With this annual awards publication, SEGD recognizes award-winning people and projects who, through their commitment to human-centered, innovative design in the built environment, set standards of excellence for experience design.
The SEGD Achievement Awards celebrate outstanding individuals whose vision raises the bar of excellence in experience design—leaders, mentors, and catalysts for innovation and ingenuity who have had a remarkable impact on our field of practice and our broader community.
Since 1987, the SEGD Global Design Awards have set the standard of excellence for experiential design, honoring work that connects people to place by imbuing spaces with context, storytelling, and meaning.
Introduction From the CEO of SEGD
Welcome to this year’s SEGD Awards Annual, a reflection of the growing impact and momentum within the experience design community. Moving beyond our golden anniversary, we sharpen our focus on how designers contribute to the broader public and design realms. This year’s Achievement Awards highlight revolutionary approaches to enhancing the human condition, emphasizing dignity in the spaces and experiences we create while championing our creative practices.
Our global design winners exemplify this evolution. From public housing and construction safety to accessible play spaces, transportation, and surgery centers, and celebrating Queer justice and Indigenous education, these projects demonstrate the power of design to elevate every aspect of our lives. They remind us that the spaces we shape are not just physical environments but interventions that enrich human experience and ensure dignity for all.
As you explore this publication, let these inspiring works serve as a catalyst for your own creative journey and a reminder of the profound impact our community has in shaping the world around us. Extend your connection with the 2024 SEGD Global Design and Achievement Awards by discovering more at segd.org/awards.
SEGD24 is the annual publication of SEGD, the Society for Experiential Graphic Design. Opinions expressed editorially and by contributors are not necessarily those of SEGD. Advertisements appearing in SEGD24 do not constitute or imply endorsement by SEGD or SEGD24. Material in this magazine is copyrighted. Photocopying for academic purposes is permissible with appropriate credit. Periodical postage paid at Laurel, MD., USA, and additional mailing offices.
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Best of Show Award Winner, First Light Pavilion
Photo credit: Hufton + Crow
Honoring the people and companies setting the standard for excellence
Best of Show Award
A purpose-built visitor center that tells the story of the world’s first radio astronomy site
Sylvia Harris Award
Honoring the legacy of Sylvia Harris (1953—2011). A passionate advocate of design for the public good Honor & Merit Awards
Branded Environments
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Sylvia Harris Award Winner, Te Mātāwai
Photo credit:
Our mission is to use design materials to enable creativity, engage the senses and enhance our experience of our surroundings. We look for the connections between craft and industry, process and product, human behavior and environmental impact to inform each of our endeavors.
Chairs of the Vancouver Chapter: Jessica Acevedo, Cristina Kelly, and Genevieve Tyack
Shirin Frangoul-Brückner is a visionary designer and the founding partner of ATELIER BRÜCKNER, a global leader in museum and exhibition design. Shirin launched the firm in 1997 alongside Uwe R. Brückner, and soon grew ATELIER BRÜCKNER from a modest scenography and architecture studio into an internationally acclaimed design powerhouse. Guided by the principle of “making the impossible possible,” Shirin’s adept storytelling and multi-sensory approach seamlessly integrate content and spatial translation, creating compelling and immersive experiences for global audiences.
Shirin studied architecture in Kaiserslautern and Stuttgart, and her educational journey laid the foundation for her role as a leading figure in design. ATELIER BRÜCKNER has embraced the motto “Form Follows Content,” creating immersive narrative architectures that artfully communicate content through scenography. The firm now consists of 130 employees and operates from offices in Stuttgart and Seoul, implementing both temporary and permanent projects on a global scale.
Since 2019, Shirin has been joined in managing the company by partners René Walkenhorst, Britta Nagel, Stefanie Klinge and Eberhard Schlag. Together, they continue to redefine the boundaries of exhibition design, exemplified by projects like the narrative scenography for the 2023 SEGD Global Design Award winner Museum of the Future - Journey of the Pioneers in Dubai. This collaborative approach ensures that ATELIER BRÜCKNER remains at the forefront of creating interactive and inclusive spaces that captivate and engage audiences.
Shirin’s impact on the design world extends beyond her role at ATELIER BRÜCKNER. Her exceptional storytelling and multi-sensory design methods have significantly shaped the fields of museum and exhibition design. Her adept management of complex international projects has garnered widespread respect. Shirin’s dedication to excellence, coupled with her integrity and reliability, has earned admiration from clients, collaborators, and peers. Additionally, her involvement in professional associations, including the German Design Club and her role as a University Council member at Augsburg University, reflects her commitment to advancing design and nurturing emerging talent.
Shirin Frangoul-Brückner’s leadership and unwavering dedication to creating exceptional experiences through design underscore her status as a leading figure in experiential design. Her remarkable career and contributions to museum and exhibition design cement her as a true industry trailblazer.
How did you get started in design, and what set you on your professional path?
I grew up with an Iraqi father and a German mother, and I was surrounded by relatively conservative expectations regarding career choices. So my options were limited to studying medicine, law, or engineering. Given my choice of higher-level courses in school, which were mathematics and arts, I found that architecture was a perfect blend between creativity and logical thinking. It offered a broad variety of possibilities and interacted with many different disciplines, and I really liked that about architecture.
How did you transition from architecture to scenography and exhibition design?
I had just finished my studies when ATELIER BRÜCKNER had the opportunity to design the “Expedition Titanic” in the harbor city of Hamburg. This became our first project. The exhibition was not just didactically informative but also involved emotional storytelling. It was a new approach to exhibition design, where we applied the principles of scenography to put the visitor at the core of the experience. From there, we were invited to participate in several competitions, first nationally and then internationally, and remarkably, we won all of them.
What was a project that changed the trajectory of your career or opened your eyes to new things?
Our first non-European project, the Shanghai Auto Museum, was a remarkable step forward because this project presented the challenges of understanding different cultures and completely different working methods. I learned that by balancing the mentality of decision-making versus discussion, projects can be pushed forward effectively in a much shorter time without compromising on quality. This was also a complete shift in our office and the way we work. We went from European-driven projects to international projects with completely different challenges.
What can design and exhibitions do to transform visitors into change-makers?
This is always our goal when we do exhibitions. A great example of this is the National Center for Civil and Human Rights (NCCHR) in Atlanta. Here we collaborated very closely with the center’s team and co-designed the exhibition with the communities. This project was truly dialogue-based and workshop-driven, where we engaged in meaningful exchanges and learned from the input from the communities involved. This stands out as a testament to the power of collaborative design and the impact it can have on both the creators and the audience.
How do you maintain an optimistic and solutionsbased culture in your office?
Cross-cultural dialogue in our office is part of our daily life. People come into our office with different backgrounds, but we share common values and require a high level of tolerance and mutual understanding. This diversity is a source of inspiration. Learning from other cultures, from different design disciplines, and from younger generations is enriching and promising for us. Despite our varied backgrounds, we share one common goal—creating design that sparks curiosity and provokes thought among visitors. This collective mission drives our joint endeavors, inspires our creativity and leads us to success. You can see this in projects of a completely different dimension, such as the Grand Egyptian Museum. Diversity also ensures that our projects resonate with audiences around the world.
Where do you believe the field of experiential design is headed?
I think the future will bring us more customized experiences for individual visitors and a variety of target groups. New formats like role-playing games and immersive experiences will enable more direct and customizable visual engagement with content. I also think that direct interaction with people—with guides and with other visitors—will become increasingly important, especially in our digitally driven world. It will remain crucial to have a strong storyline that will capture the visitor’s attention and serve as the backbone of a good experience. That will never change.
What advice would you give to young designers?
These are the three things that I tell young people. First, be dedicated—commit yourself to your work and identify with what you do. It’s important to live in the moment and take opportunities to shape your life professionally and personally. Second, be authentic—develop your own personality and remain true to yourself. Be proud of your work and approach your professional environment with authenticity. Third, have courage. Everyone feels fear, and while we should respect it, we must not let it control us. Courage is not the absence of fear; it’s the act of overcoming it. Success lies in facing and overcoming the unknown.
How and where do you find joy?
Working with a truly creative team brings incredibly inspiring moments. When we get together to brainstorm and develop ideas, it’s amazing to see what we can produce. I strive to recognize and appreciate our daily achievements, especially the small ones. For example, this award I’m receiving wouldn’t have been possible without the fantastic team behind me enabling us to do all that. I’m really happy to see them embrace their responsibilities, driving initiatives and achieving remarkable things together.
Photo credit: Giovanni Emilio Galanello (below)
BRÜCKNER (above)
Sagmeister
Known for his unorthodox and provocative designs, Austrian graphic designer and typographer Stefan Sagmeister has made a significant impact on the design world, having worked for clients as diverse as the Rolling Stones, HBO, and the Guggenheim Museum.
Born in Austria in 1962, Stefan began his design career at 15, working with the youth magazine Alphorn. After studying in Vienna and New York, he worked at Leo Burnett in Hong Kong. In 1993, he joined Tibor Kalman’s M&Co in New York, where Kalman became a pivotal influence. That same year, Stefan founded his own studio, Sagmeister Inc., shaping iconic designs for major artists and brands.
Stefan is acclaimed for his exploration of the profound themes of happiness and beauty. His projects delve into how design can influence our emotional wellbeing and aesthetic appreciation. The exhibition “The Happy Show,” which toured globally, combined data visualization, self-experimentation, and graphic design to provide insights into what makes people happy.
In 2018, Stefan and his design partner Jessica Walsh organized the critically acclaimed exhibition “Beauty” at the Museum Angewandte Kunst in Vienna. The show explores the impact of beauty on our emotions and behaviors and continues to travel in updated forms, reflecting Stefan’s deep engagement with this timeless subject.
Stefan’s impressive career includes winning two Grammy Awards for his album art; one for the Talking Heads box set “Once in a Lifetime” in 2005, and another for David Byrne and Brian Eno’s “Everything That Happens Will Happen Today” in 2010. An educator as well as a designer, he teaches at the School of Visual Arts in New York and has been appointed as the Frank Stanton Chair at the Cooper Union School of Art.
