Contents

006 Perface

Culture 008 Cathedral of Christ the Light

010 Santa Clara‑a‑Velha Monastery

012 The STOP Community Food Centre

014 Four Seasons Centre for the Performing Arts

016 Roosevelt Community Center

018 Australian Centre for the Moving Image

020 Arnolfini Art Centre

022 Science Center of Iowa

024 Mariners Church‑ Student Center

026 Castles, Palaces and Antiquities in Rhineland‑Palatine

030 Fountainhead ‑ The Leadership Centre

032 Laban Dance Centre

034 The Pope John Paul II Cultural Center

Education036 Elevation Church

038 Singapore Management University

040 NYU Department of Social and Cultural Analysis

042 TAFE NSW, South Western Sydney Institute

044 TAFE NSW, Sydney Institute

046 The University of Sydney

048 Donor Recognition Sculpture

050 University of California, Merced Campus

052 School of Pharmacy

054 Art Institute of Chicago

056 Cadence Campus / Research & Development Center

058 Chartwell School

060 Memorial Plaque for Charles Hallgarten

062 Campus of the University of Applied Sciences 064 Bertschi School

064 Bertschi School

066 Royal Conservatory TELUS Center

068 Canada's National Ballet School

070 Think: Education

072 IBAT

074 Universities' Wayfinding Hub

076 Cesar Chavez Student Center

078 North Carolina State University

080 Unitec

082 Saint Paul College

Library 084 Wallsend Library

086 Five Dock Library

088 The Jewish Braille Institute Library

090 Castle Hill Library and Community Centre

092 Memphis Library

094 The Library of the University Applied Sciences

Museum096 Artscape Wychwood Barns

098 Canadian Museum of Nature

100 Royal Ontario Museum

102 Bay Area Discovery Museum

104 Oakland Museum of California

106 Childrens Discovery Museum of the Desert

108 Natural History Museum—Identity System

110 Natural History Museum—Wayfinding System

112 The National Gallery

114 Tate Modern

116 Museum Land van Valkenburg

118 Musei Civici Fiorentini

120 Heard Museum

122 Machado de Castro National Museum

124 The National Maritime Museum

Commercial126 Michael’s Genuine Food & Drink

128 Lockup 2999 Restaurant

130 1180 Peachtree TAP Restaurant

132 Northern Quest Liquid Bar

134 The Westin Diplomat Parking

136 Eureka Tower Carpark

138 City National Plaza

140 Golden Belt

142 Grand Central Terminal Retail

144 The House

146 Boardwalk Wayfinding Kiosks

148 Potawatomi Casino

150 House Full Retail Store

152 Maxi Joy

154 DT Cinemas

156 PVR Cinemas

158 Toronto International Film Festival Centre

160 Mackay Entertainment & Convention Centre

162 Virginia Beach Convention Center

164 Erie Commercial Slip

Shoping Mail166 GrooveNation at Marina Square

168 St David’s Shopping Centre

170 Médiacité

172 ION Orchard

174 Charlottesville Fashion Square

176 Newport Centre

178 The Bullring

180 The Shops at 5th Street & Alton Road

182 360 Mall

184 Chatswood Chase Shopping Centre

186 Palladium Mall

188 Viva Collage Mall Viva Collage

190 Karstadt Young Fashion–Urban Marketplace

192 Westfield Roseville Galleria

194 Spectrum

196 The Shops at La Cantera

Hotel198 11@Century Hotel

200 Hotel Fort Canning

202 Hard Rock Hotel & Casino

204 Loews Philadelphia Hotel

206 Estoi Palace

208 Burj Khalifa

210 W Hotel & Residences Fort Lauderdale

212 Jaypee Palace Hotel & Convention Centre

214 W Buckhead Hotels

216 Bliss Spa

218 Riviera Resort & Spa

220 Shangri‑La Resort & Spa, Boracay Island

222 Carmel Valley Ranch

224 Shangri‑La’s Villingili Resort & Spa

226 The Westin Diplomat, Resort & Spa

228 The Rosseau Hotel

230 Dubai Festival City

232 Northern Quest Casino & Resort

234 Northern Quest Hotel

236 Sentosa Island Resort

238 Windcreek Casino and Resort

Exhibition240 Gallery of Academy of Visual Arts (HGB) in Leipzig

242 The LAB Gallery

244 Manchester Art Gallery

246 Dinosaur Exhibition

248 2010 MICA Graphic Design Senior Show

250 PS3_PT Launch

252 Berlin Tempelhof Airport Exhibition

254 55 years of Vodnikova

256 From Klovic and Rembrandt to Warhol and Picel

258 Showroom Citroen

260 Canyon.Home

262 Mercedes Benz World Visitor Exhibition

264 C/O Berlin

266 Bovisa Gallery

268 USP under Construction Exposition

270 Abundant Australia

272 365: AIGA 27 Design Exhibition

274 Autodesk Customer Briefing Center Exhibition

276 Stockholm International Fairs

278 The 11th International Architecture Biennale in Venice

280 Aires Libres 2009

282 Paul‑Marie Lapointe Exhibition

284 Philippe Malouin Exhibition

286 Risking Reality Exhibition

Office288 Wells Fargo Home Mortgage

290 Allie Street Office

292 888 Seventh Avenue

294 Barclays Global Investors, World Headquarters

296 The Landhaus

298 Wegener Publishers

300 Pricewaterhouse Coopers

302 1001 Perimeter Summit Building

304 Commonwealth Bank Training Centre

306 Attorney General Department

308 The MetLife Building

310 Pflege on Tour Ambulant Nursery Service

312 “Chiswick Park” Office

314 LSG

316 The Omni Offices

318 Chase Times Square

320 Dow Jones Headquarters

322 L’Oreal USA Berkeley Heights Headquarters

324 Mt. Diablo Recycling Center

326 Granada Garage

328 Pacific Research Center

330 RBC Dexia

332 Sugamo Shinkin Bank Niiza branch

334 Duke Energy Center

336 Jackson‑Triggs Niagara Estate Winery

338 Concord Adex. Inc

340 DNP Tokyo Headquarters

342 AZIA Center

344 ARA Winegrowers

346 Balencea

348 Dow Chemical Company, Houston Office

350 Wayne L. Morse United States Courthouse

352 East Thames Group

354 The Salvation Army Headquarters

356 One Bryant Park

358 Ferrer Group

360 Provision Ministry Group

362 Broadway Ridge

364 Normandale Lake Office Park

366 Parramatta Justice Precinct

Healthcare368 London Vision Clinic

370 Advance Medical Optics

372 Sutter Health, PAMF Camino Medical Group

374 Hoshi Kodomo Otona Clinic

376 Altru Hospital

378 Florida Hospital Health Village

380 Mater Hospital Newcastle

382 Mercy Hospital

384 Cooperative Program Forms a Medical District

386 Union Hospital

388 St. Anthony’s Medical Center

390 Centre for Addiction and Mental Health

392 Kings County Hospital Center

394 Katz Women’s Hospital at NSLIJ Hospital Center

396 Queens Hospital Cente

398 South Nassau Communities Hospital

400 Macquarie University Hospital

402 Orthopaedic Hospital

404 Northpoint Health & Wellness Center

Transport406 La Trobe University and Macleod Station

408 Achemine—France Railway Station Signage Typeface

410 Epping to Chatswood Rail Link

412 Atlantic Terminal

414 DOCKS en Seine

416 Darling Harbour

418 Rochester Rapid Bus

Airport Terminal420 Air New Zealand Domestic Check In

422 Auckland International Airport

424 Terminal 3 from Lyon St‑Exupéry Airport

426 Budapest Airport

428 Sydney Airport International Terminal

432 Virgin Atlantic, Terminal 3 Heathrow

434 Mumbai International & Domestic Airport

436 Los Angeles International Airport

Street438 Connect 12 Pedestrian Bridge

440 A Map‑free City / A Stroll Through Venice

442 St Kilda

444 Glasgow City

446 Direction Philadelphia

448 Stadtinformation Düsseldorf

450 City of Folsom

452 Flushing Freedom Mile

454 Buenos Aires

456 TriMet/Portland Transit Passageway

Public Park458 Eana, Abbaye Du Valasse

462 Republica de los Niños (Children's Republic)

464 Grafenegg Palace Gardens

466 Oasis of the Seas

468 Pinecrest Gardens

470 Village Visokiy Bereg

472 Wadi Hanifah

474 Dzintari Forest Park

476 Dawes Point

478 Coney Island

480 Houston Zoo’s Cypress Circle

482 Fukoku Forest Square

484 Monastery Street Park/Slopes Pylon

486 San Francisco Zoo

488 Sydney Park Playground

490 Yukon Bay Project in Zoo Hanover

492 Mill Pond Park

494 Temaiken Bio Park

496 The Place of Birds Thematic Park

498 Western Sydney Parklands

500 Atatürk Arboretumu

502 Index

Perface

Almost 30 years ago, when I started as a designer, the business of design was quite different from now. It was a craft. Everything a designer produced was handmade. The relation between seeing and doing, eye and hand, was essential. In on ly 30 years th is p ro fess ion h a s u n d e r g o n e a r e v o l u t i o n a r y transformation technologically, but also its place and influence in society has changed dramatically.

This book is concerned with a relatively new design discipline at the intersection of graphic design and architecture – wayfinding. It includes contributions of best practice design solutions around the world. While people had to find their way since the beginning of times, it has only in recent times achieved its own status as environmental design. This new interaction with the public space, archi tecture, landscaping, t ra ff ic f low, human behavior, the physical and sociological environment is not only about ordering information on a sign panel, but it is the public interface through which a place can be significantly defined, enhanced or organized. Wayfinding systems introduce people with places and p rov ide c lea r and unamb iguous information. Creating legibility in an urban environment is a collective and collaborative task that includes city planners, landscape, urban and interior designers, as well as environmental

des igners . Our work can have a significant impact on large populations therefore it is the responsibility of the wayfinding designer to lead in creating accessible, enjoyable and legible places that deliver authentic and memorable experiences.

To orientate yourself, to know where you are and where to go is part of our self‑consciousness, our well‑being. Lack of orientation, however, is chaos and anxiety. Newcomers to a building or a place need orientation that is supportive and pol i te, but not dictatorial and visually dominant. The vocabulary and inventory for the wayfinding designer to create signs are fonts and layout systems, grids, colors, pictograms, symbols and images, arrows, maps as well as material choices, forms, media considerations and light.

Are there rules to guide the designer? Yes and no, rules exist, for example standard heights for signs, rules for accessibility or typographic grids, code requirements and more. Sign systems that stand out are the ones that do not follow a general rule, instead dare to be different and innovative. It is the knowledge and experience of the designer, often acquired in many years of practice that enables a new and unusual solution. Each project is unique and requires an individual approach. In an art gallery e.g., people like to

wander around at ease, sometimes going back to take a second glance at an exhibit, while at an airport or in a subway station passengers want to reach their destination, the right gate or the right train, as quickly as possible. In a hospital, patients or visitors are often distressed or concerned about a loved one. In this environment, it is important for the public interface to be clear and legible using consistently the right nomenclature for clinical expressions and at the same hand display an organized and calming look. Wayfinding for a sports arena or a museum might emphasize the storytelling and narrative aspect of a certain place, history or exhibition. These are only a few samples to illustrate specific needs to different wayfinding tasks. Although outcomes and final signage results are unique, all projects are based on a comprehensive strategy and design process that organizes the design team, creates efficiency and focus for a timely delivery of the final product. Typical steps in the design process are research and analysis, strategy, programming, design concepts, detailed design development, fabr icat ion documents, tender ( i f necessary), supervision of fabrication and installation, and finally review of installed sign types.

The growing interest in design is a reflection of the importance that design plays in our modern world. A world that

is looking for meaning as old rules and values are questioned. Technology alone cannot be the answer to our problems. Design is filling the gap between art and technology, between ‘soft’ expressions and ‘hard’ data. A rift that started, at least in the western world, in the Renaissance as the advances in science like mathematics and physics, alchemy and astronomy led to the enlightenment. These new ideas fostered by mass reproduction through printing with moveable type, spread like a bushfire through Europe. Art, an integral part of life before, (the Latin equivalent of the Greek word techne is ars, eng. art), became sidelined and neatly contained in museums. Science produced results and progress, mass production and ever increasing speed of life. The spirit of modernity swept through the world.

Now, some 500 years later, we begin to realize that scientif ic progress, advanc ing to new f ron t i e rs , no t automatically means improvement of life. We start to understand that scientific curiousness and economic exploitation needs to be balanced with the social interest and protection of divers structures of life. Design can help in the process of balancing these different directions because of i ts internal connection between art and technology and to make our complex world understandable and human. At the interface between technology and

society, urbanity and people, designers can be agents of change. They also have the responsibility to take this talk seriously.

This publication gathered a collection of 245 state‑of‑the‑art wayfinding projects from around the globe grouped in parks, education facilities, corporate environments, commercial spaces, hospitality, transportation, health‑care, and so on. Testimonies of the various contexts that influence the design and create identity. They are also samples of the multitude of expressions that our world depends upon.

Gottschalk+Ash StudioUdo Schliemann

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Cathedral of Christ the LightDesign Agency: Skidmore, Owings and Merrill LLP — SOM Graphics Photography: César Rubio Client: Roman Catholic Diocese of Oakland Date: 2008 Location: Oakland, California, USA

The Cathedral of Christ the Light employs state‑of‑the‑art technologies to create a space of extraordinary lightness. Architecturally scaled graphic elements highlight the play of light and the integration of Catholic symbols that are

key elements of this new 1350‑seat Cathedral. The design conveys an inclusive statement of welcome and openness as the community’s symbolic soul while merging Catholic traditions with contemporary aesthetic sensibilities.

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Santa Clara‑a‑Velha MonasteryDesign Agency: FBA. Creative Director: João Bicker Designer: Ana Boavida (Mark); Daniel Santos (Signage) Photography: Daniel Santos/FBA. Client: Atelier 15 Date: 2008 Location: Portugal Awards: Red Dot Award 2009

Description: The logo and signage system was developed for the site of the historical monument Santa Clara‑a‑Velha Monastery.

The former monastery was partially submerged in water for centuries, and today is accessible to the public again as a Portuguese national monument.

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The STOP Community Food CentreDesign Agency: Gottschalk+Ash Creative Director: Udo Schliemann Designer: Roberto Grillo Photography: Gottschalk+Ash Client: The STOP Community Food Centre Date: 2009 Location: Toronto, Ontario, Canada

The STOP Community Food Centre works to increase people’s access to healthy food in a manner that maintains dignity, builds community and challenges inequality. The STOP Community Food Centre is a charity that educates children and parents on healthy food, healthy cooking, and the like. The work the designer did falls into the category of

Donor Recognition for Not-for-Profit enterprises.

The designer created two donor recognition programs within this location to compliment the unique architecture of the building.

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Four Seasons Centre for the Performing ArtsDesign Agency: Entro Communications Creative Director: Randy Johnson Designer: Brenda Tong Photography: Tom Arban Client: Four Seasons Centre for the Performing Arts Date: 2006 Location: Toronto, Ontario, Canada

The Four Seasons Centre for the Performing Arts (FSCPA) is an exciting addition to Toronto’s cultural scene. Strategically located in the heart of downtown Toronto, the 2100‑seat facility is the new home for the Canadian Opera Company and the National Ballet of Canada. Entro’s scope

of the work encompassed wayfinding, building identification, box office and parking signage, an exterior promotion and advertising system, and a donor recognition program that identifies over 400 donors.

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Roosevelt Community CenterDesign Agency: GNU Group Creative Director: Tom Donnelly Designer: Darcy Belgarde Photography: Tom Donnelly Client: Group 4 Architecture Date: 2008 Location: USA

Donnelly Design (now part of the GNU Group) worked closely with Group 4 Architecture to design a highly integrated sign program for the new Roosevelt Community Center in San Jose, California.

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Australian Centre for the Moving ImageDesign Agency: Buro North Creative Director: Soren Luckins, David Williamson, Shane Loorham, Tom Allnutt Designer: Soren Luckins, David Williamson, Shane Loorham, Tom Allnutt Photography: Peter Bennetts Client: Australian Centre for the Moving Image Date: 2009 Location: Australia

Buro North recently undertook a wayfinding review of the Australian Centre for the Moving Image(ACIMI) at Federation Square. The audit of the site and its context, which focussed on pedestrian behaviour within Federation Square, on major approaches from public transport and Flinders Street then informed this package of signage elements.

The concept for the signage came from the idea that ACMI, greater than the sum of its parts, forms the white light

created by the visible spectrum of moving images; With light alone, the moving image can take us to another world. The dramatic angles and shards of coloured light suggest movement and transformation, even in stationary signage, as visitors move around their three‑dimensional forms. Central to the signage are the major monolithic sign at the pedestrian entry on FED square and the large illuminated letterforms on Flinders Street. A

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Arnolfini Art CentreDesign Agency: Holmes Wood Design Director: Alex Wood Creative Director: Lucy Holmes Photography: Arnolfini Client: Arnolfini Date: 2005 Location: Bristol, UK

Arnolfini is the contemporary arts centre for exhibitions, film, live art, dance, music and literature on Bristol’s harbourside. At the beginning of the 20thcentury, a major modernisation was undertaken, which meant closing for two years. They came to the right at the end of the refurbishment period needing a new internal wayfinding scheme. The designer received the phone call one Friday evening, and met with the client on the Monday for a briefing. By the following Friday the scheme was signed off! The scheme had to extend and strengthen the Arnolfini brand identity across all activities.

The designer's aim was to create an effect that is crisp and clean, elegant and refined – and relevant. The identity was based on a square, so we used this as a grid, expanding or contracting as required design of signs and graphics to discipline all sign proportions and dimensions. The whole project was commissioned, designed and produced within eight weeks.

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Science Center of IowaDesign Agency: Visual Communications, Inc. Creative Director: Cheryl O’Donnell Designer: Constance Carlson Photography: The Science Center of Iowa Client: The Science Center of Iowa Date: 2006 Location: USA

The interactive theme of the new Science Center of Iowa lead the way for a creative and fun approach to the exterior and interior signage design and wayfinding elements. The five exterior identification monuments and six interior directories test science with cube shaped balanced atop a sphere.

The award winning donor signage includes moveable game pieces, which are part of the interactive science experience. Donor nameplates can be relocated to create unique designs by users.

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Mariners Church‑ Student CenterDesign Agency: PlainJoe Studios Creative Director: PlainJoe Studios Designer: PlainJoe StudiosPhotography: PlainJoe Studios Client: Mariners Church Date: 2008 Location: Irvine, CA, USA

PlainJoe Studios partnered with Mariners Church and Visioneering Studios to provide an overall environmental design concept for their new Student Center. PlainJoe Studios created and executed a one‑of‑a‑kind design that coordinated seamlessly, from wayfinding signage to lifestyle

graphics, resulting in a dynamic worship and fellowship space for the Mariners student program.

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In future, visitors to UNESCO World Heritage sites located around the Rhine and Moselle will be guided through the nation’s castles, palaces and antiquities by means of a uniform guidance and orientation system. In accordance with a “No signs!” directive, a working group made up of the two firms Adler & Schmidt Kommunikations-Design and Meuser Architekten developed a system that does away with signage, which distorts the architecture, and uses a mixture of different communications media instead.The architecture should speak for itself. Historic buildings should be free from superfluous command/prohibition signs. When selecting information carriers, the designers reverted to classic forms of signalling such as flags, banners and wall inscriptions, as well as traditional materials like fabric, stone and bronze. Added to these are interactive touchscreen terminals. The first property to be equipped with the new system was the Ehrenbreitstein Fortress at Koblenz in 2005. The various communication points are differentiated

initially using landscape analysis: the objects can be seen from afar, at access points such as bus stops, access roads or entrances. Guide points are situated in the landscape wherever the path offers a choice of more than one direction. Destination points divided into historical/museum and service destinations, designate all sites with approach tracks that are accredited destinations. Off‑road signage is limited to facilities indicators such as those for visitor services, catering or toilets. However, historical/museum objects are not indicated in the terrain, but are intended to be discovered and identified by visitors for themselves. An integral element of the concept consists of a leaflet in German, English and French, containing an outline map with information on historic buildings and services.

Castles, Palaces and Antiquities in Rhineland‑PalatineDesign Agency: Adler & Schmidt Kommunikations-Design / Meuser Architekten Photography: Philipp Meuser, Hans‑Peter Schmidt Client: Landesbetrieb Liegenschafts – und Baubetreuung (LBB), NL Koblenz Date: 2006 Location: 65 landed property in Rhineland‑Palatinate

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Edelweiss’s Fountainhead cultivates fresh perspectives among leaders.

The whole branding theme was inspired by a bird’s first flight, a metaphor for taking charge and was extended in the way‑finding system. The illustrations of different birds were used to convey characteristics of leaders in context to that particular zone. The use of natural wood as a material adds to the overall brand experience.

Fountainhead ‑ The Leadership CentreDesign Agency: Leaf Design Pvt. Ltd. Creative Director: Sandeep Ozarde, Sumit Patel Designer: Surashree Sathaye, Saalim Sulemani Saurabh Sethi Photography: Saurabh Sethi Client: Edelweiss Date: 2010 Location: Alibaug, Maharashtra, India

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Laban Dance Centre

Laban in Deptford, East London is the largest and best equipped contemporary dance school and community dance centre in Europe. The designers’ role was to create a wayfinding scheme, sign design and information graphics for the centre that had to work equally well for students and public – all within a fairly limited budget. Their responsibilities also included implementation and project management.

One of the highlights for the project was working closely with the artist Michael Craig Martin to help realise his creation of a large permanent artwork for the circulation area wrapping around the theatre. Michael Craig Martin was also colour consultant for the whole scheme and, so as not to compete with his strong colour palette, the designers adopted a contrasting black‑and‑white approach for the signs.

Design Agency: Holmes Wood Design Director: Alex Wood Creative Director: Lucy Holmes Photography: Olll.com and Alistair Fowler Client: Laban Dance Centre Date: 2003 Location: London, UK

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The Pope John Paul II Cultural CenterDesign Agency: Lorenc+Yoo Design Creative Director: Jan Lorenc Designer: Jan Lorenc Photography: Jan Lorenc Client: John Paul II Cultural Center Date: 2010 Location: Washington DC, USA

Lorenc+Yoo Design(LYD) designed the integrated signage system for the Pope John Paul II Cultural Center at Catholic University Campus in Washington, D.C. The project’s goal was to create a cultural landmark, speaking to the legacy of this Polish pope. With a team that included Leo A Daly Architects, LYD integrated signage into the landscape and

the building’s highly articulated architecture, creating a modern yet approachable look. A variety of materials from glass, metal to stone builds the unique signage system.

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Elevation ChurchDesign Agency: PlainJoe Studios Creative Director: PlainJoe Studios Designer: PlainJoe StudiosPhotography: PlainJoe Studios Client: Elevation Church Date: 2009 Location: Matthews, North Carolina, USA

PlainJoe Studios worked with Elevation Church, one of the fastest growing churches in the nation, to develop a bold, modern look for their first permanent campus in Matthews, North Carolina. The overall design direction was based around using the key words from the church’s main tenants, their code, as a major graphic feature. Blocks of text were used to form directional arrows on the wayfinding signage to

echo the way in which the culture of the church was directed by its code. This approach added an additional layer of depth to the graphics which serves as a constant reminder of the basis of the church’s beliefs.

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Singapore management university, Singapore’s first private university, occupies a state‑of‑the‑art campus in the city’s cultural and business district. The new 4.5‑ hectare campus comprises six schools. The unique design and patterning solutions created by Square Peg Design are incorporated throughout the interior and exterior signage. SPD’s wayfinding master plan for the campus facilitates navigation for SMU’s 6000 students.

Singapore Management University

Design Agency: Square Peg Design Asia Creative Director: Scott Cuyler Designer: Jeff Inouye, Aaron Pangabean Photography: Square Peg Design Asia Client: Singapore Management University Date: 2006 Location: Singapore

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Design360 drew inspiration from the department's varying program viewpoints. This informed the fragmentation of identification on the reception sliding resin panels and transitions from two to three dimensional letters at meeting rooms. Blue bookshelves were designed to provide visual portals from the offices to the central hallway as well signage.

NYU Department of Social and Cultural Analysis

Design Agency: Design360 Creative Director: Jill Ayers Designer: Rachel Einsidler Photography: Michael Moran Client: New York University Date: 2009 Location: New York, New York, USA

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The institute is one of Australia's largest TAFE Institutes. It attracts over 74,000 students. Minale Tattersfield was commissioned with the signage implementation strategy for ten colleges.

The audits, design, scheduling and specifications were undertaken within a period of only two months.

TAFE NSW, South Western Sydney InstituteDesign Agency: Minale Tattersfield Creative Director: Hans Gerber Designer: Minale Tattersfield Photography: Minale Tattersfield Client: TAFE NSW, South Western Sydney Institute Date: 2010 Location: Sydney, NSW, Australia

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TAFE NSW, Sydney Institute is one of the largest and most innovative vocational education and training providers in Australia with 70,000 students. It required a radical update of it’s visual identity and wayfinding program for eight colleges.

