Wayfinding System: Ahmedabad Zoo by Surbhi Jalan

Kamla Nehru Zoological Zoo, Ahmedabad Surbhi Jalan

Design Project - II -----------------------------------------------------------------------------Surbhi Jalan S1401107 | M.Des Graphic Design 2014-2015 Semester III surbhi_j@nid.edu Project Guide Rupesh Vyas rupeshv@nid.edu | 9825079824 Project Co-ordinator Immanuel Suresh imsuresh@nid.edu | 9427521547

A c k n o w l e g e m e n t -----------------------------------------------------------------------------Every project big or small is successful largely due to the effort of a number of wonderful people who have always given their valuable advice or lent a helping hand. I sincerely appreciate the inspiration; support and guidance of all those people who have been instrumental in making this project a success. At this juncture I feel deeply honored in expressing my sincere thanks to my guide Mr. Rupesh Vyas for making the resources available at right time and providing valuable insights leading to the successful completion of my project. I express my gratitude to Dr.R.K. Sahu, Director of the Zoo and Dr. Bharat Singh for offering the information and zoo tour in good schedule. I would also like to thank Sneh Chandan for her critical advice and guidance of interview without which this project would not have been possible. Also I would like to thank Nelvin Raphael for the guidance of Architecture. Last but not the least I place a deep sense of gratitude to my family members who have been constant source of inspiration during the preparation of this project work.

In d e x

The proposal

The process

Research

Analysis of wayfinding experience based on zoo familiarity

Key signage design elments

Webilography

Kamala Nehru Zoological Garden Kankaria Ahmedabad Surbhi Jalan S1401107 Graphic Design surbhi_j@nid.edu

10th September 2015 Design Project - 2 M.Des’14 Semester - III

Context

Statement of Problem

Established in 1951, Kamla Nehru Zoological Garden is situated on the outer periphery of Kankaria Lake and spreaded over an area of 117 acres. More than 20 lakh visitors visiting every year and this number is growing. Within its confines it houses some of the rare species of the mammals, birds and reptiles. What sets it apart from other zoological gardens is the personal touch by the devoted zoo staff under the able guidance of the officer incharge and continued support of the Ahmedabad Municipal Corporation making it a home away from the home for its residants. The scope of project is how design can take part to solve problem, and provide better solution to presenting the current information into an easy wayfinding system/ environmental graphics.

• The position or the placement of the signage boards goes wrong in current scenario • Inside the zoo there are many places where a person finds himself in a clueless state, because there is lack of sign boards and maps for guidance • Various sign boards are kept above the eyelevel • Lack of graphical informations • Few signboards displays only Gujarati language that causes people from outside gets perplex • Shortage of measures to be taken to ensure the safety of visitors (To keep their hands sanitary thoroughly and frequently, especially after using the toilets and if they come in contact with the animals)

Brief

Project Management

Revamping signage and way finding for Kamla Nehru Zoological Garden using iconography. The brief of the project was to understand the importance of signage system for the local zoo in Ahmedabad city. This project concentrates mostly on the visual design aspect of the signage system. The signage system should develop keeping in the mind of the visitors at zoo that they shouldn’t get misperception.

Phase 1: Define project and proposal + brief Bibiliography

Target Audience Visitors at Kamla Nehru Zoological Garden

Phase 2: Freeze research + Clarity on process and direction Revision of wayfinding system/ environmental graphics Analysis + synthesis (Visitors of Kamla Nehru Zoological Grarden) Design exploration of wayfinding system/ environmental graphics Phase 3: Design exploration of wayfinding system/ environmental graphics Mockups + Prototypes Phase 4: Documentation of entire process

Timeline

Week 1

Week 2

Week 3

Week 4

Week 5

Week 6

Week 7

Week 8

Phase 1 Phase 2 Phase 3 Phase 4

T he P r o po s a l

T h e P r o ce s s

Primary Research > Deciding the areas to investigate/topics Collecting and drafting possible questions Visit zoo for observation and interview with the director and the staffs of the zoo

How it will work? Donâ&#x20AC;&#x2122;t make them think Show what is needed to the space, location or navigation path Remove excessive informations to create a clear visual environment ahead Install the sanitizers (Eating area/Washroom) to avoid getting flu/infection in contact with humans and animal

Zoo Tour Observing how people in the zoo follow the trials Understanding what they are thinking where they are: Getting tired Finds himself in a clueless state Been to this place before, because there is lack of signboards and maps for guidance

Tests and experiments: Selecting and applying appropriate research methods is an area that requires vigilance. Tests and experiments must be relevant to the data required for the design project.

Most of the people teased animals especially monkeys Experimenting the blueprint: Before starting to design the signages, it is important to experiment the blueprint of the entire zoo. Knowing which places are the most accessed by whom and what kind of information is expected for a first time user to navigate without any difficulty. Problems: The position or the placement of the signage boards goes wrong in current scenario Various signboards are kept above the eyelevel Lack of graphical informations Few signboards displays only Gujarati language that causes people from outside gets perplex Shortage of measures to be taken to ensure the safety of visitors (To keep their hands sanitary thoroughly and frequently, especially after using the toilets and if they come in contact with the animals) Planning chart (Map studying) Experimentation of the navigation system (flow system)

Secondary Research > Architecture Principles: Based on the study of the zoo blueprint and exploration done with respect information dissemination at various touch points, the following information architecture is suggested. The factors considered are:

Icon set: There are two setsNavigational icons For animal sections

Location: A particular place or position. Ease of understanding: Applications requires having a common “look-and feel” and supporting ergonomic requirements. Hence, the common look-and-feel standard must be designed and usability test criteria must be developed. Guidelines for user interfaces should not be constrained by narrow assumptions about user location, language, systems training, or physical capability. Navigational guide: Navigation, as crucial as it is to the user experience, is merely a means to an end - the end being to consume content. This is why users have very contrasting expectations about content and navigation. While content is supposed to be unique, surprising and exciting, navigating to it is supposed to be as simple and predictable as possible. Predictability: Architecture used to support realtime applications must have the ability to achieve predictability. Scalability: It’s the capability of a system, network, or process to handle a growing amount of work, or it’s potential to be enlarged in order to accommodate that growth. Key signage design features: After restructuring the information according to the need. The following design features for the further development of signages: Typography: Experiment the different fonts that it should be readable (legible viewing distance) Color: It should depend on the mood environment of the zoo. Should have contrast color.

