by Wayne Hunt

The projects and processes of the exciting

design field of Environmental Graphics,
demonstrated in colorful photographs,
sketches, and technical drawings.

This educational book is for:

¢ Environmental Graphic Designers,
beginning and experienced
¢ Graphic Designers
_ Teachers
¢ Architects
e Landscape Architects
1 e Urban Designers
nnn
GRaPAIcs
EBROGESS WAYNE HUNT

=t)
ENVIRONMENTAL GRAPHICS: Projects and Process
© 2003 by Wayne Hunt and Harper Design International,
an imprint of HarperCollinsPublishers

Published by:
Harper Design International
an imprint of HarperCollinsPublishers
10 East 53rd Street
New York, NY 10022

ISBN 0-942604-90-3
Library of Congress Catalog Card Number 2002112932

Distributed throughout the world by:

Harper Collins International
10 East 53rd Street
New York, NY 10022
Fax: (212) 207-7654

Designed by Michele Perez

Art direction by Hunt Design Associates
Jacket design by Tzumin Wen
Principal photography by Jim Simmons
(Del Zoppo Simmons) and Wayne Hunt
Copyediting by Sherri Schottlaender
Printed in Hong Kong

All rights reserved. Copyright under International and

Pan-American Copyright Conventions. No part of this
book may be reproduced, stored in a retrieval system,
or transmitted in any form, or by any means, electronic,
mechanical, photocopying, recording, or otherwise,
without prior permission of the publisher.

While the publisher makes every effort possible to pub-

lish full and correct credits for each work included in this
volume, sometimes errors of omission or commission
may occur. For this we are most regretful, but hereby
must disclaim any liability.

All of this book is printed in four-color process; a few of

the designs reproduced here may appear to be slightly
different than their original reproduction.
ee Dedicated:to Carla, Holly, en and Kelly
ce AND MY EXTENDED FAMILY AT HUNT DESIGN ASSOCIATES
 Overview
Introduction 1
New Directions in Environmental Graphics 4

Materials and Techniques 189

Glossary: The Language of Environmental Graphic Design 212

Projects
Wayfinding Projects 9
Placemaking Projects 111
Interpretive Projects 161

Expert Essays
Jack Biesek on Educational Environments 24
Jeffry Corbin on Medical Environments 48

Virginia Gehshan and Jerome Cloud on Design Details 86

Ann Dudrow on Retail Environments 102

Jan Lorenc on Exhibit Design and Programming 154

Process
Designing in Human Scale 74

Human Factors in Perceiving the Environment 76

Scale and Design in Children’s Environments 78

Architectural Scale 80

Outdoor and Urban Scale 82

Vehicular Environments 84

Three-Dimensional Typography 94

Physical Composition 96

Balance and Visual Interest 98

Arrows 100
 INTRODUCTION
There are a lot of good books on graphic design. My Who is this book for?
own library is full of them. However, few interesting or | intend the information presented in this book for
truly valuable books have been published on one of anyone with a general interest in three-dimensional
the most exciting and relevant categories of graphic design, the built environment, or urban design, espe-
design—environmental graphics. That this engaging cially those who want to learn how graphic design
and fast-growing field is overlooked by most design applies to buildings, places, and spaces. My ideal
writers is curious given the sheer scale of public readers are traditional graphic designers, accom-
graphics and their ubiquitous presence in our daily plished in the principles of two-dimensional design,
lives. Good or bad, environmental graphics are all who want to expand their design horizons. They know
around us every day and everywhere, from the mall to the basics of typography, composition, color, symbols,
the museum, from the streetscape to the office com- and communication, but they have not applied these
plex, from the hospital to the airport. Signs, marquees, skills to the three-dimensional environment.
posted messages, billboards, exhibits, plaques, flags,
banners—graphic elements by the hundreds contront | want to also reach out to architects, urban designers,
us wherever we go, whether walking, driving, or trav- and landscape designers. They already know many of
eling on public transit. Even simple trips to the market, the design principles discussed, but they may not have
work, or school invite interaction with myriad signs. considered the relevance to two-dimensional design
media—and because as they are the primary collab-
A recent study conducted by my office, Hunt Design, orators of environmental graphics designers, an
for a theme park client revealed that their typical guest improved knowledge of how we think and work can
encountered and had to react to more than forty signs only help make for better-designed environments.
on the property before climbing aboard the first thrill
ride! And because each sign, no matter how humble, The content
is a work of typography and visual composition, some- This book includes illustrated pages on several elemen-
one—a graphic designer, perhaps—inadvertently or tal three-dimensional design principles, many of which
otherwise exercised the processes presented in this may seem obvious to the reader. However, | believe
book each and every time a sign was created. Signs that taking a fresh look at the basics, perhaps forgot-
and sign programs are inevitably works of graphic art, ten or routinely assumed, can be a good idea even for
and as such they merit study, discussion, and criticism. a seasoned environmental graphics professional. In
This book aims to further reinforce signage design, or order to show examples of the design process, includ-
environmental graphics, as it has become known, as a ing many examples of preliminary design concepts
recognized subdiscipline of the venerable and historic and sketches that precede final design decisions, | am
field of graphic design. illustrating the book mainly with projects from Hunt
Design. I've also included five topical expert essays by
six good friends and respected specialist practitioners
as well as a colorful summary of the materials and
techniques of environmental graphics.

| hope you enjoy the book and find it useful.

Wayne Hunt
THREE DIMENSIONS 1.10,
Environmental graphic design is different than “regular” graphic design
While environmental graphic design shares many 1 Physicality
principles with its two dimensional sibling, clear differ- EGD exists in real space. It is tangible and touch-
ences separate the two disciplines. Such fundamentals able, not virtual and merely implied. It has thickness
as proportion, contrast, figure/ground relationships, and dimension—a side view. An EGD element can
and basic composition underlie all graphic design. The cast a shadow; one can stand next to it or view it
use of color and application of typography comprise from different angles. EGD designs are fabricated,
fundamental knowledge of all graphics practitioners. not just printed or projected on a screen.

However, when “flat” media becomes dimensional, 9 Scale

new and additional principles and complexity emerge. The elements considered and designed in EGD often
The rules and conditions—and opportunities—are exist at human scale and larger. From people-sized
suddenly expanded. Here are ten ways environmental map kiosks to sign pylons of eighty feet or more,
graphic design (EGD) differs from graphic design (GD).
these EGD designs demand a different process of
creative development—the understanding and use
of scale, both human and architectural.

3 Context
The designs and results of EGD have to coexist with
an existing setting or context. Signs are inevitably
next to something else; a landscape background
exists; the sun is shining in a set direction; the archi-
tect has specified certain materials for the building.
While designers of GD may consider such quasi-
contextual factors as demographics and brand
positioning, they don't need to consider the color
of the reader's desk when designing a catalog.

4 complexity
The projects, processes, and elements of EGD can be
very complex. Finished projects are often made up
of hundreds of individually designed but integrated
pieces. One assignment can require knowledge of
multiple materials, difficult fabrication techniques,
and even engineering—all in addition to the con-
ventional skills of the graphic designer. Also, more
than just production or camera-ready art is called
for: detailed fabrication and installation drawings,
bid sets, and technical specifications are needed to
implement the work.
=) Viewed in motion § Teamwork
EGD is frequently viewed, understood, and used A conventional graphic design is often the product
while in motion. The human factors of perception of a single individual; one designer can design a
for drivers and active pedestrians place different logo, brochure, or a package and all that goes
demands on the EGD practitioner. Design solutions with it. EGD, on the other hand, is not only usually
need to be effective from multiple angles and created by a team made up of signage program-
viewed and understood from great distance as mers, designers, and drafting technicians, but it is
well as close up. often co-designed with an architect, landscape
architect, lighting designer, and other specialists
(@ Durability in a multidisciplined process.
Graphics printed on paper not only usually have
time-limited content, but they are prepared on an © Production time
ephemeral medium—paper. EGD, conversely, is Graphic design projects take from a few weeks to a
usually designed and executed to last for years. few months from start to completion. EGD assign-
Durable media, from metals to stone, withstand ments, conversely, can require years to design and
the test of time; Roman inscriptions from 200 B.c. implement. The creative process is often parallel to
are still with us today. architecture in sequence and pace.
GZ
] The environment 1) Part of something bigger SUN Le
SHADED AREA
Light conditions change during the day; moisture, The biggest single difference between these two
salt air, and sunlight have physical effects; colors design fields is that the results of EGD are sel-
look different in the shade than in bright sun. dom ends in themselves. EGD is inevitably part
Environmental graphic design must, in fact, of something larger—a building, an airport, an
engage and react to the environment. entire theme park, or even a city. As complex as
the work is, EGD is but one element in a
designed, coordinated place.
NEW DIRECTIONS
Even though man first decorated caves with colorful event. These were the first sign programs—informal
graphics thousands of years ago, historically speaking systems of diverse sign types unified by common col-
the design discipline of environmental graphics is a ors, typography, materials, and design details. Early
new field—so new that its traditions and standards examples of such coordinated sign programs are the
of practice are only now emerging. Unlike poster seminal designs for the Fashion Island shopping cen-
design or packaging design, each with more than 150 ter in California by design pioneer John Follis, and on
years of refinements and professional development, the East Coast, the exuberant signage designed for
environmental graphics as a definable discipline is corporate buildings by New Yorker Rudy de Harak.
still in its adolescence.
At the same time, without any fanfare, talented
Now, early in the fourth decade of self-recognition, designers working at W.E.D. Enterprises (later known
environmental graphic design is still evolving and as Walt Disney Imagineering) were creating highly
being redefined continually by design practitioners as detailed, beautifully crafted sign “packages” for
they respond to new technologies and changing Disney rides and theme parks. And like the consulting
opportunities in the marketplace. design offices, they developed methods for organiz-
ing many sign types, managing sign wording, an
Architectural signing: The beginning documenting sign locations.
As graphic design gradually separated itself from the
umbrella of the advertising business and became a This early formalization came to be known as archi-
defined field in the middle of the twentieth century, the tectural signing. Soon designers around the U.S.
full-service design firm was born. With offerings such were offering the service or even shaping entire
as visual identity, package design, poster design, corpo- practices around the programming and designing of
rate communications, and book design, a professional signing systems. Major real estate developments,
model emerged, practiced by thousands of large and hospitals, airports, and theme parks made up most
small graphic design firms during the 1950s, 1960s and of the assignments.
early 1970s.
As projects proliferated, design standards and profes-
Among the services provided by graphics firms was sionalism improved, especially when architectural
the infrequent sign design assignment—a logo sign firms began to budget for signing design services just
here, a storefront there; occasionally, a client needed as they did for landscape design. However, the focus
a set of signs for a real estate development or public of the projects and the design solutions was on func-
tion and blending into the architecture. Architects and lead, the image-setter of a built environment. And it
corporations such as ARCO and IBM drove the designs. wasn’t expensive: even complex graphic media cost
The best signing design work reflected the modernist much less than conventional image-oriented architec-
understatement popular throughout the era's contem- tural finishes. The descriptive term “environmental
porary architecture and corporate culture. graphics,” coined years earlier, now made real sense
and gained acceptance by designer and client alike.
Placemaking: The second generation
In the early eighties a parallel but separate trend This designing of the environment, whether large or
evolved: graphics went beyond the display of directions small, retail or civic, was actually placemaking—a
and building identification. Graphic design came to life process heretofore limited to architects and urban
to enhance and even define public spaces in innovative designers. Now graphic designers were at the table,
projects. Colorful signs, festive banners, and thematic participating in the design and definition of public space.
graphics were designed and deployed to create interest,
differentiation, and even entertainment in otherwise Interpretive design: The third aspect
predictable environments. First seen as decorative or Exhibition design is not a new discipline. Museum
artistic directional signage in breakthrough shopping exhibits and international expositions have been an
malls, this image-driven approach quickly evolved into important part of our culture since the nineteenth
arresting floor-to-ceiling and wall-to-wall graphics. century, but exhibit design had traditionally been
Influential designers Deborah Sussman, RTKL’s Ann practiced primarily by formal exhibition design firms.
Dudrow, and Denver’s Communication Arts, working Although graphic design was part of most exhibits,
with progressive retail developers such as the Rouse it played a secondary role.
Company, led the exciting trend.
As placemaking with graphics spread through retail,
Then, in 1984 the diverse and widespread venues of sports, entertainment, and civic environments, the
the Los Angeles Olympics were unified and defined museum world took notice. Museums had begun a
solely with colorful large-scale site graphics, generating struggle to keep visitors coming back, especially
additional momentum for environmental graphics. The young visitors more attracted to active contemporary
potential power for public spaces of all kinds was diversions such as malls and video games. Progressive
revealed. Graphics could now transform existing institutions such as science centers, and new museums
places and define districts and zones within previ- such as the Holocaust Museum offered total-immer-
ously neutral environments. Graphics could be the sion environments where media of all kinds combined
 to provide compelling guest experiences. Not the Fission and fusion
least of these environmental media was graphics, The three faces of environmental graphic design—
fresh from success in energizing retail and sports wayfinding, placemaking, and_interpretive design—now
venues. Graphic designers had moved up the exhibit make up the splitpersonality of this eclectic field.
design food chain, taking a lead role in designing Thirty-plus years of professional practice, innovation,
interpretive environments. and opportunity have resulted in a kind of professional
fission, the splitting of a discipline into new forms.
Now known as interpretive design, this rediscovered Now, to use another physics term, a sort of fusion is
exhibit design discipline began to appear on the occurring. But this reuniting of design disciplines is not
services rosters of environmental graphics firms. More driven as much by the designers as by ever more com-
young designers found total environment design to plex and interesting projects and their demanding
be interesting; their passion for intelligent and creative clients. Formerly distinct building types with definable
typography could be expressed in large doses in purposes and users are beginning to overlap in pro-
learning places. gramming and function: shopping centers look more
like theme parks, hospitals have themes, and airports
Another trend in the museum business also piqued are acting like shopping centers.
the interest of designers: the need to offer temporary
exhibits created with funding shared by multiple insti- What's next? No one knows; however, environmental
tutions. These movable displays are, by definition, graphics will certainly become even more interesting
lightweight and more dependent on engaging graph- and relevant to the built environment.
ics than more permanent exhibits. Entertainment
design firms—creative powerhouses that previously
concentrated on theme park and attraction design—
also joined forces with museums. They had a high
respect for the impact graphic design can have in
environment design and often brought with them
their preferred graphics consultants.