The signage system was developed over a period of five years.

TAFE NSW, Sydney Institute

Design Agency: Minale Tattersfield Creative Director: Hans Gerber Designer: Hans Gerber Photography: Minale Tattersfield Client: TAFE NSW, Sydney Institute Date: 2007 Location: Sydney, NSW, Australia

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The University of Sydney is Australia’s oldest tertiary institution and with a student population of 46,000 is one of the largest and most prestigious in Australia. It also ranks amongst the world’s top 40 universities. A new brand

strategy led to the requirement to design new campus entry markers, a difficult project, where established and new values had to be fused in one design.

The University of SydneyDesign Agency: Minale Tattersfield Creative Director: Hans Gerber Designer: Hans Gerber Photography: Minale Tattersfield Client: The University of Sydney Date: 2010 Location: Sydney, NSW, Australia

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St Michael’s Grammar School, situated in the heart of St Kilda Melbourne, is a private school renowned for its culture of creativity and innovation. It is progressive culture that led St Michael’s Grammer School to commission a contemporary, timeless, and dynamic donor sculpture for its new building.

The sculpture consists of an anodized aluminum sheet CNC‑cut into a series of thin horizontal single‑stemmed leaves, which are attached to the sheet on the left side. The aluminum sheet is mounted to an oak panel that is partially revealed behind the aluminum leaf cut‑outs. As donors are added, their names are printed in silver lettering on oak ‘stems’ slotted into the left‑hand side of the sculpture. The

corresponding aluminum stem is then released from the board and curled out to become a part of the ever‑changing sculpture, revealing more of the oak panel underneath.

The ‘sprouting' of the leaves symbolizes the students’ learning journeys as they develop, evolve, and flourish into individuals. No two leaves are the same. In line with the principles of the new building and the school, the oak used in the sculpture is from sustainable forests. The oak that was tree also symbolizes truth and steadfastness—two of the school’s core values—and also matches the new building’s earthy color scheme.

Donor Recognition Sculpture Design Agency: Fallon Image Design Creative Director: Jeanette Fallon Designer: Jeanette Fallon Photography: Andrew Curtis Client: St Michael’s Grammar School Date: 2009 Location: Melbourne, Australia

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University of California, Merced Campus

Univercsity of California Merced, the tenth and newest campus in the Univercsity of California system, opened for classes in September 2006. Square Peg Design worked on several projects on the prestigious U.C. Berkeley campus

and was selected to design a comprehensive signing, wayfinding and donor recognition program for the first phase of the new Merced campus.

Design Agency: Square Peg Design Creative Director: Scott Cuyler Designer: Susan Bowers, Jonathan Hobbs Photography: Square Peg Design Client: University of California Date: 2006 Location: Merced, California, USA

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The new School of Pharmacy at the University of Waterloo teaches a naturalistic approach to medicine, introducing the healing substances of medicinal plants as an integral part of the curriculum. In order to enhance this concept, exterior façade graphics were designed to wrap around the entire building.

School of PharmacyDesign Agency: Gottschalk+Ash Creative Director: Udo Schliemann Designer: Michael Kirlew Photography: Gottschalk+Ash Client: Hariri Pontarini Architects Date: 2009 Location: Kitchener, Ontario, Canada

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Art Institute of Chicago

The Art Institute of Chicago recently underwent renovations for a new Modern Wing, designed by architect Renzo Piano. After its opening in May 2009, this $200 million project brought the total gallery space to 634,400 square feet. Entro developed and implemented the wayfinding strategy and signage design to blend the historic and new sections

of the museum. This program creates exciting, consistent spaces, providing visitors with an overall positive museum experience.

Design Agency: Entro Communications Creative Director: Abbott Miller Designer: Vincent Gratton Photography: Vincent Gratton Client: Art Institute of Chicago Date: 2009 Location: Chicago, Illinois, USA

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Cadence Campus / Research & Development Center

Cadence's new Research&Development Center, designed by RMW Architects, required a variety of signage and wayfinding solutions. The program applied Cadence’s new brand to existing monuments and skyline signage and strengthens exterior orientation through prominent building numbers and well‑placed campus directories. GNU also

developed the graphics and signage for amenities including the WiFi Café and the Bistro Servery. An oversized white plate graphic elicits thought and anticipation of the guest's dining options.

Design Agency: GNU Group Creative Director: Dickson A. Keyser Designer: Howard Curtis & Derick Lazaro Photography: Dickson A. Keyser Client: CADENCE Design Sytems Date: 2007 Location: San Jose, CA, USA

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Chartwell School

Chartwell School educates children with a wide range of language‑related visual and auditory learning challenges/variations. GNU created a recognition program for the school's many supporters. The program supported multiple donor opportunities from named buildings to sponsored landscape features. The primary donor wall took form and inspiration from the Capital Campaign’s name, “Building bright futures, nurturing bright minds”, radiating out from a

natural light source. In spirit with Chartwell’s LEED Platinum status, GNU specified durable materials with high 'end‑of‑life' or recycling opportunities. EHDD Architecture was responsible for the design and master plan of the campus and it’s buildings.

Design Agency: GNU Group Creative Director: Dickson A. Keyser Designer: Dave Correia Photography: Dickson A. Keyser Client: Chartwell School Date: 2008 Location: Seaside, CA, USA

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Memorial Plaque for Charles Hallgarten

In the area of the University of Applied Sciences, Frankfurt am Main, stood the Hallgarten School. As part the renaissance of the campus building was demolished. Preserved stones of this building established the new 'Hallgarten‑Court', designed by the leading architects.

The memorial that was designed by Studio KW is made of two narrow, closely standing steles made of steel. One feature a detail of the original architectural drawing of the old Hallgarten school from the 19th Century and the other, a reminder text about Charles Hallgarten.

Design Agency: Studio KW Creative Director: Klaus Hubner Designer: Klaus Hubner Photography: Studio KW Client: University of Applied Sciences, Frankfurt Date: 2010 Location: Frankfurt, Germany

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Campus of the University of Applied Sciences

For the central building of the new campus of the University of Applied Sciences, Frankfurt, the designer developed a leading and signage sytem with three levels of information. One of the purposes by the development was to create a visual clip to summarize the heterogeneous area of the campus.

The three levels of information on the outside area, were developed into two different stele types: Big blue area steles with ground plans on it located in central entries and smaller building steles, in different colours, with house numbers located in front of the buildings. The third level are the signs on the buildings.

Design Agency: Studio KW Creative Director: Klaus Hubner Designer: Klaus Hubner Photography: Studio KW Client: University of Applied Sciences, Frankfurt Date: 2008 Location: Frankfurt, Germany

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Bertschi School

The Bertschi School is a progressive private school that takes a global approach to education. Their fundamental values are integrity, inclusiveness, respect, and a commitment to sustainable practices. In order to reflect Bertschi’s holistic values, Dept of Energy began by ensuring that all the signage materials met the school’s standards of environmental awareness as well as those for Leed Gold Certification. DOE chose DIN as the

typeface for the wayfinding system because of its variety of weights and exceptional legibility. The particular characters of this typeface were also preferable due to their consistency with the letterforms used in teaching the alphabet to the school’s younger students. The combined result is a warm, familiar and inviting system that compliments the Bertschi Campus and stays true to the core values of the school.

Design Agency: Dept of Energy Creative Director: Mike "Styk" Styskal Designer: Bryce Anderson Photography: Micah Barrett Client: Bertschi School Date: 2008 Location: USA

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Royal Conservatory TELUS Center

The new TELUS Centre for Performance and Learning is the final phase in the Master Plan to build a new home for Canada’s premier music and arts educator, the Royal Conservatory. Designed by KPMB Architects under the direction of Marianne McKenna, Bhandari & Plater was commissioned in 2005 to work on an integrated signage and wayfinding system for the 190,000 square feet complex.

Elegant and reserved, the signage encompassed exterior signage, wayfinding and signage, exhibit displays of the Koerner Collection of Musical Instruments and an ongoing donor recognition program. Stone, metal and glass were used as principal elements in the fabrication.

Design Agency: Bhandari & Plater Inc. Creative Director: Sunil Bhandari Designer: Sunil Bhandari, Julia Commisso, Liora Jacobson Photography: Various Client: The Royal Conservatory of Music Date: 2009 Location: Canada

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Canada's National Ballet School

The National Ballet School (NBS) ranks as one of the finest ballet training institutions in the world, on par with the Royal Ballet School in London, the School of American Ballet in New York, and the Paris Opera Ballet School. Bhandari & Plater was commissioned to design the exterior and interior identification and wayfinding systems including the ongoing donor recognition program. The donor recognition wall is

a custom designed modular system of sandblasted glass panels fabricated by the Canadian artist Jeff Goodman and rear illuminated. The fireplace hearth panels made from locale slate has the names of over 2,000 people who worked on the building project.

Design Agency: Bhandari & Plater Inc. Creative Director: Sunil Bhandari Designer: Sunil Bhandari, Julia Commisso, Wendy Fowler Photography: Various Client: Canada's National Ballet School Date: 2005 Location: Canada

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Think: Education

Branded environment for Think: Education ‑ Australia's leading innovative education group. The establishment increased from 5 schools to over 12 and an intelligent easy to use identification and signage system was needed for this dynamic education group. Use of wall and glass graphics both indoor and out in conjunction with lighting techniques provided an engaging and stimulating environment.

Design Agency: Ideaworks Designer: Steven Arnold Client: Think: Education Date: 2009 Location: Australia

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IBAT

As part of an overall rebranding project for IBAT the designer developed a signage and wayfinding system for the building and campus. The student body is primarily made up of foreign visitors and their varying nationalities were the basis for the very colourful brand aesthetics. As many languages

are in use throughout the college, numericals are a key part of the design along with very short simple and friendly phrases.

Design Agency: Creative Inc Creative Director: Mel O’Rourke Designer: Garrett Murphy Photography: Creative Inc Client: IBAT College Date: 2009 Location: Ireland

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Universities' Wayfinding Hub

The wayfinding system were developed for universities or any academic institution. The system consists of main and secondary wayfinding structures. The structures will display the university map, which is divided into different sections. The structures will be placed in key areas on campus, usually on the main and secondary routes. These will colour the area where it is situated in, but also identified

on the maps. A simple set of icons accompanies the map and wayfinding structures to simplify navigation. The main structures will display all possible routes on the campus, whilst the secondary structures will only display the route on which it is situated. The wayfinding hubs have covered resting areas where one can sit whilst studying the map.

Design Agency: Linda van Wyk Creative Director: Linda van Wyk Designer: Linda van Wyk Architect: Rohan Eicker Date: 2008 Location: Pretoria, South Africa

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Cesar Chavez Student Center

The directory design highlights only information that's relevant to students, eliminating irrelevant information that might otherwise be distractions for them. This allows students to focus their attention on what might be

meaningful to them and thus, find what they are looking for much faster. This design also categorizes the information into five color‑coded categories which provided starting points for its users.

Design Agency: Dan Zhou, Freelancer Creative Director: Dan Zhou, Freelancer Designer: Dan Zhou, Freelancer Photography: Dan Zhou, Freelancer Client: Cesar Chavez Student Center, San Francisco State University Date: 2009 Location: San Francisco, California, USA

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North Carolina State UniversityDesign Agency: Lorenc+Yoo Design Creative Director: David Park Designer: David Park Photography: David Park Client: NC State University Date: 2009 Location: Raleigh, North Carolina, USA

Lorenc+Yoo Design faced a particular challenge with the design of the wayfinding system for the North Carolina State University in Raleigh, North Carolina. Not only was the charge to design the main gateways to the campus and define the graphics standards, but also to create a system of hundreds of individual signs that could be assembled,

changed, and disassembled easily. The result is a design that is attractive, visually consistent, and easy to maintain. It uses brick, anodized aluminum and white panels along with the red color of school’s trademark to compliment the buildings on campus and provide clear guidance to all audiences.

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Unitec Design Agency: Designworks Creative Director: Jef Wong Designer: Matt Hammond Photography: Designworks Client: Unitec Date: 2010 Location: Auckland, New Zealand

The objective was to design directional material to guide students and visitors around the Unitec’s three campuses in Auckland .

Using the Unitec's ID theme of ‘re‑look, rethink, redesign’, road markings, signage and 3D building elements were designed to guide users from the campus entranceways to their destination. The triple layered ‘Unitec weave’

reflecting those three elements links the pathways through the campus from road markings to signage and building cladding that was designed to provide another layer to the existing buildings, using architectural elements to exhibit the weave theme and provide practical guidance at the same time.

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Saint Paul College

After 100 years, Saint Paul College, rated the Number one Community College in America, didn’t have a visible identity. A fresh new wayfinding sign system was designed to update the college's image and to compliment newly completed landscaping. The 27‑acre campus located on Cathedral Hill in historic downtown Saint Paul required contemporary signage design to communicate the colleges forward educational curriculum. Visual Communications

also designed and provided Saint Paul College with comprehensive exterior banner system to announce and celebrate 100 year anniversary. The system includes five full color digitally printed wall maps with color coded hallways and room numbering.

Design Agency: Visual Communications Creative Director: Richard Lang Designer: Constance Carlson, Jesse Yungner Photography: Richard Lang, Jesse Yungner Client: Saint Paul College Date: 2010 Location: Saint Paul, Minnesota,USA

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Large colourful and curved panels are suspended from the ceiling at different angles, reminiscent of a sheaf of paper being thrown into the air. Each panel is computer cut with the titles of books found in the section it’s position relates

to, maintaining a level of transparency through the panels. The panels are colour‑coded to assist in the delineation of sections.

Wallsend LibraryDesign Agency: Minale Tattersfield Creative Director: Hans Gerber Designer: Nicholas Bannikoff Photography: Eric Sierins & Minale Tattersfield Client: City of Newcastle Date: 2006 Location: Newcastle, NSW, Australia

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Minale Tattersfield wanted to create a state-of-the-art library facility for the new library. From the cosmopolitan café/bookstore to the busy street life of Five Dock village, a feeling of Avant Garde was devised to complement the library’s urban surroundings.

Essentially two distinct schemes overlap each other to create a dramatic, vibrant and enticing composition.

Five Dock LibraryDesign Agency: Minale Tattersfield Creative Director: Hans Gerber Designer: Alex Papas Photography: Greg Bartlett and courtesy of Brewster Hjorth Client: Five Dock Library Date: 2004 Location: Sydney, NSW, Australia

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Graphics throughout the building make reference to books, braille, and audio recordings which are the media that the Jewish Braille Institute uses to send works of literature to its users. Large Braille dots indicating floor levels, a world map mural in Braille dots, and perforated chassis signs all explore this theme.

The Jewish Braille Institute Library

Design Agency: Whitehouse & Company. Creative Director: Roger and Ben Whitehouse Designer: Roger and Ben Whitehouse Photography: Roger Whitehouse Client: JBI International Date: 2009 Location: New York, USA

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The new library includes a café, a reference library, a digital research facility and a large children’s and youth library. Environmental graphics have been used extensively to create an exciting atmosphere and form an integral part of

interior elements such as dividing walls. Each section of the library had to be identified by a distinct graphic.

Castle Hill Library and Community CentreDesign Agency: Minale Tattersfield Creative Director: Hans Gerber Designer: Alex Papas & Hans Gerber Photography: Minale Tattersfield, Greg Bartlett and courtesy of Brewster Hjorth Architects Client: Castle Hill Library Date: 2006 Location: Castle Hill, NSW, Australia

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Memphis Library

Lorenc+Yoo Design(LYD) created an environmental graphics program for the Memphis Library to increase the visual energy of this prominent public library. Looney Ricks Kiss Architects designed the building as a steadfast modern statement, so LYD was asked to design an energetic signage system reminiscent of retail malls and other popular spaces.

LYD designed the library’s exterior signage to speak to the silver palette of the building while also popping with bold typography, bright reds and yellows. The main post contains a custom lighting feature, holding two open books: one identifying the library and the other as an accent piece. The interior signage also speaks to the exterior vernacular, with a punchy red gloss finish.

Design Agency: Lorenc+Yoo Design Creative Director: Jan Lorenc Designer: Jan Lorenc Photography: Jan Lorenc Client: Memphis Library Date: 2009 Location: Memphis, Tennessee, USA

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The Library of the University Applied Sciences

The concept for this design project was to get a young fresh influence into the building through the use of bold letters and numbers.

Design Agency: Studio KW Creative Director: Klaus Hubner Designer: Klaus Hubner Photography: Studio KW Client: University of Applied Sciences, Frankfurt Date: 2010 Location: Frankfurt, Germany

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Artscape Wychwood BarnsDesign Agency: Gottschalk+Ash Creative Director: Udo Schliemann Designer: Roberto Grillo Photography: Gottschalk+Ash Client: Artscape Date: 2008 Location: Toronto, Ontario, Canada

An inspiring initiative driven by Artscape, a not‑for‑profit enterprise engaged in culture‑led regeneration, has transformed the historic streetcar repair barns from the early

20th century into a live, work, art, exhibit and community space.

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Canadian Museum of NatureDesign Agency: Gottschalk+Ash Creative Director: Udo Schliemann Designer: Ian White & Michael Kirlew Photography: Gottschalk+Ash Client: Canadian Museum of Nature Date: 2010 Location: Ottawa, Ontario, Canada

The Canadian Museum of Nature in Ottawa has undergone a major revitalization program to enhance the museum experience. G+A created a comprehensive design solution by fashioning the animals as the hero in a dynamic and innovative fashion.

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Royal Ontario MuseumDesign Agency: Gottschalk+Ash Creative Director: Udo Schliemann Designer: Ian White, Roberto Grillo & Michael Kirlew Photography: Gottschalk+Ash Client: Royal Ontario Museum Date: 2007 Location: Toronto, Ontario, Canada

The Royal Ontario Museum is the fifth largest museum in North America. It was the role of Gottschalk+Ash to develop a modular wayfinding system for their revitalization program that would provide for wide‑ranging needs without creating a sense that the facility was cluttered with signs.

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Bay Area Discovery MuseumDesign Agency: Skidmore, Skidmore, Owings and Merrill LLP — SOM Graphics Photography: Thomas Heinser Client: Bay Area Discovery Museum Date: 2006 Location: Sausalito, California, USA

SOM Graphics provided a comprehensive graphics program for this interactive children’s museum located at the foot of the Golden Gate Bridge. The scope included reinvention of the logo, establishment of graphic standards, and implementation of a signage program, which consisted of site

markers, wayfinding and donor recognition. Major features include freestanding directional signs and donor signage that encourages children’s hands‑on participation.

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Oakland Museum of CaliforniaDesign Agency: Skidmore, Owings and Merrill LLP — SOM Graphics Photography: Tim Griffith，Thomas Heinser Client: Oakland Museum of California Date: 2010 Location: Oakland, California, USA

The SOM Graphic worked with the Oakland Museum of California to design the environmental graphics program for the Museum renovation and to develop a new graphic identity for this beloved California institution. The environmental graphics program for the Museum incorporates the details and finishes of the new architecture,

while remaining sensitive to the existing historic building. Bold and vibrant colors were used throughout the program to enliven the concrete structure, announce gallery entries and showcase donor recognition.

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Childrens Discovery Museum of the DesertDesign Agency: Whitehouse & Company. Creative Director: Roger and Ben Whitehouse Designer: Roger and Ben Whitehouse Photography: Roger Whitehouse Client: Children’s Discovery Museum of the Desert Date: 2008 Location: Rancho Mirage, California, USA

Eyes, central to the act of discovery, are featured on a panoramic mural made up of a mosaic of over 4,000 panels, replaced over time by sponsored portrait tiles of visitors. The logotype, on aluminum columns, is an abstraction until the

visitor enter the driveway when the full logotype becomes visible.

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Natural History Museum—Identity SystemDesign Agency: Hat‑Trick Design Creative Director: Gareth Howat, Jim Sutherland Designer: Gareth Howat, Jim Sutherland, Ben Christie, Jamie Ellul Photography: Hat‑Trick Design Client: Natural History Museum Date: 2007 Location: London,UK

The Natural History Museum is home to one of the largest natural history collections in the world. They wanted to create a new identity that successfully communicated their diversity as a museum, not just its exhibits, but of its research and scientific credentials. A key part of the strategy underlying the rebrand was to create a total experience for

the three million or more visitors a year, while maintaining visual consistency. The solution took ‘the Power of Nature’ as a theme; this is expressed through a palette of 35 images by leading wildlife photographers, ranging from microscopic plankton to a satellite shot of the Earth.

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Natural History Museum—Wayfinding SystemDesign Agency: Holmes Wood Design Director: Alex Wood Creative Director: Lucy Holmes Photography: Phil Sayer Client: Natural History Museum Date: 2007 Location: London, UK

The Natural History Museum in London is one of the nation’s key cultural institutions and the 4th most popular visitor attraction in Britain.

The designer produced a wayfinding strategy and design plan that divided the functional requirements of signs into two main areas. ‘High level’ signs were needed to proclaim events and exhibitions, and the Museum’s permanent displays and galleries – competing with the other major museums and in the immediate area and communicating with the traffic on the Cromwell Road. The ‘low level’ signs were to provide visitors with immediate directions and information on finding their way around the site with ease and confidence, including the gardens and landscape that belongs to the Museum.

The ‘high level’ signs consist of new glass fascias, which can take changing displays easily, and drop banners that can be seen from a distance. The ‘low level’ signs use a unique bronze and brass construction with a distinctive curved form that picks up on the shape of the new museum ‘N’ logo. The signs have a sculptural and permanent quality, in keeping with the status of the institution. Other key features of the scheme include a four‑metre high sculptured sign at the high-profile corner of Cromwell Road and Exhibition Road, which has their logo cut out, so one can see through to the dramatic building behind. The client describes the scheme as effective, understated and elegant.

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The National GalleryDesign Agency: Holmes Wood Design Director: Alex Wood Creative Director: Lucy Holmes Photography: Phil Sayer and Tim Goffe Client: The National Gallery Date: 2004 Location: London, UK

The redevelopment of the East Wing of London’s National Gallery created a new entrance at street level, leading visitors into a light-filled atrium, converted from a previously unused inner courtyard. The task was to devise and apply a rational and aesthetic scheme to help people to understand easily the scope of the Gallery and to find their way around without aggravation or frustration. The main organisational idea was effectively to separate the way the collection itself is indicated from the treatment of Gallery facilities and services. The collection is classified by the Gallery into five periods, from 1250 to 1900, and the designer gave each of them their own colour code. The organisation is based on a combination of this colour coding and the numbered spaces and rooms.

Signs were devised in glass as an unobtrusive backdrop to the graphics as well as allowing information to be updated easily. The design was applied to spaces throughout the Gallery – including the Sainsbury Wing – giving a coherency to the organisation while remaining appropriately restrained. For facilities and services, a pictogram system was designed to complement wording in English, making the information space-efficient and easier for the international audience to understand. The result is an intricate yet systematic scheme, which is quickly grasped by the visitor. The floor plan guide was designed in nine languages and combined highlights of the collection with overall orientation.

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In 1998, London’s imposing new gallery of modern art was emerging from the moribund Giles Gilbert Scott power station on the south bank of the Thames. It was to be called Tate Modern.

The question of sign and environmental graphics often arose during this time, as the variety of print and other design projects for Tate Modern developed. Realising the scale and importance of the sign programme, Lucy suggested the commissioning of a wayfinding and sign design expert – and

introduced Alex Wood to the team. Thus it was that Lucy and Alex began to work together in an association that led to the formation of the Holmes Wood design business. Signs are often treated as commodities by clients and architects – just one more thing to be sourced and ordered, like doors and windows. But in this case it was different. The Tate itself realised that the new sign scheme had to have flexibility and sophistication to meet the realities of the gallery’s and visitors’ needs.

Tate ModernDesign Agency: Holmes Wood Creative Director: Lucy Holmes Designer: Alex Wood Photography: Victoria Blackie Client: Tate Date: 2000 Location: London, UK

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Museum Land van Valkenburg is a museum in the south of Holland that combines local history with modern art that has a link with the region in its presentations. The museum is located in the touristic center of Valkenburg and is a place to experience the wealth of cultural production and history of the region.

Recently the strategic direction of the museum evolved towards a more modern programme with a stronger focus on modern art. The goal for the wayfinding project was to update the existing wayfinding system in such a way that

it communicates the new mission of the museum. The solution of a bold bright color sheme combined with bold signs and modern typeface is an expression of the new energy that flows through the museum. In the new design color was used on a large scale to carry the signs and texts: whole walls become signs. The wayfinding project is part of a larger project to create a new brand experience for the museum. The project also includes a new corporate identity that is applied to all communication: invitations, posters, advertisements, etc.

Museum Land van ValkenburgDesign Agency: Dennis Information Design Client: Museum Land van Valkenburg Date: 2009 Location: Valkenburg, Holland

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The system had won the visual identity competition among several studios; it is a modular visual identity where color and typography are used to connect and at the same time characterize each museum’s structure.

