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Foreword by Christopher Pullman
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DAVID GIBSON
Foreword by Christopher Pullman
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FOREWORD
Exiting the subway in the middle of a city or stepping off the elevator disorientating: onto a strange floor is momentarily you scan the space to figure out where is similar to searching for an article and how to reach a
with the rise of the signals have become while most often Donald Norman's designed
you are and find clues that will lead you where you want to go. This scanning in a magazine or perusing the home page of a website to figure out how it is organized specific section. All these reflex actions are about wayfinding. This book de mystifies providing information intuitively the fascinating process of and David the necessary clues and environmental that help people orient themselves find their way.:! first met the author, student
applied to spaces, also pertain to other situations. and industrial designer book The Design public attention products: light switches doors oriented
of Everyday
appliances without
placed where you least expect them, or regard for the direction of products humane, and intuitive and spaces
Gibson, when he was a graduate graphic design program. he made wayfinding puzzle of orientation, implementing project. process of initiating The Wayfinding Wayfinding, a specialty
in the Yale
As David's career developed, of his design practice. mental and a the underlying
he argues, but it is often not the case. of a new era of consumer advocacy and product testing. Although the concept has part of the design process for ages, the design has come into common use
a design solution,
For anyone curious about this line of work, Handbook is a good place to start. of course, has been around ever since hunt, but it century.
be the advocate of the end user took hold in the 1990s in both product design and website development. lndustrlal-deslgn employing firms and internet studios began and psychologists, anthropologists,
the first bunch of cave men got lost trying to find their way home from a wooly mammoth only became a profession in the twentieth
professionals
a given
maps to navigate from lake to lake, on signal trees to mark a portage, awareness. and on blazes to follow the trail. I took pre-architecture to how buildings and in many cases, In graphic with how In way· clues My own career has always reflected this spatial As an undergraduate can-or courses and became sensitive other structures do not-provide
target users, watch to see what they make of it, revise, and repeat) became typical It is easy to assume that because the placement or content of a sign is obvious to the designer-or button on a computer be here-that I have watched page everybody the screen looks like that or should fumble through a home
unfortunately,
design graduate school, in a book or multipage other underlying for different finding, these structures
the end user will find it obvious too. But as test subjects on the design team thinks is airtight, It is all about users underin wayfinding developed parts of
structures
predictable
unable to locate the target content or misunderstanding the behavior of a button. standing I think my early interest was always littered where they are and what they need to do.
now you're in a new section). coordinator and designer George Nelson in New York, I these strategies in exhibition project: signage for the huge a warren of me with and decision
because my father was in the map business. The house with maps showing various the world. I loved to look at them because they encapsulated so much information distant place. (Ironically, anywhere gadgets.) they couldn't that made it possible to and the look of some go imagine the feeling, the terrain,
Lincoln Hospital in the Bronx. Gui,ding patients of English through multifloor spaces confronted
when I got married I discovered get to with verbal directions-a in-dash GPS voice navigation
my in-laws never used maps. They basically wouldn't weird precursor to today's
legible, economical,
It
Then in 1973 when I joined WGBH, the public broadcasting station in Boston, I began to understand applied to time-based how ideas of orientation media. Video
We
with specialists
physical space (point of view), visual and aural focus (what we see and hear), and time. Interactive have yet other special conventions, principles immersed are the same. in architectural wayfinding. That came about as vice president the treasurer of the project), for managing and all the but many of the
easy to update, and we worked with our own staff to define the character our decisions. The process resulted that works very well for us, but had I been able to read this book first, I would have been better prepared, both as a designer and as a client. Because you are reading it right now, you are already a step ahead! And soon you will have a more holistic view about how to help people understand enjoy the spaces they visit. and and test the logic of
Only recently, however, have I become really because WGBH had to move from its home of forty years and build a whole new headquarters; team. This also included (responsible relationships subspecialties). of the new facility feel, and functional wayfinding the essential supplying and the construction the president, of design.J was asked to be on the management for the fiscal management with the general contractor (its formal appearance,
manager (responsible
Christopher Christopher medalist, Pullman is a design consultant he is the former vice president critic at Yale University Visual Communications
Pullman
My role was to help define the character cultural serve and needs), select the architect,
and senior
School of Art. An AlGA fellow and of Branding and at WGBH Boston, where he
as design client, and oversee the informational graphic program for the project. effort made me fully appreciate nature of the processes outlined This five-year
It
PREFACE
Handbook
is intended
to be a user's design
here are often complex and influential affect large populations. In undertaking
because they
guide to the art and science of the specialized that has occupied
this book, I wanted to create a handy that will serve as a textbook and students; a design resource interested and mature designers managers,
past thirty years. This book is a record of what I have learned about wayfinding many rich experiences Twelve Associates the country. working design, the summation I have had as a principal these projects, and colleagues
guide to the discipline for design professors for recent graduates in wayfinding; for practicing
and a source of ideas and inspiration professionals, and owners. is, where it came unfold. This color; and a project. of our process, from considerations
In undertaking
The book explains what wayfinding from, who needs it, and how projects primer delivers a concise overview planning and strategy three-dlrnenslonal that help designers through
This creative design work has been a joyful endeavor and reflects my generally optimistic view of the world. As a baby boomer who came of age in Canada in the 1960s and '70s, I have always believed that we should work together The wayfinding to make a better world, that the common than individual experience. enterprise, done is people, designer's work lies at the intersection good is more important
typography, complete
from respected
leaders, and signage enthusiasts. I hope you'll learn something and that the handbook handled in the process. and be inspiredand wellwill become battered
with and for people, seeking to make extraordinary, places. This discipline meet interesting engaging because it allows one to learn institutions, public spaces. In comseem rather projects described
about fascinating
David Gibson
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1.1
The heart of a civilization throbs wherever people come together to work, play, shop, study, perform, worship, or just interact. Crowded into bustling spaces, they share the richness and diversity of human experience as well as its challenges. In these spaces people may "find their way" in the existential sense, but they also become overwhelmed
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design provides quidance and the means to help people feel at ease in their surroundings.
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LEARN ABOUT
12
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People throughout
to town
and how to exit. Great wayfinding explicit signs and information and landmarks and immediacy. that together This handbook
filled with global wares, such as New York City's Milan, or the Grand Bazaar in Istanbul. sought sanctuary, commercial residential neighborhood
and scope of way finding systems for spaces where people convene and how they are planned, designed, and produced.
worship once set apart from the fray, where people now often sit side by side with busy schools, restaurants, spaces. Any lively its evolution was and cultural whether centers, libraries, complexes, is appealing,
organic, like Greenwich Village in New York, the hutongs of Beijing, the medinas in Fez, or planned in the spirit of new urbanism, together like Disney's Celebration community is woven in Florida. The real fabric of human existence in settings routine. As the iconoclastic cities correspond their inhabitants.
formed by the futile Vietnam conflict social ferment imentation, foundation of the 1970s. Motivated public communal
mission and zeal for creative expermoved the wayfinding century, building upon the established by earlier design pos-
points out in Streets for People (1969): "Altogether, closely to the ideas and ideals of They are the tangible expression of a
pioneers over the course of the previous century. War-World talented providing including War II, that is-had an inadvertently itive impact on their careers as well, either by forcing
nation's spirit, or lack of spirit."? Over time cities, spaces, complexes, fill up with information, times charming books on vernacular, de;igne'r whether is responsible and buildings Somein popular markers, and symbols. "undesigned" for enhancing
Europeans, such as Alvin Lustig, to emigrate awaited or by art and design training to many a veteran,
can also be ugly or chaotic, or both. The wayfinding public, commercial, or private-is destroying
During the 1960s Cold War period, critics, scholars, and designers discipline singly complex modern urban spaces. The design that evolved in response has been called graphics, signage or sign-system design, Over graphic design, and wayfinding. architectural environmental
People will always need to know how to reach their where they are, what is happening
13
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Wyman, who won early acclaim for his Mexico '68 design. Some firms offered wayfinding with other services, including interior, precursor and corporate-identity of branding services. of pioneering Tom Geismar, Their
to the process of forming surroundings experience supported way-finding bus placards. accompanies "To become completely
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for most people in the modern city. We are by the presence of others and by special devices: maps, street numbers, route signs, once But let the mishap of disorientation
The long and notable list of principals American firr~s includes Ivan Chermayeff, contemporaries partners
occur, and the sense of anxiety and even terror that it reveals to us how closely it is linked to our sense of balance and well-being."? Twenty years later Romedi Passini wrote Wayfinding in Architecture and probed the subject in greater depth. In 1992 he coauthored Wayfinding: People, Signs, and Architecture with Paul Arthur, a Canadian professor-cumdesigner who made a personal mission of advancing the field by reigniting In addition developed innovative interest in Lynch's observations. wayfinding projects and evenassociation founded by a to coining the term signage, Arthur also
Rudolph de Harak, and Lelia and Massimo Vignelli. of Pentagram, now a global collaborative, designer F. H. K. Henrion. women, and
in the early years when the field offered for career advancement For example, than more established disciplines of Ray and
tually became a fellow of the Society for Environmental Graphic Design (SEGD), the international dedicated in different handful of designers from architecture, wayfinding. to advancing the field. Originally
Lustig Cohen and Jane Davis Doggett made early inroads on the East Coast and were later followed and Ann Dudrow. Three writers are largely responsible best name to describe dedicated the term waYfinding, which seems to have stuck as the both the process and profession In 1960, urban to helping people navigate.
design, product design, and interior design who practice Over time, environmental umbrella
graphic design
planner and teacher Kevin Lynch coined the term in his landmark book about urban spaces, The Image
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hindsight,
this realization
seems obvious,
forum for new work to be shared and discussed global community wayfinding of practitioners. position designers
ideas; brilliant
Information
information emphasis designers
(1983); and the growing demand for good design in the public realm have all had a effect on wayfinding. Greater of the Tufte's
positive trickle-down
information
the profession
practitioners, endorsements
receive enthusiastic press such as the While his crafted, and beautifully
setting the precedent decades later entitled Individually, conventional but presented specialization twentieth
Scientific American.
appealing
the projects
communication as a collection,
for arcane content expressed army's doomed march graph depicting chart. the
century without
in troops due to illness and death, all subset of way finding a chronology cultural, of all of
information architecture.