Service icons For washroom, no smoking, ticket counter, drinking water, no teasing/feeding animals, visitors amenities, no entry, cafeteria Information board on animals Map: Don’t use the maps as the only way finding support device. Directional signs and identity elements should be closely coordinated with maps. Design maps and their orientation respecting the user’s interaction with the environment.

Explore

Observe Discover

Users

Research and Analysis

Ideation

Identify Define

User needs

Concepts

Testing

Synthesis

Design

Task flow

Prototype

Iterations

Execute

Evaluation

R e s e a r ch

Notes taking: Way finding Designing and Implementing Graphic Navigational Systems Craig. M. Berger Planners > planned/designed > City, Landscape Urban designers > Building approaches Architects > Planned buildings Interior designers > Addressed the interior Environmental graphic designers > Creates signs These groups rarely worked together to meet the needs of the user •Way finding, in its short definition form, is the act of finding your way to a destination. •Way finding design, by extension, is the act of helping people finds their way. •It provides support through speech, touch, print, signs, architecture and landscape. •Legibility, color acuity and type readability. •Architects and interiors look at way finding in terms of space planning and bubble diagrams; museum and retail designers look at narrative and at the manipulation of the objects in space; planners look at the route planning; and graphic designers look at the manipulation of information and graphics. What is the environmental graphic design? The boundaries between the 2 disciplines were clearly delineated until graphic design and architecture began to merge in the midtwentieth century, with considerable influence from other fields such as industrial design and urban planning. This merger has come to be called environmental graphic design. Although never constructed, these designs represent a conceptual break through-that graphic and symbolic elements needs no longer be applied to the surface of a structure, they could become the structure.

The idea of working in multi disciplines was not especially singled out, promoted, or taught there. This idea simply evolved through belief that the total environment should be a focus of art. It’s through the collaboration of artists, scientists and engineer that the large tasks of shaping our surroundings, creating images of business, and forging corporate identities will be accomplished. The artist of the future will then to a greater degree be part of the human scene. Visitors and occupants were having difficulty navigating spaces on their own; they needed visual prompts to find their way around. Architects also found that graphic designers had the ability to transform a space very economically with colorful murals and other graphic treatments. Language of pictograms. Architecture, planning, product design, interiors, color theory, typography and symbol design to solve communication problem unique to the built environment. The boundaries between design and art become less apparent, having already been challenged by earlier movements like pop art. The biggest challenge facing environmental graphic designers now is not how to respond to real places that are being transformed, but rather how to deal with non-realty of new, synthesized space. Already designers working on websites are successfully applying basic way finding fundamentals lifted right out of “real, time, space” practice. Charles Hilgenhurst“Today we are the strangers in our towns. We don’t know and cannot see how things work. Our support systems… are remote. The information supplied in the environment is largely irrelevant to our immediate purposes or to an understanding of the world in which we live.” At the events, crowds come together to be amused, transported, fed and entertained. They required maps to follow around, signs to identify displays and captions to educate or amuse, and designers rose to the occasion. 8

The need for environmental graphic design Where did it all come from? How did this need for such extensive sign and identity support came about? This is clearly an issue that didn’t exist before the twentieth century. Before then, signs were simply advertising added on to buildings, maps were something that you read on a sheet of paper, and banners were something that announced a parade. A building communicated its layout to the user through a series of very specific conventions This logical creation of spaces was meant to create a better understanding of way finding needs, but the opposite proved to be true. The collective memory was broken and buildings become detached from any innate understanding of them that people had. Supplemental way finding devices such as a signs and maps began to appear soon after.

The belief is supported by a member of rules for environment map design, including: seeing maps as yet another, and sometimes redundant element of the entire way finding system; tailoring the level of detail for the intended use of map; balancing the amount of detail with the size of the area to be depicted; and creating a map that fits the context of the specific environment. Regarding redundancy, the map user will be perceiving the maps as part of an overall system, so the map elements needs to depict the elements of information consistently, including similar terminology, color, symbols and type styles. It’s important to use as many visual cues as necessary to deliver the message to the user, even though these cues may not end up on every element.

Signs kiosks and maps become the key support of “location/place” way finding.

Signs and environmental maps need to be use bolder colors, simpler and larger type, and less detail, while a paper map might be able to use more subtle contrast and depict much more detail.

Maps, information kiosks and signs become the crucial glue that holds these elements together.

Maps must also be trailed to the scale of the environment they depict.

Higher expectations Museums, for example, are not just supposed to educate, but also to entertain and to serve as a community focal point. Stores are not just places to shop in, but places that serve as an extension of our personalities.

The average map user can’t perceive or comprehend their environment much beyond 600 foot square.

The trends the created the need for environmental graphics in way finding are not static, but will evolve with new technologies, and with cultural and economics changes.

Maps users in the environment don’t superfluous visual detail when they are already surrounded by that detail. They need specific information necessary to orient themselves to their surroundings and move in the right direction.

Maps must be logically designed to fit the context of the environment.

The functions of way finding The design of maps A map in the physical world is very different from a map on the printed page. You cannot carry it with you, manipulate it, or orient it to the direction you want. You cannot study it for lengths of time. The design limitations on the environmental map require much more sophisticated design skills, especially if integrated with the print environment. 9

This system is based on the philosophy that no one environmental map should do all the heavy lifting for an entire system.

4 different map systems for orientation System map: The map illustrates the specific system routes and lines, with special notations for pricing zones. These maps should contain almost no geographic information, focusing almost all their energy on showing the connection between lines.

Signs in the environment are also constrained by human short-term memory.

Geographic map: This map shows all geographic and physical information in a specific area around the system. This should include specific floor plan information, and is important to use in hubs and complex environment.

The language of the map design

Neighborhood map: The map shows the specific pedestrian district the surrounds the station, including cultural destinations, landmarks, and other specific information for the area.