Notably, Stefan takes a year-long sabbatical every seven years to focus on personal projects and experimentation, underscoring his commitment to creativity and innovation. His contributions to design have been recognized with numerous awards, including the 2013 AIGA Medal and the Golden Medal of Honor of the Republic of Austria in 2013.
Stefan Sagmeister’s work continues to inspire and challenge the status quo, making him a pivotal figure in contemporary design, especially through his explorations of happiness and beauty.
Do you believe that good design makes an impact on how people move and experience space?
It’s very clear that surroundings not only shape the way we feel but also shape the way that we behave. All of us who live in cities are 100 percent surrounded by designed spaces. Everything that we encounter— including parks and city planning all the way down to the building that I’m in, the room that I’m in, the clothes that I wear and the computer I sit in front of—has been designed. And all of these design decisions can be good ones or bad ones, but they all have an influence on us.
What do you value most about designing for the general public?
I was always kind of suspicious of design for designers. You can see that in numerous cases throughout my design life. When a medium ceased to be able to talk to a large audience, that medium lost its luster for me. Our exhibitions, like the one on beauty or the one on happiness, were 100 percent designed for the general audience. The reason these exhibitions had hundreds of thousands of visitors was, of course, exactly that. Sometimes they were criticized by avant-garde designers because they thought it was too accessible, but I didn’t care. That’s not the audience I talk to.
How do you go about ensuring that your work resonates with such a wide audience?
I think it’s about creating work that’s visually compelling and thought-provoking but also approachable. You want people to feel like they can engage with it, even if they don’t have a background in art or design. It’s about finding that balance between making something that’s intellectually stimulating but also emotionally resonant. You want to create a connection with the viewer, something that stays with them after they walk away. That’s always the goal for me.
You’ve worked on large public projects around the globe. Do you find that the challenges you encounter are more cultural or bureaucratic?
It’s a mix of both, I would say. Bureaucracy is definitely a big one. If you’re dealing with a city government, there are just so many layers to work through, and you have to get buy-in from so many different departments. It’s not just about getting the approval; it’s also about getting the enthusiasm and support you need to move forward. Culturally, there can be resistance as well, especially if what you’re proposing is something very new or different from what people are used to. But I find that once people see the potential impact and start to get excited about it, that cultural resistance often melts away. It’s really about building that excitement and getting people on board with your vision.
What can you tell us about your most recent book, Now Is Better?
Negative things like scandals and catastrophes happen very quickly, while positive things are often developed very, very slowly. I am 100 percent convinced that we need a balance between the two. We need the information about long-term developments just as much as we need the information about shortterm developments. Now Is Better concentrates on positive, long-term developments. I’m making data visualizations with my team that manifest these developments—everything from positive developments in the environment to how female voting has developed over the last hundred years. Almost all of these things have been measured, and all of them have improved significantly.
How can designers work to keep these long-term developments front of mind?
It’s much easier to get somebody’s attention with negativity. And I would say it’s an incredible challenge for the design community to not give in to the easy thing. Challenge yourself to make something positive. As designers, we have the advantage of time. We don’t have to post every hour. We can give long-term developments some time, but it’s still more difficult because the reason that the media is so negative is because it works. Negativity is the easiest thing to do. So that’s the challenge.
What role does fear play in your life and work?
I once heard a young Brazilian designer tell me that when he does something new, he has this feeling of butterflies in his stomach. He looks for that feeling as reassurance that he’s actually doing something new and sees the absence of the butterflies as proof that he’s just repeating himself. Almost all of us lead such safe lives that we have to find techniques to overcome our avoidance of fear. I’m not always strong, but when I feel fear, I have to force myself over that hump. If I consciously overcome fear, I always make a mental note to myself to check how it went. It almost always goes well.
You take a year-long sabbatical every seven years. How do these sabbaticals affect your design work?
I have already done three sabbaticals, which were a space for decisively exploring new directions I had not tried before. This sabbatical will be different because the disruption, in this case, will be more place-oriented. We are doing it in three Spanish-speaking cities for four months each, and I already know that will have an influence on the work. With the first sabbatical, I had to overcome a big hump of fear because I thought, “Oh my God, we’re going to be forgotten.” And now, I have none of those kinds of fears. I know it’s going to work because the three previous ones had such big impacts on the studio. They were very enjoyable to do and yielded the kind of projects that I believe were worthwhile.
As a designer and community builder, Marquise Stillwell’s career is rooted in a profound curiosity for people and spaces. His journey has spanned over two decades of practice and began with a deep interest in how humans interact with their environment and the systems that shape their experiences. This curiosity evolved into a passion for designing solutions that enhance environments and foster inclusivity.
Marquise holds an MBA and an MA in Economics, which laid the groundwork for his understanding of social behavior and spatial negotiation. Early in his career, he worked in corporate roles that offered insight into large ecosystems and how people collaborate within them. These experiences set the stage for his transition to entrepreneurial endeavors.
In 2009, Marquise founded Openbox, a New York Citybased design research and planning studio dedicated to exploring the intersection of people and systems. His work at Openbox led him to co-found Opendox, a film company that highlights lesser-known narratives in art, science, nature, and politics. At Opendox, Marquise has executive produced the acclaimed film The New Bauhaus and co-directed This World Is Not My Own, which premiered at SXSW and Hot Docs.
Marquise’s commitment to making impactful, peoplecentered projects remains a consistent thread throughout all of his work. In collaboration with Room for Magic, he co-founded Deem Journal, a biannual print journal and online platform focused on design as a social practice.
As a way to dig deeper into the overlap of fine art and tech, he co-founded Artmatr, an international community of artists and engineers merging digital technology with traditional painting methods. Recognizing the urgent need for coastal resilience, he co-founded Urban Ocean Lab with Dr. Ayana Elizabeth Johnson and Jean Flemma to develop policy solutions for coastal cities. Most recently, Marquise acquired Stae, an open-source data hub that helps people visualize and leverage city data.
Marquise’s core values—Inclusivity, People-Centered Approaches, Community, and Innovation—drive his approach to design and community-building. He believes in creating spaces that embrace our shared humanity while valuing our differences. His work across design, art, and culture exemplifies how these fields can serve as catalysts for unity and positive change.
Marquise Stillwell
How did your upbringing shape the way you go about your work?
When I was a youngster, playing and making things was just a way of life, and I would say that I’ve never stopped making, playing, and building. I grew up at a time when something broke; you fixed it. You tinkered and played, and there was space for imagination. For me, finding paths to always be able to do that has been a way of living that goes beyond just having a career.
Was there a particular person or experience that inspired you to enter the design field?
I grew up in the industrial Midwest, and design was just a way of living. You were allowed to take things apart and build things. I was surrounded by steel mills and auto plants. These were people who might not be considered makers today, but they were. Look at some of the major design firms; they came out of areas like where I grew up. I can’t point to one person [who influenced me]; I see myself as part of a “we,” a long legacy and history of individuals who came before me and who also had that permission to play.
How did your design research and planning studio, Openbox, come to be?
I’ve been in this space of designing and making professionally for almost 25 years. I started with the idea that being an inventor was being a designer. Openbox centers people and understands the process of designing with and for people. I come from a background where community was part of my life—my dad was a minister and involved in community action. The conditions were perfect for what we now loosely call design. Openbox was established to organize all the things I’ve been doing into a place that allows me to continue to play, connect with people, tinker, and add value by centering people and community.
Openbox recently led community engagement for the exhibit “Up From the People: Protest and Change in D.C.” at the Martin Luther King Jr. Memorial Library and also created a guidebook for future exhibit development at the Library. How did you navigate engaging with the DC community throughout this project?
The Martin Luther King Jr. Memorial Library project is a great example of non-performative community engagement. Libraries have evolved from places of learning to places for public information; now, particularly in cities like Washington, DC, they serve as public spaces where immigrant populations and Black and Brown individuals feel safe to convene. We went to barbershops and homes to understand the lived experience of local DC residents. Our process involved bringing the community along and ensuring that their stories were reflected in the space.
Opposite Page Up From the People: Protest and Change in D.C. Project Collaborators: Studio Joseph, Bluecadet, Workhorse, kubik maltbie, and Colloqate
Photo credit: Dan King (below)
Opposite Page Welcome Event for The Lowline
Photo credit: Marquise Stillwell (above)
How do we, as a community of designers, move towards more enduring, sustainable structures and spaces?
The design model and client relationship need to change. We’ve become vendors, not partners. We fell in love with the output and let go of the process. For me, design is about the process. It’s tough to take clients on that journey, but we need to build more evidence that the process matters. I think it’s a challenge to scale that, which is why we’ll always remain a smaller studio. It’s hard to scale when the process is at the center of your practice versus the outcome that pays the bills.
Given your involvement in a wide variety of professional endeavors, how do you decide where to focus your attention?
I see the work I do and the collaborators I work with as a micro-circular economy. At scale, I can only do so much, but with partners, I can scale beyond my personal reach. I want to ensure that within our thinking, there’s a throughline of storytelling and adding value. I co-founded a film company with Petter Ringbom to tell stories of underdogs, people you may not have heard of. Urban Ocean Lab, which I co-founded with Jean Flemma and Dr. Ayana Johnson, looks at the relationship between cities and the coastline, particularly in the face of climate change. Deem Journal allows me to go in-depth with stories. My government tech platform, Stae, uses quantitative data to expand on qualitative data from Openbox. All together, this creates a micro-circular economy that allows us to expand our reach, even in a small organization.
What do you see as the future of design education?
I think that formal education, especially for creatives, isn’t always the best path. The formal process of classroom learning isn’t conducive to the kind of work we do today. [Students] need apprenticeships. They need to mimic, and they need to do the hand motions. Your hands are part of your memory, and if you’re not using your hands and only using your head, it’s hard for your heart to lean in. Design is head, heart, and hand.
What responsibilities do current practitioners have toward the next generation of designers?
As designers, we need to create better conditions for this next generation. It’s about thinking through the process, policies, and whether we even need more buildings. I challenge senior architects—do we really need to build more? Our role is to create conditions for how we live, not just to make things. We are spatial relationship architects, and we need to think about the conditions we’re setting for the future. It’s about teaching the next generation about white space, about not filling every empty lot. I’m optimistic about the future, but we need to be thoughtful about what we do and don’t need.