In one of his most popular books,
Information
at a time
Map design is an important with its own fascinating dawn of language, economic, kinds of human pursuits, or political.
Anxiety
(1989), Wurman warned of the emotionally effects of information technologies. overload by the novelty of perWith twenty years'
disturbing
maps represent
15
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wayfinding networks
maps were designed to help the public systems such as railway and and subways. Though global positioning devices,
international explosion,
communications,
fueled
have accelerated
concern
about the pace of global change and inspired the newest of designers to mobilize for action like never face an exciting era and radical century may, with a number social upheaval, of the twenty-first renaissance, before. These young professionals of technological creativity. invention, The beginning
off sign panels and into cars or handheld mapping remains at the forefront Symbols provide a shortcut Symbol design is equally important
way for large groups of who manage transportation to Tom study project he of Graphic Arts, for
in fact, become wayfinding's of capable firms springing There is no question, field is very competitive, to produce outstanding technological procedures to attract deals with a handshake must negotiate demonstrate
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people who may not share a common language to communicate. facilities directed started Authorities and other public places are indebted symbol-sign Institute for the American
up each year and more than however, that the wayfinding which puts pressure on firms
work and stay current with Designers who once sealed and principals packages must now follow bureaucratic compensation
a coherent family of
developments.
fifty symbols that today serves as a foundation many symbol sets developed venues (see chapter 3.4).
and have a knack for communicating. need to recognize the fascinating, it offers.
(Garden City,
NY:Doubleday. 1969), 17. 2 Kevin lynch, The Image of the City (Cambridge, MA: MIT Press, 1960), 4.
16
1.2
During the past forty years, as the environmental graphic design profession matured, the range of wayfinding projects rapidly expanded. Inthe 1970s the early professional practice of architectural graphics mainly entailed designing signs for architects' and developers' buildings. Today almost every type of public space and most private complexes require a wayfinding scheme. The clients who commission signage systems for these venues-together with the designers and to a fabricators who create them-belong
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A corporate client, for example, may need to complete interior signage for a new office building to obtain a legal certificate of occupancy and set up the building for tenants. That same corporation may also wish to use branded signage to advertise and attract customers, or to signal a change of corporate ownership by rebranding signage at multiple branch locations (see chapter 3.1). Other private institutions have their own particular signage specifications. In the case of a hospital, for instance, the facilities department may issue a Request for Proposal (RFP)for wayfinding sign age to connect a new building to a larger campus. In their view the primary audience for the sign age consists of the patients and visitors who need to find physicians, treatment centers, and other destinations quickly. Secondary audiences include internal groups like doctors, nursing staff, and maintenance and service people. As in most multidepartmental organizations, the hospital sign system affects many departments and personnel. For example, the development office may be obligated to name the new building after a major donor. The architect of the new building will be concerned that signage is integrated effectively with the architectural design intent. The communications department may decide to use the opportunity to roll out a new institutional identity. Operators of the hospital cafeteria or gift shop may have requirements or even lease agreements that need to be considered regarding the scope of their signage. An effective wayfinding program can easily balance the needs of the different constituencies, supporting and enabling a positive experience.
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Our company, TwoTwelveAssociates, has always been dedicated to creating designs and public information systems that improve the dynamics between people and the places they visit. AsTwoTwelveevolved from a small studio to a planning consultancy, it soon won bigger contracts that demanded a higher level of supervisory responsibility. The core lesson we've learned over time is that designing a great product goes hand in hand with delivering value for the money. Whether your client for a wayfinding project is a corporation or an institution, this means paying attention to the bottom line: understanding the budget and managing it all the way through the project, letting the client know when requests for changes will push fees over estimate and offering solutions to cut production costs or streamline the work process. Beyondmeeting these basic expectations, designers should look for unique ways to add value to the project or product. Youneed to understand your client's business objectives, both explicit and inherent, and ensure that your design solutions meet them. Adeveloper of a new building, for example, seeks the highest rents possible, so the designer needs to figure out where value can be built into every aspect ofthe solution. Isit emphasizing a desirable address with a striking
stages in the process. Many wayfinding managed by architects interpretation supervise who represent
projects
are
the interests or
of their clients and also strive to ensure the holistic of their design vision for the building and installation complex. Often, a construction the fabrication manager may be hired to of wayfinding
19
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Colleges and universities, museums, cultural centers, visitor centers, zoos, and aquariums
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CORPORATIONS Private office interiors, corporate campuses, building complexes, branch or franchise location
FRNMENT Municipal centers, state and federal complexes, urban spaces and plazas, streetscapes, downtowns, public parks, playgrounds
TRANSPORTATION Airports; public transportation: subway, bus, commuter rail, interctty trains, ferry services; ship terminals and ports
21
What Do Wayfinding
Clients Need?
These images illustrate The complexity proportion property. building the range of design projects. grows in direct of the client's of the assignment to the scale and challenges Developing
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INDIVIDUAL
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SYSTEM SIGNAGE
BUILDING
COMPLEXES
Signage for multiple locations, branches, or franchises operated by one owner or manager, ranging from park systems to consumer banks
22
AMPUS
WAYFINDING
Wayfinding system for a group of buildings operating together on one site, often institutional
NETWORK
SIGNAGE
Wayfinding design for multiple stops along a route including bus, rail, or subway lines, and highways
SIGNAGE
Exterior signage for individual parks, streets, or plazas; for trails and greenways; and for urban downtowns
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13 THE WAYFINDING
• DESIGNER
To communicate communication
MAURICE
is to be alive, to be active, in relation with others ... For is essentially an interchange, a question and a reply, an action in which he lives.
Before we dive into the specifics of planning and design, it is useful to step back and ask: Who designs the projects described in the previous section? How does someone become a successful wayfinding designer? How are they trained, and where do they work? It helps to understand is a subset of environmental that wayfinding graphic design, a larger
discipline that embraces many specializations including architecture and the design of graphic communications, maps, exhibitions, products, and interiors. Another way to understand the profession is by analyzing project structures and how designers fit tnto them. The charts in this chapter of small, medium, and large projects show different combinations of players.
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LEARN ABOUT Environmental graphic design as a career path and how designers work in teams
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BECOMING A WAYFINDING DESIGNER
In general there is no single, obvious for becoming a wayfinding interests, talents, career path graphic expeis or environmental ideas, training,
designer, but rather an indirect journey that combines obsessions, rience, and rnentorshlp. considered education recognized disciplines Just as the profession
the demand for architectural systems. They began to offer within a interiors, to supplement educational their knowledge before entering the position. A solid balances good basic training in and in field or joining a firm at an entry-level foundation in wayfinding design-with communications three-dimensional an understanding in industrial the industry, system, where designer or designers of skills-graphic usually architecture,
before academic courses on signage and wayfinding design became common, although universities commit to establishing (see Other Voices page 29). What has gradually curricula young designers evolved in lieu of organized skill sets become is an ad hoc apprenticeship with suitable wayfinding established
design, typography,
can also be invaluable. enough to establish diversity of subjects advanced-degree management approach working
program can be greatly advantageous, or continuing-education design firms constantly by researching courses in refine their cultures, programs.
record jackets and now creates idiosyncratic in, on, and around buildings. of Sussman/Prezja & with Charles and especially for her
type compositions
to wayfinding
new technologies,
Company, began her career working best known designers, colorful, exuberant Several dedicated recognized environmental
in new parts of the world with different on increasingly projects, challenging ever-larger
Ray Eames and soon became one of the West Coast's wayfinding programs, graphic designers
firms can become more the core skills of good and ideas to bear, so Expertise in
design. And as each new staff member brings collaborators, and fabricators.
with decades of experience, of way finding education. offer students challenges of wayfinding
Chris Calori, and Lance Wyman, serve as the vanguard While individual insight into the profession
design ultimately
25
Small Project
Regional theater company's new home This design team is small and streamlined. Responsibilities are shared, and the designers maintain close contact with the client without intermediaries. The client group is also small and functions as an advisory review committee for the project manager. The consulting architect, who may be a collaborator, client, or just an advisor, reviews the signage program during development to see that it conforms to the design intent of the building.
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Straightforward projects can be handled by a small studio with just a few people involved. Large projects requiring more complex teams are usually undertaken by bigger design companies, often in partnership with other firms. Executing these complex projects may require collaborators, either from inside the firm or outside experts hired for specific tasks, such as strategists to help analyze a situation, map makers and illustrators to create special pieces of artwork, and traffic engineers and technical specialists to create design documentation.
Architecture Firm
Designer
26
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Medium Project
Urban biotechnology research campus
The design team is larger and more formalized in a medium-sized project. Eachteam member has a specific role, and lines of communication are more clearly drawn. The client group may still be small, but there are other players at the table, such as a creative consultant who is responsible for ensuring that his corporate client's design standards are followed. Because this is an urban project sponsored by an economic-development
department that represents the city's interests, the client and design team ultimately report to this department. The city art review commission has a stake in safeguarding the design integrity of the civic streetscape. Architects and landscape architects work on major aspects of the project's design. And for special landmark signs-a feature element of the site designa signage fabrication company has been retained to serve as a deslgn-build consultant.
THE CLIENT TEAM Owner Vice President of Marketing Project Manager Creative Consultant
THE SIGNAGE DESiGN TEAM Principal. in-Charge SIGN FABRICATOR/ CONSUlTA'NT Sign Fabrication Company
Production Designer
27
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Large Project
Professional football stadium
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Byvirtue of their complexity, large-scale projects often have many participants at the client level who need to provide input and approvals. As this top-heavy chart shows, the new stadium will be home to two sports teams, each with multiple owners and the executives who report to them. A regulatory commission, in this case a state development agency, oversees the design
and construction of the new stadium. The buildingdesign team ensures that the stadium's architecture, interior design, sponsorship signage, and wayfinding program are all carefully planned and integrated. A large environmental graphic design team, with its own hierarchy of managers, specialists, and designers, executes the wayfinding strategy by developing final designs and supervising their implementation.