The idea was to have a very synthetic graphic language, which would emphasize the name of the single museums standing out in the very dense landscape of a city like Florence. What the designers came out with is a modular system based on the square, a shape that appears much in the Florence landscape.

Each square is divided into 10 smaller squares, all equal in size. That division builds a grid that was used for all of the application of the identity of the museums, from web, to print to signage. The wayfinding system is indeed based on the square and all arrows and pictograms were designed to be combined maintaining the original module visible. This way the modularity of the system is a strong peculiarity that helps the recognizability of the museums.

Musei Civici FiorentiniDesign Agency: Harta Design Creative Director: Roberto Rossini, Chiara Debenedetti Designer: Andrea Bergamini Client: Comune di Firenze – Musei Civici Fiorentini, Municipality of Florence – Museums of Florence Date: 2009– in progress Location: Italy

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The project objective was to significantly reduce visitor's confusion within the Heard Museum by developing a new signage system that focuses on legibility and appropriateness, while also communicating the engaging, vibrant, and dynamic nature of the museum. The layout of the museum, with multiple buildings, entrances and courtyards, provides a unique wayfinding challenge.

The proposed system was designed with particular concern for the elderly, who comprise the majority of the museum's visitors. The typeface Frutiger was used to stay within the current identity system.

The angular, metallic signage is based on modern sculpture and architecture, and serves to convey the dynamic and contemporary nature of the museum. The three‑dimensional structure of the sign provides a visual cue from multiple angles, reducing the number of signs needed overall. Also, the availability of visual cues from multiple angles supports a fluid visitor experience, allowing the visitor to comfortably choose their own route.

Heard Museum Design Agency: Emily Parcell and Kara Zichittella Creative Director: Emily Parcell and Kara Zichittella Designer: Emily Parcell and Kara Zichittella Photography: Emily Parcell and Kara Zichittella Client: Heard Museum Date: 2010 Location: Phoenix, Arizona, USA

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Machado de Castro National MuseumDesign Agency: FBA. Creative Director: João Bicker Designer: Daniel Santos Photography: Daniel Santos/FBA. Client: Machado de Castro National Museum Date: 2009 Location: Portugal

After undergoing major restoration works the Portuguese National Museum of Machado de Castro is gradually reopening to the public. During 2009 a small part of the Museum was opened and the rest of the Museum was expected to reopen during 2011. FBA is commissioned with the task of designing the signage system along with the permanent exhibition information design. Por

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The National Maritime MuseumDesign Agency: Studio David Hillman Creative Director: David Hillman Designer: David Hillman Photography: Nick Turner Client: The National Maritime Museum Date: 1998 Location: London, UK

The inspiration for this signage came from a child's toy boat: the shape and structure of the signs allude to sails, with uprights representing masts. Each sign is colour‑coded to relate to maps on different floors, with the colours denoting North, South, East and West ,depending on where one is in the building.

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Having worked with Chef Michael Schwartz when he started with Nemo in Miami, a lot has changed and yet, Michael’s simple, easy going personality and life style have remained a constant even when he has not earned national and celebrity status. This brand language has become a culinary culture that extends over into all his food and people that support it in his restaurants. ribbit...Inc was tasked with creating the brand identity, graphics and signage for the restaurants. The inspiration came from old retro posters

and labels that, while at first the seemed culturally outdated or dated, in some ways, it appears to be the norm again in some ways. The brand logo chosen speaks back to this time and trend yet it fits perfectly with Michael’s no fuzz personality, simple down‑to‑earth and genuine style of work represented in all his food. The brand consistently tell this story everyday. It’s what makes this brand successful and we’re happy to be part of the history.

Design Agency: Ribbit...Inc. Creative Director: Juan Carlos Casas Designer: Juan Carlos Casas Photography: Juan Carlos Casas Client: Michael Schwartz Date: 2010 Location: Miami,Grand Cayman Island,USA

Michael’s Genuine Food & Drink

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Lockup 2999 is an entertainment restaurant Locate in Tokyo Ikebukuro. The restaurant concept is space prison and where the customer will be send to the ‘Moon Penal Colony’ which locate in the moon shadow side by space ship system error.

In Lockup 2999 also provide entertainment show every two hours and the customer will see space monster escape from

the experiment room walking around in the restaurant and fighting with the prison guard (waiter). On the other hand all the food naming are come from famous SF movie or novel. We believe our customer especially SF fans will enjoy this space tour.

Lockup 2999 RestaurantDesign Agency: Graphics and Designing INC Tokyo Creative Director: Graphics and Designing INC Tokyo Designer: Mr. Arnab Banerji Photography: Graphics and Designing INC Tokyo Client: Lockup 2999 Date: 2010 Location: Tokyo, Japan

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Designed by architect Jon Pickard of the firm Pickard/Chilton (New Haven, CT), the 55‑story 1180 Peachtree building is clean, organic and has already become a landmark in the Midtown Atlanta neighborhood. Prior to the signage designers’ commission, the restaurant designed and installed its own canopy, which the building owner rejected due to disapproval by the Midtown Alliance, a community group that weld a veto on the design. The designer for the new signage project were asked to develop a street‑level canopy for the building’s signature restaurant: TAP.

The signage design firm devised a canopy signage structure for TAP that fit within the guidelines of the Midtown Alliance. It had to be attractive, connected to the building and

engaged the plaza. These criteria resulted in a context‑specific design that serves as an architectural accent to the building. The design includes a single, curved canopy of three sections that appear to grow out of the building itself. Four columns anchor the canopy to the ground, and center the TAP logo above. A six‑inch‑diameter beer barrel shape contains the logo, which is lit internally and glows red with a subtle aura. Designers included louvers for two joined canopies to block the heat of the noonday sun and provide shelter from the incidental rain shower. Each canopy has two uplights that wash the underside of the canopy, as well as numerous downlights that wash the patrons dining below.

1180 Peachtree TAP RestaurantDesign Agency: Lorenc+Yoo Design Creative Director: Jan Lorenc Designer: Jan Lorenc, David Park, Steve McCall Photography: David Park Client: Hines, Mary Hill Date: 2008 Location: Atlanta, USA

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The design, service, convenience and luxury found within the new resort amenities ‑ hotel, restaurant, indoor pool, spa & salon, lobby, bars and meeting rooms, the new Casino South gaming expansion, Liquid Bar, and The Q Ultimate Sportsbar ‑ all works together to express the overall four

star quality and wide variety of activities that make Northern Quest Casino Resort a unique and enjoyable gaming and resort destination.

Northern Quest Liquid BarDesign Agency: Lorenc+Yoo Design Creative Director: Jan Lorenc Designer: Jan Lorenc, David Park, Steve McCall Photography: Jan Lorenc Client: Northern Quest Casino & Resort Date: 2010 Location: Washington DC, USA

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Diplomat Parking, the 4,000 car parking complex for the convention center and associated retail part of the multi‑facility Westin Diplomat Resort & Spa, displays identification graphics that coordinate with a family of signage appearing throughout the expansive property.

The exterior wayfinding, traffic directionals, pool area signage, and even cabana numbering, carry through the character of the waterfront theme and architecturally inspired panel shapes.

The Westin Diplomat ParkingDesign Agency: Lebowitz|Gould|Design, Inc. Creative Director: Sue Gould Designer: Lebowitz|Gould|Design, Inc. Photography: Lebowitz|Gould|Design, Inc. Client: Diplomat Properties Ltd. Hollywood, FL Date: 2010 Location: Hollywood, FL, USA

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Eureka Tower CarparkDesign Agency: Emery Studio Photography: Emery Studio Client: Eureka Tower Date: 2006 Location: Melboure, Australia

In 2006 the deisgner developed a way‑finding‑system for the Eureka Tower Carpark while working for Emery Studio in Melbourne. The idea was to create an exciting space with functionality. The space was confusing to orientate this led the designer to the idea to design a way‑finding‑system which at the same time was visually beautiful and graphically challenging. The distorted letters on the walls can be read perfectly when standing at the right position.

This provides the essential information when needed at the right time and location, the unnecessary information create a beautiful chaos of distorted graphical elements at the same position.

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For the transformation of downtown Los Angeles landmark Arco Plaza into City National Plaza, Sussman/Prejza started by creating a striking identity, derived from the shape and the vibrant colors of the plaza sculpture. From this origin, Sussman/Prejza developed a vocabulary of patterns and designs for carpets, signs, plaza furniture, print collateral

and more. In its decision to celebrate the sculpture, the design drew out the beating heart of a cool Modernist building and strengthened the landmark’s design legacy, thereby enhancing the experience of being at the new City National Plaza.

City National PlazaDesign Agency: Sussman/Prejza & Co., Inc. Creative Director: Deborah Sussman, Paul Nagakura, Michael Shaub Designer: John Johnston Photography: Jim Simmons Client: Thomas Properties Group Date: 2009 Location: Los Angeles, California, USA

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Golden BeltDesign Agency: Entro Communications Creative Director: Randy Johnson Designer: Brenda Tong Photography: Kris Stanley Client: Scientific Properties Date: 2009 Location: Durham, North Carolina, USA

Golden Belt, an historic textile mill, near downtown Durham NC, was revitalized as an artistic urban hub. The restored site includes office/business suites, an art gallery, artist studios and live‑in lofts, restaurants, retail and other amenities.

Golden Belt attained LEED Gold Certification in 2009, being the largest all‑historic Gold‑certified campus in the US southeast. Entro designed the site identification and wayfinding signage of USA.

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Grand Central Terminal RetailDesign Agency: Two Twelve Creative Director: Ann Harakawa Designer: Dominic Borgia, Ellen Conan, Anthony Ferrara, Yanira Hernandez, Patrick Nolan Photography: Two Twelve Client: Metropolitan Transit Authority Date: 2007 Location: New York, USA

Two Twelve created retail signage for New York City's Grand Central Terminal, including multi‑dimensional signs that enhance the Grand Central brand and direct users to retail destinations. Two Twelve’s awardwinning sign designs combine glass, wire mesh, cast bronze and stainless steel

in three-dimensional sculptures that fit seamlessly within the Beaux Arts grandeur of the original terminal interior.

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The HouseDesign Agency: Ben Cox Design Creative Director: Ben Cox Design Designer: Ben Cox Design Photography: Ben Cox Design Client: Echo and Arup Date: 2007 Location: UK

Description: The House is an architectural project that would tour the UK in an attempt to promote the state imposed reality of greener housing for the future. In so doing its identity had to communicate two clear points Improving Efficiency and Reducing Pollution which it achieves through the use of the two arrows. These also

subtly contain the initial 'H' for the House within the negative space. The use of the arrows is carried across the identity collateral, which included stationary, PPT templates and animation, signage communications, literature and website.

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Boardwalk Wayfinding KiosksDesign Agency: The Rockwell Group PC Creative Director: Bob Stern Designer: John Maestas, Scott Vandervort, Timo Kuhn Client: Madison Marquette Asbury Park Date: 2007 Location: New Jersey, USA

A System of Wayfinding for Kiosks were designed as apart of a large branding and real estate development project.

An arrangement of recycled shipping containers were placed along the same beach front boardwalk as the Wayfinding Kiosks. The one or two shipping containers where retrofitted together, to house pop-up retail stores and public beach facilities such as bathroom rooms, a lifeguard

office and a ticket booth. Each container was designed to have a different color and number for easy identification and to further animate the boardwalk landscape.

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Potawatomi CasinoDesign Agency: Lorenc+Yoo Design Creative Director: Lorenc+Yoo Design Designer: Lorenc+Yoo Design Photography: Lorenc+Yoo Design Client: Potawatomi Casino Date: 2008 Location: Milwaukee, USA

The recent $240 million renovation of the the Potawatomi Casino in Milwaukee, Wisconsin doubled the size of the venue by adding a six‑story parking garage, a vehicular bridge and significantly more floor space. This required a brand new signage system to provide overall aesthetic improvements and wayfinding solutions for the casino. For this endeavor, Hnedak Bobo Group Architects selected Lorenc+Yoo Design as a sure bet to create an effective and engaging design.

In commemoration of the Potawatomi tribes’ heritage as the “Keepers of the Flame,” the designer created prairie-style

lanterns to illuminate the main entrances and bridge to the parking deck, creating a discernible path into the casino. As an additional wayfinding measure, the designer devised a different wildlife theme for each floor of the parking deck, creating a memorable cue for visitors to navigate to and from the casino.

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House Full Retail StoreDesign Agency: Leaf Design Pvt. Ltd. Creative Director: Sandeep Ozarde, Sumit Patel Designer: Rohini Shenoy, Surashree Sathaye, Saalim Sulemani Photography: Saalim Sulemani Client: House Full International, Mumbai Date: 2009 Location: India

Housefull is a pan‑Indian retail chain specializing in home décor etc. It offers affordable value to all customers. They needed a different theme and look for their upcoming stores, while communicating “value” and enhancing their USP ‑ concept rooms. The theme “circle of life” (derived from complete) was chosen, derived from their existing logo ‑ standing for a circle of trust, security and belonging. Color

schemes were selected to match departments and product categories like brown for furniture, blue for bathrooms etc. Signage (category, instructional and direction) has been developed on the basis of store space and organization of products.Plus communication posters, wall/theme graphics and details of the concept room.

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Maxi JoyDesign Agency: Dan Pearlman Markenarchitektur GmbH Creative Director: Marcus Fischer Designer: Karin Hechinger Photography: diephotodesigner.de Client: Spiele Max Date: 2005 Location: Germany

The new shop concept stands for emotional efficiency: it produces a shopping experience and improves the flow of goods and work processes.

Visitors are guided by a traffic system, using coloured gates, traffic signs, islands and arrows showing the way and motivating people to stop as well as to look.

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DT Cinemas Design Agency: VerisonAbsolute Design Studio Creative Director: Arnab Banerji Designer: Arnab Banerji, Abhishek Ghosh Photography: DT Cinemas Client: DT Cinemas Date: 2008 Location: New Delhi & Chandigarh, Punjab India

As the brand was at the onset of becoming a pan India brand, our strategy was similar to that adopted for PVR, which was to design a standard sign design identity for the brand, with provision within the design scheme to adapt itself to the changing brand environment, geographical location, etc.

As DT Cinemas was always to be a part of DLF malls as an anchor tenant; the designer began with mapping the user’

s path from the point where he recognizes the brand while still approaching the property, from the parking to locating the ticket box and eventually the cinemas. At each point of decision making in this path, the designer designed an information system that will aid decision making.

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PVR CinemasDesign Agency: VerisonAbsolute Design Studio Creative Director: Arnab Banerji Designer: Jiten Suchede, Rajan Haku, Abhishek Ghosh Photography: PVR Cinemas Client: PVR Cinemas Date: 2009 Location: India

As sign design and wayfinding consultants with PVR the designer have designed and standardized the designs for the all the signs within each of their various cinema exhibition verticals namely PVR Premiere, PVR Cinemas and PVR Talkies.

This has benefits the company in terms of implementation of the design package amongst multiple products, simplifies the complete value chain from procurement, production to implementation and commissioning. It also offers a unified brand image/identity for the brand and distinguishes

between the various other brands in the cinema exhibition industry in India .

From a user’s point of view it ensures a high level of brand recognition and recall and offers a consistent experience amongst in all PVR’s.

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Toronto International Film Festival CentreDesign Agency: Gottschalk+Ash Creative Director: Udo Schliemann Designer: Michael Kirlew, Roberto Grillo, Jonathan Picklyk, Ian White Photography: Gottschalk+Ash, Tom Arban, Maris Mezulis Client: Toronto International Film Festival Group Date: 2010 Location: Toronto, Ontario, Canada

With the opening of the Bell Lightbox in September 2010, TIFF truly became a creative community and global leader in one of the world’s most premiere organizations in the discovery and understanding of film. The designer's mandate was to create a world class, yet understated, wayfinding and donor signage program. They also created the identity and signage for the three restaurants in the building: Luma, Canteen and Malaparte.

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Design Agency: Dot Dash Creative Director: Irené Ostash Designer: Irené Ostash, Monika Obrist Photography: Erhard Rathmayr Client: Mackay City Council Date: 2009 Location: Mackay, Australia

Mackay is a regional city in Queensland, Australia. The new Entertainment & Convention Centre is a new multi‑function facility to host a range of different events. The new identity (by Entica) has been applied to the site along with a subtle but highly visible wayfinding signage system.

Dot Dash aims to develop environments that are legible and accessible and to enhance the visitor experience for all users gain maximum benefit.

Mackay Entertainment & Convention Centre

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Design Agency: Calori & Vanden‑Eynden Creative Director: Chris Calori Designer: Chris Calori, David Vanden‑Eynden, Denise Funaro Photography: Chris Crumley Client: Virginia Beach Visitor and Convention Bureau Date: 2005 Location: USA

This elegant convention center is an important civic landmark for this Atlantic coast resort city. The building’s architectural and interior design employs subtle references to nautical forms. In the project signage, C&VE reinforces these nautical references with sculptural, white sail‑like sign forms and shapes.

C&VE developed a hierarchical sign nomenclature system to guide visitors through the vast lateral spaces of the

convention center’s site and interior spaces. The graphic system is simple and clear, utilizing a humanist typeface sized for good legibility at long distances. Further reinforcing the nautical references, interior sign types feature a subtle blue glow along the edges of overlapping sign materials.

Virginia Beach Convention Center

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Erie Commercial SlipDesign Agency: C&G Partners Creative Director: Keith Helmetag Designer: Justine Gaxotte, Thomas McMahon & Cigdem Tanik, Brandon Downing Photography: Richard Barnes Client: Empire State Development Corporation Date: 2007 Location: Buffalo, New York, USA

Working with Flynn Battaglia Architects, Empire State Development Corp, and a team of prominent historians, the firm created evocative interpretive exhibits and site graphics that explore Buffalo’s prominent role in the story of the Erie Canal.

The Erie Commercial Slip reconnects the busy, modern‑day city with the powerful stories of its origins. From a muddy port to the gateway of the American interior, these exhibits celebrate Buffalo’s role in the greatest enterprise our young country had yet seen.

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GrooveNation at Marina SquareDesign Agency: Immortal Creative Director: Theresa Yong Designer: Choo Chin Nian Photography: Immortal Client: Marina Square Date: 2007 Location: Singapore

Description: GrooveNation is a youth‑oriented retail and entertainment cluster within Marina Square, a shopping mall located in the Marina Bay area in Singapore. It consists of a cinema, gaming arcade, restaurants, fashion boutiques,

bowling and billiard centres. A logo, supported by strong and youthful graphics were created for the environment.

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St David’s Shopping CentreDesign Agency: Air Design Creative Director: Ian Wright Designer: Jonny Ellison Photography: Air Design Client: Land Securities, Capital Shopping Centres and Cardiff City Council Date: 2009 Location: Cardiff, UK

Air deigner's original brief was to develop external and internal bespoke signing for the St David’s Shopping Centre in central Cardiff. Having recently undergone refurbishment, the mixed‑use development required a new and full signing scheme, including wayfinding, graphics, product design and implementation management. The remit then extended beyond the boundaries of the centre to include designing a new mapping and signing system for Cardiff City Council itself.

Three main types of sign were developed: a visitor information sign, a citywide orientation totem and a finger post directional sign. Together this sign family was produced using shot‑peened stainless steel and black granite to

complement the new landscaping street furniture and create a slick contemporary look. The Cardiff City brand is subtly etched into the granite bases to maintain and promote the city’s identity. Solar panels are also discreetly housed in the top of signs, where collected power is stored in a battery. This power is then used to illuminate the signs at night. User‑friendly maps were essential for this project, and so a colour scheme and typographic style with strong contrast and excellent legibility were chosen. Pictograms are used to help with quick recognition of key facilities throughout the city. A major feature of the mapping system is that all landmark buildings have been drawn as 3D icons; providing a literal representation of the sites and making the reading of maps more intuitive.

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Description: Médiacité is a 100,000 square‑metre mixed use, retail, commercial and leisure regeneration in the heart of Liege, Belgium. The striking red and organic forms of the architecture were influential throughout the design scheme and within the signs themselves. The red acrylic reflects light during the day and illuminates at night in order to maximise visibility whilst reinforcing the attractive Médiacité branding. This also acts as a visual beacon to aid customer orientation, as the signs offer recognisable landmarks where visitors are able to plan and make their journeys.

The solid surface material Hi Macs was used for the signage, as it could be manipulated into seamless and organic forms to match the dramatic architecture of the centre. On a practical level, it can also be easily cleaned and repaired on site. In keeping with this striking aesthetic, the signs are sleek and slim with all fixings concealed. Chemical bolts and fixings were used to avoid the need to also install visible base plates. An iPod was the inspiration behind the touchscreen design, and so the units take a similar rounded shape and the screen is completely integrated.

MédiacitéDesign Agency: Air Design Creative Director: Ian Wright Designer: Ari Phillips Photography: Air Design Client: Wilhelm & Co Date: 2009 Location: Belgium

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ION OrchardDesign Agency: Immortal Creative Director: Theresa Yong Designer: Choo Chin Nian Photography: Immortal Client: ION Orchard Date: 2009 Location: Singapore

Located on Orchard Road in Singapore, ION Orchard is an architectural icon with eight levels of shopping space, four levels above ground and four levels below. A comprehensive wayfinding signage system was created for both shoppers in the retail floors and vehicular traffic in the car park. Other

than conventional directional signs, a digital interactive touch‑screen directory system was implemented across key locations in the mall.

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Charlottesville Fashion SquareDesign Agency: Lorenc+Yoo Design Creative Director: Lorenc+Yoo Design Designer: Lorenc+Yoo Design Photography: Lorenc+Yoo Design Client: Charlottesville Fashion Square Date: 2007 Location: Charlottesville, Virginia, USA

Lorenc+Yoo Design(LYD) collaborated with Cooper Carry & Associates to design a wayfinding system for the renovation of Charlottesville Fashion Square mall in Charlottesville, Virginia. LYD designed the main entrance canopy elements and a new project logo. The interior signage was derived

from the architects’ interior design palette of materials, and the exterior uses a bold gateway motif to communicate the exclusive and high quality nature of the shopping center.

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Description: Located only minutes from Manhattan Island via the Holland Tunnel, this mall in Jersey City was in dire need of a face lift. This update required both architectural and signage improvements.

Because the ceilings are so lofty in this mall, the solution required long vertical connective bars with a look of substantiality. This was accomplished by two sets of double rectangular aluminum tubes. These are connected to both the ceiling and the sign with weighty flanges and bolts, to lend an air of permanence and rigidity that was missing in the original program. Indeed, much of the directional signage is composed of welded aluminum tubes. A special corrugated aluminum panel was used to add texture to the signs, but instead of purchasing an expensive off‑the‑shelf material, the fabricators elected to develop a custom die so that the beefy corrugated metal panels could be fabricated at a more reasonable cost.

To counter all the heaviness found in the connectors and bars, the sign panels themselves were made from floating acrylic intended to look like glass. The challenge was to make these readable when backlit by sunlight. Early tests showed far too much contrast between backlit and non‑backlit areas for the signs to be readable. The final solution was to place frosted mint vinyl on both sides of the acrylic, with a “hidden” layer of opaque white vinyl underneath the frosted mint vinyl on the back sides. The result is a clean, readable simulated glass panel unaffected by strong backlighting during the midday hours.

All in all, the upgrade to the mall’s interior architecture, accented by new signage, brings the mall into the new century and creates a more pleasurable shopping experience.

Newport CentreDesign Agency: Integrated Sign and Graphic,Inc. Creative Director: Jan Lorenc Designer: Jan Lorenc, Steve McCall, David Park, Ken Boyd Photography: Integrated Sign and Graphic,Inc. Client: Simon Date: 2010 Location: Jersey City, New Jersey, USA

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The BullringDesign Agency: Studio David Hillman Creative Director: David Hillman Designer: David Hillman Photography: Nickturn Client: The Bullring Date: 2000 Location: Birmingham, UK

The Bullring is vast, 110,000 square‑meter city centre development. At the time, the 500 million project was the heart of Europe’s largest regeneration scheme. Studio David Hillman provided a comprehensive and fully integrated signage programme.

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The Shops at 5th Street & Alton RoadDesign Agency: TGAdesign Creative Director: Tom Graboski Designer: Tom Graboski, Geoff Rogers Photography: TGAdesign, New York Focus Client: Berkowitz Development Date: 2009 Location: Miami Beach, Florida, USA

Located in the heart of Miami Beach at the intersection of 5th Street and Alton Road, the 5th & Alton is a vertical retail shopping center and 2000 car garage with a unique architectural design blending the historic Art Deco look with a modern, sleek approach. All signs for the property were designed by TGAdesign including two unique facades

that included custom designed mosaic murals and large dimensional tenant logos. TGAdesign was also instrumental in rewriting the Miami Beach Sign Code for this unique development.