Heads-Up: Map pointing in the direction the map user in facing

Verbal map: This map is purely linear, containing only the information for each system next to the other. This information is perfect in situations where they are and needs only a small amount of additional information, such as distance and hierarchy. With this vocabulary for alternating maps, the user gets to navigate their environment effectively while focusing on specific elements when needed. 2 approaches to achieve functionality in map design: a consideration human factor, and capturing the “essence” of a place. If a map must be read form a distance, it must be large and iconic, with the simple design elements and large type. If the map can be read close-up, it can be placed at a more conducive angle for reading and include greater complexity and detail.

The user must way away from the map and remember its key elements. To make the every map “heads-up”.

Axonometric map: A 3D map District map: Detailed map of a specific neighborhood or district

Key map: Basic geographic map of an entire area Rolling map: Many map of small geographic areas that are spread throughput a city or facility System map: Diagrammatic map abstractly explaining a transportation system Verbal map: A liner map listing destinations in order of arrival Don’t use the maps as the only way finding support device. Directional signs and identity elements should also be closely coordinated with maps. Orient maps around human orientation to the site, not geographic map references. Design maps and their orientation respecting the user’s interaction with the environment.

Many people orient maps to the direction they are facing instead of the traditional north. This changes everything just one direction, the map must be look correct when viewed from multiple directions. This means designing a map that can rotate to reflect the position in which the viewer is facing.

Road and other external signs Highway signs: •Sign typography should balance the need for clear type while avoiding excess halation form relative letters. •A combination of upper and lowercase text greatly increases the legibility of words and allows more space on the sign for the message. Urban signs: •Sign type should increase in size relative to the speed in which cars are travelling. •Signs should have a color contrast of at least 60%. •There should be no more than three or four destination messages per vehicular sign. •Use only three different colors at most to differentiate destinations or districts on a sign. Commercial signs: •Signs codes should balance the esthetic and safety needs of the community with the needs for legible signs. Limiting the number of signs is preferable to reducing legibility. •Make sure that there is a lot of background space surrounding sign content, even if it involves simplification of the sign content. •Color contrast rules apply equally for illuminated signs and daylights signs. Legibility for users with disabilities •Give provisions for the disabled as the highest priority in early building planning. •The blind and the visually disabled have different need. It’s important to design for both groups. •What works well for people with good vision will also work well for people with visual disabilities, and vice versa. •The blind look at way finding in 3 dimensions. Signs must be sensitive to the way the blind feel their way. •New technologies are not an end in themselves. Carefully integrate new technology, but don’t rely on it overly for way finding. •Consistency is key to effective way finding for the blind. Make sure that all signs elements are at consistent heights and positions relative to doors and circulation areas. 11

•The blind scan horizontally first and vertically second. Braille and raised elements should not be vertical. •Use floor changes and railings as much as signs to enhance way finding. •Color contrast and simple information is the key to strong visual information for people with visual disabilities. •Good lighting is every bit as important as large type and color contrast for legibility. •Codes and regulations don’t always equate to good design. The language of way finding design for the disabled Talking signs Signs that provide verbal information, identification, and directions Tactile map A map with raised elements to give the blind an idea of place Angled sign A sign placed at an angled to make it easier for the blind to read Floor markings Raised elements in the floor that provide a trail for the visually impaired to follow Dual sign A sign carrying both tactile and visual information separately Grade one and two braille There are 2 types of braille. Grade one distinctly separates each letters, while grade two uses braille code to make word groups. Grade two is more popular for use on signs Rounded braille Braille that is rounded to make it easier to read Raised letter Letters raised to be readable by the blind Color contrast Distinct color separation between foreground type and background Sans-serif letter Letters made without flairs and decorative flourishes to make it easier to read for the blind. Helvetica is the leading sans-serif typeface used

Symbols and universal design There are 2 basic ways we have to communicate the objects, actions and feelings in our lives: sounds (words) and images (symbols). Words are an effective way of communicating complicated, interrelated ideas where symbols fail. Its symbols, however, that communicate across the barriers created by different word languages. Symbols are actually the essential shorthand behind environmental graphic design project. Arrows are symbols that have gained the status of universally understood way finding vocabulary. Making sure there is a readily identifiable word for the symbol is important not only because it helps users remember the symbols, but also because they can describe them giving directions verbally. The language of symbol design Glyphic language A symbol based on an ornamental design. Used extensively in language by Egyptians, Greeks, and Native American tribes Logos Corporate brands and icons used as symbol information Symbol understanding Being able to define a specific symbol Discrimination Being able to differentiate symbols from each other Recognition Being able to recognize a specific symbol among a group of symbols Detection Being able to read a symbol as part of a sign or document Referent The meaning of a symbol Symbol standardization Attempt to create a specific symbol vocabulary that can be used in a variety of situations like transportation and health care Direct symbol A symbol that represents some aspect of what is being presented; for eg, a picture of a snail representing slowness

Indirect symbol A symbol that stands for an object other than what it appears to be representing, for eg, an elephant representing the Republican Party Universal symbol A symbol that can be understood by almost all users around the world Unique symbol A symbol meant to be used in only one specific project Pictogram A symbol that uses the representation of a material object convey meaning Abstract meaning A symbol that at one time represented a picture, but that has been abstracted into symbolic indications over the years, for eg, arrows Arbitrary symbol A symbol that doesn’t represent a specific object, for eg, numbers, letters, musical notes and mathematical signs Silhouetted pictorial Symbol represented as a direct symbol in one color on a black background, needing no learning process to understand, for eg, park symbols Diagrammed pictorial Complex symbol that is not immediately understood, but takes time to learn, for eg, a city’s coat of arms •Don’t design too many symbols for a project. Symbols are a language and too many characters make it more difficult to learn •Use familiar images for symbols •Use symbols standards and conventions wherever possible, but make sure to integrate them into the overall design of the project, including matching colors, shapes, and sizes •Symbols should look similar enough to each other to look like they are from the same family, but not so similar that they cannot be differentiated from one another •Keep symbols simple to ensure legibility in the environment •Numbers and letters can be used as effective symbols. They can also be integrated with the unique symbol language •Symbols are more effective with additional support from print, maps, and text 12