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THE STATE State Sports Authority TEAM 1 ---THE FOOTBALLTEAMS ---TEAM Owner Finance Director Construction Director THE BUILDING DESIGN TEAM Design Architects Sponsorship and Wayfinding Planner Interior Designer Construction Director 2
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THE WAYFINDING, SIGNAGE, AND IMPLEMENTATION TEAM Principalin-Charge Project Manager Design Team Coordinator
Junior Designer
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The environmental graphic design profession is such a vibrant, growing field that there is a much greater demand for young designers than the marketplace can supply. Firms compete for the limited number of design school graduates who have the necessary wayfinding or signage background and often have to spend several years training in-house staff before they can manage teams or work on complex projects. Since its founding, the Society for Environmental Graphic Design (SEGD) as addressed this problem in part by h connecting professionals with teachers and students and by producing workshops, conferences, research papers, and publications. SEGD'sultimate academic mission is to develop fullfledged partnerships with university design departments in order to build environmental graphic design (EGD)courses into their curricula, ultimately making it a concentration. Before focusing on a subject as specific as wayfinding, students need to learn fundamentals of communication desiqn, particularly typography and branding identity, as well as three-dimensional design. And while the ascendancy of computers has rendered the technical drawing skills previously taught in trade schools obsolete, students should
29'
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2.1
nated team members, special logistical and technical requirements, and distinct design goals. There are, however, predictable steps that define the process of wayfinding design. Understanding this procedure helps the designer-and the client, for that matter-succeed. As the designer gains experience, he or she will be able to complete more projects efficiently and profitably.
LEARN ABOUT Each phase in the design process and the products delivered
32
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The process chart on the following general template In smaller projects or even eliminated. schedule. pages provides projects combined a rush a steps in the design process and the usual order in which they are undertaken. Each phase in this chart is addressed in greater appear at the and on detail later in the book; chapter references designer's products project. typical deliverables-the for how most wayfinding phases are sometimes
proceed once the design firm is awarded a contract. At times several phases of a job to accommodate projects, there may be pauses or project planners before wayfinding the typical
the bottom of each column. It also briefly describes presentations that designers process. create throughout
between stages when the architects execute work that must be completed design can continue.
the standard
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When Ibecame an environmental graphic designer about twenty years ago, designers still wrote out type specifications for outside typesetting services and produced technical drawings by hand. The standardized process we follow for wayfinding design, however, has changed very little because our work phasing follows the time-tested process established by architects (see chart on pages 34-35). We now spend more time at the front end of a new project on planning, which requires understanding the client's goals and the needs ofthe end-user, and studying the unique wayfinding challenges presented by a specific site or building. Thisplanning work involves research, meetings, site visits, and analysis of information such as circulation patterns. Our firm focuses on the strategic aspect of planning: confirming a clear set of the design goals and recommending what types of signs will be necessary for better navigation. We act as the users' representative and try to understand a space or building from their point of view. Other factors affecting the way we work today are the changing market environment and client expectations. State-of-the-art computer capabilities and competition for projects are forcing wayfinding designers to produce increasingly sophisticated presentations in addition to the standard realistic renderings, models, and prototypes. Architects have raised client expectations by presenting
33
Design
STRATEGY PROGRAMMING SCHEMATIC DESIGN
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DELIVERABLES
• Project schedule • Research report and site observations • Problem statement • Wayfinding strategy • Design goals • Outline of sign types • Draft sign location plans • Draft sign message schedules • Preliminary sign fabrication budget • Identity or branding design recommendations • Approved approach to the design vocabulary using selected sign types
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34
CONSTRUCTION DOCUMENTATION
Create design-intent drawings for all of the approved sign types. Create final sign layouts, elevations, and fabrication details to define design intent. Write sign specifications to describe the deSign-intent standards and all special requirements. Assemble or complete the final sign location plans and sign message schedules.
BID SUPPORT
Identify and contact qualified sign fabricators. Hold a prebid meeting or conference call to explain the project, discuss the design-intent documents, and answer any questions. Throughout the bidding process, provide clarification of the design-intent documents as necessary. Once the fabricators have submitted bids, assist the client with their evaluation and the selection of a bidder based on qualifications and price quotation.
CONSTRUCTION ADMINISTRATION
Attend a preconstruction meeting to clarify the design-intent documents for prospective bidders. Throughout the process, review fabricator submissions and answer any related questions. Make site visits to the chosen fabricator's workshop to review materials, colors, samples, etc. After fabrication is complete, provide supervisory assistance on site during installation. Inspect final installation and create punch list of necessary corrections and modifications.
DELIVERABLES
• Developed details of all sign types • Refined fabrication budget estimate • Design-intent documents • Final sign location plan • Final sign message schedule • Sign specifications • Bidders list • Review services • Clarification sketches • Review services • Punch list
35
2.2
When people attempt to navigate a place for the first time, they face a series of decisions as they follow a path to their destination. There is a sequential pattern to this wayfinding process-in effect, a series of questions that people ask themselves along the way. Before starting the design process, the wayfinding consultant must anticipate visitor patterns, understand that logic, and apply it in the planning phase. Then work can begin on a framework for the wayfinding design program.
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as a century-old hospital campus or a huge urban to uncover the hidden logic system. subway system. In the process of tracing the visitor's path, the designer attempts a strategic framework of the place. Once that is clear, the designer can develop for the wayfinding
might help define the lines of a transportation work, the wings of a building, of a city, or the precincts wayfinding connectors, instance, divided the neighborhoods
of an academic campus. that organize most are modeled streets, For of districts, and navigate.
There are four types of strategies after urban planning: the concepts
Where streets provide the wayfinding and pathways network across a space. Conthat connect all of the Landmark strategies or primary these con-
easily recognizable
direct people to major nodes, like elevators points. In order to understand wayfinding concepts,
the museum I want to visit? If the old main door looks closed, you might be confused building: about how to enter the Should I enter by that new side door next exhibit? and readily designer
to the parking lot? And once inside: How do I find the Renaissance painting make decisions
At each stage in this sequence, the visitor must based on the available, visible, information. facilitate effortless The job of the wavftndlng
is to present information
evolved systems that organize or define their social practice. City in Beijing exemplifies carefully planned to convey a specific court.
The Forbidden
The designer's
message. Built in the early decades of the fifteenth century, the palace housed the Chinese imperial axial and highly symbolic: its high, imposing The form and layout of the palace complex was rigidly walls,
locate signs, what they should say, and how they should say it. Thoughtful the designer understand research and analysis help a complex public place, such
37
..
university framework. This system of residential and specific gateways, a mechanism and was of academic colleges, each with distinct arms, defined precincts, organizing a kind of early campus wayfinding, understandable entities. names, coats of
into coherent
concentric materials,
court's power. For those outside the Forbidden walls, the architecture power and dominance. succession to important of courtyards
and the urban design symbolized For those allowed entrance, The strong central linking and palaces clearly led the way
Rome, Italy (Landmarks model)
central destinations.
During the baroque period, Pope Sixtus V had a vision for recapturing Rome's ancient glory. In order to create find their way, the pope confocal points structured future In some a grander setting for the seat of the modern Catholic empire, and help pilgrims axial roads and landmark growth indicated and development. the location ceived an urban master plan for the city. His system of The center point of each axis were relocated
axis through the palace complex was a connector of Beijing is being torn apart today to accommodate extraordinary growth, the integrity
the world outside to the emperor. Though the fabric of the Forbidden
cases Egyptian and Roman monuments churches were remodeled landmarks innovations
to these places to define them, in others, extant ancient in the baroque style. These to Sixtus's for future a distinct pattern survive in situ today, a testimonial that established of this great city.
urban development
University
model)
Examining a medieval cityscape different kind of spatial organization. city northeast of Cambridge and university of meandering university
heart of a then-small
streets, the result of the city's evolution to Norman settlement like its great rival in Oxford,
town. Cambridge,
38
century, as cities became larger planners proposed new systems of document the The Commissioners'
Plan of 1811 for New York City, a remarkable that shaped the city's growth, simple wayfinding mechanism
relied upon a deceptively for understanding streets and avenues. that inherited have a Further north, While
urban layout: the grid of numbered The result is that contrasts the footprint confusing, wayfinding
for example, areas of Lower Manhattan of its colonial-era if charming, tangle of streets.
towners are able to find Fifth Avenue and Fifty-fourth imitators have provided a worldwide reference for finding destinations and landmarks within the tangle and used bold strokes
mystery of foreign cities. Civic planner Baron Haussmann in mid-nineteenth-century the city by introducing a system of radial boulevards. or districts: provided cenHe also spiraling conway
Paris street sign
were reserved for the emperor's arms represent Starting for tourists'
created arrondissements, centric city zones that a shorthand for Parisians and visitors to dissect the city into areas they could remember these districts developed meanings. Additionally,
in the second quarter of the nineteenth travel guides with his authoritative
and find easily. Over time specific social and cultural artful signs, intro-
of Cambridge
filled with notes about destinations, for attractions. automobile important of the automobile, Andre Michelin's that travelers
•
••
of the
distinctive,
century, show the street name number and are as fundamental as the Eiffel Tower. of boundaries was super-
When the United States Post Office established over New York's street grid. These codes mail and parcel delivery, but they also convey Having a specific zip code indicates or 10065 on the Upper do
social information.
would encounter
East Side imply wealth and social distinction-as names such as Carnegie Hill.
39
graphic design
begin with research, when the way· that inhabit the place,
finding team studies a site in detail to identify the populations wayfinding, observation pathways,
path-
ways that they follow, any obstacles and opportunities and documentation, and gathering promote it. The site investigation streets or corridors,
to good
and the human dynamics that patterns for different of information they
take place there. This may include studying circulation complete populations need. In addition, century, metto to reviews-a detailed and whatklnd
In the second half of the nineteenth ropolitan workplaces twentieth railroads and recreational
By the early
on the time and budget available interview operators, and security program
research, as well as project priorities, may include facility senior executives, uncovers additional place-problems
form mass- transit systems. As these systems grew after the turn of the century and the public needed
III
managers, of a
E
Vl
E
III
routes, map makers began to color lines. Harry Beck's precedent-setting issued in the over maps forever. He organized the typography spatial wayfinding
>bJ) 0::
and opportunities
map design for the London Underground, 1933, cbanged transit spaghetti
are not visible from mere observation. that the designer understands or are expected to experience gathered during interviews,
"'C 0::
how people experience a place. Using data as well as notes from site
;;: >co
3:
co
conslstent.angles.