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360 Mall

Design Agency: Paragon Marketing Communications Creative Director: Nizar Alshorbagi Account Director: Gaya Kruchlik Photography: Nizar Alshorbagi Client: 360 Mall Date: 2010 Location: Kuwait

During the holy month of Ramadan, 360 Shopping Mall which caters to the higher end of the society of Kuwait and houses big name international brands decided to introduce a campaign greeting its visitors with an aura of the holy month. Paragon Marketing Communications was commissioned to provide design elements and execution ideas to brand the mall in a subtle manner not taking anything away from the lush interiors of the mall.

The designs reflected the Islamic art of calligraphy in a very contemporary manner and formed an integral part of this branding exercise. The aura of the holy month of Ramadan was created at the shopping leaving its visitors awestruck with the richness of the Islamic culture meeting contemporary art.

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Frost Design was invited to review the signage and environmental graphics of the Chatswood Chase Sydney shopping centre as part of its upgrade, and bring it inline with the centre’s new branding. The new holistic signage scheme covered each of the four shopping levels, and included major external and internal identification, directional and operational signage. The new branding inspired a classic black and white palette for the signage, working to establish a sense of place integrated with the interior scheme. The centre's 1950s Artichoke lights hanging in the atrium, were referenced in the design of the suspended wayfinding signage. This

intricate detailing provides an increased sense of luxury for visitors, reinforcing its position as a global shopping destination.

Large‑scale painted supergraphics provide clear wayfinding messages throughout the carpark. This cost effective approach is highly visible, ensuring clarity in a potentially confusing environment. The bright colour palette injects warmth and energy into these concrete spaces, acting as a memory trigger and creating a sense of playfulness.

Chatswood Chase Shopping CentreDesign Agency: Frost Design Creative Director: Vince Frost Designer: Bridget Atkinson, Sarah Estens, Ray Parslow Design Manager: Annabel Stevens Photography: Andy Stevens Client: Chatswood Chase Sydney Date: 2009 Location: Sydney, Australia

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Palladium MallDesign Agency: VerisonAbsolute Design Studio Creative Director: Arnab Banerji Designer: Arnab Banerji, Abhishek Ghosh Photography: VerisonAbsolute Design Studio Client: Palladium Mall Date: 2008 Location: India

Palladium is Mumbai’s first luxury retailing mall. It is the latest retail development to come up at High Street Phoenix (HSP), Lower Parel. HSP is one of Mumbai’s largest shopping and entertainment destinations. HSP covers 3.3 million square feet of space and houses over 500 brands, variety of F&B, entertainment, commercial and residential complexes. Architecturally HSP is essentially a collection of four retail buildings now namely Palladium, Courtyard, Grand Galleria and Skyzone. Our scope in this development

was to design a sign design identity and implement a wayfinding scheme for the complete development that is known as HSP. Palladium was the first of the sign design exercise that was implemented.

The EGD scheme for Palladium was proposed by Callison Architects, which was then developed into a sign design and wayfinding scheme by us.

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Viva Collage MallDesign Agency: VerisonAbsolute Design Studio Creative Director: Arnab Banerji Designer: Arnab Banerji, Abhishek Ghosh Photography: Arnab Banerji Client: Viva Collage Mall Date: 2010 Location: India

Viva Collage is Jallandhar’s first all under one roof mall and one of Punjab’s mega projects. This retail destination is spread over 3.7acres of land abutting the National Highway one. This mall is a linear experience interspersed with multiple atriums connecting the various levels. The

architect has used a neutral palette of whites and greys for the interior finishes. Our design intervention color codes the various floors and adds the warmth of wood, creating a colourful, yet bold information system.

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Karstadt Young Fashion–Urban MarketplaceDesign Agency: dan pearlman Markenarchitektur GmbH Creative Director: Volker Katschinski Designer: Jenni Schmidt Photography: diephotodesigner.de Client: Karstadt Date: 2006 Location: Germany

The traditional department store becomes a modern marketplace: open, lively and urban. Concrete, light/dark effects and the overall graphic design reflect the young lifestyle. Local elements generate a high degree of

identification. The new young world becomes part of the city and the city becomes part of the young world.

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Design Agency: Square Peg Design Creative Director: Scott Cuyler Designer: Patricia Glover, Eric Wendt Photography: Square Peg Design Client: Westfield Corporation Date: 2008 Location: Roseville, California, USA

Westfield commissioned Square Peg Design(SPD) to create new interior and exterior signage, garage identification and wayfinding for a new mall addition. SPD’s design solution, based on 2D and 3D interpretation of a rose petal, was

incorporated into the design standards for all signage throughout the property. The property’s exterior sculpture monument utilizes the rose petal theme.

Westfield Roseville Galleria

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Design Agency: Formation Creative Director: David Hoffer Designer: David Hoffer, Philip LeBlanc Photography: Clear Sky Photography Client: Morgan Group Date: 2008 Location: USA

Formation has developed an engaging, creative relationship with the Morgan Group, a developer of mixed use communities. The designer help the client develop brands for their projects and then integrate that brand into all

aspects of the visitor experience. The project scope typically includes naming, logo development, and environmental graphics as well as interior design concepts.

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Design Agency: fd2s Creative Director: Mark Denton Designer: Mark Denton Photography: David Omer Client: The Shops at La Cantera Date: 2008 Location: USA

The Shops at La Cantera is a 1.3‑million‑square‑foot upscale, outdoor regional shopping center at the edge of the Texas Hill Country in north San Antonio. The approach to the project identity and environmental graphics program for the center reflects this emphasis on the natural environment in its use of native materials and fabrication details drawn from the local culture, as well as the incorporation of nature imagery throughout the system.

The designer involvement in the project included helping the developer to refine and articulate the project’s brand position, developing an identity and related visual vocabulary that supports this position, and then working with

the project architect to create a relevant and engaging retail experience. Our role in shaping this experience included the design and documentation of environmental elements ranging from wayfinding signage and seasonal pageantry to architectural enhancements like paving patterns and wall treatments.

The Shops at La Cantera

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AG Creative is proud to be invited to propose a customized wayfinding system that embeds this Boutique Hotel Concept. The concept was based on the shape of the hotel building

structure and also the number 11 so as to let consumers have a strong recalling of the hotel name.

11@Century HotelDesign Agency: AG Creative Creative Director: Alex Wong Chee Chuan Photography: AG Creative Client: 11@Century Hotel Date: 2009 Location: Johor Bahru, Malaysia

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Formally the British Far East Command Headquarters during the World War II, Acacia Design Consultants was tasked to provide a full suite of wayfinding solutions that was both elegant and timeless to suit Hotel Fort Canning’s magnificent architectural heritage. A combination of

anodized aluminum on mirror finished stainless steel accentuates the signs in a warm lit environment. Creative use of shapes allowed for 3 dimensional room numbers that simplify wayfinding for the different wings.

Hotel Fort CanningDesign Agency: Acacia Design Consultants Creative Director: Jervis Mun Designer: Jervis Mun Photography: Acacia Design Consultants Client: The Legends Fort Canning Park Date: 2010 Location Singapore

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The graphics program for the Hard Rock Hotel & Casino Las Vegas expansion included a rebranding study and close work with the interior design team.

The package addressed identification and wayfinding graphics for a new 4,000 seat concert venue, two new luxury guestroom towers, a destination spa, additional casino space, parking decks and extensive site improvements. This comprehensive program tied together all the elements of the expansion maintaining a consistent vision of the brand using typography, lighting and materials. Specific signage included identification for new nightclubs, a spa, multiple restaurants, and the casino expansion. The wayfinding program required integration of the existing signage with the new facilities.

Hard Rock Hotel & CasinoDesign Agency: Lebowitz|Gould|Design, Inc. Creative Director: Sue Gould, Ed Frantz Designer: Lebowitz|Gould|Design, Inc. Photography: Lebowitz|Gould|Design, Inc. Client: Hard Rock Hotel & Casino Date: 2009 – ongoing Location: Las Vegas, NV, USA

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Design of comprehensive graphics program for conversion of Philadelphia's landmark PSFS Building into 852 rooms luxury hotel.

It included interior identification and wayfinding signage for public areas and guest corridors incorporating elements of historic PSFS building signage with contemporary character.

Loews Philadelphia HotelDesign Agency: Lebowitz|Gould|Design, Inc. Creative Director: Sue Gould Designer: Lebowitz|Gould|Design, Inc Photography: Lebowitz|Gould|Design, Inc. Client: Loews Hotels Date: 2006 Location: Philadelphia, PA, USA

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Signage for a luxury charm hotel, partially installed in a historical building.

The Estoi Palace Pousada is the most recently opened hotel of the Pousadas de Portugal group, a chain of luxury hotels in Portugal. The hotel is located in a magnificent palace from the 19th century and combines historical and modern stylistic elements in a reserved way.

Estoi Palace Design Agency: FBA. Creative Director: João Bicker Designer: Rita Marquito Photography: José Meneses/FBA. Client: Gonçalo Byrne Arquitectos Date: 2009 Location: Portugal Awards: Red Dot Award 2010

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The Burj Khalifa is the world’s tallest building and free-standing structure. The tower is a mixed‑use destination for offices, residences, and The Armani Hotel. Square peg design was retained to provide wayfinding and signing design. The solution reflects the subtlety of the contemporary architecture with a mix of Arabic influence while addressing the complexity of the mixed‑use space.

Burj KhalifaDesign Agency: Square Peg Design Creative Director: Scott Cuyler Designer: Eric Wendt, Fernando Zamora, Kate Panawek, Susan Bowers, Wes Meyer, Corinne Char, Katie Miller, John Kim Photography: Square Peg Design Client: Emaar Properties Date: 2009 Location: Dubai, UAE

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Square Peg Design designed the identity and wayfinding system for the new W Hotel and Residence in Fort Lauderdale, Florida. The inspiration for the interior and exterior signing and wayfinding elements drew from the

area’s natural beauty. A sculptural representation of the iconic “W” was created to reinforce the brand at the property’s prominent beach‑front entrance.

W Hotel & Residences Fort LauderdaleDesign Agency: Square Peg Design Creative Director: Scott Cuyler Designer: Corinne Char Photography: GraphPlex Client: W Hotels Worldwide Date: 2009 Location: Fort Lauderdale, Florida, USA

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Jaypee Palace Hotel & Convention Centre is a leading 400 keys five‑star resort property and the largest convention centre in Agra.

The design solution was to rationalize the room addressing system by introducing ‘Level’ and ‘Wing’ in the room numbers and reflect the same in the navigation signs. The design paid homage to the prevalent material and techniques in the region. The designer used black slate and sandstone for all external signs which complimented the

predominant building cladding material and was stood out of the architecture by virtue of their colors. All information on stone was laser engraved into the stone with an inlay of materials such as wire cut SS and epoxy paint, much like the engravings found in Mughal architecture. All interior signs were made in DuPont Corian and Teakwood where again all information was inlayed into the material surfaces.

Jaypee Palace Hotel & Convention CentreDesign Agency: VerisonAbsolute Design Studio Creative Director: Arnab Banerji Designer: Arnab Banerji Photography: Arnab Banerji Client: JayPee Hotels Date: 2006 Location: Agra, Uttar Pradesh, India

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As part of the design team for owner Noble Investments Group, and operator W brand team, ribbit...Inc. set out to capture its ‘country‑club’ like local southern charm, and modern luxury by creating strong graphic visuals like ‘buck‑heads’, trees and flying geese to speak to this design style and carried that theme onto the backgrounds of all the signage. This was done either in cutouts or engraving depending on the wall application. This approach provides a strong sense of place and juxtaposition with modern design materials and colors that exemplify the W brand. The ground W sign offers this blend of styles by providing different looks for day and night. The inner steel tubing structure was covered with perforated metal backed with acrylic. This

not only filters the blue LED light at night, it also hides the electrical components. The interior signage works to both inform and direct the user effectively, all the while reminding you of where you with the strong graphic vocabulary of ‘buck‑heads’ and flying ‘geese’ etched or cutout from aluminum. Ribbit created and implemented all the exterior and interior property graphics and signage/wayfinding program for this unique W property. The firm also executed the signage component for the third party operators ‘market’ by JG Restaurant Group and Whiskey Blue by Gerber Group.

W Buckhead HotelsDesign Agency: Ribbit...Inc. Creative Director: Juan Carlos Casas Designer: Juan Carlos Casas, Rafael Rothschild Photography: Juan Carlos Casas Client: Noble House Investment Group/ W Hotels Date: 2009 Location: Atlanta, USA

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Next to the White House, the most powerful suits‑ pinstripes and black lace—rendezvous at W hotel Washington D.C., where Italian Renaissance meets modern cool. As part of W Hotel signage consulting scope, ribbit...Inc. was tasked in creating a simple yet fun style of signage program that aligned with both the cherry blossom idea and modern

references created by interior designer Dianna Wang /DWA and the Bliss brand culture while staying relevant to signage materials and ADA requirements. The designers created an environmental friendly signage program that supported the Bliss brand language and social attitude as well as the local compliance and maintenance requirements.

Bliss SpaDesign Agency: Ribbit...Inc. Creative Director: Juan Carlos Casas Designer: Juan Carlos Casas Photography: Juan Carlos Casas Client: Bliss Date: 2009 Location: W Hotel, Washington, USA

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Ribbit...Inc was tasked with creating the property identity and signage/wayfinding program to create a strong brand identity, and through signage align with the history and local nostalgia interpreted in more modern approach. The most dramatic opening statement is the 30‑foot‑long sculptured monument sign anchoring the entrance. The inspiration comes from the interior design motif of bubbles found throughout the guest rooms, spa, lobby walls and even the

chairs. This continuous reference is incorporated in the all signage along with the featured Hollywood “star” idea. At night, the illuminated star in the monument sign sparkles and appears to be floating in the air. These elements truly enhance the sophistication of the property and speak to the local, and social attitude that is specific to this charming Palm Springs hotel.

Design Agency: Ribbit...Inc. Creative Director: Juan Carlos Casas Designer: Juan Carlos Casas, Javier Romero Photography: Juan Carlos Casas Client: Noble House Hotels & Resorts Date: 2008 Location: Palm Springs,CA,USA

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A five-star resort on the rocky cliffs of Boracay that includes restaurants, poolside amenities, a health club, free‑standing villas and a spa village. Square Peg Design created the overall wayfinding and signing program as well as design solutions for the restaurant logos.

Shangri‑La Resort & Spa, Boracay IslandDesign Agency: Square Peg Design Asia Creative Director: Jeff Inouye Designer: Jeff Inouye, Corinne Char, Kristal Jorvina Photography: Square Peg Design Asia Client: Shangri‑La Hotels Date: 2009 Location: Philippines

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Geolo Capital engaged Square Peg Design to create the signing and wayfinding to compliment the metamorphosis of this classic resort. Carmel Valley Ranch occupies nearly 500 acres in the sunny foothills of the Santa Lucia Mountains in the world renowned Carmel Valley. The elegant resort offers amenities that perfectly compliment the natural beauty of the surrounding region, which includes Carmel‑by‑the‑Sea, Monterey Bay and Big Sur.

Carmel Valley Ranch Design Agency: Square Peg Design Creative Director: Scott Cuyler Designer: Wes Meyer, Corinne Char, Katie Miller Photography: Square Peg Design Client: Geolo Capital Date: 2010 Location: Carmel,California,USA

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In collaboration with Shangri‑La and WATG, Square Peg Design developed a comprehensive graphic, wayfinding, signing and amenity program for this exotic resort property. The design inspiration drew from the islands’ natural

materials and traditional fishing boats. Natural imagery was used to represent the quintessential getaway from a hectic urban lifestyle.

Shangri‑La’s Villingili Resort & SpaDesign Agency: Square Peg Design Asia Creative Director: Jeff Inouye Designer: Corinne Char, Kristal Jorvina, Aaron Pangabean Photography: Square Peg Design Asia Client: Shangri‑La Hotels & Resorts Date: 2008 Location: Addu Atoll, Republic of Maldives

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This expansive signage program combined consistent use of typography, architecturally inspired shapes and illuminated neon to guide guests throughout a multi‑facility resort property.

Diplomat Landing, the retail village within the complex, displays identification that was coordinated with graphics

for a 1000‑room hotel, 600‑seat convention center, a country club, golf course, tennis center and spa.The convention center wayfinding, directories, and meeting room identifications incorporate digital programmable screens throughout.

The Westin Diplomat, Resort & SpaDesign Agency: Lebowitz|Gould|Design, Inc. Creative Director: Sue Gould Designer: Lebowitz|Gould|Design, Inc. Photography: Lebowitz|Gould|Design, Inc. Client: Diplomat Properties Ltd. Date: 2010 Location: Hollywood, FL, USA

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Red Leaves – The Rosseau Hotel, which opened in December 2008, is a five-star resort overlooking picturesque Lake Rosseau in Ontario’s Muskoka region.Entro’s scope on this project included design and implementation of exterior signage elements, ranging from directional highway signs and site ID to hiking trail wayfinding and handheld maps.

The intent was to provide an effective signage program that blended with the natural environment, while providing clear messaging for visitors and staff.

The Rosseau HotelDesign Agency: Entro Communications Creative Director: Vincent Gratton Designer: Michael Hutchinson Photography: Vincent Gratton Client: Fowler Enterprises Date: 2008 Location: Muskoka, Ontario, Canada

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The Al Futtaim Group of Dubai asked Lorenc+Yoo Design to work alongside EDSA to develop a look and feel for the resort component of Dubai Festival City and the Four Seasons Resort. The project scope included the entrance design as well as pedestrian and vehicular wayfinding

elements. Metal finishes match adjoining buildings, and local Jerusalem stone accents individual pieces. The result is a unified, appropriate look for the area.

Dubai Festival City Design Agency: Lorenc+Yoo Design Creative Director: Jan Lorenc Designer: Jan Lorenc, David Park, Steve McCall Photography: Jan Lorenc Client: Dubai Festival City Date: 2010 Location: Dubai, UAE

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The determination and vision of the Kalispel Tribe to bring excitement to the West Plains has come to fruition with the 87.6 million US dollar, 346,000 square feet expansion of the Northern Quest Casino into a sleek and modern interpretation of a lodge‑style destination resort. As a full‑service, 250‑room resort, Northern Quest will feature a 600‑slot casino, a 10,000 square feet luxury spa, 24‑hour café, and high‑tech sports bar, all housed within a contemporary and refined structure constructed of indigenous stone, wood and earthy materials.

Northern Quest Casino & Resort Design Agency: Lorenc+Yoo Design Creative Director: Jan Lorenc Designer: Jan Lorenc, David Park, Steve McCall Photography: Jan Lorenc Client: Northern Quest Casino & Resort Date: 2010 Location: Washington DC, USA

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Upon approach to Northern Quest Casino and Resort, guests will be immediately introduced to the clean and modern angled lines and profiles of the resort’s striking silver and blue glass banded hotel tower on the horizon.

Northern Quest HotelDesign Agency: Lorenc+Yoo Design Creative Director: Jan Lorenc Designer: Jan Lorenc, David Park, Steve McCall Photography: Jan Lorenc Client: Northern Quest Casino & Resort Date: 2010 Location: Washington DC, USA

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Design Agency: Square Peg Design Creative Director: Scott Cuyler Designer: Susan Bowers Photography: Square Peg Design Client: Sentosa Development Corporation Date: 2007 Location: Sentosa, Singapore

Sentosa, a Singapore’s island resort, offers visitors a one‑stop destination with a unique blend of offerings: beaches, golf resorts, a world‑class yachting marina, spa and resort accommodations.

Square Peg Design developed a comprehensive island wayfinding and signing master plan including island maps, icons, island‑wide pageantry, entry features and gateways. SPD’s color palette borrowed from the lush tropical environment.

Sentosa Island Resort

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Windcreek Casino and ResortDesign Agency: Lorenc+Yoo Design Creative Director: Lorenc+Yoo Design Designer: Lorenc+Yoo Design Photography: Lorenc+Yoo Design Client: Wind Creek Casino Date: 2010 Location: Atmore, Alabama, USA

Lorenc+Yoo created the environmental graphic design program for Windcreek Casino, including a five‑story landmark sign capped with the casino's soft, curving signature wave‑shaped canopy that greets casino visitors as they approach the 225,000 square feet facility. Based on a short wall of dark brown stone, the main supporting column narrows as it rises, revealing a lantern at the top that serves as a beacon for visitors. A large television display sits beneath the casino's logo, displaying images of the various amenities inside. Lorenc+Yoo Design also placed smaller directional signage throughout the parking lot to guide visitors efficiently, making additional use of stone, metal and punches of color.

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Gallery of Academy of Visual Arts (HGB) in Leipzig

The design concept for this exhibition is best described as 'changing perspective'.

Lines runnig through the building indicate new, imaginary rooms like a floorplan. Depending on the observers location, the lines are straight or bent. The lines work as a

guidance system, linking up the exhibition sites in different parts of the building. Outside the rooms used, there was information about the artists whose work was on exhibit.

Design Agency: Studio KW Creative Director: Klaus Hubner Designer: Hendrik Weber, Philip Neumann, Klaus Hubner Photography: Studio KW Client: Academy of Visual Arts (HGB) in Leipzig Date: 2005 Location: Frankfurt, Germany

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The LAB GalleryDesign Agency: Creative Inc Creative Director: Mel O’Rourke Designer: Ciara Cantwell Photography: various sources, supplied by client Client: Dublin City Council Date: 2009 Location: Ireland

The objective was to showcase the work of 40 Artists that have exhibited in the LAB Gallery on Dublin’s Foley Street. This was part of the LAB’s overall visual identity.

Using interesting combinations of stock and alternating

between four colour process and spot printing, the aim was to produce a compelling and unique backdrop which showcased the work without distracting from it.

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Manchester Art GalleryDesign Agency: Holmes Wood Design Director: Alex Wood Creative Director: Lucy Holmes Photography: Phil Sayer and Holmes Wood Client: Manchester City Council Date: 2006 Location: Manchester, UK

Manchester Art Gal lery re‑opened in 2002 after a redevelopment programme lasting four years and costing £35 million. The new wayfinding and sign scheme fixed the problem by making the exterior welcoming to all visitors and internally changing the flow of visitors through the Gallery, effectively coordinating the old listed building with the new extension. Every visitor to the Gallery receives one of the maps. This gives a simple and effective understanding of how the building is organised and highlights what the

gallery offers – discovering and uncovering, relaxing and wandering. It links directly to the internal wayfinding sign scheme, which has been developed with a specific graphic language. As a result the designer became a gold winner at the 2007 Design Effectiveness Awards.

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Dinosaur ExhibitionDesign Agency: Design Factory International Designer: Jaclyn Stauber, Cynthia Waeyusoh Client: student work Date: 2009 Location: Hamburg, Germany

The Dinosaur Exhibition is a wayfinding and orientation Design Project for a fictional dinosaur exhibition that would take place in a museum. The work incorporates designs for standup displays for the exhibits, the different museum rooms, that each stand for a certain epoch, as well as signs

for the general orientation such as icons for restrooms, cafe or information desk.

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2010 MICA Graphic Design Senior Show

Design Agency: MICA Creative Director: Brockett Horne Designer: Hari Skourtis Photography: Hari Skourtis Client: Student Work Date: 2010 Location: USA

This wayfinding system uses a series of signs made from vinyl lettering, laser cuts, and paper wraps on matte board to promote and direct people through the various sections of the 2010 MICA Graphic Design Senior Show.

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PS3_PT LaunchDesign Agency: Hugo Silva Creative Director: Hugo Silva Designer: Hugo Silva Client: graduation project Date: 2007 Location: Lisbon, Portugal

In this graduation project the briefing was about to choose a place and an event that would occur in Lisbon, Portugal. The chosen place was an old electricity station, which is now the Museum of Electricity, and the created event was about the launch of PlayStation 3 in Portugal.

This signage system concept was based on the idea of a game, with graphic elements of the PlayStation world. Its support was based on the blocks of the traditional games. It was imperative for this work to coexist with the PlayStation mark. After making the circuit of the event the visitor has the

sensation to be inside PlayStation identity.

Pictogram's were also created for this event and it follows the same line, based on the shape of the controller, colors and it's symbols (triangle, circle, cross and square).

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Design Agency: Meuser Architekten Creative Director: Meuser Architekten Designer: Meuser Architekten Photography: Philipp Meuser Client: Senatsverwaltung für Stadtentwicklung, Berlin Date: 2009 Location: Berlin, Germany

Once the Berlin Brandenburg International airport starts operating in 2012, all airborne transport in and around the German capital will be based at a single site. In line with these plans the last flight from Tempelhof Airport – located in the southern part of Berlin and famous for its role in the Berlin

Airlift – took off in October 2008. Berlin now has the unique opportunity to develop a new urban vision on this site. The exhibition contrasts the actual history of the airfield with the utopian plans put forward in the twentieth century.