•Symbols can convey unique places and personalities, but their paramount goal is communication •Unique symbols should be looked at in terms of design flexibility – how they can be integrated into patterns and other decorative elements

Health care facilities

Implementation and projects-internal

Exterior way finding sign Outside directional signs in a campus setting

The language of health care facilitates Campus and building identity Large-scale identification of a facility

Transport system Parking arrival signs Signs that identify parking Way finding and environmental graphics in transportation, like the architecture it supports, involves the ABC’s design: acknowledgement, brand and customer’s service. •First, the importance of environmental graphics must be acknowledged. If the designer treats signage as an afterthought, the users will undoubtedly create their own system to address the way finding system’s inevitable shortfalls. The result is often low quality, inconsistent, and ineffective signage posted in too many, too few, or undesirable locations. •Brand is an important component for clients, owners, and operators. The way finding project team and clients need to understand and agree on the message that the system is sending about the corporate culture and vision. Even details such as the font used on signs can have an impact on the message that is sent. •Environmental graphics are an integral aspect of customer service. In transportation facilities, there are many transitions between a customer’s points of contact. A successful graphics program continually reassures users that they are in the right place, headed to their desired destination. Ultimately, effective way finding contributes to a more successful building design for the end user.

Help/information desk A place where a visitor can receive personal and print assistance Orientation direction/map kiosks A large directory placed in a prime location in the facility Print map and way finding brochure A print map that augments the sign system Overhead and wall directional signs Interior directional signs in a facility Elevator directories Large directories at elevators that establish the location of all destinations on a floor Department identification Identification of a specific discipline inside the building Room/office and personnel signs Specific room identification signs Stairwell information signs Identification of stairs and other circulation paths Regulatory signs/evacuation plans Required maps and signs at each floor Accessibility route information Maps at each floor defining a specific path for users with disabilities Donor recognition signs Signs that contain donor information and are often closely integrated into the way finding system

General information signs Wallboards and other bulletin boards for temporary information •Know the facility and how it works; ask the people who work there •Destination hierarchy is important: 80% of the people go to 20% of the places •People ask for the directions first. Design a program that helps people give directions •Break the facility down into 2 units and zones that serves to simplify way finding information •Test everything in terms of improved productivity and user satisfaction •Provide a number of levels of way finding information in the health care facility based on the key ways the user approaches the facility •Integrate donor recognition into the way finding and identity system for the hospital •Provide orientation and training, and documentation to the staff to explain the concept behind the way finding system and its components •Create tools to help staff order signs and other components •Create a process to evaluate the program each year for continual improvement Corporate environments •Become totally immersed in the corporate culture of the client •Research the company using all resources available •Conduct a detailed interview process •Pay attention to and carefully document your first experience in the environment •Understand the intended circulation and function of a space •Develop a functioning room numbering program •Nomenclature is critical to a successful way finding sign program in a corporate environment •Work carefully with the corporate communications department of the company •Ensure that all design elements highlight the corporate culture of the company

Museums and exhibitions Make messaging clear When, where and how visitors receive messages and information is critical. Clearly define the choices and various venues so hat visitors understand them immediately. Establish an integrated series of messages that are easily and quickly stated. Prioritize; place the major destinations at the top of the hierarchy Know your audience Identify the intended path of travel for visitor groups. This can include a series of clearly defined pathways to specific destinations for different users groups – eg schedules groups, disabled visitors, families with strollers etc. Prioritize the appropriate entries and exists for each audience, and direct visitors with a series of messages delivered in digestible amounts. Form follows function Established message hierarchy and sign placement first, then sign sizes, forms, and materials based upon the function of each way finding elements. To avoid visual clutter and minimize multiple distractions, consider whether each component should be static or dynamic, or if it should even be a sign. It could be a landmark, a fountain, or a lighting effect. Anticipate change Flexible systems include a mechanism for staff to change daily, weekly, and/or monthly information. Without this, the dreaded taped signs will appear. Plans should consider both immediate and future needs. In many museums, designers provide a graphic standards manual that can be implemented over time as funds become available and renovation plans materialize. Consider maintenance Way finding systems must be easily maintained. Extend the brand The museum’s brand is the sum of all experiences. The combination of seeing logos, receiving an invitation to an opening, talking with docents, and walking into an exhibit helps define the institution’s brand.

Collaborate Mesh with exhibit and architectural palettes, and respect the character of the institution. Seamless integration necessitates compromises in all sides. Consider the whole museum environment as you design an appropriate solution in context with its surroundings. Plan for implementation The design team should have checkpoints throughout the process to ensure the design has to chance for final implementation. These checks include budgetary responsibility and value engineering prior to submission of final construction drawings. Urban systems

District design codes Specific design codes that ensure a unique identity in a specific district Streetscape elements Lighting, trees, planters and paving that not only enhance a street, but also identify a corridor Interstate logo or directional sign A sign directing to interstate exists, with no more than 3 of the most important destinations; it must follow the regulatory sign design rules Vehicular directional sign A sign oriented for vehicular destinations Pedestrian directional sign A sign oriented for pedestrian destinations

The language of urban systems Visitorâ&#x20AC;&#x2122;s center This area, located inside a building, in its own building, or in a kiosk in a hotel or at the destination, contains information that orients the visitor. Guide map This map generally contains 3 important elements: 1.A map showing major destinations, routes, roads, towns, distinct and landmarks 2.Pictures of the way finding sign elements used; and 3.A list of the major destinations included on the map, with a basic description of each, including hours of operation and prices, and interpretive information for historic landmarks Banner Decorative, generally cloth sign used to identify elements of particular interest in town and district areas Logo trailblazer Inexpensive trail sign used to identify major heritage corridor routes, including bike and river trails Gateway A physical structure that separates 2 districts or falls inside a district Parkways and boulevards Wider streets that connect major urban destinations Landmarks Buildings and public art that orient people in a city

Destination arrival sign A sign marking a destination visible from a car Destination arrival sign with information A sign marking a destination that includes interpretive information General information sign A sign exhibiting general historical information not linked to a specific destination, as a part of a history trail Landmark arrival sign with information A sign marking historic landmarks that donâ&#x20AC;&#x2122;t have public access Parking arrival sign A sign that identifies parking location Street sign A sign containing street and district information Regulatory sign A sign containing traffic and parking regulations information

