Follow me!. Wayfinding & Signage system. by marilu rodriguez

F O R E W O R D

Wayfinding and Signage system is much more than inspirations and decorations, even more than a set of signages and symbols. Its practical application, which helps to create an identity for a public space, is more effective and valuable. Color, typography, icon, pictogram, material and light, all these elements can be varied and exploited to encapsulate as much useful information as possible, and each element is important to develop a successful wayfinding and signage system. But how to get a visible but not distracting, informative but not unwieldy, and concise but not confusing design? The simple way is to enrich our "experience". The book showcases great examples of environmental graphic designs worldwide, covering a wide range of works such as university, urban, resort, hotel, retail, park, zoo, heritage, car parking, transport, library, museum, exhibition, hospital, health-care, sport, office, and so on. Full of comprehensive concepts, recommendations and experience are shared by many talented designers featured in the book. With the 126 selected design applications and the numerous high quality photos, 49 inspirational design concepts â&#x20AC;&#x201C; which are ROYALTY FREE â&#x20AC;&#x201C; are also included in the book and CD. This book is an indispensable handbook for designers and any artist related.

C O N T E N T S Corporateg Culture & Sportg Exhibitiong Hospital & Health-Careg Museumg Park, Zoo & Heritageg Parking & Transportg Resort & Mix-useg Retailg University & Libraryg Urbang Conceptg

East Thames’ Group Headquarters

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Signage system trade fair stuttgart

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Fairfax Media

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Fashion Show

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Five European Embassies, Astana Signage

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Royal Melbourne Showgrounds

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Kreissparkasse Ludwigsburg

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Casa FOA

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MTZ Münchner Technologiezentrum

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Mirvac Western Australia

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Sydney Water, Parramatta (Head Office)

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Schleich Gmbh Signage System

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Auburn Hospital Signage System

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SGI Worldwide

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Lankenau Hospital Wayfinding System

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Signage System New Building Drägerwerk Ag & Co. Kg Aa

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NYU Smilow Research Center

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SA Water Signage and Environmental Graphics

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Penn Medicine Campus Identity Program

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SAP Americas Corporate Headquarters

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Mater Hospital Newcastle

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The California Endowment Wayfinding System

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Holy Redeemer Health System

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Stockland Headquarters Signage and Lobby Installation

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The Salvation Army Wayfinding

044 Signage and Wayfinding System Hermitage Amsterdam

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Jewish Children’s Museum

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Wachovia Center Formally the CoreStates Center

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Powerhouse Museum Wayfinding and Graphics

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LG Performing Arts Center

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South Street Seaport Museum

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Coliseo de Puerto Rico Signage and Wayfinding

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Boinas La Encartada Museoa (Museum)

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Duke Energy Center

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High Museum of Art Signage and Wayfinding

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Twickenham Stadium Wayfinding

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Citi Field

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Woodruff Arts Center Environmental Graphics and Wayfinding

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Guthrie Theater Signage and Wayfinding

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Sydney Park Playground Alphabet Signage

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The Minneapolis Institute of Arts Signage and Wayfinding

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Islington Greenspaces

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Landmark Center Signage

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Republica de los Niños (Children’s Republic) Signage System

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Zierbena Kiroldegia (Sports Center)

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National Zoo

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Dallas Cowboys Stadium

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Lugar de las Aves (Place of the Birds)

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Levy Senior Center Signage System

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Zeche Zollverein

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Concert & Congress Building De Doelen

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Castles and Palaces Signage System

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Directional Arrow Signage and Wayfinding

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Epping to Chatswood Rail Link Wayfinding and Signage

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Miniature Campus

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T5, Heathrow

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World of Coca-Cola

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Taiwan High Speed Rail Signage & Wayfinding Design Taiwan

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C O N T E N T S Corporateg Culture & Sportg Exhibitiong Hospital & Health-Careg Museumg Park, Zoo & Heritageg Parking & Transportg Resort & Mix-useg Retailg University & Libraryg Urbang Conceptg

Wayfinding, Signage And Map for Metro Rotterdam

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Homeworld Helensvale Signage and Wayfinding

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St Pancras International Station

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Chatswood Chase Sydney Signage and Wayfinding

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Dubai Metro

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Queen Victoria Building Signage

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Channel Tunnel Rail Link (CTRL) Stations

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World Square Carpark

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Sound Transit

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Signage System Car Dealer Pappas

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Academy of Art and Design in Wroclaw

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Schlossstraße Parking Garage

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Surry Hills Library Principal Signage

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Mexico City Metro

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Minneapolis Central Library Signage and Wayfinding

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The Van Nuys Flyaway Los Angeles World Airport

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Yale University

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Eureka Tower Carpark

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Info Graphic System for the Civic Library in Modena, Casalgrande and Opera

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St. George Station – Staten Island Ferry Terminal

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Oxford Brookes University

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Penn Station

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Five Dock Library

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Rail Runner Express

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The University of Sydney Gate Markers

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Subte – Phase

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University of Technology Sydney (UTS)

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Neumann University Center for Sport, Spirituality and Character Development

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Mount Airy Casino Resort

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International Commerce Center Signage Design Hong Kong

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Glasgow

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LOHAS Park Signage & Wayfinding Design Hong Kong

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Walk Brighton

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MGM CityCenter

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Legible London

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Morongo Casino, Resort & Spa

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Randwick Civic Markers

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The Sunset

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Dublin Docklands Development Authority

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731 Lexington Avenue/One Beacon Court

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City of Marina del Rey

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Comcast Center

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City of Charlotte, North Carolina Wayfinding System

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Falls Creek Alpine Resort

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Downtown Baltimore

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Roppongi Hills

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New Jersey Wayfinding System

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City National Plaza

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Downtown Albuquerque Wayfinding System

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Aire de Bardenas

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City of Santa Fe Wayfinding System

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Bernaqua – Waterpark & Spa

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Calgary +15 Skywalk

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City of Hoboken

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Naumburg Historical City Center

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49 Concept Designs about Signage System (Royalty-Free)

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Dot Baires Shopping

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Cabot Circus

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Plymouth Meeting Mall

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Cardinal Café

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East Thames’ Group Headquarters Materials: Vinyl Applied to Glass, Acrylic Back Mounted with Glow-Edge Film Location: London, UK Completion Date: May 2008 Design Firm: Hat-Trick Design Designers: Jim Sutherland, Gareth Howat & Mark Wheatcroft Client: East Thames Housing

Environmental graphics and wayfinding scheme for the housing association East Thames’ group headquarters in Stratford, east London, was based on the Group’s brand identity theme of “sunrises”, referencing the sun rising in the east. Using the principles of light, shade and reflection, a simplified circular “sun” shape and a relevant color palette, they created an innovative system using reflected and transparent sunrise colors. Creating “glowing” iconography and wayfinding by bouncing color from the reverse of signs against white walls of the building provided the base for their scheme. Transparent color applied to glazing let natural light cast color throughout the building. In addition, applied graphics and installations captured the theme of the “sun”, including a 2m clock in the public space alongside photography of local sunrises submitted by residents across east London and clients of East Thames, to convey an optimistic and hopeful future.

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Fairfax Media Location: Sydney, Australia Completion Date: 2008 Design Firm: Büro North Designers: Soren Luckins, David Williamson Photographer: Tyrone Branigan Client: Bates Smart

In this graphic and signage design package for Fairfax Media’s head office in Sydney, large-scale graphics designed around themes of virtual and reality add a level of vibrancy to Bates Smart’s already dynamic fit out of public and communal spaces. Interactive digital signage is housed in slick, reflective black panels with a pixel typeface used for signage to reflect Fairfax’s growing digital direction. This project highlights the conceptualization, coordination and collaboration between their graphic, industrial and wayfinding capacities.

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Five European Embassies, Astana Signage Location: Astana, Kazakhstan Completion Date: 2008 Design Firm: Meuser Architekten Gmbh Photographer: Alexei Naroditski Clients: Ambassade de France au Kazakhstan (F), Bundesamt f端r Bauten und Logistik (CH), Bundesamt f端r Bauwesen und Raumordnung (D), European Commission (EU), Foreign & Commonwealth Office UK)

In connection with the Kazakh capital moving from Almaty to Astana, the company Meuser Architekten was contracted with planning five diplomatic representations in the nine-storey Presidential Plaza office building. One of the main tasks was to fulfill the security requirements of an embassy, and create characteristic and defining features for the individual representations. Dark flooring and gleaming white walls distinctly represent the basic principle of the interior design on all floors. Ornaments and graphics adorn the occasional wall and ceiling, emphasizing particular features. They represent and vary

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motifs that are typical to the particular country of the client. Traditional Kazakh ornaments reflect a reverence towards the host country, also act as a guide system for the individual floors. When developing the German embassy, a Kazakh ornament was varied and applied as wallpaper along the corridors. In the visa applicant waiting room, there are silhouettes of people, representing the concept of waiting. The creative challenge in the British embassy was to create an interior design that conveyed a modern image of the UK. Since Great Britain, while able to look back over a long tradition of diplomacy, at the same time faces a potentially high threat risk in relation to world political development, the planning had to comply with particularly extensive security guidelines and maintain a conservative image. With regards to the French and Swiss representations, flag motifs also served as a basis for the graphic design. The design for the representation of the European Commission was not used. The wall designs can be seen by all visitors as soon as they exit the lift. Thus, the interior design takes over the task of signage. The use of pictograms and directional instructions in the offices only plays a subordinate role, due to the fact that visitors may only move about if accompanied by embassy personnel.

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Kreissparkasse Ludwigsburg Materials: Adhesive Foil, Screenprint Location: Ludwigsburg, Germany Completion Date: 2007 Design Firm: L2M3 Kommunikationsdesign GmbH Designers: Frank Geiger, Sascha Lobe Architecture: KBK Architekten Belz | Lutz Photographer: Florain Hammerich Client: Kreissparkasse Ludwigsburg

This project is a conceptual design of a functional identity-building guidance system. The savings banks, acting independently of one another, are each searching for their own local reference. For Ludwigsburg, on the one hand, the conceptual approach â&#x20AC;&#x153;Baroqueâ&#x20AC;?, with its architecturally mediated delusions of the eyes, is definitive for the main design theme; on the other hand, it is the architectural characteristic of a 140m long access corridor that ties together the various new buildings. The labeling of the floors and staircases are pre-distorted by means of perspective, then from another point only they can be correctly perceived and otherwise changed into free plays of form.

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MTZ M端nchner Technologiezentrum Materials: Illuminated Cubes, Painted Wall Location: Munich, Germany Completion Date: 2009 Design Firm: L2M3 Kommunikationsdesign GmbH Designers: Frank Geiger, Sascha Lobe Photographer: Florain Hammerich Client: Stadtwerke Munich

The signage system for the M端nchner Technologiezentrum combines media elements with graphical and analogue elements to create an unified whole. Starting out

from an assumed center point in the entrance area, with concentric circles stretching out around the building. An information wall in the entrance area shows the visitor in which building the company he is looking for is located and introduces him to the color coding system. The illuminated cubes point the way to the appropriate parts of the building with the aid of an animated typography. The colors stand for the various building modules. Visitors also find the concentric circles on the ceilings in the staircase cores. The varying curve of the circles defines the distance from the center. In addition there is a touchscreen intercom system in the entrance area. With just a few presses, you can get to the company and also view the building as a whole.

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Mirvac Western Australia Materials: Stainless Steel, Oak Timber, Laser–Cut Anodized Aluminum, Computer Cut Cast Vinyl, Optically Clear UV Printed Film, UV Printed Bulletin Boards. Location: Perth, Australia Completion Date: 2009 Design Firm: BrandCulture Designers: Stephen Minning (Creative Director), Antonijo Bacic (Design Director) Photographer: Stephen Minning Client: Mirvac Group

Mirvac WA’s new office is an inspiring, engaging and hospitable environment for business. Mirvac-Fini only recently released its namesake connection with Fini Group after this new office was built. Fini was a wellknown brand for the tradition of producing high-quality construction, making it perfectly fit with the Mirvac brand. BrandCulture took this as a cue to create the branded environment.

perfect metaphor, reflecting the Perth office’s relationship with the organization. Mirvac’s Head Office is situated on the Eastern seaboard in Sydney, while the Perth office is situated 4,000 km away on the Western seaboard. This “connectivity” is one of the cornerstones of the Mirvac brand message, so it makes sense to establish this in a graphical context. The journey begins in the reception where you first encounter the “living line” cutting into the floor tiles with continuous stainless steel, (Refer to “Reception”), then traversing the buildings exterior wall and wrapping across the board room before connecting with the meeting rooms opposite through a carpet inlay. This leads you through the first bank of meeting rooms and offices, (Refer to “Room numbering”), identified with giant numbers incorporated into the geometric patterned glass facades – each named after a landmark Mirvac project cutting into the carpet. (Refer to “Meeting room seclusion graphics”). It is here that the “living line” then connects with other Mirvac brand values (cut from cast vinyl) and starts its journey throughout the open and plan work space across the ceiling, (Refer to “Core meeting room”), and connect the main meeting room area by reception, to the satellite meeting tables. This ceiling “living line” finally reconnects with the breakout meeting rooms (“living line” room application), where the journey ends at the library, which together with the Compactus are identified as areas requiring a form of additional wayshowing to aid in their use. Here the giant numbers are incorporated into the fragmented and graphic vinyl wrapped by Compactus (Refer to “Compactus unit”). The Library ends are identified with laser cut anodized aluminum inlays aligned to UV printed bulletin-board material. (Refer to “Library ends close-up”).

Geyer created the interior and worked with BrandCulture to bring the brand into contextual environment. It was important for the employees at Mirvac after being rebranded and relocated, to keep the culture strong, which was paramount to the company. The office required an independent identity, meanwhile remained true to the corporate brand. The “living line” (a Mirvac branding device is used to connect all aspects of the company’s business) has been used in the Sydney office to get a great effect and again formed the backbone to this branded environment even if in an edgier, more graphic form. BrandCulture saw the line connecting the floorplate’s central meeting-room hub with the satellite meeting locations in the office as a

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KEY A - Mirvac logo B - Glass graphic C - Pin boards D - Compactus

F - Awards Wall

G - Raw Timber Wraps H - Library Ends J - Utilities Signage K - Meeting Room Name M(a) - Living line-Wall Room

M(b) - Living line-Carpet M(c) - Living line-Ceiling M(d) - Living Line-Tiles

3:02

P Room

Room

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3:03

Room

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N1 - Timber Beam Wrap

Room

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N1a,b - Laser cut lettering P - Quiet Room Numbers

Room

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Elevations

03 SEPACSA

Informal meeting area

50:3

3:05

HCAE BP

UGNI

NNIB

80:3

Room

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Outdoor meeting area

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MIRVAC PERTH | FLOORPLAN â&#x20AC;&#x201C; SIGN LOCATION

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MIRVAC

MIRV90748

Environmental Branding

Perth

26 June 2009

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Sydney Water, Parramatta - Lift Directory

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Sydney Water, Parramatta (Head Office) Materials: Photo anodized aluminum, clear resin droplets, digitally printed vinyl, UV p rinted optically clear film, laser cut acrylic Location: Sydney, Australia Completion Date: 2009 Design Firm: BrandCulture Designers: Stephen Minning (Creative Director), Antonijo Bacic (Design Director), Terry Curtis (Designer) Photographer: Studio Commercial Client: Brookfield Multiplex

The core concept of this project with Sydney Water encapsulates the company’s recent resettlement; “the journey to Parramatta”, a visual narrative of Sydney Water’s history from Australian white settlement to the present day and its commitment to safe water supply. With this project, it is the wayfinding and graphical language defined by the system, that determined the look and feel of the interior graphical treatment.

Customer Service Recycled Water Research Environmental Sustainability

Customer Service Recycled Water Research

Customer Service Recycled Water Research Environmental Sustainability Customer Service

Customer Service

Customer Service Recycled Water Research Environmental Sustainability

Customer Service

The journey begins at the building lobby on the ground floor and ends on the Level 16 breakout floor. The naming convention for the meeting rooms ties into the journey, taking inspiration from bays and parks that correspond with significant locations along the Parramatta River. Each floor lift lobby features a graphic representation of a river section with blue vinyl lines floating down the wall. Super-sized numbers (Refer to “Level indicator number”) which are made of laser-cut acrylic droplets adorn the walls on either side of lift lobbies, supported by a further reference to the concept journey with additional acrylic droplets identifying the meeting rooms and their directions for easy navigation. Sydney Water’s rich cultural heritage features as a defining motif that lends depth and solidity that could easily have been lost in a modern built environment. Superb images showing the human face behind the company, from candid images of men digging ditches to formal shots of Federation-era board members are printed to optically clear film and applied to the colored glass in the meeting rooms throughout the building. The coarse “screen” consisting of miniature water droplets continues the graphical dialogue already introduced in the lift lobbies. As well as achieving a consistency across many different photographic types and quality of the source images, the pattern also serves to provide seclusion between staff and occupants in the meeting room. The graphic language devised for the building also extends into the statutory signage requirements, which need to conform with building codes and regulations, while being compatible with architectural finishes. This results in a bespoke designed icon library and well-considered placement and typography. Formed Polypropylene signs in the shape of a droplet, (mirrored in the lift lobby directory boards) are created for tactile requirements, and durable photo anodized aluminum selected for the public areas.

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Customer Service

Customer Service Recycled Water Research

Customer Service Recycled Water Research Environmental Sustainability

Customer Service Recycled Water Research

Environmental Sustainability

Recycled Water Research Environmental Sustainability

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Schleich Gmbh Signage System Location: Schwäbisch-Gmünd, Germany Completion Date: 2010 Design Firms: Meuser Architekten GmbH, Landor Associates Client: Schleich GmbH

The toy manufacturing company Schleich is well known for its very detailed animal figures, which it sells all over the world. This company, from Baden-Württemberg, sets the task of developing an information and guidance system which would fit in with the Corporate Identity created by the Landor branding agency. Furthermore, the new extension building on the company’s premises should also be integrated into an overall concept with regard to the new guidance system. The requirement furthermore consisted in guiding the daily visitors and the more than 200 employees, through the complex buildings over the shortest possible route, while also deviating the delivery traffic in a wider area, around the neighboring residential area. This required changes to the public traffic control system in the district of Herlikofen. It is easy to understand the basics of the information and guidance system that was developed. The near-round PVC granulates the building block for all of Schleich’s plastic figures provides a visual basis for the orientation system. The smallest modular unit, the circle (as a two-dimensional implementation of the ball), forms the core of the pictorial language. The functionally separated buildings are coded accordingly by color and a relevant animal. At the intersections, information spheres with threedimensional overview plans offer orientation on the location. Furthermore, colored animal-tracks with distance information guide visitors through the buildings as if they were trails. The specially-designed pictograms in their basic form are also based on the spot. The creative focus is also on harmonizing the interior design with the design concept and the color spectrum of the signage. Thus, animal motifs form a trail through the new offices and impart a playful lightheartedness to the austere offices.

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SGI Worldwide Location: Mountain Valley, California, USA Completion Date: 2000 Design Firm: Sussman/Prejza & Company, Inc. Designers: Deborah Sussman (Principal in Charge), Tom Berroth (Project Manager), Joy Sih (Senior Designer), Tanja Kullock (Designer), Julius Bhang (Designer) Photographer: Jim Simmons Client: SGI

SGI is one of the worldâ&#x20AC;&#x2122;s leading creators and manufacturers of specialized computer equipment, including 3D workstations, highperformance servers and supercomputers. Sussman/Prejza was tasked with evolving the 2D logo to 3D environmental signage applications for their diverse and far-reaching worldwide facilities.

the shadows of the letterforms on the background, the reflection of light. These are all the principles that run throughout all of SGIâ&#x20AC;&#x2122;s core products: 3D visualization workstations. Furthermore, these principles ( sculptural strength and visual depth) were evolved into other signage elements.

While working closely with the SGI team, S/P developed a set of design goals for the project. At first, the strength of the company was seen in the minimal yet sculptural quality of the form. Looking through the letterforms of the logo, the depth and dynamism of the company was seen: a visual play of perception and changing images, the play of color,

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Signage System New Building Drägerwerk Ag & Co. Kg Aa

problem with an unconventional typographic solution, that in line with the circle’s rigorous visual rules, the type is aligned with a central axis that relates to the symmetry of the ring. The use of block capitals evens out the marginal spaces, calming the overall visual effect.

Location: Lübeck, Germany Completion Date: 2009 Design Firm: Büro Uebele Visuelle Kommunikation Designers: Rebecca Benz (Project Manager), Katrin Theile (Project Manager), Katrin Dittmann, Andreas Uebele Photographer: Michael Heinrich Clients: Bauherr: Molvina Vermietungsgesellschaft, Mbh&Co. Objekt Finkenstraße Kg, Generalübernehmer: Commerzleasing Und, Immobilien Commerzbaucontract Gmbh, Nutzer: Drägerwerk Ag & Co. Kg Aa

The building is a glazed structure that twists and turns, ribbon-like, around courtyards and pathways. All the external walls and the internal walls facing the atrium are glazed. This transparency makes it easy for visitors to identify where they are with reference to the interior and exterior of the building. The graphic symbols cover the internal glass walls, helping to define the different moods of the various locations. The wayfinding system consists of a base motif that’s modulated in six variations. At its core, it is a simple, gridstyle pattern of rings which is different on each storey. The spacing of the rings varies in two directions, creating gaps, clusters and distinctive formations. The information is incorporated within the pattern, by filling in rings to create surfaces. The codes for different rooms, levels and sections of the building are displayed within these circles. The pattern shapes are non-directional and nonprescriptive. They have their own equilibrium, and can be extended at will in any direction. They overlay the glazed walls like a transparent net curtain or a shimmering breeze, varying the look of the facades and also helping to prevent people walking into the glass. The material used in the design has an incorporeal quality: the architecture and its environment are mirrored in the highly reflective film, appearing as a light, mobile and shimmering image in the slender rings and circle shapes. Visually the circle is a strong shape, self-delimiting and self-referential. The circle has no straight lines to connect it with other edges or lines. Dealing with this geometrically interesting form becomes challenging when other, noncircular elements come into play. The text within the circle cannot be set in the normal way. Flush-left is easy to read, but in the circle it produces odd shapes around the text. A clear margin becomes apparent only when several lines can be seen together, which is the exception rather than the rule. Individual words, meanwhile, look positively odd when set in this way. It depends on their length they may appear to be centered, but in fact the spaces to left and right are marginally different, in a way that’s difficult for the eye to measure, creating a troubled effect. When arrows or symbols are added, the effect is even less attractive because these graphic elements unbalance the surface area. The system responds to this

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SA Water Signage and Environmental Graphics Location: Adelaide, Australia Completion Date: 2009 Design Firm: Frost* Designers: Vince Frost (Creative Director), Bridget Atkinson (Design Director), Carlo Giannasca (Design Director), Sarah Estens (Designer), Irmi Wachendorff (Designer), Ben Jennings (Designer), Natasha Bartoshefski (Designer), Annabel Stevens (Design Manager) Photographers: Graphic mesh photo by Earl Carter, other images courtesy of Frost* Client: SA Water

For the new SA Water headquarters in Adelaide, Frost* has developed a major signage and environmental graphics scheme as part of the interior fit-out and building design by Hassell. SA Water wanted to highlight the buildingâ&#x20AC;&#x2122;s environmental initiatives, such as the access to abundant natural daylight, expansive external views and recycling areas. Full height graphics are applied to glazing with ultra-clear vinyl to emphasize openness and interconnections between workspaces. The central stair installation, a 25 meters long suspended stainless steel mesh with printed sections of the Murray River, provides inspiration and incentive to choose the stairs rather than travel via lifts. Large-scale super-graphics are a major feature on the building facade and foyer stair glazing. The imagery by photographer, Giles Revell, celebrates the beauty of water, a cherished resource in the drought stricken state. Highly visible from the street, the panorama stretches nearly 40 meters. Due to the vinyl specified, staff are able to enjoy views of the park opposite, also being provided with a degree of privacy for meeting rooms. The architectsâ&#x20AC;&#x2122; use of strong vertical patterning and color in the facade frames the graphic treatment, creating the impression of a super-scaled water tank with bubbles suspended in motion on the ground floor.

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VIEWS:

Sharing Experience "Frost*’s approach to the design keeps closely with SA Water’s character, and the architectural and interior vision. The primary objective of the development is to unite all facilities and staff into one site, encouraging interaction and teamwork. Frost* has created a varied palette for staff to respond to and be inspired by. The heritage of SA Water’s 150 years of operation is introduced to public with timeline rods forming the backdrop to the foyer reception desk. The signage and graphics have been designed not only to guide users through the space but also to educate and entertain."

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SAP Americas Corporate Headquarters Materials: Steel, Acrylic, Glass, Tooling Board, Location: Newtown Square, PA, USA Completion Date: 2009 Design Firm: ex;it Designers: Alan Jacobson (Principal in Charge), Mark Jenkinson (Lead Designer), Keith Davis (Production Designer), Liz Trost (Programming Designer) Client: FXFowle, SAP

A wayfinding program was designed for the new US corporate headquarters and first â&#x20AC;&#x153;greenâ&#x20AC;? building for SAP. The interiors called for understated wayfinding elements considering all wayfinders were employees of SAP, both within the campus and visiting employees worldwide. The new building is a major addition to an existing campus with new buildings in the campus master plan. Future roll out of the new wayfinding program is slated for backfill into existing buildings and future additions. The building was divided into Cores A through D supported by color within a neutral interior design environment. Employees could be directed to all destinations via an intuitive alpha numeric address system, with supporting themed core nomenclature. Every space/location has an address relative to its position in the building. Glass Corner features were added at Core entrances to provide more color blocking. Employees viewing from their desks in the building across campus can see the color pattern in vertical zones. The lean design of the wayfinding elements were made visible through color. Dimensional zone letters and floor numbers were inspired from the SAP corporate typeface with outline added as a distinguisher between Core and floor.

laser cut to create open form. The elements of the sign family are designed within a grid that is inspired from the corridor office and conference room window dimensions to ensure alignment. Room designations could change weekly so all elements of the program are changeable for easy maintenance by SAP facilities.

ELEVATOR B

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PANTRY

MEN

MEETING ROOM

OFFICE

MECH. ROOM

B .201

B .202

B .203

B .204

B .205

Springton Reservoir

ELEVATOR B

B B PANTRY

MEN

MEETING ROOM

OFFICE

MECH. ROOM

B .201

B .202

B .203

B .204

B .205

The lean design of the wayfinding elements were made visible through color. Dimensional zone letters and floor numbers were inspired from the SAP corporate typeface with outline added as a distinguisher between Core and floor. The vertical steel plates are constructed to receive changeable information plates with all materials flush surface. Projecting icons are bent from steal plates and

Springton Reservoir

The vertical steel plates were constructed to receive changeable information plates with all materials flush surface. Projecting icons were bent from steel plates and laser cut to create open form. The elements of the sign family were designed within a grid that was inspired from the corridor office and conference room window dimensions to ensure alignment. Room designations could change weekly so all elements of the program are changeable for easy maintenance by SAP facilities. Glass Corner features were added at Core entrances to provide more color blocking. Employees viewing from their desks in the building across campus can see the color pattern in vertical zones.