D
i
RECT Oe
I
4N
mi A

A
Se,
&:
Environmental Graphic Design
evolution of a design discipline

1974-1984 Design strategy and media

to direct, inform, and identify
in public environments
: > transportation
architectural Ereaitnicarc
signing > corporate
>education
entertainment

1985-1994
Design strategy and
media to create and
Design strategy and lee entire ae
media to direct, and environments
inform, and identify in Hee shopping malls
public environments wayfinding —_placemaking theme parks
> transportation design showrooms
>health care events
> corporate >stores
> education
> entertainment

= Design strategy and media

EES now to educate, interpret, inspire,
and persuade
Bee > museums
> exhibits
interpretive
> trade shows
Design strategy and design
> displays
media to direct,
inform, and identify in
public environments Design strategy and media
wayfinding felteleciaateaiarem to create and shape entire
> transportation design places and environments
>health care + shopping malls
picolporat “a
+>theme parks
een +> showrooms
> entertainment a
sevents
[—)
>stores

[>]

Ueda

Gm

[=
WAYFINDING PROJECTS
 5) AB&C Gates
B Baggage Claim
& Ground Transportation
AB&C Gates
DB Baggage Claim
& Ground Transportation

Major identification signs can often be

designed to play a second role as popular
backdrops for visitor photos.

A new terminal gets the Las Vegas treatment

When McCarran International, now the seventh- ics consultant—one of more than fifteen specialty
largest airport in the U.S., planned a new freestanding subconsultants on the design team!
terminal of fifty-two gates, airport management wanted
to create a state-of-the-art, beautifully designed, and Planning, designing, and building an all-new aviation
efficient building. They also desired to communicate to facility is one of the most complex development pro-
travelers that they had arrived in Las Vegas. The result- jects imaginable. The required integration of systems
*” ing structure is a work of world-class architecture with and components, both on the land side and air side,
equally good design details, including fine art, lighting, has made airport design a specialty. Also, the execu-
=
and of course, graphics. Veteran Las Vegas architect tion of a signage and graphics program is doubly
& Tate Snyder Kimsey designed the new terminal and in complicated in air-transport environments—coordi-
turn selected Hunt Design as their signage and graph- nation with many disciplines well beyond landscape
tad

aS

a.
 Gates D30-D43
@ Restrooms
Gate signs “stand off” canted
columns by means of the
yellow bracket.

A floating ring of letters above the

information counter.

Typical hanging directional sign.

Plan

wa
9'-0" —

3-11" i)

itd

—_

Directory map for the first two S

legs of the D Gates terminal.
[a=

Elevation Side i-*)

_ Architectural models help to vissuallIZ€ the space

and lighting is required. Specialties such as security, Respecting and complementing the architecture is
public information, and display advertising play critical also important, especially in a major new air termi-
roles and need careful interaction with graphics. In nal. The architect was concerned that the many signs
addition, Federal Aviation Administration requirements needed for successful wayfinding might diminish the
and the often conflicting needs of airline tenants add grand and dramatic building design—many airports
even more complexity to the design process. have become cluttered with mismatched signs.

Wayfinding in airports is critical—passengers, already McCarran International's designs reflect a close

under some stress just getting to the airport, must be working relationship between the graphics designers
processed through ticketing, check-in, and security, and and the architect, and they borrow colors and details
then must easily find their departure gates. A system of from the building's high-tech design palette. Sign
quick-reading signs with clear, understandable wording brackets, supports, and other hardware match mate-
is paramount. And unlike those in many built environ- rials in the building.
ments, airport signs need to be read and reacted to as
travelers are in motion.

The graphics team used models

prepared by the architect to
establish sign sizes and typical
locations.

Architect's site plan shows the

spatial relationships of the new
D Gates to the existing terminal.

McCARRAN INTERNATIONAL AIRPORT TATE &8 SNYDER a |

SATELLITE D PROJECT
 Early sketches of the retail/gaming
area, McCarran Air Strip.

Computer rendering shows the

presence of signage elements
within the architectural space

‘tg Goes DAT-D34

BhRestrooms

ic)

i~)

tat
=

i—]

fear]

a
 mela coOUN TY

+12.5 degrees

\
To convey the Las Vegas theme, the designers estab-
lished signage guidelines for food tenants and slot
machine areas, calling for large marquee-like logo
“ signs; each tenant was required to erect a unique
identity sign perpendicular to its storefront. The large
illuminated blade signs that resulted define the food
areas as special spaces and create a colorful counter-
point to the more disciplined wayfinding signs.

And to let visitors know they've really arrived in Las

Vegas, the design team added a bright neon gateway
above the escalators which features the famous local
salutation, “Welcome to Las Vegas.”

J)

[=

eS

Bela

ee

es

e.
 Flat cut out aluminum copy with exposed
Sign logo for children’s area.
centerline neon on face.

‘_ aluminum kidney shaped panel. Logo and banner for the Air Strip

Neon Air Strip logo signs were

Fabricated aluminum prismatic stars
integrated into the flight
information directories

eae. facia

— Fabricated aluminum fins with

centerline neon.
Fabricated aluminum open face channel letters
with exposed outline neon inside letter.

Fabricated aluminum internally illuminated

cabinet with routed out letters and push thru acrylic.
c)

ia)

aa)

ca)

fam

i=
 ae linking light supports AirStrip theme and
wa adds animation to-an otherwise static sign

Neon Air Strip logo is a nice contrast with the1

disciplined sign structure and helps quee” the
retail/gaming area of the terminal
SN ye fo Although complex, the logo comes
So os to life in three dimensions.

Freestanding letters
add interest.

Z ) ; The FID screens were

a originally designed to be
1 example of one angled down—a design
en the architect le loss for the users.

i Central column design keeps | a

critical floor space clear ) hI

*”

iid
=

fe)

GS

Bo
 PROJECT OVERVIEW
Integrated signage and graphics program
for the new fifty-two gate terminal.

PROJECT FACTS
Client:
McCarran International Airport
Architect:
Tate Snyder Kimsey
Graphic Design Team:
Hunt Design:
Christina Allen, Wayne Hunt,
Dinnis Lee, Sharrie Lee, John Temple
Sign Company:
AHR Ampersand
Schedule:
Three years
Formed in neon, a real Photography:
Las Vegas-style sign Jim Simmons (Del Zoppo Simmons)

This view shows the integration MATERIALS & TECHNIQUES

of all categories of si gnage Aluminum sign cabinets with pushthrough
al q, letters, exposed neon, aluminum open-face
and gaming. - channel letters; inset electronic message
units; ceramic tiles with glazed graphics.

UNIQUE ASPECTS
The program features two personalities:
first, a function-driven wayfinding system
well matched to the modernist architec-
ture, and second, colorful “Las Vegas”
graphics elements that establish a strong
sense of place.

4 Gates DI-Dr4 x
Restrooms

S§
FA

PR
CT
 WICHITA dovt0%m wayrinaing

A colorful graphics program helps revitalize a classic downtown

As a classic Midwestern city, Wichita was laid out in In addition to circulation difficulties, the two rivers
the nineteenth century in a neat grid of equal-sized had another profound effect—the ad hoc creation of
blocks. However, two winding rivers, the Arkansas and public districts and neighborhoods. Development on
the Little Arkansas, curve through the city, converge, one side of the river differed from that on the other:
and divide the downtown, creating substantial circula- a civic center evolved on the river's east side, bars
tion challenges for drivers and walkers. Many streets and hotels on the west side. Later, arts-oriented des-
are discontinuous, and destinations can be seen or tinations emerged along the river, and the original
sensed but not reached by intuitive routes. Bridges Wichita city center was preserved as an entertain-
form primary links between areas, but many destina- ment-based Old Town.
tions are hard to find. This situation is difficult for local
residents, but daunting for visitors. To help vehicular Compounding the situation, during the last forty
circulation, many mismatched and inconsistent signs years Wichita, like many cities in postwar America,
had been added over the years, creating a condition grew away from its downtown; the sprawling sub-
of sign clutter while not substantially improving the urbs attracted most of the new development and
18 understanding of the downtown. infrastructure. Downtown Wichita languished. New
construction was rare, activity slowed, and people
forgot about downtown in the state’s largest city.

River Center Government Center

Looking up at one of the five gateway

st vSs shows contrast between

ROjsyeE
CT
S
But as in countless other cities with similar decaying
downtowns, city government, downtown businesses,
and the citizens of Wichita came to the rescue. A new
riverfront was planned and built, new development
occurred, and the city began to rediscover downtown.
Major streets were improved, landscaping was
upgraded, and with a surprising commitment to the
arts, the downtown emerged as a center for public
art. All that was missing was a way to help visitors
(and locals) find their way around and discover the
dozens of interesting downtown destinations.

The city formed a wayfinding committee of interested

downtown businesspeople and arts leaders. Hunt
Design was chosen to plan, and as a first step, design
a comprehensive wayfinding program for the central
city area. The design firm conducted a brainstorming
Each district greets visitors with a
colorful twenty-foot-high gateway.

The sign system was

designed for single- and
double-pane! signs. Each
district has a unique color
to further show the
downtown diversity.

Old Town : Museums on the River

Playful, whimsical, COLORFUL...

RO
 S 5 EI ie} 8 ; | 3

é
F

4
i BINID 1942

Aah ieee M.
k

s A Ss oR

S|
ee :
re
a)
gs
=z 3 3
iv IMM

i
(50.3.1) Kk
= 3

This sign-location plan is presented in : é :

ry tt (70.4.1)
driver's” format for easy5 message- SECOND ST.
= Pe
:
checking by the client. 1 - (
< i

20 ntel
S |

DOUGLAS AVENUE

Historic ;
SS Cs
on coveninen
Center
Mba
Courthouse
Sint | ici

BURTON

(F
Old Town

Sia Ser |g
mA

bi 7
MENTOR

wa
fe
[=

&

abd Major civic buildings are signed Lore

KELLOGG (US 54)

with vertical monument signs.

ee

i—}

eS

( 30.12 )
 A scale model showed that
the original gateway design
was too small.

RiverCente

Locatl on,
session with the committee to help further assess the
issues and define the goals of the proposed program.
This meeting not only helped to identify more than
fifty deserving downtown destinations, but it also
clearly showed the need to identify and present four
distinct downtown districts. This multidistrict approach
guided the entire process from beginning to end and
led the design team to create a set of distinctive dis-
trict icons and a color-coding system for the signs.

Preparing the final project

“punch list” for vendor
completion

Crses)
Effective wa GNAG E S
RO
 Ln _ The district icons add complexity, but their small
eS size minimizes conflict with the messages.
These signs are very colorful and really
stand out from the landscape.

Italic typography, especially serif fonts, is seldom

used on road signs. Here the client group wanted
to break the rules. Note that the program's direc-
tional signs use a bold sans serif font.