•Make sure you carry out a thorough analysis of the specific urban condition, including project goals; vehicular, pedestrian and transit route; destination criteria; and urban stakeholders •Make sure a regulatory approval system is in place before you develop a design •Use multiple design elements to develop more complex systems instead of relying on one elements •Make sure all the design elements complement each other •Make sure you limit the amount of information per sign to ensure visibility and comprehensibility •Use colors and type that enhance legibility •Make sure signs are attractive to pedestrians, even if they are oriented only for motorists •Develop route planning on models based on the history and development of the city •Build signs to withstand the test of time physically, stylistically and technology •Establish a maintenance and management system before any signs are put in a place

Universities and campuses The charge/imitative A president can change an individual or department with creation of a sign system or master plan The committee Once charged with the task, a committee of stakeholders will be formed to facilitate and guide the process Design criteria The committee and the consultant will develop the goals and design criteria of the project based upon needs of the university. This include analysis, audit, planning and recommendation phase Design Once selected, the design consultant or in-house environmental graphic designer will create a visual language and appropriate design system through the phases of schematic design Fabrication Implementing the system in a phased approach or campus wide will be dependent upon budgets, time frame and schedule.

Heritage areas and parks Adopt a user-based approach. Designing with this approach: •Creates a welcoming experience and connects people to the important stories and events •Establishes a visual identity that is expressive and appropriate to place •Recognizes that way finding is more than signs: it integrates signs, gateways, landmarks, views and pathways into legible system that works by day and night •Supports all types of users, considers who they are, how they are arriving, and the purpose of their trip •Recognizes a multimodal environment with bicycles, cars, pedestrians, transit and taxis •Emphasizes the 20% of the users who will have way finding or orientation problems •Enhances safety and the perception of safety •Coordinates with maps (printed and internet) and verbal directions •Culminates in design guidelines describing proper use and specification •Establishes a framework for contracting, maintenance and replacement

Installation Standards for installation are necessary for locations, orientation, methods and height Maintenance The University should have equipment and staffing to maintain the consistency and quality of the design Standards manual and guidelines Typically, a designer creates a manual that visual defines vocabulary, sign types and related documents so that any professional can work within the system to implement the standard successfully Training and education Ongoing training and education of firms working with standard manuals will ensure the optimization and accuracy of the system Annual review The committee of stakeholders should review the standards annually and evacuate the changing needs of the academic environment

Analysis of Wayfinding Experience Based on Zoo Familiarity

Wayfinding Experience in Zoo Members Vs Non Members

Experimenting the blueprint >

It should be noted that the ability to navigate well through the Zoo is based upon the perceptions of the individual and not upon an objective criterion. Zoo members did not lose their way as often nor did they have as much trouble finding things at the Zoo. In fact, only 32% of the Zoo members lost their way, while more than half of the non members became lost, 51%, during their visit. Only 20% of the Zoo members had trouble finding something and 37% asked a Zoo employee for help to find something one or more times. Meanwhile, 31% of the non members had trouble finding something and 53% asked a Zoo employee for help finding something at least once.

Before starting to design the signages, it is important to experiment the blueprint of the entire zoo. Knowing which places are the most accessed by whom and what kind of information is expected for a first time user to navigate without any difficulty.

Zoo members

Non members

55 53 51

31 20

0 Become lost

Trouble finding something

Asked for directions

Master layout plan of Kankaria lake which was given by the director of the zoo Dr. R.K. Sahu >

Image from Google map >

Render the current pathway of the zoo

Adding the current locations of the zoo

OTT ER

TURT LE

EST UAR INE CRO COD ILE

MAR SH C ROC ODIL E

BEAR

IND IA TOR N STA R TOIS E

EMU

LION JACKAL

ASIAN ELEPHANT

NILGAI/BLUR BULL/ DEER

HIPPOP OTANU S

PORCU PINE

TIGER

BLACK BU

MAR CRO SH COD ILE

OTT ER

IN DIA N

PO R

CU PIN E

TILE

REP

SAMBAR

ANIMAL SECTIONS DRINKING WATER DS BIR

WASHROOM

DS BIR

TICKET COUNTER

D KE ) AC RD BL (BI TE E HI UR AR W ULT ST V AN ISE I D O IN RT TO

AR ST AN SE DI OI IN RT TO

AN DI G IN YIN FL X FO

VISITORS AMENITIES OFFICE / GISF / HOSPITAL CAFETERIA ES AT IM PR

Adding the current information signages of the zoo

TI ER

LION JACKA

ODIL E

SH C RO C

T LE

MAR

OTANUS

TUR

EST UAR

INE R

HIPPOP

1 B

BLAC

OTT

CRO C

EMU

PORCUP INE

IAN ELE HANT

D R

IND IA TOR N STA R TOIS E

NILGAI/BLUR BULL/ EE

K BUC

OTT

MAR CRO SH COD ILE

GATE 1

GATE 2 ZOO INFORMATION SIGN

CURRENT IDENTIFYING SIGNAGES

Mind mapping >

Observation >

Ticket Counter

Zoo information board

While entering in the zoo

Poor vision of signage

No signboard of drinking water

Wall illustration

To monkey and bird section

To lion and tiger section

Dont feed and tease the animals signboard: The illustration is kind of amusing, it doesnâ&#x20AC;&#x2122;t show warning that donâ&#x20AC;&#x2122;t feed or tease the animals

Using different design of board installation

WHY THE VISITORS MAY NEED THIS? To create a strong visual theme To establish visual ties throughout a complex or community To modify, collect or enhance existing signage

HOW IT WILL WORK? Donâ&#x20AC;&#x2122;t make them think Show what is needed to the space, location or navigation path Remove excessive informations to create a clear visual environment ahead Install the sanitisers (Eating area/Washroom) to avoid getting flu/infection in contact with humans and animals

Executive Summary >

The Original Wayfinding System >

An external consultant, tasked with developing an Interpretation Master Plan, found that the directional signage and the Zoo map for the original wayfinding system contributed to confusion and presented challenges to the visitor in finding his/her way around the Zoo. Tasked with assessing whether the new wayfinding system successfully helps visitors find their way around the Zoo and whether there are ways to improve the new system. The majority of the respondents were not Zoo members (70%) and over half of the respondents were first time visitors (54%).