Photo Credit: Marquise Stillwell
Gary Stemler
Vice President, Archetype
SEGD Distinguished Member Award
The SEGD Distinguished Member Award recognizes an individual for demonstrating outstanding volunteer efforts while significantly contributing to the direction, growth, and excellence of SEGD programs. Past winners include Annelle Stotz and Christina Lyons.
Gary Stemler is a past member of the SEGD Board and previously served as Secretary/Treasurer of SEGD. Gary is a former Co-Chair of the Minneapolis chapter.
How did you get started in design? What drew you into the field?
I come from an engineering family. My dad was a civil engineer, but I like the more creative side of the world. I graduated from Kent State University with a degree in Industrial Design. Initially, I was drawn to the design side of things. My job search led me to Cornelius Architectural Products, where I gained exposure to the field of experience design, which set the stage for my future endeavors.
What do you enjoy most about this field of practice? I find immense satisfaction in the balance between creativity and engineering. I enjoy bringing design concepts to life through meticulous engineering and creative problem solving. The creativity I have may not be in the colors or the shapes, but it’s actually how to make that thing come to life. This duality has strengthened my relationships with clients and advanced my career.
Which projects have significantly shaped your career? One of my career-defining projects was the design of the entrance signs for the Mall of America. Those signs are still there today. It was one of my first large projects, and to see that on national news made me stop and think of the impact it had. More recently, our company’s branding exercises have further refined my approach to design and fabrication, demonstrating the continuous evolution of our company.
Gary Stemler, Vice President, Archetype
Photo courtesy of Gary Stemler
How did you discover SEGD? When did you begin to get involved?
I was introduced to SEGD by a colleague at my previous job. My first national event was in Cincinnati in the mid1990s. Over the years, I’ve served as a Chapter Chair, Board member, guest speaker, and Treasurer. My tenure as Treasurer was particularly noteworthy, as I helped SEGD navigate through a challenging financial period.
How has SEGD helped to build your practice and find projects that emulate design excellence?
SEGD has been instrumental in building my practice. The exposure to new ideas, the formation of invaluable relationships, and the opportunity to approach business challenges from different perspectives have all been significant benefits. I consider many members within SEGD to be really close personal friends. Both clients and competitors are very good friends of mine.
What do you see as the greatest change in your work through the years?
Technology has dramatically transformed the field. For us, it really goes back to relationships and personnel. The advances in communication have been huge. The ability to hold virtual meetings and involve remote employees has revolutionized how our team collaborates and implements projects.
What advice would you offer to emerging professionals in experience design?
For those starting in the field, I offer this advice: passion, eagerness to learn, and a positive attitude are crucial. We’ve got people here that have many different backgrounds who are just fabulous employees. Having a positive attitude and a willingness to learn is essential.
Top: Past Board Treasurer Gary Stemler (right) and Current Board Treasurer Mike McCarthy (Left). Photo courtesy of the SEGD Photo Archives
Bottom: 2018 SEGD Conference Co-Chairs Gary Stemler and Gretta Fry welcome SEGD to Minneapolis. Photo courtesy of the SEGD Photo Archives
Top: Gary Stemler welcomes participants to the 2018 SEGD Conference in Minneapolis. Photo courtesy of the SEGD Photo Archives
Bottom: Jill Ayers (left), John Lutz (middle), and Gary Stemler (right)
Photo courtesy of the SEGD Photo Archives
Modulex Group
SEGD Innovation Award
The SEGD Innovation Award recognizes members who have demonstrated innovative expertise and processes that have expanded the potential impact and engagement of experiential and environmental graphic design. Past recipients include Prime Access Consulting, Andrusko Group, and SignAgent.
Modulex is a global leader in signage and visual communication solutions, established in 1963 by the LEGO Group. With a rich heritage of innovation and quality, Modulex provides comprehensive wayfinding systems, architectural signage, and digital solutions tailored to various industries, including healthcare, education, corporate, and hospitality. Headquartered in Denmark, Modulex operates worldwide, offering design, manufacturing, and project management services to ensure effortless execution. Their commitment to sustainability, combined with cutting-edge technology and user-centric design, positions Modulex as a trusted partner in creating functional and visually appealing environments.
Southeastern Pennsylvania Transportation Authority SEGD Insight Award
The SEGD Insight Award recognizes visionary clients who demonstrate the impact of experiential design by commissioning projects and initiatives that significantly enhance or promote opportunities for the field and practitioners. Past recipients include the National Museum of African American History and Culture, Bryan Stevenson, and Washington D.C. Mayor Muriel Bowser.
The Southeastern Pennsylvania Transportation Authority (SEPTA) is the seventh-largest U.S. rapid transit system by ridership. In the spring of 2020, SEPTA prioritized the development of a Branding and Wayfinding Master Plan to address the shift in ridership travel patterns. This initiative has extended to a Standards Manual and ongoing implementation of a fully re-envisioned transit experience inclusive of new branding, terminology, wayfinding, and maps that solve for accessibility and inclusivity for those with Limited English Proficiency and literacy challenges. Lex Powers, SEPTA’s Director of Service Information Design and project champion, in partnership with Entro, has led the effort that prioritizes community engagement and extensive outreach to ensure consensus is built and an informed solution is achieved.
Photos courtesy of the Southeastern Pennsylvania Transportation Authority
Top: Studio Bell, Alberta Canada. Photo courtesy of Modulex Group Bottom: Kvartetten, Malmö, Sweden. Photo courtesy of Modulex Group
Neeta Verma
SEGD Educator Award
The SEGD Educator Award recognizes academic members who have demonstrated the cultivation and practice of design across practice areas of SEGD, namely, experiential and environmental graphic design, interaction design, exhibition design, creative technology, installation, and public good projects. Past recipients include Dr. Elizabeth (Dori) Tunstall, Yeohyun Ahn, and Angela Iarocci.
Neeta Verma situates herself within the porous discipline of Visual Communication Design. Her research and teaching explore design as a tool for social equity in addressing systemic social issues. Her work has been nationally and internationally recognized. Awards include the Nehru-Fulbright Fellowship, the 365: AIGA Year in Design Award, the Design Incubation Teaching Award, Graphis Awards, the Core77 Award for Design for Social Impact, and the 2022 Rev. William A. Toohey, CSC, Award for Social Justice awarded by the University of Notre Dame. She earned her MFA from Yale University and an MDes from the National Institute of Design, India.
SEGD Vancouver Chapter
Jessica Acevedo, Cristina Kelly, and Genevieve Tyack SEGD Chapter Chair Award
The SEGD Chapter Chair Award recognizes outstanding volunteer efforts made while significantly contributing to the direction, growth, strength, and excellence of SEGD both regionally and internationally. Past recipients include Kayte Muse, the SEGD Raleigh Chapter, and the SEGD Riga Chapter.
Dedicated to highlighting experience design in one of Canada’s most vibrant cities, the Vancouver chapter supports the professional growth of its members and contributes to the city’s lively design community. Their proximity to breathtaking landscapes serves as both inspiration and backdrop for many design projects, solidifying Vancouver’s reputation as a hub for forwardthinking design that is aesthetically pleasing and functional, focusing on social responsibility and inclusivity. The Vancouver chapter takes pride in providing opportunities that spark creative exchanges and fostering growth to help drive the future of experience design.
Photo courtesy of Neeta Verma
SEGD Vancouver Co-Chairs left to right; Jessica Acevedo, Genevieve Tyack and Cristina Kelly, Photo courtesy of the SEGD Vancouver Chapter
designtex.com/digital-studio
Award winners and finalists are among the highest viewed pages on SEGD.org. Enter your projects and get recognized for design excellence in 2025.
Driven by the shared passion and creativity of our design community, DCL is your reliable collaborator for custom signage, experiential design elements and integrated tech solutions. As an ongoing supporter of the SEGD community, DCL would like to congratulate all of our design partners for their creative achievements, inspired solutions and commitment to design excellence.
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Best of Show
First Light Pavilion
FIRST LIGHT PAVILION
Best of Show, Honor Award
Design Firm Casson Mann
Client University of Manchester
Location Macclesfield, United Kingdom
Industry Vertical Museums
Design Team
Roger Mann (creative director), John Pickford (lead design director), Justin Wilson (senior designer), Eleonora Francica (designer), Kirsty Kelso (interpretation), Hassell Studio (architecture), Planit-IE (concept landscape consultant), DEP Landscape Architecture (executive landscape architect), ORSA (principal designer), Realm Projects (exhibition), Electrosonic (exhibition AV), Squint/Opera and ISO Design (exhibition AV software design)
Collaborators
DHA Designs (lighting), Electrosonic (AV hardware), Squint/Opera and ISO Design (AV software design), Realm Projects (exhibition contractor)
Photo Credits
Hufton + Crow
Project Date April 2022
Project Budget
€2,800,000 EUR
Project Area 650 sq m
Juror Comments
“The First Light Pavilion makes innovative reuse of the original sections of the 1957 Lovell Telescope as both an interpretive projection surface and a sculptural element that defines the space of the exhibition.”
“The project exudes an immediate ‘wow’ factor, notably through its innovative use of dish panels that invigorate the space with excitement and intrigue.”
First Light Pavilion
Best of Show Award
Casson Mann created the permanent exhibition for the First Light Pavilion, a purpose-built visitor center at Jodrell Bank Observatory. The fully immersive and interactive exhibition tells the story of the world’s first radio astronomy site and the creation of the giant Lovell Telescope from a social and historical perspective.
The exhibition is designed to inspire curiosity and wonder. Jodrell Bank became a UNESCO World Heritage Site in 2019, supercharging the need to present its heritage to the same standard as its world-leading science. The project aimed to create a spectacular exhibition narrating the history of Jodrell Bank and engaging broad audiences.
One of the design challenges at Jodrell Bank was how to tell the story with limited physical assets on display and how to make the few artifacts—photographs, equipment from science experiments, data, records and logbooks— visually interesting and accessible to the public, without considerable interpretation.