This brilliant information,
a grid and noted the station interchanges map codified and abstracted foreshadowing contemporary
surveys and plan reviews, the designer then diagrams people's movements. become obvious Depending tutional Pathways and decision points in the process, and issues of identity it a city
'i':
c:::
co
and image are also revealed. on the nature of the place-be building, or an existing center, a new corporate
insti-
THE RESEARCH
ously described
PROCESS
previ-
campus-the
The historic examples of urban coding methods ners created to organize and communicate urban infrastructure. sign age programs determine These methods for the modern wayfinding
research will vary. For existing spaces being re-signed, the study focuses on what is already in place, how it works, where the problems are, and what changes need to be implemented. For new facilities, the research reveals how the place will appear to the user and how it is expected to function.
coding systems are applied only after initial planning to the most appropriate project. for a particular
40
The circulation
diagram shown above shows the by a particular user group, in this center. technical
o
e
'"
Employee enters at a gate, noting the number on the entrance sign and the hours of operation signs to the final destination. sees the appropriate parking-lot directional for the building and turns off of Loop Road. signs, and row markers. on the regulatory sign. Employee drives on Loop Road and follows vehicular directional
€» Employee
This scenario is one of several done for different user groups. A review of the parallels, contradictions between the different shows the designer visitor information wayfinding strategy. user pathways
destination
Employee enters assigned parking lot, which is marked with building name. lot identification
how to assess the need for at the center and how to develop a
o o
Employee enters building at card-key staff entrance where minor building identification and door- regulatory signage is present. Upon entering that building, the employee sees and follows building directories appropriate and/or interior directionals. Employee proceeds to the workspace that is signed with the floor, room. and column identification.
41
SITE ANALYSIS
Having looked separately their pathways, at different constituencies summary might be and the designer next develops patterns, and pedestrian movement
Princeton
University
campus by showing the movement of arrival places recommendations and content of signs. walkway network; the are
of people and cars and the location grams to create a set of wayfindlng and a strategy The pedestrian vehicular directed for the placement
maps of the overall circulation campus, vehicular mapped separately establish wayfinding pedestrian
On an outdoor experiences
system as a full-fledged
a family of sign types and devise a site-specific on the facing page describe the wayfinding systems for the
and vehicular
..
,
, fi
I:
*
•
iii
-
Secondary pedestrian
iii Major
IICampus identification
G
Restricted access sign
iii Visitor
iii
parking (off-campus)
.. -
iii Secondary
Pay-to-park
43
..
FINDING THE HIDDEN LOGIC
Synthesizing research
ts critical
architectural
(I
A Historic City (Districts model)
City Founder William Penn laid out the city of Philadelphia When creating a pedestrian wayfinding system for the historic city center more than three hundred years later, the designer embraced Penn's four quadrants and the adjacent area, historic waterfront on a rational grid in the late 1600s.
designer seeks to uncover "the hidden logic" of a place. This hidden logic is the pattern organization framework the beginning of wayfinding landmarks, that characterizes for the wayfinding strategies, and streets. are, in essence, different types of views of complex quickly of movement or spatial at a place and serves as a system. As discussed
of the chapter, there are four main types based on connectors, districts,
These strategies
mental maps, simple diagrammatic and easily. Designers to structure navigate, to district, landmarks. depending
a system of signs that will help people along streets or corridors, The strategy through
created names and symbols for them, and used these historic districts as the cornerstones of a pedestrian signage program.
people where they enter the system at one or more arrival points. The system then leads people on to further decision points. These examples (see also Children's demonstrate Boston case how these strategies environments actually work in contemporary Hospital
<I • CD
concepts described
leading patients
44
(2nd Floor)
Strategy
Option 2 (Districts
mC?del)
I
''!'iiR.j''ihii·poI''i.j.j
model)
Strategy
45
..
2.3
A wayfinding system links different people together, even if they do not share a common language or destination, by guiding all of them through the same space with a single system of communication.
i.
wayfinding system creates a public narrative of how people witness, read, and experience a space. Each sign in a system, each separate voice, serves a particular function and displays a specific kind of content called a message, which might include nonverbal graphic symbols, images, and words.
LEARN ABOUT Different types of signs most wayfinding programs require
46
The narrative
and destinations
building or space, the rules that govern how to use it, about activities happening statement within. It is the job of the wayfinding these voices together Most wayfinding several categories orientation, as people navigate the space. systems can be broken down into of signs: identification, directional, This section will explore design and about a place. in many large who where there is a designer to weave
Exterior
IDENTIFICATION Site monument identification Site entry identification Building mounted identification Entrance identification Parking area identification Accessible parking identification DIRECTIONAL Off-site trailblazers On-site vehicular directional signs Pedestrian directional signs REGULATORY Parking regulations Entrance information
-
and regulatory.
the variety of signs used in wayfinding how they can accentuate Donor recognition wayfinding compelling programs, impressions signs, often included are employed
the individuals
have made it possible to build and fit out a new institutional facility. of brevity, and because function program, than the other that category is donor signs serve a different elements of the wayfinding not presented in this chapter. pages offer a in the of sign types found around the in a local
The pictoral essays on the following glimpse of the diversity world. Vernacular professional
Interior
IDENTIFICATION Store identification Area/Level identification Public amenity identification Service and maintenance identification Office identification Elevator and stair identification DIRECTIONAL Directional signs ORIENTATION Mall directory Elevator/Floor directory REGULATORY Fireegress maps Lifesafety signs
47
..
Identification Signs
The building blocks of way finding, identification of a destination. it is a signs often provide the first impression and function These signs are visual markers that display the name of a place or space, whether building, room, an individual indicate
III
They appear at the beginning entrances destinations. While identification not purely functional. historic context. identity generally explicitly
and exits to primary and secondary signs clearly mark transitions Styled appropriately, character, they also and even its a place's
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bII
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bII U
from one type of space to another, their purpose is express a place's personality, by presenting
by evoking an image.
III
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LAX Airport
Los Angeles, California
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48
City Museum
Heimbold Visual Arts Center
sarah Lawrence College Bronxville. New York Melbourne. Australia
Budapest. Hungary
Metro
Paris. France
49
Directional Signs
Directional signs constitute program the circulatory system of a wayfinding because they provide the necessary cues that users need to keep on the move once they have entered a space. This sign type routes pedestrian entrances, or vehicular traffic between main and such as key decision points, destinations, graphic prompts, symbols,
Streetscape
Norfolk. England
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Roppongl Hills
Tokyo. Japan
Melbourne Docklands
Melbourne. Australia
50
..
8rltlsh Museum
London. England
ritl
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lADE
S1
"
Orientation Signs
To make a complicated signs offer visitors space less baffling, orientation an overview of their surroundings site maps and directories. with signs in a system. visitors are able to with a or in the form of comprehensive The design of orientation other identification
Information kiosk
Toronto, Canada
and directional
When all these signs work together, move easily along circulation You Are Here indicator. structure routes.
Most site maps show people their location Orientation often display a plan map (axonometric
flat, see chapter 3.4) of the pertinent maps show the boundaries
of a campus, entryways, are usually listed in either order. Other methods of cateIn the same orientation In buildings sign techto be to units returning
major buildings,
On directories, alphabetical gorization, throughout designers
or numerical
nologies that allow names and other information easily and economically the sign fabricator. Orientation mounted signs are usually large freestanding readily visible to many people simultaneously, if space does not allow. An exterior or district context. updated without
or wallorientation
map can also show how an entire site fits into the neighborhood
Airport directory
Ottawa. Canada
Park map
Grand Canyon National Park, Arizona
Downtown map
San Antonio, Texas
Campus map
Austin, Texas
S3
Regulatory Signs
A regulatory sign describes the do's and don'ts of a how place. It can be as simple as a No Smoking sign or a more complex display with rules indicating Some regulatory messages, particularly citizens should enjoy and respect their public park. those that to describe egress from a building, another, it is important regulations Regulatory to communicate immediately. carefully, need to comply with
Bakery
Thornhill, Ontario
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that apply to the site under consideration. signs should be unobtrusive instructions or warning of a place but large enough information making signs
.tteJ TOUeH
NEALTH RECU LAT10H •••.•...••
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Dlemerpark IJburg
Amsterdam, Netherlands
54
..
London Underground
London, England
London, England
Restaurants
New York, New York
55
The new time sense of typographic man is cinematic and sequential and pictorial.
MARSHAll
GALAXY
Once analysis and strategy phases are complete, the designer then determines how to fit signs into a total system. This process, called
sign programming,
entails generating
a database of messages (actual text on signs) and the specific locations of all signs necessary for a particular building, complex, or campus. Sign programming is not to be confused with architectural programming, which determines the functional elements of a building-a related but different activity. To program messages and locations, the designer establishes the specific sign types the project requires and analyzes circulation patterns into, around, and through the site. Having established sign locations and functions, the designer drafts the actual message copy. This chapter covers the task of locating signs and developing a message schedule and contains a more general discussion of sign content.
?
56
messages are just placeholders Sign locations building still in question. is not yet fully detailed
the designer either proceeds with a list of sign types by the client or uses the analysis process to later, it is essential The that or a space exhaustively with the territory. generate one. To avoid problems the designer survey a building to become completely familiar
programming; the later work, when messages and locations are all confirmed, final programming.
Typically, the first pass at programming before any signs have been designed, it is necessary to create diagrams presentation purposes process. These diagrams client or stakeholders elements occurs but sometimes
initial list may contain more signs than are ultimately necessary, but it is safer to overestimate The designer marks up architectural possible sign locations to each location, message-either and edit later. plans with
or to help the programming make it easier to explain to a group how the signage system process: the list plan,
will work. The case study on pages 58-59 shows the in the signage programming schedule. of sign types, sign elevations, and a sign-message a sign-location
of signs. Using a coding system to assign a sign type the designer also enters the actual a word or a phrase-associated
Coat Check
Phones
West Plaza
Circulation Analysis
This diagram shows the circulation ground-floor delineates different analysis for the entry of a large projected circusymbols indicate and
concert hall. The red line lation pathways, while the the kind of information
sign type required at each point. Once all floors have been surveyed, the requirements of the sign system come into focus, and actual signage programming commence. can
(lD=ldentification • •
signage)
• Room & space IDs .... Interior directional signs Pedestrian circulation Escalators up to Orchestra level
Restroom
57
SIGN-PROGRAMMING
These examples typify types, sign elevations, a slgn-location contexts.