102.or - Core B

320.id - Core ID Projecting

102.or - Core B

201.dr - Directional

320.id - Core ID Projecting

201.1.dr - Directional

201.dr - Directional

105.or - Elevator Directory

305.id - Projecting IDs

201.1.dr - Directional

306.id - Pantry ID

105.or - Elevator Directory

308.id - Restroom ID

305.id - Projecting IDs

309.id Restoom ID

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Room ID Office ID 306.id - Pantry ID

313.id Room ID 308.id

- Restroom ID

309.id Restoom ID

312.id Room ID

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The California Endowment Wayfinding System Materials: Aluminum Panels, ASI Modulex System, 3M Vinyl Digital Location: Los Angeles, USA Completion Date: 2006 Design Firm: Sussman/Prejza & Company, Inc. Designers: Deborah Sussman (Principal in Charge), Holly Hampton (Principal in Charge), John Johnston (Senior Designer), Hsin-Hsien Tsai (Senior Designer), Selene Gladstone (Senior Designer) Photographers: Jim Simmons, Tom Bonner Client: The California Endowment

A lively and thoughtful new headquarters for the California Endowment’s “Center for Healthy Communities” has taken root on a once neglected industrial site near downtown Los Angeles and the 1781 historic pueblo plaza. The new campus design both references its urban setting and expresses the mission of the non-profit foundation- to serve the health-care needs of California’s underserved communities by providing grants to community organizations. This commitment to community health is demonstrated further in the creation of a “healthy work environment” for the campus itself. In the Southern California tradition of courtyard buildings, detached pavilions of conference meeting rooms and offices are organized around an expansive landscaped outdoor plaza. An architectural and landscape palette of both natural native materials and bold colors (ochre, terra cotta and green)

reflects the statewide reach of the Endowment as well as its immediate adjacencies to Olvera Street, Chinatown, Union Station and the L.A. River in one of the oldest sections of the city. Conceived as one part the overall project’s collaborative and multi-disciplined process, the graphics work begins with the development of a refreshed and stronger logotype, expressive of the Endowment’s newly expanded and multilayered nature. The environmental graphics scope grows to include an extensive system of interior and exterior identity icons and wayfinding signage that strengthens and supplements the project design goals. The resulting designs strategically extend the bold moves, motifs and concepts of the architecture where appropriate, but also provide counterpoint, human-scaled detail and a visible and consistent project-wide “civic” presence through the center’s diverse surfaces, colors and materials.

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Stockland Headquarters Signage and Lobby Installation Location: Sydney, Australia Completion Date: 2007 Design Firm: Frost* Designers: Vince Frost (Creative Director), Ray Parslow (Design Director), Eva Dijkstra (Designer), Sarah Estens (Designer), Joanna Mackenzie (Architect/Project Manager) Photographer: Anthony Geernaert Client: Stockland

Stockland relocated to the CBD and undertook a major internal refurbishment of the ten floors they occupy for their Australian headquarters. Frost*â&#x20AC;&#x2122;s scope within the office floors included the internal identification, operational and statutory signage and graphic display elements for the fitout. On the ground floor lobby facing Castlereagh Street, Frost* designed a huge interactive art wall, fabricated from over 9,000 flip dots that display a changing story of images and text. The art wall is seen by visitors to the building, as well as the passing pedestrians and vehicular traffic on Castlereagh Street. The dot matrix wall is five meters wide and six meters high and illustrates the images/text in either black or brilliant orange. The opportunities to display content are infinite and the artwork sequences can be developed over time. During the construction process, Frost* also created a hoarding graphic with lyrical images of trees and text that illustrated the green initiatives the refurbishment was committed to.

Sharing Experience "The signage has been kept subtle, and applied directly to surfaces. Large-scale graphics are limited to specific areas such as the tea points where we designed magnetic boards with graphics to provide an elegant notice board for staff communications. We designed a framing system for an internal staff art collaboration and including chalk boards to encourage end of work nought and crosses games."

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The Salvation Army Wayfinding Materials: Transparent Vinyl Applied To Glass Location: London, UK Completion Date: 2004 Design Firm: Hat-Trick Design Designers: Jim Sutherland, Gareth Howat, Adam Giles, Ben Christie Client: Salvation Army

The aim of The Salvation Army new International Headquarters building was to be seen as open and inclusive, so transparency was a key word, but also the army wanted to be seen as evangelical. They required signage and cafĂŠ graphics to announce a public cafĂŠ. The architects created a very transparent building, where you can see the staff working away in glass rooms. The signage solution was to use transparent colored vinyl on glass, in order to retain the transparency of the building, the color emulating stained glass to reflect their evangelical nature. Light interacts with the signs to create colored beams around the building, and varies at different times of day and year. The uplifting bible quotations on the outside engage visitors and passers-by, and again speak volumes about their religious background. The clear faces on the ground floor meeting room represent their international reach and the hands behind the faces represent their activities.

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Wachovia Center Formally the CoreStates Center Materials: Aluminum, Acrylic, Steel Location: Philadelphia, USA Completion Date: 2008 Design Firm: SP+O Designers: Steve Pinkston, Lee Fitler Photographer: Steve Pinkston Client: Comcast-Spectacor

SP+O was the graphic design consultant for the CoreStates Center, a 22,000 seat multipurpose arena. This 700,000 plus square feet facility has five public concourses including three for premium seating and two for public seating. A sixth event floor concourse is used for administrative offices and other back of house activities. The building includes two, four story atriums on the east and west sides where the public entrances are located. Under Mr. Pinkstonâ&#x20AC;&#x2122;s direction, SP+O was responsible for the development of the graphic identity for the entire complex, wayfinding and arena graphics including the flyers ice and 76ers basketball court. SP+O was also responsible for the naming and identity of the Victors Club restaurant and Fan Gear, the team store. SP+O also contracted with Aramark to design all CoreStates Center concession identity.

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LG Performing Arts Center Materials: Exterior signs are stencil stainless steel icons and text mounted on granite and fabricated steel signs illuminated with neon; Interior signs are stainless steel and frosted glass with silkscreened text and icons; Maps are digital prints. Location: Seoul, South Korea Design Firm: Lance Wyman Ltd. Designer: Lance Wyman Photographer: Lance Wyman Client: LG Corporation, Seoul

To design and implement a strong branding/wayfinding system to identify the LG Arts Center and give clear orientation and direction to the performance and service areas. The basic branding image is an “A” icon, the first letter of the word “Arts” that is graphically adjusted to imply the dynamic movement of the Performing Arts entering into the LG Arts Center. The “A” icon is the basis for sign structures throughout the Center. It is mounted on exterior walls so the “A” visually enters the Center. It is wall mounted stainless steel brackets that hold frosted glass directional sign panels and stencil cut stainless steel numbers that identify the seating sections. Three maps play very important roles for the visiting multilingual international performing artists and the people who come to see the performances. For the performing artists, one of the maps identifies the multi-level locations and routes between building entrances, dressing rooms and rehearsal spaces. A second map shows the layout of the dressing rooms and the routes and entrance areas to the stage. For the people who come to see the performances, a multi-level map identifies and shows the routes to seating areas and services. The maps are located at strategic wall locations and are housed in glass faced internally illuminated stainless steel pylons and kiosks. The directional signs and entrance area identification signs are coordinated with the maps.

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g Follow Me: wayfinding & signage system gg culture & sport g

Coliseo de Puerto Rico Signage and Wayfinding Materials: Aluminum, Acrylic Location: San Juan, Puerto Rico Completion Date: 2004 Design Firm: SP+O Designers: Steve Pinkston, Lee Fitler Photographer: Jochi Davila Client: Government of Puerto Rico

The Puerto Rican Government wanted to stress the islandâ&#x20AC;&#x2122;s rich culture in the wayfinding and identity graphics for their new 17,000 seat, multipurpose coliseum. SP+O used the themes of history, music and art, architecture and nature, in combination with bright and festive Puerto Rican colors, to build a kit of parts and color palette that would carry a distinctive Puerto Rican theme throughout the arena. The result is a dramatic, bi-lingual system of signs and graphics that celebrates the colorful culture of this vibrant island while at the same time, effectively and easily directing people around the building.

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Duke Energy Center Scope: Interior Color and Materials, Icon Graphics Location: Cincinnati, USA Completion Date: June 2006 Design Firm: Sussman/Prejza & Company, Inc. Designers: Deborah Sussman (Principal in Charge), Hillary Jaye (Project Manager), Sharon Blair, Ana Llorente, Paul Nagakura, Jennifer Chen Photographer: J. Miles Wolf Client: City of Cincinnati

The river that has brought people, commerce and prosperity to the city of Cincinnati is celebrated as the inspiration for this convention center renovation and expansion. The walls, ceiling and floor surfaces of the main concourse, two city-blocks long, becomes the canvas on which the story of the river unfolds in graphics, color, and carpet patterns. S/P’s scope also includes a 50 by 300 feet “sign” created from colored planes suspended within a threedimensional structural framework. Integrated into the architecture of the building, the word “Cincinnati” looks out over the highway and across the river, as a new icon for the city.

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Twickenham Stadium Wayfinding Materials: Stove Enamelled Aluminum, Steel Location: London, UK Completion Date: 2008 Design Firm: Hat-Trick Design Designers: Jim Sutherland, Gareth Howat & Adam Giles Client: Rugby Football Union

identity in its own right, a place for entertainment, conferences, business meetings and of course rugby. The new identity has presented Twickenham stadium as a hub of vibrancy and energy. As a part of the re-branding, they have designed a new wayfinding strategy for the entire stadium complex, both inside and outside the ground, including the route from the railway station, road signs, building signage, banners, environmental graphics, information zones and seating zones.

Twickenham Stadium is the largest dedicated, and one of the most impressive, rugby stadiums in the world. The challenge was to position the venue as a destination

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g Follow Me: wayfinding & signage system gg culture & sport g

Citi Field Materials: Fabricated Aluminum Letters; Internally Illuminated Aluminum Channel Letters with Acrylic Faces; Painted Aluminum Panels with Silkscreened/ Digital Print Graphics; Fabricated, Painted Aluminum and Steel Silhouettes and Skyline; Vinyl Door and Window Graphics; Zinc Letters Inlaid in Terrazzo Floor; Windsor Fireform Graphic Tile; Etched and Painted Plaques Location: Queens, NY USA Completion Date: 2009 Design Firm: Two Twelve Designers: Ann Harakawa (Principal in Charge), Anthony Ferrara (Creative Director), Jonathan Posnett (Creative Director), Darlene van Uden (Project Manager/Designer), Vina Ayers (Designer), Michelle Cates (Designer), Alexandria Lee (Designer), Maura Mathews (Designer), Corey Mintz (Designer), Erik Murillo (Designer), Andy Ng (Designer), Nick Spriggs (Designer), Jennifer Uchida (Designer), Laura Varacchi (Designer), Dominic Borgia (Director of Technical Design), Jess Mackta (Team Manager) Photographers: James Shanks, Christine Radecic Client: New York Mets Development Corporation

Two Twelve led the development of the environmental graphic design effort at Citi Field, the New York Mets’ new, world-class 42,500-seat ballpark in Flushing, Queens, which encompassed almost every aspect of the visitor experience: wayfinding, identification, and interpretive graphics from the edge of the site to the edge of the seat. Graphic design elements and colors reflect the owners’ and architects’ vision for a nostalgic yet modern facility that celebrates “the great American pastime.” Beyond the color palette and typefaces, to evoke the nostalgia of baseball and the spirit of the ballpark’s architecture, the design uses a consistent palette and a mixture of custom and standard icons and symbols to identify, guide, and entertain fans. Along with gate identification and wayfinding directionals, Two Twelve’s design includes maps for the site and major public levels, identification for concessions and retail stores, and largescale graphics for club areas and the grandest space of all, the Jackie Robinson Rotunda. The Jackie Robinson Rotunda serves as the main entrance to the ballpark. Its form is inspired by the classic design of Ebbets Field and its soaring interior honors

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legendary player and remarkable citizen Jack Roosevelt Robinson, who broke baseball’s color barrier when he joined the Brooklyn Dodgers in 1947. The Rotunda celebrates Robinson’s legacy and the “nine values” he embodied throughout his life: courage, integrity, determination, persistence, citizenship, justice, commitment, teamwork, and excellence. Environmental graphic designs include these inspirational words pin-mounted on the face of the pre-cast lintel, as well as eight large murals depicting Robinson at various points in his life (as a young athlete with his teammates, performing philanthropic work during his later years, etc.), which are fabricated of durable porcelain tiles by Windsor Fireform. The final element is a seven-foot-tall “42,” Robinson’s jersey number, which was retired from Major League Baseball in 1997. This striking sculpture, in high-gloss blue, has become a major focal point for fans, who can stand on silhouettes of Robinson’s footprints embedded in the terrazzo floor or gather around for a group shot in front of the sculpture’s shining surface. Two Twelve developed these experience design concepts in close collaboration with the New York Mets, Rachel Robinson and the Jackie Robinson Foundation, Populous Architects (formerly HOK Sport + Venue), and public art consultant Nancy Rosen.

Sharing Experience "There were numerous challenges inherent in creating the environmental graphics for such a high profile project as Citi Field, which carried with it so many expectations. We neither wanted to disappoint passionate Mets fans, nor alienate more casual baseball enthusiasts, while simultaneously addressing the concerns of multiple stakeholders and collaborating with various project partners. The designs themselves needed to reflect a sense of nostalgia, without appearing backward-looking, and integrate seamlessly within the state of the art facility. Since the ballpark opened in March 2009, the work has been warmly received by fans, ballplayers, mainstream press, and the designcommunity alike."

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g Follow Me: wayfinding & signage system gg culture & sport g

Woodruff Arts Center Environmental Graphics and Wayfinding Materials: Painted Aluminum and Silk Screen Location: Atlanta, Georgia Completion Date: 2002 Design Firm: Carbone Smolan Agency Designers: Ken Carbone (Principal), Susan Weingarten (Senior Project Designer), Lynn Paik (Designer), Jordan Marcus (Designer) Client: Woodruff Arts Center

Sharing Experience "Scale, color and minimal intervention in the architectural scheme are the hallmarks of this program. For the grand scope of the Woodruff Arts Center campus, there are relatively few signs used to guide visitors around the site. The size of the directionals and use of ‘signal’ colors engage the visitor and provide essential wayfinding information.

Realizing the need to shift the paradigm of the role of a cultural institution and what it offers to its community, the Woodruff Arts Center fashioned itself as an “urban village” campus. Comprised of the Alliance Theatre Company, the Atlanta Symphony Orchestra, Atlanta College of Art, the High Museum of Art, and the 14th Street Playhouse, as well as outdoor piazzas and gardens, it has established itself an anchor for the city of Atlanta. CSA’s environmental graphics and wayfinding system design was implemented during an ongoing expansion led by architect Renzo Piano, which included the addition of 226,000-plus square feet of space and new facilities.

The long-term nature of the process, completed between September 2002 and December 2005, was challenging. However, the ultimate success of the team and the designs led to an equally large assignment, conducted simultaneously and exclusively with the High Museum, a part of the Woodruff Arts Center."

The goal for the new wayfinding system was to unify the campus to enhance the visitor experience. CSA developed designs covering main identification, vehicular directionals, pedestrian orientation, information kiosks, informational signage, donor signage and refurbishing of existing signage. Large-scale vertical pylons provide the stylistic thread throughout the system. Each 12-foot pylon consists of two thin blades mounted on a structural frame to create an articulated form without unnecessary mass. Primary

panels are painted white to complement the new architectural design, with contrasting colors for type and integrated maps. These signs are strategically located around the campus to guide visitors from the periphery and the underground parking to the various institutions at the Center. The result is a comfortable, appreciative design that flatters the architecture and leaves the visitor free to experience the world of the Woodruff Arts Center unencumbered.

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Guthrie Theater Signage and Wayfinding Materials: Black Plexiglas, Aluminum, LCD and LED Displays Location: Minneapolis, Minnesota USA Completion Date: 2006 Design Firm: Larsen Designer: Mike Haug Photographers: Don Wong, Michael Mingo Client: Federation Square, Melbourne

The Guthrie, one of the preeminent theaters nationally and internationally, opened its theater center with Larsen signage. The designer created an aesthetically appropriate, and highly functional directional system for patrons, and installed 1,100 interior signs made of brushed aluminum and backlit smoked-acrylic. The audio messaging signs accompanied patrons on the escalator ride up to the stages. The signage was completed within a stringent timeline dictated by key citywide opening events.

Sharing Experience "The interior design was very minimalistic-almost any sign could easily disrupt the aesthetic. We worked to find ways to integrate the signs into the architecture using black-out plex, and applying graphics directly to architectural elements. Another challenge was that the information was very complex and constantly changing. We incorporated LED displays and LCD monitors behind black-out plex and created audible directional information that played during the four-story escalator ride."

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The Minneapolis Institute of Arts Signage and Wayfinding Materials: Aluminum, Glass, Bronze Location: Minneapolis, USA Completion Date: 2007 Design Firm: Larsen Designer: Mike Haug Photographer: Don Wong Client: The Minneapolis Institute of Arts

When the Minneapolis Institute of Arts (MIA) underwent a major renovation and expansion, it turned to Larsen for signage that would help tie together architecturally disparate spaces. Larsen has worked with the MIA for a number of years and has developed a comprehensive sign system that includes exterior signs, directional kiosks, wayfinding signs, didactic panels, donor plaques and even the worksof-art labels. In the latest expansion, we created a series of signs for the new entrance lobby and the new Michael Graveâ&#x20AC;&#x2122;s designed addition that would still compliment and connect the rest of the museum.

Sharing Experience "The reinvented space includes a new wing designed by Michael Graves & Associates and 34 new galleries. The challenge is to merge the original neoclassical 1915 building with the stark minimalism of Kenzo Tangeâ&#x20AC;&#x2122;s 1974 addition and Gravesâ&#x20AC;&#x2122;s postmodern 2006 wing. The consistent signage conveys an unspoken message: the MIA is aesthetically diverse, but seamlessly united."

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Landmark Center Signage Materials: Glass, Bronze and Fabric Location: Saint Paul, USA Completion Date: 2008 Design Firm: Larsen Designers: Todd Nesser, Mike Haug Photographer: Don Wong Client: The Landmark Center

The 95-year old Landmark Center, once a courthouse and then a post office, is now a cultural center calling for attention. The new identity and signage reinvigorate image and raise awareness of historical building. The new identity is to help visitors understand the buildingâ&#x20AC;&#x2122;s function. The signage welcome visitors and create sense of activity and vibrancy. The large red banners at both ends of the building encourage public to enter and explore.

Sharing Experience "The Landmark Center, in Minnesotaâ&#x20AC;&#x2122;s capital city of Saint Paul, was a federal courthouse and a post office before its renovation in 1975. Its neo-Gothic architecture made it look like a huge church, leaving many people to believe it was abandoned or offlimits to the public. In an effort to bringin more visitors, we created a series of colorful wall and post mounted banners that add life to the grey exterior. Inside, freestanding directional signs highlight the many arts organizations that now inhabit the building."

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Zierbena Kiroldegia (Sports Center) Materials: Vinyl Cutting and Painting Location: Zierbena, Vizcaya, Spain Completion Date: 2008 Design Firm: Lavita Designer: Maria Luisa Rodriguez Vita Photographer: Aitor Gurtubay Client: GAZ Arquitectos (http://www.gazarquitectos. com)

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The signage and environmental graphics are based on the logo, concretely on the “i” point which represents a ball. With big silhouettes, practicing the sports is realized in the building. These silhouettes are made with circles, as a reference of the principal sports in this building, which are ball sports, such as racquetball, basketball, hand ball, basket tip, etc. The system is very simple, based in vinyl cutting and painting, but very effective, creative and very according with the building and its extraordinary design. The architect wants to do a very decorative and visual design which also has the function to direct the visitor through the sports center. So that, they created the big figures and a system of symbols that accompany the text to help the visitor to know at all times where in the complex there is. All the building is in red, black, white and grey and the signage system too, because they want to create a color harmony in all the space.

VIEWS:

Sharing Experience “when I have to make a signage system I’m always guided by the corporate image and the ambient that the architects and interior designers want to project. I think that signage systems are a reflect and a complement of the image you want to project for the space. In addition to, of course, the most important function, that is, to guide the visitor. The design has to be, first of all, simple and functional, but also has to add value to make the space through which we move more attractive."

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g Follow Me: wayfinding & signage system gg culture & sport g

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g Follow Me: wayfinding & signage system gg culture & sport g

Dallas Cowboys Stadium Materials: Brushed Aluminum, Painted Aluminum, Glass, Wood Location: Arlington, TX, USA Completion Date: 2009 Design Firm: Selbert Perkins Design Designers: Robin Perkins, John Lutz, Chris Wong, Jessica Moreno Photographer: John Lutz Client: HKS, Inc.

SPD was hired by HKS Architects to create a comprehensive signage program for the new Dallas Cowboys Stadium. SPD took a modern approach to the design of the new signage system, using the brand equity of the Cowboy’s star, colors, text and history as influences for the new signage. The multi functional stadium includes conference facilities, offices, retail establishments, restaurants and other food services, a museum, parking, and other public services. SPD designed the signage system and amenities for the interior and exterior of the new stadium. The 2.3 million square foot stadium holds 80,000 to 100,000 spectators, and is the largest NFL stadium in the world.

Sharing Experience "The images on the parking lot signs were reproduced in a halftone style – a collection of dots of different sizes, to mimic photos from old newspapers. The images also fade a little at some angles to give the impression that fans are peeking into the team’s past." – John Lutz

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Levy Senior Center Signage System Materials: Fabricated Aluminum Frames, Acrylic and Photopolymer Panels, Epoxy Screenprinting, And Changeable Printed Paper Inserts. Location: Evanston, USA Completion Date: 2002 Design Firm: Jack Weiss Associates Designer: Jack Weiss Photographer: Jack Weiss Client: City of Evanston

A comprehensive signage system helps members, visitors, and guests navigate the exterior and interior of Evanstonâ&#x20AC;&#x2122;s contemporary 26,000 square foot Levy Senior Center designed by Ross Barney & Jankowski. Research indicates that the small caps Futura typeface selected for all signage elements is one of the most readable for older persons who might be visually impaired. In addition, it easily meets all ADA compliance standards. Room identification and wayfinding signs were designed to accommodate change. Senior Center staff produce digitally printed inserts utilizing type, format, color, and paper standards created for the system. The project was designed in collaboration with the Senior Center planning committee and the City of Evanston Recreation Department. Nelson-Harkins Industries was the fabricator/installer partner on the project.

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C1 An elegant brushed aluminum symbol identifies the Levy Senior Center at its main entrance. The Futura typeface is used consistently throughout the Center on room identification signs, wayfinding signs, information signs and donor wall. C2 Gift levels on the donor wall are symbolized by leaves of Evanstonâ&#x20AC;&#x2122;s most common trees. Colors of the Corian leaves are also seen in the ground faced concrete block wall. Natural light illuminates the wall and casts shadows from the dimensional elements.

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g Follow Me: wayfinding & signage system gg culture & sport g

Concert & Congress Building De Doelen Materials: Acrylic, MDF Location: Rotterdam, the Netherlands Completion Date: 2009 Design Firm: Mijksenaar Photographer: Joris van Dooren Client: De Doelen, Rotterdam

A large conversion of the Grote Zaal (Large Hall) within the De Doelen concert & congress building presented an opportunity to update the wayfinding and signage for the entire facility. This change involved a new hall arrangement and revised seat numbering. De Doelen is a building that is used in a flexible configuration. Concert goers usually make use of reserved seats in one specific concert hall. Congress visitors can make use of the entire building. To control the number of signs, the building is divided into three divisions named after the foremost concert halls in that specific area of the building. Within these divisions, specific halls are indicated for clarity. The wayfinding concept includes affordances for dynamic components to be developed at a later stage. The signage design is based on the floor plan of the Grote Zaal. This way, with possible future alterations in corporate identity, the wayfinding will remain intact. This is a sustainable design concept that fits Mijksenaar’s method of working. The building’s facilities are indicated with pictograms designed to match the signage design concept. Wellknown facilities such as wardrobes and toilets did not require additional explanatory lettering. “The new wayfinding concept is distinct. It is conspicuous but at the same time appropriate for the building.” a De Doelen employee said.

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g Follow Me: wayfinding & signage system gg culture & sport g

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g Follow Me: wayfinding & signage system gg exhibition

Directional Arrow Signage and Wayfinding Materials: Painted steel Location: Tokyo, Japan Completion Date: 2007 Designer: NOSIGNER Client: the University of Tokyo

This is a series of directional arrows, a simple signage and wayfinding designs with bright color, which stands by its shadow, and they connect with each other. This is the portable sign plan designed for the Research Center for Advanced Science and Technology of Tokyo University.

Sharing Experience "The arrow is a sign itself. I designed an emblematic reduced â&#x20AC;&#x2DC;arrowâ&#x20AC;&#x2122; for the signage. By using its shadow as a leg it is created to stand by itself. This sign uses a doubled up steel plate. ARROW is a low cost production object, furthermore it is very stable and allows a compact storage."

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g Follow Me: wayfinding & signage system gg exhibition

Miniature Campus Materials: Marking Film Sheet Location: Tokyo, Japan Completion Date: 2008 Designer: NOSIGNER Client: the University of Tokyo

This is a project for exhibiting the leading edge of the studies, at the Research Campus in the University of Tokyo, for public and business. There are two devices to achieve the goals of the project; the publication and finding business partners. The 60 meter-long map of the campus is drawn on the pilotis of the building. The huge map drawn on the campus and the small handy map distributed for the visitors, are related to each other. The studies at the laboratories located on the map are exhibited inside the 50cm x 50cm showcases. Moreover, the arrows using the shadow are placed everywhere in the campus. Therefore, they can easily guide to the laboratories. The drawn map on the building is the real miniature of the campus.

Sharing Experience "The map is a primordial design of signage. I designed the graphic for the space to be an enlarged information map but smaller than the campus itself. Therefore I created a new 'map' that has a double function. On the one hand it serves as an exhibition space for the different laboratory activities in the campus and on the other hand it works as a signage for the open campus."

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g Follow Me: wayfinding & signage system gg exhibition

World of Coca-Cola Materials: Various Location: Atlanta, USA Completion Date: 2007 Design Firm: Selbert Perkins Design Designer: Cliff Selbert Photographer: Jim Roof Client: The Coca-Cola Company

the front facade of the building while reinforcing the brand experience at the World of Coca-Cola. The site wide wayfinding, signage and public amenities system includes all interior and exterior wayfinding, museum and parking garage, garden landscape elements, up-to-the-minute information on ticket purchase and wait times, and large-scale building murals. The World of Coca-Cola complex is an exciting and important addition to Atlantaâ&#x20AC;&#x2122;s downtown revitalization efforts.