Fortunately, there is a huge archive of ‘intangible assets,’ archival images, film (Pathe and BBC), sounds (like ‘moon-bounces’), and oral histories that provide a fantastic basis for the exhibition’s narrative.
Large-scale projections, drawing on this original material, create a setting for stories and objects that are anything but ordinary. Casson Mann captured the spirit of a post-war site: the multimedia style suggests a patina of age, and exhibition fixtures evoke the materiality of the observatory—full of filing cabinets and dusty lever-arch files. Even the most humble object takes on a new sense of awe and wonder in this environment.
The exhibition environment is created from giant metal panels that formerly comprised the surface of the original telescope. In the exhibition, these become a dynamic projection surface for the images, films, and animations that bring the story to life. The history that the dish was witness to plays out across its surface. The patinated dish becomes a dynamic projection surface for multimedia, mapping the earthly stories of Jodrell scientists and the cosmic sphere which they explored. Projections include bicycles used by Jodrell scientists, astronomical charts, and a Sputnik traversing the entire panorama.
The site itself remains a working premises, as Jodrell Bank is part of the University of Manchester, a worldleading research institute. The First Light building is a new build on the site, and it was important that the narrative environment be sensitive to the existing experiences while nonetheless offering something new and distinctive.
Sylvia Harris Award
Te Mātāwai
Sylvia Harris Award, Honor Award
Design Firm Maynard
Client Kāinga Ora
Location Tāmaki Makaurau (Auckland), Aotearoa (New Zealand)
Industry Vertical Residential
TE MĀTĀWAI
Design Team
Guy Hohmann (director in charge), Simone Speet (associate in charge), Emme Jacob (wayfinding designer), Franziska Steinkohl (wayfinding strategist), Eden Short (wayfinding strategist), Spencer Buchanan (industrial designer), Jordan Henderson (industrial designer), MODE (architecture), Isthmus (landscape architecture), SignFX (physical fabrication)
Collaborators
Ngāti Whātua Ōrakei, Arekatera (katz) Maihi
Photo Credits
David St. George (photographer), Maynard (copyright)
Project Date August 2023
Project Area 4,000 sq m
Juror Comments
“It is rare that one sees projects that spark an internal dialogue beyond its intended goal as a design solution. This project tackles issues of culture, economic mobility, and housing affordability with care and focus. The integration of Native language and iconography only enhance an already thoughtful approach.”
“As we delved deeper into this project, we found ourselves increasingly impressed by its accomplishments. It not only meets the basic requirements for social housing signage but also excels in fostering a genuine sense of belonging. The utilization of native timber, coupled with a meticulous approach to its craftsmanship, adds a significant dimension to the project, amplifying its social impact in a profound manner.”
Te Mātāwai
Sylvia Harris Award
A flagship supportive housing development in the center of Tāmaki Makaurau | Auckland, Te Mātāwai has set a new standard for Kāinga Ora, delivering real social, cultural, and economic benefits for the community. Kāinga Ora provides housing for New Zealanders in need—this project has been informed by international best practice for supportive housing, adapted to the unique context of Aotearoa | New Zealand. The site at 139 Greys Avenue consists of three adjoining buildings— Waitapu, Waiora, and Wainui. Wayfinding was required to connect those who will call this place ‘home’ to all the spaces and facilities it offers, with an outcome instilled with inclusivity and care.
Te Mātāwai has been developed in partnership with Ngāti Whātua Ōrakei, leading to a design that is structured around tikanga (traditional Māori values) and the provision of housing with manaakitanga (care and kindness) at its heart. Ngāti Whātua Ōrākei are the local Indigenous tribe who hold the mana (ancestral power) of this land as ahi-kā, literally the holders of the long burning flame. This native and natural landscape where Te Mātāwai now stands, carries the warm footprints of the many who have tread this whenua (land).
Empathy was at the core of our process. Through collaborative workshops with Kāinga Ora, we understood early that the response must consider the diverse needs of those that will inhabit these homes. Pictograms are elevated within the wayfinding system as a way of visualizing services for those who may have English and te reo Māori as their second and third languages. In alleviating language and cognitive barriers, the system seeks to make information accessible to all.
Kāinga Ora with Ngāti Whātua Ōrakei embraced an overarching vision honoring Waihorotiu, the stream which once had its headwaters beneath the site. For early Māori, rivers were essential to life and held deep significance to tribal identity. The calming, fluid movement of the Waihorotiu and the vitality of its native bush canopy above, inspire the design elements adopted by the wayfinding. As the primary material within the sign palette Tōtara, a native timber, imbues the wayfinding elements with a connection to the natural landscape. Artworks designed by Ngāti Whātua Ōrākei artist Katz Maihi adorn the signage, routed into the fluid formed timber. Manu | Bird artworks are used for level identification, signaling ‘home.’ Wai | Water artworks feature on directional signage, referencing ‘flow’ and ‘movement.’ Harekeke | Flax artworks represent connection and are used to identify community areas.
Through a thoughtful and hands-on design process, the designers aimed to elevate the wayfinding system beyond mere functionality, weaving place and care together with craft to ground and instill pride in the vulnerable community that Te Mātāwai serves.
CREO Industrial Arts is the premier full-service, custom fabricator working with designers and artists on projects across the globe from ideation to execution. There is no project too complex for our highly-skilled team, and we stand ready to partner with you at every step to achieve your goals.
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Honor & Merit Awards Branded Environments
G4 Studios: Gaming Channel Headquarters and Offices
Home of Carlsberg
Designed by Data
Washington Metropolitan Area Transit Authority (WMATA) Headquarters
G4 STUDIOS: GAMING CHANNEL HEADQUARTERS AND OFFICES
Honor Award
Design Firm Populous
Client Comcast Spectacor
Location Burbank, California
Industry Vertical Workplace
HOME OF CARLSBERG
Honor Award
Design Firm Event
Client Carlsberg Group
Location Copenhagen, Denmark
Industry Vertical Exhibitions
DESIGNED BY DATA
Merit Award
Design Firm Asterisk
Client NI
Location Austin, Texas
Industry Vertical Workplace
GEN DIGITAL- Mountain View, CA Design by HKS Architects
WAYFAIR RETAIL STORE - Wilmette, IL
Designed by Gensler
Nez Perce Visitor Center - Spalding, ID
Designed by Design Minds
2025 SEGD Conference Experience San Francisco
Mark your calendars and start making plans for the Annual Conference at the San Francisco Marriott Marquis!
San Francisco, CA | November 13-15, 2025
AV Stumpfl’s next-gen PIXERA media servers empower creators with cutting-edge technology, transforming ideas into immersive, experiential visual experiences. We partner with visionaries across industries, offering unparalleled performance and flexibility to bring dynamic, interactive environments to life. From concept to execution, PIXERA drives innovation, pushing the boundaries of experiential design and captivating audiences.
Honor & Merit Awards Digital Experiences
Media Museum
The Met 81st Street Studio
Ephesus Experience Museum
Fabric Museum: TextLoom
PORTRAY
MEDIA MUSEUM
Honor Award
Design Firm Tinker imagineers
Client The Netherlands Institute for Sound & Vision
Location Hilversum, Netherlands
Industry Vertical Museums
THE MET 81ST STREET STUDIO
Honor Award
Design Firm Bluecadet
Client The Metropolitan Museum of Art
Location New York, New York
Industry Vertical Museums
EPHESUS EXPERIENCE MUSEUM
Merit Award
Design Firm ATELIER BRÜCKNER
Client DEM Museums
Location Seljuk, Turkey
Industry Vertical Exhibitions
Location Pasadena, California
FABRIC MUSEUM: TEXTLOOM Merit Award
Design Firm Jocelyn (Ziying) Zhao
Client ArtCenter College of Design
Industry Vertical Exhibitions
Design Firm Showroom Experiential
Client Fellowes
Location Chicago, Illinois
Industry Vertical Retail
Enhance your career and connect globally by joining SEGD, the foremost community in environmental and experiential design. SEGD offers unparalleled opportunities to elevate your professional life.
Photo courtesy of Pentagram
Cortina Productions designs and produces awardwinning digital media for location-based visitor experiences. We place a high value on storytelling and use innovative technology to engage diverse audiences. We work collaboratively with museums as well as exhibit design and fabrication partners to create memorable exhibits that inspire, entertain, and inform.
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Merit Awards Exhibition
First Light Pavilion
MIT Museum Inaugural Exhibitions
Food for Thought
Give Me a Sign
Queer Justice: 50 Years of Lambda
Legal and LGBTQ+ Rights
What Do You Make of This?
Wu Jian’an Solo Exhibition “The Huge Sand Dunes are the Bed of the Sea”
Space Design
MIT MUSEUM INAUGURAL EXHIBITIONS
Merit Award
Design Firm Studio Joseph
Client MIT Museum
Location Cambridge, Massachusetts
Industry Vertical Exhibitions
GIVE ME A SIGN
Design Firm Studio Matthews
Client Cooper Hewitt, Smithsonian Design Museum
Location New York, New York
Industry Vertical Museums
QUEER
50 YEARS
LAMBDA LEGAL
RIGHTS
WHAT DO YOU MAKE OF THIS?
Merit Award
Design Firm Studio Matthews
Client School of Art + Art History + Design, University of Washington
Location Seattle, Washington
Industry Vertical Educational
As we reflect on twenty-five years of business, we are thankful for our clients and partners’ trust, spirit of collaboration, and the joy we’ve shared throughout this journey. Here’s to many more years of creating, innovating, and collaborating.
New York, NY | November 7, 2024
Gensler’s brand design studio reimagines brands to create rich and dynamic experiences that inspire and engage. Our integrated teams bring together diverse areas of expertise, from strategy to physical, digital, and visual communications design. Our work spans all industries, building deeper engagement with people around the world and elevating brand experiences from the ordinary to the extraordinary.