Without an exceptional map and directional signage, navigating through the Zoo can be a very frustrating experience. Unlike most amusement parks, the Zoo is not a big, flat, open area. Rather, it has an extensive tree canopy cover, which blocks visitors from looking around to get their bearings.

Findings > After analyzing the data based, the following significant results: (95%) visitors felt they found their way around either fairly well or very well. (81%) visitors got lost only once, if at all, while at the Zoo. In looking at the use of wayfinding tools, the most commonly used tool was the handheld map, followed by the information board and directional. The least used tool was the zone map. The most frequent suggestion for the map was to include suggested routes to see certain animals, while the most frequent suggestion for the signs was to have arrows that are clearer in the direction they point.

The original wayfinding system at the Zoo had a multitude of problems. Zoo appellate officer, Shri Dr. R.K. Sahu, explained that many individuals would be standing and they could not locate their current position. Both the directional signage and the zoo map contributed to confusion and presented challenges to the visitor in finding his/ her way around the Zoo. Impact of the Literature Review > The literature informed the evaluation in several ways, including how wayfinding is defined, how visitors use wayfinding tools, and whether wayfinding tools effectively help individuals find their way around. Wayfinding According to Golledge (1999), wayfinding is the process of following a route from its origin to the destination. Raubal, Egenhofer, Pfoser, & Tryfona (1997) stated more generally that the main purpose of wayfinding is to find one’s way from one place to another. There are many tools that can help facilitate wayfinding, including hand held maps, larger stationary or wall maps, directional signs, floor directories, and informational desks and kiosks (Bitgood, 1989). These tools help provide a feeling of security and give visitors a choice of options (Bechtel & Churchman, 2002). In particular, maps and signs, as well as visitor circulation, all play an important role in wayfinding. Maps The two types of maps most commonly used in Zoos are the handheld visitor maps and the large “you-are-here” maps. According to Ransley (1988), hand held maps are a significant part of any wayfinding system and most visitors expect them when they enter a site. 30

In fact, the hand held map is the most used device for wayfinding (Bitgood, 1982). Bitgood and Richardson (1986) conducted a study at the Birmingham Zoo and found that 77% of visitors who received hand held maps were observed using them. They also found that the visitors who were given hand held maps viewed a larger percentage of the exhibit areas, 86%, compared to the visitors that did not receive a map, 78%. Hand held maps provide an overall view of the park and ongoing wayfinding assistance, while also including important park details, such as exhibit/show times, park hours, suggested circulation routes, and regulations. It is very important to keep maps simple, yet also give enough information so that the visitor can find where he or she is at any given moment (Levine, 1982). Ransley (1988) found that effective hand held maps were sufficiently sized and featured a three dimensional perspective, easily recognized routes, identifiable landmarks, location of visitor amenities, and additional information about the site (regulations, hours, etc…). You-are-here maps are on site maps that help visitors correlate their hand held maps with the signage around the park (Ransley, 1988). These maps are typically placed at key intersections and help visitors confirm their location and determine where to go next (which direction to take). An important feature of you-are-here maps is the inclusion of numerous orientation cues, which provide many points of correspondence between the map and surrounding environment and help individuals quickly locate where they are in relation to key areas/landmarks at the site (Ransley, 1988). Levine’s (1982) study on youare-here maps found that viewers must have two pieces of information to be able to relate the map to the environment. One piece of information should be the “you-are-here” symbol, while the other piece(s) can be signs/labels on the map or distinctive landmarks. Levine also suggests that you-are-here maps parallel the surrounding environment (i.e., looking up a map from the you-are-here symbol should relate to the idea of looking forward, while looking below the symbol correlates with looking backwards).

Signs Unlike board maps, which are mainly used for conceptual orientation, directional signs are mainly used for wayfinding (Bitgood, 1982). Directional signs are essential for visitors, especially those who have difficulty reading maps or prefer to wander around the site. Directional signs should be located throughout the site, especially at intersections and areas where large groups of people gather. Ransley (1988) explains that the more complex that site design is the more directional signs are needed to prevent confusion and frustration among the visitors.

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OPEN THE MIDDLE GATE 1

GATE 1

GATE 2 ZOO INFORMATION SIGNS MAP LOCATION SIGNAGES/POLES ZONE MAP LOCATION TRAIL MARKERS LOCATION CLOSE THE GATE 2

A suggestion note to Administration of the zoo > Close the gate 2 because it causes visitors to walk on the same path twice at the same time, they get tired by walking on the same trail twice. Open the middle gate and place the ticket counter on both the gate 1 and middle gate. By opening the middle gate, it becomes easier for visitors to access the pathway once at the same time.

Key Signage Design Elements

Icons > As a part of this signage system, various icons have been designs standardised measurements and both generic, specific icons are used depending on the context

Selecting Typeface for maps >

Aleo Light Aleo Light Italic Aleo Regular

Aleo is a contemporary typeface designed by Alessio Laiso as the slab serif companion to the Lato font by Lukasz Dziedzic. Aleo has semirounded details and a sleek structure, giving it a strong personality while still keeping readability high.

Aleo Italic Aleo Bold Aleo Bold Italic

Moon light moon bold

ગુજરાતી સંગમ લાઇટ ગુજરાતી સંગમ બોલ્ડ

Moon is a rounded and simple typeface designed by Jack Harvatt which comes in two weights, light and bold.

Gujarati Sangam MN is rounded, space and simple typeface. It choose from and more design customization options. Couldn’t find any revolutionary features, gujarati sangam mn font is inbuild font in Mac, overall.