Berlin Tempelhof Airport Exhibition

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Design Agency: Studio Rasic Creative Director: Ante Rasic Designer: Ante Rasic, Lovorka Decker, Marko Rasic, Vedrana Vrabec Photography: Studio Rasic archive Client: Vodnikova 12, Center for Foreign Languages Date: 2007 Location: Zagreb, Croatia

For the occasion of celebrating the 55th anniversary of the Center for Foreign Languages, Vodnikova 12, an ambient exhibition was created in the Center’s interior – it told a story of its history (the first floor), present (the second floor), and future (the third floor). Hallways became a new virtual and lively space filled with contents in which a person would want to spend their time in.

The significance of marking the anniversary in this way was to, after the event and the festivities, leave a lively new space and an exhibition which ‑ like permanent exhibitions in museums ‑ can be changed and supplemented with interactive content, while the Center becomes a part of our cultural ambient.

55 years of Vodnikova

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A wealthy collection of graphics from foreign and Croatian artists owned by the National and University Library in Zagreb was shown at the Museum of Arts and Crafts for the 90th anniversary of the graphics collection. Studio Rašić designed the exhibition which has over 650 exhibits on 1100square metres.

Visual framework of the exhibition is a timeline in which and on which are presented exhibits shown in a chronological, thematical and style‑organized order from the 15th to the 20th century. Every period and theme is differentiated by

color, ambient, and architecture of the space, while rhythm of the movement through the exhibition is defined by specially designed postaments and installations.

At the end of the exhibition there is an interactive installation named ˝leave a mark˝. It is movement-sensitive, and it presents a contemporary form of a graphic – virtual and temporary. Multiplied handprints of the visitors remind of the very beginnings of visual expression.

Design Agency: Studio Rasic Creative Director: Ante Rasic Designer: Ante Rasic, Marko Rasic, Vedrana Vrabec Photography: Damir Fabijanic Client: The National and University library of Zagreb Date: 2010 Location: Zagreb, Croatia

From Klovic and Rembrandt to Warhol and Picelj

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Design Agency: Nicolas VRiGNAUD Creative Director: Nicolas VRiGNAUD Designer: Nicolas VRiGNAUD Photography: Nicolas VRiGNAUD Client: PSA, Citroën Date: 2007 Location: Paris, France

Signage of the CITROËN showroom on the Champs Élysées' Paris. The design is an abstract pattern, like an ideogram of the organization of the space. It is based on the structuring element of the building: the car displays which create sequences in the vertical space.

Showroom Citroen

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Design Agency: KMS Team Creative Director: Michael Keller, Knut Maierhofer Designer: Patrick Maerki, May Kato, Christian Hartig Architect:Tobias Kroell, Andreas Stephan Photography: Jens Heilmann Client: Canyon Bicycles Date: 2008 Location: Coblenz, Germany

Canyon Bicycles develops and produces high‑quality bicycles. When the company headquarters was renovated, the goal was to allow people to experience the quality of Canyon directly.

Canyon.Home, which spans 1,300 square metres,

showcases the brand's history, present and future while also serving as a product showroom and bike shop. The visual identity was translated into an interior design that partitions and shapes the space, allowing visitors to discover the brand.

Canyon.Home

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Design Agency: Commercial Art Designer: Eamonn O'Reilly, Tony Philips, Rick Sellars Photography: Commercial Art Client: Daimler Chrysler Date: 2007 Location: London, UK

Mercedes‑Benz wanted to develop a flagship retail experience at Brooklands in Surrey, with a showcase for heritage, technology as well as presenting their new cars.

The building was divided into five different themed areas; Play, Build, Watch, Solve and Discover. The design needed to communicate the different content at each location whilst

feeling like part of the overall environment. The requirement was for a visually rich concept with an aesthetic in keeping with the Mercedes‑Benz brand, whilst having a clear tone of voice of its own. The installation has a five‑year life expectancy with plans for ongoing development for more visitor experiences within Mercedes‑Benz World over the next few years.

Mercedes Benz World Visitor Exhibition

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Design Agency: Naroska Creative Director: Naroska Designer: Naroska Photography: Naroska Client: C/O Berlin Date: 2009 Location: Berlin, Germany

C/O Berlin’s programme of international standing has established the institution as an integral part of Berlin’s cultural scene and a unique institution in Germany since it was founded in 2000. Aiming to present lively exhibitions that span a range of disciplines and stimulate new debates, with a special focus on photography, C/O Berlin also fosters up‑and‑coming artists, runs special programmes for youngsters and hosts various activities and events accompanying its exhibitions. Co‑founder Marc Naroska and his team have ensured that the C/O Berlin brand has continued to evolve. In addition to advising on content, Naroska Design is responsible for all the gallery’s visual communications and events that accompany the exhibitions. After nine years, C/O Berlin was given a complete image makeover. Naroska designed new company letterheads, a promotional brochure, as well as visitor information and signage for the exhibition spaces in the Postfuhramt. The

new image is based on the existing wordmark and the traditional neon orange. All materials for general use will be plain white. Those for specific uses, such as for the five formats Exhibitions, Lectures, Junior, Talents and Forum, will feature thematically appropriate photographs. To create as much design leeway as possible, the wordmark can be adapted to suit specific uses. C/O Berlin’s wordmark and graphic‑design vocabulary are the keystones of the institution’s overall image.

C/O Berlin

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Design Agency: k12m Creative Director: Silvia Amaduzzi Designer: Silvia Amaduzzi, Tommaso Catalucci, Giorgio Caviglia Photography: k12m Client: Triennale di Milano Date: 2006 Location: Milan, Italy

Bovisa Gallery was meant as an integrate communication system aiming to provide basic information and follow the user all along the route to the Triennale Bovisa exhibitions center.

The way to the museum becomes an art gallery itself in which each exhibition leaves a layer and a sign of transformations as an artistic diary Triennale writes for the suburb of Bovisa.

The route to the art space is gaining an evocative and suggestive dimension thanks to banners on lamp posts

creating the impression of an open‑air museum which is not closed anymore just inside the building of TBVS but involving all the Bovisa. A mural decoration made out of stripes of art pieces displayed each time in Triennale decorates a long wall along a street leading to TBVS. Once the museum will finish its settlement, it will leave a permanent sign of the cultural and artistic evolution it brought to Italy, Milan and Bovisa.

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Design Agency: CASA REX Creative Director: Gustavo Piqueira Designer: Gustavo Piqueira, Ingrid Lafalce, Samia Jacintho Photography: CASA REX Client: USP — University of São Paulo Date: 2009 Location: Sao Paulo, Brazil

In celebration of the 75th anniversary of University of Sao Paulo, we have produced an exposition that escapes from the visual standard. Held at the beginning of the year at the “Memorial da América Latina” (Latin America Memorial) ‑ developed by the renowned architect Oscar Niemeyer, the designer created the name “USP under Construction", as well as the concept and its implementation.

The exhibition has shown an unusual dialogue within Niemeyer’s building, as it simulates a truly construction site inside Simon Bolívar Auditorium, where 60 photographs has been displayed ‑ being 43 of them unpublished ‑ portraying the process of the University building from 1952 to 1972.

The designer intended to create a non‑design venue, like a really popular site ‘under construction’. The designer used building materials, sand bags and wooden‑made boxes organized in chronological order. Even the dates were all hand‑painted, with improvised stencils inserted, in a non‑improvised process at all.

USP under Construction Exposition

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Design Agency: Frost Design Co-Creative Director: Vince Frost Designer: Quan Payne, Joanna Mackenzie, Irmi Wachendorff, Annabel Stevens Photography: Gary Warner Client: Australian Institute of Architecture Date: 2008 Location: Venice, Italy

Fros t Des ign was one o f f i ve c rea t ive d i rec to rs commissioned by the Australian Institute of Architecture to curate the Australian exhibition presented as part of the 11th International Architecture Exhibition, at the Venice Biennale in 2008. A bright snapshot of architectural culture in Australia, the Abundant Australia exhibition expresses the vigorous energy, exuberance and diversity of the architectural past, present and future. Over 300 Australian architectural practices submitted models, highlighting the extraordinary creative practice in Australia.

The creative directors (Vince Frost, Neil Durbach, Wendy Lewin, Gary Warner and Kerstin Thompson) collaborated on all curatorial elements, making the exhibition as experiential

as possible, with no direct interpretation. The exhibition responds to the Biennale director Aaron Betsky’s theme: ‘Out there: architecture beyond building’, with the whole Pavilion becoming an installation to be experienced. Graphics applied to the front of the building, ‘Abundant Australia’ repeated on a horizon line, unmistakably announcing arrival at the Australian Pavilion. Frost worked with Dulux to develop a new paint colour named ‘Abundant’ which was applied to the building exterior and interior making a strong branded statement. The vibrant yellow colour provides an instant sense of lively 'Australia‑ness'.

Abundant Australia

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Design Agency: Design360 Creative Director: Jill Ayers Designer: Rachel Einsidler Photography: Jennifer Krogh Client: AIGA: the professional association for design Date: 2006 Location: New York, New York, USA

Design360 explored the idea of a designer’s laboratory for the exhibition in New York City. Color coding was carried through from the periodic table to the displays and design‑related lab ware contents. The show’s identity was applied to a chalkboard wall where visitors were encouraged to leave their thoughts.

365: AIGA 27 Design Exhibition

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Design Agency: Skidmore, Owings and Merrill LLP — SOM Graphics Photography: Paul Warchol, César Rubio Client: Autodesk, Inc. Date: 2008 Location: Lake Oswego, Oregon, USA

Responding to the rapid development of three‑dimensional modeling software, Autodesk sought to create a customer briefing center to introduce their products to a diverse group of clients. SOM’s design articulates their brand identity and core messages and creates a system to showcase the versatility of their products within a flexible, multi-media environment.

Autodesk Customer Briefing Center Exhibition

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Design Agency: BVD Creative Director: Carin Blidholm Svensson Designer: Kina Giesenfeldt Photography: BVD Client: Stockholm International Fairs Date: 1998‑2000 Location: Stockholm, Sweden

Description: With an international name, a modern, strong and pure design language and a clear architectural setting, exhibitors gained an exciting meeting place where everyone interested in design had the chance to meet, exchange ideas and establish contacts.

Stockholm International Fairs

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Design Agency: Thonik Creative Director: Thonik Designer: Thonik Photography: Maurice Boyer Client: Venice Biennale Date: 2008 Location: Venice, Italy

Thonik provided all the graphics for the 11th International Architecture Biennale in Venice. The agency—in close collaboration with curator Aaron Betsky—was also responsible for the design of the Corderia, which featured 3D graphic walls of spheres. Thonik’s design was based on

a chain of globes, alternating with universally recognizable angular house shapes, which provided opportunities for endless configurations and series.

The 11th International Architecture Biennale in Venice

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Design Agency: Paprika Creative Director: Louis Gagnon, Sébastien Bisson Designer: Sébastien Bisson Photography: Paprika Client: SDC du Village Date: 2009 Location: Montreal, Canada

SDC du Village is an organization in downtown Montreal. The Aires Libres event aimed to promote Montreal’s well‑known Gay Village while providing merchants with greater visibility. During this event, a section of Sainte‑Catherine Street (one of Montreal’s busiest) becomes a pedestrian‑only space.

Paprika developed a concept based on the popular French Quebec expression "Beau temps pour étendre" (great time to hang out). Inspired by the local tradition of residents turning the city’s back streets into their own personal gardens, even for hanging out clothes to dry, the designers decided to transform the entire street into a typical Montreal alleyway.

Aires Libres 2009

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Design Agency: Paprika Creative Director: Louis Gagnon, Sébastien Bisson Designer: Sébastien Bisson Photography: Paprika Client: Bibliothèque et Archives Nationales du Québec Date: 2008 Location: Germany

In 2008, Bibliothèque et Archives nationales du Québec (BAnQ) dedicated an exhibition to poet Paul‑Marie Lapointe, whose work combines improvisation, social challenge and linguistic invention. His amusing and innovative efforts, especially with words in inventive layouts, greatly influenced us.

The exhibition’s staging offered a new way to use space. For the first time, the eight concrete columns surrounding the exhibition area in the Arts and Literature section, and the showcases at the service counters on all four levels of the Grande Bibliothèque, featured the event’s colours. These visual displays did not simply echo the exhibition, they also provided a unique way to read the works.

Paul‑Marie Lapointe Exhibition

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Design Agency: Paprika Creative Director: Louis Gagnon, David Guarnieri Designer: David Guarnieri Photography: Paprika Client: Commissaires, Gallery‑Boutique Date: 2009 Location: Germany

The Commissaires Gallery/Boutique is a Montreal exhibition space dedicated to unique creations from international designers. In this case, it was product designer Philippe Malouin. Malouin’s famous “Hanger Chair” (a folding chair that doubles as a clothes hanger) led us to expand the usage of the everyday objects. We re‑worked the common hanger so it became not only the invitation, but the poster and signage for the exhibition.

Philippe Malouin Exhibition

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Design Agency: R2 Creative Director: Lizá Ramalho Designer: Lizá Ramalho, Artur Rebelo Photography: Fernando Guerra Client: Berardo's Collection Museum Date: 2009 Location: Germany

Risking Reality Exhibition focused on various artists who have explored the mimesis of reality and transformed it into a paradox. Divided into three sections with corresponding spaces, the dominant concept was associated to the meaning of the real and figurative in space. The design wasn’t restricted to a merely informative aspect, intervening directly in the museum’s space. Typography was materialized in the form of a genuine design object. three‑dimensional letters were placed on the entrance hall floor, forming the words “Arriscar of Real”. However the manner in which these letters were read altered in accordance with the observer’s viewpoint.

Risking Reality Exhibition

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Design Agency: Visual Communications, Inc. Creative Director: Richard Lang Designer: Constance Carlson Photography: Visual Communications Client: Wells Fargo Home Mortgage Date: 2004 Location: Minneapolis, USA

Visual Communications was pleased to provide the signage system for the interior and exterior of this high profile project. Signage included complete campus identification and wayfinding for three office buildings, two parking ramps, and directional signage for this 4,300 employee campus. Specialty signage included a cafeteria, bistro,

one convenience store, common grounds coffee, a banking office and one gym. Services included Design and Analysis, Documentation, Bid Procurement, and Project Management. The Interior Signage Masterplan Design is being utilized on similar campuses throughout the country.

Wells Fargo Home Mortgage

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Allie Street OfficeDesign Agency: Commercial Art Designer: Eamonn O'Reilly, Tony Philips, Rick Sellars Photography: Commercial Art Client: Corporation of London Date: 2007 Location: London, UK

This project is part of a redevelopment in the city of London. It encompassed the development of a visual identity for the location and it's implementation across signage throughout the building.

Bold neutral typography was utilised throughout to ensure high visibility and clear site lines for wayfinding. Each of the

five floors was assigned a colour on the reception directory and the colours are applied to walls in the entrance area of each floor.

A custom set of pictograms were created for this project to work with the typography.

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888 Seventh AvenueDesign Agency: Two Twelve Creative Director: Brian Sisco Designer: Dominic Borgia, Michelle Cates, Julie Park Photography: James Shanks Client: Vornado Realty Trust Date: 2006 Location: USA

Two Twelve created eye‑catching bui ld ing address identification for its high end property at the Vornado Realty Trust headquarters, 888 7th Avenue. Elegant marble signage

elements are designed to invite glances and establish recognition for one of the city’s best new addresses.

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Barclays Global Investors, World Headquarters

Design Agency: GNU Group Creative Director: Dickson A. Keyser Designer: Kanan Jayachandran & Howard Curtis Photography: Dickson A. Keyser Client: Barclays Global Investors Date: 2008 Location: San Francisco, CA, USA

GNU developed a comprehensive sign program for Barclays Global Headquarters incorporating their revised brand standards. The skyline identification sign presented a challenge. Drilling the glass curtain wall, already in place, was prohibitive. Working with AdArt Signs and 3M the designer developed an adhesive solution as an alternative to mechanical fasteners and secured the City approvals for

this innovative solution. GNU also coordinated the entire brand change‑out when Blackrock purchased Barclays in 2009. Studios Architecture was responsible for the design of the building and it’s interiors.

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The LandhausDesign Agency: Atelier Christian Mariacher, Innsbruck Creative Director: Christian Mariacher Designer: Christian Mariacher Photography: Gunter Richard Wett Client: Amt der Tiroler Landesregierung Date: 2008 Location: Austria

The Landhaus is situated in the centre of Innsbruck. It serves as the seat of the Tyrolean Parliament and is used for administration and representative purposes. Based on research into naming conventions and the history of the buildings we proposed four colour‑coded building parts. Each part has an associated landmark. The new system allows to read the building part plus floor level from the room number. The pallet used for the colour coding is inspired by baroque painting to blend into the environment of the 'Altes Landhaus'. The choice of colours makes the main building

stick out in orange from the other three, less important ones. All colours allow for high reading contrast. The system was produced on painted MDF‑boards which are a cheap but still a customized solution. The vinyl‑lettering allows changes without producing much waste.

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Wegener PublishersDesign Agency: Edenspiekermann Creative Director: Willem Woudenberg Designer: Willem Woudenberg Photography: Edenspiekermann Client: Wegener Publishers Date: 2003 Location: Holland

A publisher that reaches all over the Netherlands but is seen by advertisers as decent if average. Of course, that had to change fast. This was a job for Edenspiekermann. The designer made the brand more visible, made sure it communicated actively, particularly towards advertisers and employees.

Wegener publishers obtained the A‑brand perception it deserves from advertisers. Images show signage for the Wegener head office.

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Pricewaterhouse CoopersDesign Agency: BDP Design Creative Director: Richard Dragun Designer: Peter Hayward Photography: David Barbour Client: PricewaterhouseCoopers Date: 2009 Location: Glasgow, UK

The environmental graphics for PwC’s Glasgow office are a celebration of the city of Glasgow itself. Inspired by the city’s motto and coat of arms deriving from the legend of St. Mungo incorporating “the tree that never grew, the bird that never flew, the fish that never swam and the bell that never

rang", the design team produced a simple yet dynamic solution that has become a focal point for staff and a refreshing step away from the usual corporate graphics that embellish many offices.

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1001 Perimeter Summit Building Design Agency: Lorenc+Yoo Design Creative Director: Jan Lorenc Designer: Jan Lorenc, Marcus Merritt Photography: Lorenc+Yoo Design Client: Hines, Vikram Mehra Date: 2008 Location: Atlanta, USA

The project is the design of a sculptural directory element of fractured edge (or barked edge glass) for the lobby of the 1001 Perimeter Summit building. The designer envisioned this element to discourse with the reception desk and the dynamics of the redesigned building lobby, which was accented with wood, glass, metal and stone. The glowing

LED element on one side of the tower fosters a surreal glow. The glass stands off of the back wall to allow for natural light that gives it the appearance of floating. The directory is a flat screen behind a glass plane that is a touch screen for tenant information and news.

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Commonwealth Bank Training CentreDesign Agency: Minale Tattersfield Creative Director: Hans Gerber Designer: Hans Gerber, Yasmin Hall, Samir Dzambic Photography: Minale Tattersfield Client: CommonwealthBank of Australia Date: 2007 Location: Sydney, Australia

Signage system for a new 24,000 square metres training centre for Australia’s largest financial institution -by market capitalisation‑ at Sydney Olympic Park. The work for the six level building was the result of a close cooperation between the designer, the architect and the client.

Together we established the graphic ordering of building parts and the naming convention for meeting rooms. A signage family was developed to sit precisely within the details of the interior fit-out. Full scale prints of the proposed

signs were presented in order for the client to make informed decisions on language to be applied and to gauge appropriate size of graphics, such as lettering and maps. The chosen colour for the signs was a charcoal grey, which sits very well with the colour of surfaces such as yellow and light timber.

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Attorney General DepartmentDesign Agency: Minale Tattersfield Creative Director: Hans Gerber Designer: Hans Gerber, Yasmin Hall Photography: Minale Tattersfield Client: Attorney General Department Date: 2007 Location: Sydney, Australia

Signage and graphic system for the 21,000 square metres new department offices for the Attorney General Department in Sydney. The system was designed in close collaboration with the architect. The wayfinding sign design forms an integral part of the architectural language, the detailing, material and colour. In order to achieve consistency in appearance throughout the building, anodised aluminium was chosen for the signs, each with a black line defining one edge of the sign. Anodised aluminium is neutral in appearance but at the same time it sets an accent.

The quality of anodised material is that it does not reflect. For signage application this sets it apart from materials such as stainless steel. The graphic layout for the building directory is based on a phone pad.

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The MetLife BuildingDesign Agency: Red Square Design Creative Director: Lev Zeitlin Architect: Kohn Pedersen Fox Photography: Reven T.C. Wurman Client: Metropolitan Insurance Company Date: 2006 Location: New York, USA

As part of renovation and restoration project of the 80,000 square feet retail concourse and main lobby, Red Square Design was commissioned to re‑design the building's corporate and outdated way‑finding systems. Red Square Design worked closely with the project architects to revitalize, the New York’s landmark.

The MetLife Building, originally PanAm – designed by Walter Gropuis and Pietro Belluschi – was completed in 1963. Located in the heart of Midtown Manhattan adjacent to the

Grand Central Station it is a home to approximately 12,000 employees. It is estimated that 500,000 people walk thought the lobby in a weekday. Red Square Design’s new way-finding system was an essential solution to navigate this complex traffic.

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Pflege on Tour Ambulant Nursery ServiceDesign Agency: Sebastian Haeusler Design Creative Director: Sebastian Haeusler Design Photography: Sebastian Haeusler Design Client: Pflege on Tour Date: 2010 Location: Berlin, Germany

Sebastian Haeusler Design completed corporate design of the new ambulant nursery service "Pflege on Tour"in Berlin.The work is comprised of all categories of business communication,including logo development,stationary design,redesign of business rooms and the facade of the office building,design of the car pool and advertising materials.

The design focuses on easy and cost‑efficient production without losing the effect of a high standard. A good example of the design's functionality is the logo sticker,offering the opportunity of branding material that has already been already produced.

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“Chiswick Park” OfficeDesign Agency: Studio David Hillman Creative Director: David Hillman Photography: Nick Turner Client: Chiswick Park Date: 2000 Location: London, UK

Designed by the Richard Rogers Partnership and developed by Stanhope, Chiswick Park is a major new office development in west London.

Accompanying the extensive programme of building, pedestrian and traffic signage complements Chiswick Park's distinctive, modern architectural attitude.

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LSGDesign Agency: Teamgeissert Creative Director: Thomas Geissert Photography: Teamgeissert and J. Vogt Client: LSG Lufthansa Service Holding AG Date: 2008 Location: Frankfurt, Germany

When individual orientation systems are implemented, it is not short‑lived designs that are followed. What is far more likely to happen is that intuitive orientation is made possible by anchored interpretation patterns being integrated into the sub‑consciousness. The aim of any project is image and service profit for the customer and an increase in the market value and efficiency of a building at the same time.

For the fitting of the building for the LSG Sky Chefs

teamgeissert was given the task to come up with a concept for an individual guidance and orientation system. In order for it to be interpretable for suppliers, employees and customers, the main requirement of the system was that it was understood internationally. Despite the strict specification of the corporate identity it has been possible to create an independent and impressive overall system within the Lufthansa Corporate context.

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The Omni OfficesDesign Agency: tgadesign Creative Director: Geoff Rogers Photography: Geoff Rogers Client: The Omni Offices Date: 2009 Location: Miami,Florida, USA

Description: A modern five-story office building near downtown Miami. Class “A” office space with views of Biscayne Bay and downtown Miami.

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Chase Times SquareDesign Agency: Ribbit...Inc. Creative Director: Juan Carlos Casas Designer: Juan Carlos Casas, Rafael Rothschild, Tom Mora Photography: Juan Carlos Casas Client: Spectrum Signs, Chase Bank Date: 2009 Location: Times Squares, New York City, USA

Both Chase Bank and Spectrum Signs asked Ribbit...Rnc. to create a unique signage expression for this high profile location in Times Square. The challenge was to capture the essence of Times Square magnitude and scale with only limited space over the entry. The designer explored several concepts but none was received with more interest then this idea of a cantilever for whole structure from one center point, like an airplane wing suspended in the air and test the engineering a bit. The Chase logo was used in glass layers, edge lit in blue, while turning on a center motor structure with the Chase letters to each side. The other façade

signage was replaced with the Chase logo/name working towards the center on a relay sequence. The ATM area and stairs to the second level lobby were also designed, speaking back to the basic shapes that form the logo and using them for light fixtures and signage elements. Together with Spectrum Signs who fabricated and installed the work, our undertaking supported the Chase Bank vision for this prime real estate location and helped set itself apart from any other Chase Bank location in Manhattan.

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Dow Jones HeadquartersDesign Agency: Design360 Creative Director: Jill Ayers Designer: Rachel Einsidler Photography: Albert Vecerka/Esto, Jeffrey Kilmer Client: News Corporation Dow Jones Date: 2009 Location: New York, USA

Design360 developed a comprehensive wayfinding system, digital media walls displaying stocks, weather and photography, awards displays and branded graphics for Dow Jones new headquarters in New York. Materials and fabrication processes were inspired by the juxtaposition of the printing process of days past and the technological advancements of today.