Honor & Merit Awards Placemaking
The University of East LondonPlacemaking Masterplan, Wayfinding
Strategy & Design
Allina Health Surgery Centers
John A. Volpe National Transportation Systems Center
Mi’kai’sto Red Crow Community College
The Book of HOV
THE UNIVERSITY OF EAST LONDON - PLACEMAKING MASTERPLAN, WAYFINDING STRATEGY & DESIGN Honor Award
Design Firm Endpoint
Client The University of East London
Location London, United Kingdom
Industry Vertical Educational
Merit Award
Design Firm hjnovak
Client Allina Health
Location Lakeville, Minnesota
Industry Vertical Healthcare
Design Firm SOM Graphics+Brand
Client The U.S. Department of Transportation in consultation with the U.S. General Services Administration
Location Cambridge, Massachusetts Industry Vertical Workplace
JOHN A. VOLPE NATIONAL TRANSPORTATION SYSTEMS CENTER Merit Award
MI’KAI’STO RED CROW COMMUNITY COLLEGE
Merit Award
Design Firm Entro
Client Mi’kai’sto Red Crow Community College
Location Stand Off, Canada
Industry Vertical Educational
Local Projects is a multi-disciplinary design studio with a portfolio spanning two decades in cultural, educational, and brand experience design and production. We are best known for technologically advanced work that drives emotional engagement. We’re a women-led studio located in NYC and servicing a range of clients around the world.
Merit Awards Public
Installation
Cloud Swing
Space Unites. Space Creates. Space Separates. Space Sorts.
CLOUD SWING
Merit Award
Design Firm Isometric Studio
Client Wellcome Trust
Location Hamilton, New Jersey
Industry Vertical Recreation
Our team is made up of talents from the live and built entertainment environments and the mass communication worlds. Along the way, one key concept comes forward: ”Results will always be measured in moving people’s hearts and minds. It’s never about the technology, but how it’s used and supported,” To all of our partners in SEGD, we simply could not be prouder to work with and alongside you all, creating the next generation of spaces that engage and educate people!
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Merit Awards Strategy/Research/
The Exhibition and Experience Design Handbook
Foundry Field: The Story of Race, Representation, Access, and Baseball in South Bend, Indiana
Standard Safety Design to Prevent Occupational Disasters
Client Rowman & Littlefield Publishers, American Alliance of Museums
Location Washington, DC
Industry Vertical Exhibitions
Design Firm Clinton Carlson Design, University of Notre Dame
Client Foundry Field, Sappy Moffitt Field Foundation
Location South Bend, Indiana
Industry Vertical Urban and Civic
FOUNDRY FIELD: THE STORY OF RACE, REPRESENTATION, ACCESS, AND BASEBALL IN SOUTH BEND, INDIANA Merit Award
STANDARD SAFETY DESIGN TO PREVENT OCCUPATIONAL DISASTERS
Merit Award
Design Firm YiEUM Partners Inc., Seoul Metropolitan Government
Client Seoul Metropolitan Government
Location Seoul, Republic of Korea
Industry Vertical Strategy and Planning
Peregrine OKB delivers experiential media systems, fabrication concepts, spatial programming services, operational process creation, content build & management, and value based project management. After years of designing and producing for live events, activations, themed entertainment, and educational simulation environments, we believe it’s time to “Put the analog back into digital.”
Why? If all the storytelling, branding, spatial design, hardware, digital content and data does not translate into an actionable human experience, it’s merely a passive spectacle. Now, more than ever, stakeholders are expecting lasting context and relevance, not just a passing novelty.
Effective experiential delivery is only achievable through real-world multidisciplinary experiences. Our applied technology choices derive from our vast experience across various sectors and project environments.
• Specialty Work Place, Smart City & Command & Control Centers
• Academic, corporate & civic experience / training centers
• Location or mobile based platforms.
Content
• Digital Content / Creation & Mgmt
• Media Shelf-life & Strategy
• Consequnce Based, Human Perefromnace Based Siumlations
Sign Research Foundation (SRF) is grateful to SEGD and the design community for your partnership over the past decade. SRF has published essential wayfinding, design, and legibility studies due to the time & acumen supplied by SEGD members. We are so proud of your work in creating thriving communities.
Honor Awards Wayfinding
Te Mātāwai
Elizabeth Line
Yonghe Primary School Signage System
Award
Design Firm Maynard Design Consultancy
Client Crossrail Ltd
Location London, United Kingdom
Industry Vertical Transportation
ELIZABETH LINE Honor
YONGHE PRIMARY SCHOOL SIGNAGE SYSTEM
Honor Award
Design Firm Neili Design Lab
Client Yonghe Primary School
Location Shanghai, China
Industry Vertical Educational
Sponsors & Supporters
2024 Presenting Sponsors
2024 Program Sponsors
American Interstate Signcrafters
Archetype
BluEdge
Building Image Group
Color-Ad Signs & Exhibits
Comet by Stratus
Cortina Productions
CREO Industrial Arts
Daktronics
DCL (Design Communications Ltd.)
DE Powder Coated Graphics
Designtex
Dimensional Innovations
DRIVE21
Electrosonic
Flex America
Gable
Gensler
Image360
iZone Imaging
Kolar Design
Local Projects
Matthews Paint
Modulex Group
Moment Factory
MOSS
Nanolumens
Nova Polymers
Pentagram
Peregrine OKB
Pixera
Photo Lab Inc.
Populous
RSM Design
SignAgent
Sign Research Foundation
SNA Displays
Tangram Design
TFN Architectural Signage
Thought Process
Lead the way.
Discover the unique project and asset management platform used to design, build, and manage signage and wayfinding programs at scale through every step of their lifecycle.
Design Build Manage
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Keith Kellner Ashton Design
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Dan Shamp Serigraphics
SignAgent supports education!
To request a free student or classroom license visit signagent.com/signagent-for-education.
“SignAgent saves us hundreds of hours by enabling us to efficiently manage and update our wayfinding signage content in real-time.”
Stephen Tarnoki University of Chicago Medicine Visit us online!
DE is Made for Architecure
Powder Coated Graphics is the top graphic application for wayfinding, exhibitions and urban design, but the material’s true potential is met with architectural solutions. Direct Embed can be integrated into any exterior of interior project from small fixtures to entire facades. Our highly trained staff can also work with contractors to coordinate documentation, create connection details and support final installation.
East Tennessee Children’s Hospital Lenticular Graphics on Corian Designer: Futrus
Expedition Peru at the Nashville Zoo Columns Designer: Gecko Group
Biogen Perforated Screen Designer: Sasaki
JM Families dining room designed by PGAL. wood grain extrusion fabrication and installation. Coordinated with contractor Kauffman Lynn.
c reators
dallas
texas dallas texas
fabricators
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trailblazers
CRAFTING DREAMS WITH PRECISION: COLLABORATE,
FABRICATE,
ELEVATE
We excel in project management, have deep experience and knowledge of materials and fabrication methods, and provide solutions that ensure our clients stand out to their customers. Our global market reach and consistent performance are paired with scalable and sustainable practices.
We are unique because of our outstanding clients, the complex challenges we help them solve, and the expertise of our team.
46
G4 STUDIOS: GAMING CHANNEL
HEADQUARTERS
Honor Award
Design Firm Populous
Client Comcast Spectacor
Location Burbank, California, USA
Industry Vertical Workplace
Design Team Brian Mirakian (principal in charge), Amber Luther (project manager), Thomas Jones (interior architect, 3D visualization), Whitney Allen (interior design), Mason Hansen (interior design), Francisco Besa (creative direction, graphic design, illustration), Leo Mangimelli (detailing), Populous (architecture, landscape architecture, planning), Shawmut Construction (physical fabrication), Bluemedia (physical fabrication)
Photo Credits Mike Kelley
Project Date March 2022
Project Budget $22,000,000 USD
Project Area 60,000 sq ft
Juror Comments
“Inspired by the G4 logo as a portal into different gaming and pop culture multi-verses, the overall feel and aesthetic is very compelling. The new media was seamlessly integrated into the existing architecture through the use of custom artwork, digital experience and layered graphics.”
48
HOME OF CARLSBERG
Honor Award
Design Firm Event
Client Carlsberg Group
Location Copenhagen, Denmark
Industry Vertical Exhibitions
Design Team Josh Kirk (project design lead), Jacqueline Howlett (project manager lead), Rosie Wanek (content design lead), Stuart Williams (graphic design lead)
“A successful re-imagination of Carlsberg’s historic brewery successfully brings to life a new understanding of their brand as a culture that exists beyond its product. The physical design elegantly evokes the Carlsberg brand through nuanced materiality and color palettes that speak to both the heritage and future of the brand. The layers of digital experience within the experience are thoughtfully choreographed to engage different senses and catalyze unique behaviors, together creating a topography of interactive genres that speak to the multi-faceted way the Carlsberg brand is experienced in the world.”
50
DESIGNED BY DATA
Merit Award
Design Firm Asterisk
Client NI
Location Austin, Texas Industry Vertical Workplace Design Team Susanne Harrington (principal in charge), Pam Caperton (senior designer, graphics), Callie Gabbert (designer, graphics), Matt Batista (senior designer, concept), Chuck Sanders (senior designer, signage), Oliver Harrington (data translator), Collaborators Gensler (architecture and planning), Asterisk (planning), Serigraphics (physical fabrication), Innovative Environments (physical fabrication), NI’s Facilities, Research and Design, and Workplace Taskforce teams
Photo Credits Matthew Batista
Project Date June 2023
Project Budget Confidential
Project Area 100,000 sq ft
Juror Comments
“This project stands out precisely because of its restraint. The design team skillfully sidesteps the temptation to overwhelm the branded environment with excessive information. Instead, they employ coded abstractions and data representations, offering a nuanced and captivating glimpse into how the environment breathes life into the brand.”
51 WASHINGTON METROPOLITAN AREA TRANSIT AUTHORITY (WMATA) HEADQUARTERS
Merit Award
Design Firm Ashton Design
Client Washington Metropolitan Area Transit Authority (WMATA)
Location Washington DC
Industry Vertical Workplace
Design Team Alexey Ikonomou (creative director), Andrew Walters (senior designer)
Collaborators Studios (architecture), DUO Signage + Graphics (physical fabrication), Giles Miller Studio (physical fabrication)
Photo Credits Vivian Marie Doering, Connie Zhou
Project Date January 2022
Project Budget Confidential
Project Area 227,000 sq ft
Juror Comments
“We applaud WMATA for prioritizing meaningful design as part of the new headquarter design. Large-scale placemaking graphics that celebrate their history as a transit authority and the riders they serve elevate the workplace environment.”