Hand held Map >

Decision making > English font: Aleo Title: 14pt Copy: 6pt Paper size: A3

Using real animal as a icon Using two languages On one piece of A3 paper front is Gujarati and behind is English

Decision making > Gujarati font: Gujarati Sangam MN Title: 14pt Copy: 6pt Paper size: A3

Decision making > English font: Moon Title: 14pt Copy: 6pt Paper size: A3 This is for Gate 1

Using vector animal as a icon Using two languages On one piece of A3 paper front is Gujarati and behind is English Adding the numbers and alphabets in the border of the map to pinpoint the animals The best way to see the zoo is to follow the main path. To explore, take your time and be sure to discover the various trails keep an eye out for the numbered orientation points around the zoo as they will help you find your way

Decision making > Gujarati font: Gujarati Sangam MN Title: 14pt Copy: 6pt Paper size: A3 This is for Gate 1

Decision making > English font: Moon Title: 14pt Copy: 6pt Paper size: A3 This is for Middle Gate

Decision making > Gujarati font: Gujarati Sangam MN Title: 14pt Copy: 6pt Paper size: A3 This is for Middle Gate

Decision making > English font: Moon Title: 14pt Copy: 6pt Paper size: A3 This is for Gate 1

Using vector animal as a icon Using two languages On one piece of A3 paper front is Gujarati and behind is English The best way to see the zoo is to follow the main path. To explore, take your time and be sure to discover the various trails keep an eye out for the numbered orientation points around the zoo as they will help you find your way Using color coding into 4 groups

Decision making > Gujarati font: Gujarati Sangam MN Title: 14pt Copy: 6pt Paper size: A3 This is for Gate 1

Decision making > English font: Moon Title: 14pt Copy: 6pt Paper size: A3 This is for Middle Gate

Decision making > Gujarati font: Gujarati Sangam MN Title: 14pt Copy: 6pt Paper size: A3 This is for Middle Gate

Zone Map > These are large, life size versions of the handheld map. These maps aslo have a â&#x20AC;&#x2DC;you-are-hereâ&#x20AC;&#x2122; locator icon

Decision making > English font: Moon Title: 150pt Copy: 50 to 60pt Gujarati font: Gujarati Sangam MN Title: 150pt Copy: 50 to 60pt Size: 2378mm x 1682mm This is for Gate 1

Using vector animal as a icon Using two languages jointly

Decision making > English font: Moon Title: 150pt Copy: 50 to 60pt Gujarati font: Gujarati Sangam MN Title: 150pt Copy: 50 to 60pt Size: 2378mm x 1682mm This is for Middle Gate

Decision making > English font: Moon Title: 150pt Copy: 50 to 60pt Gujarati font: Gujarati Sangam MN Title: 150pt Copy: 50 to 60pt Size: 2378mm x 1682mm This is for Gate 1

Using vector animal as a icon Using two languages jointly Using color coding into 4 groups

Decision making > English font: Moon Title: 150pt Copy: 50 to 60pt Gujarati font: Gujarati Sangam MN Title: 150pt Copy: 50 to 60pt Size: 2378mm x 1682mm This is for Middle Gate

Selecting Typeface for information board >

Helvetica Neue Condensed Bold Helvetica Neue Black Helvetica Neue UtlraLight Helvetica Neue UtlraLight Italic Helvetica Neue Thin

The first one is the original design, which was created by Max Miedinger and released by Linotype in 1957. And secondly, in 1983, D. Stempel AG, Linotype’s daughter company, released the Neue Helvetica® font design, which was a re-working of the 1957 original. When you do your taxes, the form is set in Helvetica Neue; when you ride the subway in New York, you get off at a stop marked in Helvetica Neue.

Helvetica Neue ThinItalic Helvetica Neue Light Helvetica Neue LightItalic Helvetica Neue Regular Helvetica Neue Italic Helvetica Neue Medium Helvetica Neue MediumItalic Helvetica Neue Bold Helvetica Neue BoldItalic

ગુજરાતી સંગમ લાઇટ ગુજરાતી સંગમ બોલ્ડ

Decision making > Gujarati font: Gujarati Sangam MN Title: 150pt Copy: 28pt

English font: Helvetica Neue Title: 95pt Copy: 28pt Size: 594mm x 420mm

Decision making > Gujarati font: Gujarati Sangam MN Title: 150pt Copy: 28pt 53

English font: Helvetica Neue Title: 95pt Copy: 28pt Size: 594mm x 420mm

Decision making > Gujarati font: Gujarati Sangam MN Title: 150pt Copy: 28pt

English font: Helvetica Neue Title: 95pt Copy: 28pt Size: 594mm x 420mm

Decision making > Gujarati font: Gujarati Sangam MN Title: 150pt Copy: 28pt

English font: Helvetica Neue Title: 95pt Copy: 28pt Size: 594mm x 420mm

Decision making > Gujarati font: Gujarati Sangam MN Title: 60pt Copy: 22pt English font: Helevetica Neue Title: 72pt Copy: 24pt Size: 594mm x 420mm

Decision making > Gujarati font: Gujarati Sangam MN Title: 60pt Copy: 22pt English font: Helvetica Neue Title: 72pt Copy: 24pt Size: 594mm x 420mm

Decision making > Gujarati font: Gujarati Sangam MN Title: 85pt Copy: 22pt English font: Helvetica Neue Title: 67pt Copy: 24pt Size: 594mm x 420mm

Close Cage Never hang the information board, visitor wont be able to have a proper view Installation of information with -70â&#x20AC;&#x2122; degree that will help the visitor to read the information undoubtedly

Open Cage Never place the installation far from legible reading distance The installation should have clear view to read, avoid placing near the trees or grass that block the reading distance Installation of information with -70â&#x20AC;&#x2122; degree that will help the visitor to read the information undoubtedly 56

Mobile app >

Decision making > English font: Moon Title: 10pt Copy: 6pt One can find out whatâ&#x20AC;&#x2122;s happening in Ahmedabad zoo by logging in App Using two languages, one can change the languages by going into the settings

Decision making > Gujarati font: Gujarati Sangam MN Title: 10pt Copy: 6pt

Color scheme > Selection of proper color scheme keeping in mind the existing color palette of the zoo

# fff100

# 424343

# f7931d

# f8981f

# f05a28

# 2e99bc

# 7e3f98

Map location signages > Helps individuals quickly locate where they are using their map.