The World of Coca-Cola opened in 2007 across from Atlantaâ&#x20AC;&#x2122;s Centennial Olympic Park. The complex features 20 acres of landscaped gardens and green space, interactive exhibit galleries, retail space, and nine acres devoted to the new Georgia Aquarium. This popular destination features interactive exhibits designed to refresh and inspire guests while they learn about the history and values of the Coca-Cola brand. SPD developed the environmental communications master plan and wayfinding system for the World of Coca-Cola and adjacent Pemberton Place park. Central to the system is the main identity tower, an internally-illuminated sculpture in the form of the iconic Coca-Cola bottle on ice designed in collaboration with the Jerde Partnership. The tower features mist to simulate melting ice and provides a cool place for visitors to rest. The unmistakable Coca-Cola typography is sandblasted onto a stainless steel mesh, made by Cambridge Metals, and enhances

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g Follow Me: wayfinding & signage system gg exhibition

Signage system trade fair stuttgart Materials: The Architecture and Its Environment Are Mirrored in the Highly Reflective Film, Appearing as a Light, Mobile and Shimmering Image in the Slender Rings and Circle Shapes. Location: Stuttgart, Germany Completion Date: 2008 Design Firm: Büro Uebele Visuelle Kommunikation Designers: Katrin Häfner, Beate Kapprell, Benedikt Haid, Andreas Uebele, Zieglerbür, Büro Für Gestaltung, Prof. Diane Ziegler Photographers: Roland Halbe, Andreas Körner, Christian Richters Client: Projektgesellschaft Neue Messe StuTtgart

A multilingual hubbub, a colorful sound, a confusion of voices and a concert of colors, this is the visitor’s mood set for the exhibition, for contact with countless colleagues, for new impressions and encounters. The signage system takes him by the hand and guides him to the right place so that he won’t get lost in the maelstrom. And to make the walk seem shorter, it’s entertaining: outside, the visitor is greeted by a welcoming committee of flags; inside, he is accompanied by rainbow-striped

signs and big walls of color. They provide a constant compass and companion, just in case he forgets for a moment where he wanted to go. The combination of colors and lettering creates a distinctive identity for the venue and the trade fair company. The chord of colors is like a pattern, like colorful wallpaper that makes the uptake of information both pleasant and easy. The use of paired shades brings the architecture to life, and the color coding of the various destinations works at subliminal level. The colorful stripes inside lead visitors to their destination, pink leading to the conference centre, green to the exits, and red to the exhibition halls. The blue flag-like signs outdoors regulate the traffic. Their height is determined by the people who will be reading them from different angles, bus and lorry drivers, pedestrians and car drivers. “Avenir” is a typeface based on geometric forms, but drawn by hand. It was designed by Adrian Frutiger in 1988. Its name refers to its model, Paul Renner’s future of 1928. The rounded, pearl-shaped font works in counterpoint to the stark, rectangular stripes. An “upright” typeface, such as “frutiger”, “helvetica” or “univers”, would have bonded with the stripes. But the stripes are designed to form a pattern that slips readily under the lettering, like a carpet. In general the height of the rooms limits the height of the signs and also the size of the typeface. The special thing about this system is that the content of the signs determines their length. Make the word longer, then the longer the sign will be. This makes it possible to use the maximum type size in relation to the sign surface, ensuring that the signs are easy to read, even from a great distance. To provide a tranquil background against which to read the type, nuances of color were selected to avoid any excessive contrast between the two shades. And to ensure that the stripes remain in the background, and the x-line, cap line and base line of the lettering are not allowed to coincide with the edges of the stripes. As a result, the stripes “cut through”

the letters in such a way that no small fragments of letters are left. This is the basis for a typographic system that also determines the various sign formats. In some places these formats would clash with the geometry of the architecture. In these cases the lettering is applied directly to the architecture. This means that the formats are dictated by the architectural context: translucent film is used on glass, while colors, arrows and letters are painted directly onto the walls. The colored signs are constructed as floating areas of color. A base layer just a few millimeters thick covered with colored film hangs without visible attachments on a mirror-coated metal frame. The spatial dimension of the supporting structure seems to disappear. The hall doors also function as signs. Even when they are open, the information can be read from all directions because they have writing on both sides. The safety strips on glass surfaces feature rows of letters and punctuation marks, symbolizing the multilingual buzz of conversation among trade fair visitors. The screening in the VIP area is a rhythmic composition of translucent colored and reflective stripes, which creates a shimmering effect. Without blocking the view entirely, the screen offers protection from curious eyes and excessive sunlight and the doors of the car park greet visitors with “bonjour” while their reverse side says “au revoir”. The language gives the place character in an unexpected way and helps visitors identify the area they’ve parked in.

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Fashion Show Location: Las Vegas, USA Completion Date: 2003 Design Firm: Sussman/Prejza & Company, Inc. Designers: Deborah Sussman (Principal in Charge), Sam Fidler (Project Manager), John Johnston (Senior Designer), Jennifer Chen (Designer), Paula Loh (Designer) Photographer: Jim Simmons Client: The Rouse Company

Fashion Show is one of the nation’s top ten retail locales in both sales volume and location size with over two million square feet of retail and food services. Despite this superlative advantage, however, it is a challenge in Las Vegas to win the attention of visitors in the heated completion of neon, strobe lights, video screens and destinations resorts. In developing the identity and branded environment for the expansion of Fashion Show Las Vegas, Sussman/ Prejza chose to make the project visible by contrast. Referencing tow classic icons associated with the highest standards of elegance, the Channel No.5 box and the Vogue Magazine logo, Sussman/Prejza created a simple black and white scheme that would survive trends and stands out in the visual noise of Las Vegas. On the street-level, a series of dramatic illuminated columns in black and white delineate Fashion Show on the “Strip”. Inside, the wayfinding is quite simple: elegant and thin floating horizontal bands of white-on-black text that are located throughout the site providing directions to the anchor tenants. Sussman/Prejza also designed larger than life sculptural utensils, spoon, knife and fork, to serve as whimsical installations as well as visual directions to the Food Court. The directories for dining facilities continue the theme. They are designed as “menus” and paired with sculptural utensils.

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Royal Melbourne Showgrounds Location: Melbourne, Australia Completion Date: 2006 Design Firm: Büro North Designer: Soren Luckins Photographer: Peter Bennetts Client: Brookfield Multiplex

This is signage design and documentation for the Royal Melbourne Show-grounds. The challenges include creating one signage solution to operate across a variety of building types, from heritage-listed “turn of the century” buildings to the new angular architectural forms by Jackson Architecture. A wayfinding strategy to deal with multiple user groups and a difficult site was developed with a typography / color / form system to aid the show and non-show modes of this dynamic environment.

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Casa FOA Materials: Stainless Steel Location: Buenos Aires, Argentina Completion Date: 2009 Design Firm: Diseño Shakespear Argentina Designers: Lorenzo Shakespear, Eliana Testa Photographer: Eliana Testa Client: Fundación Oftalmológica Argentina

Casa FOA is a Argentine 30 years old classic show about trends and ideas in interior design that take place in a different venue every year. Shakespear has designed the wayfinding and environmental program for the past four editions. 2009’s edition was set at the horse race track in Palermo, a well-off area in Buenos Aires. The visual grammar of the designs is based on the colorful color schemes of the costumes worn by jockeys, thus emphasizing this editions choice of venue.

VIEWS:

Sharing Experience "Casa FOA always poses the challenge of conceiving an efficient and appealing signs program that must stand out in order to be useful but that mustn't compete with the actual show that is always diverse, expansive and colorful. This is achieved by the systematic repletion of design patterns, always appealing to the common sense of the visitor that always second guesses the spaces. Intuition always prevails."

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Auburn Hospital Signage System Location: Sydney, Australia Completion Date: 2009 Design Firm: Büro North Designers: Soren Luckins, Dave Williamson Photographer: Brett Boardman Client: Brookfield Multiplex

Auburn Hospital is a 120-bed acute care health facility on the eastern border of Sydney West Area Health Service. Büro North was enlisted to create signage design for this complex, busy and stressful hospital environment.

Pattern was employed as a visual language to strengthen and coordinate with the hospital’s overall theme and art / feature wall.

A strict color palette was chosen to work with all the interiors and the overall hospital theme while maintaining a high level of legibility and wayfinding function.

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Lankenau Hospital Wayfinding System Materials: Aluminum, Acrylic, Tooling Board Location: Wynnewood, PA, USA Completion Date: 2006 Design Firm: ex;it Designers: Alan Jacobson (Principal in Charge), Ellen Taylor (Principal in Charge) Client: Main Line Health

Over the years of expansion and development, Lankenau Hospital evolved to the point that users could not differentiate the specific areas of the facility that they needed to visit. To help deal with this, ex;it developed a wayfinding system, with the key goal of supporting the diverse group of visitors using the facility. Ex;it’s “I’m Lost Factor” studies how people experience the hospital’s environment to understand what is required to provide improvements and enhance the health-care delivery system. Particular attention was paid to improve visitor confidence before arrival through the implementation of pre-arrival guides which oriented via a 3-4 step process. Taking final destinations into account, each guide gave directions to the correct parking area, correct entrance and correct elevator bank, to help visitors to reach their destination as effortlessly as possible. The sign program was used as a tool to enable this process by following the same communication hierarchy, with a consistent visual style, from the guides through to the directional signage and the identification markers, providing a holistic communication solution.

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NYU Smilow Research Center Materials: Donor Wall Frieze: Etched First-Surface, Point Supported, Tempered, Green Glass; Donor Plaques: Etched and Paint-Filled Name, First-Surface. Photo-Etched Image with White Air-Brushed Overlay, Second-Surface. Tempered, Green Glass. Location: New York, USA Completion Date: 2004 Design Firm: Carbone Smolan Agency Designers: Ken Carbone (Principal), Lynn Paik (Senior Project Designer) Client: Nyu Smilow Research Center

The NYU Smilow Research Center in Midtown Manhattan houses 40 multidisciplinary research teams dedicated to the fields of cancer, cardiovascular biology, neuroscience, and dermatology. The Center contacted CSA to design a comprehensive donor recognition signage and wayfinding graphics program for building. CSA established an overarching creative concept that visually and thematically unifies the donor signage program using cut glass images of biological microorganisms as a backdrop for the names of generous donors. The primary elements of the program greet the visitor in the main lobby of the building. A large-scale, fifty-foot glass mural is washed in natural light and serves as a decorative marquee over the pattern of donor recognition signs. A system of sign formats and sizes directly relates to the various sizes of the gifts to the institution. Etched class complimented by stainless steel details combines with illustrative images, giving this program its unique quality. The elements are integrated into the architectural design and provide an immediate acknowledgement of the generosity of key benefactors.

Sharing Experience "This project was a collaborative arrangement with the architect and client. Our design solution was a welcomed addition to the lobby space and we worked closely with the entire Smilow team to arrive at the ideal solution."

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Penn Medicine Campus Identity Program Materials: Aluminum, Acrylic, Concrete Location: Philadelphia, PA, USA Completion Date: 2009 Design Firm: ex;it Designers: Alan Jacobson (Principal in Charge), Ellen Taylor (Principal in Charge), Mark Jenkinson (Lead Designer), Robyn Platoni (Designer), Ryan Aungst (Designer), Rani Griffel (Designer) Clients: Rafael Vi単oly Architects, Penn Medicine

The Perelman Center for Advanced Medicine is the first installation of the Penn Medicine Campus Identity program. This facility is the new center of the Penn Medicine Health System with major expansion planned over the next 10 years. A vertical pylon was designed as a triad element to convey three messages: the Penn Medicine identity branding the Health System, the University of Pennsylvania shield illustrating the relationship of Penn Medicine to the University and the building or campus name. These pylons also reflect the three branches of Penn Medicine: Education, Research and Medicine. While this is the first installation of these pylons, they are designed as a standard for all gateways, campuses and significant buildings. A series of secondary signage elements have been designed to support wayfinding needs on campus. Signage elements are washed with light from grade, and typography is internally illuminated. The shield is LED edge Illuminated.

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Mater Hospital Newcastle Materials: Modular Aluminum Signage System with Digitally Printed Graphics Location: Newcastle, Australia Completion Date: 2009 Design Firm: Minale Tattersfield Designers: Hans Gerber, Yasmin Hall Photographer: Minale Tattersfield Client: Mater Hospital

The refurbishment of Mater Hospital in Newcastle, north of Sydney, required a wayfinding strategy aimed mainly at local and older demographic often with cancer-related illness, due to the local heavy industry working environment. This specialist hospital has 120 beds and is a site that does not feature many multi-level buildings. Instead it is stretched along a hill, with long corridors situated within single to two level buildings.

The objective of the brief was to provide efficient and effective guidance around the hospital and its site. This is enhanced with the introduction of wayfinding based on visual narrative. Signage design for hospitals typically follows relevant health authority guidelines, which presents an interesting challenge, as design parameters are systematically, outdated and not relevant to contemporary visitor and patient expectations. Minale Tattersfield in turn established a visual language comprising elements of effective and direct communication, through the use of arrows to indicate direction, verbal information to describe a destination and a distinctive image to provide an additional visual cue pertaining to the destination. These images are not visual enhancements in the background as it often appears with super-graphics, but rather acts as wayfinding devices, guiding the user consistently from initial points of entry, through the hospital corridors and across different levels to the destination. Understandably the frame of mind of visitors is often fuelled by anxiety, stress and hope. With the introduction of images, it is intended that visitors can be guided on a functional, as well as an emotional level, broadening the state of comprehension in what is basically a self-navigating environment.

VIEWS:

Sharing Experience "In a typical 800-bed hospital without adequate signs, an average of 8,000 hours is spent each year by staff members giving directions to visitors. The cost of installing a system to stop this inefficiency is recovered in a short period of time. Rupert Jensen Associates, Building Research Survey."

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Holy Redeemer Health System Materials: Aluminum, Acrylic, Steel Location: Meadowbrook, PA, USA Completion Date: 2010 Design Firm: SP+O Designers: Steve Pinkston, Lee Fitler, Jess Beitler Photographer: Steve Pinkston Client: Holy Redeemer Health System

When SP+O was asked to design a wayfinding program for Holy Redeemer Health System, each campus had its own style, there was no continuity between the designs. Additionally, there was nothing to visually tie Holy Redeemer properties to one another. SP+O developed a wayfinding graphics system that provided a consistent identity based on identity, form and color. Holy Redeemer Health System owns and manages a wide variety of properties including hospitals, clinics, and senior residencies and centers throughout southeastern Pennsylvania and New Jersey. With such a widespread, diverse variety of architecture in its inventory, the only thing that signals a Holy Redeemer facility is the signage. After successfully completing the signage and wayfinding package, SP+O had the opportunity to develop a donor recognition program. The consistent application of this system, throughout Holy Redeemer properties provides the client with the opportunity to recognize their generous benefactors, and benefits the System from an additional form of visual consistency throughout their diverse and widespread properties.

VIEWS:

Sharing Experience "An environment, whether it is built or natural, functions much like a machine. The more effectively it functions, the more successful it will be. An example of this theory in action is how a computer functions. The more effective the operating system and the easier it is to use, the more useful and therefore the more successful it will be. A wayfinding system is much like the operating system of a computer. Any wayfinding system will work, up to a certain point. An effective wayfinding system is one that is more intuitive, easy to use and not difficult to understand. Any environment will benefit from a successful wayfinding system. As we move toward an age where new technology is replacing some of the more traditional ways of creating a wayfinding system, one thing will not change. That is the need to make the program that quickly and easily communicates the information that the visitor needs to find their way around."

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Signage and Wayfinding System Hermitage Amsterdam Materials: Synthetic Material Location: Amsterdam, the Netherlands Completion Date: June 2009 Designers: Reynoud Homan (Typography, Spatial design together with Merkx+Girod Architects, Hans Van Heeswijk Architects); Peter Verheul (Symbols) Photographer: Kim Zwarts Client: Hermitage Amsterdam

It is a wayfinding program for a public building. The strict symmetrical, Dutch Classicist Amstelhof building, a former home for elderly women at the end of the seventeenth century, is refurbished into a tranquil and clear exhibition space by Hans van Heeswijk Architects and Merkx+Girod Architects. The wayfinding plan was designed to underline these qualities and blend into the overall design of the new museum Hermitage Amsterdam. Typography is used in 3D on panels which are integrated in the interior architecture. Specially designed symbols are cut out of these panels and designed to fit the typeface Gotham. The panels are hanging free from the walls and can integrate displays. The colors are chosen to fit the tranquil architectural spaces and to make the signage one with the building and to be independent from graphic communication of changing exhibitions.

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Jewish Children’s Museum Location: Brooklyn, NY USA Completion Date: 2005 Design Firm: Selbert Perkins Design Designers: Clifford Selbert, John Seeley Client: Jewish Children’s Museum

Collaborating with Gwathmey Siegel Architects, Selbert Perkins Design developed the identity and a range of environmental communications elements for the world’s first Jewish Children’s Museum in Brooklyn, NY. The communications elements reflect a mosaic of Judaism celebrating Jewish history, life, and culture in the context of today’s world. Elements include a thirty-foot sculpture of a dreidel, and a dramatic photo mosaic mural.

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Powerhouse Museum Wayfinding and Graphics Location: Sydney, Australia Completion Date: 2007 Design Firm: Frost* Designers: Vince Frost (Creative Director), Carlo Giannasca (Design Director), Quan Payne (Designer), Joanna Mackenzie (Architect/Project Manager) Photographer: Anthony Geernaert Client: Powerhouse Museum

Frost* won a competitive pitch to design a new internal wayfinding system for the Sydney Powerhouse Museum. Following extensive briefings and stakeholder consultations, a simple yet powerful system was developed. The scheme not only referenced the industrial history of the building, but also captured the essence of the modern design museum. Simple white monolithic blocks were designed and color coded according to the floor level with distinctive diagonal chevron bands and large scale stencilled floor numbers. The clarity and visibility of these signs help orient visitors in the labyrinth-like building. Other spaces in the museum are activated through the playful use of large scale colored words and numbers, that are applied directly to walls, ceilings and the underside of stairways.

VIEWS:

Sharing Experience "Bringing clarity to a complex visual environment, the signage and graphics evoke the power of the powerhouse and capture the essence of this modern design museum."

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Riverfront

Lance Wyman Ltd. 118 West 80th Street New York, NY 10024 tel.212.580.3010 fax.212.874.

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South Street Seaport Museum - Signage System

South Street Seaport Museum Materials: Signs are powder coated laser cut steel panels attached to welded steel tubular structures with frames that contain exhibit posters and museum site maps; Banners are canvas with nautical fittings; Museum buildings are painted using a special pallet of color. Location: New York, USA Completion Date: 2000 Design Firm: Lance Wyman Ltd. Designers: Lance Wyman, Mark Fuller Photographer: Lance Wyman Client: The South Street Seaport Museum

To unify the museum with a wayfinding system that identifies the museum site, together with surrounded ships and buildings; to develop a series of kiosks that display posters and museum schedules, and a site map that gives orientation and direction to specific exhibit areas, banner signs can mark each location. The first step was to update the existing museum branding image of a clipper ship docked in front of one of the seaport historic buildings. The name “South Street Seaport Museum” was added to the image in a way that could be stencil cut in steel for exterior site applications. Stencil cut signs enable the viewer to see through the sign, making a visual integration with the site. The information is clearly visible but the sign doesn’t create a billboard that blocks the view. The typography is in an antique font from the museum collection. The colors of the signage system are based on museum landmarks, the painted details of the ships in the museum collection. Banners containing the original New York Merchant signal flags create a lively atmosphere and are some historic references to the original seaport that was once at the site of the museum. A key element of the wayfinding system is kiosk structure based on forms associated with the seaport environment. It combines the idea of a typical “sandwich board” with a buoy, the nautical marker commonly used in harbors. They call the resulting synthesis a “Buoy-Boards”. Buoy-Boards are placed in critical locations to help visitors navigate the museum site. 278î 3î red band 1î gray band 24î black center

32î

1î gray band 3î red band

ìA MBROSEî Gangway Banners (two required) 32îH x 278î L 408î

4-1/2î red band 1-1/2î gray band 33î black center

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1-1/2î gray band 4-1/2î red band ìP EKINGî Gangway Banners (two required) 45îH x 408î L

All gold letters and icons are applied computer cut images. Art will be supplied by designer.

Provide 2 banners of each layout as follows:

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13oz matte finish reinforced vinyl banner material with 10oz color band details top and bottom edge (red & gray) heat sealed to background banner (black). Surface applied 3M vinyl computer-cut images from original art to be supplied in Illustrator eps. digital format. Grommets at 9î intervals. Color samples of actual materials and fastening technique will be submitted to designer for approval before fabrication of banners.

Gold (Bright Gold Metallic) Spar-cal Premium 1603 (106)

Peking Black Pantone Black C

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A3 A4 “A”East face

B3 B4 “B”East face

"The character and effectiveness of any wayfinding system are in large part a result of the language (word and/or images) used to convey identity, directional and interpretive messages. Words are formed from one or more languages and can be represented by a very wide variety of typefaces. Image methodologies can range from elaborate (pictorial illustrations and photography) to simple (color coding and symbols). Symbols can contribute simplicity, clarity and personality to a wayfinding system."

C3 C4 “C”East face

10’-2”

South Street Seaport Museum - Signage System

“C”West face

Banners - West & East Elevations

Lance Wyman Ltd. 118 West 80th Street New York, NY 10024 tel.212.580.3010 fax.212.874.6814 wycon@aol.com

Scale:1/4”=1’-0”

02.05.00

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“B”West face

16’-0”H - typ.

Sharing Experience

3’-0”W - typ.

South Street Seaport Museum - Signage System

“A”West face

VIEWS:

Banners - West & East Elevations

3’-0”W by 16’-0”H cloth banner with applied graphics on both sides.

Lance Wyman Ltd. 118 West 80th Street New York, NY 10024 tel.212.580.3010 fax.212.874.6814 wycon@aol.com

Scale:1/4”=1’-0”

02.05.00

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“D”West face

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D3 D4 “D”East face

Elevation faceing to the East. Scale: 1/4”=1’-0”

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Boinas La Encartada Museoa (Museum) Materials: Wood, Glass, Canvas, Vinyl Cutting, Sheet Iron Location: Balmaseda, Spain Completion Date: 2007 Design Firm: Zorrozua Asociados Designer: Maria Luisa Rodriguez Vita Photographer: Javier Larrea (Http://Www.Jlarrea. Com) Client: Dfb Diputaci贸n Foral De Bizkaia

This is a signage system for a museum in an old factory of berets. The factory still retains the old production machines and industrial environment of the early twentieth century. The idea of this system is to reduce the impact on the building, which should remain intact, so that all signal elements are exempt, with media created specifically for this. At the same time, they must have that air of industrial and factory sober turn of the century, so that the materials used are iron, wood, glass, etc. The system combines the tracer elements that guide the visitor along with showing you what you are watching. On the second floor, a translucent sheeting, placed with a tensor subject to floor and ceiling, shows visitors the different areas of the production area, allowing a glance that covers the entire process and has a more effective than the guide shows them. Also, in this way it creates a strong contrast between what are initially elements of the factory and what is added to turn it into a museum.

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High Museum of Art Signage and Wayfinding

You Are Here

Materials: Stainless Steel, Lightblocks Acrylic, Aluminum Location: Atlanta, Georgia Completion Date: 2003 Design Firm: Carbone Smolan Agency Designers: Ken Carbone (Principal), Susan Weingarten (Senior Project Designer), Lynn Paik (Designer) Client: High Museum of Art

Terrace Stent Wing Wieland Pavilion

Their task was two-fold: to address the specific needs of the new building but also to create a consistent vocabulary throughout the institution, knitting together all of the buildings, galleries and amenities. It’s the reinforcement of visual cues and messages that the visitor relies on when traveling through the building. The design also brings clarity to complicated spatial conditions, and on occasion, makes sense of architectural folly. The result is that comfort and orientation enhance the experience, leaving visitors with one memory: the splendor of seeing great art in an equally impressive architectural setting.

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Entry

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Family Learning Gallery

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Hill Auditorium Main Entry

Welcome to the Wieland Pavilion

Anne Cox Chambers Wing

Entry

This is the main entry to the High Museum of Art, one institution comprised of three connected buildings. We encourage you to take a complimentary visitor guide that will help you navigate through the buildings and collections. The guide will also assist in locating our various amenities and services.

To Galleries

Lounge

Terrace Entry

Table 1280 Restaurant

We hope you enjoy your visit.

VIEWS:

Terrace Stent Wing

Sharing Experience

Wieland Pavilion

To Galleries

Bridge Entry

At the High, named spaces are typically galleries and defined alcove areas, and the signage design employs a similar unobtrusive yet prominent aesthetic. Major orientation signs at elevators feature twin 10-foot high panels that are easily identifiable yet subtle in color treatment and materials. The balance of oversized signs with muted palettes relate to the building’s architectural details and alignments for an enhanced sense of integration. Michael Shapiro, the museum’s director, mandated that the signage and wayfinding be clear, functional and in harmony with the building.

( Lower Level)

Bridge

The goal of the environmental graphics at the High Museum of Art in Atlanta, Georgia was to stylistically integrate the museum into a larger complex of buildings while enhancing visitor experience. Recognizing the value of a smart signage and wayfinding system, the High contacted CSA after a successful project at their host campus, the Woodruff Arts Center. The High is a renowned institution with a collection of over 11,000 works of art including African art, American art, decorative arts, European art, folk art, modern and contemporary art, and photography. The scope of the project was expansive, encompassing exterior, interior, donor wall, administrative, and ADA/regulatory signage for the entire complex, including the iconic Richard Meier Building and three Renzo Piano additions. The High had undergone a range of enhancements, and it was crucial that the signage and wayfinding design show the visitors how to enjoy the improvements. Signage and wayfinding were essential elements in the new High because even the most beautiful architectural design would remain “mute” to the visitor until a wayfinding system provided direction for how to best to use and explore the building. CSA’s system design maintained a careful balance of functional elements, architectural scale and choice of materials.

To Galleries

"The key lesson we learned from this project was that grand architectural spaces can accommodate large scale signage without competing with an architect’s design. When the balance between the scale and the 'presence' of a sign is correct, it results in a visual harmony that reflects a sound collaboration between architecture and graphic design."

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Hill Auditorium Main Entry

You are on the Lobby Level

Anne Cox Chambers Wing

Entry

You are in the Anne Cox Chambers Wing.

To Galleries

Lounge

Terrace

There is no connection to the Wieland Pavilion on this level.

Entry

Table 1280 Restaurant

To connect to the Wieland Pavilion, please use the bridge on the Skyway Level.

You Are Here

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Sydney Park Playground Alphabet Signage Location: Sydney, Australia Completion Date: November 2008 Design Firm: Frost* Designers: Vince Frost (Creative Director), Bridget Atkinson (Design Director), Sarah Estens (Designer), Annabel Stevens (Design Manager) Photographer: Andy Stevens Client: City of Sydney

The All Accessibility Playground was a local project, where Frost* collaborated with City of Sydney Council to develop an alphabet signage system for a new playground designed for children and carers of all abilities. Children in the neighborhood community groups had nominated their favorite words for each letter of the alphabet, and their brief was to create a way of representing these words in the playground. Frost* created 3D objects and large-scale graphics to illustrate selected words, and placed near 26 Braille and

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tactile “Letter” signs bring the words to life in a playful way. Concrete cushions illustrate “A” for “asleep” on a shady bench, colored resin poured in jelly molds makes a pile of “J” for “jelly” near the café, “Z” for “zoom-off” is written down the side of the slide and “O” for “octopus” is made out of the mosaic tiling on the sand pit.

VIEWS:

Sharing Experience "Each of the 26 signs contains Braille and Auslan symbols as well as the written letter and a word that begins with that letter, bringing together the different ways in which people communicate. Interactive features such as sea creatures made from mosaic tiles, stone cushions and resin ice blocks are placed near the signs to bring the words to life in a playful way. To bring down costs, Frost* made use of existing elements in the park, pushing the team to create new and interesting responses."

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Islington Greenspaces Materials: 316 Shot-Peened Stainless Steel and Vitreous Enamel Location: London, UK Completion Date: 2009 Design Firm: fwdesign Client: London Borough of Islingtone

The “green spaces” challenge follows fwdesign’s ongoing partnership with Islington Council to enhance wayfinding and branding throughout the borough, by developing a bespoke signage and street furniture family of products. The Greenspaces department has always had its own identity. Their task was to redesign both identity and signage in a way that still allowed Greenspaces its own character, but within the overall identity they had already established elsewhere. Following the 100% success of the pedestrian wayfinding scheme and the complementary Greenspaces pilot p ro je ct, th e y were commi ssioned to undertake a comprehensive audit of the remaining green spaces. The audit provided the Council with accurate guidelines for the delivery of the signage system together with budgets for implementation.

transport and facilities. In key locations the signage system supports local history and interpretative information, “Find” modules that encourage visitors to look for flora and fauna, and “Listen” wind up talking modules as well as community information modules.

Six of Islington’s parks will have these innovative “talking” devices, each playing a threeminute voice message, one specifically for adults and another for children. The messages are scripted and produced by Year 9 pupils at Islington Arts and Media School. Islington is the first borough to introduce this technology into a London park environment. The talking devices are durable, cost effective, low maintenance and environmentally sound.