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L’Oreal USA Berkeley Heights HeadquartersDesign Agency: Design360 Creative Director: Jill Ayers Designer: Rachel Einsidler Photography: Jeffrey Kilmer Client: L’Oreal USA Date: 2009 Location: Berkeley Heights, New Jersey, USA

L’Oreal USA hired Design360 to weave their green story into the new LEED certified offices. Photographic murals serve as landmarks on each of the three floors. Hallways in the building core depict facts from the company’s report on

sustainability and signage incorporates iridescent resin to reflect the spectrum of their color palette.

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Mt. Diablo Recycling CenterDesign Agency: GNU Group Creative Director: Tom Donnelly Designer: Voltaire Victorio Photography: Tom Donnelly Client: Garaventa Enterprises Date: 2009 Location: USA

Donnelly Design developed a complete site sign program to provide branding and wayfinding for this first of a kind recycling center in the fast growing suburb of San Francisco.

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Granada GarageDesign Agency: GNU Group Creative Director: Tom Donnelly Designer: Darcy Belgarde Photography: Tom Donnelly Client: Watry Design, City of Santa Barbara Date: 2008 Location: Santa Barbara, USA

Donnelly Design (now part of the GNU Group) was selected as graphics consultant for this parking structure and office building, designed to carefully fit into the historic central district in Santa Barbara, California. The signs were designed to replicate the historic regional wrought iron designs and details that originated from the time of Spanish missionaries.

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Pacific Research CenterDesign Agency: GNU Group Creative Director: Tom Donnelly Designer: Darcy Belgarde Photography: Tom Donnelly Client: Pacific Research Center Date: 2008 Location: USA

Donnelly Design (now part of the GNU Group) was selected to design this new site sign branding program for this former Sun Microsystems campus. This sign program was designed to visually reposition this campus as a multi‑tenant site for biotechnology and related companies.

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RBC Dexia

Design Agency: Gottschalk+Ash Creative Director: Udo Schliemann Designer: Ian White, Jonathan Picklyk, Phillip Novak, Nicolette Cornibert, Roberto Grillo Photography: Michael Mahovlich Client: RBC DEXIA Date: 2010 Location: Toronto, Ontario, Canada

Design of wall graphics, room dividers and elevator lobby identification for seven office floors to enhance the atmosphere of an open space office arrangement. For each floor, a distinct graphic iconography based on geometric shapes was developed and displayed on various walls and panels bridging the gap between art and design.

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Sugamo Shinkin Bank Niiza branchDesign Agency: Emmanuelle Moureaux Architecture + Design Creative Director: Emmanuelle Moureaux Photography: Hidehiko Nagaishi Client: Sugamo Shinkin Bank Date: 2009 Location: Japan

This project sought to create a whole new look that refreshes the current image of this financial institution. For their new 43rd branch, we redesigned not only the interior, but also Sugamo's brand image, including its facade, logo graphics, signage and brochures.

The key concept revolves around squares ‑ besides incorporating square shapes, the building was conceived as a sort of public square where people gather. The colors of these squares play an important role: the logo on the facade of the building features as many as 24 colors visible from the

main street, becoming a symbol for the area. These colors welcome customers as they enter the building, continuing on the inside and serving as natural dividers between lobby, meeting space, ATM and so on.

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Duke Energy CenterDesign Agency: Catt Lyon Design Inc. Creative Director: Charleen Catt Lyon Designer: Bethany Willman, John Kennedy Photography: Charleen Catt Lyon Client: GBBN Date: 2006 Location: USA

• wayfinding and regulatory signage for 876,000 square feets expansion and renovation• concept development through punch‑listing• design control documents, message schedule and location plans

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Jackson‑Triggs Niagara Estate Winery

The Jackson‑Triggs Niagara Estate Winery proejct merged contemporary wine‑making technologies with an authentic architectural response to the region, and marked a significant departure from the convention of local wineries to mimic more traditional European chateau and bodega typologies.

Bhandari & Plater Inc. worked closely with KPMB Architects led by Marianne McKenna to develop a sensitive and integrated approach to the overall signage system building on the brand equity of their highly successful product line. Local limestone, galvanized metal and sandblasted glass where used for the program. Shelf design, retail packaging and an exhibit on historical glass were included in the scope.

Design Agency: Bhandari & Plater Inc. Creative Director: Sunil Bhandari Designer: Sunil Bhandari Photography: Various Client: Vincor Date: 2003 Location: Canada

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Concord Adex. IncDesign Agency: Bhandari & Plater Inc. Creative Director: Sunil Bhandari, Liora Jacobson, Anthony Bonadie Designer: Sunil Bhandari Photography: Various Client: Concord Adex. Inc Date: 2005‑ongoing Location: Canada

Concord Adex Inc. is a Canadian residential developer and real estate investment firm with focus on projects in Vancouver and Toronto.The company is based in Vancouver, British Columbia and one of Canada's leading developers. Bhandari & Plater Inc. is the designer of record for the municipal signage and site wayfinding for over ten condominium projects as well as a feature park (designed in conjunction with the Canadian artist Douglas Coupland) in the heart of the city of Toronto.

Each property is designed by a premier North American architectural firm. Bhandari & Plater Inc. works closely with the developer and architectural team to implement an integrated and elegant approach to the building brand equity. Sensitivity to location and materiality are essential to the final execution.

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DNP Tokyo HeadquartersDesign Agency: Kontrapunkt Creative Director: Bo Linnemann Designer: Kontrapunkt team Photography: Kontrapunkt Client: Dai Nippon Printing (DNP) Date: 2007 Location: Japan

DNP Tokyo has a long and proud history as a printing company. Today, their offer has been extended to all aspects of international media. That means visitors and influence from the west are as much a part of the tradition they creating today as Japanese culture. DNP required to reflect this duality in a “democratic” signage system that would be easy to use and understand for everyone while imparting a sense of their roots and future. The headquarters also had plans for a monument at its entrance, which became part of the design brief.

Because the Japanese and Roman alphabets have little in common on the surface, solving the problem of harmonising instructions on signs and direction boards in both languages was the first challenge. The solution was to design a whole new family of pictograms, the Kitajima type family, and create a custom Roman typeface to complement

it, both of which are used on signage throughout the twenty‑three‑floor building. For the monument at the entrance, the designer elected to “offset” the three letters DNP, signifying typesetters’ traditional printing methods since the invention of single metal type – a highly adaptable printing technique that enabled mass production and revolutionised communication. The overall visual effect is further harmonised with furniture Kontrapunkt designed throughout the building and on the grounds.

The visual connection between Japanese and English communication creates a sense of coherency and in ternat ional i ty – and for many v is i tors, makes a stunning impact. As DNP continues to grow and expand internationally, integrating a western aesthetic becomes more than just symbolically important – it is translated into a business advantage for global opportunities.

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AZIA CenterDesign Agency: Calori & Vanden‑Eynden(C&VE) Creative Director: David Vanden‑Eynden Designer: David Vanden‑Eynden, Chris Calori ,Lindsay McCosh, Marisa Schulman Photography: Shen Chunghai, Shanghai, PRC Client: AZIA Center Date: 2005 Location: Hong Kong, China

C&VE designed the brand identity and signage program for AZIA Center to target multinational financial services tenants. C&VE generated and analyzed several names for the tower, with the owner selecting the name AZIA Center for its unique spelling and distinctive attitude.

Drawing inspiration from the contemporary architecture, C&VE developed the logotype and extended the brand identity throughout the building.The lobby wall pattern of

horizontal glass bands translated into a subtle background motif for the signage and graphics. The primary signage materials are satin etched mirror glass with stainless steel accents. The Chinese and English typography was arranged in clear layouts, creating a crisp and contemporary graphic vocabulary.

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ARA WinegrowersDesign Agency: Designworks Creative Director: Designworks Designer: Designworks Photography: Designworks Client: ARA winegrowers Date: 2008 Location: Marlborough, New Zealand

ARA is massive: 1600 hectares of vineyards (9 kilometres long by 2 kilometres wide), in Marlborough. To create signage that would both work visually and withstand the extreme weather conditions of this environment.

Exposed aggregate concrete, cast bronze and naturally oxidising aluminum poles were the core materials chosen. These produced a colour palette sympathetic to the environment; materials that will also change naturally with

the landscape over time. Tops of the monolithic concrete plinths have a raw irregular finish ‑ a silhouette mirroring ARA’s mountain line. The icons are an extension of the ARA wordmark, creating a seamless brand from the land to the bottle.

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BalenceaDesign Agency: Buro North Creative Director: Buro North Designer: Soren Luckins, Sarah Napier, Tom Allnutt, Daniel Bovalino Photography: Buro North Client: Sunland Group Date: 2009 Location: Melbourne, Australia

Description: Balencea is a boutique residential tower on Melbourne's leafy St. Kilda Road prominade.

Sunland Group asked the designer to create a design that would complement the work of architects Wood Marsh. A pattern based on the form of the architecture, and a corinthian column was created which set the framework for the logotype, patterned screening and signage throughout the complex.

The large logo sign at the front of the building stands around two meters high and creates an elegant, almost abstracted, entry statement to Balencea.

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Dow Chemical Company, Houston OfficeDesign Agency: Mayer/Reed Creative Director: Michael Reed Designer: Debbie Shaw Photography: Pete Eckert Client: Dow Chemical Company Date: 2009 Location: Houston, USA

Description: This office environment project for Dow Chemical Company sought to make a holistic change to reinforce their presence in the marketplace and improve the cultural dynamic for 1,500 employees at one of their largest worldwide facilities.

The scope of work includes corporate identity at the main reception area supported by translucent photographic image murals that wrap the glass conference rooms. Images were sourced from Dow’s “Human Element” campaign, based on the concept that the missing element in the Periodic Table is the human element.

The wayfinding plan includes large vertically formatted directional signs incorporating images associated with Dow's products and departments. Bold geometric images and saturated colors provide visual clues for circulation and

create key wayfinding landmarks throughout the building.

The image color palette incorporates warm colors for the south open office work areas and cool colors for the north open office work areas, identifying four color zones for each floor. Corridors adjacent to the elevator lobby on each floor contain a linear backlit display of photographic images, warm to cool in coloration, warm imagery leading to the south work areas and cool imagery leading to the north work areas.

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Wayne L. Morse United States Courthouse Design Agency: Mayer/Reed Creative Director: Michael Reed Designer: Debbie Shaw Photography: Frank Ooms Client: US General Services Administration Date: 2006 Location: USA

Commissioned through the U.S. General Services Administration’s Design Excellence Program, the project was awarded to the design team lead by Thom Mayne of Morphosis. Mayer/Reed was responsible for the design of a multifaceted signage program that included wayfinding, identity and symbolism integrated into the building’s architectural surfaces and details. These juxtapositions explore the transparency and fluidity of the judicial system, and through symbolism, the importance of its traditions.

The U.S. Constitution mural located in the main lobby incorporates a portion of the Preamble, and Article III of the U.S Constitution, serving as a reminder of the importance of the American Judicial System. Various portions of the original script are revealed in the backgrounds of room signs, symbolically strengthening the idea that the physical building is indeed infused with the essence of the United State’s historical foundation. U

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East Thames GroupDesign Agency: Hat Trick Creative Director: Hat Trick Designer: Hat Trick Photography: HatTrick Client: East Thames’ Group Date: 2008 Location: London, UK

Environmental graphics and wayfinding scheme for housing association East Thames’ Group headquarters in Stratford, East London. Based on the Group’s brand identity theme of ‘sunrises’, referencing the sun rising in the east. Using the principles of light, shade and reflection, a simplified circular ‘sun’ shape and a relevant colour palette, the designer created an innovative system using reflected and transparent sunrise colours. Creating ‘glowing’ iconography and wayfinding by bouncing colour from the reverse of signs against white walls of the building provided the base for their scheme. Transparent colour applied to glazing let natural light cast colour throughout the building. In addition, applied

graphics and installations captured the theme of the ‘sun’, including a two‑metre clock in the public space alongside photography of local sunrises submitted by residents across east London and clients of East Thames to convey an optimistic and hopeful future.

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The Salvation Army HeadquartersDesign Agency: Hat Trick Creative Director: Hat Trick Designer: Hat Trick Photography: Hat Trick Client: The Salvation Army new International Headquarters Date: 2008 Location: London, UK

The aim of the Salvat ion Army new internat ional headquarters building was to be seen to be open and inclusive, so transparency was a key word, but also the army wanted to be seen as evangelical. They required signage and café graphics to announce a public café.

The architects created a very transparent building, where you can see the staff working away in glass rooms. The signage solution was to use transparent coloured vinyl on glass, in order to retain the transparency of the building, the

colour emulating stained glass to reflect their evangelical nature. Light interacts with the signs to create coloured beams around the building, and varies at different times of day and year. The uplifting bible quotations on the outside engage visitors and passers‑by, and again speak volumes about their religious background. The clear faces on the ground floor meeting room represent their international reach whilst the hands behind the faces represent their activities.

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One Bryant Park

Design Agency: C&G Partners Creative Director: Keith Helmetag Designer: Keith Helmetag, Amy Siegel Photography: David Sundberg, Brandon Downing Client: The Durst Organization Date: 2009 Location: New York, USA

Working with Cook + Fox Architects and the Durst Organization, the firm designed all building graphics, signage, and branded environments for Bank of America’s new midtown headquarters, as well as linked properties within the site, including Henry Miller’s Theater on the 43rd Street.

Completed in 2009, One Bryant Park has been recognized as the United States’ first LEED‑Platinum certified skyscraper, and is considered as the largest LEED‑certified building in the world.

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Ferrer Group Design Agency: Talking Design Studio Creative Director: Fabián Vázquez, Gonzalo Sanchez Designer: Fabián Vázquez, Gonzalo Sanchez Photography: Talking Design Studio Client: Ferrer Group Date: 2008 Location: Barcelona, Spain

Ferrer is an international pharmaceutical group operating in the areas of prescription, diagnosis, hospital therapies and consumer healthcare.

Talking Design Studio undertook a complete overhaul of the Ferrer brand, including all aspects of the brand’s visual style, identity development and sub‑brand creation. S

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Provision Ministry GroupDesign Agency: PlainJoe Studios Creative Director: PlainJoe Studios Designer: PlainJoe Studios Photography: PlainJoe Studios Client: Provision Ministry Group Date: 2004 Location: USA

The national headquarters of Provision Ministry Group, a parent organization of three ministries—Church Development Fund, Stadia: New Church Strategies, and Visioneering Studios, relocated to its new 30,000 square feet home in May 2004. The project was organized along a curvilinear “Main Street,” which visitors traverse after leaving “Town Square,” a unique ministry showcase space. Various provision ministries were housed within uniquely urban themed “districts,” such as SoHo (design and marketing) and the Financial District (Church Development Fund and Financial Planning Ministry). Visioneering Studios led a world‑class interiors and graphics team to a successful opening within record time and under a tight Tenant Improvement construction budget.

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Visual Communications provided sign design and masterplan services for the exterior and interior signage at Broadway Ridge. Signage include project identity, directional, regulatory, interior directory and suite signage. The Broadway Office Portfolio consists of two prominent 6‑story Class A office buildings, that together totals 316,257 square feet of office space.

Broadway RidgeDesign Agency: Visual Communications, Inc. Creative Director: Richard Lang Designer: Constance Carlson Photography: Visual Communications Client: Chute Companies Date: 2006 Location: Minnesota, USA

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The Exterior and Interior Signage Master Plan for Normandale Lakes Office Park includes new identification monument signage, exterior wayfinding and parking facility signage, as well as interior signage.

The most recent exterior signage addition features an identification monument that is the focal point of the reflecting pond and gardens. The interior signage hierarchy incorporates electronic data signage and standard ADA signage.

Normandale Lake Office Park

Design Agency: Visual Communications, Inc. Creative Director: Cheryl O’Donnell Designer: Constance Carlson Photography: Visual Communications Client: Normandale Lake Office Park Date: 2009 Location: Minneapolis, USA

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The Parramatta Justice Precinct provides community access to a wide range of metropolitan based justice services. Effective signage is extremely important in assisting the public to locate the various services.

An external signage strategy was developed to provide an integrated family of signs addressing the needs for orientation, building and precinct identification.

Parramatta Justice PrecinctDesign Agency: Minale Tattersfield Creative Director: Hans Gerber Designer: Hans Gerber, Yasmin Hall Photography: Minale Tattersfield Client: Attorney General Department Date: 2008 Location: Parramatta, Metropolitan Sydney, Australia

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368 369

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London Vision ClinicDesign Agency: Hat Trick Creative Director: Hat Trick Designer: Hat Trick Photography: Hat Trick Client: London Vision Clinic Date: 2008 Location: London, UK

Harley Street based London Vision Clinic is the UK’s prominent laser eye surgery. Surgeons use the latest technology to treat prescription strength and refractive eye conditions that exceed the norm for laser eye surgery in the UK. The identity needed to reflect the intricate, delicate and precise nature of their surgery. Five guilloché ‘eye’ patterns were employed, each were created using a single icon

repeated to form an ‘eye’. Each icon represents a key stage pin the process: Screening, Service, Treatment, Results, Aftercare.

UK

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370 371

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Advance Medical OpticsDesign Agency: GNU Group Creative Director: Dickson A. Keyser Designer: Howard Curtis, Hannelore Fischer Photography: Dickson A. Keyser Client: AMO, Advance Medical Optics Date: 2007 Location: Milpitas, CA, USA

Advanced Medical Optics(AMO), a leader in corrective laser eye surgery technology and products, required a comprehensive architectural sign program for their new headquarters. The program is introduced in the entry lobby with graphics that present AMO's brand and display the company's history and products. An engaging wall mural

visually reinforces AMO's core message: full life through better eye sight. The mosaic eye mural is composed of portraits of employees who have had corrective laser eye surgery. Ware Malcomb was responsible for improvements to the architecture and interior design.

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372 373

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Sutter Health, PAMF Camino Medical GroupDesign Agency: GNU Group Creative Director: Dickson A. Keyser Designer: Howard Curtis Photography: Dickson A. Keyser Client: Sutter Health Date: 2007 Location: Mountain View, CA, USA

Making wayfinding easy was the mandate for the PAMF/ Camino Medical Group facility sign program. Complementary signage and print collateral were used to aid in wayfinding. A credit card sized folding guide brochure contains orientation information, floor maps as well as marketing information.

Custom icono‑graphy for each department is synchronized in print and signage for the multi‑lingual audience. Hawley Peterson Snyder Architects designed this 250,000 square feet state‑of‑the‑art facility.

US

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374 375

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Hoshi Kodomo Otona ClinicDesign Agency: Yukari Dina Design Studio / Christopher Dina Design Creative Director: Katsumasa Sekine, Yukari Dina Designer: Christopher Dina, Yukari Dina Photography: Katsumasa Sekine Client: Hoshi Kodomo Otona Clinic Date: 2010 Location: Saitama, Japan

The goal in designing Hoshi Kodomo Otona Clinic was to enhance the patient experience by creating a family friendly environment through colorful high‑end signage and illustrative graphics. To accomplish this, a new logomark, incorporating the meaning of 'Hoshi' (Star) and a sense of hope, is prominently featured on the brightly colored exterior signage and gift products. Interior signs compliment the furniture wood and feature a custom drawn set of 20 child‑friendly symbols that creatively explain the clinic's medical facilities and room functions.

Japa

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376 377

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Altru HospitalDesign Agency: Lorenc+Yoo Design Creative Director: Lorenc+Yoo Design Designer: Lorenc+Yoo Design Photography: David Park Client: Altru Hospital Date: 2006 Location: Grand Forks, North Dakota, USA

Altru Hospital, located in Grand Forks, Nouth Dakota, retained Lorenc+Yoo Design(LYD) to develop an environmental graphic branding system for its main campus and satellite facilities. LYD developed a system of major identification elements, directional signs, building‑applied signs, and regulatory signs to unite the diverse architecture of the various branches in the

region, giving it a singular identity. LYD took a planar approach to the signage system, intersecting different elements to create a textured design.

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Florida Hospital Health VillageDesign Agency: Lorenc+Yoo Design Creative Director: Lorenc+Yoo Design Designer: Lorenc+Yoo Design Photography: Jan Lorenc Client: Florida Hospital Health Village Date: 2010 Location: Orlando, Florida, USA

Along with Davis & Associates, Lorenc+Yoo Design developed a comprehensive district‑wide environmental graphic design system, including logo design for Florida Hospital Health Village. The district combines health care, retail, and residential uses in a single campus, so its signage needed to be clear and easily understandable.

Working with the hospital’s existing design guidelines, Lorenc+Yoo’s signage landmarks convey the high quality of the healthcare provided at Florida Hospital. The signature

entryway sign rests on a white L‑shaped base with a crown‑cut top, which draws the eye to the directional signals. A blue tablet guides patients to the hospital’s most visited locations, including the Cancer Institute, the main plaza and, most vitally, the emergency room.

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380 381

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The Mater Hospital in Newcastle is a 187‑bed facility and is a major centre for oncology, haematology, clinical toxicology and research. The Hospital required a wayfinding strategy aimed mainly at local and older demographic often with cancer‑related illnesses. The hospital features long corridors situated within single to two level buildings.

The objective of the brief was to provide efficient and effective guidance around the hospital and its site. This was enhanced with the introduction of wayfinding, based on visuals. Minale Tattersfield established a visual language comprising elements of communication through the use of arrows to indicate direction, verbal information to describe a destination and distinctive images to provide additional cues.

The images guide the user from initial points of entry, through the hospital corridors, and across different levels to the destination. The frame of mind of visitors is often fuelled by anxiety, stress and hope. With the introduction of images it is intended that visitors can be guided on a functional as well as an emotional level, broadening the state of comprehension in what is basically a self‑navigating environment.

Mater Hospital NewcastleDesign Agency: Minale Tattersfield Creative Director: Hans Gerber, Yasmin Hall Designer: Hans Gerber, Yasmin Hall Photography: Minale Tattersfield Client: Mater Hospital Date: 2006 Location: Newcastle NSW , Australia

Aus

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382 383

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Mercy HospitalDesign Agency: TGAdesign Creative Director: David Stuart Designer: David Stuart Photography: tgadesign Client: Mercy Hospital Date: 2007 Location: Miami, Florida, USA

TGAdesign has been involved in numerous projects including a phased Exterior and Pedestrian Wayfinding Sign System. Two new Parking Garages, a complete sign sytem for the new Emergency Building and Bayside Pavillion. The designer

developed a donor system for the naming of buildings.

US

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384 385

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Cooperative Program Forms a Medical DistrictDesign Agency: CS&G Creative Director: Jay Tokar Designer: Jay Tokar Photography: CS&G Client: University Health Systems of Eastern Carolina and East Carolina University Date: 2010 Location: Greenville, North Carolina, USA

CS&G designed fabricated and installed a signage program to unify two major entities while allowing unique corporate identity for both the university and the medical facility. The wayfinding master plan provides a positive patient

experience while visiting the seven square mile campus with over fifty stand alone buildings.

US

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Type

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386 387

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Union HospitalDesign Agency: CS&G Creative Director: Jay Tokar Designer: Jay Tokar Photography: CS&G Client: Union Hospital Date: 2009 Location: USA

Union Hospital expansion team brought CS&G on to engage in a campus wide wayfinding plan interior and exterior with emphasis on their new replacement building.

The collaborative program included their architects/interior design team, contractors and UH staff. Contemporary

signage design accents the new architecture and is ADA compliant with easy to update signs.

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388 389

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St. Anthony’s Medical Center Design Agency: CS&G Creative Director: Jay Tokar Designer: Jay Tokar Photography: Debbie Franke Client: St. Anthony’s Medical Center Date: 2010 Location: USA

CS&G was brought in to orchestrate a team of in house personnel and consultants to improve the wayfinding and enhance their image in the community. The program highlighted their new corporate logo and improved their

customer satisfaction scores by making the campus easy to self navigate and improve aesthetics interior and exterior.

Type

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388 389

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医疗

项目

类型

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Centre for Addiction and Mental HealthDesign Agency: Gottschalk+Ash Creative Director: Udo Schliemann Designer: Ian White Photography: Gottschalk+Ash Client: Centre for Addiction and Mental Health Date: 2008 Location: Toronto, Ontario, Canada

The designer has been asked to develop a master plan for CAMH’s wayfinding system. By incorporating the actual art of the patients as a major iconographic element of the

wayfinding system, the designer has created a signage system that is both authentic, friendly and open.

Can

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Kings County Hospital CenterDesign Agency: Lebowitz|Gould|Design, Inc. Creative Director: Sue Gould, Ed Frantz Designer: Ed Frantz Photography: Lebowitz|Gould|Design, Inc. Client: SOM/Dormitory Authority of the State of NY Date: 2008 Location: Brooklyn, NY, USA

Development of a comprehensive sign program for a new 340‑bed building on a 44‑acre campus, which includes a new lobby, coffee shop, admitting and outpatient clinic as well as interconnection to existing buildings.

This constituted the first phase in their on-going renovation and expansion program.