Museums _
~on THE River

The overall presentation took a decora-

tive turn but is not inappropriate for
the austere background conditions

S are a welcome complement

to the bouquet of colors

Yellow works well as the

consistent arrow color.
 PROJECT OVERVIEW
A four-district downtown identity and
wayfinding program featuring more than
gateway looks right.
sixty directional signs and five artful
district gateways.
Urban wayfinding programs can take a variety of
forms, from straightforward and function-driven to PROJECT FACTS
colorful and even flamboyant. After the designers Client:
presented a wide range of conceptual sketches, it City of Wichita
was clear that Wichita’s wayfinding committee Graphic Design Team:
wanted a colorful, image-oriented approach. The Hunt Design:
Christina Allen, Jennifer Bressler,
designers responded with a rich program of colors
Wayne Hunt, Dinnis Lee
and forms, including fanciful sculptural gateways for Sign Company:
each district. Heath
Schedule:
Twenty-four months
Implementation Budget:
$400,000

MATERIALS & TECHNIQUES

Aluminum sign panels on steel poles;
aluminum sign cabinets with steel “art”
structures; monolithic aluminum sign
cabinets with applied graphics.

UNIQUE ASPECTS
Dramatic color and strong signage
presence were desired from the city
from the very beginning of the project.

The system included blade signs

for building facade applications.
FA

The success of the program

depends on its application to all
sign categories. Each district has
color-coded parking signs with
district icons

PR
 i i

> ia =
Ss

a=
oie UCATIONAL ENVIRONMENTS
In this modern world, colleges and universities might University campuses are by nature vast and complex
do well to rethink how they present themselves to environments with an assortment of roads, parking
their students, visitors, and the outside world. Too lots, footpaths, and buildings. These structures and
often campuses are layered with signs and graphics, open spaces typically develop-over many decades.
yet it still can be difficult to find one’s destination. Finding a destination in this kind of environment can
Campuses that want to improve their stature and often be a daunting challenge, especially if you are a
their curbside appeal should consider improved first-time visitor. A smart signage system on a uni-
wayfinding and signage as a means to revitalize versity campus provides a gracious and seamless
campus environments and create positive first welcome experience as you transition from driving
impressions. Successful campuses understand that or public transportation to parking, to walking, and
they need to be engaging, friendly, and accessible. ultimately to arriving at your destination.
The campus of the future will embrace signage as a
communications and information delivery system, as Working with campus stakeholders is also an integral
well as an architectural building block that enhances part of the equation. In a unique environment such as
the environment, provides guidance, and contributes a university, it is important to understand the approval
to a sense of place. process. You'll want to know who will be reviewing
your ideas and how decisions will be made. Planning
Thomas A. Gaines, in The Campus as a Work of Art, presentations that will connect with twenty people is
said, “Education is an endeavor that is most sensitive quite different than meeting one-on-one with the
to ambience; students respond all their lives to mem- campus architect. In an academic environment, consen-
ories of the place that nourished their intellectual sus-building usually is essential and may require an
growth.” A leading authority on campus settings, Mr. ongoing, thoughtful approach, with the stakeholders
Gaines has studied many campus environments, and participating or observing the process.
his assertion succinctly summarizes the feelings of
students. Successful campuses that use signage as an When possible, work directly with the people who have
information tool will efficiently connect their visitors a vested interest in the campus and ask questions of
with arterial roads that lead to the campus, identify people who will actually be using the system, including
convenient parking, and provide easy-to-understand those responsible for campus upkeep. Working through
information throughout the entire facility. These other professionals—such as a consulting architect or
schools understand that seamless wayfinding pro- engineering firm—may limit your ability to connect
vides an experience for the first-time visitor which is with actual decision makers and may complicate the
compellingly simple. In fact, when signage is done communications process. Unless the project architect is
well it is nearly invisible—it recedes nicely into the willing to fully integrate a comprehensive sign program
background. It is only when signage is badly done into the project, it is usually better to work directly
that it sticks out like a sore thumb. This creates an with the campus as your client.
irony for designers: when we do a good job nobody
notices, but when signs are poorly placed or worded Signage offers an opportunity to provide two powerful
The campus map expressed improperly, many people notice (and complain). communication tools: information that helps orient
in porcelain enamel on steel. people to the environment, and graphic design that
enhances the environment by providing attractive and
trustworthy messaging. Wayfinding and signage can

Xerox Copies

136 050 230

Seminar Room STUDIO 8
 be major players in campus life by providing necessary
guidance through maps, directional signs, disabled-
access information, and identifying devices, making a
campus logical and easy to navigate. Wayfinding
JACK BIESEK heads Biesek Design, a
graphics make a powerful first impression. Effective,
functional, and practical, well-planned signage dra- California design consultancy noted

matically improves the campus environment. for their environmental graphic

design expertise as well as the abil-
ity to manage large-scale projects.
The group specializes in wayfinding
and sign system master planning for
colleges, universities, and public
UCLA CAMPUS spaces. Jack has more than twenty-
At UCLA, with nearly five hundred acres of campus,
five years’ experience working with a
we approach wayfinding as a work of art. Whether
diverse range of clientele, including
we are carving letters in limestone, gold-leafing
world-renowned architects as well as
inscriptions, or casting letters in bronze, all signage
Chris Stinehour hand-carves
follows a singular theme and uses a unique typeface educational and institutional clients.
beautiful letters in UCLA
Gothic typestyle. (UCLA Gothic) that we developed.
Mr. Biesek lectures about technology,

In 1993 we began developing campus wayfinding design business practices, and a

Polished stainless steel
standards in collaboration with the campus architects, broad range of issues related to the
letters set an elegant tone.
facility managers, and the Chancellor's Office on field of wayfinding. He has served
Accessibility. We started with a visual audit of the as president of the Society for
campus to evaluate the “look and feel” of the envi- Environmental Graphic Design (SEGD)
ronment to help integrate new signage into the archi- and received the SEGD Angel Award
tectural style and design vernacular. Included were for personal commitment and contri-
vehicular and pedestrian wayfinding, architectural bution to the direction and growth of
signage, sign nomenclature, directory maps, an origi-
the Society. The firm has received
nal typeface used exclusively for signage, and a dis-
many awards for environmental
tinctive color scheme of statuary bronze, soft white,
graphic design excellence. Examples
and wrought-iron black. To ensure ongoing correct
implementation of future signage, we prepared the of their enthusiastic problem-solving

UCLA Campus Sign Guidelines. approaches have appeared in several

books and magazines.

Although this profile is centered on

Jack's personal vision, the firm's suc-
cess is a collaborative effort that
includes the expertise of Jack's wife
Triangular granite monolith
features aluminum letters and business partner, Susan Mackenzie
and-etched stainless steel. Biesek, and the talented designers
who have helped shape the firm,
including Gerry Stamm, Julie Frankel,
S
E
AY
WILSHIRE and Karilyn Taylor—over the last
CENTER twenty years they have established

a.singular themselves as industry leaders. It is

this collective group, along with Jack's
vision, which gives Biesek Design a
>
ts dynamic perspective and garners the
RE
respect of the design community.

Eva
8.
TPE
 Reading Rotunda
Orientation Room
Terrace Room

» Good Sign Th:

MAIN FLOOR
Ci ation
Reference

Computer
Research Room

Twenty years ago, conservative theorists James Wilson The “Good Sign Theory,” as put forward by Biesek FIRST FLOOR,
Periodicals
and George Kelling published an article in the Atlantic Design, is the opposite of the broken window theory. Microforms
Monthly introducing a new crime-fighting premise When signage is well thought-out and carefully Typing Room

known as the “broken window theory.” The theory planned, it not only communicates on many levels,
states, “If the first broken window in a building is not but it also perpetuates interest in adding only well-
repaired, then people who like breaking windows will designed signs. As landscape elements, as decorative
assume that no one cares about the building and more components that enhance architecture, and as graphic
windows will be broken. Soon the building will have no design statements, signs are powerful tools that add
windows.” The theory demonstrates that vandalism is a value to the campus. Positive impressions of a cam-
result of lack of upkeep as well as lax police efforts, pus come to life with good signs. A feeling develops
and that stricter law enforcement and good house- that suggests that behind these good graphics are
keeping promote safer communities. thoughtful people creating order and overseeing the
well-being of a valued place.
Apply this concept to college campuses and you trigger
a topic that few campus officials want to discuss— Controlling the environment with signage is not
controlling and managing campus signage. Like a rocket science. It requires some systematic thinking
headache you just don’t want to admit you have, and an effort to make order out of chaos. The goal is
signage has a blight factor that is similar to the broken fairly simple: to provide just enough accurate infor-
windows muddle. Hastily prepared signboards and mation to welcome a first-time visitor with dignity,
quick-printed paper signs with out-of-date messages, grace, and style. Don’t overdo it, use restraint when
attached randomly to walls and windows, represent necessary, keep it simple and clean. Using the theory,
26
the “broken window theory of wayfinding”; they are simple diligence—removing obsolete and temporary
evidence that the environmental communication sys- signs—is a simple way of improving a campus which
tem has broken down and needs repair. As a result of can be accomplished in a matter of days. Leaving old
lax policing efforts, this ubiquitous degradation of the signs in place long after they are needed implies a
environment is a problem that many campuses face lack of care by those who run the institution. Good
today. Not all are out of control, but the majority of signs with thoughtful messaging, strategically placed
school environments are certainly showing the strain. and scaled for legibility and easy comprehension, are Signage design complements
Fortunately, there is hope for campuses seeking to not only the hallmarks of wayfinding and of a profes- elegant architecture.
clean up their act: the remedy is diligence. sionally developed architectural signage system, but
also of an enlightened administration. Parking bollard features
internal lighting.

Dimensional bronze letters.

>

cs

wa

(oie)

re)

Rt
PE
ER
 H NOTE: Concrete footings and steel
+ reinforcing shown are
} Actual size and configutation shall be
engineered by the Contractor.

PASADENA CITY COLLEGE

With a student population of 25,000 students, PCC is
one of California's largest community colleges. Over
a sophisticated. look for the years we have built a working relationship with
the college which has allowed us to create a signage
master plan by the simplest means possible: on a proj-
ect-by-project basis. This economical yet far-reaching
SIGNAGE approach began with our very first assignment, a
sign system for the architectural crown jewel of the
campus—the new Shatford Library, designed by
Gruen Architects. Our wayfinding program was
Library directory sign is highly successful and was deemed appropriate for
understated but effective. campus-wide applications.

Sketches for decorative Today, with more than twenty major projects com-
concrete details. pleted, we've created a sophisticated look for campus
signage and in the process established master plan
guidelines for nearly every aspect of campus wayfind-
ing, including vehicular, parking, pedestrian, shuttle
system, architectural signage, and donor recognition.

A major electronic sign

greets drivers.

Bronze logo and shield

set in terrazzo floor.

Y
A
S
E

ee aa |

103A
Jessie Gomez
‘Student Placement
Interviewer

E
P
E
RT
 EChoeS
oforig 4

e e e e e

DOHENY MEMORIAL LIBRARY

Biesek Design created a comprehensive wayfinding Interior signs feature bronze finishes with hand-rubbed
and signage program for the Edward L. Doheny Jr. patinas. Sign backing panels were made from high-tech
Memorial Library at the University of Southern gypsum (by Formglass), then bonded with a metallic
California. The work included planning, design, con- bronze powder that wears and ages like bronze but
struction documents, and contract administration. costs far less than traditional cast metal. The Biesek
A sign guidelines binder with project signage and team had cast-bronze samples made and presented
templates for changeable signs was included, as well them alongside the bonded bronze, and without prej-
as digital versions on CD-ROM. Reordering signs or udice the client picked the bonded bronze—when we
changing sign inserts is as simple as opening a sign explained that they just saved thousands of dollars,
template, changing text, and printing it out on a the material got a quick approval.
laser printer.

Utilizing bonded bronze, antique brass, and low-glare

acrylic, the wayfinding and signage program echoes
the original materials utilized in this classic 1932
Mediterranean and Romanesque architectural gem.
The 167,000-square-foot facility's signage program
included a complex wayfinding program for five-story
perimeter floors and seven stories of book stacks in
the center of the building.

Se han eh Ne
and moldings.

Cast bronze sign (circa 1930)

EXPERT
 DOHENY MEMORIAL DELIVERY
LIBRARY HOURS ENTRANCE
M-Th 7:30am - 9:00pm.
Fri 7:30am - 4:45pm i M-Th 0:00am - 0:00pm
Sat 9:00am - 1:00pm. i Fri 0:00am - 0:00pm
Sun Closed Sat 0:00am - 0:00pm
TTL
Closed

For information about any of the library's

services please call 000-000-0000
For information about any of the library's
secvices please call 000-000-0000
For information about any of the library's
For information about any of the library's services please call 000-000-0000
services please call 213-S55-SS5S

SeooogE
TT
ATLL.

oe
aaaDOOOO00

Bonded bronze signs:

new technology, old look.

Directory is bronze and acrylic

but features a paper insert.