By the end of September 2009, Islington Council’s new parks signage scheme had rolled out 300 signs across all of its 127 Greenspaces. These range from Highbury Fields, its largest continuous open space (29 acres), to its pocket parks. Each has very different need, not just in terms of wayfinding, but to engage their own communities and promote local events. Fwdesign was commissioned to design a system that created a sense of place and built up local pride in the parks while encouraging higher usage. The solution is a modular and contemporary stainless steel sign system that carries information selected on a park specific basis from a matrix of information panels. The signage provides a welcome at entrances, pictograms indicating the facilities and maps of the park showing connections to local

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Republica de los Niños (Children’s Republic) Signage System Materials: Acrylic, Iron (For Structures), Steel Plates, Polycarbonate Location: La Plata, Buenos Aires, Argentina Completion Date: 2009 Designers: Daniela Mirás, Belén De Chazal, Santiago Crescimone Photographers: Daniela Mirás, Santiago Crescimone Client: República De Los Niños

Republica de los Niños (Children’s Republic) is a theme park located in La Plata, Buenos Aires, Argentina. It’s properly a republic that is specifically prepared in order to respect children’s height, therefore the buildings, as well as the doors, furniture and windows were built according to their scale. The park’s main didactic objective consists in teaching children about the social and institutional duties, the civil rights and state organization. Starting from an exhaustive investigation about the children’s space perception, they developed a large and complex system based in the social functions they mentioned before. The morphological concept is based in modular structures and basic shapes which are familiar to them. The system involves various sub-systems, which are planned depending on the specific zone inside the park. Some pieces consist in volumetric letters and symbols which generate a vivid interaction with children, who are able to learn the citizen’s life through their comprehension of the space.

Sharing Experience "In order to perform a vast and complex signage system it’s primordial to consider fundamental aspects, such as the way people apprehend the space (in this case, children perceive the space by interacting with other activities such as touching, playing or moving constantly). Apart from that, it’s very necessary to get involved with the people we are designing for, and also carry on an exhaustive investigation about the flooring, ground, space dimensions and types of communication. Therefore both people and space constitute the most important aspects while planning and designing every single piece of a signage system."

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National Zoo Materials: clear glass or porcelain enamel on steel graphic panels set into cast stone sign structures. Location: Washington, DC, USA Design Firm: Wyman & Cannan Ltd. Designers: Lance Wyman, Bill Cannan, Brian Flahive, Tucker Viemeister, Tom DeMonse Photographer: Lance Wyman Client: Smithsonian Institution, Washington, DC

To create a branding/wayfinding system for the 165-acre National Zoo, located in Washington’s Rock Creek Park, the designer utilizes the existing pedestrian walkway, and the main trail that winds through the park between it’s north and south entrances. The logo image for the Zoo combines an adult eagle, the USA national bird, with an eagle chick to express caring and continuation, important aspects of the zoo mission. The logo typeface is designed to be a structural part of the signage The letter “O” is the unifying element of the system. It forms a frame for the eagle logo, the zoo map and animal pictograms. The “O” is stacked to form “totem” structures that identify each of six trails that connect to the animal exhibit areas from the main trail. Each connecting trail is named after and identified by a color-coded pictogram of an important animal on that trail, (Crowned Crane Trail, Duck Trail, Elephant Trail, Lion Trail, Polar Bear Trail, Zebra Trail and more). Tracks of each the six animals are used on the zoo map and on the actual trails to help

visitors find their way with a minimum of signs. The “ZOO” entrance sign made of cast stone with glass panels containing the eagle image and the zoo name set into the “O” letters. The totem structures are cast stone with porcelain on steel panels containing animal pictograms and directional information. Each of the Zoo’s services is identified with an icon.

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Lugar de las Aves (Place of the Birds) Materials: Galvanized Iron, Flatbed Prints, Thermoconvertible Paint. Location: Buenos Aires, Argentina Completion Date: 2009 Design Firm: Diseño Shakespear Argentina Designers: Juan Shakespear, Martina Mut, Gonzalo Strasser Photographer: Alejandro Calderone Client: Fundación Temaiken

The most ambitious aviary in South America was recently opened at the Biopark Temaikèn. It is conceived as a complex stage scene that recreates the environments of 2500 birds, more than 200 species in the five continents. The routes are planned to allow the visitors to enter and exit the enclosures of birds as they walk. The wayfinding plan is designed and built using the same materials and principles of the enclosures, frequently sharing structural standing points. The location and size of every sign is one of the bastions of the system. The aviary is divided in continents and each one of them is identified with a different color.

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Sharing Experience "A way-showing system is not a group of signs placed in a given place. They must be part of the conceptual and cultural context in which they appear. They are parts of the identity of the place, beyond their functional aspect."

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Zeche Zollverein

PARKLEITSYTEM INTERN

Materials: Cast iron models, powder coated steel, aluminum, semitransparent and special light bunching perspex; Traffic road markings paint with reflective parts, foil cut typo, digital printing Location: Essen, Germany Completion Date: 2010 Design Firm: F1RSTDESIGN Designers: Christopher Ledwig (Principal in Charge), Aysin Ipecki (Project Manager), Harald Steber, Anna Weber, Bettina Feldhausen, Andreas Marks, Till Armbrüster. Photographer: Christopher Ledwig Client: Landesentwicklungsgesellschaft NRW

INTERNAL PARKING GUIDANCE

B A

SCHACHT XII

HOUSE NUMBERS

BILL BOARD FOR POSTERS

PAVILIONS

Their design intention is to create a signage system without conventional signs. It is conceived to guide with minimal yet distinctive clues rather than confusing by installing a forest of signs. The keynote is: silent in terms of quantity-loud in terms of quality. It introduces a great variety of tools such as personnel, 3D cast iron miniature models, ground markings, lightened panels as well as printed media in a combination of low tech (cast iron, milling) and high-tech (LEDs, anodizing printing) methods.

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BANNER

Zeche Zollverein is an abandoned coal mine in Essen (Ruhrgebiet/Germany), which has been listed as UNESCO World Heritage site in 2001. The challenge of the wayfinding system is to answer the needs of 500,000 visitors a year while at the same time cope with the strict regulations of the monument conservation.

The ideal way to guide: from man to man. Personal assistance is available during peak seasons and special big events at pavilions near all entrances. The haptic way to guide: from a miniature representation of the original. The visitors finds miniature scale casting iron 3D models of the complete area at all entrances. The huge dimensions become immediately clear as well as the visitors‘ positions and destinations. Chimneys and high buildings help to get an overview Zollverein has an unique topography.

DOOR BELLS

TENANTS’ PLATE

MODELS ON-SITE

PLAN

TYPOGRAPHY ON GROUND / RING PROMENADE

ELEMENTS OF THE WAYFINDING SYSTEM Several elements are used in a flexible way in terms of quantity and location.

The transportable way to guide: printed maps for take-away. Maps are leading the visitors along their paths. They are regularly updated with event dates. Painted type on the ground keeps the information out of the visitors’ vertical sight. House numbers and doorbells panels support the wayfinding process. The city of Essen is selected to be the Cultural Capital of Europe in 2010. Zollverein is the main event location.

PERIPHERY

ENTRANCE

TENANTS’ PANEL

RECEPTION: WELCOME...!

AREA

RING PROMENADE

AREA

DESTINATION

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VIEWS:

Sharing Experience "The conceptual design of a wayfinding system has to start as early as possible in the phase of construction to achieve a suitable solution. Our goal is to develop something like an intarsia instead of an additional and often distracting elements. It is our mission to create an uniquely interacting instead of interfering solution for each individual site or building."

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Castles and Palaces Signage System Location: Rhineland-Palatine, Germany Completion Date: 2005 Design Firms: Jv Adler & Schmidt KommunikationsDesign, Meuser Architekten, Adler & Schmidt Kommunikations-Design (Logo Design) Client: Landesbetrieb Liegenschafts-und Baubetreuung (LBB), NL Koblenz

In future, visitors to sites around the Rhine and Moselle that belong to UNESCO World Heritage shall be guided through the national castles, palaces and antiquities by means of a uniform guidance and orientation system. In accordance with the â&#x20AC;&#x153;No signs!â&#x20AC;? motto, a working group made up of the two firms Adler & Schmidt Kommunikations-Design and Meuser Architekten developed a system that does away with signage, which distorts the architecture, by using a mixture of different communica-

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tions media instead. The architecture should speak for itself. The historic buildings should be freed of superfluous command/prohibition signs. When selecting carriers of information, the designers reverted to classic forms of signaling like flags, banners and wall inscriptions, as well as traditional materials like fabric, stone and bronze. Added to that was interactive touch-screen terminals. The first property to be equipped with the new system was the Ehrenbreitstein Fortress at Koblenz in 2005. The various communication points are differentiated initially by using landscape analysis: The objects can be seen from afar, at source points such as bus stops, access roads or entrances. Guide points are situated in the terrain wherever the pathway permits more than one direction. Destination points designate all trackable sites that are confirmed destinations. They are divided into historical/museum and service destination points. Off-road signage is limited to offers of services such as visitor services, catering or toilets, etc. However, historical/museum objects are not indicated in the terrain itself, but are to be discovered and identified by the visitors themselves. A substantial part of the concept consists of a leaflet in German, English and French, containing an outline map with information on historic buildings and services.

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Epping to Chatswood Rail Link Wayfinding and Signage Location: Sydney, Australia Completion Date: February 2009 Design Firm: Frost* Designers: Carlo Giannasca (Design Director), Joanna Mackenzie (Architect/Project Manager), Bridget Atkinson (Designers) Photographer: Andy Stevens Client: Transport Infrastructure Development Corporation

Frost* formed part of the successful design team who won a tender to deliver the architectural and design services for the Epping to Chatswood Rail Link. The new line links the North Shore Line and the Northern Line proving a fast rail connection from the city via Chatswood and onto the fast growing north-west corridors. Hassell conceived the three underground stations at North Ryde, Macquarie Park and Macquarie University and the redeveloped Epping Interchange as large light filled volume spaces, with simple movement patterns utilizing a robust yet elegant palette of materials, including terrazzo, metal panel, stainless steel, glass and timber. The signage utilizing the City Rail manual as a base was modified to suit the large volume spaces. Where possible the signage was incorporated into the wall surfaces to minimize maintenance and retain the simplicity of the volumes. A blue internally lit datum line was created to establish a zone that all directional information was presented to the user, to aid in navigation of the station spaces and surrounding precinct. Operational signage was modified to create a uniform family of signs, applied in a consistent manner to ensure the clarity of the architectural environment was not compromised.

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T5, Heathrow Materials: Powder-Coated Aluminum Extrusion, Acrylic, Lighting Hardware Location: London, Uk Completion Date: April 2008 Design Firm: Merson Sign Design Designer: T5 Blended Design Team Photographer: Gavin Mcmurray Client: Baa

The design and construction of Terminal 5 was a once in a lifetime opportunity to redefine air travel. The aim was to replace the queues, the crowds and the stress with space, light and calm. The wayfinding signage played a significant part in this plan by ensuring airport users to navigate their way around the complex easily, in a relaxed and stress-free manner. The blended design team comprising of Merson Sign Design, Pascal & Watson, interfacing contractors and BAA had to balance an unusually wide range of factors when devising the optimum solution for the wayfinding scheme. These included aesthetics, weight, material selection, sustainable construction and power consumption as well as critical building interfaces. A rigorous 14-month design process produced an entirely new signage system, which achieved all the key design objectives while helping to create an easy-to-navigate, state of the art airport facility.

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Taiwan High Speed Rail Signage & Wayfinding Design Taiwan Materials: Aluminum, Stainless Steel, Polycarbonate & Vinyl Location: Taiwan Completion Date: 2007 Design Firm: Atelier Pacific Designers: Nic Banks, Andy Niven, Winnie Suen, Vicky Zheng, Joe Wu Photographer: Atelier Pacific Client: Taiwan High Speed Rail Corporation

providing a quality 300km/hour inter-city rail service traveling along Taiwanâ&#x20AC;&#x2122;s western corridor between the capital city of Taipei and Kaohsiung. Atelier Pacific led an international consultant team with a graphics consultant from Australia (Garry Emery Design), an M&E consultant (WSP) and the cost/program consultant (WT Partnership Ltd.) both from Hong Kong, and a local construction consultant from Taipei (Rich Honour International Designs Co., Ltd.).

The Taiwan High Speed Rail Corporation commissioned Atelier Pacific to design the interior and exterior graphics and signage for all 8 stations of the new rail system

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Wayfinding, Signage And Map for Metro Rotterdam

These conceptual changes in naming and depiction of the lines take shape in the content and design of the metro map, the signage in the stations, the static information in the metrotrains, and the dynamic signage in stations and metro trains.

Materials: Enamel Sheets, 3M Sticker Material Location: Rotterdam, the Netherlands Completion Date: 2009 Design Firm: Mijksenaar Photographer: Joris van Dooren Client: RET

Mijksenaar has developed the concept and design for a new map of the metro (subway) lines in Rotterdam, as well as the corresponding signage in the stations. The goal is to make traveling by metro easy and carefree for daily as well as incidental travelers. Every year the public transport company Rotterdam (RET) transports 78 million customers by metro. As from December 2009 the Rotterdam network of metro lines will no longer be shown by means of two lines, with one line branching off in three directions. Instead a separate line will be depicted for each terminal station. The resulting five lines are identified by an unique letter and color, and the direction is indicated by the name of the terminal station of the line.

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St Pancras International Station Materials: Stainless steel casings with laser-cut text and acrylic inserts Location: London, United Kingdom Completion Date: 2007 Design Firm: Transport Design Consultancy (TDC) Designers: Tony Howard, Chris Girling and Geoff Holliday Photographer: Paul Childs Clients: Union Railways / London & Continental Railways

engineer William Barlow (original designer of St Pancras station), the Barlow font was designed specifically for a station environment, taking into account demands for a high degree of legibility in a busy space as well as accessibility criteria. TDC developed all graphic standards and signage hardware for St Pancras in consultation with English Heritage, including the main exterior station name sign and specifications for the control of the application of rail operator branding at service portals and detailed guidelines for control of the retail signing system.

The newly restored St Pancras International station presented many challenges for wayfinding strategy and signing design because of the unusual layout of the terminus and having to maintain the architectural integrity of the historic station building. Since the former station basement or undercroft was being transformed into a premier retail environment, TDC needed to devise a public transport signage system that would stand out against the commercial signing of the various shops and restaurants in areas mainly lacking in natural light. To aid passenger orientation, there is one standard signing system throughout the station, specifically developed for St Pancras to meet strict visual criteria insisted upon by English Heritage (the UK body charged with the preservation of historic buildings). All directional signs use illuminated text and graphics against a nonilluminated background. Eurostarâ&#x20AC;&#x2122;s signing standard is utilized in international areas, and modified to follow the same sizes, layouts and fixings as the signing in the rest of the station for continuity. In many situations, signs have to fit between the original cast iron columns in the station undercroft, limiting the width of the signs. TDC commissioned typeface designers Dalton Maag to develop a bespoke condensed font to accommodate directional text within the signsâ&#x20AC;&#x2122; available line length. Named in honor of the nineteenth century

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VIEWS:

Sharing Experience "Using a similar technique to retail signing, laser-cut letters are set into the metal sign face so only text and accompanying graphics are illuminated, resulting in high quality signs with strong visual contrast. Consequently, it was possible to avoid the use of large illuminated light boxes which had been ruled out by English Heritage. Open and unambiguous character shapes aid the readability of the Barlow typeface so that it complies with accessibility regulations adopted by the Strategic Rail Authority in the UK. The station name sign on the exterior of the building is lit by blue LEDs behind opal acrylic, making the sign appear to change color from white to blue as darkness falls."

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Dubai Metro Materials: Acrylic faced signs with 3M vinyl graphics Location: Dubai, United Arab Emirates Completion Date: 2009 Design Firms: Transport Design Consultancy (TDC) Designers: Tony Howard, Chris Girling, Oliver Parrish and Debbie Osborne Photographer: Paul Childs Clients: Dubai Roads and Transport Authority (RTA), Government of Dubai

Dubai Metro launched in September 2009 is the first passenger railway in the Gulf region and will be one of the largest fully automated Metro systems in the world when services are fully rolled out. The Metro is part of Dubai’s strategic plan to improve the urban environment and reduce air pollution through less reliance on private vehicles.

public signing and the detailed elements that make up directional, name and location signs as well as statutory, fire and emergency signs for safe station operation. The wayfinding challenge was to establish a system that would be easily understood by a local population who are not generally used to travelling on public transport and navigating large stations and interchanges. Recommendations on the presentation of passenger information via poster, notice, diagram and electronic signs were also covered, including location maps, system and line maps, timetables, prohibition notices, door signs and real-time digital messages. Key to the clarity and striking appearance of the signage system is the use of a new duallanguage font commissioned by TDC from specialist typographers Dalton Maag. The new font (named “TransportDubai”) is a bespoke Arabic typeface that includes a complementary Latin version for English text. The Arabic text needed to appear modern and forward looking, while maintaining a sobriety in script traditionally routed in calligraphy. The designers developed pictograms and directional graphics including arrows so that they are clearly defined for barrier-free access and match the line weight and style of the font.

The project for Dubai RTA was primarily concerned with

VIEWS:

Sharing Experience "The Dubai Metro project has formed the basis for the design of integrated transport signage across the Emirate, encompassing other modes of travel including marine transport. The signing system has clarity and an international ‘look and feel’ that augments the station architecture and stands out against the highly decorative station interiors. The design is also unique to the Gulf region, reflecting modern Dubai while respectfully taking into account traditions of Arabic culture."

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Channel Tunnel Rail Link (CTRL) Stations Materials: Stainless steel, aluminum, acrylic Location: Ebbsfleet, Kent, UK Completion Date: 2009 Design Firm: Transport Design Consultancy (TDC) Designers: Tony Howard, Chris Girling Photographer: Paul Childs Client: Union Railways / High Speed One

The completion in 2007 of railway line High Speed 1, formerly the Channel Tunnel Rail Link, and the opening of St Pancras International Station meant that rail journey times from London to Paris, Lille or Brussels were at least 20 minutes quicker. As part of the development of High Speed 1, two new stations were built en-route to St Pancras at Ebbsfleet in Kent and Stratford in South-East London. Ebbsfleet International Station and Stratford International Station were designed by RLE Architects and are strikingly modern buildings when compared to St Pancras. Both stations have a similar design and floorplan. TDC was responsible for designing and implementing signage and wayfinding at both stations in line with the graphic standards developed for St Pancras but taking account of differences in passenger circulation and station use. Ebbsfleet International opened for international rail services in 2007 and high speed commuter services from Kent to London started in 2009.

VIEWS:

Sharing Experience "Given Ebbsfleet International is located near a major road and motorway interchange and mainly reliant on passengers arriving via private car or bus, the importance of adequate road signing cannot be overstated. TDC liaised with Kent County Council over the content and provision of road signs around the station environs. Other devices were used to help passengers identify the station building at Ebbsfleet and main access routes, including gateway signs, entrance totems, lamppost banners and flags."

TDC also designed signage and wayfinding for UK rail operator Southeastern for their services from the station, including customer information and location totems. Car park signing is an important element of the wayfinding package at Ebbsfleet International as it has park and ride facilities available for over 5,000 vehicles. Stratford International opened for domestic rail services in 2009 and will be an important terminal for people travelling on both international and UK rail services to visit the London Olympics in 2012. TDC has designed signing and wayfinding for the station to take account of current commuter services as well as interchanges with Docklands Light Railway and London Underground. The station signage will be updated over time as the opening of the London Olympics approaches.

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World Square Carpark Materials: Heavy Duty Exterior Paint, Stainless Steel signage, light boxes, directional road marking paint Location: Sydney, Australia Completion Date: 2007 Design Firm: BrandCulture Designers: Stephen Minning (Creative Director), Bobby Rakich (Designer) Photographers: Kris Baum, Stephen Minning Client: World Square Award: Society for Environmental Graphic Design, Merit Award, 2010

Traditionally, car parks are uninviting and disorientating, sometimes to the point of being dangerous. BrandCulture were intent on turning this around with the World Square Car Park, by creating a welcoming environment that was simple to navigate and easy to understand. Located in the heart of Sydney’s CBD, the World Square Car Park is an amalgamation of several car parks situated under the new developments, which makes up the largest multi-functional complex in Australia. Covering an entire city block and bordered by four of Sydney’s busiest streets in the CBD, it is home to a retail centre, residential block and hotel. They were engaged to research and propose the best solutions for getting cars and people around with minimal confusion and stress. Our research showed that car parks were often quite dangerous and with poor identification of exits and emergency equipment. Pedestrians were often not considered in car park planning and design, leading to problems for

people trying to return to their car and recall which floor they were parked on. Considering that World Square was an amalgamation of sites into one “super car park”. This meant that these issues were compounded.

In response to the research, they applied innovative wayfinding principles of cognitive mapping and circulatory navigation combined with integrated and intuitive design for the best outcome. The solution to the challenge for pedestrians came through establishing two lines of sight: the first visible from motor vehicles, using full height icons, giant type and bold colors; and the second from the more elevated position of a pedestrian standing. This experiential factor became a differentiator between this car park and so many others around the globe. Meanwhile, every graphic element, color placement and typography was considered for its ability to communicate information concisely and consistently. Playful, super-scaled level numbers and icon graphics were combined with blocks of bright, punchy and memorable colors to help orient drivers and pedestrians from the moment when they arrive at World Square. The graphics, reminiscent of paper stencils, contrast the building’s heavy use of concrete and add an element of fun to an otherwise gloomy environment. The block colors reflect onto surrounding concrete surfaces to create a warm glow and imprint the color in the memory for easy navigation back to the car. The result has achieved industry-best recognition.

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Sound Transit Materials: Painted Aluminum Panels with Silkscreen Graphics, Porcelain Enamel and Phenolic Resin Graphic Panels, Phenolic Resin Map Panels, Full Lexan Insert Panels Location: Seattle, WAS USA Completion Date: 2004 Design Firm: Two Twelve Designers: David Gibson (Principal in Charge), Tad Turner (Creative Director), Cesar Sanchez (Creative Director), Alexandria Lee (Designer), Jean Lambertus (Designer), John DeWolf (Designer), Dominic Borgia (Director of Technical Design) Photographers: Jon Bentz, Darlene van Uden Client: Sound Transit

Washington State’s Puget Sound region, with some of the worst commuter traffic in the nation, initiated Sound Move, a 10-year transit plan for a new multi-modal transit network–commuter rail, light rail, and express bus–covering 80 miles and 30 jurisdictions. Two Twelve, in close collaboration with Seattle-based Maestri and Jon Bentz Design, has developed the information and signage system for Sound Transit, this new transportation network. Two Twelve designed the identity, the extraordinary level of customer information, and maps that support a seamless customer experience among the three modes of travel. In keeping with a rapidly growing multicultural community, the design for Sound Transit makes use of internationally recognized icons to help riders easily identify their destinations and navigate this regional transit system.

VIEWS:

Sharing Experience "All designs and construction details are documented in the System Wide Signage Design Manual that ensures consistent implementation of the communication design and the sustainability of the sign system over the long term."

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Signage System Car Dealer Pappas Location: Salzburg, Austria Completion Date: 2006 Design Firm: Büro Uebele Visuelle Kommunikation Designers: Beate Kapprell (Project Manager), Andreas Uebele, Akzidenz Grotesk Bold (Principal Typefaces) Photographer: Andreas Körner Client: Pappas Salzburg

Wanted: communication barriers. The dealership is a drive-through sculpture. So the design of the signage system for vehicles responds by providing a guided tour. Destinations appear in large black letters on white crash barriers: car wash, car park, service, sales. The familiar form of the crash barrier guides visitors to their goal. Parts & accessories: The color scheme of the signage System, black and white has to fit discreetly with the colorful world of the brand and the architecture. Pictograms by otl aicher underpin this functional quality, as does the timelessly beautiful, apparently characterless “akzidenz-grotesk” typeface. Because the information also needs to be legible at a distance of 20 meters, a font size of 445 mm was chosen. Inside the building the barrier motif is echoed in different form. Suspended white metal strips with black writing point to destinations, and black metal strips with white writing indicate locations. The folded aluminum construction corresponds to the floorplan

of the architecture. The strips are located above head height for optimum flexibility and legibility. Type approval: The standard akidenz-grotesk bold is laid over the curves of an Armco-style crash barrier when you look at it, from any angle, the height of the letters is compressed by the curved surfaces, because part of each letter lies at an angle to the eye. This makes the letters look vertically compressed. In order to restore the correct proportions, breaking all the rules, then the letters were compressed horizontally by one quarter now. When they are applied to the barrier, they look just like the standard type.

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SchlossstraĂ&#x;e Parking Garage Materials: White, Green, Maganta And Purple Wall Paint Location: Berlin, Germany Completion Date: 2008 Design Firm: Groupe Dejour Designer: Joerg Walter Photographer: Joerg Walter Client: Buero Gold

significantly, but an early evolutionary stage of the font can be found below the ground in a parking garage in Steglitz, Berlin.

While Groupe Dejour, a Berlin based design studio, was working on a new typeface (the Port Font), they were asked by an architecture studio, Buero Gold to develop a guidance system for a parking garage. The goal was to create an unique and cutting edge system. Groupe Dejour decided to use a selection of bright colors for each floor and large typeface (1200 Pt.), in a 45 degree arrangement to achieve a very loud visual effect and a guidance system based simply on typography. The type is in fact literally cutting edge as it overlaps on the side of the doors. Since then the port font has changed

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Sharing Experience "Decorative guidance typography is primarily informational in its character but can also become highly decorative. In this project, typography provides both the information and decoration, although the guidance details for a parking garage is relatively limited in scope."

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Mexico City Metro Materials: Exterior signs are internally illuminated vacuum formed acrylic panels set into steel frames mounted on painted circular steel poles; Interior signs are laminated plastic set into painted steel frames; Clay tiles of the icons were made for station walls. Location: Mexico City, Mexico Design Firm: Lance Wyman Ltd. Designers: Lance Wyman, Arturo Quiniones, Francisco Gallardo Photographer: Lance Wyman Client: I.S.T.M.E., Mexico City

The Metro logo is three lines cutting into a square that forms the letter “M”. The square represents the “Zocolo”, the symbolic center of Mexico City. Each of the Metro stations is identified with a pictorial icon. Each of the station icons visually relates to an important aspect of the station area it identifies, an image from history, an image of an existing structure, an image dictated by the station name, or an image depicting an important activity in the station area. Each icon is designed so that it can be identified in any of the spoken languages. When people from a foreign country are visiting Mexico City, they can give each other simple directions in their own language. For example, the Metro station named Insurgentes (a difficult name to say and to remember) is identified by an icon of a “bell” (the march of independence comes down Insurgentes Avenue, so the bell symbolizes Mexican Liberty) “We will meet at the Bell station” can be easily said in any language the visitors might speak, eliminating the need for remembering a difficult name or reading Spanish. As an easy reference to help a passenger navigate the sequence of stations, a line map of icons is located over each of the car doors on the interior of the trains. The maps are orientated with the route the train is traveling. A passenger sign banding with a repetition of the station name and icon is on the walls of each station. A custom typeface based on the geometry of the Metro “M” logo is utilized on all signages.

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Sharing Experience "Two basic ways we learn to represent and communicate the objects, actions and feelings in our lives are with words and images. Words are an effective method of communicating complicated interrelated ideas. It is symbols however that can communicate across the language barriers created by words. As obvious as that might sound, it is easy to overlook symbols when planning and designing a wayfinding system."

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The Van Nuys Flyaway Los Angeles World Airport Materials: Aluminum Panels, Printed Vinyl Graphics, 3m Vinyl Digital Location: Van Nuys, USA Completion Date: 2007 Design Firm: Sussman/Prejza & Company, Inc. Designers: Paul Prejza (Principal in Charge), Miles Mazzie (Project Manager), Hillary Jaye (Senior Designer), Hsin-Hsien Tsai (Senior Designer) Photographer: Jim Simmons Client: Los Angeles World Airport

The Van Nuys FlyAway is a part of the Los Angeles World Airports’ system of regional satellite depots that service Los Angeles International Airport (LAX) via a park and ride bus system from the San Fernando Valley. The newly renovated and expanded terminal functions as a remote airport terminal with flight and baggage check-in services. It is estimated that the FlyAway system eliminates 2,000plus cars from Los Angeles County roads and freeways each day, helping to reduce traffic congestion and air quality pollution. As part of the facility expansion, they designed a new identity/logo for the Flyaway, which in turn became the starting point for work on the facility’s wayfinding and bus graphics. The identity and signage program is designed to look and feel like an extension of a modern airport. The long and thin architectural elements of the structure are

reflected in the graphics program as dramatic lines, clean minimal details and textured metallic finishes. The signage program is designed to enhance and expand the bus service identity. The transit buses, which are the heart of the system, are beautiful and more importantly visible at busy LAX and create a clear connection to the LAWA system and help identify the FlyAway terminal. Its unique color separates it from many other high occupancy vehicles (HOV) that crowd LAX. The bus graphics also serves as a moving advertisement for the FlyAway’s services.