CASE STUDY
documents a list of sign schedule, and track how List of Sign Types This list is broken down into the categories of signs: identification (lD), directional, and regulatory. Al A2.1 A3 A4 A5 A6 A7 AB A9 A10 All Bl B2 B3 B4 B5 Cl C2 C3 C4 C5 Primary station ID-facade mount Primary station entrance ID-overhead wall mount Station arrivallD-post mount Location ID-post mount Bus berth ID-canopy mount Window ID-overhead wall mount RoomID-wall mount Closet ID-wall mount Egressstair ID-door and wall mount RestroomID-wall mount Amenity ID-flag mount Directional-wall mount Directional-overhead wall mount Directional-overhead ceiling mount Directional-canopy mount Directional-strap mount Station regulatory-silk screen Regulatory-door mount Regulatory-post mount Regulatory-strap mount Regulatory-wall mount
sign-programming a sign-message
in the different
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c "
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111 C
Sign Elevations These are elevation drawings of selected sign types in the program (lD=ldentification):
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c
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s c
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111
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A3 Station arrivallD
A4 Location ID
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\ Bl Directional
/ B4 Directional B5 Directional
B2 Directional
58
sign type
number
side/panel
arraw
messages
remarks Directional
82 C5 A2.2 Cl 82 83
si-si
Sl-Pl Sl-Pl
1-
"o;,~~h~a;r;;~'iima~'nT .,"',
Sign-message Schedule
To the left is an excerpt of the sign-message schedule.
'wailmount"
Small entrance ID
Overhead wall mount
Regulatory
SeeA1.962
1-
Bridgeport Bus Station Connector Entrance (Station Open Hours Message TBD)
database format. These are the headings and descriptions of the data fields used to record information: sign type (reference code of actual sign type), number (actual sign location), side/panel (side or panel with message), messages (actual sign text), remarks (sign type and mounting information), and reference (page number in drawing package of sign
51
Sl-Pl
111-
Exit to Water Street Passenger Pick-up Area Ticketing/Information Waiting Hall Elevator to Train & Ferry Exit to Water Street Stair to Train & Ferry (Regulatory Message TBD)
O:,:erheadwaii;;Tc;C;;;i···'·········,·,', ..····,'
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overhead ceiling mount
Directional
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112
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SeeAl.962
illustration).
113
si-si
See At.962
Sign-location Plan
Below is the ground-floor of the bus terminal. plan Each sign
type and number is noted in a box, and a line connects that box to the sign's location on the plan.
S9
can successfully
they are seeking. This case study shows on key sign types in the medical center.
RntThre. Connector Roo..
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signage program for a complex academic The system for Children's wayfinding principal strategy hospital buildings Hospital that designates
o .... e ro
as color-coded information
o u .~
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c:
employs their three lower floors as connectors all these buildings. hierarchically Wayfinding (districts) (admitting, (meeting as follows:
is organized
floors, the color codes, and the three lower floors that function as connectors.
E oJ>
Vl
category of message in specific places. This flow of information on signs will help to guide people's wayfinding process into stages: First, direct people along the connectors to one of the districts; directions to the primary the districts, all destinations plaques.
"Lobby/Exit" for Exit to street
Hat = Hunnewell
= Red
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hospital
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provide elevator
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60
Floor level
Building name
Destinations
Wall-mounted Directionals
Throughout Elevator symbol the hospital at and decision major intersections directional
points, there are wall-mounted signs that list and building names, primary and secondary destinations, public services. The name of the building where the sign
is located appears at the top along with its symbol and floor number.
Cudl,co
Radiology
Radlologl,
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...,_.......... o=--_
Fegan Elevator
Elevator Directories
Once they arrive at a desired elevator bank, visitors consult the elevator directory to locate
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=:...,-
the level they need. When they reach that floor, the secondary wall directionals will lead them to their final destination.
& Women'.
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Building abbreviation
Room number
SA 605
Room-identification Plaques
The top portion of all room plaques is color coded according to the building's designated color and indicates the name of the department
FA 605
.... PV 605 FE 605 HU 605 MA 605
FA= Farley
PV= Pavilion
or room number in Braille. The two-letter abbreviation is a special code that refers
FE= Fegan
Dr. M. Heveran
HU= Hunnewell
MA= Main
61
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Identification
Sign (right)
X-ray
(English) and secondary (Spanish) languages. indicates the department's location in the Main building.
62
people going? Where do they need information? can verbal signs help the wayfinding cases drafting recording a room's function
In others, it is a more complex matter of anticipating needs and interpreting For complicated finding strategy signs. Simplicity great shorthand In increasingly lation is a powerful populations bilingual communication requirements. situations the designer uses the waysymbols are cities, it is
Yale University building identification
as a guide to creating messages for is the best approach; for quick messaging. multicultural American Selective transto minority In truly to this the address, and school shield. The location mation on the sign and its typographic hierarchy to the message. The courthouse roorn-ldentificatlon plaque (below) is a simple interior sign stating just the room name and number and a simple regulatory information hierarchies levels of content, message. Planning sign is critical when there are several that require a number of inforgives treatment
way to communicate
environments,
process, first look at simple examples, to more complex situations ficationand directional-sign
MESSAGES ON IDENTIFICATION
Identification signs are the simplest
SIGNS
sign type. The large exterior sign for a museum usually displays just the name of the institution-MoMA for example. A building University the building identification campus indicates or department sign for the Yale message),
federal court system to which he or she belongs, and the room name and number. Interior information must also conform to the Americans (ADA) requirements (see chapter 4.3). with Disabilities
~ _"
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;-b' -
,-
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I
Courthouse MoMA QNS site identification identification room
Courthouse identification
63
•
the elements of the Shea Stadium sign. The orange and E in this stadium.) for instance, into sections of a plan
blue are the team colors that appear on the sign for Gate B. (Gates range from A through Orienting communicate seating sections to the bases is an easy way to in the language of baseball: venues is often divided
Gate B falls near Third Base. Seating in large stadiums and performance odd and even seats. To further
III
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u '" o
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strategies
to
define their content. At Massachusetts building, codes were developed the individual ten-floor HI
General Hospital's
Vi
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building,
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.=
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GnIrIk:IIGnoo\ow,
The sixth-floor
(left) lists the clinics on that floor and cross-references them to the address codes, 6A, 6B, 6C, and so on. Bold perpendicular flag signs (above left) at each clinic's door display its address. More detailed naming and patient appears on the on pages 50-51, signs primarily or clusters of An example from College (opposite information discussed directional
.=
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bI)
Massachusetts
An identification necessarily
very different.
signage needs to help people find their seat among the thousands conventions in the stadium quickly. A number of that define ballpark seating determined
64
exterior sign can direct vehicular buildings on campus. Pedestrian (bottom Park District destinations: locations.
sign panels shaped as long arrows with here, just directions. Baltimore The area is
a symbol and message point the way to the different No strategies The wayfinding divided system for downtown
color: The area markers for the Mount District are burgundy-colored. wayfinding system is mounted to
Vernon Cultural for the downtown the district-marker to individual transportation Simplicity
panel. The panel with directions and to other districts, to nearby publicand
messages
Montgomery College vehicular directional
for signs. Context often offers cues to the right method, and with some reflection, cal strategies understandable solution logiclear and usually presents itself. For complex environments, provide a guide to designing
~ ~
Fieldhouse Conservatory
: :
rvllnlature Athletic
Coif Hclds
seems overwhelming.
Handstand
t- Baltimore Arena
Convention Center Hopkins Plaza Inner Harbor Mechanic Theatre
directional
65
3.1
Strong brands drive today's consumer economy. Companies routinely invest huge amounts of time and creative resources to develop a vocabulary that familiarizes consumers with their products and services. Branding fosters awareness, enthusiasm, loyalty, and participation. In recent years branding has also been embraced by cities, cultural organizations, and institutions not traditionally associated with this kind of marketing approach. As brand concepts become richer, complex, and more broadly applied, designers' skills and strategies require greater sophistication. Environmental graphics and wayfinding design have become powerful tools to help build or enhance both public and private brands, from universities and oil companies to civic downtowns and modern Olympiads.
LEARN ABOUT How environmental graphic systems can build brands, create identities, and establish a sense of place
68
mainstay of an identity-design is often the most important or product identity. for instance,
project. expression
One glance at the Coca-Cola logo, of a cold drink after a hot day. campaigns have reinforced
iconic images of the classic bottle and the signature graphic swash. Color conveys equally powerful and specific The rich the ring or associations. & Co. suggests imminent were so influential transcended that the Burma-Shave trademark its association with men's brushless
shaving cream and became a code word in the sign trade for an installation in sequence. of signs or messages that run
of an engagement
some other precious object. A bag, box, or catalog in this signature automatically prospect billboard color raises the
There was a time in the late 1990s when an ad or needed just three simple words-Just to mean Nike. The campaign of other futuristic essential that enthusiasts for Air Jordans and scores
running shoes made them seem so flocked to the bright new Nike of the chain
in cities across the United States and abroad. These quickly became exciting urban where fans grooved on images of their
heroes while trying on the latest sportswear. Consumers in a simpler era needed only a painted sign on the side of a barn describing to prompt a visit to the country Pouch tobacco. of Burma-Shave white-on-red Families traveling their favorite brand the store for a tin of Mail by car through
to a new sign program. The client provides guidelines for using an existing symbols, brand elements, logo, verbiage, and any other proprietary and the designer
United States in the 1930s enjoyed the "experience" signs along their route. These familiar as a procession of signs were installed
signage and make recommendations layout schemes are not suitable applications, argue for changes or additions
If certain messages, fonts, colors, or for large-scale the designer may need to to the brand strategy
four, five, or six messages. One would appear, then another, playfully was rough/His leading to the punch line: "His cheek now she won't/ These campaigns chick vamoosed/And
69
•
in other cases the designer creates a new brand identity in tandem with a new wayfinding situation elements program.