BCTORY

Y
A
S
E

ca
T
ER
 ZION NATIONAL PARK
In collaboration with the National Park Service, Biesek
Design creates signage master plans that include a
broad range of planning, design,.and coordination.
Our projects have included the Franklin Delano
Roosevelt Memorial in Washington, D.C.; Carlsbad
Caverns; Lake Mead; and Zion National Park, our
largest project to date. As Zion entered the twenty-
first century, vehicular traffic was shifted to a tram
and shuttle system to accommodate the 2,500,000
yearly visitors. Biesek Design provided services for a
wide range of transportation signage, wayfinding
graphics, park directories, trailhead maps, and site-
specific interpretive panels. The work included road-
way signing, shuttle and tram information graphics,
vehicular parking control, a sign system for the Zion
Visitor Center, as well as maps and graphics through-
out the park. Starting in the town of Springdale, Utah,
the sign system leads guests to the park entrance, to
the shuttle station, and throughout Zion National Park.

In addition to wayfinding signage, the project

included more than thirty interpretive displays that
teach visitors about the unique features of the area:
history, geology, flora, and fauna. High-fidelity
porcelain signs with Corten steel posts were used
extensively. Some initial concepts were reminiscent
of “lodge architecture,” prevalent in many of the
national parks. The park staff contributed to the sign
planning and design selection process, and they
were pleased that the wayfinding elements helped
Don’t Be Next! Fish Stories establish a parkwide sense of unity and authority
without being overly decorative. Signage elements
utilize venerable and durable materials such as
bronze, porcelain enamel on steel, weatherproof
steel, and kiln-dried wood. In addition to the several
hundred signs added to the park, we helped identify
and remove more than one hundred obsolete signs.

Y
A
S
ES

RT
BE
EK
 QS
V4
L ALL /ae EW,
e/a ‘

To Temp
of Sinawe

ENTRANCE FEES: STATION CLOSED

¢ SHUTTLE
ROUTE
 Wayfinding for the world’s largest casino
When the mammoth MGM Grand opened in the changes came, finally, all new wayfinding. Hunt
early 1990s, it also opened to mammoth wayfinding Design won the project in a competitive proposal
problems. Few customers at the elegant casino resort process, and the biggest assignment in the firm’s
could find their way around the 300,000-square-foot history began.
public spaces or the 100-acre site. Featuring more
than five thousand hotel rooms, the biggest gaming Interior wayfinding at the resort
areas anywhere, fourteen restaurants, two shopping Tackling the casino first, Hunt's team learned that
malls, assorted other stores, and ancillary rooms, the there were more than forty named destinations to be
sprawling facility seemed to defy understanding. To organized and displayed on directional signs—more
help blunt the criticism of lost guests, soon all visitors than triple that of a typical major hotel. And in a
entering the main lobby were automatically handed facility this large, there was a desire from each area
maps of the property by casino staff. manager to display as many destinations as possible
on each sign; stimulating foot traffic to the far
Fast-forward five years: a massive facility improve- reaches of the property was important. On peak
ment and expansion program was underway, which Saturdays, pedestrian traffic crossing the bridge
included a new conference center, themed shopping between the neighboring New York New York casino
areas, a five-pool swimming complex, a state-of-the- and MGM was said to total 50,000 visitors! The
art salon and spa, and a doubling of the already MGM Grand needed an effective and comprehensive
expansive parking garage. With these fundamental approach to message-organizing and sign design.

20928211 &10-600-0¢1

< 109alll
Vv
Aqqo} jeanay *g ANoL yepng pupi9 vs CIPNis
SUIOOY J9MO] pjniowy 3j}09 CIPNIsS BJD) JSQuOjUIDY
s,Aqsins a4jDaYyL POOMAI/O}j
2a6p> oulsp)

2076 2\ Race & Sports Book Studio Walk

107il
Grand Theatre Restaurants & Shops

< Emerald Tower Rooms Theme Park Conference Center

Tour & Travel Lobby Pool & Spa Grand Arena
—

120-009-01b

The front and of a typica

proposed overhead directional sign
 Emorald Tower Elavators

Gatsby's

(405-006-01)
(@10-€10-021)
Towr Lore nOLOey)

‘Aqqorvsformal
o1pnys sno, sdoysjor0uew
oun} 4015
‘9409 ISOs0;U1DY pocrar
yn puri, Agqe1 Mow
jd Spiring
jquor

Wolfgang Puck's Conforence Center

Raco & Sports Book Grand Arena
Studio Cafe Grand Theatre Theme park
sa pe eee 5

(20-013-010)

i (0200-0) Coffee Shop

Only
Exit

‘9L0-S00-0b L

ea)

Cehter Stage Lounge

Benninger's Gormet
Coffees 1) |@40-005-01a)

10-00-06!)

€
Studio
54
II
Lobby
Travel
&
Tour
=e =
$e &
g= 3
Ss i

eA
‘Casino Hollywoo
\Telephones, Cashidr Credit [heatre Tickei

Keno Lounge

€
54
Studio
Strip
Vegos
las 100-001-016) =Escalati

uDIS8O20y
L(GL0-SE0-02
oe
orPOOMAIOH
HL O1PAIS
aujnoys,9429 Cofe
Roinforest ((05-008-01a)
Lobby
Traval
& York
Your
Now
New

yung
owoys O1POS
{OM
pucsg,
ously Strip
Vogas
tas
By Pur 92U910jU0>
49199
o
2459 wos0uI0y
>)
saog oways
‘eanlooML
puro, osouow to oe
sscolator
Tropicana
sdoys
4015
uD] Troplcane
Avenue
1q10-220-02 a
420-035-01a)
Grand
Buffet
Lobby
&Travel
Tour

ao
7.
°Bsjuninossoy sa
Studio > 210-610-021
IOMvOIpNUS, Stri
Vagos
‘as °
Rainforost
Cafe
Avenue
Tropicano 3
o Grand
Buffet
Cafe
Rainforest
w Telephones Lobby
&travel
Tour

150-001-01a)
¥ Tory
Restaurants & Sho} Escalator to
Tropicana Bridge |
yos010W
sso
agen
WoW Keno
Lounge
04
isp
ode
sdollg
ole
aust
i
a kK Studio
$4Keno
‘snuany puD>do4, ony Lounge
Tropicana Avenue
120-022-014)
>
| Rainforest Cofe
}\ Tour & Travel Lobby |

S1o;eno]y
yououow
AqQo)
wow
Grand Buffet ‘tas
Strip
Vegos
Tropicana
Avenue
a
(120-019-01b)

i
£
‘yoxoUow
Tropicana
Avenve 400-004-01b)
(210-700-001,

A portion of the interior wayfinding plan,

delineated to allow review by turning the
drawing to follow the pathways.
S
PR
maximum VISIDIlity

ED > SSEOTSLERE TIN

Buffet Hotel Elevators

Hollywood Grand Arena
Theatre
Studio 54
Shops &
Restaurants
Restrooms
New York Grand Theatre
New York

Studio 54
New York
New York

i i
orem mes =|
Hotel Elevators
Grand Arena
Shops &
Restaurants
Grand Theatre

Multiple concepts were explored

to marry functional wayfinding
with the hotel’s Art Deco theme.

ren + 1

| Restrooms |
pemmeemniess =e =
A quick survey of other Las Vegas hotels showed that The floor plan was organized into major pathways or
current industry wayfinding practice was not based on streets, and large directional signs were placed along
function, but instead on projecting an image—usually the way and at each intersection. The designers set a
an image expressed in polished brass and decorative practical display limit of twelve destinations per sign;
typography. Typical casino signage was designed and only in this way could the messages be large enough
fabricated by local sign companies without the benefit to be effective. With the client's request to “serve” all
of a strategic wayfinding plan. What the MGM Grand destinations, negotiation was required to select the
situation demanded was an entirely different way of twelve choices to be listed on each sign. Even more
implementing directional signage. study and negotiation followed in order to shorten
destination names to twelve letters to fit the text on
The solution posed by the designers acknowledged the sign layouts. For example, “MGM Grand Garden
that, from a circulation and wayfinding perspective, Arena” was shortened to “Grand Arena” for display.
the MGM Grand was as much like a hospital or an
airport as it was a resort. An organized review of the The designers developed large, simple layouts for maxi-
many destinations and pathways, accompanied by mum visibility and understanding but contained them
intensive interviews with staff from all departments, in a system of decorative Art Deco frames in keeping
showed that continuous, twenty-four-hour-a-day with the hotel’s architectural theme. The sign faces are
multiple destination circulation was the norm. Not straightforward three-column designs with bold arrows
surprisingly, some of the best information about con- in round brass frames. Most signs are double-sided and
fused guests and their needs came from security mounted directly above the path of travel.
staff and cocktail waitresses.

Main Lobby Grand Buffet Studio Cafe

Elevators Rainforest Cafe Wolfgang Puck
Star Lane Shops Hollywood Theatre Race & Sports Book
Monorail Studio 54 EFX Theatre

The selected scheme framed

Straightforward sign face layouts
with thematic edges and details.

eR DROS
Exterior wayfinding on the immense site
With thousands of vehicles entering the MGM Grand
site each day, improving vehicular wayfinding was
critical. Awkward access from two arterial streets
culminating in a complicated six-lane porte cochere
made for daunting decisions and difficult turns by
arriving drivers. The existing signs were too small,
and too decorative, to be effective. Final designs deliver bold messages
on sign cabinets decorated with a
digital vinyl pattern.
The designers again turned to a function-driven
solution, creating a system of large sign elements
displaying simple, clear messages. Discipline was
required to keep the wording clear and to a minimum.
The sign bases and supports bring in the property's ye wae He
wr ORY
Art Deco theme, and in a gesture toward decoration, iron Hy
1
WHO
fi

1m
the sign faces of the internally lit signs are covered with int

a subtle diamond pattern expressed in digital vinyl.

_ MGM Grand
Hotel Entrance
Conference Center
Parking —
 | ie
We

|| |
7 i
j |
\
Se f

l€ Fe elke
Pu
P®& Exit |

€ All RIPORT

Alternate designs were considered to

bring the Art Deco theme outdoors

C
S
P T
 oF g spaces

The biggest parking structure in Nevada

PARKING LEVEL I.D. If large parking garages are frequently difficult for adopted to unify more than one hundred vehicular
Ces cae nie te drivers, the parking buildings in Las Vegas are espe- signs. To help relate the look ofthe signs to the hotel,
cially confounding. The MGM Grand's five-story garage a graphic interpretation of an Art Deco form was
had an ambitious but ineffective signage system with included in the design.
zone identification based around characters from The
Wizard of Oz, an early theme of the entire property. Separating vehicular and pedestrian information in
Already the area’s largest, the structure was set to parking structures not only brings clarity, but also
expand to 8,500 spaces. The time was right for an all- safety. Here, the seemingly endless walking path on
new sign program. each parking level was signed with specially designed
inner-illuminated signs to create a point of difference
First came an all-new alpha-based zone nomenclature from the driver's signage. The designers also enhanced
to organize the long floors into easy-to-remember the lighting along the path for further differentiation.
areas. Next, strong color coding distinguished the
parking levels. Then a bold graphics approach was

2
sign panel

LOCATION ELEVATION
3/16" = 1-0" The huge parking structure has
its own version of Art Deco;
again, function was paramount.

2 a3. . -
T T T T Elevator Escalator
l j Aisles F-J Aisles A-E

ii; Elevators is. Elevators 3: Elevators i: Elevators | Please Take Elevator to Level 1 | |
| | | | 1 For Conference Center |
| | | Neseee
| re ee oo & Elevators & |
Escalators
Colors -Level Designation >a image, S| (SE r
] Colors - Level 3
|7 . Yt= 10"
i) Elevators

Colors -Level Designation

yrere
‘ation Elevation Location Elevation
Ye a 10"

E f= | : ree a |a | > ee |
S
PROJECT
® MGM Grand Conference wy
_4 Hotel/Casino Center Ms

MGM Hotel/Casi
Conference conten
i —
 a
—

aa
rss36 fy
1iS-124
Sen ire St otf
leew Ceres

A unique
for the fam
MGM Grane

711
14

i omit

HUNT
DESIGN
ASSOCIATES

nN)

BLADE MOUNT - FRONT ELEVATION SIDE O WALL MOUNT - FRONT ELEVATION

11/2" =1'-0" O 11/2" =1'-0" HALF SIZE

LOCATION ELEVATION
1/4" = 1-0" © LOCATION ELEVATION
1/4"= 1-0"
oesion ANALYSIS
Double column base provides style and a \
Las Vegas touch (as well as a small footprint).

Brass logo works well as a focal point

and lends corporate identity.

Digital viny! pattern adds richness.