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Katz Women’s Hospital at NSLIJ Hospital Center

Design Agency: Lebowitz|Gould|Design, Inc. Creative Director: Sue Gould, Ed Frantz Designer: Lebowitz|Gould|Design, Inc. Photography: Lebowitz|Gould|Design, Inc (Base renderings Skidmore, Owings & Merrill) Client: North Shore Long Island Jewish Hospital Center Date: Under construction Location: Long Island, NY, USA

This signage package is a comprehensive identification and wayfinding program for the newest edition to the Katz Womens Hospital.

The interior signage, including floor directories and donor walls, incorporates thematic natural elements for each floor of the Katz Womens Hospital.

The signage was designed using a recycled resin product with embedded organic elements that echoed the 'green' goals of the architecture.

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Queens Hospital CenterDesign Agency: Lebowitz|Gould|Design, Inc. Creative Director: Sue Gould, Ed Frantz Designer: Ed Frantz Photography: Lebowitz|Gould|Design, Inc. Client: Perkins + Will Date: 2008 Location: Queens, NY, USA

Design of exterior wayfinding and identification program for 229‑bed replacement hospital and community health center.

Lobby and inter ior publ ic area s ignage curves to accommodate viewing from many angles in open spaces.

Floor directories, departmental directionals, and individual office identifications are all composed of changeable snapout elements. The office identification panel accepts changeable paper inserts as well.

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South Nassau Communities HospitalDesign Agency: Lebowitz|Gould|Design, Inc. Creative Director: Ed Frantz Designer: Lebowitz|Gould|Design, Inc. Photography: Lebowitz|Gould|Design, Inc (Base renderings Cannon Design) Client: South Nassau Communities Hospital Date: 2006 Location: Oceanside, NY, USA

Interior and exterior graphic program encompasses wayf inding and ident i ty graphics, pr int, and three dimensional directional signage.

The donor recognition program is coordinated with the wayfinding and identification system.

Exterior signage included updating of existing hospital logo and translucent façade application. This afforded the opportunity to include this updated icon throughout the program.

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Macquarie University HospitalDesign Agency: Minale Tattersfield Creative Director: Hans Gerber Designer: Hans Gerber Photography: Minale Tattersfield Client: Macquarie University Hospital Date: 2010 Location: Australia

Macquarie University Hospital is Australia's first and only university private hospital. It features 180 beds, clinical services and the Australian School of Advanced Medicine, which is the first medical school in Australia to be linked to a private teaching hospital on a university campus.

Aus

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Orthopaedic HospitalDesign Agency: Sussman/Prejza & Co., Inc. Creative Director: Holly Hampton, Principal‑in‑Charge & Project Manager Designer: Ana Llorente Photography: Jim Simmons Client: Orthpaedic Hospital Date: 2003 Location: Los Angeles, California, USA

Orthopaedic Hospital, established in 1922, is the largest privately endowed orthopaedic specialty hospital in the Western United States and continues to be a national leader in children's orthopaedics. As part of a newly formed master plan team, Sussman/Prejza was brought in to design a comprehensive signage and wayfinding program for the

new Outpatient Medical Center. Conceptually referencing intersections of a joint frozen in a moment of time, a snapshot of movement, the signs are made up of shifting layers and planes to create a relationship of exposed surfaces of illuminated light and pattern.

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Northpoint Health & Wellness CenterDesign Agency: Visual Communications, Inc. Creative Director: Richard Lang Designer: Constance Carlson, Jesse Yungner Photography: Richard Lang Client: Hennepin County Medical Center/Northpoint Clinic Date: 2009 Location: USA

Northpoint Health and Wellness Center is a highly desirable place for healthcare where people of all traditions receive culturally appropriate human services and clinical care. The interior signage wayfinding system designed by Visual Communications includes international destination

pictograms (Hablamos Juntos is a project funded by the Robert Wood Johnson Foundation) throughout the complex for easy directional information. Directories located in key areas also include multilingual messages in ten languages spoken within the community.

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La Trobe University and Macleod Station

Signage for pedestrians and cyclists linking the La Trobe University and Macleod Railway Station – encouraging students and staff to catch public transport to the campus rather than driving. The system has 14 signage panels consisting of an overall precinct map and a localised map to provide navigational assistance – helping to direct users to

parks, busses, trams, shops, bicycle facilities and university services. The system also provides directions with walking and cycling times.

Design Agency: Studio Binocular Creative Director: Ben Wundersitz, Laura Cornhill Designer: Ben Wundersitz, Laura Cornhill, Kristy Brown Photography: Studio Binocular Client: La Trobe University and City of Darebin Date: 2008 Location: Australia

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Design Agency: AREP, Bruno Bernard Creative Director: AREP, Bruno Bernard Designer: AREP, Bruno Bernard Photography: AREP Client: SNCF Date: 2007 Location: France

Achemine is the SNCF (French railways) new train stations signage typeface. It is meant to replace Univers, in the context of a slight redesign of the sign system.

The aim of this project was to offer better confort and accessibility to bad eyesight travellers. In this regard AREP and Bruno Bernard have proceeded to readability tests with visually impaired persons, and ophthalmologists. The tests were done on the basis of different prototypes of sans serif

designs. Then Achemine design has been eventually set selecting the prototypes characteristics that had gotten the best statistic results.

The font has been progessively introduced in the 800 train stations of the French network since early 2007.

Achemine—France Railway Station Signage Typeface

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Design Agency: Minale Tattersfield Creative Director: Hans Gerber Designer: Hans Gerber, Samir Dzambic Photography: Minale Tattersfield & Simon Woods Client: State Rail Authority Date: 2009 Location: Sydney, Australia

Description: The Epping to Chatswood Rail Link is an expansion of the Sydney Metropolitan network, providing four world‑class stations serving the second largest business and leading high‑tech district in the state. City of Ryde commissioned Minale Tattersfield to develop wayfinding pylons to each station, thus forming part of the civic signage strategy for the City of Ryde.

The sign faces feature street and location references, directions and a maps and are composed of modular panels, inserted into a frame, allowing for changing of panels without the need to replace the entire face.

Epping to Chatswood Rail Link

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Design Agency: Calori & Vanden‑Eynden Creative Director: David Vanden‑Eynden Designer: Marisa Schulman Photography: John Bartlestone Client: Long Island Rail Road Date: 2010 Location: USA

Atlantic Terminal is the largest rail transportation facility in Brooklyn serving eleven subway lines and the Long Island Rail Road (LIRR). A new head house and transit concourse replaces the original building with a grand entrance pavilion and generous circulation areas.

Calori & Vanden‑Eynden designed the platform signage implementing the Long Island Rail Road (LIRR) graphics standards and effectively branding the platform areas with the LIRR brand. Wayfinding and the identification signage

and a distinctive dot pattern were incorporated into the platform edge lighting fixtures.

The designer established the design vocabulary for the building’s identification signage including building exterior, ticketing areas, and the track and subway identification.

Atlantic Terminal

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DOCKS en SeineDesign Agency: Jakob+Mac Farlane architects Design Team: Nicolas Vrignaud, with Lorenzo Ascani architect, Fanny Naranjo Client: ICADE Date: 2009 Location: Paris, France

The signage intervention in the building DOCKS en Seine plays with the usual needs of signage and with the context. The building is a sign. It participates in the urban renewal of the 13th district of Paris and it becomes one moment along the Seine, as a sequence, a cursor. This signage project was based on this idea of sequence and also on the idea of promenade, of wandering. The preconception of this signage project is to punctuate this horizontal movement by 'beacons', and to create a declension on four levels since the access at the bank level of the Seine towards the rooftop. The fact of preserve and renovate the existing building keeping the concrete structure offers the support of the signage system, which is as a moulding of this structure,

to create a new relation with the architecture. It takes place at different points: circulation, shop, communication, and the like.

These moulds called 'plugs', are separated from their support to become independents. Every plug is in aluminium and unique. They were grouped by type according to their application. The plugs were used like billboards all along the building, and the graphic design, in opposition to the plugs, could evolve according to the visual identity.

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Design Agency: Minale Tattersfield Creative Director: Hans Gerber Designer: Hans Gerber, Daniel Waeger Photography: Minale Tattersfield Client: Sydney Harbour Foreshore Authority Date: 2005 Location: Sydney, NSW, Australia

Darling Harbour is as a popular tourist destination that attracts more than 25 million people movements annually.

Darling Harbour commissioned a review of the signage taking into account the considerable developments and changes in and around Darling Harbour that have occurred

over the previous 12 years. This resulted in additional and improved layers of signage ranging from identification to information and direction.

Darling Harbour

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Design Agency: Environmental Graphic Design at Rochester Institute of Technology Creative Director: Stephanie King Designer: Stephanie King Date: 2008 Location: USA

This is a conceptual project for an upper level college course, Environmental Graphic Design at Rochester Institute of Technology, which was completed in 2008. With only a color palette and typeface established as guidelines, the assignment was to create a friendly, youthful, and fast brand identity and way-finding signage system for a fictitious bus line: the Rochester Rapid.

Large typography and simple informal phrases, such as the brand tag line “need a ride?” were applied to the primary element of the system: free‑standing units with a route map and ticket purchasing machine, to be placed at each bus stop location.

In addition to being a defining element of the brand, the tall, orange free‑standing units are a way of recognizing or locating a bus stop on busy city streets. The logo is at the bottom, to reduce visual complexity in the environment. Riders need only look for the orange pillars.

Rochester Rapid Bus

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Design Agency: Designworks Creative Director: Geoff Suvalko, Jef Wong Designer: Sarah Callesen Photography: Designworks Client: Air New Zealand Date: 2009 Location: New Zealand

The designer's brief was to design graphics that would assist customers through a new check‑in process with ease, efficiency and with a warm Air New Zealand welcome.

Working to the design strategy ‘Simplicity and Efficiency’, the navigational process was broken into two easy steps (check‑in and bag drop), creating a seamless journey for the customer, through what was a completely new check‑in experience.

Friendly tone‑of‑voice and silhouettes of familiar New Zealand flora and fauna were used for a New Zealand welcome, creating a sophisticated yet simple graphic texture/ signature that continues on board. This design ethos extended over many touch points ‑ from signage to check in kiosk screens to carpets, and reducing complexity at every stage.

Air New Zealand Domestic Check In

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Design Agency: Designworks Creative Director: Sven Baker Designer: Sam Trustrum Photography: Designworks Client: Auckland International Airport Date: 2008 Location: Auckland, New Zealand

The new way‑finding program for Auckland International and Domestic Airports must be able to navigate all travellers (including foreign language speakers and the disabled), under stressful situations, to and from their plane in the easiest way possible.

The design‑led program emcompassed passenger movement & legibility research, way‑showing strategies, a strict typographic grid system and a design‑led philosophy of function before form.

The result is a one‑colour modular system. A black monolith shape is the basis for the five different sign forms, chosen as the most recognisable and consistent shape for the environment.

The designers reduced the approx 75 different shaped signs to just five, with two main font sizes. Overall, the design is about graphic function and absolute clarity, while incorporating a grid system that has to work for over 500 type & icon combinations.

Auckland International Airport

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Zea

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Design Agency: grapheine Creative Director: Rabiot Mathias Designer: Rabiot Mathias Photography: grapheine Client: Aéroport de Lyon Date: 2010 Location: Lyon, France

Designing a communication territory for Terminal 3 from Lyon St‑Exupéry Airport. One of the challenges of this consultation was the decoration of the connecting gallery. The goal is to create a pleasant, reassuring and entertaining to lessen the perceived duration of the course (250 metres).

The different stages of the course are identified through

giant anamorphic. Moving forward, the anamorphosis is deconstructing a sensation of speed comes up, the notion of time and space will find it poetically impaired, reducing the same time the sensation of traveling time.

Terminal 3 from Lyon St‑Exupéry Airport

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Design Agency: kissmiklos Creative Director: kissmiklos Designer: kissmiklos Photography: kissmiklos Client: Budapest Airport Zrt. Date: 2010 Location: Budapest, Hungary

Description: Budapest Airport planned to its new terminal, the SkyCourt in 2011. The SkyCourt combines the two old terminals, 2A and 2B into one whole by not only an architectural redesign but also by standardizing the way‑finding system and signage concept. This signage concept lends the airport a visual identity by implying the style into all visual aspects of the airport. This identity will be seen inside and outside of the airport by communicating all information through this visual concept. The project is not yet fully

finished, as more and more parts of the Budapest Airport get redesigned to fit into the concept.

The aim is to create a system that encapsulates all visual communication at the SkyCourt while pleasing and helping the customers feel safe when flying to or from Budapest.

Budapest Airport

Hun

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Design Agency: Minale Tattersfield Creative Director: Hans Gerber Designer: Hans Gerber, Samir Dzambic Photography: Minale Tattersfield Client: Sydney Airport Corporation Date: 2009 Location: Sydney, Australia

Handling around 30 million passengers a year, the $500 million departure terminal upgrade required a signage implementation strategy addressing complex requirements.

Minale Tattersfield were charged with implementing an updated version of the current signage strategy –undertaken by the same firm- dating back to 1999.

The design process centred around the fusion of the three different briefs for airport operation, retail and airlines. These parties voiced different concerns, which were translated into wayfinding signage aimed at visitors, passengers, airlines and airport staff.

Sydney Terminal 1 received a four‑star rating by Skytrax for directional signage putting it in the same league as Frankfurt, Zurich and Hong Kong.

Diagrams were prepared to illustrate the complexity of wayfinding in a major transport hub.

Sydney Airport International TerminalThis is the basic model for developing a wayfinding strategy in any given environment. I t i l lustrates the related components of identification, information and direction. These components are developed from the basic project data of journey/corporation, space/operation and time/wayfinding.

The i den t i f i ca t i on , deve lopmen t and presentation of these components form the base for the s t ruc tur ing o f v isua l communication, the creation of efficient terminology and the display of consistent language. This strategy is guided by design, observation and the theory of semiotics.

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This model illustrates the relationship between user groups, classification of brands, operation and design & function. Each of the four parts is the sum of their own components. All 31 components form the framework of criteria to be evaluated in the planning process.

This model illustrates the relationship between user groups, the built environment, wayfinding criteria and wayfinding design & function. Each of the four parts is the sum of their own components. All 31 components form the framework of criteria to be evaluated in the planning process.

Graphic representation of the flight based/operational journey and experience based\/retail‑ duty free journey.

Aus

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Graphic representation of the flight based/operational journey from check‑in to gate.

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The approach in this case was to test every aspect of the experience so that it could become calm, practical, warm and human in scale and emotion. The designers also ensured that the experience matched and supported the qualities and values of the Virgin Atlantic brand.

At the terminal, Virgin was eager to let passengers know they had arrived and provide them a uniquely Virgin experience. So Holmes Wood proposed branding the outside of the terminal with a giant sculpture or super‑scaled projected images. Ultimately BAA approved a 7‑metre‑high by 11.5‑metre‑long entry sign featuring Virgin’s familiar red tailfin and internally illuminated letters mounted inside the terminal’s glass facade.

To ensure that passengers see the kiosks immediately on entering the terminal area, the designers signed columns as beacons, mounting fret‑cut, stove‑enamelled aluminum letters to them to identify the classes. They designed and scripted the kiosks’ on‑screen graphics, introducing a step‑by‑step process that smoothes the flow from check‑in to boarding and reinforces the warm/human attributes of the Virgin brand.

Virgin Atlantic, Terminal 3 HeathrowDesign Agency: Holmes Wood Creative Director: Lucy Holmes Designer: Alex Wood Photography: Phil Sayer, Virgin Atlantic Client: Virgin Atlantic Date: 2008 Location: London, UK

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The Chatrapati Shivaji International and Domestic Airport terminal spanning over an area of (1A) area 200,000 square feet and (2B & 2C) area 900,000 square feet was one of the most exciting projects, allowing an appreciation of visual identity in Indian public environments. When designing the signage, information classification was planned as per traveler’s behavior, visual environment and architecture. Colors were selected, a combination of modern, innovative grey for utilities and vibrant blue for passenger flow keeping in mind the space and background, the amount of daylight let in the building, the lighting to

ensure good readability, legibility and visibility of the signage Directional Signage Boards were standardized in different categories and communication informative posters represented pictorially, using open English & Devnagari typefaces helping legibility. Along the lines of international guidelines, few pictograms were edited to suit the Indian needs and requirements. With an emphasis to be energy efficient due to abundance of natural light, non backlit signage structure and unit system was developed enabling low maintenance and quick installation for complete clarity.

Design Agency: Leaf Design Pvt. Ltd. Creative Director: Sandeep Ozarde, Sumit Patel Designer: Deepali Champaneri, Saalim Sulemani, Tanvi Dalal, Surendra Yadav Photography: Sumit Patel Client: GVK – MIAL, Mumbai Date: 2007 Location: Mumbai, India

Mumbai International & Domestic Airport

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Design Agency: Selbert Perkins Design Creative Director: Robin Perkins Designer: Andy Davey Photography: Anton Grassl Client: Los Angeles World Airports Date: 2010 Location: Los Angeles, CA, USA

Se lber t Perk ins Des ign c rea ted a comprehens ive communications system, including identi ty, signage, wayfinding, public art, and the landmark LAX Gateway, the largest lighting display in the world. The celebrated gateway conveys the timeless energy and diversity of Los Angeles and creates a dramatic experience for all visitors to the USA.

Los Angeles International Airport

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Connect 12 Pedestrian Bridge

Design Agency: Calori & Vanden‑Eynden Creative Director: David Vanden‑Eynden Designer: David Vanden‑Eynden, Gina DeBenedittis Photography: Graham Uden Client: Hongkong Land Limited Date: 2002 Location: Hong Kong, China

Description: C&VE designed this program for the prestigious 12‑building portfolio of Hongkong Land Limited (HKL) covering more than 20 blocks of Central Hong Kong.

The primary goals were to provide an upscale image and easy wayfinding for the complex network of pedestrian bridges connecting HKL’s properties to nearby transit nodes and adjoining buildings. The program branded the bridges and the buildings they connected as prime assets of Hongkong Land’s portfolio.

Operationally, the project was driven by the visual language of the bilingual signage program, forming a wayfinding “ribbon“ that knits together the complex pathways through the bridges and buildings. The sign program includes directional, identification, map/informational, and decorative signage.

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Design Agency: Nina Frisk Creative Director: Nina Frisk Designer: Nina Frisk Photography: Nina Frisk Client: Venice Date: 2010 Location: Venice, Italy

By providing wayfinding on different levels all kind of users can use the system. This system is based on four levels of information; detailed maps over sections of the city, place‑of‑interest (POI) with extra information about the location, easy‑spotted directional signs in corners and bronze stones in the pavement. The maps will provide information when entering an area, enabling the users to plan a route by themselves and giving an appreciation of the POIs in the specific area. The POIs will provide basic info and trivia about buildings, squares, bridges, statues and possible

services at the location (WC, restaurant, transportation). The stones will work as a lifeline when being lost or if wanting to take a recommended tour. Packaged in a clear graphic design for legibility and classic materials like stone and bronze to survive time and Venetian weather.

A Map‑free City / A Stroll Through Venice

Italy

Type

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442 443

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tion

Design Agency: Studio Binocular Creative Director: Ben Wundersitz, Laura Cornhill Designer: Ben Wundersitz, Laura Cornhill Photography: Studio Binocular Client: City of Port Phillipe Date: 2009 Location: Australia

Studio Binocular developed the St Kilda Wayfinding Signage as part of Port Phillip’s sustainable transport strategy – to get more people walking more often, and to help reduce traffic congestion in these high profile areas. The system consists of 26 individually designed panels in prominent locations across St Kilda, linking public transport, shopping precincts and the beach. Containing a unique ‘heads up’ mapping system as well as directional and walking time

information, the wayfinding system is seen as a key tool in encouraging behavioural change and enabling pedestrians to make informed decisions about the trips they can make on foot.

St Kilda

Aus

tralia

Type

Stre

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444 445

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Design Agency: Applied Information Group Creative Director: Tim Fendley Designer: Gail Mellows, Ben Gibbs, Sam Gullam, Paddy Long, Paul Garratt Photography: Alan McAteer Client: Glasgow City Council Date: 2008 Location: Glasgow, UK

Description: 149 signs and 76 information posters were installed across Glasgow between 2008 and 2010.

AIG produced a 15 aquare kilometres pedestrian master map of the City Centre and West End, highlighting 250 local landmarks and visitor destinations. The sign product range

was custom‑designed specially for Glasgow by AIG Lacock Gullam. The scheme was funded and maintained by Adshel/ClearChannel, the global outdoor media company .

Glasgow City

UK

Type

Stre

et

446 447

Loca

tion

Design Agency: Sussman/Prejza & Co., Inc. Creative Director: Paul Prejza, Holly Hampton Designer: Paul Prejza, Holly Hampton Photography: Sussman/Prejza & Co., Inc. Client: Foundation for Architecture, City of Philadelphia Date: 2006 Location: Philadelphia, Pennsylvania, USA

Sussman/Prejza designed a vehicular directional signing program for the City of Philadelphia, intended for visitors coming to the city by car. The system guides them to the major cultural institutions, universities, parks, and historic places. Brick red, cornflower blue, and white were chosen to reflect Philadelphia’s colonial role as the cradle of the revolution and home of the American flag. Red signs direct visitors toward districts and within districts; blue signs lead toward specific destinations. A comprehensive standards manual was produced to guide the program’s continuing expansion over a ten‑year period.

Direction Philadelphia

US

A

Type

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448 449

Loca

tion

Design Agency: nowakteufelknyrim Creative Director: Stefan Nowak Designer: Carla Meurer, Ilka Kremke Photography: Marcus Pietrek Client: Stadt Düsseldorf Date: 2005 Location: Germany

It's a system to different buildings, streets and sites of different periods leads. To be a specific project, it must not in his design dominate, however, must of existing street furniture and billboards differ significantly. On signposts is important information and goals in the area highlighted. It was a differentiation between local and remote areas made. Depending on the location immediate targets as large icons displayed on the stele. Ultimate goals are each positioned in the integrated map.

The orientation system is aimed at a clear and concise recognition. By its height, it has the required action at a distance, its slender shape prevents those lines of sight or facades can be adjusted. The extreme reduction of visible surface to conventional signs for easy cleaning, graffiti have less attack surface. A specially developed imagery evokes associations: The icons help Passers‑by ‑ regardless of their languages or origins ‑ the targeted objectives are easier to find.

Stadtinformation Düsseldorf

Ger

man

y

Type

Stre

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450 451

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tion

Design Agency: Square Peg Design Creative Director: Scott Cuyler Designer: Scott Cuyler, Eric Wendt, Susan Bowers Photography: Square Peg Design Client: City of Folsom Date: 2009 Location: Folsom, California, USA

The City of Folsom retained Square Peg Design(SPD) to assist the City achieve their goal of increasing the number of visitors to Folsom’s historic downtown area. SPD’s wayfinding and signing program solution took advantage of the unique character of the City’s historic setting and facilitated the ease of navigating on foot and by car.

City of Folsom

US

A

Type

Stre

et

452 453

Loca

tion

Design Agency: C&G partners Creative Director: Keith Helmetag Designer: Keith Helmetag, Amy Siegel, Justine Gaxotte Photography: Chuck Choi Client: New York City Economic Development Corporation Date: 2007 Location: Queens, New York, USA

As part of an initiative to improve the commercial and residential sections of the Flushing community, the firm was commissioned to design the Freedom trail. The trail incorporates sixteen interpretive sites, including landmark properties like the Friends Meeting House and St. George Church. The sites explore themes such as the quest for religious asylum and the local history of the underground railroad.

Other components of the environmental graphics program include a logotype and a sculpture that welcomes visitors in English, Japanese, Korean and other languages.

Flushing Freedom Mile

US

A

Type

Stre

et

454 455

Loca

tion

Design Agency: Shakespear & Gonzalez Ruiz Creative Director: Ronald Shakespear, Guillermo Gonzalez Ruiz Designer: Ronald Shakespear, Guillermo Gonzalez Ruiz Photography: Ronald Shakespear Client: Buenos Aires City Hall Date: 2007 Location: Buenos Aires, Argentina

Street name signs in Buenos Aires, placed in a systematic and predictable fashion, are genuine icons with great value. Their morphology, typographic font (Helvetica),the spaces between letters and words, and their structure are probably its highlights elements.

This sign, as a tool that informs and guides pedestrians and drivers, has performed very effectively, is very valuable as a sign, and provides an important service. In addition to their communicational significance, independent and self-bearing street name signs to help create the city landscape and identity. They are part of the city’s assets.

Signs for squares and parks and taxi signs were designed to be placed in areas with multidirectional circulation. They

were formed by means of two 1.5 inch circular pipes that start together at the base of the sign and separate at 240 centimetres from the ground in order to border and hold an aluminum 100‑centimetres plate.

Placed transversally to the flow of traffic, bus stop signs were formed by two sets of plates (one for each bus line) separated by the column, thus forming a dihedral shape. The plates placed parallel to the street display the bus number and the arrows that designate the place where people should queue. The plates placed perpendicular to the street show the number and route of each bus.