Apple Stores
the
This
clean-slate
is
optimal
because it ensures
with
Architecture and attitude express the brand Since they first opened in 2001, Apple stores have
become a remarkable enduring products: large-scale popularity and entertainment phenomenon, of the company's products. contributing to the line of computer Featuring a without
tic
brand experience.
This
smart, elegant,
departments
in addiand while
:.;;;:
<II
tion
to people representing
architecture,
facade, the stores boldly announce themselves words. inside, the neutral white interiors tech gallery setting for a product message and the medium. support Shoppers
'"
c
landscape
This
broader involvement,
-c
'" c::
c
brand strategy
coherent and unified public image. in either case the designer should think of the merger of way finding and branding placemaking. usually starts Though building as environmental for a place or newly of a place an identity
at the Genius Bar or consult with a Creative at but the overall effect is one of effortless
bO
-c
'" c
the Studio for help. Each gesture is carefully and executed, simplicity and minimalism.
al
with
Comprehensive
in messages,
appearance.
Well-conceived
only define a space but also make coherent for customers or visitors.
it appealing
bO
'" 3:
>-
also demonstrate
this
design elements
detail, these studies show how all the parts fit together.
70
BP
The oil company with a different voice
BP is the world's second-largest business of drilling company in the in the United States. business, identity the that for oil, refining it, and selling it in the oil-and-gas of the environment, and one of the largest gas retailers Though still primarily highlights its support
(RED) Campaign
Global branding for a cause celebre
An offshoot Americans colleagues. logo-used of the ONE Campaign that hopes to unite "to help make poverty history," Product red-color to attract policies, of rock star Bono and his partners on their products
in exchange for 50 percent of the profits-is consumer attention (RED) is intentionally included While ONE focuses on influencing long-term
energy sources, and green living. This notion of branding with a conscience and-yellow public-relations and sustainability. stations "green" commissioned aluminum, certification starts with the logo-a sunflower-and extends to the company's
and dollars to African AIDS victims. a quicker fix with huge publicity Express, Apple Computer, advertising, products, and
value. In a matter of months, the list of partners Gap, American permeating and Emporio Armani. People began to see (RED) everywhere, events, such as a free concert in London's Trafalgar Square celebrating a new Motorola phone product.
and dominate
gas station in Los Angeles made of recycled the first ever to be to be submitted in the United States (see chapter 3.6).
PROOUCT(REO)
71
Yale University
Campus wayfinding and brand expression
Yale University relies on simple yet powerful graphic Yale devices to express its prestigous brand. So-called
Downtown Brooklyn
Pedestrian wayfinding and borough branding
Brooklyn used to be one of the largest cities in the a remarkable transformation in the The by United States. Now part of New York City, the borough has undergone old Brooklyn residential called past decade since its downtown was a commercial neighborhoods. was revitalized. center surrounded destination, business more pedestrian
Blue is one of these tools, the family of coats of arms is another, and, of course, the famous name itself. As part of a campaign Matthew :.;<
to
Brooklyn
c: E
bIl
variations,
is coming to be known as a significant where some twelve neighborhoods and commerce. The Downtown wayfinding directly program
"Yale Street."
CII
Brooklyn
0:
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u to
design is a contemporary
c:
to bIl
also enhancing
c:
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to
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presents a more
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72
---------------------------------------------------------.------------------------------------------~
Is well-known for her leadership of the 2000 Census redesign and cornmunications strategies for NewYork.Presbyterlan Hospital, the American Civil Uberties Union, and Columbia University.
73
Looking at the evolution of environmental graphic design over the past four decades, it becomes obvious that great typography dominates many successful projects. The monumental sign for the Talleyrand Office Park is iconic, the simplest and boldest of typographic statements. Equally dramatic is the innovative facade of the Lucent Technologies Center for Arts Education at the New Jersey Performing Arts Center-the transformation of a conventional early-twentiethcentury school building into one gigantic mural of text. Signage for the Berlin subway system, also beautiful and memorable, presents complex transit information with precise, elegant clarity.
LEARN ABOUT ? The elements of good typography • 74 for wayfinding
What makes these environmental ing? Just the choice of typeface, preted in context, fact, all of these considerations the foundation statement,
graphics
so appealIn
designer who strives for typographic can elevate otherwise something ly associated difference
of a classic graphic design educationmundane signing into an iconic instantly recognizable and close-
delivering
a mediocre solution
basic typographic
ten numbers,
in English, accent marks and characters on the language. A skilled typographertypesetter-weaves all
today the term refers to a designer who works with type rather than an independent these elements process involving a place more accessible. into a tapestry typeface of messages that make letterform scaling,
and panel layout. Excelling at type layout for signage requires the ability to prioritize hierarchies based on time-tested Experience and training a good eye for proportion information into logical
Roman inscription
ARCHITECTURAL
LETTERING
EVOLVES
that land-
The earliest evidence of way finding design survives today in the form of architectural identify buildings and monuments marks or destinations. forms, pictographs, a journey through produced religious teachings. used hieroglyphics inscriptions as important
by artisans to communicate
to celebrate the accomplishments During the classical of our alphaand of public buildings
of royalty and their dynasties. bet, still visible on thousands monuments. clear-an indelible
of conquest
and power on their temples and stelae language and number system. In on tombs inside Gothic cathedrals tracery of the architecture calligraphy of the monks in the Middle Ages.
the detailed
Mayans illustrated
75
It
type was often integrated the building intended fabric. Names for permanence
into
directly
architectural
By the late twentieth rapidly and demand for comprehensive increasingly systems grew. Visitors required
sophisticated ever
graphic Signals and prompts to find their way through larger and more complex By the nineteenth
c:
<1>
century, with the rise of the era in Europe and North for The teeming midand civic signs competed
public spaces. Today, cities, corporations, or transportation and directly, distinguishes programs to communicate
'Vi
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industrial
o
b/)
America, commercial
c:
but also to express a brand image that them from the competition. options are limitless, Signage but excit-
demands may have become more complicated, now typographic century urban streetscape American signs plastered of New York and other large catalog of offering ing creative opportunities. cities became an extraordinary within. for wayfinding
across the facades of buildings Their letterforms letterers drew instead commercial
them from scratch to reflect the style of the decade and tastes of the owner, often forcing the designs to fit a given space. Though this typographic may seem a visual feast to today's considered cantile society run amok. During the first half of the twentieth corporate buildings moguls commissioned and architects century, when tall increasingly cacophony it was audience,
CHOOSING A TYPEFACE
The beginning of the design process is the time to expand select the appropriate It is difficult typeface to imaglore type families
ine today that in the 1960s and '70s a single typeface, Helvetica, was used almost exclusively systems. Classically relied on a vocabulary typefaces. and social perspectives, fonts now numbering for most sign otherwise trained graphic designers
COURTHOUSE
Bembo
of about a dozen "acceptable" of cultural loaded With type eye to and personal computers
RESTAURANT
Apex New Hoefler
the wayfinding
designer has to develop an even more discerning balance issues of form versus function. Typefaces have specific personalities certain associations: selecting a typeface, appears crisp and modern; Ziggurat the designer
A_usem,eat
Ziggurat
it will be used: Will it appear on a carved inscription, as dimensional through letters, on an illuminated a map? Will it guide drivers on a highway, students a university, designer or diners to a restaurant? instinctively understands experienced typographic
requirements
Museum
Avenir
1053
Valuta
&
Caston
y',~iversity
Freeway
Highway Gothic Requiem
INSTITUTE
Bell Gothic
BOTANICAL GARDEN
Transportation
Meta
BALLPARK
Fairplex
Via log
77
"
LETTERFORMS ON SIGNS
Individualletterforms are the basic units of the wayfinding equation. Before diving into the discussion of typography for wayfinding signage, it is useful to identify the key elements of letterforms.
Serif letterforms
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n!
"
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X·height
bo
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Baseline
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78
~--~----~------------~----~--------------------------------.--------------------------------------~
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Before designing a typeface for wayfinding purposes, we ask for two types of feedback from the client or designer who represents them. The first is emotional or psychological, such as what qualities characterize the client's organization. The second, more importantly, is technical, which addresses all the practical aspects ofthe project. For instance, indoor public spaces often need illuminated signs, and backlighting a sign can play havoc with the interior spaces of letterforms. Although many sign systems appear to use only a single font, they actually rely on subtle variations of it in order to present a unified typographic voice for different contexts and sign material choices. ourtypeface design for Radio City Music Hall was inspired by the art deco signage that is unique to this site. This historic precedent was very helpful, but the original artists never designed a full alphabet. As a response we created a font based on these handmade fragments and added punctuation, numbers, and other missing characters. The challenge was to capture the spirit of the original lettering in a contemporary, systematic typeface that meets Americans with Disabilities Act (ADA)requirements. In the end we drew two fonts, one very narrow and the other very wide, in order to allow for words of different lengths to be set on signs of a given size. A well-designed typographic system lets the font do the heavy lifting: any need for manual intervention points to a problem with the font itself. Letterspacing was more of an art thirty years ago, when the alphabets used by designers existed solely as physical artifacts that had to be carefully applied to specific media, such as photostats pasted on cardboard or letters mounted on walls. Contemporary fonts must be meticulously designed if they are to reproduce this level of craftsmanship without active involvement from a designer. Kerning is a good case in potnt. we take pride in figuring out every possible letter combination in advance, even obscure pairs, like y and q, to make sure they will mesh properly. This can add up to an extraordinary number of possible combinations: 676 for capital letters alone, and then caps to lowercase, lowercase to lowercase, and even the spacing between punctuation marks.
rJ"
79
CATEGORIES OF TYPEFACES The inventory of typefaces is now so large that it is difficult to even categorize all the fonts available. The most basic differentiation is serif versus sans serif letterforms. Serif extensions at the end of a stroke are the legacy of the chisel mark and the swash of the calligraphic brush. Sans serif letterforms, which have unembellished stroke endings, matured in the early modern era in reaction to traditional styles. Slab serif fonts are a subset of serif types distinguished by bold, geometric endings on the letterforms-an evolution of popular nineteenth-century letterforms. Script typefaces mimic hand-drawn cursive letters. Decorative letterforms are self- consciously illustrative or eclectic.