MGM Grand
son
present visual continuity.
——— Conference Center

All exterior signs are asymmetri-

cal, adding a dynamic quality.
 ACADEMY POOL & SPA
BACKLOT BAR &
RIVER POOL ji ‘
OBSERVATION DECK ACADTM\ DDAIIICT I ca OMNINTDSco PROJECT OVERVIEW
CABANAS 1-8 AC.U enue Aa “BAR > 0- i One of the largest single-property
RAFT RENTALS OLS la = ——— ee — wayfinding projects ever implemented.
CABANA GRILLE
MARGARITA BAR oe PROJECT FACTS
veal Client:
MGM Grand, Inc.
Graphic Design Team:
Hunt Design:
Karen Aseltine, Esteban Hernandez,
Wayne Hunt, Dinnis Lee,
Brian Memmott, Sharon Persovski,
Perry Shimoji, John Temple,
Kevin Stevens
Consultant, Parking Areas:
Signologists:
Ted Wu, Eileen Avery
Sign Companies:
Casino, Site, Parking:
AHR Ampersand;
Pool: YESCO
TS Schedule:
@ ACADEMY BAR Two years

TAA) _ Photography:
Toca ea a Jim Simmons (Del Zoppo Simmons)

MATERIALS & TECHNIQUES

Casino: Suspended and freestanding alu-
minum cabinets with decorative polished
brass trim; dimensional polished brass
“circles”; internal fluorescent and neon
illumination; translucent acrylic panels
with surface-applied opaque vinyl.

Site: Aluminum cabinets wrapped with

digitally printed pattern on vinyl; routed
graphics with pushthrough acrylic or
wrapped acrylic panels; internal fluores-
cent illumination; brushed stainless steel
accent bands.

= UNIQUE ASPECTS
wy (/) te iv | Highly complex environment with multi-
ple, often conflicting wayfinding needs.
MGM GRAND

CAST MEMBERS FA

ONLY
eee 6 6 6 ©
eee eee ee eee Cee ee oe 8

PR
MARKET STREET insicvoos
Graphics for a prototype streetscape
Covering only two blocks, this modest wayfinding/ The designs required extensive public review, a process
identity program was created as a demonstration that does not always go smoothly. Here, consideration
project for the city of Inglewood, a moderate-to- of the design proposals continued to get tangled up in
low-income Southern California city completely sur- the often heated discussion of other, non-design issues.
rounded by Los Angeles sprawl. To help the aging This is not an unusual problem: the public, brought
downtown, no longer thought of as a shopping or together to discuss one issue, often uses the forum to
pedestrian destination, the city initiated a sample address other topics.
streetscape improvement effort of landscape, light-
ing, and facade upgrades. To help communicate and Eventually the city settled on a traditional, “Victorian”
reinforce the changes, an identity program for the graphics concept based on a symmetrical abstract leaf
downtown was added to the design scope. pattern. From among several more colorful options pre-
sented, a blue and light gray palette was selected—the
Hunt Design, working as part of a multidisciplinary city has a tradition of blue signage. The signs were
team, developed alternative design approaches for then detailed by the designers and expressed in a bid
a set of basic signage elements, including off-site package for implementation.
directional signs, gateway pylons, and thematic ban-
ners. Because integration with the other streetscape
improvements was important, several design con-
cepts were developed and presented.

Vad

ics efor.

©
PUBLIC PARKING
ENTRANCE
2 HOUR FREE PARKING
Once the sign types were selected, the
designers developed three design direc-
tions for review.

$S$
 =

’
r

° ° ° e ° ° ° ° ° ° e ° ° °

——— __this “ghost’image has just enough

contrast with the typography.

The designers emphasized the key word

and subdued the secondary word.

It's difficult to put typography

inside a complex bisymmetrical
shape, but here it works well.

The colors are surprisingly muted

for a streetscape sign program.

The square tube structure with

double-element legs looks both
elegant and strong.

“Capturing” this decorative element

in the sign base adds interest.

The overall design is complicated

but well balanced.
 Two-block identity and graphics
demonstration project.

Client:
; ani | City of Inglewood
aia te Rat 2 pO a wu hl, & or Ge Graphic Design Team:
ihe { 1 \ 5 ARES: A \ > ss ie | Hunt Design:
ae Ga ek foes ee Al } Sl : Sagas hits I comma! <a Jennifer Bressler, Dinnis Lee,
ee | Sharrie Lee
WIDTH VARIES »FARALLEL PARKING BEYORO ' 13'-0" sO & FA : Sign Company:
Bravo Sign & Design
Schedule:
Six months

Aluminum panels with retro-reflective

vinyl film and translucent ink graphics;
inset aluminum squares with silk-
screened graphics; inset aluminum
square tube structure with powder-
coated finish; four-color silk-screened
fabric banners.

Although the designs look non-

controversial, the project itself
required extensive public review.

FA

Understated street banners were

designed to complement the more
functional elements.

Custom parking signs can extend

and reinforce city graphics programs.

Bee
Pi
ers
Lk
 EDICAL ENVIRONMENTS _ ° .

One of the guiding principles of wayfinding theory is Good wayfinding is intuitive, but not all medical
that wayfinding programs should be designed for the environments are as intuitively designed as they
first-time visitor. Among the many types of public might be. Given the choice~people will naturally
facilities and environments, medical facilities probably turn right insteadof left. Many hospitals, however,
have the highest number of first-time visitors. And not require a series of left turns as drivers drop patients
only are a high percentage of users making their first off at building entrances in order to let the patient
visit, they are often doing so while dealing with exit on the building side of the driveway. Signage,
stressful medical situations. It is imperative to orient therefore, has to compensate for the anti-intuitive
visitors properly and to make them as self-sufficient circulation pattern that results. Further examples of
as possible in finding their way—to do so supports anti-intuitive situations are: multiple or hard-to-find
their personal dignity and gives them added feelings public entrances; arbitrary floor-level designations;
of comfort and security, to say nothing of reducing highly technical terminology; elevators that are
time lost as staff members help confused visitors. unnecessarily hidden; and the illogical relationship
of related services.

The most effective wayfinding leads—not points—the

way. People are more comfortable walking toward
something than following a series of signs with arrows
pointing the way. Examples of worthy “targets” are:
natural light; landmarks such as sculpture, artwork, or
significant plantings; and architectural features such as
atriums, crossroads, or areas of refuge.

=
By using similar colors for vehicular directional
signs and hospital entrances, the designers pro-
wa
vided wayfinding that leads the way. Canopy
wa identifiers also provide quick identification for
emergency entrances and other top destinations.
vr)

intuitive
The primary purpose of this site-identification
sign is to identify the hospital from the nearby
elevated freeway. The sign also reinforces the
Clarian Health brand.
ERP
Eat
Wayfinding programs should be design ed for the first-time visitor. a

Wayfinding elements should be comfortably inte- Wayfinding programs benefit from functional redun-
grated with the environment, yet they must be dancy. Different people use different parts of wayfind-
designed consistently to increase their “anticipatory ing programs more effectively. The same information
value.” Just as people anticipate the message on should be presented in various formats: maps, words
large green-and-white signs along interstate high- Jeffry Corbin established Corbin Design
and arrows, and landmarks. Signage should show a
ways, they should be able to anticipate the next sign person where they are, as well as where they want to in Traverse City, Michigan, in 1976.
along the way in a hospital. Institutions should resist go. Certain destinations benefit from redundant termi- Under Jeff's leadership, the firm now
the desire to customize the signage design for various nology (radiology/X-ray; patient cluster names together known simply as Corbin has grown to
centers or parts of the facility (such as the Women’s with room number ranges, etc.). become a national leader in the field of
Center or Oncology Suites): while variations on the
wayfinding and environmental graphic
overall theme are certainly permissible, sudden
changes in color, scale, or logic defeat the purpose design, having designed wayfinding
4
of a comprehensive wayfinding program. programs for more than fifty major
Cafeteria '@
Chapel | medical centers nationwide.
Main X-Ray
Nuclear Medicine

Jeff's expertise in information archi-

tecture and wayfinding design has
made him a popular public speaker
before a wide range of audiences,
~ including the American Hospital
Typical wall-mounted
direction sign. Association, Symposium on 49
{pl ineonmarid Healthcare Design, American
a Institute of Architects, International
Downtown Association, and Society
for College and University Planning.

Before forming Corbin, Jeff was a

vice president and director of

Mf Clarian Heatthy Interior and Graphic Design for

Caudill Rowlett Scott (CRS), a large

ea
full-service architectural/engineering
firm in Houston, Texas. He holds
- Professional Avenue bachelor of arts and bachelor of
architecture degrees from Rice
University, Houston, where he won
Upon entering the hospital at any public the William Ward Watkin Traveling
point of entry, a main directory is available,
Fellowship in 1967, using it to tour
defining the universe of information. The
directory’s map diagram illustrates the main | e 8 Europe to study architectural and
public corridors, much as a road map illus- design history.
trates the main highways. Public elevators
and entrance locations are also highlighted. Y
A
S
E
Jeff is a founder and past president
of the Society for Environmental
On the main floor of the hospital, corridor
maps function much like rapid-transit Graphic Design. He has also served
maps, illustrating the destinations along as president of the Association of
the corridor, or “street,” in the order in
which they occur. Professional Design Firms, an organi-
zation dedicated to improving the
performance of design firms.

Poe
PE
RT
 i naturally turn right instead of left.
Wayfinding information should be readily adaptable
to various media. The information created for the
wayfinding program can have great application to
the facility's Web site, its patient-referral materials,
and internal patient passports. It is important to the
success of the entire program that terminology and
graphic depictions of the facility be consistent across
=> Visitor Parking 1 the range of these elements.
€ Visitor Parking 2 an wares >
=< pdohessonal Cus. An effective wayfinding process will: orient the visitor
POMSSIONANS AES« to the environment; define the destinations in the
space; route the individual properly; periodically recon-
firm their route; and finally, celebrate their arrival!
Clarian Health

rectories are located in every

lobby. The s er directory y lists
tinati
i

tions in th
selected
| the inco West
Elevators

Methodist Tower
FIRST FLO OR Capitol Avenue
Entrance

E (CARIYO GAVENUE wee

\
capil
Elevator
3sepcepttol
saa
‘| Elevator
z
=
a o
| N+ s
w
E East Elevator
(to Children’s
- { Hospital)
Central { (= Chapel
Elevator \ Elevators
Cutpaticnt Cafeteria >)
Parking 2 Surgery
Senter 7 /=GittShop @
2 r a Information
North Centers
Elevator Professional
Center
Elevator

Professional Center
Entrance
Parking 1

Main Entrance (Senate Boulevard Entrance)

 € Professional Center 2
cy)
Elevators
Orthopaedics Indianap
olis
Outpatient Surger
y Center
Parking 2 ®)
Phones @)

See

fos

wa

wn

i)

ie sete vals c= z
=

1
point Pec
the hele
wa Sie F
.

information should be adaptable

) to various media. :
t+
 rr $-
Y§i Ui te

walkin tow

af | {) East Elevators
Orth Elevato rs t& i @ West Eleva
EASENATIC =

Hospital Parking @
Heath Building
60 Broadway

‘01 Madison Tower

old Pavilion

Artwork, properly placed, can serve as a

landmark, such as this sculpture that marks
the main lobby and the transition to the ele-
vators leading back to the parking garage.

Site maps help pedestrians locate the

proper building on the fifteen-block
urban medical campus.

Vehicular signage for this urban medical

center had to have a heightened sense of
presence to overcome commercial signage
prevalent in the area.
Large sculptural letters identify the five
public elevator banks at the University of
Wisconsin Hospital and Clinics, acting as
landmarks and displaying easy-to-read
floor map diagrams.