56
MEDIA MUSEUM
Honor Award
Design Firm Tinker imagineers
Client The Netherlands Institute for Sound & Vision
Location Hilversum, Netherlands
Industry Vertical Museums
Design Team Tinker imagineers
Collaborators Neutelings Riedijk architects (architecture), XPEX (concept), Tinker imagineers (spatial design), Tinker imagineers (AV design), Bruns (set construction), Kiss the Frog (interactives), Redrum (AV content), Beamsystems (AV hardware), Ata Tech (AV hardware), Tinker imagineers (design media reactor), Danny Weijermans (sound media reactor), Beamsystems (showcontrol media reactor), Ata Tech (hardware media reactor), ACTLD (light design), Elastique (museum app)
Photo Credits Mike Bink
Project Date February 2023
Project Budget Confidential
Project Area 2,600 sq m
Juror Comments
“By seamlessly integrating spatial, graphical, and media design elements, the design team has skillfully brought to life a museum that encapsulates the very essence of media. While numerous projects incorporate digital media and screens, this one stands out for its thoughtful utilization, serving the purpose impeccably. Visitors are immersed in an interactive media environment that responds dynamically to their actions.”
58 THE MET 81ST STREET STUDIO
Honor Award
Design Firm Bluecadet
Client The Metropolitan Museum of Art
Location New York, New York
Industry Vertical Museums
Design Team Brett Renfer (experiential director), Ellen Friefeld (executive producer), Kim Gim (associate creative director), Nina Callaway (senior narrative strategist), Adiel Fernandez (technology lead), Katie Lannigan (senior producer), Katie Han (creative developer), Clay Tercek (senior developer), Michael Prisco (visual designer)
Collaborators KOKO Architecture + Design (architecture), Roundsquare Builders (construction manager), Mark Richey Woodworking (millwork), Moey (AV integration), The Metropolitan Museum of Art: Max Hollein (Chief Executive Officer and Marina Kellen French Director), Heidi Holder (Frederick P. and Sandra P. Rose Chair of Education), Inka Drögemüller (Deputy Director: Digital, Education, Publications, Imaging, Libraries and Live Arts), Darcy-Tell Morales (Educator in Charge, Teaching & Learning), Alicia Cheng (Head of Design), Mabel Taylor (Associate Project Manager, Construction), Anna Zepp (Senior Project Manager, Director’s Office) Mandy Kritzeck (Senior Producer & Editor, Capital Projects)
Photo Credits Dan King
Project Date September 2023
Project Budget Confidential
Project Area 3,500 sq ft
Juror Comments
“The delightful integration between digital and physical design brings a human quality to the digital touchpoints and also attracts a younger demographic through its use of interactive technology and game-play behaviors. The aesthetics are simple, modern and friendly, creating an accessible environmental language that puts the act of making centerstage, clearly supporting the experiential intent of delivering on process and play.”
60
EPHESUS EXPERIENCE MUSEUM
Merit Award
Design Firm ATELIER BRÜCKNER
Client DEM Museums
Location Seljuk, Turkey
Industry Vertical Exhibitions
Design Team Wassim Melki (project lead and manager in architecture, spatial design, experiential design, content design), Ilgaz Kayaalp (architect), Hossam Dorgham (architect), Rana Rmeily (spatial design, experiential design, content design), Sayaka Koike (graphic design), Christine Eiche (content design), Ersin Ersinhan (experiential design, content design, media production), Matthew Blake (narrative design and scriptwriting), Carolina Vallejo (media production, producer), James Bulley (sound direction and design)
Photo Credits Sandra Campione, Courtesy Turkish Ministry of Culture / DEM Museums
Project Date September 2023
Project Budget Confidential
Project Area 2,400 sq m
Juror Comments
“As our screens continue to become an extension of our limbs, designing spaces that are not only fresh and bold, but accessible and approachable is difficult. Utilizing multi-dimensional apparatus and multi-sensory design components, this project is very robust. To design an experience that meets and at moments exceeds the existing UNESCO World Heritage Site is a feat that is quite impressive.”
61
FABRIC MUSEUM: TEXTLOOM
Merit Award
Design Firm Jocelyn (Ziying) Zhao
Client ArtCenter College of Design
Location Pasadena, California Industry Vertical Exhibitions
Design Team Jocelyn Ziying Zhao (designer), Brad Bartlett (instructor), Ivan Cruz (instructor), Miles Mazzie (instructor)
Collaborators N/A
Photo Credits Jocelyn Ziying Zhao
Project Date April 2023
Project Budget Confidential
Project Area 250 sq ft
Juror Comments
“This student was able to blend historical narratives with modern technology in a way that was cost-resilient and successful. The tactile aspects of the experience add additional components to an already well-done project.”
62 PORTRAY
Merit Award
Design Firm Showroom
Experiential
Client Fellowes
Location Chicago, Illinois
Industry Vertical Retail
Design Team Kevin Lee (CCO and co-founder), Derek Tran (CTO and co-founder), Kevin Thomas (creative technologist), Kyle Jones (interactive developer), Emily Montoya (interactive designer), Dan Roeger (lead 3D artist), Kate Sears (senior producer), Abby Carlson (senior producer), Matt Battista (growth manager)
Collaborators John McKitrick (AVI Systems), Phil Salansky (AVI Systems)
Photo Credits Kyle Couture, Gradient Films
Project Date June 2023
Project Budget Confidential
Project Area 12,000 sq ft
Juror Comments
“A clever use of a gaming platform to accelerate and enhance interior design projects. This project addresses a clear need: overcoming the lengthy and cumbersome process of visualizing how a proposed interior design would look “in real life.” PORTRAY’s life-size interactive makes design decisions much more understandable for clients.”
66
MIT MUSEUM INAUGURAL EXHIBITIONS
Merit Award
Design Firm Studio Joseph
Client MIT Museum
Location Cambridge, Massachusetts
Industry Vertical Exhibitions
Design Team Wendy Evans
Joseph (principal in charge), Monica Coghlan (partner for design), Jose Luis Vidalon (partner for management and technology), Alice Tallman (art management), Wonwoo Park (designer), Shriya Sanil (designer), Alex Adamski (designer), Shut Yang (designer), Daniel Toretsky (designer), Nils Axen (designer)
Collaborators Howler and Yoon (architecture), Bluecadet (media and technology): Victoria Jones (project management), Ksenia Dynkin (lead narrative strategist), Katie Savage (lead creative director), Ben Bojko (technical director), Kim Gim (lead creative director), Braxton Collier (technical director), Katie Lannigan (project management for AI: Mind the Gap and MIT Collects galleries), Ben Baker (project management), Jillian Hammer (concept design), Hillary Cleary (supporting project management); Pentagram (graphic design): Michael Beirut (project lead), Jonny Sikov (project designer); Tillotson Design Associates (lighting design): Erin Dreyfous (partner), Noor Traboulsi (senior associate); Kubik Maltbie (media integration): Don Sweetman (integrator)
Photo Credits Alex Fradkin
Project Date February 2022
Project Budget Confidential
Project Area 20,000 sq ft
Juror Comments
“This exhibition serves as a vital catalyst in fostering a deeper understanding of how science and creativity can enhance our lives, offering the brightest promise for our future. Expertly executed, it’s accessible to a wide audience, making its impact far-reaching and invaluable.”
67 FOOD FOR THOUGHT
Merit Award
Design Firm Ashton Design
Client Baltimore Museum of
Industry
Location Baltimore, Maryland
Industry Vertical Museums
Design Team Jeremy Hoffman (creative director)
Collaborators P&M Exhibits (physical fabrication), DUO
“This exhibition created a very compelling and approachable space that balanced graphics with familiar objects, like the lunch table, to connect with the audience.”
68 GIVE ME A SIGN
Merit Award
Design Firm Studio Matthews
Client Cooper Hewitt, Smithsonian Design Museum
Location New York, New York
Industry Vertical Museums
Design Team Kristine Matthews (design principal), Marta Bernstein (project lead designer), Jessica Cooper (designer), Eli Kahn (designer), Daniel Robinson (illustrator), Meg Graham (project manager)
“This exhibition’s success lies in its ability to achieve a remarkable impact with minimal resources. Its simple yet effective modular system, coupled with engaging forms of interactivity and inventive concepts, culminate in a unique visitor experience.”
QUEER JUSTICE: 50 YEARS OF LAMBDA LEGAL AND LGBTQ+ RIGHTS
Merit Award
Design Firm Isometric Studio
Client American LGBTQ+ Museum
Location New York, New York, plus a tour of five other cities
Industry Vertical Museums
Design Team Andy Chen (partner), Waqas Jawaid (partner), Paolo Fabbri (senior designer), Abhishek Thakkar (architectural designer), Kate McBride (content director), Junyi Shi (graphic designer), Jacob Lee (graphic designer), Clara Angela (graphic design intern), Isometric Studio (architecture), Collaborators Parz Designs (physical fabrication), Full Point Graphics (digital fabrication), Lauraberth Lima (curator)
Photo Credits Isometric Studio
Project Date November 2023
Project Budget $100,000 USD
Project Area 2,000 sq ft
Juror Comments
“Designed as a touring exhibit and Inspired by picket signs, the design of this movable exhibition elegantly protests traditional exhibition standards through bold uses of typography, experimental kerning and reconfigurability.”
70
WHAT DO YOU MAKE OF THIS?
Merit Award
Design Firm Studio Matthews
Client School of Art + Art History + Design, University of Washington
Location Seattle, Washington
Industry Vertical Educational Design Team Kristine Matthews (design principal), Nicole Fischetti (design support), Peyton Todd (design support), Angus MacGregor (design & installation support), Meg Graham (project manager)
Collaborators Imagine Visual Service (selected graphics), Webster Crowell and the Jacob Lawrence Gallery team, Karen Cheng (Professor, Division of Design, University of Washington)
Photo Credits Natalie O’Rourke, Studio Matthews
Project Date October 2023
Project Budget Confidential
Project Area 2,100 sq ft
Juror Comments
“By up-cycling and deconstructing past exhibitions, you further the lifecycle of the material but also create a way to expose how our industry could think more long term and sustainable about our building practices.”
