in different aggregate states into the exhibition. Based on the idea of a mine car or container, the individual words sit more or less exactly in a grid system of areas.
p5 Aufbau Haus Moniteurs, Berlin (DE) moniteurs.de Together with Aufbau-Verlag and Modulor, and it’s adjacent company Planets, Moniteurs has developed a bespoke orientation system under the concept ‘Type and Material,’ for the Aufbau Haus in Berlin. The signage covers the 19,000 sqm building, allowing a diversity of over 40 creatives to use it to its full potential. Cut-outs of names and lines and seemingly 3D symbols give the building its own identity, while the black and white color scheme accents the rough concrete architecture.
p6 Vitra Campus Büro Uebele, Stuttgart (DE) uebele.com The campus is characterized by an Ensemble of outstanding architecture. Embedded in an industrial landscape spotted with fruit trees, every building is a landmark on its own. The quiet appearance of the signage- and information system is not in competition with expressive gestures of the architecture. It aligns discreetly, but maintains a self-confident presence. The simple construction and flexible configuration allow for a playful, yet well manageable handling.
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Schrift und Identität Christian Fischer, Johannes Henseler, Indra Kupferschmid, Ilona Pfeifer, Philipp Schäfer, Prof. Andreas Uebele, Düsseldorf (DE) schrift-und-identitaet.de Is there a “French” type? Are there any typefaces which can be found more often in England than in Eastern Europe. Is there a link between typefaces and national identity? For this book four design students of the University of Applied Sciences Düsseldorf, supervised by Prof. Andreas Uebele, collected several wayfinding systems and illustrated their typefaces, arrows and pictograms. The book has just been published at Niggli (CH). ISBN 978-3-7212-0820-7.
p8 New Simplicity Julia, London (UK) julia.uk.com New Simplicity was an exhibition in South Kensington about simple product design, including projects from Jasper Morrison, Industrial Facility and David Sutton. The exhibition was curated to show how simplicity becomes a tool when designing to certain production processes. An important part of the show covered 3D printing, also known as rapid manufacturing. This is a technology that enables a product to be ‘printed’ in plastic in a process very similar to the printing of ink as we know it. In this technique a printer can deliver a finished product, providing that this object is designed in a single piece that does not require assembly. In the future, one will be able to download a file for a product and print it on demand. New Simplicity featured examples of a torch, a pen, a wallet and a lamp shade among others produced through rapid manufacturing. Our design mirrored this process. A catalogue was printed online through an on demand publisher, and this single object is all the exhibition signage itself. By trimming apart the pages we extracted all captions, title graphics and complementary text that was exhibited in the walls. Therefore a single piece of communication provides the whole set of materials for the exhibition. The problem this created was that the captions and title graphics were very simple pieces of paper, and we were aware that just laying them around would not make justice to the show. To solve this problem, we incorporated the curator’s wish to exhibit the products according to an ergonomics grid that marks the ideal heights for our inter action with objects: 40 cm for sitting, 120 cm for reading, etc. Our idea was to stick spine binders to the wall and use them as a holder for the captions. This is also very helpful as it makes for a flexible system. By placing them on the ergonomic heights, we made visible the grid that informed the whole exhibition design.
Sky High Blank, Porto (PT) blank.com.pt Alexandra Mendes designed the branding concept, visual identity and signage system for Sky High. The project is a collaboration with Creneau Int team, who designed the new interiors for the top three floors of the Radisson Blu Hotel Hasselt, in Belgium. Sky High has its own communication strategy within the hotel, consisting in meeting rooms, conference vs. restaurant area and a champagne bar – Sky Lounge. The look of this clean cut, cosmopolitan place is about sharp tall lines, round edges, a minimal color palette and a mix of textures. To translate the mood graphically, Alexandra Mendes designed a typeface – Licht Punt – to be applied on both Sky High and Sky Lounge logos and further developed into the signage system displayed around the top three floors.
p 10 Artpoem Richard Tipping, Sydney (AU) richardtipping.net Richard Kelly Tipping is an Australian poet and artist living in Sydney. He began changing street signs into poetry in 1979, by placing an E onto an Airport direction sign, making it into AIRPOET. He continues to explore the physical qualities of language and making art with words, getting poetry off the page and into the streets. His ‘word art works’ have been exhibited in Australia, Europe and the USA, and are represented in the Museum of Modern Art, New York. Small versions of his artsigns are available on-line through MoMAstore and Tate Modern. He is also known as a poet and publisher of sculptural multiples through artpoem.com Further information is available on his Wikipedia entry.
p 11 Hochschule Luzern Susanne Burri, Zurich (CH) burri-preis.ch Signage for the exhibition of theses of the Lucerne University of Art and Design 2007. A colored map, each color corresponding to one field of study ensures orientation within the exhibition. The description of each work is engraved on a plastic sign.
p 12 Signage for Weltformat Festival, Pascal Melcer (in collaboration with Erich Brechbühl), Lucerne (CH) pascal-melcer.ch For the poster festival WELTFORMAT a signage concept of using an internal competition of HSLU was developed. The concept is using woodchip boards, as they are known by construction fences. The signs, which are used as a stand or a lean-on shall be attached with posters. The numbers refer to the site plan. All signs sizes correlate with Weltformat X, XII and XIV.
Slanted 18 — Index
People and Projects
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