MAIN ELEVATORS
@) ELEVATOR LOBSY
My POINT OF CONTROL
Sy et PUBLIC ENTRANCE
Weciclne
ua en : + ss me "MAIN STREET”
Reg)
Patio ——
ill PRIMARY PATHWAY
Relations _ Se Gift Sncp ° ms
| SECONDARY PATHWAY
es * informa s Admissions = neem :
Cashier , oD

Outpatient
Prhanmacy
Cancer
Clinic Clinical Labs

GI Cinic
Hematology

& Master Interior

Occupational
Physical Therapy Signage Program for

University of Wisconsin
Medical Center
S
E
AY

Medica! Records

Bok
RT
PE
 Cathedral
Our Lady o
Downtown Los Angeles WALKS -
the Angels
Ah mansoy.
heater (@)

Two design firms tackle wayfinding in thirteen urban districts

i
T County
Hall of @
Taper
Foran@) Administration:
When nine often competitive business districts in a The Confederation requested proposals from across
dense three-hundred-block downtown area agree to the country, received a dozen or so, interviewed five
Phandie & 2 psy ey cooperate on joint improvement projects, it is big finalists, and selected the team of Corbin and Hunt
Pav (lion @) - Z ‘4
Courthouse news. That is what happened when the Confederation Design to execute the newly named “Downtown Los
of Downtown Associations was formed in Los Angeles Angeles Walks” signage program. Corbin’s role was
O in 2000. And among the first shared efforts—which
included joint security, sidewalk cleaning, and promo-
weighted toward the programming and documenta-
tion phases of the project; Hunt's staff focused on
The Walt Disney
Concert Hall tion—was what has turned out to be one of the the design issues and implementation coordination.
Colburn largest urban wayfinding efforts in the U.S. The Confederation also a hired a consultant, Urban
@ School of Place Consulting Group, to coordinate the input of
Music
Downtown Los Angeles has had several false starts in the nine districts and the myriad city agencies.
rebuilding a city center that would be appealing to the
area population of more than five million residents. As From the start the design team recognized that while
in many major American cities, the pull of suburbia had Downtown consisted of nine official districts with
attracted department stores, entertainment venues, and legal names and distinct boundaries, the general pub-
hundreds of vital businesses away from downtown. lic had its own perception of what and where districts
While the western edge of downtown had regained were: for example, the well-known and geographi-
some credibility with the construction of high-rise cally unique Bunker Hill area had been subsumed by
office buildings, little or no evening or weekend the Downtown Center district, and the Civic Center
activity existed, and there was certainly little appeal wasn't included in any of the formal districts. The
as a destination. But by 2000, early signs of life and solution, after much negotiation, was to slightly
urban vitality were becoming visible. Older buildings regroup the districts into “publicly understandable”
were being restored as residential lofts; the Fashion areas. Only in this way could a sign system based on
District started attracting weekend crowds; and peo- named districts be effective. The resulting network of
ple began talking about “going downtown.” What thirteen perceivable districts became the program-
was also apparent was a lack of knowledge about matic core of the wayfinding project.
the many diverse districts of downtown, what they
were and where they were, and most important, Next came designs for icons for each area. As they
what visitors could do there—the perfect scenario emerged, these logo-like images began appearing
for an urban wayfinding program. as lead items on the early sign design concepts.

HOPE
ST.

SOUTH PARK

HISTORIC CENTER BUNKER HILL a=0

FASHION DISTRICT HISTORIC CENTER BUNKER HILL
Flower District % Grand Central Market * Angel's Flight Raitway G) Grand Centeal Market ©) Anoels Font Rainy
HISTORIC CENTER G) tlowerDust
) Fire Station ® Biddy Mason Park & Anocel’s Knoll Park ato G) tay Mason Park @) Angel's Knoll Park
California Mart wy Ronald Reagan + CA Plaza Water Court G) Soasis Resasn @) CA Phan Water Court
State Building State Busddina
> Santee Alley y MOCA @ Moca
>) Sorina St. Historical >) Sorme St Historst
Financial District © Ubrary Tower <4 Financial
‘ Distinct la Library Tower
—

© Historic Broadway S| >u->

Theater District
11TH ST.

12TH ST.
 FASHION DISTRICT HISTORIC CENTER BUNKER HILL
AN) Flower District AN) Grand Central Market AN) Angel's Flight Railway

AN) Fire Station A) Biddy Mason Park AN) Angel's Knoll Park

(€) California Mart @ Ronald Reagan @ APlaza Water Court

State Building
>) Santee Alley @ moca
>) Spring St. Historical
Financial District ‘€) Library Tower

€) Historic Broadway
Theater District

eae te
UlSLIEICLS

FASHION DISTRICT
ar Bunker
ay Historic C2 Hill
Center
W
=> Fashion
District
Preliminary design studies start to
organize the districts and their more
than two hundred destinations.
‘Historic
Center Historie Sale,
Or coatse Np

€ South
Park

S
PR
 The designers and the Confederation saw the opportu- evolved into a more straightforward visual vocabu-
nity to feature the icons, and in fact, build the entire lary with the district icons playing the lead role. Each
sign program around them. vehicular sign features an icon header element dis-
playing the district name, as well as a sign with a
To bring order to the more than two hundred desti- neutral green background. Each pedestrian sign is
nations listed by the Confederation’s district members, the color of its respective district and presents the
the sign plan was organized into three groups: vehic- icon as a “ghost” image under the message typogra-
ular directional signs, pedestrian directional signs, phy. The result is a highly systematic, logical system
and map displays. These three elements formed a with function and communication as priorities.
hierarchy that allowed the many destinations to be
prioritized and “assigned” to certain sign types based The Confederation’s commitment to include pedestrian
on criteria such as size, attendance, and “findability.” mapping in the system led to an innovative approach
For example, the vehicle signs present district names to map design. Unlike maps that show the entire
and large destinations such as the popular Staples downtown, these maps display nine-square-block
Center. While pedestrian elements display on any one areas. As a pedestrian moves through the area, the
sign important destinations one can reasonably walk map “window” changes with each map encountered,
to, small-scale pedestrian maps address the more keeping the walker roughly on center in the map seg-
minor destinations. ment. A small key map shows one’s relative location
to all of Downtown.
The design phase brought additional challenges.
Initial ideas for substantial color and visual vitality The original plan included a program of banners
06
quickly led to approval problems from the city’s to support the district identities, but some districts later
Department of Transportation, which wanted a more chose to create banners independent of the system.
“traffic standard” approach. The design process

district icons 1)lay_ 7 =

Central to the program are these

district icons, each the result of
district-by-district negotiation.
SEAS

SCE
enw

§
PROJECT
wa

bh

f=)

=)

oy

=)

[-—

pm
 HisTORIC DOWNTOWN
Se Historic ci
¢ Toy District
_ Downtown
$
‘a Historic DowNTOWN
4& Wholesale/ =
Market
i
ay
4 Bunker Sewetay Disteict
Hill
q

ti

V20 Freestanding V30 Vehicular Directional V 40 Parking Directional 1D10 bistrict Icon as part of
Vehicular Directional parking operator sign

JEWELRY DisTRICT
Angers Flight Railway
© Angel's Knoll Park
© Ca Plaza Water Court
QMOca
Qlbrary Tower
€ Metro Roll (Ai)

ID2O District Icon 1D40 istrict Banner Identification P20 Pedestrian Directional with Metro P4O Pedestrian Map
 (a) @
sient fay DTREE SP mii] Eve
F
© i
real @ a “tn fr
‘il
GUEROA CORRIDOR

RICT

V:236)9 Fey ages Deon} Buber0

wscanen cupanans |aire ae * THE EXISTING SIGNS WILL NEED TO ae eel

= DEREMOVED AND/OR RELOCATED AT (roa) Freon Ont

corbin

Need to distinguish between the South

and West Malis of the Convention Center

The final family of signs includes everything

from major vehicular elements to design
standards for private parking signs. 5 oe - :
~~ a
= * THE EXISTING REGULATORY
WILL NEED TO BE REMOVED AND.SIGN
RELOCATED AY THIS LOCATION.

Typical fabrication drawings in color.

25,0-5 * ua
mmr 17216 NEED
WILL ESTING REGULATORY
TOAT DETHES
REMOVED SIGN an tot
Wl RELOCATED LOCATIONAND

Samples of sign location sheets, each

keyed to the master location plan.

pisteieT FANEL
—-
Cry?

approach,

C
S
P ET
esign ANALYSIS
Pedestrian signs pick up district icon color.

f7——__ District icon and header panel indicate

“where you are” location.

Midblock maps bring even

more detail to the program.

BUNKER HILL
HISTORIC DOWNTOWN

A Little Tokyo
g HISTORIC
WY Downtown
Qhistoric Broadway
© Spring St Historical
4 Civic Center @
a

© Grand Central Market

© Biddy Mason Park
Disney Hall > © Ronald Reagan Bldg
Music Center © Library Tower

“Ghost” icon image plays

a decorative role.

The city insisted that pedéstrian

signs be visually distinct from
vehicular signs.

Final vehicular sign reflects the

strong influence of the city's
Department of Transportation
 Super/ Major Destinations
Ox :

. oF me
es
i
5
32 oie
eae PROJECT OVERVIEW
Vehicular and pedestrian wayfinding
program for downtown Los Angeles.

PROJECT FACTS
Client:
Confederation of Downtown Associations
Graphic Design Team:
Corbin:
Jeff Corbin, Jim Harper,
Matt McCormick
Hunt Design:
Christina Allen, Wayne Hunt,
In Sung Kim, Dinnis Lee,
Perry Shimoji, John Temple
Consultant:
Urban Place Consulting Group
Map Source:
_ait> Cartifact
Fashion District:
a Schedule:
SE contemporary Two years (design only)

. sais MATERIALS & TECHNIQUES

Ma estes Aluminum sign panels and decorative
mee Hemi ~ icon shapes with retro-reflective vinyl
film and translucent ink graphics.

UNIQUE ASPECTS
Multiple approval agencies, challenging
field conditions, diverse client group.

|an

OMG
wnaro,
a
Tes iSeal
yuan is

FA

District Plan
LA Walks SUPER and MAJOR
vartows
LekArges - DESTINATIONS

PR
An old downtown gets a colorful face-lift
Oxnard, California, a thriving city with more than To complement the renewed streets and buildings,
182,000 residents, is often overshadowed by its well- and to let people know that downtown Oxnard was
known coastal neighbors, Ventura and Santa Barbara. back, new signage was needed. The city formed a
While Oxnard has an active marina and some of the wayfinding committee of local businesspeople, arts
area's best beaches, it is best known to Southern groups, and preservation leaders, all managed by city
California visitors as an agricultural center. Seen from staff. Hunt Design was selected to design and exe-
the busy 101 Freeway, Oxnard is a patchwork of green cute a downtown identity and wayfinding program.
fields, windrows of trees, and unsightly highway sprawl. The committee met regularly as the creative team
helped identify significant downtown destinations
What the passerby cannot see is a charming, once and began to organize a system of sign types to
vibrant downtown. As the former center of commu- meet the needs of drivers and pedestrians.
nity and commerce, this twenty-four-block area of
primarily one-story retail buildings survived the bull- Agreement on which destinations to feature in which
dozer and retained its pedestrian scale and urban sign locations and preferred wording came easy; how
qualities. Though rundown and with many empty the signs should look proved more controversial. The
storefronts, the district was primed for a comeback. design team presented a range of visual solutions,
As in many other California cities, Oxnard’s city leaders from sophisticated retail mall styling to rough-edged
came to appreciate the downtown area as a valuable Western themes. After much discussion, a contempo-
civic asset with substantial civic and commercial rary abstraction of converging rows of farmland was
potential. A streetscape enhancement program was selected for further development. These agricultural
initiated with new landscaping, historic lighting, and lines could also be interpreted as sun rays or seen
freshened storefronts. merely as a design motif.
 | = DOWNTOWN]
OXNARD
Se ee

Ne HAND
- uae
PURE TATION

BANNERS IA
AtrRicu lta. THEME:

ZAAAd Or CeOPS —
: aqg| e
BUG. BEIT
\ BARiBY
| LitA B64) Pe
|
iA) D if nj f a > =

TAT E92 Al eR OD metric.) = = FE

VET RATING ~- 5
Creare WeUr ISLOCK STR PING
Type ICON

The designers explored a variety

of directions before finding the
appropriate image for Oxnard

This concept was considered too

“Beverly Hills” for the area.

PR
 HeUSNile
DESIGN NoTEs
ASSOCIATES GENERAL ASSOCIATES
1. Pay speci mention woal Welds ae 10 be inpereapeabie a5 North Mentor Ave
as North Mentor Ave ithefished wo. S sfcatons | O1A2 Pasadena, CA
Pasadena, CA 91106-1709
91106-1709 ARTWORK
626 799-7847
26 795-3549(ax 626 799-2549 fax

reine Praieet
Oxnard Downtown Onnand Downtown
Wayfinding Wayfinding

City of Oxnard City of Oxard

1014
Pca

Seat Tie
Dotail Location Views Sign Typo 1 (6)
Elevavon
tayout

ELEVATION: Sign Type1

HUNT
DESIGN NOTES
ASSOCIATES GENERAL ASSOCIATES
|) Pay speci atentn tollwelds. Weld ee tobeInperceptatia as North Mentor Ave
25 North Mentor Ave nthe frshed wx Seo Spacifeatons 1 07,A2
Pasadena, CA Pasadena, CA
91106-1709 2 Artach pana so hat theyare plu, 91106-1709
636-793-7847 41 Provide footing detail fr al naw pot conditions. 626 795-7847
626 795-3549fa 626 799-3549 fax
hte showing layout In Hstrato 7.0
by HOA Proleet
Oxnard Downtown
Wayfinding

City of Oxnard City of Oxnard

Boi Te
Sign Type 6 &7 10-0 Sign Type 2(0)
(Locations and quantities
to bo determined by the Elevation
City of Oxnard) Layout
Elevations 41/2 drow
Layouts

D Dies}

= 60
i 2028 See photos for exact locations
mm 00

ASSOCIATES ASSOCIATES
a5 North Mentor Ave as North Meator Ave
Pasadena, CA Pasadena, CA
1186179

Oxnard Downtown Osnard Downtown

Wayfinding Warfindeg
Contos waite

Siva
City of Oxnard ty of Oxnaet

PARTIAL DETAIL SECTION

B

Sign Type SignTyee1

Detail Devwts

Note:Existingpoles
maybe

PROJsE&E
CTS
 SUMMER

SPRING

WINTER
48 @ s$l1l9a93af ete |
 These converging lines represent
A Oxnard's agricultural past and underlie
all of the sign types in the program.
Curved shape adds further distinction
from typi

|ETT Ml galt,

The short messages allowed the use of }=£=——————__

decorative typography, usually not appro- Le eae Devoting one panel to each message
66 priate on street signs helps compensate for the decorative
design theme,

The bright colors came from a scarf worn

by a client team member; this is not your
ordinary roadside sign program!

yndary message provides

E location of destination above.