WU JIAN’AN SOLO EXHIBITION
“THE HUGE SAND DUNES ARE THE BED OF THE SEA” SPACE DESIGN Merit Award
Design Firm PILLS
Client Silk Road International Art Exchange Center
Location Langfang City, China
Industry Vertical Exhibitions
Design Team Zigeng Wang (principal architect), Manying Wang (design team), Yu Yan (design team), Shaomin Zhang (design team), Shen Li (design team), Yiting Zhang (design team), Yuzhu Wang (design team), Sihan Zhao (design team), Yang Lu (structural consultant), Xunjun Xu (design consultant), Zhiwen Ou (design consultant), Yang Li (design consultant)
Collaborators Wu Jian’an (artist), Zhenhua Li (curator), Haiyan Han (exhibition director), Xue Feng (executive curator), Che Chen (exhibition coordinator), Shicui Li (exhibition coordinator), Silk Road International Art Exchange Center, CAFA Art MuseumLangfang (organizer), CAFA Art Museum (academic support), Beijing Minsheng Art Museum (special support)
Photo Credits Pills Architects
Project Date September 2021
Project Budget $166,688 USD Project Area 1,000 sq m Juror Comments
“The exhibition represents a dynamic interweaving of an art installation and interpretative exhibition. Art pieces and diorama-like scenic elements come together to create an experience that is both didactic and dreamlike.”
76
THE UNIVERSITY OF EAST LONDON - PLACEMAKING MASTERPLAN, WAYFINDING STRATEGY & DESIGN
Honor Award
Design Firm Endpoint
Client The University of East London
Location London, United Kingdom
Industry Vertical Educational Design Team Endpoint
“The integration of placemaking and wayfinding underscores the project’s strength. The striking totems and bold threedimensional typography not only serve as focal points but also facilitate navigation, activating spaces and prompting moments of reflection.”
78 ALLINA HEALTH SURGERY CENTERS
Merit Award
Design Firm hjnovak
Client Allina Health
Location Lakeville, Minnesota
Industry Vertical Healthcare
Design Team Heather NovakPeterson (principal and designer) Collaborators BDH (architecture), Synergy Architecture Studio (architecture), Identity Ink (physical fabrication), DIRTT (physical fabrication), adaptt
Photo Credits Brandon Stengel, Farm Kid Studios and Mitchel Stier
Project Date October 2023
Project Budget Confidential
Project Area 18,000 sq ft
Juror Comments
“This thoughtful approach to creating a peaceful atmosphere through use of color hues, texture, and embedded meaning clearly demonstrates the impacts that placemaking can have on our wellbeing and peace of mind.”
79 JOHN A. VOLPE NATIONAL
TRANSPORTATION SYSTEMS
CENTER
Merit Award
Design Firm SOM Graphics+Brand
Client The U.S. Department of Transportation in consultation with the U.S. General Services Administration
Location Cambridge, Massachusetts
Industry Vertical Workplace
Design Team Lonny Israel (principal in charge), Kacey Bills (project manager), Dan Maxfield (senior designer), Nour Mourad (designer), Danielle Burton (designer)
Collaborators SOM (architecture), Reed Hilderbrand (landscape architecture), Poblocki Sign Company LLC (physical fabrication)
Photo Credits Dave Burk
Project Date September 2023
Project Budget Confidential
Project Area 410,000 sq ft
Juror Comments
“A successful example of a restrained approach that transcends utility. The subtle variations in kinetic graphics and typography successfully unifies and accentuates the environment, imbued the space with a sense of place and purpose.”
80
MI’KAI’STO RED CROW COMMUNITY COLLEGE
Merit Award
Design Firm Entro
Client Mi’kai’sto Red Crow Community College
Location Stand Off, Canada
Industry Vertical Educational Design Team Chris Herringer (design director), Monika Meyer (designer), Shehrbano Aktar (designer), Kevin Cortez (designer), Sabrina Diehl (designer), Aleks Bozovic (designer), Colin Burrows (technical designer)
Collaborators Kasian (architecture), WSI Sign Systems (physical fabrication) Lori Van Rooijen (project director and owner’s representative, Larkspur Group) Mary Beth Laviolette (independent curator), Alberta Foundation for the Arts (AFA) (art loans),
Artists Mano’taanikaapi, Bryce Many Fingers/Singer; Naatoiyiki (Holy Whistle), Cheyenne McGinnis; Nato’yi’kina’soyi, Hali Heavy Shield; Ponokaki, Marjie Crop Eared Wolf; Koo Kii (Corner), Ryan Jason Allen Willert; Iniskim Aki, Janice Elizabeth Tanton; Iinniiwahkiimah (Buffalo Herder), Terrance Houle; Iikaakskitowa (Wounded Mouth), Cowboy Smithx; Iikaamannistpo, John Chief Calf; Faye HeavyShield; Apoiskumapi (Little Brown Boy), Adrian A. Stimson; Api’soomaahka, William Singer III; Ahkoiinnimaki (Pipe Woman), Star Crop Eared Wolf; Aa Pa Man Ski (Across Singing), Delia Cross Child
Photo Credits Jason Dziver
Project Date October 2022
Project Budget $48,000,000 USD Project Area 129,000 sq ft Juror Comments
“All of the components in color, materiality and composition, work together to create a space that is welcoming and promotes ‘Blackfoot culture, history, and ways of knowing.’”
81
THE BOOK OF HOV
Merit Award
Design Firm GENERAL IDEA
Client Roc Nation
Location Brooklyn, New York Industry Vertical Urban and Civic Design Team Ian Schatzberg (creative direction), Ken Tokunaga (creative direction), Zach Seely (curation), Demarco Jones (account management), Molly McMullin (producer), Adam Morten (art director), Jordan Barnett (art director)
“A profound example of leveraging a public landmark to radically transform a familiar environment into an eyecatching, poignant and enduring tribute. The function of their space, its prominent location, and grand scale ensures it commands attention and emphasizes the connection to the community, an appropriate parallel of the artist it is honoring.”
84
CLOUD SWING
Merit Award
Design Firm Isometric Studio
Client Wellcome Trust
Location Hamilton, New Jersey
Industry Vertical Recreation
Design Team Waqas Jawaid (partner), Andy Chen (partner), Abhishek Thakkar (architectural designer), Paolo Fabbri (graphic designer), Kate McBride (content director), Maria Loes (graphic designer)
Collaborators Isometric Studio (architecture), Grounds for Sculpture (landscape architecture), Serett Metalworks (physical fabrication), Oliver Construction (physical fabrication), Wellcome Trust (primary sponsor), Mindscapes program (primary sponsor), Grounds for Sculpture (presenting sponsor and host), Danielle Olsen (Wellcome team), Rebecca Jacobs (Wellcome team), Lauraberth Lima (Wellcome team), Gary Garrido Schnieder (Grounds for Sculpture team), Faith McClellan (Grounds for Sculpture team), Sam Hwang (Grounds for Sculpture team), includeNYC (adviser), Trina Hazell (adviser)
Photo Credits Isometric Studio
Project Date August 2023
Project Budget $62,000 USD
Project Area 2,000 sq ft
Juror Comments
“This is an exemplary example of design serving all constituencies. Part installation, part public art, and part placemaker, the solution is executed very well.”
85
SPACE UNITES. SPACE CREATES. SPACE SEPARATES. SPACE SORTS. Merit Award
“This project effectively blends sleek design with social activism. Brightly colored interventions of tactical urbanism bring attention to issues often unseen.”
88 THE EXHIBITION AND EXPERIENCE
DESIGN HANDBOOK
Merit Award
Design Firm Rowman & Littlefield
Publishers, Timothy McNeil
Client Rowman & Littlefield
Publishers / American Alliance of Museums
Location Washington, DC
Industry Vertical Exhibitions
Design Team Timothy McNeil (author), Charles Harmon (senior executive editor), Erinn Slanina (assistant editor), Adrienne McGraw (image research and rights), Kathy Borgogno (image research and rights), Joan Shapiro (indexing), Jessica Thwaite (production editor)
Collaborators Magnús Elvar Jónsson (cover visualization), Kai Sase Ebens (chapter visualizations and illustrations), Zoey Ward (chapter visualizations and illustrations), Claire Healy (chapter visualizations and illustrations), Asma AlDabal (chapter visualizations and illustrations), Noor AlKathiri (chapter visualizations and illustrations), Sarah AlMaghlouth (chapter visualizations and illustrations), Lydia Lee (chapter visualizations and illustrations), Siddhartha Das (chapter visualizations and illustrations), Roger Escalante Quintero (chapter visualizations and illustrations), Evan Yang (chapter visualizations and illustrations), Sayaka Koike (chapter visualizations and illustrations), Jean-Pierre Dufresne (chapter visualizations and illustrations), John Haden (chapter visualizations and illustrations), Leidy Karina Gómez Montoya (chapter visualizations and illustrations)
“This comprehensive historical research is a much-needed foundation for aligning a foundation of best practices in the field of experience and exhibition design. The interpretative layer of the book’s “toolkit” not only educates, but also empowers designers interested in this expansive field of practice.”