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Eureka Tower Carpark Materials: Paint On Wall Location: Melbourne, Australia Completion Date: 2006 Designer: Axel Peemoeller Client: Emery Studio

The idea for the way finding system in the Tower Carpark is based on an optical illusion. Viewing the graphics from the right point of view, the typography becomes a clear picture and perfectly readable; moving away from the right point of view the, typography falls apart into random shapes. At certain position where the user needs information to navigate in the carpark, the necessary information appears while the others are just in distorted shapes on the walls. Moving further the next relevant information starts aligning. The bold and oversize typography indicates the directions “In”, “Out”, “Up” and “Down” which are also color coded. The intention is to create and graphically stimulate environment in the carpark which by nature normally is quite boring and also use this to improve the wayfinding in the entrance area. The influence for this idea is based on the art work by Felice Varini.

VIEWS:

Sharing Experience "Way finding should be more than telling people on signs where to go to. As it fuses two-dimensional with three-dimensional design which then gets applied in a physical fourdimensional space, it can be a real happening and lasting experience. Not just the functionality and beauty are important, to me it is the experience you can make by entering the way finding system."

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St. George Station â&#x20AC;&#x201C; Staten Island Ferry Terminal Materials: Exterior roadway signs are fabricated painted steel prism structures mounted on circular stainless steel columns; Pedestrian pylons are fabricated stainless steel structures that contain orientation maps and directional signs; Stencil cut stainless steel letters and symbols are mounted to the tops of exterior signs; Interior overhead signs are fabricated steel prisms with a fired porcelain enamel surface. The sign messages are stencil cut letters and symbols that can be easily removed and replaced with new messages with out damaging the surfaces of the signs; Wall signs are internally illuminated stainless steel prisms with translucent white acrylic letters and symbols embedded flush to the surface of the sign; Flat wall signs are cast magnesium with raised tactile messages in text, symbols and braille. Location: Staten Island, USA Completion Date: 2005 Design Firm: Lance Wyman Ltd. Designer: Lance Wyman Photographer: Lance Wyman Client: HOK Architects, New York

This is to create a branding/wayfinding family of signs that is compatible with the contemporary architecture of the terminal and the harbor atmosphere. It is accomplished by referencing the terminals landmark sail canopy as a background on the signs and using the form of a prism as sign structures. The prism suggests forms common to the waterfront, the hulls and propellers of boats. The prism is also a good structural form that works well for overhead signs, tipping the messages down for comfortable viewing, so the signs seem friendly. When a prism is used as a projecting wall sign, the messages can be read from any viewpoint, from either side and from the front view of the sign. Signs that are exposed to the salt air of the harbor are made of stainless steel to avoid rust and corrosion. The exterior pylon is a curved stainless steel prism that suggests the waterfront winds and the curved structure of the terminal sail canopy.

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Sharing Experience "Sometimes a family of signs can be based on one simple form. The "prism" is a good form for signs. When used as overhead signs it tips the messages down for comfortable viewing. When used as wall mounted signs the messages can be read straight on, as well as from either side. These signs are visually compatible with the harbor atmosphere, as their prism shapes suggest the hulls and the propellers of the boats."

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Penn Station Materials: Exterior signs are fabricated stainless steel letters over the entry doors and silk screened aluminum pole mounted panel signs. Location: New York, USA Design Firm: Miho/Wyman Designers: Tomoko Miho, Lance Wyman Photographer: Lance Wyman Client: HOK Architects, New York

This is to evaluate the existing signing system of the station and develop a new wayfinding plan that would incorporate the new branding developed by Amtrak, the station’s major tenant. The program includes orientation maps of the station showing exterior entry ways, interior service areas, and connections to the New York Subway system. An icon of a train was developed specially for the station to identify the entry points to the tracks. The standard USA Department of Transportation symbols were used to identify station service areas, overhead and wall flag signing a porcelain enamel on formed steel. Identification signs on the station platforms have panel areas for fine art panels. A sequence of “Penn Station” map signs show large street names and city blocks. And a continuous red arrow inform taxi and other car service drivers there is only one entrance to the station that is accessible to a person in the wheelchair. The maps are orientated to the direction the driver is traveling as he comes to each sign which indicates the remaining distance to the accessible entrance.

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Rail Runner Express Materials: Fabricated Steel Sign Units Mounted On Circular Poles Or Suspended From Station Canopies; Printed Maps Are Housed In Painted Steel Kiosks With Glass Doors. Location: Belen To Santa Fe, New Mexico, USA Completion Date: 2008 Design Firm: VWK, Albuquerque & Lance Wyman Ltd. Designers: Rick Vaughn, Lance Wyman, Steve Wedeen, Pamela Chang, Chip Wyly, Jamie Jett Walker, Kyu-Chang Shin Photographer: Lance Wyman Clients: Mrcog (Mid-Region Council of Governments of New Mexico), Nmdot (New Mexico DepaRtment of Transportation)

state flag. The major station identification signs are designed as vertical pole structures with attached information sign modules. This type of structure is based on traditional railroad signals and is an effective way of displaying information. Its signs are visible from vehicular and pedestrian approaching to the stations, and from the windows of the trains. The signs and icons of the wayfinding system are designed to give Rail Runner passengers clear, user-friendly information in a way that reflects the history and spirits of the American Southwest.

This is to design a branding/wayfinding system for the Rail Runner Express, a new commuter train system in the state of New Mexico that runs between the cities of Belen in the South and Santa Fe in the North. The system logo is an image of the Road Runner, the state bird of New Mexico. The Road Runner logo is prominently displayed on the sides of the trains. Each of the stations is identified by name and by an icon that represents something important to the station area. The station icons are designed on a tile grid, suggestive of the early Spanish colonial tile work in the region, and capable of minimal reduction on digital devices where the tiles become pixels. The yellow and red color scheme of the system is based on the colors of the New Mexican

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Subte – Phase Materials: Strucutural Iron, Acrylic Location: Buenos Aires, Argentina Completion Date: 2007 Design Firm: Diseño Shakespear Argentina Designers: Juan Shakespear, Ronald Shakespear, Lorenzo Shakespear Photographer: Alejandro Calderone Client: Metrovías

The Subte is the underground transportation network of Buenos Aires, the seventh transports in the world in being built today, about one million passengers daily. To update the program designed also by Shakespear Design between 1994 and 2000, the 2007 intervention took the main entrances as a subject to gain visibility and prestige for the service.

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VIEWS:

Sharing Experience "The rounded signs work effortlessly in the strict orthogonal landscape of the city and project order, identity and modernity. They are, of course, semantically related to the rest of the way-showing program unifying the whole network and enhancing its efficiency."

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Mount Airy Casino Resort Materials: Aluminum, Acrylic Location: Mt. Pocono, USA Completion Date: October, 2007 Design Firm: SP+O Designers: Aaron Pinkston, Rachel Ver Steeg, Stuart Wade Photographer: Rick Davis Photo Communication Client: Mount Airy Casino Resort

The first stand alone casino in the state of Pennsylvania, SP+O was contracted to develop the environmental graphics, interior and exterior wayfinding for both the hotel and casino. This project replaced the existing Pocono honeymoon resort known for mirrored ceilings and heart shaped tubs. Leaving this aesthetic behind and wanting to move forward with an image of the classiest casino/ resort in Pennsylvania, the owners asked SP+O to create a system that reflected the rustic Pocono feel with a sophisticated, upscale aesthetic for the casino. The hotel signage needed to reflect its own identity while feeling related to the casino. Playing on the half timbered, mountain character of the architecture of the resort, SP+O developed a system that used the concept of expressed structure while using contemporary materials on the casino side to reflect the fun and action of the gambling operation. Consistency is achieved by carrying the design from the exterior to the interior through the use of color. Once in the hotel, the concept softens through the introduction of wood that reflects the more domestic character of the hotel. This project includes the design of gateway pylons, entrance signage, exterior and interior identification, exterior and interior wayfinding as well as the development of retail and restaurant signage.

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International Commerce Center Signage Design Hong Kong Materials: Aluminum, Stainless Steel, Polycarbonate, Vinyl & Smoked Glass Location: Hong Kong Completion Date: 2009 Design Firm: Atelier Pacific Designers: Nic Banks, Glory Wang, Sandy Tsui, Peter Ho, Herbert Yeung Photographer: John Butlin Client: Harbour Vantage Management Ltd.

This project is part of a large–scale urban development situated on top of the MTRC Airport Express Line Kowloon Station developed in 7 phases. Phases 1 to 4, strata–sale residential units, were completed first and includes “The Arch”, one of the most prestigious residential development in Hong Kong. The subsequent phases included “Elements”, a high-end retail mall; serviced apartments; and the W Hotel. The 7th and final phase of the entire development – ICC – is a 490 meters, 118-stories commercial tower with a total gross area of over 3 million square feet, completed in phases between 2008 and 2010. All of these

areas needed to be comprehensively signed such that all visitors and users may orientate themselves and travel through the complete development without concern or confusion. Hence, Atelier Pacific’s role as Signage Design Consultant was to ensure the success of such a signage system.

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LOHAS Park Signage & Wayfinding Design Hong Kong Materials: Laminated Bamboo, Granite Stone & Stainless Steel Location: Hong Kong Completion Date: 2009 Design Firm: Atelier Pacific Designers: Nic Banks, Keith Moody, Geoff Yeung, Peter Ho Photographer: Vincent Kwok Client: MTR Corporation Limited

undertaken in Hong Kong. When completed around 2015, the mixed-use development will consist of residential apartments, community facilities and ample open spaces inclusive of a central park, active nature areas and a promenade along the waterfront. Atelier Pacificâ&#x20AC;&#x2122;s role as Signage and Wayfinding Design Consultant, included preparation of a Master Signage Conceptual Plan, which incorporated a site-wide wayfinding strategy with proposed signage locations categorized into three essential types â&#x20AC;&#x201C; common areas; recreational areas, and residential developments â&#x20AC;&#x201C; for the dedicated detailed designers to follow.

This 32-hectare development at Tseung Kwan O (TKO) is the single largest planned residential development ever

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SW1 Materials: Recycled Timber, Powder Coat Steel, Aluminum Location: Brisbane, Australia Completion Date: 2007 Designers: Jack Bryce, John Ellway Photographers: David Sandison, Cox Rayner Clients: Property Solutions Australia, Project Strategies

SW1 is a premium commercial, retail and residential development at the South Bank master-planned area in Brisbane, Australia. The signage was designed following discussions on form and materiality with Cox Rayner Architects. The signage identifies the development and major building tenants at a distance with smaller scale signs bringing a more intimate context to pedestrian areas with cantilevered retailers identification signs and direction signs with timber detailing.

"The signage adopted colors and materials to match the Master-plan architects palette and the project identity."

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MGM CityCenter Materials: Aluminum, Reclaimed Wood, LED Lights Location: Las Vegas, USA Completion Date: 2009 Design Firm: Selbert Perkins Design Designers: Robin Perkins, Andy Davey, Paul Nagakura, Chiyo Matsushita, John Lutz Photographer: Andy Davey Client: MGM Mirage

SPD collaborated with a design team including Cesar Pelli, Gensler, MGM Design Group, and Daniel Libeskind for this 66-acre mixed-use development. The bulk of SPD’s work was concentrated in the Aria Casino, the 61-story, 4,004-room gaming resort in the heart of the development. SPD completed an extensive environmental graphics master plan to direct crowds to and around 16 restaurants, 10 bars and lounges, a 150,000 square-foot casino, 300,000 square feet of meeting space, an 80,000 square-foot spa, a 215,000 square-foot pool deck, a 10-story parking garage and the Viva ELVIS™ Cirque du Soleil Theatre. SPD strategically developed a signage and wayfinding plan to not only help visitors navigate the complex space, but to also enhance the brand image and experience. With six LEED Gold certifications, MGM CityCenter is one of the largest sustainable communities in the world, showcasing the harmony between upscale hospitality and green design. Environmental graphics were designed to reflect MGM CityCenter’s sophisticated brand identity, incorporating the architectural color palette while meeting the desire to utilize sustainable material and processes. In total, more than 7,000 signs were designed and installed-each utilizing aluminum, reclaimed wood and low voltage, LED illumination.

Sharing Experience "Our vision for the signage and wayfinding program was to seamlessly integrate sign elements within the architectural spaces while providing clear and simple messages that would guide guests to all interior destinations. The design of the sign program complements interior finishes and architecture while providing an enhanced brand experience." – Robin Perkins

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Morongo Casino, Resort & Spa Location: Cabazon, USA Completion Date: 2005 Design Firm: Selbert Perkins Design Designers: Robin Perkins, John Lutz, Jose Gavieres Photographer: Doug Park Client: Morongo Band of Mission Indians

directory kiosks to provide information to visitors. In addition, SPD named and created logos for the spa, restaurants, and bars, designed the various menus, business letterhead, hotel amenities, and uniforms for the entire hotel and casino.

The 44-acre, 25-story Morongo Casino Resort and Spa in Cabazon brings Las Vegas-style excitement to the California desert. Selbert Perkins Design created a brand identity system and an environmental graphics master plan for the interior and exterior of the entire project site including the hotel, casino and spa. Elements included a new logo, brand guidelines, identity pylon sign, pedestrian and vehicular wayfinding systems, print communications and a series of interactive hotel

Sharing Experience "In branding the Morongo Casino, Resort & Spa, the goal was to develop an identity system, as well as graphic and signage design elements, through a series of meetings, workshops and informal research. Once agreed upon, these calculated design elements were integrated into the project logos, sign systems, gateways, signage and wayfinding, special amenities, a comprehensive merchandise system, as well as an advertising system." â&#x20AC;&#x201C; Robin Perkins, Partner.

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The Sunset Materials: LED Lights Location: West Hollywood, CA USA Completion Date: 2008 Design Firm: Selbert Perkins Design Designers: Robin Perkins, Youn Choi Photographer: Tom Bonner Client: Broadreach Capital

The new owners of the Sunset Millennium set out to rebrand and update the existing retail and mixed-use complex on the famous Sunset Strip. SPD developed a new name – “The Sunset” – project identity and logo, sculptural light columns, retail tenant standards and update the subterranean parking signage system. SPD designed a vibrant, sunset colored project identity sign that emerges from the building exterior, and enhanced the pedestrian experience with rows of sunset colored LED lights that extend along the sides of the buildings. SPD also helped select new exterior paint color schemes and developed parking lobby graphics that represent the high fashion attitude of the project and the Los Angeles landscape.

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731 Lexington Avenue/One Beacon Court Materials: Stainless Steel Rear-Illuminated Channel Letters/Numbers, Painted Steel Pylon with Internal Illumination and Cut-Out Letters, Stainless Steel/ Bronze Graphic Panels and Cut-Out Letters, Stainless Steel Internal Pylons Location: New York, NY USA Completion Date: 2006 Design Firm: Two Twelve Designers: Ann Harakawa (Principal in Charge), David Gibson (Principal in Charge), Cesar Sanchez (Creative Director), Naomi Pearson (Designer), Peter Kelly (Designer), Dominic Borgia (Director of Technical Design) Photographers: Cesar Sanchez (731 sign), James Shanks (all others) Client: Vornado Realty Trust

Vornado Realty Trust hired Two Twelve to create memorable building address identification for its high-end property on Manhattan’s Lexington Avenue. The building, with a stunning elliptical courtyard designed by Rafael Pelli of Cesar Pelli & Associates, occupies a full block between Lexington and 3rd Avenues and 58th and 59th Streets. It houses the headquarters of Bloomberg LP,

several storefront retail tenants including Le Cirque restaurant, and Beacon Court luxury condominiums. Thanks to Two Twelve’s elegant design and successful collaboration with lighting and structural engineers, the monumental illuminated numerals appear to float above the entrance, inviting glances and establishing recognition for one of the city’s best new addresses.

Sharing Experience "The primary challenge Two Twelve faced was the need to differentiate between the commercial and residential spaces within the same building and guide visitors to the appropriate entrances. To address this problem, we created the dramatic address sign over the office building entrance at 731 Lexington Avenue; a very different marker, an illuminated pylon, to identify the entrance to the courtyard; and a very quiet address sign to mark the doorway to the private Beacon Court residences."

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Comcast Center Materials: Glass and Stainless Steel Signs, Custom Stainless Steel Mounting Clips, Illuminated Stainless Steel Pylon, Stainless Steel Dimensional Letters, Electronic Touchscreen Display Location: Philadelphia, PA USA Completion Date: 2008 Design Firm: Two Twelve Designers: David Gibson (Principal in Charge), Karuna Hernandez (Creative Director), Chris Dina (Designer), Dominic Borgia (Director of Technical Design), Jess Mackta (Team Manager) Photographer: James Shanks Client: Liberty Property Trust

Two Twelve worked with Robert A. M. Stern Architects and Liberty Property Trust to develop the signage and wayfinding program for Comcast Center. Now the tallest building in Pennsylvania and one of the most significant additions to the Philadelphia skyline in recent years, the 57-floor skyscraper features a 500-seat concourse level dining court, new underground retail concourse at SEPTA’s expanded Suburban Station, and large public plazas. To facilitate navigation throughout the building, Two Twelve designed a sophisticated signage and wayfinding program for the building’s concourse-level and tenant floors. Glass directional signs with custom metal clips and brushed stainless steel identification signs and kiosks allow visitors to easily find their way from transportation, through the lobby, to their destination, and back again. Two Twelve also designed three-foot-tall, face-lit letters to serve as the building’s primary identification. The bold three-dimensional letters are mounted on the exterior glass canopy above the tower’s main entrance.

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Falls Creek Alpine Resort Location: Falls Creek, Victoria, Australia Completion Date: 2010 Design Firm: Büro North Designers: Soren Luckins, David Williamson Photographer: Büro North Client: Falls Creek Resort Management

The Falls Creek Alpine Resort required the development of wayfinding signage design system to help visitors navigate the complex ski resort. The designed system needed to be an environmentally conscious solution to match the resort’s claim as the first alpine-based organization to be benchmarked by Green Globe 21, an international certification program for sustainable tourism. A modular system of sign types was created to provide information in a wide variety of directions to suit the complex village layout. The design of the sign system aimed to promote the highest possible visibility of information while retaining the smallest presence of supporting structure.

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Roppongi Hills Location: Tokyo, Japan Completion Date: 2003 Design Firm: Sussman/Prejza & Company, Inc. Designers: Deborah Sussman (Principal in Charge), Randy Walker (Project Manager), John Johnston (Senior Designer), Hillary Jaye (Senior Designer), Miles Mazzie (Senior Designer) Photographer: Sussman/Prejza Client: Mori Building Company

Located in Tokyo, Roppongi Hills is the largest privately financed real estate development in the history of Japan. This dynamic mixed-use project is the premiere address within the Roppongi District. Comprised of office, retail, entertainment and residential space, a world-class art museum and subway station, the identity and environmental graphics define and illustrate the foundations of a lifestyle based upon culture, arts, and community. S/Pâ&#x20AC;&#x2122;s challenge and the ultimate success are in blending this central theme, through architectural and graphic enrichment. Project programs designed and defined by S/ P include project identity application, architectural amenities, exterior and interior signage, and pageantry.

VIEWS:

Sharing Experience "The image of a signing system is as important as its functionality. Overlaying function with a memorable image allows the signing to work on both intellectual and intuitive levels, thereby creating a stronger solution. In addition to color, other elements used to develop an image include typography, shape, context and symbols. These elements, in various combinations and emphases, come into play in the design of the signage and wayfinding systems"

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City National Plaza Location: Los Angeles, California, United States Completion Date: 2007 Design Firm: Sussman/Prejza & Company, Inc. Designers: Deborah Sussman (Principal in Charge), Maureen Nishikawa (Project Manager), John Johnston (Senior Designer), Sharon Blair (Senior Designer), Paul Nagakura (Senior Designer) Photographers: Jim Simmons, Marvin Rand Client: Thomas Properties Group

The Arco Towers and Plaza, twin 55-story skyscrapers, resulted from the visionary will of Robert Anderson, the Chairman of Atlantic Richfield, who built Southern California’s largest company as well as the towers. Completed in 1972, the towers were for many years the tallest buildings west of the Mississippi. For his landmark, the sophisticated Anderson commissioned this art and design program, the first such program in Los Angeles. The celebrated designer chosen for the art program was Herbert Bayer, the Bauhaus-trained designer whose work involved geometric abstract forms and intense colors, and the design facility ranging in media from painting to sculpture to carpet and wall hangings. Bayer’s fascination with stairs as a formal idea resulted in “Double Ascension,” the work atop the plaza’s fountain. As the only remaining (and most significant) piece of the original art program, “Double Ascension” has a legacy important to the project and to the history of Los Angeles. “Double Ascension” is now the core of a new branding program for the renamed City National Plaza. The new design program starts by creating a striking logo, taken from the shape and the rich colors of the sculpture. From this focal point, the design team has developed a vocabulary of spatial patterns that are being applied to carpets, signs, plaza furniture, lobby art and more. The new logo for the transformation into City National Plaza captures an immediately recognizable profile of the sculpture. The measured use of variegated line weights adds dynamism and movement, producing a new image that can also be seen as “wings” taking flight. Utilizing syncopated versions of the logo, carpet designs pull the image into the fabric of the building. Designs for a lobby sculptural pieces for each tower also incorporate pattern studies based on the logo/identity. Tabletop designs for the Plaza take their cues from a birds-eye view of the

sculpture, as it would be seen from the offices above. The festive plaza furniture designs create an inviting outdoor, gathering more space for office workers and passersby. Signage and graphics further reflect the logo’s rhythms. The adapted logo produces graphically interesting environments, while ensuring a branding consistency.

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Aire de Bardenas Materials: LED, Standard Electrical Boxes Location: Tudela, Spain Completion Date: 2009 Design Firm: Lamosca Photographer: Roman YĂąan Client: Hotel Aire de Bardenas

This Hotel is located in a field of crops on the Ribera Navarra, between Tudela and the nearby desert of the Bardenas Reales. It was conceived by Lopez Rivera, architects as a succession of comfortable interior spaces, which allow the inhabitant to contemplate the great views and remain protected from the occasionally inhospitable exterior conditions (wind, dust, high temperatures, etc). The method of construction (industrial and humble) determined the unconventional architectural solutions and the neat but rough look of the complex, which in turn led to a concept for the signage. The designers began by developing a typeface as light as possible, as if the air could pass directly through. They decided that the application of the type over the different surfaces would be preferably â&#x20AC;&#x153;not solidâ&#x20AC;?, but perforated on paper, drilled on concrete, as if the signs for the rooms were made out of light. The signage plan was simple, but the solution had to be viable for both inside and outside applications, as well as for day and night. By using standard electrical boxes to contain the LED letters, they developed a system consistent enough to work, both in the interior and exterior hallways and rooms. This system also had the same industrial and unconventional spirits in the hotel.

Sharing Experience "For us, the signage is usually part of a bigger project, generally an identity, so we tend to see it as an extension of the identity plan. Or as another aspect of it. If the conditions allow it, we try to make our solutions as embedded in the buildings as possible. Skin-like, so to say, a functional and almost invisible skin."

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Bernaqua â&#x20AC;&#x201C; Waterpark & Spa Materials: Painted Plastic Location: Bern, Switzerland Completion Date: 2008 Design Firm: L2M3 Kommunikationsdesign GmbH Designers: Sascha Lobe, Thorsten Steidle, Dirk Wachowiak Architecture: Studio Daniel Libeskind Photographer: Florain Hammerich Client: Genossenschaft Migros Aare, Switzerland

The task was to develop a signage system for Daniel Libeskindâ&#x20AC;&#x2122;s spectacular architecture that fulfilled functional criteria as well as reflected the powerful design of the architecture. The signage elements are both a compass and a perpendicular: by means of their varying thickness, the arrows balancing the inclined and toppled walls of the architecture. The information elements are arranged in a constant constellation with each other. A system of pictograms explains various facilities and slides.

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Dot Baires Shopping Materials: Stainless Steel, Tempered Glass, Translucent Films, LCD Monitors Location: Buenos Aires, Argentina Completion Date: 2009 Design Firm: Diseño Shakespear Argentina Designers: Juan Shakespear, Martina Mut, Gonzalo Strasser Photographer: Alejandro Calderone Client: APSA

The proposal extracts the conceptual values that define the commercial strategy of this shopping mall in order to adequately place it in its niche through innovation and technology. The architectural design shows these values that are also integral parts of the birth of the brand identity. The morphology of the symbol borrows the curves, luminosity and dynamism of the building turning them into petals.

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Sharing Experience “Once again, through our systematic approach, even the most complex circulations and routes show legible paths that show the way pragmatically. From the point of view of the visitors, it involves a quick learning process of where and when to look for the information. It’s simple.”

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Cabot Circus Materials: 316 Shot-Peened Stainless Steel, Toughened Low Iron Glass and Vitreous Enamel Location: Bristol, UK Completion Date: September 2008 Design Firm: fwdesign Clients: Hammerson and Land Security

Cabot Circus is a new “open air” retail area as an extension of the Broadmead Shopping Centre in Bristol. Because of its location in the heart of Bristol’s hugely successful Legible City wayfinding system, their sign solution for Cabot Circus needs to sit happily alongside Legible City and recognize the different needs of a retail destination. For this reason they steer away from gateway structures which could potentially have conflicted with existing Legible City signage around the perimeter. Instead they come up with a simple but highly innovative concept: a granite

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and steel “ribbon” acting as a threshold in the ground at entrance/ exit points, and then rising into 3D navigational structures at key decision-making points, some serving as digital information points. The gateways/place markers provide a soft entrance and feature stainless steel inlaid graphics for the street names, the precinct name and the Cabot Circus brand name. The vertical ribbons carry color coding for the three main areas of the development, as well as directory and navigational information, with mapping that links back to the surrounding Legible City maps for continuity. The organic structures also reflect the innovative architecture and landscaping which are a key part of Bristol Alliance’s vision for Cabot Circus. The system extends to car parks and adjoining retail areas. Access consultants JBC-London tested prototypes of the concept and found it fully inclusive. June Bretherton applauds the concept. “The team interprets their requirements and brand aspirations in a creative way that results in a distinctive and unique signage solution for Cabot Circus, Bristol.” – Robin Dobson, Director of Project Delivery, Bristol Alliance.

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Plymouth Meeting Mall Materials: Steel, Aluminum, Concrete, Plexi Location: Plymouth Meeting, PA, USA Completion Date: 2010 Design Firm: ex;it Designers: Alan Jacobson (Principal in Charge), Mark Jenkinson (Lead Designer), Keith Davis (Production Designer) Client: Pennsylvania Real Estate Investment Trust (Preit)

PLYMOUTH MEETING MALL

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Plymouth Meeting Mall is set to redefine the role and perception of the mall in the community and surrounding areas. By elevating the brand and the overall offer, the intention is to create a vibrant, energetic and successful mixed-use destination in Plymouth Township, offering retail, lifestyle and leisure components. Ex;it was asked to develop the wayfinding/signage system and brand the mall. As the program developed, it was decided that the main pylon was so unique and striking, that it should become the mall brand.

www.shopplymouthmeetingmall.com

BOSCOV’S DAVE & BUSTERS RESTAURANTS

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The main pylon is 50 feet tall and is internally illuminated with color changing LEDs. It has 626 linear feet of illuminated sign face. This permits mall management to change the color of the sign for specific holidays and events. The letters are illuminated white and rotate 180º on a central spindle for visibility to oncoming traffic from both directions. The seven vertical, white supports are the consistent elements through all mall signage and brand communications. These vary from 7 feet to 50 feet high, but their relationship never alters. In some instances they are internally illuminated, in others, they are purely structural. Circulation at the mall is via a single lane road around the perimeter of the site. Careful evaluation of entryways and destinations means that traffic patterns could be managed to prevent excessive congestion. Primary directional signs point visitors in the general direction upon entry. Secondary signs direct them into the correct areas of the parking lot. Signage designed for the mall interior maintains the same construction as the secondary directional signs on the exterior. Graphically, with a small overall sign area, it is felt that iconography would work better within the confines of the mall.