PROJECTS
 Colorful downtown
decorative square-tube
} structures
greet downtown visitors.

8&RD STREET ©

\ PROJECT OVERVIEW
\ A downtown identity and wayfinding
When it was time to select the color scheme for the \ program of directional signs, street-name
sign elements, controversy again reigned. Hunt signs, and three sets of seasonal banners.
Double Faced Sign
Design's team demonstrated numerous color combi-
1/8" Flat Cut out Metal
nations without consensus. Some committee members 1"=1'0" Porcelain Enamel Graphics PROJECT FACTS
wanted a simple conservative approach, others a Double Faced Sign Background Client:
bold, colorful look consistent with Oxnard’s Hispanic 1/8" Flat Cut out Metal Vinyl applied Lettering City of Oxnard, California
Porcelain Enamel Graphics Graphic Design Team:
culture. In a climactic meeting, one of the group's Background
Hunt Design:
more outspoken members referred everyone's atten-
Jennifer Bressler, Wayne Hunt,
tion to a bright shawl worn by another member. Dinnis Lee, Perry Shimoji
There, displayed in one garment, was a beautiful Sign Company:
palette of strong and appropriate colors. Zumar Industries
SRD STREET Schedule:
Attached with
The designs, organized into downtown signs and off- U Bracket and Strap Eighteen months
site sign groups, were then developed into detailed
MATERIALS & TECHNIQUES
construction drawings and advertised for public bid
Aluminum panels with retro-reflective
to qualified sign companies. A unique design for the vinyl film and translucent ink graphics;
downtown street-name signs added another dimen- screened-fabric banners.
sion to the scope. Hunt's team helped oversee the
fabrication and installation of the program.

As a parallel project, three sets of banners were

designed as a seasonal program to enliven the
downtown streets. Each set of four designs remains
in place for four months and is then replaced with
the next set in a continuous rotation.

V2" =1. 05)

Sign Type 5 & 6

Ss
FA

PR
CT
ne Visual guidelines for a famous zoo
The venerable eighty-acre Los Angeles Zoo was well The first step was a format evaluation of existing
underway with the implementation of an ambitious conditions. The design team photographed hundreds
master plan—two of ten major new exhibits were of signs, interviewed Zoo staff, and spoke to dozens
open and three more were in final planning stages. At of visitors. They observed key parts of the zoo at vari-
this critical point it became apparent that in addition ous times of day and night and on busy and light
to the dramatic new attractions, improvements to the attendance days. They noted the behavior of families,
z00's infrastructure were needed as well. Landscaping, couples, and school groups. The result was a thirty-page
lighting, and of course, signage deserved consideration critique with chapters on each category of zoo sign-
if the master plan was to be fully appreciated and age, including wayfinding, operations, food and retail,
enjoyed by the public. parking, and donor recognition. Recommendations for
improvements to each area were presented.
Like many zoos, the Los Angeles Zoo had spent little
on major improvements to signage. The Zoo's own The report noted that even though there were more
graphics department focused primarily on replication than forty map directories on the property, visitors
and maintenance of existing designs and themes. Just could not stay oriented. The Zoo's many curving walk-
keeping up with basic animal identification and event ways and paths combine with hilly terrain to make
graphics consumed their resources. During recent wayfinding difficult. The designers convinced the Zoo
years, signage of many kinds proliferated in all of the that a new approach to direction-giving was needed.
Zoo's public areas and became a substantial distrac- And because visitor orientation is fundamental to
tion for visitors. Especially problematic were two wayfinding, the team began to explore ways to help
important categories of signs: wayfinding and donor visitors “know where they are” at all times. They
recognition. Visitors seemed to be continually lost in needed a way to break the Zoo into smaller, more
spite of more than one hundred directional signs and understandable pieces, as is done in theme parks.
C onservation map kiosks, and the large quantity of mismatched
donor signs cluttered many exhibits.

Hunt Design was selected by the Greater Los Angeles

Zoo Association, the Zoo's private fund-raising organi-
zation, to create and oversee a complete reworking of
signage throughout the property. The firm had previ-
ously designed a successful outdoor children’s exhibit
for the Zoo and had extensive knowledge of the facil-
ity, as well as a real appreciation of the difficulty facing | a
any attempt to upgrade the Zoo's signage. GE AND GRAPHICS
 AONE
Powis 1 GIN
ASSOGIATES

Signage & Graphics | An Evaluation of

To os se 6 9 ® (6 96 Gt Gee Existing Conditions
at the

Los Angeles

A detailed evaluation was

conducted of all existing
signage at the zoo.

eee eee

* Hades haanasy and Secure

m8 A promenade

a
The
25 Dead a meal
i

Vc)

_
IDs egcameraWnrcn upc
*ap dogslaves of vr 562.2 a 5 ae
* Sky ID nln cn a aes “ = i=)
eee esas ri The evaluation showed that there were
opportunities for improvement in every tas
sign category. Broad recommendations
| were included in the report. —_

eS

a
 Legend and directory

) map

The complex facility did not neatly subdivide into quad- The final signage master plan features a new site gate-
rants or cardinal direction groupings (north, south, way sign, new alpha-pictorial parking signs, a botanical
etc.), nor did it offer opportunities for geographic background theme for the many operational signs, and
organizing (Africa, Asia, etc.). After considering several guidelines for the design by others of retail and food
approaches, the designers hit upon the idea to create operation graphics. Designs for off-site directional signs
perceivable subareas by simply color-naming five of to the zoo were developed.
the primary trails and to build the entire wayfinding
Early attempts to find a wayfinding
system around a visual and verbal design of colors: Donor signage was reorganized to recognize benefac-
organizing principle for the zoo
included a concept based on Blue Avenue, Red Road, etc. This back-to-basics tors in two major categories, the capital campaign
compass directions. approach made the handsome but heretofore confus- and the general fund. And except for major donors to
ing zoo map suddenly functional. Directional signs master plan exhibits, all recognition displays will be
Working over the existing map, also fell into place with logical, color-based designs. incorporated into the new public entrance.
the designers created a system of ;
i
color-based trail names: Green j
i}
Street, Blue Avenue, Red Road, etc.

Bhi: toadt
z
fre. € )
14 =!
6 nes 8
it

Adventure
Theater

§
PROJECT
 ede wn
(pparn:

The families of sign types defined by the

master plan: site, parking, wayfinding,
operations, animal identification, and
donor recognition.

I
Master Plan Donors = Non-Master
Plan Donors

is
¥
BR

S
P
 See EN art ure from tre ition | tographs
Information is replace illustrations on the new ID lisplays

Provocative titles invite reading.

iIndian Ocean
ciara

a sia:6 hh: a :

A Feast Fit for a King

; e e

| «Komodo monitors are not only ambush hunters but scavengers

that can detect carrion (dead meat) more than 5 miles away.
Deer, boat-ahd young Komodos are their primary staples, but
Komodos also feed on birds, snakes, water buffalo, and horses.
+ Komodos are capable of Killing animals 15 times théic.weight,
and consuming/80% of their body’ Weight-in one meal.

“-——_ Perforated metal frame allows

variations in panel arrangement.

———— Each
EACH displayi
ISP nish presentation,
\ ; ; ; although not < one-to-one translation.

® ‘ Ocelot eto »>@

; Did youknow... RSS x =-@ @@06 0
‘lin eh moeturnalcal ‘Sein Aopen pa!
OpIEDL asi~s948 ree Tents < ¥ Ocelots
Sain
TOON CCOROWS
conti«PON
diaseAER OO cj, when criesin mony
a fannie ‘ za of _Dinacular visio
vision,
: ounlage,
fOFG_ siecientFudd Sain BNaLONSD a = climber a
rege MOUMIIN WON piciam = "> ’ : strong swimmer > webbed forapaws.
Gintoat “3BpOUMAlS, Wield ay wrapsCom a o> tari
Sarda oa hensthatUn i

@ Sabias que.
fata mecrurne

LRRRRRA
[eso
RANE I
-
pelle fr label
 PROJECT OVERVIEW
A comprehensive long-term plan for
signage and graphics of all types.

PROJECT FACTS
Client:
Los Angeles Zoo
Graphic Design Team:
“06 WE
Hunt Design:
€ Mainstreet Christina Allen, Jennifer Bressler,
ae nos
Wayne Hunt, Dinnis Lee, Perry Shimoji
Schedule:
Six months (design only)

MATERIALS & TECHNIQUES

Flat and curved aluminum panels with
vinyl graphics on painted steel poles and
pressure-treated cedar posts; phenolic
resin panels with impregnated digital
print on painted aluminum frames;
ING /
Overview 1
dimensional aluminum letters; wood
posts; phenolic resin graphics panels
applied to powder-coated perforated
AS / Parking Zone __1
steel background shapes, mounted on
natural weathered posts or exhibit
handrails; translucent digital prints
set into existing gate light boxes.
key to the access and enjoyment of the Zo0 and its many exhibitsandamenities. Acrylic and aluminum plaques with
screened graphics, existing palm tree sur-
rounded by formed sculptural aluminum
leaves, bands, and tubing on concrete pad;
formed aluminum donor strips with etched
and filled copy; banners with graphic
images on existing wood armatures.

UNIQUE ASPECTS
Required input from all departments of
the zoo and extensive review by the zoo's
volunteer fund-raising organization.
Attention

FA

Typical pages from the master plan.

EE
0)
PR
oesigninginHUMAN SCALE
Much of the man-made world is scaled for people—nearly
e e . ° ° ° ° e ° e ° ° ° ° ° ° ° e ° ° ° ° 4

everything not provided by nature relates in some way to the

size of the human body. Signage and graphics are especially
dependent on direct size relationships to people and how they
perceive, access, and interact with their surroundings. An under-
standing and working knowledge of human scale is important
for success in any three-dimensional design effort.

PTFR
e

AS A GENERAL RULE, OBJECTS THAT ARE THE SAME

SIZE AS PEOPLE ARE NOT VERY INTERESTING.

OBJECTS LARGER OR SMALLER THAN

PEOPLE ARE INHERENTLY INTERESTING.

SMALL OBJECTS ARE “DOMINATED” BY

HUMAN SCALE AND OFTEN HAVE A PERSONAL
FEEL. EXTREMELY SMALL OBJECTS OFTEN
SEEM PRECIOUS AND EVEN JEWELLIKE.

LARGER OBJECTS “DOMINATE” HUMAN SCALE

AND CAN PROJECT A HEROIC SENSE.
Human size influences the design of the environment.

A SENSE OF HUMAN SCALE CAN BE EASILY

LOST AROUND VERY LARGE OBJECTS.

OBJECTS FOR USE BY A SINGLE PERSON

MAY BE SMALLER, MORE PERSON-SIZE.

OBJECTS FOR GROUPS OF PEOPLE NEED

TO BE LARGER TO SEEM APPROPRIATE.
 Creating effective graphics has much to do with the way people
see, move, and relate physically to the environment. The upright
stance of the human body and thelocation of the eyesin our
head control the amount of information that we see and take in
at any one time. Because our natural field of vision is centered on
the horizon or straight ahead, things directly in front of us are
seen most easily. Conversely, objects or information not “on cen-
ter” are less visible and less important. The farther away from the
center of this narrow cone of vision, the less we notice them.

ieee
ae

seks?
_
_ \ use
Pe et ac a a

THE COMFORTABLE CONE OF VISION-APPROXIMATELY

15° ABOVE AND BELOW THE DIRECT LINE OF SIGHT.

EFFECTIVE SIGNS ARE USUALLY SIZED AND PLACED

em WITHIN THE USER'S CONE OF VISION.

OBJECTS PLACED OUTSIDE OF THE CONE OF VISION

ARE MUCH LESS EFFECTIVE (AND LESS MEANINGFUL).
AS AN OBJECT'S SIZE DECREASES RELATIVE
TO THE CONE OF VISION, IT BECOMES LESS
IMPORTANT TO THE EYE.

EXCEPTIONS TO THE CONE OF VISION

ARE BEST DONE ON THE HIGH SIDE.

VIEWING AND READING BELOW 30° IS

UNCOMFORTABLE, UNLESS THE INFORMATION
IS ANGLED UP TOWARD THE VIEWER.