Decision making > Gujarati font: Gujarati Sangam MN 60pt (Bold) English font: Helvetica Neue 55 pt (Bold) Board size Height: Depends on the number of information required Width: 30â&#x20AC;? The outlines of the icons shows simplify and clean The placement of the name of animals turned out to be broken visual language because of continuing vision that causes disturbance

Decision making > Gujarati font: Gujarati Sangam MN 60pt (Bold) English font: Helvetica Neue 55 pt (Bold) Board size Height: Depends on the number of information required Width: 30â&#x20AC;? Using color coding dividing the animals into four groups The icons are filled with white so that it stands up from the color code background The placement of the name of animals turned out to be broken visual language because of continuing vision that causes disturbance

Decision making > Gujarati font: Gujarati Sangam MN 60pt (Bold) English font: Helvetica Neue 55 pt (Bold) Board size Height: Depends on the number of information required Width: 30â&#x20AC;? Using Guajarati language first, below English language because the local language is Guajarati The outlines of the icons shows simplify and clean with white background, adding color code bar on the top Using color coding dividing the animals into four groups To avoid the continuing vision, the icons and name are placed in a block form

Trail marker poles >

Trail markers have the name of the trail as well as icons for animals exhibits, the closests street, and grade of terrain

Ground number pathway >

It is the best way to see the zoo is to follow the main path. To explore, take your time and be sure to discover the various trails keep an eye out for the numbered orientation points around the zoo as they will help you find your way

The real feel >

Map testing >

A3 size map

A4 size map 73

Map testing from a visitor named Mr. Pathan Ayaz Khan. There are few faults, which is marked on the map as showed above.

Recommendations > Both the qualitative and quantitative data have provided a wealth of information regarding the use of wayfinding tools and the perceptions of visitors regarding their wayfinding experiences. There are a few recommendations for the Zoo regarding heir new wayfinding system: Avoid signage pollution. The reality is that we cannot please everyone. There will always be someone pointing out that a new sign is needed here or there to make the Zoo a better place. In nearly all cases, the signs already exist and people simply do not see them or know how to use the signs appropriately. Questions like this will always arise how many signs do we need within a 300 foot perimeter of a restroom to alert visitors that a restroom is nearby? The placement of signs is a balancing act between providing people with the information they need and allowing the beauty of the environment to show through. Great caution should be used when considering whether more signs should be added and the primary emphasis should rest on whether a sign might be moved to make it more visible to guests. One of the key issues that people have is finding where they are on the map so that they can navigate from their current location to their desired destination. Just as there are often dotted lines on maps to delineate two distinct geographical features, color coded lines can tastefully be painted on paths and main walkways to transition the visitor from one zone to another. This would provide dozens of additional â&#x20AC;&#x153;you are hereâ&#x20AC;? references for people without having to modify the map or adding new signage.

Highlight new and advertised venues. This is probably not a coincidence as many people likely expected to see these animals (since they had been hearing about the exhibit for several weeks). Whenever a new exhibit opens or there is a special event that has been advertised, consider providing additional temporary signage in the form of pole, bowhead, or teardrop banners, or highlighting it on the map. Provide several sample itineraries. For many people, there are so many decisions to make in a day at the Zoo that they do not know where to begin. Taking into consideration different physical abilities (challenging, moderate activity, or leisurely) and animal zones, plot out two or three sample itineraries for each activity level. Show a path on a mini map and list the types of animals they will see along the way.These mini map sample itineraries could release visitors from making so many decisions and simply allow them to embark on a predetermined path to see the types of animals that interest them most within the activity level that suits them best. Mini maps can be highlighted in the main entrance (among other areas) and provided to guests at a specific location upon request.

Conclusion > The fact that 95% of first time visitors felt that they found their way around the Zoo “very well” or “fairly well” is astonishing and a testament to how well the wayfinding system is working. It appears that the greatest obstacle for visitor satisfaction in wayfinding may be the level of expectation that they have set for themselves in terms of what they hope to see or accomplish during their visit. If visitors have high expectations of their wayfinding ability in an unfamiliar environment, this can result in a greater dependence on wayfinding tools, resulting in a greater sense of disappointment due to visitors wanting to see more than time and the limitations of their bodies will allow, especially given the steep grades and challenging environment that visitors encounter. The more that we encounter a physical environment, the more familiar we become with our surroundings and the less likely we are to rely on navigational tools. The first time visitors relied heavily on the hand held map, followed by the map location poles, as these are the tools that help them to find their way. Wayfinding through the Zoo is more of a learning process whereby visitors rely on tools and strategies as they increase their degree of familiarity. The key is to ensure that the map and the signage provide as much information as possible without resulting in environmental pollution such that signs are more visible than the beauty of the foliage and the animals that people have come to see. One of the original assumptions of Zoo administrators was that the quality of an individual’s experience would be diminished if that person had their face buried in a map all day. Great lengths have been pursued to ensure that the hand held map, the signage and the new color-coded zones direct people to the animals that they want to see. This provides visitors with the information that they need to begin their journey. At this point, however, it becomes their journey.

W eb i lo g r a phy

http://www.ahmedabadzoo.in/content.php?id=2 http://www.tripadvisor.in/TravelersChoice-Attractions-cZoos-g1 http://www.wrs.com.sg/parks-info-prevention-measures.html https://www.behance.net/gallery/1435089/Environmental-signage-Coimbatore-zoo https://www.behance.net/gallery/21811599/Way-Finding-System-Design-National-Instituteof-Design https://segd.org/article/what-environmental-graphic-design-egd http://www.signandgraphics.com/sep09/case_study.htm https://www.behance.net/gallery/15532509/Sunset-Zoo-Environmental-GraphicsSignage http://graphicambient.com/2012/05/30/1960/ http://www.aia.org/aiaucmp/groups/aia/documents/pdf/aiab089235.pdf http://www.as8.it/edu/writing/GD494_niron.pdf https://www.behance.net/gallery/29124509/Signage-System-Design-for-NID-PG-campus http://www.sciencebuddies.org/science-fair-projects/project_display_board_fonts.shtml http://www.signsnow.com/materials https://www.apcosigns.com/techpdf/distance.pdf http://www.udeworld.com/documents/designresources/pdfs/ TextLegibilityandReadabilityofLargeFormatSignsinBuildingandSites.pdf

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