89
FOUNDRY
FIELD: THE STORY OF RACE, REPRESENTATION, ACCESS, AND BASEBALL IN SOUTH BEND, INDIANA
Merit Award
Design Firm Clinton Carlson Design, University of Notre Dame
Client Foundry Field, Sappy Moffitt Field Foundation
Location South Bend, Indiana Industry Vertical Urban and Civic Design Team Clinton Carlson (creative director, design), Kiaya Jones (design), Neve Harrison (design), Kenny Garrett (design), Taylor Li (design), Catie Procyk (design), Jennifer Santana (design), Thomas “Detour” Evans (design), students from the Boys & Girls Club (design), students from Riley High School (design), Collaborators Buccellato Design (architecture), Clinton Carlson (producer), Michael Hebbeler (producer), Katie Walden (research), Greg Bond (research), Baseball and America students from the University of Notre Dame (research), Kevin Buccellato (research), Clinton Carlson (research), Michael Hebbeler (research), Matthew Insley (research), Sean Kennedy (research), Nick Mainieri (research), Clinton Carlson (copywriting), Michael Hebbeler (copywriting), Matthew Insley (copywriting), Sean Kennedy (copywriting), Nick Mainieri (copywriting), Carrie Gates Jantzen (copywriting), Clinton Carlson (producer, writer), Ben Kruis (videographer, editor, producer), Mike Hebbeler (producer, writer)
Photo Credits Clinton Carlson, Lindahl Chase, Katie Walden
Project Date September 2024
Project Budget $3,000 USD Project Area 1,000 sq ft Juror Comments
“This proposal put forward a strategy that pays homage to the legacy of the underrepresented, celebrates their achievements, and becomes a model for other locations across the nation that struggle with their past as well.”
90 STANDARD SAFETY DESIGN TO PREVENT OCCUPATIONAL DISASTERS
Merit Award
Design Firm YiEUM Partners Inc., Seoul Metropolitan Government
Client Seoul Metropolitan Government
Location Seoul, Republic of Korea Industry Vertical Strategy and Planning
Design Team YiEUM Partners, Inc: Jangwon Ahn (principal in charge), Seongyul Park (creative director, project manager), Daeho Kim (technical director), Heerim Jung (planner), Hajeong Choi (designer); Seoul Metropolitan Government: Inkyu Choi (creative director), Suim Noh (project director), Eunsun Kwon (project director), Youngmin Lee (project manager)
Collaborators HANSHIN Engineering (architecture), YiEUM Partners Inc. (planning), Seoul Metropolitan Government (planning), Design ENY (physical fabrication)
Photo Credits Sherwood Choe, YiEUM Partners Inc.
Project Date November 2022
Project Budget N/A
Project Area 13.5 km
Juror Comments
“This project immediately caught our attention, requiring little explanation—a testament to its effective design. The research conducted was thorough, and the recognition of the necessity to develop an approach accommodating communication across diverse cultures and languages was commendable.”
94
ELIZABETH LINE
Honor Award
Design Firm Maynard Design
Consultancy
Client Crossrail Ltd
Location London, United Kingdom
Industry Vertical Transportation
Design Team Julian Maynard (project director), Guy Hohmann (lead industrial designer), Peter Brown (senior industrial designer), Hayley Branston (lead wayfinding designer),
“The intricacy of developing a transit system of such scale and impact cannot be understated. The connector is elaborate and yet subtle; every aspect, from lighting and materials to signage, reflects innovation and empathy and ensures smooth passenger movement. This project honors what has come before, but pushes forward, establishing a distinctive yet familiar sense of place.”
96
YONGHE PRIMARY SCHOOL
SIGNAGE SYSTEM
Honor Award
Design Firm Neili Design Lab
Client Yonghe Primary School
Location Shanghai, China
Industry Vertical Educational
Design Team Jia Lin (creative director), Jiaqing Wu (design director), Sijia Jin (design assistant)
Collaborators N/A
Photo Credits Neili Design Lab
Project Date August 2023
Project Budget Confidential
Project Area 6,600 sq m
Juror Comments
“Simple, elegant and pushes the concept of what compelling wayfinding can be. This project manages to balance student engagement, clear design direction, and craft in a way that is unique and inspiring.”
About the Global Design Awards
Since 1987, the SEGD Global Design Awards have set the standard of excellence for experiential design, honoring work that connects people to place by imbuing spaces with context, storytelling, and meaning. The SEGD Global Design Awards celebrate designers and design firms whose work innovates the practice of experience design and enriches the human experience for people of all backgrounds and abilities.
Winning projects across the awards’ seven categories have ranged from accessible museum exhibitions to complex airport wayfinding systems, and from thoughtprovoking social justice memorials to seamlessly interactive branded environments.
2024 SEGD Global Design Awards Jury
2024 SEGD Global Design Awards Chair: Nu Goteh, Room for Magic | Deem Journal
Emilie Baltz, Gensler
Germane Barnes, Studio Barnes
Anna Crider, Entro
Nick Kapica, Graphic Experiential Urbanist
Norman Lee, RE:site Studio
Nilou Maleki, Monadnock
Vijay Mathews, Spotify
Kristine Matthews, Studio Matthews
SEGD Board of Directors
President Traci Sym, plus & greater than Vice President Bosco Hernández, SFMOMA
Treasurer Mike McCarthy, DCL
Joell Angel-Chumbley (Education Liaison), City of Cincinnati
Steve Bayer, Daktronics
Aki Carpenter, Ralph Appelbaum Associates
Anna Crider, Entro
Kathy Fry (Past President), Mayer/Reed
Nu Goteh, Room for Magic | Deem Journal
Kris Helmick, Arcadis
Genell Hoechstetter, Art Processors
Despina Macris, Dotdash
Masha Pyshkina, Lorem Ipsum
Dayton Schroeter, SmithGroup
David Siegel, Designtex
Kirsten Southwell, Institute for Healthcare Delivery Design
Darlene van Uden (Chapter Liaison), Elevate Creative
SEGD Chapter Chairs
Atlanta
Austin
Beijing
Boston
Charleston
Charlotte
Chicago
Cincinnati
Cleveland
Columbus
Costa Rica
Dallas
Denver
Detroit
Houston
Kansas City
Las Vegas
London
Los Angeles
Melbourne
Milwaukee
Minneapolis
New York
Orange County
Orlando
Philadelphia
Phoenix
Portland
Raleigh
Richmond
Riga
San Diego
San Francisco
Salt Lake City
Seattle
Seoul
Sydney
Toronto
Vancouver
Washington D.C.
Wellington
Steve Dubberly, Dana Michaelis
Frauke Bartels, Robin Piazza
Jingjing Li, Chris Yang Gao
William Galligan, Jessica Grant
Jennifer Boyles, Garrett Shank
Kelly Kleinfelter, Lauren Stern
Riley Atlas, Corinn Hanson (Posudevsky), Thon Lorenz, Ryan Odom
Lizz Alfano, Allison Harris, Christine Sorrell, Emma Wallace
Rebecca Kelly, Katie Powell, Mark Smith
Inguna Elere, Baiba Grinberga
Chris McCampbell, Patrick Mulholland
Crystal Adams, Alexander Jeongco, Regan Mahoney, Jane Woywod
Holly Nichols, Darlene van Uden
TJ Hoving, Cheryl Huffman, Christina Sakura
Jangwon Ahn
Stephen Minning
Timothy Belanger, Monika Meyer, Craig Winterburn
Jessica Acevedo, Cristina Kelly, Genevieve Tyack
Rina Alfonso, Carrie Bruns, Jonny Peterson
Nick Kapica
As we move forward into a new chapter of SEGD’s legacy, we wish to express our heartfelt gratitude to our Partners and Supporters. Their unwavering dedication and commitment continue to play an instrumental role in driving advancements in our field and ensuring the vibrancy of our educational programming. From emerging professionals to educators, clients, and seasoned practitioners, all have greatly benefited from their invaluable support.
Their enthusiastic involvement ensures the enduring success of initiatives such as the SEGD Global Design Awards and SEGD Achievement Awards programs. These platforms stand as a testament to the best in contemporary experiential design, elevating our field’s recognition year after year.
With the generous support of our partners, SEGD continues on a transformative journey, propelled by our refreshed brand identity and award-winning website that together influence over half a million experience design professionals and enthusiasts who turn to SEGD.org for inspiration and industry best practices.
SEGD has thrived on the ethos to “Educate, Connect, Inspire and Advocate” on behalf of our global, multidisciplinary community, and the magnitude of this mission would not be possible without the continual support of our Partners, Sponsors, and Donors. As you peruse the pages of this publication, you will discover the firms, companies, products, and services that fortify your design association’s programs, enabling SEGD to consistently enhance the benefits we provide to you, our cherished members.
We extend a special note of thanks to our supporting 50th Foundation and design members, for they are the pillars upon which our successes have been built and where our collective future takes shape.
SEGD 50th Foundation Partners
Fellow
Rich Burns
John Berry
Jerome Cloud + Virginia Gehshan
Patrick Gallagher
Tom Geismar
Michael Gericke
Platinum
David Gibson
Janet Martin
Donald Meeker
Paula Scher
Clifford Selbert + Robin Perkins
Gold
Silver
SEGD Staff
CEO
Cybelle Jones
Director of Operations
Jennette Foreman
Director of Education and Experience
Liz Griswold
Director of Membership and Media
Nadia Adona
Director of Partnerships
Mark Daigle
Communications Manager
Melissa Russell
Thank you!
To the SEGD Chairs and members of our diverse committees and initiatives, we extend our sincere thanks for your unwavering dedication, volunteerism and leadership. You are the backbone that empowers us to deliver enriching educational experiences and memorable events throughout the year.
2024 SEGD Committee and Event Chairs
Academic Task Force
Joell Angel-Chumbley
Accessible Design Task Force
Jessica Schrader
Achievement Awards
Genell Hoechstetter
Auction for Excellence
Kris Helmick
Masha Pyshkina
Brand Committee
Aki Carpenter
Traci Sym
Chapter Chairs
Darlene van Uden
Leah Ferguson
Chapter Content Suppport
Anna Crider
Kathy Fry
Conference Experience Dallas
Patrick Schmidt
Emerging Experiential Professionals
Hannah Anderson
Jonathan Posnett
Exhibition + Experience Design
Tricia Austin
Timothy McNeil
Fellow Committee
Alan Jacobson, FSEGD
Global Design Awards
Nu Goteh
Membership Committee
Kris Helmick
Professional Practice Groups
Digital and Interactive Media Chairs: Judith Zissman, Nathan Lachenmyer; Museum Exhibition and Experience
Design Chairs: George Mayer, Steven Rosen; Wayfinding and Experiential
Graphics Chairs: Sam Pease, Daniela Pilossof, Amy Rees
If you are interested in knowing more about how you can get involved and volunteer, you can reach out to segd@segd.org.