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MACY’S WHOLE FOODS PLAZA SHOPS AMC THEATRE BENIHANA CHURCH FOOD COURT

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Cardinal Café Materials: White Back Painted Glass, Vinyl Location: London, UK Completion Date: 2008 Design Firm: Hat-trick Design Designers: Jim Sutherland, Gareth Howat & Adam Giles Client: Land Securities

Cardinal Place, a large commercial development in Victoria (500,000 square feet) opposite Westminster Cathedral, has a vast reception area, within which a café was built for the workers on the entire estate. The brief was to create the name and branding for this café, including signage, wall graphics, crockery and other collateral. A character was created using a Cardinal bird for inspiration, which not only shares its name with the location but also lent the café name. Cardinal Café. Using a character meant that vibrancy and activity were created in the café area, keeping it distinct from the corporate reception area. Graphics were applied using vinyl, which is easily updatable, allowing for the birds to ‘move’ around the area over time.

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Homeworld Helensvale Signage and Wayfinding Materials: 316 Stainless Steel, Hi-Light Architectural Screen Panels Location: Gold Coast, Australia Completion Date: 2008 Design Firm: Jack Bryce Urban Design Designers: Jack Bryce, Andrew Watson Photographer: Andrew Watson Client: Macpro Properties

Homeworld Helensvale is a large scale bulky goods retail centre in the expanding northern area of the Gold Coast in Queensland Australia. The signage main pylons needed to visibly identify the centre and major tenants from surrounding arterial roads and provide directions from site entry to building interiors.

VIEWS:

Sharing Experience "Sign materials needed to be durable to withstand coastal environmental conditions and high volume pedestrian and vehicular environment."

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Chatswood Chase Sydney Signage and Wayfinding Location: Sydney, Australia Completion Date: September 2009 Design Firm: Frost* Designers: Vince Frost (Creative Director), Bridget Atkinson (Design Director), Ray Parslow (Design Director), Sarah Estens (Designer), Natasha Bartoshefski (Designer), Annabel Stevens (Design Manager) Photographer: Andy Stevens Client: Colonial First State

The Chatswood Chase Sydney shopping centre upgrade was an opportunity to review the signage and environmental graphics throughout the existing centre and bring it in line with the new Chatswood Chase Sydney brand. The newly refurbished centre reinforces its position as a high-end shopping destination, targeting customers with premium brands, and giving a greater sense of luxury in the centre. The new holistic signage scheme covers each of the four shopping levels including major external and internal identification, directional and operational signage. The signage ensures the Chatswood Chase Sydney branding is introduced from the beginning of the customer journey and extends consistently throughout. The new branding inspires a classic black and white palette for the signage, working to establish a sense of place integrated with the interior scheme. Major external identification signage creates an important visual statement on the new building facade, similarly the external carpark identification is a continuation of the signage system. The internal directional signage is reflective of the unique shopping experience with detailed features that reflect the high-end nature of the centre. The signage and graphic language established by these signforms is carried through to statutory and operational signage creating a coherent system. Large-scale painted super graphics provide clear wayfinding messages throughout the carpark. This cost effective approach is highly visible, ensuring clarity in a potentially confusing environment. The bright color palette injects warmth and energy into these concrete spaces, acting as a memory trigger and creating a sense of playfulness.

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Queen Victoria Building Signage Location: Sydney, Australia Completion Date: 2009 Design Firm: Frost* Designers: Vince Frost (Creative Director), Carlo Giannasca (Design Director), Bridget Atkinson (Design Director), Sarah Estens (Designer), Natasha Bartoshefski (Designer), Joanna Mackenzie (Architect) Photographer: Andy Stevens Client: IPOH

Frost* was initially commissioned to review the existing retail tenancy signage and develop a wayfinding and signage strategy for this landmark historic building on Sydneyâ&#x20AC;&#x2122;s George Street. Working closely with the client, Queen Victoria Building and the heritage architects, the signage approach references the buildings historic past meanwhile overlaying a contemporary sign form that is sensitive to the existing building. The signform, materials and lighting approach reinforce the grandeur of the building and its position as a high end shopping destination, targeting customers with premium international brands, and giving a greater sense of luxury. Their system of signforms communicates a timeless and sophisticated atmosphere, allowing the tenant brands to be displayed in a unified manner. They have since been commissioned to develop the freestanding directory signforms as part of the wayfinding system.

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VIEWS:

Sharing Experience "The signage, materials and lighting reinforce the grandeur of the building and its position as a high-end shopping destination, providing a greater sense of luxury for visitors. The signage is illuminated to provide the general atmosphere lighting. This minimizes the energy consumption within the shopping arcade, which is a careful consideration of Frost* working closely with Bassett (now AECOM), the lighting consultants. This is further enhanced by the use of more efficient luminaires, so the overall lighting energy load on the building has been reduced by 42%."

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Academy of Art and Design in Wroclaw Materials: PVC, Acrylic, Paper Location: Wroclaw, Poland Completion Date: 2008 Design Firm: Arthur Krupa Designer: Arthur Krupa Photographer: Arthur Krupa Client: The Eugeniusz Geppert Academy of Art and Design in Wroclaw

The system consists of maps, signposts, sign plates and also of an interactive info-kiosk which shows the shortest way to desired destinations. It’s a solution which semantically reorganizes the chaotic spacial arrangement which results from merging two completely different buildings and spreading the faculties throughout them. The buildings have different numbers of levels and the connectors between them are therefore irregular. A key factor is to separate those spaces and provide enough information for the visitors to refrain from making assumptions about the spaces around him and rely on the wayfinding system itself. The system is designed mainly for polish-speaking visitors and newcomers. Employees and students are in most cases accustomed with the buildings, whereas foreign guests are usually being provided with a personal guide. Taking into account the artistic profile of the facility, the project is visually calm and restrained, so that it won’t interfere with expositions of students’ works. The system blends in with the bright interiors, providing the most essential information needed at certain spots in the buildings. Color is only used to identify faculties, whereas the remaining graphic elements are monochromatic. The information is provided through a set of custom pictograms, text, shapes and consequent positioning. For example: information about the building and floor is always displayed on a dark shield in the upper-left corner, whereas pictograms are always accompanied by the same-shaped dark background with a white border. All those elements are present in each type of medium, whether it’s a door sign, map or a button in the kiosk application.

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VIEWS:

Sharing Experience "The ongoing growth of data and organized environments outrun the ability to manage it. wayfinding and signage design will play a crucial role in providing tools for people to find what they are looking for – not only when applied to real spaces but also regarding complex data architectures and virtual realities. This growing complexity calls for interdisciplinary cooperation at the earliest stages of any design process, which results in end-users navigating through informational structures."

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Surry Hills Library Principal Signage Materials: Corian, Wood with Enamel Coating Location: Sydney, Australia Completion Date: 2009 Design Firm: Collider Designers: Andrew Van Der Westhuyzen, Clemens Habicht Photographer: Andrew Van Der Westhuyzen Client: City of Sydney

Designed by FJMT Architects and City of Sydney, the new Surry Hills Library and Community Centre is an ecosustainable building with the highest efficiency rating of any government building in Australia. Collider was briefed to create the principle signage for the Surry Hills Library, which included main entrance and three floor directories. The directories, in sympathy to the materials they exist within, are designed to feel like large tilted switches or books roughly stacked. Each module holds the description of the destination and tilts towards that destination. The proximity of the destination determines the angle of the tilt. The angularity of the tilted entrance type bows to the entering public while mimicking the angle of the internal glass facade.

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Minneapolis Central Library Signage and Wayfinding Materials: Aluminum, Frosted Plex, Led Lights Location: Minneapolis, USA Completion Date: Summer 2006 Design Firm: Larsen Designer: Mike Haug Photographers: Don Wong, Michael Mingol Client: The Minneapolis Central Libray

Designed by world-renowned architect Cesar Pelli, the new Minneapolis Public Library needed a comprehensive wayfinding plan and aesthetically beautiful signage. The signage needed to complement the library’s contemporary architecture and meet the needs of all patrons and visitors: Innovative technology including kiosks with flatscreen monitors, three-dimensional information signs, and backlit colorful letters; More than 1,500 signs were created as part of a navigation plan to ensure that patrons reached their desired goal. Writing in USAToday, NPR’s Nancy Pearl chose the Minneapolis Public Library as one of the “10 Great Places to Find a Nook and Read a Book”.

Sharing Experience "The library needed a system of flexible sign types to accommodate an ever-changing landscape. They were designed with frosted plex to compliment the very bright and open sensibility of the building. In the common areas, we designed large signs to help patrons navigate the large floor plan. We used orange LED lit information signs to 'catch your eye' within the very large and visually busy library floors."

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Yale University Materials: Painted Aluminum Substrates with Porcelain Enamel Graphic Panels, Lockable Map Kiosk, Rear-Illuminated Graphic Map Location: New Haven, CT USA Completion Date: 2004 Design Firm: Two Twelve Designers: David Gibson (Principal in Charge), Anthony Ferrara (Creative Director), Karuna Hernandez (Designer), Pamela Paul (Designer), Dominic Borgia (Director of Technical Design) Photographer: James Shanks Client: Yale University

When Yale University embarked on a major redevelopment program, Cooper, Robertson & Partners selected Two Twelve to assess the University’s wayfinding and signage needs. Two Twelve’s initial analysis was driven by the current and future needs of Yale’s campus community and the City of New Haven. To meet long-range needs, they recommended signage placement and design standards, and helped develop new nomenclature to open Yale’s complex series of walled colleges to its own academic communities, as well as to the City. Upon completion of the planning project, Two Twelve was retained directly by the University to implement wayfinding and signage design. Two Twelve collaborated with university Facilities and Printing Office staff to develop the porcelain enamel building signage, using Yale blue for identification signs and a soft grey for secondary messages. The simple, elegant signs feature an unique typeface that the renowned type designer Matthew Carter created exclusively for Yale. Carefully placed on all buildings, the signs bring visual consistency to the campus famed for its diverse architecture. As part of the new program, Two Twelve and Reineck & Reineck Design also redesigned the campus map. The illustration strategically positions Yale’s facilities within the city, making the connection between “town and gown” visible to all.

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VIEWS:

Sharing Experience "Our new system of signs and maps melds a respect for 300-year old traditions with contemporary simplicity and sensitivity to context. As always, we paid careful attention to detail in our designs; for example, a subtle contemporary gothic detail in the structural framework of freestanding signs integrates well with the variety of architectural styles represented on the Yale campus."

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Info Graphic System for the Civic Library in Modena, Casalgrande and Opera Materials: Wall Panels in Expanded PVC with Digital Prints; Transparent Adhesive Films on Glasses Location: Italy Completion Date: 2010 Designer: Filippo Partesotti Photographer: Filippo Partesotti Client: City of Modena, Civic Library Antonio Delfini

The signage systems for the Civic Library in Modena, Casalgrande and Opera were designed to permit the self-use of the Library to a very great amount of users, with very different cultural levels (from professors and students, to children or people from all over the world). The Civic Library of Modena is located in an ancient and very complex building that formerly was a monastery. The complexity of spaces and needs of the Library are very similar, in scale, to the complexity of urban systems, that need the people move and find their ways. They solve this problems with the transport systems and their signage. So they design maps of the entire system, guided ways, interchanging points, clear indication of the “stations”, like a mobility info-graphic system of the Library. They decided to keep a fresh and friendly approach, to give no heavy and severe institutional image. So they used easy symbols and pictograms, codes of brilliant colors, as a tribute to writing and acronyms. They chose a “gothic” type, “Arial Rounded Bold”, very clear and readable. They changed the font in the Children’s Library, using a child-writing font. A special care was dedicated to design the maps, to be easily understood. The same approach was held designing two other civic libraries, in Casalgrande and Opera, two little towns in Northern Italy: strong and clear signs, but always friendly and “happy”.

(The Civic Library in Modena)

(The Civic Library in Casalgrande)

Biblioteca

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(The Civic Library in Opera)

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(The Civic Library in Modena)

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(The Civic Library in Opera)

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Oxford Brookes University Materials: Vinyl Clad Dibond Hoardings and Banners Location: Oxford, UK Completion Date: April 2008 Design Firm: Hat-trick Design Designers: Jim Sutherland, Gareth Howat, Mark Wheatcroft Client: Oxford Brookes University

Oxford Brookes University is a premier learning and teaching institution with an outstanding research record and widely acknowledged to be the UK’s leading modern university, surpassing many older institutions in league tables. Oxford Brookes University is the only UK modern university to have achieved 24 subjects rated as excellent for teaching.

of the University through it’s courses, staff, students and alumni. The initiative employs an icon of learning and growth, the tree, to communicate these achievements. Each tree was created individually, showing the diversity and breadth of the University. The use of the tree also draws a parallel to the leafy nature of this Oxford campus, as well as the idea of setting down roots and establishing them for future generations. The scheme will run concurrently with the regeneration work at the campus and a collection of over 150 varieties of tree will be created in various guises from print to sculpture.

As part of the regeneration of the campus, Environmental Graphics were commissioned to mask building work and inform students and staff about the ongoing regeneration working towards completion in 2015. The “Space to Think” initiative was formed to celebrate the great achievements

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Five Dock Library Materials: Acrylic, Vinyl, Aluminum, Stainless Steel Location: Sydney, Australia Completion Date: 2004 Design Firm: Minale Tattersfield Designer: Alex Papas Photographer: Greg Bartlett, Courtesy of Brewster Hjorth Architects Client: City of Canada Bay

A system for environmental graphics served not only as wayfinding devices but also communicates the library’s visual identity. The system uses a combination of dynamic and controlled elements, designed to identify and direct, but also punctuate and complement the architectural statement. Identification of the library’s various sections, open spaces and rooms were achieved through the use of large fabricated numerals, juxtaposed amongst various architectural elements. Colours contrasts and maintains a visual hierarchy, with colour and form blending into the architectural fabric for a more subtle, less invasive effect. Wayfinding elements are designed so they are readily identified from all sight lines, allowing Library staff to point to them acting as visual holding points to paths of travel. The directory is placed at the first and most prominent decision point within the space. Further to this, a graphically integrated system of interchangeable identification flags and Dewey system numerals were also designed as modular components to the shelving. These provide maximum versatility for the libraries growing and changing collection as all the numeral elements can shift, slide and lock into various positions and locations as required. The result – a well articulated, highly functional and efficient space, which serves the needs of the operator, ‘the librarian’, and the user, ‘the public’.

VIEWS:

Sharing Experience "The philosophy behind environmental graphics and/or signage is to view spatial use not as secondary to the evolution of buildings, but as part of planning from the very outset. In order to understand what people do and how they find their way, one has to understand the underlying process which is no longer a concept of ‘spatial orientation’ but a notion incorporating all the perceptual, cognitive and decision-making processes necessary to find one’s way. This concept is called wayfinding."

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The University of Sydney Gate Markers Materials: Stainless Steel Location: City of Sydney, Australia Completion Date: 2010 Design Firm: Minale Tattersfield Designers: Hans Gerber, Taffrey Chin Photographer: Minale Tattersfield Client: The University of Sydney

The University of Sydney is Australiaâ&#x20AC;&#x2122;s oldest tertiary education institution. With a student population in excess

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of 46,000, it is one of the largest and most prestigious in Australia, further demonstrated with its ranking among the worldâ&#x20AC;&#x2122;s top 40 universities. VIEWS:

Minale Tattersfield was commissioned with the development of Signage Masterstyle Guidelines. Priority was given to the design of campus entry markers to instil a new overall contemporary brand understanding. The redefined objectives, aspirations and values of the University are visually captured with solid stainless steel markers, featuring articulated vertical and horizontal edges. The selected materials form the colouring and generate differing reflection, depending on the time of day. The lettering is based on Univers Condensed, the new University signage typeface.

Sharing Experience "Wayfinding is the theory of creating visual elements to inform and guide while avoiding ambiguity. Wayfinding is not visual entertainment but a strategy to display information for the interpretation of a given environment."

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University of Technology Sydney (UTS) Materials: UV printed optically clear film, computer cut vinyl with epoxy resin floor coating Location: Sydney, Australia Completion Date: 2009 Design Firm: BrandCulture Designers: Stephen Minning (Creative Director), Antonijo Bacic (Design Director), Terry Curtis (Designer) Photographers: Studio Commercial, Stephen Minning Client: University Of Technology Sydney (UTS)

Located in Sydney CBD, the Design and Architecture Building (DAB) forms part of the University of Technology Sydney (UTS). The DAB facility and its Fabrication Workshop underwent a major upgrade in 2009. The main considerations for the Fabrication Workshop needed to address OH&S regulations, and showcase the works of the students. The workshop houses heavy machinery so OH&S guidelines require that the main workshop floor have a clearly delineated walkway for safety. They saw this as an opportunity to pay tribute to the timeless, iconic and graphic styling of Harry Beck’s London tube map, but with an engineering bent. The bold use of this type on the floor identifies all 43 machines, aiding its navigation, decongesting tension zones and thereby providing a safer and more pleasurable user experience.

In addition to the utilitarian aspect of typical wayfinding employed by this graphical device, BrandCulture saw the opportunity to incorporate an element of fun and highlight the technical aspects of the work produced in this space, by overlaying the wayfinding with a secondary journey; one of discovery. This journey begins at the door with the fragmented dot typography hinting at the busy, building processes taking place within. Beyond the doors one is then engaged by 2 lines, (a red one), asking the user to “find”, their destination; then the second, (yellow), line subtly encourages the user to embark on a journey of discovery, leading them to one of six display cabinets housing student work. Further OH&S regulations required, a clear line-of-sight through the environment, between the workshop supervisor’s office, across the workshop floor and into the 24-hour workshop and laser room. However, these areas also required an obvious visual divide so occupants in the adjacent rooms would not be distracted through the glass by other activities. As a response to this challenge, a visual tribute to modern architecture was created and it took the form of an amorphous and webbed screen, stretching across the glass facades and clearly identifying the 24 hour workshop and Laser Room. A coarse halftone screen was applied to the form which allowed for visibility, while providing an element of seclusion. This was then layered and offset to create a subtle third dimension.

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Neumann University Center for Sport, Spirituality and Character Development Materials: Steel, Glass, Duratran Location: Aston, PA, USA Completion Date: 2009 Design Firm: ex;it Designers: Alan Jacobson (Principal in Charge), Mark Jenkinson (Lead Designer), Keith Davis (Production Designer), Brian Jacobson (Graphic Designer), Adam Sivel (Graphic Designer) Client: Neumann University

Neumann University has developed an unique perspective on sports seldom explored. The Center provides the opportunity to empower members of the athletic and academic communities to move forward on their spiritual journeys with a sense of awareness, appreciation and wholeness sometimes lacking in the realm of competitive athletics. The design team facilitated content creation, and provided design concept through documentation and management including graphic design and art production. The unique vision of the University provided a challenge to the design team to inspire both athletic and academic greatness, while also developing the students’ spirituality and Franciscan Values. They were also challenged with the task of describing the engagement in sports as a spectator, coach, player and parent that brings forth many life lessons and opportunities for growth and self-reflection. In response, an exhibit was designed that explores and communicates the connection between sports and human developments and is being integrated in the new multipurpose sports center. The building offers a message that shifts the focus of sports as a physical competition to one of personal reflection on the connection of mind, body and spirit. The exhibit is intended to give the Center “Voice” and will be implemented in various phases. The “Value Pillars” have been installed in the atrium welcome center for the grand opening. They create a cathedral-like setting in an accessible environment. Each column speaks to a value such as PLAY, BEAUTY, REFLECTION, RESPECT and BALANCE. The Pillars are illuminated glass structures with updatable glass interpretive panels wrapped at eye level. No matter what the level of competition, each athletic experience or moment has the potential to evoke a sense of awareness and contemplation not often realized by sport participants and spectators. Winning, losing, injury and mistakes carry

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within them the precious gift of inspiration. It is up to the individual to recognize it, respect it, learn from it and share it. Catholic Franciscan values guide the content exploring Play, Beauty, Courtesy, Respect, Gratitude, Contemplation and Stewardship in the form of story telling, sports history, interactive engagement, inspirational messages and shared personal experiences. Inspirational from a distance and intimate when near. Future phases are designed to include interactive story telling installations linked to web for sharing and hearing personal experiences. Moments in Neumann history wrap the column, while health and fitness education panels will wrap the spectator walks.

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Glasgow Materials: Steel, Vitreous Enamel Location: Glasgow, UK Completion Date: 2010 Design Firm: Applied Information Group Designers: Tim Fendley, Gail Mellows, Ben Gibbs, Sam Gullam, Paddy Long, Paul Garratt Photographer: Alan Mcateer Client: Glasgow City Council

149 signs and 76 information posters installed across Glasgow between 2008 and 2010. AIG produced a 15 square km pedestrian master map of the City Centre and West End, highlighting 250 local landmarks and visitor destinations. The sign product range was custom-designed specially for Glasgow by AIG Lacock Gullam. The scheme is funded and maintained by Adshel/ClearChannel, the global outdoor media company that has

supported a number of innovative city wayfinding schemes, including Bristol Legible City. In recent years, Glasgow has consolidated its reputation as an international center for the arts, culture and sports. Long a shining example of imperial and Edwardian splendor, with Kelvingrove Gallery and Rennie Mackintosh’s Glasgow School of Art among its famous landmarks – it was European City of Culture in 1999 and hosts the Commonwealth Games in 2014. Architecturally too, the city is undergoing a resurgence, with striking developments such as Glasgow Science Centre and the Clyde Auditorium. With four million visitors a year contributing £1 billion and 55,000 jobs, Glasgow City Council is keenly aware of the importance of its visitor economy. AIG was engaged to create a major city, with a wide pedestrian wayfinding system comprising 149 signs, map based information signs and fingerposts, with a further 76 information posters placed in free and with standing advertising units. The pedestrian wayfinding scheme currently rolling out in Glasgow is the biggest of its kind in the UK.

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Walk Brighton Materials: Glass, Acrylic Location: Brighton, UK Completion Date: 2009 Design Firm: Applied Information Group Designers: Tim Fendley, John Alderson, James Lefrère, Sam Gullam, Paul Garratt, Paddy Long Photographer: Philip Vile Clients: Brighton and Hove City Council

A multi-media wayfinding system is making Brighton & Hove a walking city. A combination of on-street signs, paper and digital mapping will improve visitor engagement with the city and reduce dependence on the car and public transport. Brighton & Hove City Council see this as a priority given its environmental policy. The first of twenty new street signs have been installed in the city centre, providing directions from the station to the seafront via Queens Road and The Lanes, the

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city’s famous district of boutique shops and cafés. New printed maps of the city centre are available free at tourist information centers and hotels. At the same time, custom designed digital mapping will be accessible on the Internet, via the city’s tourism office (www.visitbrighton.com), and in the form of a well-received iPhone app, available on the iTunes store for free (www.walkbrighton.com). Brighton & Hove’s new family of mini-lith, monolith and fingerpost signs include unique seafront signs with an elongated map reach, responding to the longer-striding ambitions of pedestrians. The map design applies a pedestrian-centric approach, revealing street details such as pavements, paths, steps and crossings, and incorporating graphics of recognizable landmarks. The designers’ cartography has produced rich details such as color-coded and shaded 3D representations of buildings including the Royal Pavilion and The Grand Hotel.

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Legible London Materials: Steel, Vitreous Enamel Location: London, UK Completion Date: Ongoing Design Firm: Applied Information Group Designers: Tim Fendley, Ben Acornley, James Lefrère, Matt Cooper, Ben Gibbs, Simon Hillier, Sam Gullam, Paddy Long, Paul Garratt Photographer: Philip Vile Clients: NWEC, LDA, GLA, TFL

London is a city of complex structures, partly dating back to medieval times, with few long vistas but a multitude of destinations and attractive areas. With more than 27 million visitors a year, walkability is important. It’s well known that in the tube map, London has one of the best wayfinding diagrams in the world, but walking has been less well served. Over 40% of people have been using the tube map for walking too! The idea of Legible London is to provide better support for the millions who walk every day, and that’s more than half of all journeys in the capital. Applied Information Group’s

2005 Wayfinding study identified no fewer than 32 separate pedestrian sign systems in the central area, resulting in visual noise rather than reliable and coordinated information. Legible London aims to provide that coordination, across neighborhoods and borough boundaries, connecting up with the other transport modes, and delivering information not just in the street, but in all the ways people find their way around. A prototype of the Legible London system was installed in London’s famous West End by AIG along with product partners Lacock Gullam. The careful design process built upon principles of universal access and cognitive science, and resulted in an array of heads-up mapping available at key junctions in the street, at transport arrival points (tube stations and bus shelters) and in people’s pockets on printed maps. An agreed set of landmarks and area names peppered the system. The prototype was independently evaluated and surveys suggested journey time-savings of 16% and universal improvements to people’s confidence to navigate on foot.

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Randwick Civic Markers Materials: Aluminum Location: City of Randwick, Australia Completion Date: 2007 Design Firm: Minale Tattersfield Designers: Hans Gerber, Jessica Tse, Yasmin Hall Photographer: Minale Tattersfield Client: City of Randwick

Randwick is in metropolitan Sydney. It features a major university and hospital, large sporting complexes, some of Sydney’s best-known beaches and Australia’s largest commercial shipping port. The challenge was to develop a design, which was

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cognizant of the significance of the city, its heritage, the present and future of the City. The design had to take the shape of an upright structure in order to be an optical holding point, to fit in to tight spaces and to have the graphics arranged vertically, in order to be recognized from a distance. The design comprises of twin blades to enhance transparency and to structure the written information to depict the name of the city on one blade and the name of the suburb on the other blade. The application of the City’s logo is applied as a watermark. The watermark is halved to fit equally to the blades. All text is in the highly legible Frutiger typeface in dark grey on silver background. The markers are designed to express the duality of old and new, city and suburb, subject and object. The juxtaposition of the blades and the open vertical space between adds the notion of transparency.

VIEWS:

Sharing Experience "Signage comprises of the two fold applications of visual brand and the theory of wayfinding. Signage is the recognizable physical and visual interpretation of the objectives of the organization it represents. Signage is not primarily an ‘artistic’ or ‘aesthetic’ element but a business tool."

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Dublin Docklands Development Authority Materials: 316 Brushed Stainless Steel, Low Iron Glass And Painted Aluminum Location: Dublin, Ireland Completion Date: Ongoing Design Firm: fwdesign Photographer: Allen Hell Client: Dublin Docklands Development Authority

Dublin Docklands Development Authority was set up to champion the development of a 1,300 acre site of prime riverside land, close to Dublin City Centre. For a project so long in development, it is vital that any infrastructure is “future-proofed” with the ability to be updated and extended as necessary. Our first phase signage and street furniture system facilitated pedestrian navigation and expressed DDDA’s distinctive marineinfluenced character. They took great pains to build on the marine aesthetic and the design ethos of the surrounding buildings and landscaping, therefore, the design of the sign system is both contemporary and representative of the architect’s vision for the Docklands development. From the outset, They were mindful of structures which might be needed in future, and the fact that the signage might one day extend to draw users in from outside the DDDA boundary. Inclusivity is paramount-dual language signs offer information in Gaelic and English. The first phase structures are now well-established, and they have since extended the signage to new parts of the Docklands development, liaising with local transport operators to encompass the five major transport hubs. They have also created a separate and equally distinctive Heritage Trail sign system completed with posters, lecterns, floor plaques and walking maps. Now into Phase Four, their work involves a broader review of the wayfinding system.