Buenos Aires

Arg

entin

a

Type

Stre

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456 457

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tion

Design Agency: Mayer/Reed Creative Director: Michael Reed Designer: Rob Wente Photography: Bruce Forster Client: Tri‑Metropolitan Transit District of Oregon Date: 2009 Location: Oregon, USA

The 38‑block downtown Portland Mall was revitalized to include a vehicular lane, shared lanes for train and bus, and new transit stop furnishings. This is the first project in the United States to weave alternating bus and light rail train platforms along the same curb line.

The information hierarchy on the pylon groups Bus or MAX light rail icons and TriMet logo, above the shelter height to be visible from one block away. All other transit information, such as station names, maps and schedules is contained in internally illuminated display cabinets cantilevered from the pylon.

The 14‑foot tall stainless steel‑clad transit information pylons act as an armature for all transit information, except for LCD real‑time, dynamic information monitors, which were located under the shelters. Other signage components include tactile transit stop identity integrated into the ends of the custom display cabinet extrusions, or attached to the pylon, depending on platform configurations. The pylons were fully prototyped prior to production and include custom CCTV camera brackets, modular cladding to allow ease of replacement for lower areas, platform area light fixtures and adaptability to future LED light fixture change out.

TriMet/Portland Transit Passageway

US

A

Type

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458 459

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tion

Design Agency: Nicolas VRiGNAUD & Jean‑Marc LOUAZON Creative Director: Nicolas VRiGNAUD & Jean‑Marc LOUAZON Designer: Nicolas VRiGNAUD & Jean‑Marc LOUAZON Photography: Nicolas VRiGNAUDr Client: Cistercian Abbey Date: 2008 Location: GRUCHET‑LE‑VALASSE, France

Scenography and signage project for the landscape of a thematic park about water and sustainable development around a Cistercian Abbey. The scenographic installations illustrate water in all its forms and applications: fog, dew and rain gauge.

The signage source is a simple vertical element in wood and aluminium. The typology offers graphic compositions inspired by the abstract art allowing an efficient display of the information hierarchy with a simple color code.

Eana, Abbaye Du Valasse

Fran

ce

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460 461

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Fran

ce

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462 463

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Creative Director: Daniela Mirás, Belén De Chazal, Santiago Crescimone Designer: Daniela Mirás, Belén De Chazal, Santiago Crescimone Photography: Daniela Mirás, Santiago Crescimone Client: República de los Niños Date: 2009 Location: La Plata, Buenos Aires, Argentina

Republica de los Niños (Children's Republic) is a theme park located in La Plata, Buenos Aires, Argentina. It’s properly a republic that is specifically prepared in order to respect children’s height, therefore the buildings, as well as the doors, furniture and windows were built according to their scale. The park’s main didactic objective consists in teaching children about the social and institutional duties, the civil rights and state organization.

Starting from an exhaustive investigation about the children's space perception, we developed a large and

complex system based in the social functions we mentioned before. The morphological concept is based in modular structures and basic shapes which are familiar to them. The system involves various sub‑systems, which are planned depending on the specific zone inside the park.

Some pieces consist in volumetric letters and symbols which generate a vivid interaction with children, who are able to learn the citizen's life through their comprehension of the space.

Republica de los Niños (Children's Republic)

Arg

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Design Agency: Teamgeissert Creative Director: Thomas Geissert Designer: Anne Wichmann Photography: Teamgeissert Client: Grafenegg Kulturbetriebs GmbH Date: 2008 Location: Grafenegg, Austria

The task was to design a wayfinding and orientation system for Grafenegg Palace Gardens as well as for the open‑air theatre and the new concert hall. The main challenge was to harmonically integrate old and new and that the orientation system should not compete with the architecture.

Teamgeissert conceived an intangible orientation system which takes a back seat to promote the information to be given to the visitors. An entire ensemble of products has been designed. Minimalist sculptures for the gardens,

markings and signs of various sizes and forms for the buildings, as well as brochure‑ and flyer dispensers. The high polished stainless steel surfaces of the products mirror parts of the landscape, trees, the sky and the architecture and thereby the elements disappear virtually. Defined anthracite areas were used to display information through text and graphics which were engraved and cut out. The typography and arrows were illuminated. At night information is floating in the park.

Grafenegg Palace Gardens

Aus

tria

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466 467

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Design Agency: tgadesign Creative Director: Tom Graboski Designer: Tom Graboski, Peter Zorn, Cindy Ault Photography: tgadesign Client: Royal Caribbean International Date: 2009 Location: Miami, Florida, USA

Due to the incredible size of the vessel it was decided in the conceptual stage to divide the ship into four color coded quadrants for ease in locating individual staterooms. All wayfinding elements in each quadrant were coded with the relevant color. Artwork in the lift and stair lobbies was also coordinated to reflect this system.

The static wayfinding elements range from illuminated glass directories adjacent to the banks of lifts, through stateroom corridor directional signs to individual stateroom number signs. There are also a series of sculptural stainless steel and glass pedestal directories located in key traffic areas to give an overview of the ship with the specific deck details.

The entire program totaled over 40,000 individual signs and was designed coordinating with 10 different international architectural firms. All materials were strictly dictated by international maritime codes as to flammability and smoke contribution. The IMO, USPH and the US Coast Guard strictly scrutinized fire and life safety codes for evacuation maps. For ease of maintenance and longevity of service, 99% of all illuminated signs were designed to incorporate LED systems, and all exterior signs were constructed of either painted aluminum or polished stainless steel.

Oasis of the Seas

US

A

Type

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468 469

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tion

Design Agency: tgadesign Creative Director: Tom Graboski Designer: Tom Graboski, Geoff Rogers Photography: tgadesign Client: City of Pinecrest, FL Date: 2006 Location: Pinecrest, Florida, USA

The City of Pinecrest, Florida, bought an existing 50‑acre site from a 1930’s parrot themed park to convert into the first City Park in a newly incorporated City of Pinecrest, Florida. The challenge was not to intrude upon the unique, natural hammock environment, of lush tropical flora and fauna, yet to clearly make a series of complex trails through the forest.

Recycled aluminum was used and painted with bright, tropical colors. Wayfinding signage utilized a flag mounted sign on a post with the ability to add and subtract panels as exhibits are built in the future.

Pinecrest Gardens

US

A

Type

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470 471

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tion

Design Agency: Plenum Creative Director: Egor Myznik Designer: Egor Myznik, Maxim Deyev Photography: Plenum Client: MOZAIK Development Date: 2007 Location: Russia, Moscow

Vysokiy Bereg (The High Coast) — is a new housing development, situated on Istra’s Storage Pond, in vicinities of Moscow. The task was to develop a positioning concept, name and system of visual identity which emphasized the unique location and architectural style. Vysokiy Bereg is the place where one can have a rest from an urban fuzz and enjoy a nature. The main idea of the brand — a harmonic and ecological lifestyle far away from the city. The graphic

style reproduces ecological symbols such as birds, waves, leaves and natural colors. The designer wanted to reflect these ideas also in navigation of the village. It is light, modern, very simple and fall in with architectural style.

Village Visokiy Bereg

Rus

sia

Type

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472 473

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Design Agency: Bhandari & Plater Inc. Creative Director: Sunil Bhandari, Laurie Plater Designer: Sunil Bhandari, Julia Commisso Photography: Various Client: Arriyadh Development Authority Date: 2008 Location: Kingdom of Saudi Arabia

The Wadi Hanifah is the longest and most important valley, or wadi, in the middle of the Najd Plateau that runs for a length of 120 kilometres through the city of Riyadh, the capital of Saudi Arabia. Canadian architects & planners, Moriyama & Teshima – the winner of the Aga Khan Award for Architecture – worked for over 10 years on the brilliant transformation of a once‑polluted Saudi waterway into a system of parks in the heart of the desert, using a system of bio‑remediation.

Moriyama & Teshima in conjunction with the Arryidah Development Authoriy commissioned Bhandari & Plater Inc. to develop the branding and wayfinding systems for

this one‑billion‑US‑dollar project. Visual identity system, branding guidelines, signage and wayfinding system and interpretive displays were designed, prototyped and tested before implementation. Signage was bilingual in Arabic and English and special consideration was to engineering and materials to withstanding high temperatures and periodic flooding.

Wadi Hanifah

Kin

gdom

of S

audi

Ara

bia

Type

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Design Agency: Substance Creative Director: Arnis Dimins Designer: Guna Priede Photography: Ansis Starks Client: Jurmala City Council Date: 2010 Location: Jurmala, Latvia

Dzintari Forest Park is unique due to its location. Its 13‑hectare‑territory of nature base is located in the very centre of Jurmala city. The infrastructure objects are located evenly throughout the park and were connected with wooden board foot‑path raised above the ground. The existing walking paths were reconstructed with cobble‑stones. The most important active recreation element is the inline skating track in the middle of the park. Pedestrian bridge separates skater and pedestrian paths. The park also accommodates skate‑board and street‑ball grounds, children playground, cafes, sports inventory rental, lavatories and other buildings. Modules system was selected as the most suitable principle for form‑creation of the park’s building objects. Modules ramify like tree branches or roots, go around protected nature base elements and develop into foot‑path structure that was created based on similar principles. Facades of building objects comprise separate planes inclined in different angles that significantly

reduce the overall bulkiness of objects. Composite panels with polished aluminium surface were used for facade finishing. Vertical division of glass facades reflect the natural appearance of surrounding environment and dispel the park’s newly created building objects. Composite panels were used in the design of park signs too. Mirrored plastic planes show the direction to surrounding attractions.

Dzintari Forest Park

Latv

ia

Type

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476 477

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Design Agency: Minale Tattersfield Creative Director: Hans Gerber Designer: Hans Gerber Photography: Minale Tattersfield Client: Sydney Harbour Foreshore Authority Date: 2002 Location: Sydney, NSW, Australia

Interpretation of the site which featured the colony’s first battery and Sydney’s first observatory.

It took seven years and $2.8 million worth of archaeological investigation and interpretation to uncover and display

the remnants of buildings which in different times were an observatory and a fort on one of Sydney’s oldest sites. The interpretation displays tell the chronology of the site and various points of interests.

Dawes Point

Aus

tralia

Type

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478 479

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Design Agency: Lebowitz|Gould|Design, Inc. Creative Director: Sue Gould Designer: Lebowitz|Gould|Design, Inc. Photography: Lebowitz|Gould|Design, Inc. Client: Dattner Architects, NYC Department of Parks and Recreation Date: 2008 Location: Brooklyn, NY, USA

Series of nine wayfinding kiosks along Coney Island Boardwalk.

These kiosks incorporate parks, facilities, and landmarks such as the Parachute Drop, Cyclone and Keyspan Park which were represented as icons on the maps. Each kiosk has historical photos and background anecdotes related to each kiosk area.

Coney Island

US

A

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480 481

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Design Agency: Formation Creative Director: David Hoffer, Philip LeBlanc Designer: David Hoffer, Philip LeBlanc Photography: Chan Do Client: Sodexho USA Date: 2007 Location: Houston, USA

Formation orchestrated a complete rebranding and renovation of the Houston Zoo’s mid‑century landmark, the Central Concessions building at Duck Lake. The then‑space age design was collaboration between New Orleans‑born architect Irving R. Klein and Kansas City landscape architects Hare and Hare. Crews power washed the

structure, painted inside and out, and installed new graphics while keeping the mid‑century 'bones' of the original design. The building is now known as the Cypress Circle because of the two large cypress trees located in the public sitting area that were surrounded by the distinctive circular roof.

Houston Zoo’s Cypress Circle

US

A

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482 483

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Design Agency: GK Graphics Inc. Creative Director: GK Graphics Inc. Designer: GK Graphics Inc. Photography: GK Graphics Inc. Client: Fukokuseimei Building Co., Ltd. Date: 2001 Location: Japan

The Fukokuseimei Building Co. is in the Hibiya City of Chiyoda ward, central part of Tokyo. Renewal works were done on the interior of under ground shops, equipment, signage as the facility were having twentieth anniversary in year 2000. The signage was planned to express quality (secure and sophisticated feeling) for the headquarters of Fukokuseimei Building located in the prestigious lot in the city. It also developed feeling of the charm in “connection with Hibiya Park” as the building is adjacent to the park with rich green. At the same time, the name of the shopping area was changed to “Fukoku Forest Square” and developed a Symbol Mark so as they linked to the signage plan.

Fukoku Forest Square

Japa

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484 485

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Design Agency: Loysen + Kreuthmeier Architects Creative Director: Peter Kreuthmeier Designer: Karen Loysen, Sallyann Kluz, Dave Green, Jennifer McCarthy-Lovell Photography: Ed Massery, Peter Kreuthmeier, Mark Paczan Client: South Side Local Development Company Date: 2008 Location: Pittsburgh, PA, USA

With public and community input, Loysen + Kreuthmeier Architects developed a system of markers for Pittsburgh’s South Side Slopes neighborhood. The collective goals for these Gateways are to announce the neighborhood in positive terms to visitors and residents alike, to take blighted areas and transform them into community assets, and in concert with other initiatives, to act as catalysts for further neighborhood investment and economic development. The first of these, Monastery Street Park, depicts a figure-ground vignette of the neighborhood, backlit at night. The second project, the Slopes Pylon, is an expression of the district’s vertical and wooded character, and uses solar

energy to run its lighting system off‑grid. Project three has begun a development phase, and will add lighting and signage standards to highlight and celebrate the neighborhood‑iconic infrastructure. All projects took signature elements from the neighborhood and interpret them in weathering steel, recalling the Slopes’ historic industrial lifeblood. Materials and details are purposed for maintenance‑free longevity, and in the case of electrical systems, very low or net‑zero consumption to minimize or eliminate operating costs.

Monastery Street Park/Slopes Pylon

US

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Design Agency: Pentagram, SF Creative Director: Kit Hinrichs Designer: Erik Schmitt, Julio Martínez Photography: David Wakely Client: The San Francisco Zoological Society Date: 2003 Location: San Francisco, California, USA

As part of a major modernization undertaken by the San Francisco Zoo, the largest and oldest zoo in northern California, we were brought on to revitalize its visual identity. The makeover involved everything from environmental

signage and printed collateral to branded merchandise and packaging. The series of silhouetted animal figures were integrated into the wayfinding system.

San Francisco Zoo

US

A

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Pub

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488 489

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Design Agency: Frost Design Creative Director: Vince Frost Designer: Bridget Atkinson, Sarah Estens Design Manager: Annabel Stevens Photography: Andy Stevens Client: City of Sydney Date: 2008 Location: Sydney, Australia

Sydney Park in St Peters has undergone extensive landscape work to create a series of recreation zones. City of Sydney Council approached Frost to collaborate on the All Accessibilities Playground, an area designed for children and carers of all abilities. Central to the project was the goal of breaking down communication barriers between differently abled users. Local children nominated their favourite words for each letter of the alphabet, and our brief was to create a way of representing these words in the playground. Each of the letters and words is expressed in Braille and Auslan (sign language) symbols.

The challenge was to express all letters in a way that would encourage kids to explore the alphabet and learn sign language. Frost created 28 separate signs, which could be integrated into different areas of the playground, encouraging the process of discovery. Frost also created 3D objects and large‑scale graphics to illustrate selected words, placed near the sign panels to bring the words to life in a playful way. Concrete cushions illustrate ‘A’ for asleep and coloured resin poured in jelly molds makes ‘J’ for jelly. The sign was fixed at heights suitable for children and wheelchair users.

Sydney Park Playground

Aus

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Design Agency: Dan Pearlman Erlebnisarchitektur GmbH Creative Director: Kieran Stanley Designer: Kieran Stanley Photography: Frank Roesner Client: Adventure Zoo Hanover Date: 2010 Location: Hanover, Germany

The theme section Yukon Bay planned for the Hanover Zoo houses on 25,000 square metres which animals live in the arctic tundra and along the coast. The visitor experiences a trip through the rough wilderness of Alaska, wandering through forests, rocky landscapes, gorges and caves, until finally reaching Yukon Bay Harbour. Wolves, caribou, polar bears, seals and prairie dogs all live along

the river. In the sunken ship in the harbour there is the “northernmost penguin zoo in the world”. Inside the ship, visitors can observe penguins, seals and polar bears under water. Catering and a shop were integrated into the harbor buildings and the theme park.

Yukon Bay Project in Zoo Hanover

Ger

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Design Agency: Calori & Vanden‑Eynden(C&VE) Creative Director: David Vanden‑Eynden Designer: David Vanden‑Eynden, Kisuh Chung Photography: Elliott Kaufman Client: New York Department of Parks & Recreation Date: 2010 Location: New York, USA

The once‑vacant area of Mil l Pond Park has been transformed into a delightful 10‑acre waterfront park—the first significant park on the Harlem River in decades. Designed by C&VE, the signage for the park includes interpretive panels thattell the history of the former Bronx Terminal Market, and orientation maps thatorient park users to the park’s amenities and to additional nearby parks, subway stops and Yankee Stadium. The sign forms will be

used at the nearby Heritage Field Park on the site of the original Yankee Stadium.

Simplicity and ease of maintenance were two of the guiding principals behind the minimalist form of the sign structures.

Mill Pond Park

US

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Design Agency: Diseño Shakespear SRL Creative Director: Juan Shakespear Designer: Juan Shakespear, Lorenzo Shakespear, Ronald Shakespear Photography: Juan Hitters Client: Temaiken Bio Park Date: 2009 Location: Buenos Aires, Argentina

The principal aim of the Temaikèn Foundation is to honour the privileged place in this world and to generate a new conscience of the importance of the conservation and care of nature. Diseño Shakespear developed a project of total Visual Identity to align Temaikèn with its essence and objectives, while constructing an efficient instrument for the public’s recognition.

The embryo of the Temaikèn project is the logotype, conceived in a flexible and organic typography, and expressing the phonetic name in colours within the range of sepias and sienas whereby linking it with earth and nature. These colours are systematically presented in all

the forms of communication. A symbol ‑or isotype‑ was designed which evokes the logo by taking its first letter and enclosing it in a circular container in allusion to the earth's sphere. This group of three basic elements, logo and colour, transmit high impact recognition and shape the brand value of Temaikèn. Diseño Shakespear combined them to reflect a friendly, warm and nonaggressive image appealing to a more intimate dialogue between the Park and its audience.

Temaiken Bio Park

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This amusement park is located 40 kilometres from Buenos Aires down town and it's next to Temaiken BioPark. All the pictograms refer mostly to native birds and some international species. In all way‑finding systems there are two fundamental conditions to be carried out no matter what the nature of the signalized space may be.

The signs must be easy to find and their locations predictable. In order to achieve that ,they must stand out but not detract importance from the surrounding space. They must appear as if by magic when the decision of a route or destination has to be taken; do their job and then blend in and become part of the surroundings again.

The Place of Birds Thematic ParkDesign Agency: Diseño Shakespear SRL Creative Director: Juan Shakespear Designer: Juan Shakespear, Martina Mut, Gonzalo Strasser, Joaquin Viramonte, El Lugar de las Aves SA Photography: Alejandro Calderone Client: The Place of Birds Thematic Park Date: 2009 Location: Buenos Aires, Argentina

Arg

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498 499

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The 5,280 hectares of Western Sydney Parklands form one of the biggest urban parklands in the world, containing world class sporting facilities, picnic areas, cycle/walking tracks and native bushland.

For this project, the wayfinding strategy took inspiration from the idea of the signs being dotted through the vast

landscape like bright wildflowers to aid recognition. Adopting the exuberant palette of the Parklands brand, the designer used it to organise sign messages by colour – pink for identification, orange for directions, purple for information and charcoal for brand panels.

Western Sydney ParklandsDesign Agency: Dot Dash. Creative Director: Mark Tatarinoff Designer: Mark Tatarinoff, Mia Wesseling Photography: Mark Tatarinoff Client: Western Sydney Parklands Trust Date: 2010 Location: Western Sydney, Australia

Aus

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Atatürk Arboretumu is a live tree museum located in the Belgrad Forest in Istanbul. The area was divided into four parts and eighteen lots. The color coding of the parts were used in all the wayfinding and interpretive design elements to help navigation.

Every tree has a signage containing its Turkish name, Latin Name, family name and the number of the corresponding page in the guide book. The guide book was created to be read easily when touring the museum, using the same color code as the signage. Each plant has a spread of pages with a whole picture, detail pictures, a map to show its

location in the museum, information regarding its family and descriptions necessary to recognize it.

Nature is alive and it changes constantly. Although the trees are the same, they change in different seasons and as time passes. So a new brochure is published every season with information on the highlights of the season, telling visitors the Arboretum is a place that can be best understood when visited at least four different times in a year.

Atatürk ArboretumuDesign Agency: Elif Ergür Client: Mimar Sinan Fine Arts University Date: 2010 Location: Istanbul, Turkey

Turk

ey

Index

Skidmore, Owings and Merrill LLP

— SOM Graphics

P: 008,102,104,274

FBA. 010,122,206

P: 012, 052, 096,098,100, 158, 330,390

Entro Communications

P: 014, 054,140,228

GNU Group

P: 016,056,058, 294,324,326,328,370,372

Buro North

P: 018,346

Holmes Wood

P: 020,032,110,112,114,244, 412, 432

Visual Communications, Inc.

P: 022, 082,288,362,364, 404

PlainJoe Studios

P:024, 036, 360

Adler & Schmidt

Kommunikations-Design / Meuser Architekten

P: 026,252

Leaf Design Pvt. Ltd.

P: 030, 150, 434

Lorenc+Yoo Design

P: 034, 078, 092,130,132,148,174,230,232,234,

238,302,376,378

Square Peg Design Asia

P:050,038,192,208,210,220,222,224,236,450

Design360

P: 040,272,320,322

Minale Tattersfield

P: 042,044, 046,084,086,090,304,306,366,380,

400,410,416,428,476,

Fallon Image Design

P: 048

Studio KW

P: 060,062,094,240

Dept of Energy

P: 064

Bhandari & Plater Inc.

P: 066,068,336,338,472

Creative Inc

P: 072,242

Linda van Wyk

P: 074

Dan Zhou, Freelancer

P: 076

Designworks

P: 080, 344,420,422

Whitehouse & Company.

P: 088,106

Hat‑Trick Design

P: 108

Dennis Information Design

P: 116

Harta Design

P: 118

Emily Parcell and Kara Zichittella

P: 120

Studio David Hillman

P:124,178,312

Ribbit...Inc.

P: 126,214,216,218,318

Graphics and Designing INC Tokyo

P: 128

Ideaworks

P: 70

Lebowitz|Gould|Design, Inc.

P: 134,202,204,226,392,394,396,398,478

Emery Studio

P: 136

Sussman/Prejza & Co., Inc.

P: 138,402,446

Two Twelve

P: 142,292

Ben Cox Design

P: 144

The Rockwell Group PC

P: 146

Dan Pearlman Markenarchitektur GmbH

P: 152,190,490

VerisonAbsolute Design Studio

P: 154,156,86,188,212

Dot Dash

P: 160,498

Calori & Vanden‑Eynden

P: 162,342,438,492

C&G Partners

P: 164,356,452

Immortal

P: 166,172

Air Design

P:168,170

Integrated Sign and Graphic,Inc.

P: 176

TGAdesign

P: 180,316,382,466,468

Paragon Marketing Communications

P:182

Frost Design

P: 184,270,488

Formation

P: 194,480

fd2s

P: 196

AG Creative

P: 198

Acacia Design Consultants

P: 200

Design Factory International

P: 246

MICA

P: 248

Hugo Silva

P: 250

Studio Rasic

P: 254,256

Nicolas VRiGNAUD

P: 258,458

KMS Team

P: 260

Commercial Art

P: 262,290

Naroska

P: 264,266

CASA REX

P: 268

BVD

P: 276

Edenspiekermann

P: 298

BDP Design

P: 300

Red Square Design

P: 308

Sebastian Haeusler Design

P: 310

Teamgeissert

P: 314,464

Emmanuelle Moureaux Architecture + Design

P: 332

Catt Lyon Design Inc.

P: 334

Kontrapunkt

P: 340

Mayer/Reed

P: 348,350,456

Hat Trick

P:352,354,368

Talking Design Studio

P: 358

Yukari Dina Design Studio / Christopher Dina

P: 374

CS&G

P: 384,386,388

Studio Binocular

P: 406,442

AREP, Bruno Bernard

P: 408

Jakob+Mac Farlane architects

P: 414

Environmental Graphic Design

P: 418

Grapheine

P: 424

Kissmiklos

P: 426

Selbert Perkins Design

P: 436

Nina Frisk

P: 440

Applied Information Group

P: 444

Nowakteufelknyrim

P: 448

Shakespear & Gonzalez Ruiz

P: 454,494,496

Daniela Mirás

P: 462

Plenum

P: 470

Substance

P: 474

GK Graphics Inc.

P: 482

Loysen + Kreuthmeier Architects

P: 484

Pentagram, SF

P: 486

Elif Ergür

P: 500