Jenson
Serif
Frutiger
Sans Serif
Slab Serif
r n 1f...D_~t I"·_'I1I..... P_._. ...... .
Geometric
Jcripb
Snell Roundhand
7}p
Raceway
Legibility Issues
Because sign age must often be read at a distance by c:: pedestrians walking quickly legibility is
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b/)
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Futura
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of messages: the height of the lowercase letterforms, or x-height, and the openness of the voids inside the letters, or counter spaces.
80
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Aligning:
Frutiger
···1···· ···_··-2······-3-·/I·-S····_L_··Z···-g-n-o··
"_
55 Roman 65 Bold
Certain faces, such as Cas lon, have a short lowercase xheight and offer small caps and old-style numerals, making them excellent choices for designs that need a classical or traditional look.
81
...,
--' -0
'" >'"
o
r::: 12" and up
'" >-g_
'" ~ o
~
Co
of design.
goal is to make a sign system legib e and a series of messages Having selected or chaotic.
bI)
'" 3:
4-5" minimum
how they are used: reading, walking, used for text and captions paragraphs letters are of a size suitable that guide pedestrians
Reading letters are small enough to be on orlentatlon-rnap on interpretive for directional signs. Walking messages
seen by drivers looking for directions Several factors affecting vehicular signage, such as the viewer's
Read
1/2" Letters appear at 50 percent of actual size
the sign and driving speed, must be studied during the design process. Environment are superscaled streetscapes for maximum or on highways.
and tested
letterforms
82
·Engineerhlg_and=S~cJence.
Greenleaf Hall
I I
longest message
...
SPACING
I
SPACING
to establish
scale relationships
these elements to ensure that the graphic mark and type read as a seamless unit and convey
_me_erformingArts
the intended
message.
a narrow stack of names. In this case two-line names are tightly line spaced (A) while the spaces between names (B) are just generous enough to differentiate entries without making the overall list too long.
~_.Main Library
,B_Johnson & Wales A_Uniyersity
..
TYPE DESIGN FOR SIGN PANELS
Looking at actual examples stand the rationale is the best way to undera variety of Their typobranding for type layout on slgnage. The and audiences. context
GALLERY
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C.JR<':1.l
FOUNDERS BOX
24
Mr.nJloJnl'8JJGtfIY
LAURA
TURNER CONCERT
HALL
FOUNDERS CIRCLE
'Mr,,,,,J,,
by the name of the seating level in all capital letters. The gallery directory lists seating and services found on each level. The Founders Box
<:: bIl
identification
plaque provides
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a large box number and, more modestly, the donor's name in italics. Hall identification Gallery directory
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University Signs
This example shows two sign types within one wayfinding particular system. The blue color and the standards. The layout of the sign is
building identification
simple: the building name is flush left, with the university symbol in the lower right. The vehicular directional sign, scaled appropriately for drivers, guides visitors to major destinations. provide directions of destinations. Arrows to clusters Building identification and L-shaped rules, or lines,
84
Park Signs
These signs belong to a city- park sign system. Color banding and material changes differentiate fordifferent identification the backgrounds messages set in On the sign the park The bottom
band presents four types symbols for available services, an advisory about closing time, city and park-system logotypes, and the slogan. The directional signs are similarly banded: The top displays an icon to indicate the audience, either pedestrians destination or drivers, and information with an Park identification Pedestrian directional Vehicular directional the main panel area shows accompanying symbol-green
symbols for parking and blue symbols for all others. Each bottom band reinforces the park brand or identity.
Stadium Signs
These sign panels, part ofa large wayfinding with information, program for including to the a baseball stadium, are dense levels, numbered seating, and amenities. Appropriate ballpark setting, they also display team branding and sponsorship identification. is a matrix Stair directory The stair directory
that cues a level name to seating sections and amenities found there. A color highlight and a baseball signal You Are Here. The rarnp-directional sign indicates the level and amenities ahead plus the way to the exit. The level· directional amenities. sign highlights seating sections and
Ramp directional
Level directional
85
3.3 ,:~o
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INTERACT/ON
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to
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JOSEF ALBERS,
Just follow the Yellow Brick Road and you'll get to Emerald City! When environmental graphic design was an emerging discipline, the wayfinding strategy usually sold to hospitals was only slightly more sophisticated than the road so familiar to fans of The Wizard of Oz. In those days hospitals delineated colored paths on the floors of medical centers to define important routes around their facility. Just as the wizard proved to be unimpressive, the color-coded pathways proved inadequate over time, even misleading, as a solution to the daunting challenge of hospital wayfinding. To produce effective wayfinding solutions, designers must understand how to work with color on a case-by-case basis rather than relying on formulas. This chapter is not a primer about color theory or systems; it simply addresses essential information about using color as a wayfinding tool.
LEARN ABOUT
Using color as a powerful wayfinding tool
•
COLOR MEANING
Colors are a fundamental greatly influence almost impossible designers part of everyday life and is withways for
Switzerland Denmark
our experience
of the world-it
with colors,
all kinds of problem solving and often choose color as the central organizing program. through, Although to different element of a wayfinding design Colors can help people identify, and even connect emotionally the latter idea seems abstract, people, depending navigate it is importhings or
to a place.
on circumstances
St. George
Nature is the source of some of our most primal relationships throughout associations: suggests with
More recently, color has come to be associated closely with politics. Americans mostly conservative) In the past few election and blue (Democratic, cycles, mostly allehave heard a lot about red states (Republican, sums up political
color,
the natural world have obvious symbolic bright red, the color of fire and lava, cold. Although there are association. heat, while a pure light blue, the color of and interpretations of red and blue,
ilberal). This color shorthand Since the early twentieth Communist movement affiliation. dedicated
giances and rallies people, but it can also be divisive. century, red has denoted While an actual Green political to environmental awareness and
party now exists, the term also stands for a global climate concern. Color changes can also mark the passage of time. In the North American lishers and retailers marketplace, greeting card pubDay (red (green and roll out a color calendar in sync St. Patrick's Day (green),
with seasons and holidays such as Valentine's and pink), Easter (pastels), Halloween Colors also signal cultural or patriotic nationalism. can change The red, the In the case of flags, minor layout variations what a color or color combination United States, for instance, represents. red). Lighting designers The landmark's (black and orange), and Christmas
for the Empire State Building into the urban sky. beacon holidays 2008 early in engineers to roadways.
that glows with iconic colors to celebrate and special events-everything (lavender) Super Bowl victory the twentieth developed (sapphire
Union Jack, these colors stand for the United Kingdom, our former ruler and now longtime Switzerland, complicated, on the flag layout, red and white can identify minor layout modifications
vocabulary
red cross on a white field turns it either into the flag of St. George, representing arrival of humanitarian England, or a signal for the and medical aid.
chaotic vehicular
and red (stop), is now used around the world for traffic
87
lights. Universally understood and applied, these color standards form the basis for the American traffic signage system, defined in the Manual on Uniform Traffic Control Devices, and influence safety by instantly conveying vital information to pedestrians and drivers alike.
Yellow Primary
Green Secondary
Or.nge Secondary
o
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CD STOP
II CiO
~SLOW
~ o
Purple Secondary
The Spectrum
In this color spectrum, the solid triangle points to the
COLOR TECHNOLOGY While color meaning informs wayfinding, it is essential for designers to have a working knowledge of color mechanics beyond the basics. Everyone is familiar with the classic rainbow spectrum defined by Sir Isaac Newton-red, orange, yellow, green, blue, indigo, violet-and that pairs of primary colors (red, blue, and yellow) produce secondary colors (purple, green, and orange), while all three primaries together make black. In the case of projected rather than reflected light, the primary color palette changes to red, green, and blue. Overlapping these three primaries results in either natural or synthesized white light. Colors are also distinguished by three properties: hue, intensity, and value. Hue refers to color variation, such as pure redness or greenness. Intensity is the saturation or density of a color. Value refers to its relative lightness or darkness. Understanding these properties enables the designer to control a palette for legibility and to project the desired meaning. For instance, when assembling an appropriate set of colors for coding purposes, it is helpful to pick colors of similar value so they fit together well as a set. Color intensity affects legibility: on a sign, contrasting intensities differentiate between the type and panel colors, as in any figure/field relationship. Hue selection usually
three primary colors, and the dashed one marks the secondary colors.
Color Values
CONCOUR
-7 SECTIONS f- REST ROOMS
The three colors of the top sign are of similar value and work well together as a color set. White type sits
comfortably
and legibly on
all three. The bottom set of three is not as successful. First, the overlay type does not read equally well on all three colors; second, the darker top band dominates the panel design.
f- EXIT
88
..
Contrast
-7
VALET MAIN E
These examples show the irnpact of color intensity on legibility and contrast. The most legible examples are those where there is more variation the intensity of the two colors between text and background. in
PARKING NTRANCE
affects a design's overall appropriateness for a given context-it function preferred is important choose colors that best represent will be able to fluidly manipulate results. matter, designers industry As a practical with lighting computer software
libraries
and sophisticated
color selection
software. colors
and context. A designer familiar with these color and achieve the must be conversant color standards, and present, test, and
for print, and for other media. Most are familiar with PMS numbers, It is also possible window to can creating lighter of CMYK color-spectrum (digitally
technology,
choose special spot colors. These color selections altered by tinting shades or tones) or by changing proportions
in order to identify,
specify exact colors for signage and other applications. The computer offers amazing ways to explore the riches such as instant access to color swatch of the spectrum,
89
..