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City of Marina del Rey Location: Marina del Rey, USA Completion Date: Ongoing Design Firm: Selbert Perkins Design Designers: Robin Perkins, John Lutz, Jose Gavieres Photographer: Andy Davey Clients: Department of Beaches and Harbors

Working with the Department of Beaches and Harbors, SPD developed a fresh new identity, wayfinding, and banner system for Marina del Rey, CA. SPD developed a strategy for retrofitting the existing gateway and existing signs by creating a bright color palette and series of icons so as to quickly communicate to a multi-lingual audience. SPD also developed sign guidelines for public and private development. An annual banner program was designed and implemented to develop an awareness of Marina del Rey and draw public attention to community events, services and festivals, such as the annual “Discover the Marina”, the annual free public concert series, and the WaterBus – a water shuttle services that operates in the summer months. Additional designs include a series of wind-disks for Marina del Rey’s Waterfront Walk, a little-known walking path that winds around the boat docks. The street banner system announced the waterfront walk from the street side, and the wind disks act as trailblazers to guide visitors along the path.

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City of Charlotte, North Carolina Wayfinding System Materials: Double-Sided Aluminum Panels (Signs); Exterior-Grade Digital Prints with Protective Polycarbonate Coating (Maps). Location: Charlotte, NC USA Completion Date: Ongoing Design Firm: Two Twelve Designers: David Gibson (Principal in Charge), Jonathan Posnett (Creative Director), Darlene van Uden (Designer), Andy Ng (Designer), Dominic Borgia (Director of Technical Design), Jess Mackta (Team Manager), Brinkley Design (Consultants), DAWA Inc. (Consultants), Howard M. Landers Consulting, LLC (Consultant), Jim Kimbler (Consultant) Photographer: Jonathan Posnett Client: City of Charlotte, NC USA

The City of Charlotte is a remarkable urban center, one of the great cities of the new South. Shaped by its growth and development as a center of banking and commerce, the city combines an evolving “Uptown” with several historic neighborhoods and surrounding suburban areas. In need of a new wayfinding system to inform and direct its growing population, the City of Charlotte, in conjunction with the Charlotte Area Transit System and Charlotte Center City Partners, asked Two Twelve to develop the city’s new signage program.

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Utilizing the local perspective of Charlotte-based project partner Brinkley Design, Two Twelve developed the wayfinding strategy for Uptown Charlotte, using colors to define triangular districts North, South, East, and West, each bisected by a major vehicular throughway. Two Twelve then designed directional signs that feature each district’s identifying color as an orientation cue and posts topped with the Queen City’s signature crown. Since being constructed and installed in 2008, the new pedestrian system has received enthusiastic praise from residents and officials throughout the city. Two Twelve subsequently received a Special Achievement Award from Charlotte Center City Partners in recognition of the success of the pedestrian wayfinding system. To further enhance navigation in Charlotte, Two Twelve is currently developing a complementary vehicular wayfinding program that will integrate seamlessly with the pedestrian signage and allow locals and visitors alike to discover and navigate the City of Charlotte in an exciting new way.

VIEWS:

Sharing Experience "As I explained in an article for segdDESIGN (No. 26, 2009), 'The whole point of an urban wayfinding strategy is to find the hidden logic in a city’s organization, then reduce this complex geography into a simple diagrammatic idea.' This philosophy is particularly evident in the development of Uptown Charlotte’s map, which divides the area into four easily navigable districts –North, South, East, and West–each of which is color-coded to match the wayfinding signage in that district. The distinctive X-shaped design is simple to grasp, making it easy for pedestrians to feel at home." –David Gibson

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Downtown Baltimore Materials: Brushed Aluminum Bases, Porcelain Enamel Sign Panels Location: Baltimore, MD USA Completion Date: 2009 Design Firm: Two Twelve Designers: David Gibson (Principal in Charge), Anthony Ferrara (Creative Director), Alexandria Lee (Designer), Sun Yang (Designer), Chris Dina (Designer), Thomas McLaughlin (Designer), Maura Mathews (Designer), Dominic Borgia (Director of Technical Design), Jess Mackta (Team Manager) Photographer: James Shanks Client: Downtown Partnership of Baltimore

This wayfinding and signage program began as a signage project for one area of the city, the Mount Vernon Cultural District. But many different cultural organizations, city agencies, and development groups expressed interest in improving pedestrian wayfinding and the public perception of the larger downtown area. The project thus grew to encompass the Central Business District, the West Side, University Center, the Stadium area, Federal Hill, Fell’s Point, and the Harbor area. Two Twelve also developed an identity for Downtown Baltimore that captures the essence of the area and distinguishes it from the larger surrounding city. They first developed a positioning statement for Downtown based on extensive qualitative research and analysis. This was informed by the Downtown Partnership’s existing theme: Live, Work, Play. Two Twelve then created the logo, which represents the architectural icons of each Downtown area as well as the green hills that surround it. Integrating the identity design with the color palette of the preexisting vehicular sign system, they then developed the sign family, including an information kiosk with area maps and interpretive information, color-coded neighborhood identification signs, and directional signs incorporating cultural and commercial destinations as well as public transit. Their wayfinding analysis helped to uncover the hidden logic of Downtown Baltimore and led to a now ubiquitous map design scheme that helps users define borders, navigate streets, and locate destinations.

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VIEWS:

Sharing Experience "As a result of Two Twelve’s initial signage program, the inland neighborhood of Mount Vernon saw a dramatic increase in visitors, and property values in the area nearly tripled. Feedback to the Partnership indicated greater awareness of the downtown area on the part of the broader community, and that residents felt better taken care of by the City. The success of the Mount Vernon project thus led to Two Twelve’s involvement in a significantly expanded effort to provide wayfinding and signage to multiple Baltimore districts."

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New Jersey Wayfinding System Materials: coordinated system of metal signs, web graphics and gps navigation Location: New Jersey, United States Completion Date: 2008 Design Firms: Lance Wyman Ltd. & MERJE, Philadelphia Designers: Lance Wyman, John Bosio Client: Celebrate New Jersey

The New Jersey (NJ) Wayfinding system is designed to locate and give directions to points of interest throughout the state. New Jersey is located on the Atlantic coast, just across the Hudson River from New York. It is densely populated, with good recreational areas, and many cultural and historic attractions. One of the first visible elements of the wayfinding system is the NJ Points of Interest (NJPOI) map. It is divided into an easy-to-remember geometric pattern containing six zones. Each zone is identified by a name that indicates its geographic location, and an icon that represents an important activity.

dots to suggest there are points of interest throughout the entire state. These basic branding elements will be used consistently on the website, on road signs, on GPS devices, and on printed materials, to create a coordinated, seamless wayfinding system. The NJ wayfinding system is also a marketing tool for the state. New Jersey is within 100 miles of one third of the population of the United States. The user friendly wayfinding system will be an incentive to discover and enjoy the outdoors, history, arts, shopping, sports and entertainment of the state.

The NJPOI logo, the map, and the icons are made of

VIEWS:

Sharing Experience "As with words, symbols can express messages with many levels of meaning. They can identify, direct and inform with clarity. They can offer an opportunity to plan and implement a wayfinding system that will visually express and support the uniqueness of location, history and culture. As with names and written messages, it is important to craft symbol messages to get the maximum value and effectiveness."

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Downtown Albuquerque Wayfinding System Materials: Aluminum Sign Panels With Reflective Vinyl Surfaces, Painted Steel Poles With BreakAway Mounting Plates Location: Albuquerque, USA Completion Date: 2002 Design Firms: VWK, Albuquerque & Lance Wyman Ltd. Designers: Rick Vaughn, Lance Wyman, Chip Wyly, Jamie Jett Walker Photographer: Lance Wyman Client: City Of Albuquerque, New Mexico

Branding and wayfinding signage is an integral part of the Downtown Revitalization for the City of Albuquerque, New Mexico. The system received the Public Improvements Award for 2002 from the New Mexico Economic Development Main Street Program. The Wayfinding System is designed to add an important face to Albuquerque’s image. It offers the city an opportunity to reference it’s history, it’s culture, and it’s very presence in a vital way that is seen and used on a daily basis. For the person working in Albuquerque, it helps make the daily experience more than a routine by identifying and directing to activities of interests during the work day and during leisure time. For the city visitor, the wayfinding System is a visual Ambassador, saying “Welcome, let me help you find your way around and enjoy yourself”. The system is composed of branding elements and directional information infused with the vibrant color and classic forms of New Mexico and the unique landmarks of the

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City of Albuquerque. The basic yellow background of the signs is based on the color of the New Mexico State flag. The “stepped pyramid” that forms an “A” on the tops of signs and the corners of icons is a traditional New Mexico form. Ancient petro-glyphs of stepped pyramids are engraved into local rock formations. The downtown is divided into six districts, each represented by a district icon. The district identities are developed to reflect the business/institutional character of the area, historical and architectural significance, and future development plans. The system includes vehicular directional and street identification signs, pedestrian map kiosks and directional signs, and landmark elements.

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City of Santa Fe Wayfinding System Materials: Aluminum Sign Panels With Reflective Vinyl Surfaces, Painted Steel Poles With Breakaway Mounting Plates. Location: City Of Santa Fe, New Mexico Completion Date: 2008 Design Firms: VWK, Albuquerque & Lance Wyman Ltd. Designers: Rick Vaughn, Lance Wyman, Chip Wyly, Jamie Jett Walker Photographer: Lance Wyman Clients: New Mexico State Government & City of Santa Fe

Santa Fe, New Mexico, is a vibrant historic city in the Southwest of the United States. The first recorded history was in 1540. Over the years the city has grown mostly to the southwest, pulling the energy away from the original

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plaza. The wayfinding system is as a part of the cityâ&#x20AC;&#x2122;s effort to revitalize the old downtown and itâ&#x20AC;&#x2122;s historic central plaza. The strategy is to re-establish the plaza as the perceived center of the city. This is accomplished by creating a diagram map that depicts the city as five zones, four quadrants with the plaza at the center. Each quadrant is identified by its compass orientation (northeast, southeast, southwest and northwest) and an icon that suggests an important historic event, the physical landscape, or an important activity in that quadrant. Vehicular and Pedestrian sign panels are rounded forms with earth colored frames to suggest the classic adobe architecture of Santa Fe. The sign background is charcoal black to suggest the dark shadows cast by the bright sun of New Mexico. Each sign has a quadrant diagram map at the top with a bright turquoise area that indicates your location in the city. The graphic elements of the system are designed to create a seamless branding/ wayfinding experience, from website, to printed materials, to GPS systems, to vehicular and pedestrian signs.

VIEWS:

Sharing Experience "The basic goals when designing a wayfinding system should include communicating to a multilingual audience, creating images that are appropriate and legible, utilizing the third dimension, and developing an unique system with a refined aesthetic that functions well and can endure the test of time if required."

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Calgary +15 Skywalk Materials: Exterior signs are porcelain enamel on steel panels that are set into painted cast aluminum housings; Interior signs are internally illuminated silkscreened panels set into brushed stainless steel housings; Floor circles are cored out of the existing flooring material (carpet, stone, tile, etc.) and replaced with the same material in a contrasting color. Location: Calgary, Alberta, Canada Design Firm: Lance Wyman Ltd. Designers: Lance Wyman, Rob Roherick, Peter Haley Photographer: Lance Wyman Client: The City of Calgary

This is to establish a functional wayfinding signage system based on a dominant branding image that clearly identifies the +15, incorporates Calgary history and traditions, and offers friendly information to help people navigate the walkway. The dominant +15 branding is an icon containing a pedestrian figure wearing a white stetson hat walking on the number “+15” formed by bold circles. The white stetson is a traditional symbol of Calgary. The bold circles suggest the patterns that adorn the tops of the teepees of the Blackfoot Indians, one of the earliest inhabitants of the Calgary area. The Blackfoot circles are “star-circles”, and they represent star constellations. The walking figure in the +15 icon is walking on a constellation of star-circles, appropriate for a walkway in the sky.

VIEWS:

Sharing Experience

The +15 has over six miles of pedestrian walkway with 40 bridges crossing the streets. Pedestrians are separated from traffic and are protected from the rain and cold, but without a constant view of city streets and landmarks it is easy to get disorientated and lost. The wayfinding system is designed to give orientation and direction that is friendly and easy to understand.

"Throughout the world, logos are a part of our daily life. They come in different shapes and sizes but they all have one important job to doto identify at a glance and convey the intended message. If a logo does that well and you like the way it looks, it is doing a good job.

The +15 map shows all +15 bridges and walkways and their access to retail, cultural and office facilities throughout the downtown core. The circular border of the map indicates compass orientation as well as the names of the immediate destinations on the other sides of the bridges. Images of common landmarks in each compass direction are also depicted on the map borders (Fish representing the Bow River to the North, the historic Fort Calgary to

the East, the Canadian Railroad to the South, the Rocky Mountains to the West). Overhead signs at the +15 bridges are coordinated with the map borders. Each bridge entrance has a sign indicating the compass direction and immediate destination of the bridge. Routes are indicated under foot by embedding lineal patterns of circles directly into the floor using the existing flooring material in a contrasting color. This helps avoid an unnecessary proliferation of signs, it enables easy visibility of the routes in complicated commercial areas, it enables marking the routes with subtle contrasting rich materials such as marble in bank and corporate environments, and it utilizes the basic star-circle branding concept.

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As we become familiar with a particular logo, it participates in our life, and we may even become loyal to it and the products or services it represents. It makes choosing easier for us and it helps marketing people do their work."

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City of Hoboken Materials: Stencil cut aluminum gateway signs, fabricated painted steel kiosk structures with copper clad caps and glass doors to protect maps and posters. Location: Hoboken, New Jersey, USA Completion Date: 2005 Design Firm: Lance Wyman Ltd. Designer: Lance Wyman Photographer: Lance Wyman Clients: The City of Hoboken, Port Authority of New York & New Jersey

The branding/wayfinding system for the City of Hoboken identifies the city with an “H” logo that suggests city buildings reflecting in the water, and signs that reference a 1907 Ferry Terminal, a landmarked Beaux Arts structure on the New Jersey side of the Hudson River, directly across from the center of Manhattan. The New Pier “C” terminal is the largest copper-clad building remaining in

the world, and it identifies the waterfront of Hoboken, also being renovated. Pole mounted twelve feet high stencil cut aluminum gateway signs identify the roadway entrances into the city. The “H” logo, and a text greeting, “The City of Hoboken, Welcome”, are integrated with the image of the Ferry Terminal Tower. The signs are stencil cut open panels that suggest the old open-structure railroad trestles and integrate with the sky, not becoming a solid billboard. The signs have a reflective surface for easy nighttime legibility. Kiosk structures with glass doors on two sides house orientation maps and city historic posters. Additional kiosks are installed as Hoboken transforms its waterfront into a continuous public park. The kiosks have copper clad caps that suggest the entrance facade of the Ferry Terminal, Eventually the copper-brown renovated areas of the Terminal and the copper-brown kiosk top will turn the beautiful oxidized copper-green color to match the surviving areas of the original Ferry Terminal.

VIEWS:

Sharing Experience

New Pier “C”

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"Whether incorporating many symbols or few in an overall wayfinding system, it is best to choose familiar images. This can mean selecting an established system such as the DOT Symbol Signs for representing generic services, activities and regulations. If the symbols are site specific such as identity symbols for districts, events or special services it can help to choose or design symbols that can be described in any language. A tree image can be understood and described as “tree” in English, “arbol” in Spanish, and “ki” Japanese. This is important to help users remember the symbols and to be able to describe the symbols when verbally giving directions."

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Naumburg Historical City Center Location: Naumburg, Germany Completion Date: 2007 Design Firm: Meuser Architekten GmbH Photographer: Miriam Weber Clients: City of Naumburg/Saale, Department of Stadtentwicklung und Bau

The county town of Naumburg an der Saale in SachsenAnhalt can look back on almost 1000 years of extremely eventful history. It was the residence of the Margrave of Meißen, for over 500 years (until 1568) and it was a bishopric, and due to its convenient location on the Via Regia, it was also a flourishing city of fairs and commerce during the Middle Ages. The most striking evidence of that era is the mighty St. Peter and Paul Cathedral. Naumburg’s landmark dominates the city skyline, widely renowned, particularly for its figures depicting the founders in the west choir. In addition, every year thousands of tourists from all over the world are attracted by the redeveloped city centre with the St. Wenzel’s Church, Marientor Gate and Market Square, as well as its private town houses from the Renaissance era. Visitors to the city are to be guided through the historic old town with the help of an uniform touristic guidance and orientation system. The basic idea is to provide passers-by with an orientation aid at the side of the route, as a matter of course, which they can also use as a source of information about the city’s history, if interested. The historic ground plan of the city – the memory of every European city, serves as the starting point of the design. The use of bright signal colors will be desisted in favor of a muted color range. The idea is for pedestrians to find information, but not to be swamped with information as in an airport. With this in mind, the following design elements are developed: Socalled info bedstones are used at central guide points. They aid spatial comprehension visually and haptically, since they mark the locations and reflect the city’s ground plan in a stylized manner. Streets, squares and public areas are shown recessed (approximately 3 to 5 millimeters). Then landmarks of the city (e.g. the cathedral and other sacred buildings) are marked in bronze. The circular info bedstones (2.20 meters diameter) are manufactured from reinforced, frostresistant, free-flowing, high-performance and fine-grained concrete. The info mast, 2.50 meters high, with tabletshaped extension arm marks the visitor’s location in the city’s ground plan, and also serves as an information board. The mast is made from a cylindrical aluminum tube with a flat and decorative head, sitting firmly and pointing North, in a ground sleeve also made from aluminum. An aluminum sign measuring 30 by 150 centimeters is inserted in a guide slot and can be locked.

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• Signage and Wayfinding System for a General Hospital •

PAYMENT

WATER

PHONE

UPSTAIRS

DOWNSTAIRS

WOMEN

MEN

DINING

FOR DISABLED

INFORMATION

INJECTION ROOM

TREATMENT ROOM

PHARMACY ROOM

TRAUMATOLOGY

OPHTHALMOLOGY

RHINOLOGY

STOMATOLOGY

UROLOGY

CARDIOPULMONARY

ORTHOPEDICS

OBSTETRICS & GYNECOLOGY

OTOLOGY

WARNING

LOUNGE

EMERGENCY ROOM

NURSES ROOM

DOCTORS ROOM

LABORATORY ROOM

X-RAY ROOM

TESTING ROOM

INFUSION ROOM

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PEDIATRICS

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• Signage System for a Hospital •

M EN

• Signage and Wayfinding System for a Lady’s Shop •

I N FU S I O N

PHA R M A C Y

N U R S ES

TR EATM EN T

WA R D

A mbul ance

N O M O B I LE

N O P H O TO

WO ME N

D O WN

DISABLED

O N LY D O C T O R

RIGHT

LEFT

E L E VAT O R

S TA I R W E L L

RIGHT FRONT

C O FFEE

ICU

A LA R M

NO F IR E

HYDRANT

EX TI N G U I S H ER

FI R EFI G H TI N G EQ U I P M EN T

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WA R N I N G P O W ER

ES C A P EM EN T

Right

Right Front

Down

Elevator

Stairs

ATM

Checkout

Restroom

Jewelry Area

Fashion Area

Watch Area

Perfume Area

Tableware Area

Bag Area

Makeup Area

Shoes Area

Hair Area

Exit

LEFT FRONT

WA S H

WA R NING R A DIATI O N

Information

EM ER G EN C Y EX I T

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• Signage and Wayfinding System for a Shop •

• Signage System for a Super Market •

PARKING

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TOILET

SHOPING CART

FASHION AREA

MEAT AREA

SEAFOOD AREA

BOOK AREA

DRINKS AREA

HEALTH CARE AREA

BEDCLOTHES AREA

FRUIT AREA

APPLIANCES AREA

BATHROOM AREA

COFFEE & TEA AREA

INFORMATION

ELEVATOR

UPSTAIRS

DOWNSTAIRS

PROMOTION

CHECKOUT

ATM

NO PHOTO

NO PETS

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• Signage System for a Super Market •

Food Area

Clothing Area

Reading Area

Furniture Area

Daily Area HELP CENTER

PAYPHONE

BASKET AREA

CART AREA

BROADCAST CENTER

NO SMOKING

NO PETS

NO PHOTOS

ENTRANCE

EXIT

WEIGHING AREA

ATM

DIRECTION

DINING AREA

STROLLER

DRESSING ROOM

CHARGING STATION

LUGGAGE STORAGE

DRINKING ROOM

VIP SENTER

LOUNGE

NUMBER SAMPLE

TOOLS

WC/WOMEN

WC/MEN

ESCALATOR

UP STAIRS

DOWN STAIRS

TRASH

INFORMATION

DISABLED ACCESS

CHECKOUT

HYDRANT

PARKING

Promotion

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• Signage System for a Tea Bar •

go straight

upstairs

elevator

turn left

downstairs

vip room

• Signage System for a Restaurant •

turn right

toilet for girl

tea room 2

left front

toilet for boy

tea room 3

right front

1ST FLOOR

2ND FLOOR

3RD FLOOR

BASEMENT

STAIRS

RECEPTION

LOCKER ROOM

CHECKOUT

COFFEE BAR

STAFF ONLY

WINE BAR

RESTAURANT

MEETING ROOM

JUICE BAR

WOMEN

VIP LOUNGE

MUSIC HALL

BIRTHDAY HALL

LOBBY

NO-SMOKING HALL

CAFETERIA

for disable

tea room 4 MEN

1st floor

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2nd floor

3rd floor

4th floor

checkout

COUPLES TABLE

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• Signage And Wayfinding System for a Hotel •

• Signage and Wayfinding System for a Fruit theme Bar •

Men

Reception

Coffee Bar

No. One

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Locker Room

Wine Shop

No. Two

Elevator

Wine Bar

No. Three

Upstairs

Vip Club

Chef Only

Women

For Boy

For Girl

Toilet

Exit

Down

Left

Right

Lemon Table

Pear Table

Apple Table

Bananatable

Peach Table

Cherrytable

Grape Table

Truck Parking

No Smoking

Trash

Inedible

For Trying

Downstairs

Banquet Hall

No Smoking

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â&#x20AC;˘ Signage and Wayfinding System for a Business Hotel â&#x20AC;˘

Reception

Main Reception Restaurant Coffee

Lobby

Restaurant

Suites

Gym

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Food & Beverage

Housekeeping Deparment

Security

Front Office

Entertainment

Vip Center

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• Signage System for an Architecture Company •

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• Signage System for an Architecture Company •

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• Signage System for an IT Company •

• Signage and Wayfinding System for an Electronics company •

C: 0 M: 100 Y: 100 K: 0

FLOOR

DIRECTION

EXIT

ENTRANCE

NO SMOKING

TRASH

PARKING

STAIRCASE

ELEVATOR

INFORMATION

WOMEN

MEN

PAYPHONE

DINING AREA

COFFEE AREA

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• Signage and Wayfinding System for a Tour & Travel Agency •

C: 60 M: 63 Y: 54 K: 0

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• Signage System for a Beverage Company •

Elevator

Information

Downstairs

Upstairs

Locker room

parking

Payphone

Straight

Left Front

Left

Exit

surveillance

Toilet

men

girl

coffee

Restaurant

Pantry

power

no smoking

no fire

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• Signage System for a Design Company

• Signage and Wayfinding Systemfor an Express Company

WOMEN

MEN

DOWN

RIGHT

LEFT

STAIRCASE

ELEVATOR

PARKING

HYDRANT

NO NOISE

NO PETS

DINING

COFFEE

HELP

INFORMATION

TRASH

DRESSING

MEDICINES

CHARGE

PHONE

UMBRELLA

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• Signage and Wayfinding System for a Laundry Company •

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• Signage System for a Cleaning Company •

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• Signage and Wayfinding System for a House Property Agency •

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• Signage and Wayfinding System for an Engineering Company •

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• Signage System for an Advertising Company •

• Signage and Wayfinding System for an Industrial Exhibition • DIRECTIONAL ARROWS 1

DIRECTIONAL ARROWS 2

ENTRANCE

EXIT TOILET SIGNAGE

NO PET DIRECTIONAL ARROWS ON WALLS

NO PHOTO

COFFEE

WAYFINDING. FLOOR BOY

GIRL

DISABLED

NO SMOKING

POWER

TRANSLATORS

INFORMATION

PAYPHONE

TRASH

POWER

RESTAURANT

EMERGENCY EXIT

DOWN

DIRECTIONAL ARROWS

DOWN

STAIRWELL ELEVATOR

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UPSTAIRS

DOWNSTAIRS

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• Signage and Wayfinding System for a Horticultural Expo •

• Signage and Wayfinding System for a Materials Fair •

Elevator

Check In

Stairs

Parking

Plant Area

Equipment Area

Men

Women

Landscape Area

Research Area

Video Area

Archives Show

Exit

No Breaking

No Fire

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Directional Arrows

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• Traffic Signages •

• Signage System for an Insurance Agency • C: 0 M: 0 Y: 0 K: 75

C: 0 M: 25 Y: 100 K: 0

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• Signage and Wayfinding System for a Metro Station •

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• Signage and Wayfinding System for an Underground Parking •

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• Signage System for an Airport •

• Signage System for an AirPort •

C: 61 M: 12 Y: 14 K: 0

C: 0 M: 0 Y: 0 K: 75

C: 0 M: 0 Y: 0 K: 100

Terminal 1

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Terminal 2

Terminal 3

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Departure

Arrival

Transfer

Baggage

Screening

Elevator

Escalator Up

Escalator Down

Taxi

Bus

Disabled

Men

Women

Information

Terminal

Shoping

Coffee

Restaurant

Wine

Water

No Photo

No Fire

No Mobile

Exit

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• Signage System for a Publica Garden •

• Signage and Wayfinding System for a Zoo • Women

Men

Directional Signs

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No Pets

No Photos

Do Not Pick

Drinking Water

Informations

Help

Charge

Rentable Umbrella

No Noise

Do Not Drink

No Climbing

No Touch

Disabled Access

Trash

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• Signage and Wayfinding System for a Library •

• Signage and Wayfinding System for a High School •

C: 0 M: 25 Y: 88 K: 0 C: 39 M: 11 Y: 0 K: 0 C: 12 M:4 Y: 0 K: 0

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• Signage System for a Training School •

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• Signage and Wayfinding System for an Art School •

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• Signage System for a Children Club •

• Signage System for a Pets Club •

C: 8 M: 10 Y: 40 K: 30 C: 0 M: 16 Y: 22 K: 0 C: 0 M: 54 Y: 78 K: 60 DIRECTION

WOMEN

MEN

TRASH

UP STAIRS

DOWN STAIRS

ENTRANCE

EXIT

PETS ALLOWED

SMOKING AREA

PAYPHONE

HYDRANT

PET CARE

INFORMATION

HELP CENTER

PET PRODUCTS

DINING AREA

DRINKING AREA

C: 100 M: 0 Y: 67 K: 0 C: 0 M: 77 Y: 49 K: 0

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• Signage and Wayfinding System for a Billiard Club •

• Signage and Wayfinding System for a Sports Center •

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• Signage and Wayfinding System for a Theater •

C: 0 M: 0 Y: 0 K: 100 C: 25 M: 25 Y: 40 K: 0

• Signage and Wayfinding System for a Cinema •

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• Signage and Wayfinding System for a Gallery •

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• Signage and Wayfinding System for a Gallery •

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• Signage and Wayfinding System for a KTV Club •

• Signage and Wayfinding System for a KTV Club • C: 0 M: 100 Y: 76 K: 0 C: 40 M: 45 Y: 50 K: 5 C: 4 M: 4 Y: 6 K: 4

TOILET

UPSTAIR

CAR PARK

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GIRL

BOY

EXIT

DOWN

LEFT

RIGHT

TIME

INFOMATION

PAYPHONE

CHECKOUT

DOWNSTAIR

AUDIO

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Applied Information Group Add: 26–27 Great Sutton Street, Clerkenwell, London EC1V 0DS, United Kingdom Tel: +44 (0)20 7017 8488 Web: www.appliedinformationgroup.com

Applied Information Group designs information, products, communications and interaction. Our projects range from city sign systems to exhibitions, online communications to transport journey planning. Our journeys and stories are designed on a human scale, focused always on the people who end up using them. To make sure we are not simply seduced by the originality of our own ideas, we get involved in a great deal of research, both through our own research unit – AIR – and in collaboration with partner organisations and clients. The AIG team includes designers in the fields of graphics, typography, interaction and information, urban and transport planners, cartographers, researchers, software developers, writers and project managers, all working in multidisciplinary teams and each making a unique contribution.