COLOR SELECTION
How does a designer choose a single color when faced with all these choices? First, narrow down hue combinations important essential that are appropriate context. contrast for the architectural both a site: and for or environmental criteria: Next, consider two other and legibility, Generally signs
for successful
wayfinding.
must be highly visible to people approaching the lettering typographic and legibility. recommends and field must contrast treatment
the panels should be apparent from a distance, sufficiently the message to be read easily. Assuming of color combinations
The Americans
that there be a 70 percent contrast the designer needs to understand different materials and surfaces, the characteristics whether of designs, the designer moves to on site. glass, plastic, surface
_g
o u
real space, creating mockups and color studies to check the color's functionality Light conditions perception. site? Is it the brilliant have a major impact on color sunshine of the Southwest or the
metal, or recycled paper. All have specific color ranges, and often the richest color palette combines material and paint finishes in a distinctive computer, application way.
I
·iii cu
btl
Once colors have been selected or created on the it is necessary to specify them for actual to signage. One method is to find a match is to refer paint of PPG, paint-matchlng systems like Benjamin large all-purpose that are widely most
co
haze of an August day in New York casts quite different light than the sunshine on a clear, crisp day in San Francisco. Artificial are additional interior and nighttime conditions illumination conditions llght-source to consider. Again, colors will look and qualities, but
using the PMS color swatch book. Another to commercial companies available. commonly Moore and Sherwin- Williams, Matthews
.s
<;::
ctJ
btl
-c c >-
3':
research and testing in actual or equivalent is essential to assess how proposed work. Material selection because surfaces have different also because certain lighting
also comes into play, not only reflection conditions can damage the
used for signage. The colors in each of these by a unique number system There are also specialized Imron line, which offers paints
colored surfaces of sign panels. Harsh bright sunlight with strong UV rays can cause certain colors, like red and black, to fade more quickly. An internally sign looks very different glowing the day. Specifying about selecting surface: varieties color for fabrication purposes is not just to cover a paints or other substances panels, than when it is reflecting illuminated at night, with translucent light during
paint systems such as DuPont's for special outdoor applications. The designer must guarantee presented, problems, tested, and approved
the actual color that appears on final signs. To avoid any it is essential to get chips and color samples to ensure a perfect match. system's fabrication purposes. phase from the sign fabricator
materials
are often chosen for their own unique These days, with countless to choose from (see chapter 3.5),
These samples should then be archived to serve as color control during a wayfinding and, later, for maintenance
90
MATERIAL CONSIDERATIONS
Materials dictated specified for signage vary enormously and offer limitless color effects. ihe choices are usually integrity. Metals are and in white and
by the setting.
and wood have a fundamental among the most commonly metals, including stainless
their natural form fall into two broad families: steel, aluminum,
nickel; and yellow metals, such as brass and bronze. Finishing techniques aluminum Manmade materials for materials like anodizing broadens the color range even further. such as plastics offer unlimited
Painted wall in a medical center serves as area identification
Dramatically
illuminated
Inscribed lettering at a university Stainless steel and glass Petri dishes with colored plastic inserts for research center donor sign age
on a stone plaque
91
..
COLOR AS A WAYFINDING TOOL
Choosing the right colors for a wayfinding results from knowing find interesting, binations project how to balance art and science. or surprising color cornScience way·
Art is the creative spark that inspires the designer to comfortable, for memorable project. design solutions. For instance,
ensures that those colors will physically for a particular finding system often employs a cherished colors, whereas practicality color for hospitals sky's the limit-often and subways.
a university
that make good sense in Miami Beach probably and fast rules, and the best designers
seem right in New York City. In reality there are no hard break rules all system is a collaaway the time. Developing borative and interests, objective a complex wayfinding process. As it usually involves many players it is best to steer the conversation like red"-to With experience,
-0
from matters of personal taste-"we matters of color function. choices, explaining the designer at successful desired effect. What are tangible The most obvious,
learns how to work with clients to arrive why color choices and the
color coding, has advanced far floor. Today most color-coding areas within a space the organization wayfinding systems
beyond the Yellow Brick Road or those ineffective ways on the hospital strategies either define distinct
zones, such as the levels of a multistory colors, and symbols. how to navigate
parking garage, by using numbers, Other systems help people visualize larger or more complicated districts instance, or the buildings Downtown
spaces, such as urban in a large medical center. For pedestrian wayfinding the
Baltimore's
system uses Signs with colored panels to identify seven districts visitors identify of the downtown their location area. These signs reinforce the You Are Here quality of a given neighborhood.
92
Downtown Baltimore
These color-coded identification district panels mark
the seven areas of Downtown Baltimore. They are mounted adjacent to a main directional panel that guides people to destinations.
Color coding can also designate signage system developed Jersey airports different way, somewhat
function.
The
for the New York and New akin to highway signing. For
green signs Signal the way to ground transportation services like taxis, rental cars, and public transit; black fields mark airport or information. Color is not only a means to simplify perception users' to guide of a place and provide prompts purely utilitarian amenities, such as restrooms
them where they are going, but it can also breathe life into an otherwise digltal-reproductlon is ultimately Although daunting design. Today's surface methods and sophisticated best judgment. might seem and
up to each designer's
IIIII
93
COLOR AS IDENTITY
In addition immediate aware-ness understood to their usefulness associations for wayfinding, Signature colors can also create a brand or identity. colors create have
for people and help build brand Luxury retailers Tiffany, Hermes,
c: ·iii
ee
colors-turquoise, branding
<II
by imbuing them with their brand's cachet. Color often proves useful for wayfinding and retail designers brands or products, particularly environments, differentiate competitive companies. (National), consumers exploit color to and car- rental almost the
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arenas such as gas stations The latter has appropriated and blue (Thrifty). identify
red (Avis), yellow (Hertz), green Lined up side by side colors help A strong color choice can also help create a signature identity for a public institution. The signs at Wave Hill, a small botanic garden in New York City, use a strong olive green for the sign panels. Set against the stone piers of the entry, these green signs signal arrival and make a statement landscape The striking about place. Located amidst the lush system together of the gardens, the signs recede somewhat. green ties the wayfinding for visitors.
AVIS
Hertz
94
~National
"... 1 ....
.......,
Wayfinding
designers
employ color in four ways. For graphic systems, they may in tandem. The most a location or simply identifies
especially without
wayfinding.
color coding it would be nearly impossible lines, pedestrian graphically on maps and signage. a colorthat fits
it with one or more specific hues. In an existing program. corporate, and place, as of color, Colors can
often choose colors purely for their Experiencing people and enhances
qualities.
also subtly evoke a special sense oftime urban festivals. More technical
~
information
how people feel about colors and their emotional what draws their attention,
tiestqners need
to consider where a color will be used, what type of lighting It very dangerous precepts. about a specific cultural or ethnic based on acknowledged
As a part of my research, I show people samples of color families in order to gauge their reactions. drawing Simplistic conclusions, says that. Statements such as red says this or blue colors can range from making it
When people move to a new country or culture, they often adapt in the way they perceive color. Their sensibilities depend on socioeconomic factors, their educational level, and how recently their family immigrated. Twice a year I
pastels to dark tones. What I've learned is that people feel an sense of power when a color is darkened, shade of dark blue, whether seem more assertive and also more credible. The power of a it's used for signage from black,
meet with Italian, French, English, and Dutch citizens to discuss color trends. Although everyone comes from a different background, networking we're able to agree on a color forecast together, so there's a huge cultural as ifby and osmosis because everyone is using the web for research Design professionals strong color preferences the biggest problems to accomplish. important
or fashion, will bear more weight than a soft blue, gray blue, or mid-blue. People perceive navy blue differently and although black as the most powerful Popular reactions color of an. a sample chip people now something to the colors seem very close, they still regard to colors evolve, and brown is a perfect hear "earthy" or "dirty." Today
crossover.
also have to deal with clients with or aversions. The latter is one of means that the client what the design is trying
example. At one time if you showed someone of brown, you would inevitably we have what I call the Starbucks Phenomenon: refer to brown as "rich," "robust," "aromatic,"
I encounter-it
If you truly believe in your color choice for it becomes one of your most
do with chocolate or coffee. Years ago orange was a hard sell in this country because it was always considered fast-food color. Vogue magazine Porsche helicopter a downscale recently showed a black
with orange trim and a model with an around her, and Hermes has used
Leatrice Eiseman heads the Eiseman Center for Color Information and Training and Is executive director of the Pantone Color Institute.
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realizes his perceptions and experiences, and it is in a world of symbols that the average man lives. The symbol thus becomes a common language between artist and spectator.
PAUL RAND,
THOUGHTS ON DESIGN
In most cases the primary conveyors of wayfinding information are the words we place on signs to identify destinations or to describe the path to a place. However, symbols and maps are powerful graphic tools that support the work done by those words. Symbols communicate visually rather than verbally and to people who may not speak the native language of a place. While wayfinding symbols deliver information at a glance, maps are more complex visual images that tell stories about a place. Maps provide specific orientation diagrams to explain public places to visitors, describe the arrangement where things are located, and help people orient themselves. They are essential for the wayfinding toolbox, primarily because they can say so much so concisely.
LEARN ABOUT
of spaces, show
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States, symbols aid different distressed international English speakers, customers diverse populations
the globe to get health care at these great institutions can all decipher the language of these symbols.
of signs may be necessary to provide a few well-chosen pictorial representation the most and of images the unnecessary.
in such environments,
Symbols provide a shorthand icons for public bathrooms pervasive artistic public symbols. variations
of a place, a service, or an action. The man and woman are probably Regional, cultural,
where people gather. These symbols the verbal description communication. The set of fifty pictograms a leading professional United States Department become the standard purposes universal
for those icons, but the basic message is the same. For the purposes of this discussion, refers to these but refer iconic graphic devices. These are not to be confused with logos, which can often look like symbols instead to business entities where symbols are essential European train station, regularly pass through, the information to different locations cultures, or organizations. and effective. In a large
to act as a beacon. In either case they strengthen developed by the AlGA, for the (DOT) has
There are some classic examples of public places where people of many languages symbols help guide people to directing people In or
symbol family for wayfinding in 1981. Now nearly and escalators here and abroad, they
address everything
from restrooms
symbols
to everyone.
In a large teaching
_ ..... --1-~
AlGA/DOT symbols
The symbols
or pharmacy,
currency exchanges or a checked-baggage also includes some prohibitions the debut of the AlGA/DOT symbols,
like No Smoking.
several additional
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