Arthur Krupa Web: http://behance.net/arthurkrupa E-mail: arthur.krupa@gmail.com

Arthur Krupa is a freelance graphic designer from Wroclaw (Poland), specializing in branding, signage design and packaging.

Atelier Pacific Add: 11/F, Time Centre, 53 - 55 Hollywood Road Central, Hong Kong Tel: +852 2869 8265 Web: www.atelierpacific.com.hk

Atelier Pacific is a multi-disciplinary architectural design studio whose specific expertise lies in maximizing and enhancing the usability of spaces. The Atelier Pacific design team takes a consumer-oriented perspective, focusing on rationalizing function rather than being bound to house style or image. By crossing conventional boundaries, the team creates spaces and objects that successfully push the design solution to a higher qualitative level. At the same time, the team’s approach to its work demonstrates a belief in, and commitment to, the strength of partnership and synergy with the client organization. The effectiveness and impact of this design strategy can be seen in a variety of successful collaborations within the Asia region, ranging from commercial and cultural work to high profile retail environments. In all cases, the essence of Atelier Pacific’s contribution lies in the thoughtful and careful creation of spaces – evident not only in sophisticated retail or complex office planning, but also in modern urban infrastructure and transport projects.

Axel Peemoeller Tel: +49(0)17666654603 Web: www.axelpeemoeller.com

Axel Peemoeller is a contract graphic designer. He works for various clients and studios around the world. His design is concept driven. He produces

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ideas and design with the aim to generate something new, something outstanding, visually and functionally. He works on identities, books, magazines, place making, three dimentional objects, multimedia, typography, photography and any print media. Creativity and the drive to explore new ways are his goals and recipe for all projects.

Brandculture Add: Suite 202 19a Boundary Street, Rushcutters Bay, NSW 2011, Sydney, Australia Tel: +61 2 8252 7522, Fax: +61 2 8252 7521 Web: www.brandculture.com.au

Working with some of the best companies in Australia and the Asia Pacific, BrandCulture creates exciting branded environments and visual communication that delivers high-impact brand experience. We bring brands to life in complex environments such as corporate headquarters, education, entertainment, retail, and multi-residential developments. Our work helps brands achieve distinct competitive advantage. In 2003 BrandCulture was established out of our belief that design is a powerful and under-utilized business tool that can help companies reach across multiple media to achieve strong brand presence, particularly in the built environment. We have quickly become market leaders in Environmental Branding, Wayfinding and Branding Strategy, taking an innovative business approach to finding the best creative solutions.

Büro North Add: Level 1 / 35 Little Bourke Street, Melbourne, VIC 3000 Australia Tel: +613 9654 3259, Fax: +613 9445 9042 Web: www.buronorth.com

tele representing hotel & real estate development, luxury goods, cultural institutions, financial & professional services and non-profit organizations.

Collider Add: Stuite 511, 19a Boundary St. Rushcutters Bay, nsw 2011, Sydney, Australia Tel: +61 2 9380 8911 Web: www.collider.com.au

Best described as a design, film and production collective, Collider was founded in 2001 by Daniel Askill, Sam Zalaiskalns and Andrew van der Westhuyzen. Based in Sydney, Collider’s creative influence is global, evident through its impressive portfolio of work and high-profile clients. Supported by a team of five directors and designers, Collider has established itself as a leader in contemporary film production, art direction, branding, 3D animation, illustration, high-end commercials and music videos. The breadth of Collider’s work can be appreciated in its collective portfolio. Having worked on largescale, commercial projects for international brands such as Levi’s, and BMW, within the arts realm for Sydney Dance Company, Sydney’s MCA, Collider has a proven understanding of the music industry, building relationships with record labels to direct music videos for bands such as Phoenix, Placebo.

Sussman/Prejza & Company, Inc. 3525 Eastham Drive, Culver City, CA 90232, USA Tel: 310-836-3939, Fax: 310-836-3980 Web: www.sussmanprejza.com

Established in 2004, Büro North is a multi-disciplinary design practice delivering evidence-based solutions that are creative, measurable and meaningful. Led by Design Director Soren Luckins and Wayfinding Director Finn Butler, Büro North’s diverse team works across the disciplines of graphic design, industrial design and wayfinding. With an unwavering commitment to quality, Büro North’s design and strategy work in tandem in the creation of products, brands, identities, publications, signage, environmental graphics and wayfinding. Büro North’s approach is to discover the absolute potential of a project and to resolve their clients’ design & communication issues with mature rigour and youthful creativity. It is the diversity of background and specialisation within Büro North that facilitates their unique and engaging outcomes.

As the founder of the firm, Deborah Sussman is recognized as a pioneer of environmental graphic design for creating arresting visual imagery and designing its highly imaginative applications for architectural and public spaces. Deborah’s passion for the marriage of graphics and the built environment, fueled by her early career at the Eames Office, has led to extensive collaborations with planners, architects, other designers, and clients. Her work, informed by perceptive observation and rigorous documentation of communities and cultures, has found its place in projects for cities, arts and entertainment venues, commercial developments and the private sector around the world. She began to work with Architects in the late sixties and seventies; then incorporated as Sussman/Prejza & Co., with husband Paul Prejza. Deborah has led the firm in designing an array of notable projects: the “look” of the 1984 Olympics, which received Time Magazine’s award for “Best of the Decade”; awardwinning wayfinding systems for Walt Disney Resorts and the cities of Philadelphia and Santa Monica.

Carbone Smolan Agency

Diseño Shakespear Argentina

Add: 22 West 19 Street, 10th Floor, New York, NY 10011, USA Tel: 212.807.0011 Web: www.carbonesmolan.com

Add: Dardo Rocha 2754, piso 2, (B1640FTN), Martínez, Buenos Aires, Argentina Tel / Tax: +54 11 4836 1333 Web: www.shakespearweb.com

Carbone Smolan Agency delivers design-driven solutions unique to each client. Our integrated programs connect brand strategy & identity design, sales & marketing collateral, advertising, environmental graphics & exhibitions, books & publications and interactive media. CSA has developed awardwinning design programs for an international clien-

Over the past 50 years, Diseño Shakespear has had a transformative impact on design in Argentina. Founded by Ronald Shakespear, the Buenos Aires based consultancy is now directed with his sons and partners Lorenzo and Juan. They has left its visual imprint on several of Argentina’s most important public facilities, including

wayfinding systems for the Buenos Aires Subway (Subte), City Hospitals, the Temaiken Zoo,Tren de la Costa, Urban Highways and several shopping centers.They serve clients in all Latin American area. This has earned Diseño Shakespear a global reputation, recognized in design journals, exhibitions in Europe, Asia and the Americas. Ronald has been inducted as Fellow by the Society of Environmental Graphic Design-SEGD- in 2008. Between 1985 and 1992, he served as head professor at the University of Buenos Aires Faculty of Architecture, Design and Urbanism.

ex;it Add: 1617 JFK Blvd. Suite 1665, Philadelphia, PA 19103, USA Tel: 215.561.1950 Web: www.exploreexit.com

Ex;it is a consulting and design firm that designs the customer experience within complex physical spaces such as large hospitals, corporate campuses and public spaces. Our approach combines research and design to embrace every point the customer engages with the institution. Our method implores a careful rethinking of all touchpoints along the customer’s journey. This new method is powerful. We’ve coined a new word to describe it: Touchpointing. Our work includes identity, information architecture, environmental graphic design, wayfinding and exhibit design.

F1rstdesign Add: Dipl. Des. Christopher Ledwig Wilhelm-MauserStr. 49 C, D-50827 Köln, Germany Tel: +49 (0) 221 98 74 77 10 Web: www.f1rstdesign.com

The Cologne communication design office F1RSTDESIGN has been founded in 1999 by Christopher Ledwig. Lucid in its concepts without being ordinary – F1RSTDESIGN’s design philosophy answers the needs of various fields ranging from local, national as well as international clients. F1RSTDESIGN has grown into a team of communication and industrial designers and architects performing cross-disciplinary based on international experience. F1RSTDESIGN covers the traditional skills of communication design in 2D [corporate design, graphics, interface design, editorial design] and 3D [wayfinding systems, fair trade, shop design, packaging]. The inter-disciplinary team is characterized by cross-media-solutions following an analytical design approach.

Filippo Partesotti Add: Via Nonantolana, 90/D, 41122 Modena, Italy Tel / Fax: +39 059 454764 Web: www. partesotti.com

Born in 1954, Filippo Partesotti works as visual designer since 1979. In 1982 opened his own studio. His work concernes mostly infographic design for public institutions like as Libraries, Museums, Theatres, editorial design for books or magazines, cultural and no profit campaign, and exhibition set up design.

In the ‘80s he designed the italian tourneés visuals for some important music groups like as Nico, Siouxie and the Banshees, Lounge Lizards, etc. Now he’s working for theatre and cinema ad. His book Paladino-Vasi Ermetici is in the permanent collection of the Shönste Bücher Aus Aller Welt Museum (Museum of the Most Beautiful Book of the World) in Lipsia. In 1996 he holded a workshop about his art-books at the New Bauhaus in Weimar. In 1999 he designed the book La vera storia di Ravenna by the Literature Nobel Prize Winner Dario Fo. He won the competition and he’s now designing the signage system for Multiplo, the Cultural Center of Cavriago. He has been invited to show his works in several exhibits in Italy and all over the world. He practice Eastern Calligraphy and actuallly reached the 2nd Dan degree of Shodo (Japanese Calligraphy).

experience and expertise to our clients. Our excellent working relationships with a range of manufacturers allow us to apply pragmatism to every concept, from production techniques, budgets, timescales and value engineering.

Frost*

Add: 93 Great Suffolk Street, London SE1 0BX, UK Tel: 0207 6200272, Fax: 0207 6206020 Web: www.hat-trickdesign.co.uk

Add: Level 1, 15 Foster Street Surry Hills, NSW 2010 Sydney, Australia Tel: +61 2 9280 4233, Fax: +61 2 9280 4266 Web: www.frostdesign.com.au

Frost* is an independent creative studio collaborating with clients around the globe in disciplines as diverse as design, advertising, strategy, environmental, print, 3D/object, fashion and digital. Founded in London in 1994 by Vince Frost, a globally respected and highly awarded designer, Frost* is now a studio of 30 people based in Sydney, Australia. Frost runs his company on the philosophy that “anything is possible” and to have fun while you do it. He has led his team to design everything from postage stamps to the built environment and aims to seed ideas through society in a positive, genuine way. Frost* clients benefit from a truly global perspective, the high value placed on understanding their needs and strong partnerships that develop over many years. Vince Frost values the power of the Big Idea and believes that design comes from a passion for life. As a company, Frost* works across all aspects of society – creating award-winning, living design solutions in finance, culture and the arts, architecture, property, education, the media, philanthropy and many other areas. Frost* is a company, but also a group of individuals who inspire each other and aim to inspire others, holding firmly to the belief that great design, in all its guises, can make the world a better place.

fwdesign Add: the old school exton street, london se1 8ue, UK Tel: +44 (0)20 7928 0412 Web: www.fwdesign.com

Fwdesign is an innovative and dynamic studio based in the heart of London. Our team has extensive national and international experience working across public, corporate and educational sectors. With expertise in strategic wayfinding, user analysis, information graphics, mapping and product design, we translate brands and information into the public realm from initial concept through to practical on-street implementation. Fwdesign comprises a team of graphic and product designers, supported by a strategy and administration teams, including project managers and project co-ordinators. Our diverse team brings a range of

Groupe Dejour Add: In der Kupferfabrik, Brückenstraße 1, 10179 Berlin, Germany Tel: +49 (0)30 - 288 73 888 Web: www.gdbg.de

Groupe Dejour is a Design Studio located in Berlin, Germany focussing on brand design, product graphics, type design and illustration for various clients from the sport-, music and fashion industry.

Hat-trick design

Hat-trick Design was formed in January 2001. We currently have ten staff based in our own studios in London Bridge. We are a multi-disciplinary design company working for a wide variety of clients. We are currently ranked No. 3 in the Design Week creative survey. Our aim is to provide our clients with the highest standard of creative design and project management. We believe that the best way to achieve this is by the directors being very hands on and leading the jobs from the front. Our clients find that dealing with us directly on a day-to-day basis is the best way to achieve results. Our passion is to produce work that achieves its targets by creating memorable, engaging ideas that are noticed and enjoyed. Our approach is collaborative, creative and strategic. We’re not afraid to ask difficult questions or to give honest answers. We have a very broad experience in a wide variety of sectors: in other words we bring fresh and objective creative thinking to all projects, not formulaic answers.

Jack Bryce Urban Design Add: 22 Bent Street, Toowong QLD 4066, Australia Tel: +61 7 3371 2201 Web: www.jackbryce.com

Jack Bryce Urban Design is a multi-disciplinary consultancy providing planning, design, and advisory services in urban design, signage & wayfinding and brand & identity. The firm’s Principal – Jack Bryce has over 20 years experience in planning and design for corporate, property, sports, tourism, government, land management, entertainment and transport clients. Jack has qualifications in planning and urban design and has worked with design consultants, government, architects and property developers in Australia and overseas. He is Australian Chapter Chair of international design education foundation SEGD. The approach is to add environmental, cultural, aesthetic and economic value to a company, project or development by applying a planned and researched application of design principles, strategies and design methodologies. Collaboration with architects, urban planners, interior designers, landscape architects and engineers at the outset of a project facilitates a shared vision for design and creates opportunities to create enduring quality and value.

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Jack Weiss Associates Add: 813-2 Forest Avenue, Evanston, Illinois, USA Tel: 847 866 7480 Web: www.jackweissassociates.com

Jack Weiss Associates is an Evanston, Illinoisbased general practice design firm established in 1977. The professional staff provides communication design, planning, and consulting services to corporate, institutional, and municipal clients located primarily in the Midwest. Printed communications, visual identity programs and signage & wayfinding systems typify the range of products designed by the firm. In thirty years, Jack Weiss Associates has completed over 400 major projects, many of which have received regional and national design awards. To address specific client objectives, JWA assembles a team of related professionals – marketing consultants, writers, photographers, illustrators, printers, sign makers – as needed, to focus creative energies on the project at hand. Managing the total design process results in successful design solutions. Whether performing as an independent consultant or as a member of a multi-disciplinary consultant team, Jack Weiss Associates has established a reputation for professional practice that is nationally recognized.

L2M3 Kommunikationsdesign GmbH Add: Hölderlinstrasse 57, 70193 Stuttgart, Germany Tel: 0711 99339160, Fax: 0711 99339170 Web: www.l2m3.com

L2M3 Kommunikationsdesign is a graphic design studio with high standards of form and content. Founded by Sascha Lobe in 1999, the agency handles signage systems and graphic design for exhibitions in addition to traditional tasks such as developing corporate images and designing printed matter. So far, the studio has received more than 100 international awards in all areas of visual communication. L2M3 offer more than design: consultation, concept and implementation are the building blocks of our services. We provide end-to-end services for CI processes and strategies, from analysis, concept and design to final planning. And we also take care of individual modules, for example design of a single poster or catalogue. We can offer an interdisciplinary combination of various media such as print, space and screen for three-dimensional communication.

Lamosca Add: Plaça Universitat 4, 3º 2ª, 08007 Barcelona, Spain Tel: +34 93 441 01 00 Web: www.lamosca.com

Long term, will to remain, conceptual strength, collective work, spirit of collaboration. Key notions to understand how Lamosca team works and lives graphic communication. This cooperative of designers founded in 1995 avoids styles. Each piece is a world and process is the really important thing, what allows to reach a satisfactory result both for the studio and the client. And there Lamosca does positionate, with its own way to broach projects –

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a participative and open way. This is particularly noticed in the finished design, which is upheld by a powerful structure and thus is natural, functional and coherent. Many of Lamosca’s works have got a wide public visibility, as a result of the studio’s collaboration with various institutional clients. In the street, they are pieces that stand out for a stubborn use of Helvetica and for their simple and pure graphism.

Lance Wyman Add: 118 W 80th St New York, NY 10024, USA Tel: 212 580 3010 www.lancewyman.com

Lance Wyman was born in Newark, New Jersey in 1937. In 1960 He graduated from Pratt Institute in Brooklyn, New York with a degree in Industrial Design. He started his career in Detroit, Michigan, first with General Motors, and later with the office of William Schmidt. In 1963 He joined the George Nelson office in New York. In 1966 He went to Mexico City with Peter Murdoch to participate in a competition to design the graphics for the 1968 Mexico Olympic Games. It was the beginning of an adventure that has continued to influence his work and his life. After the Olympic program Peter returned to London and stayed on in Mexico for two more years to develop graphic programs for the Mexico City Metro and the 1970 World Cup. Like the Olympics, these urban programs were integral to the vitality of the city streets. Effective integration of graphics into an urban environment is a goal that is both challenging and rewarding. After returning to New York from Mexico in 1971, He worked with Bill Cannan (Wyman & Cannan) and in 1979 established my own office, Lance Wyman Ltd. He has also been teaching corporate and wayfinding design at Parsons School of Design in New York since 1973.

Larsen Add: 7101 York Avenue South, Suite 120, Minneapolis, MN 55435, USA Tel: 952.835.2271 Web: www.larsen.com

Larsen is an award-winning communications design, branding, interactive and strategic marketing firm that produces effective solutions in both print and interactive media. With offices in Minneapolis and the San Francisco Bay area, we have been servicing regional, national and international clients for 33 years. Our firm of 50 employees features a diverse group of seasoned leaders and talented support staff in branding, print and interactive design, account services, writing, and project management. From its inception, our philosophy has been based on client satisfaction. Larsen’s brand strategies and communications are effective because they meet the strategic needs of our clients and their audiences. By recruiting nationally and maintaining only the most qualified staff, Larsen is uniquely positioned to meet challenging client needs.

Lavita (Maria Luisa Rodriguez Vita) Add: C/ Barria 1, 48930 Getxo Vizcaya, Spain

Tel: +34 619 155 618 Web: /www.lavita.es

Lavita is a spanish designer, based in bilbao, a city in the north of spain. She has more than 14 years of experience working in advertising agencies and, particularly, in a multidisciplinary study, Zorrozua Asociados. While working at Zorrozua she has realised a lot of work for museums, exhibitions, environmental graphics, tradeshows and so, because it is a study especialised in that kind of work. After more than 10 years working as an employee, she wanted to try luck working as a freelance designer, and, her first work as LAVITA was, precisely, the ZIERBENA KIROLDEGIA (sports edification) signaling. Her work is multidisciplinary, in graphic design: art direction, branding, print design, environmental design, wayfinding and signage, packaging, environmental graphics, exhibitions, everything related to communication, which is ultimately what this is, to communicate ideas and create lasting images.

Merson Signs Limited Add: 1 Law place, Nerston Mains, East Kilbride, Glasgow G74 4QQ, UK Tel: +44 (0) 1355 243 021, Fax: +44 (0) 1355 263 811 Web: www.merson-signs.com

We are straightforward in all our partnerships. We are honest, friendly and try as much as possible to enjoy what we do and do what we are good at. We expertly design, manufacture and install signs for a number of applications across a variety of sectors for our long-term key accounts and a growing number of new clients. For over 70 years we have been accumulating knowledge and honing our skills and processes. Branding, wayfinding, retail and all types of commercial signage benefit from our experience and turnkey delivery.

Meuser Architekten GmbH Add: Caroline-von-Humboldt-Weg 20, 10117 Berlin, Germany Tel: +49.30.20 69 69 20, Fax: +49.30.20 69 69 32 Web: www.meuser-architekten.de

Meuser Architekten was founded in Berlin in 1996. Since then, we – Natascha and Philipp Meuser – have been working with our team of architects and editors at the interface of practice and theory. We have realized projects for private clients and public contractors, both within Germany and abroad. Meuser Architekten has sponsored the Netzwerk Architekturexport since 2005 and founded DOM publishers in the same year. Our services focus on the project management, architecture, interior design, accessible architecture, corporate office design, monument conservation, diplomatic missions, safety und security.

tems from user instructions to signage, from form documents to user interfaces. Mijksenaar was founded by Paul Mijksenaar in 1986. Mijksenaar specializes in consultancy on visual information systems based on a highly analytical and systematic approach. Mijksenaar’s goal is to produce designs which are not only of the highest possible quality but also give pleasure to their user(s). The office currently employs a staff of twenty. Mijksenaar is an international information design firm with over 30 years of experience. Our userfocused solutions address the challenges and requirements found in even the most complex design problem. These research-based systems have been tested and proven successful in both new and existing environments. At Mijksenaar/Mijksenaar Arup Wayfinding, information design takes the lead, followed closely by an attractive overall image.

Arg. He graduated from Universidad de Buenos Aires in 2010. He is currently working at RDYA Design Group as a multidisciplinary designer, producing diverse pieces of communication. Daniela Mirás is an argentinian graphic designer, graduated from Universidad de Buenos Aires. Now she works as a freelance designer, producing interactive interfaces and engaging in design collaborations. Belén De Chazal is a graphic designer & illustrator based in B.A. Argentina. She graduated from Universidad de Buenos Aires in 2010.She loves handmade work and play with colors and shapes, always based on strong ideas.

Minale Tattersfield

Selbert Perkins Design (SPD) is a WBE multidisciplinary, international design firm that has created some of the world’s most notable, iconic landmarks. Our award-winning work, for a diverse array of highprofile clients, can be seen on five continents. We combine branding, public art, sculpture, signage and wayfinding to create meaningful environments that serve the public good and translate into positive results for our clients. For over 25 years SPD has collaborated with municipalities, public agencies, owners, developers, architects, landscape architects, and the public to create innovative, branded environments that inspire. We have successfully completed numerous large-scale projects around the world, including streetscapes, municipal projects, transportation facilities, mixed-use, retail, entertainment centers, sports arenas, healthcare and university campuses, and more.

Add: 125a Kent Street, Sydney Nsw 2000, Australia Tel: + 61 2 9247 7407, Fax: + 61 2 9247 7097 Web: www.minale.com.au

Minale Tattersfield Sydney is part of a worldwide design network ranked as one of the top global design consultancies. For over 45 years the company has been creating inspiring brands for governments, institutions and professional and commercial organisations – throughout both Australia and internationally. With offices in Sydney, London, Paris, Milan, Moscow and Brussels, Minale Tattersfield operates within a local context but with the benefits of a global perspective. This model has enhanced the firm’s position as one of the most experienced graphic communication consultancies in the country.

NOSIGNER Add: 3-24-5-7F,sendagi,bunkyo,113-0022 tokyo, Japan Tel: +81-3-5834-8114 Web: www.nosigner.com/

The word “design” originates from the Latin word “designare” meaning de-sign. On the other hand, “nosign” is about Design which has no signature on it. NOSIGNER is someone who designs invisible things without explicit signature. Beyond the confines of design, his work reputed worldwide especially in the fields of product design, graphic design and art direction.

Peter Verheul & Reynoud Homan Reynoud Homan: rrhoman@xs4all.nl Peter Verheul: www.farhill.nl

Mijksenaar

Reynoud Homan mainly design for the public domain; Living and working in The Hague, The Netherlands, Peter Verheul specialized in type design.

Add: Joan Muyskenweg 22, 1096 CJ, Amsterdam, the Netherlands Tel: +31 (0) 20 691 47 29 Web: www.mijksenaar.com

Santiago Crescimone, Daniela Mirás and Belén De Chazal

WaySigning People is what Mijksenaar does and what Mijksenaar is. This unique, internationally operating design agency specializes in the design of visual orientation, navigation, and information sys-

Santiago Crescimone: www.crescimone.com Daniela Mirás: www.dgmiras.com.ar Belén De Chazal: www.iambech.com.ar

Santiago Crescimone was born in Buenos Aires,

Selbert Perkins Design Add: 432 Culver Boulevard, Playa Del Rey, CA 90293, USA Tel: 310.822.5223, Fax: 310.822.5203 Web: www.selbertperkins.com

SP+O Add: 212 West Miner St. West Chester, PA 19382, USA Tel: 610.692.2939 Web: www. spo-inc.com

SP+O understands that the visitor experience is critical to the success of a space. We focus on developing programs that immediately communicate the idea that a person can enter a built or natural environment and quickly understand where he or she is, where they want to go and how to get there. SP+O Environmental is concerned with the visual aspects of wayfinding, communicating identity and information, and shaping the idea of place. The easier it is for visitors to understand and navigate a space, the more pleasant and enjoyable their experience. The more enjoyable their experience, and the more informed they are, the more likely they are to have a positive impression. SP+O has considerable experience in developing highly successful wayfinding systems, architectural graphics, signage, and identity graphics. In close coordination with our clients, we shape the visitor experience through a specific process that defines goals, provides design options, documentation and project management.

Transport Design Consultancy

TDC was established in 2006 to offer highly specialised design services for the transportation sector, including brand identity and liveries; wayfinding strategy, environmental graphics and signage design; industrial design of transport hardware; passenger information such as route maps and timetables; ticketing and smart cards; and the design of electronic/active displays and interactive information systems. Based in London, the company is international in scope and TDC personnel have worked on public transport projects in the UK and continental Europe, India, China and Hong Kong, the Middle East, and Australia. Clients include Dubai Metro and Marine Transport; Sydney Metro; Union Railways; Network Rail; Southeastern Railways; Eurostar; and London Underground. TDC principal Tony Howard is former head of design at British Railways.

Two Twelve Add: 902 Broadway, 20th Floor, New York, NY 10010, USA Tel: 212 254/6670, Fax: 212 254/6614 Web: www.twotwelve.com

Two Twelve is a graphic design firm that seeks sustainable solutions to problems of wayfinding, information, and visioning. We practice a special communications discipline that we refer to as “public information design.” Whether we are designing a publication, a sign system, or a graphic identity, our objective is to provide accessible, user-centered design to organizations that communicate with wide cross-sections of the public. Two Twelve is a mature, 25-person firm in which the principals and creative directors lead teams of designers and share the management of central administrative staff. We also draw from our extensive network to involve outside specialists, such as type designers, map illustrators, signage fabricators, and other resources according to project needs.

Uebele Add: visuelle kommunikation, heusteigstraße 94a 70180 stuttgart, Germany Tel: +49 (0) 711-34 17 02-0 Web: www.uebele.com

Andreas Uebele, born in 1960, studied architecture and urban planning at the university of stuttgart, and graphic design at the stuttgart state academy of art and design. since 1995, he has managed his own visual communications agency in stuttgart, and since 1998, has been a professor for communications design at düsseldorf university of applied sciences. andreas uebele is also a member of alliance graphique internationale, the type directors club of new york, the art directors club of new york, the art directors club deutschland and the german design council. the agency is active in all areas of visual communications. projects are handled by small interdisciplinary teams comprising communications designers, media engineers and architects. The focus is on cd/ ci, signage and wayfinding systems, corporate communications and exhibitions. their works were awarded with over 250 international awards and were represented in international collections and museums.

Add: 5 Astrop Mews, London W6 7HR, UK Tel: +44 (0) 20 8749 9060, Fax: +44 (0) 20 8749 9169 Web: www.transportdesign.com

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