OR, IF ABOVE 30° IT SHOULD BE ANGLED

DOWN TOWARD THE VIEWER, AS SEEN IN
INSTRUMENT DISPLAYS AND CONTROL ROOMS.

THE SAME PRINCIPLES APPLY TO EXHIBIT

INFORMATION AND RETAIL DISPLAY.
-scateand pesionin GHILDREN'S ENVIRONMENTS
Children are not simply small adults. While many human- ae
scale design principles apply, other environmental interac-
tion attributes come into play. Being much less verbal and
not word oriented, kids are especially responsive to physical
design qualities. Also, their natural energy and animation
make it more comfortable for them to interact with and
value visual stimulation outside of their cone of vision.

CHILDREN HAVE THEIR OWN CONE OF VISION, BUT MOST

OF THE SAME PRINCIPLES APPLY AS WITH ADULTS.

CHILDREN ARE MORE FLEXIBLE IN USE OF

THE CONE OF VISION THAN ADULTS.

KIDS RESPOND AND RELATE TO THINGS

LARGER THAN THEMSELVES.

CUTOUT SHAPES AND DIMENSIONAL OBJECTS

ARE ESPECIALLY APPEALING TO CHILDREN.
K ids’
. e
environments require the human scale approach, but at a reduced size.
e ° ° .

KIDS NATURALLY INTERACT WITH DIMENSIONAL

ENVIRONMENTS, ESPECIALLY THOSE IN KIDS’ SCALE.

LARGE-SCALE WORDS APPEAL TO KIDS. ALSO

EFFECTIVE ARE WORD-PICTURE COMBINATIONS.

CHILDREN GRAVITATE TO MOVING OBJECTS

OR PARTS THAT CAN BE MOVED.

EXHIBIT GRAPHICS ARE OFTEN DESIGNED

TO BE SEEN BY KIDS AND READ BY ADULTS.
ARCHITECTURAL
s::ic e 2 e

Because signs and graphics are usually part of buildings,

e ° e ° e .

places, or spaces, a sense of architectural scale is important.

And just as important is the awareness of the key role signage
can play in altering the perception of scale in a building.
Because a sign is mounted on a building but is designed
for a person, it is a natural scale-transition element.

a
it

eit
ft ies iy

COMFORTABLE OBJECT/PERSON/SPACE SCALE.

THE SAME OBJECT IN A LARGER SPACE TENDS TO LOOK SMALLER.

ENLARGING THE OBJECT RETURNS THE COMFORTABLE SCALE RELATIONSHIP.

The size of buildings and architectural components influences the design of environmental graphics.

ARCHITECTURAL ENVIRONMENTS CAN OFTEN BE “SCALE-LESS.”

| Assessmer

JMUMM

SIGNS AND GRAPHICS HELP “SCALE DOWN” LARGE OBJECTS (BUILDINGS) INTO
HUMAN SCALE. THE SIZE, QUANTITY, AND PLACEMENT OF SIGNAGE AND OTHER
ELEMENTS AFFECT THE PERCEPTION OF SCALE.
 ani vrvanscac
UTDOOR
Moving to the outdoor environment, the rules of scale
change once again. Things that look huge indoors suddenly
appear to shrink once outside. Scale is, by definition, rela-
tive. For scale reference outside, we depend on natural
things such as trees or the man-made elements of buildings
and streets. But because signage and graphics are for use
by people, scaling the designs to the outdoor or urban
setting is paramount.

ENVIRONMENTS WITHOUT SCALE REFERENCES ARE NOT COMFORTABLE; PEOPLE NEED TO BE AROUND THINGS.

LANDSCAPE AND OTHER ELEMENTS “SCALE DOWN” THE OUTDOORS.

OUTDOOR SPACES REQUIRE EVEN LARGER OBJECTS THAN ARCHITECTURAL SPACES.

 LARGE OBJECTS HAVE THE MOST VALUE WHEN VIEWED FROM A DISTANCE.

SMALL-SCALE DETAIL IS NEEDED FOR CLOSE VIEWING OF LARGE OBJECTS.

THE OVERLY WIDE STREETS OF WESTERN U.S. CITIES PRESENT CHALLENGES TO HUMAN SCALE.

THE ELEMENTS OF URBAN DESIGN:

LIGHTING, SIGNAGE, AND FURNITURE
CREATE THE REAL SCALE TRANSITION
BETWEEN BUILDINGS AND PEOPLE.

ees
lon
THE NARROW STREETS OF EUROPE PROVIDE A MORE HUMAN-SCALE EXPERIENCE.
| MERICULAR tiviconmens
Moving from being a pedestrian to being a driver also
changes one’s scale relationships. Detail and human scale
are no longer relevant; large simple forms and clarity of
information are paramount. Viewing the world while in PORT OF LONG BEACH
motion challenges our ability to differentiate letters and
BERTHS
words and drastically reduces the time needed to sort
content and comprehend meaning. And while the relative D28-D29 p
scale of road signs to the environment is important, their D31,D33-D34 kK
real scale success is based on vehicle speed and contrast E19-E27
with other signs. BERTHS

VEHICULAR ENVIRONMENTS REQUIRE

VERY LARGE OBJECTS.

TRUCK ENVIRONMENTS NEED

EVEN LARGER OBJECTS.
Motion and car size change the rulesofscale.

DRIVERS TEND TO RESPOND TO AND READ ONLY

IN THE UPPER HALF OF THE CONE OF VISION.

THE LONGER THE VIEWING DISTANCE, THE LARGER

THE OBJECT MUST BE WITHIN THE CONE OF VISION.

VIEWING THROUGH A WINDSHIELD FURTHER LIMITS

UNDERSTANDING OF THE ENVIRONMENT.

UNIQUE SHAPES AID RECOGNITION.

ROAD SIGNS SHOULD BE WIDELY

SPACED ON HIGH-SPEED ROADWAYS.
 Mirginia Gehshan and Jerome Cloud on DESIGN DETAI LS a
Brand identity, at its core, begins with names that are Environmental signage develops and reinforces brand
easy to use and understand. Names will be spoken, identity persuasively. Whether in a city, campus, park,
included in articles, news media, advertising, and pro- or heritage area, the presence-of a well-designed sign
motional materials. They will be applied to signage, system isa tangible symbol of a welcoming environ-
banners, vehicles, retail items, and environments. ment and good management.

The process for achieving an effective and memorable

environmental brand identity depends on creating a
balance between image and function. Achieving the
right image begins with a thoughtful search for the
most interesting, appropriate, and “image-able” assets.
All towns and cities have unique qualities that should
be celebrated. Understanding the history, goals, and
plans of the community—coupled with a visual audit
of the physical environment—should be the first step.

A sketch and modeling process that explores how to

interpret these assets should follow. Many elements
are studied: form, hardware, use of logo/logotype,
typography, color, and site location. The Richmond
Riverfront has a unique juxtaposition of historic
residential and industrial architecture and trestle
structures, so finding an appropriate balance of
expression for that system was key.

A name functions in multiple ways.

e nvi ronme nta | ree Identification: It lets the public know that
inan | the place exists; it puts it “on the map.” L
ae We EEG Image: It evokes a feeling about the place. &
Uniqueness: It clarifies how this place differs i
from similar attractions.
Destination: It helps people get from the O
highway to the destination.

As part of its identity development for the

City of Richmond's waterfront, Thinkframe Tredegar Iron Works Haxall East
developed the name “Richmond Riverfront” Visitor Center | Reynolds Locks
= to identify the project to the public, then
developed the name “Canal Walk” for one Footbridge to Belle Isle Shockoe Turning Basin
=
of the destinations on the Riverfront. Triple Cross
Vc)
City Dock
wa
Great Ship Lock
Leta

Study models explore functionality, changeability, eS = = —

eal! and sc ile. They also look at different ways Key to any orientation device or information totem is a
of[ reflecting
‘ ots, ar
s Signiticont
Richmond cation on
history, manu
> James R
sense of site identity, changeability, and multidirectional 4
: : gens ei :
facturing roots, and location on the James River. information and map orientation to the larger context.
Together, these tools confirm where you are and assist
in getting you where you need to go.
Et
ERP
 Finished models help with the resolution of design
details and the selection of final materials, details,
and colors. They also provide the client with some-
thing more tangible to examine and understand.

Virginia Gehshan and Jerome

Cloud, two of the principals at

Thinkframe, based in Philadelphia.

Functional aspects are investigated simultaneously

and greatly inform the design process, including: Thinkframe is an enterprise
wayfinding strategy, nomenclature, information hier- founded on our belief that when
archy, ADA considerations, changeability, placement,
creative people of many kinds are
sequence, modularity, materials, lettering technolo-
gies, fabrication methods, maintenance, and cost. brought together with a common

goal, they will achieve remarkable

results. Our staff includes profes-

sionals of widely ranging talents

and backgrounds—those who tell

,- Sign Panel stories in words, and those who

1
1
0 employ images; those who shape

----Cruciform
experiences in print or on the Web,
Bracket_
and those who communicate in the
Bicieg = = Base
three-dimensional world.

This unusual range of perspectives

enables our team to frame prob-

lems in clear new terms and find

Richmond original and unexpected solutions.

Riverfront
Development
Commission

Y
A
S
E

Pedestrian Map Directory Building Pedestrian

Directional and Identification Gateway
Orientation Map Identification

P
E
ER
 Models showing varying details communicate options
clearly to the client, help refine the system's aesthetics,
and are useful in obtaining pricing.

WELCOME TO)
AZALEA

Phase two of the sign system extended to the city

and neighborhood gateways, as well as vehicular
Major
Gateway
Gateway
Torchere
Banner-
Gateway/
Neighborhood
Identification
directional signage. The design process included stud-
Vehicular
Directional
ies for a series of gateway torchéres which are to be
located downtown; they signal arrival and help to
activate and illuminate the streetscape. Neighborhood
district markers also communicate a sense of identity
and pride within the individual communities.

WELCOME HE T TO
RICHMOND

ws
HMOND
wa WELCOME TO
RIC |IVANGHN
py
Major Minor Gateway Neighborhood
Gateways Gateway Torchere Identification

ESET
Pe
ERh
 IOLPH
D

RAN

Newly installed aluminum banners

are located throughout the city.

G
S
a a
a &
%

O
tr

=
Ss

= SS
%
Ss)
S
ee
€ Science
Museum
of Virginia

Virginia
Historical
Society

Yf/elcome
to Welcome
to Virginia
Museum
of Fine Arts
MCGUIRE
RICHMOND
Banners line major entry points to the city.
Made of integral-color nylon fabric with
appliquéd lettering, they can last anywhere
from nine months to one year depending
upon wind and weather conditions
Frequently banners can be taken down,
cleaned, repaired, and reused.

en
ee
Teme
oe
|

aa
Banner Major Vehicular
Gateway Directional
PE
EX
 Developing a successful signage and interpretive sys- skiers. A strong sense of community ownership in the
tem can be as much about forming good relationships area created special challenges for the team.
as it is about coming up with the right concepts and
realizing the final system. That was certainly the case Less is more, lower is better: despite the generally
when Thinkframe was hired by Philadelphia’s Fairmount agreed-upon need for new signage, there was much
Park Commission to develop a directional and inter- concern by users that the signs not result in “visual
pretive signage system for a six-mile recreational path pollution” —to destroy the illusion of the valley’s
nestled in the park’s Wissahickon Valley. wilderness would certainly not add to the user expe-
rience. Thinkframe succeeded by listening to the
FAIRMOUNT
JOIN ONY OUR The Wissahickon Valley is a spectacular 1,800-acre stakeholders and creating a signage system that
COMMISSION forested gorge that is a much-treasured part of complements its natural surrounding without over-
Philadelphia's Fairmount Park, a system of neighbor- whelming it, and by reducing the number of signs in
hood parks that comprises one-tenth of the land in the park from ninety-three to seventy-two. Low-profile
the city. “Forbidden Drive,” so named since it was signs do not obstruct the natural vistas and views.

less closed to vehicular traffic in the early 1900s, is a

peaceful, tree-lined pathway frequented by runners,
walkers, bicyclists, equestrians, and cross-country
The signs are accessible but not intrusive; they are
visible for those who need and want them, but they
do not dominate.

Lincoln and

4
Forbidden Drive

Pone

&s
|
Geate
5YA.Ley

*#
Parking-lot signs carry the name
and lot number so that police and
td emergency personnel can easily
locate people calling in distress.

ERT
ERP
 Park map helps
of interest,
restrooms,

nner ige ster

> Ritenhouse- WISSAHICKON VALLEY PARK

town ®@ EMERGENOY,
€ Ridge Avenue ANID
AUTHORIZED
Kitchen’s Lane VEMIGLES
oe ONLY
® Valley Green.
Inn @C tt fe

Valley Green
Roxborough
PARKIN

8 S
E
AY

le Marker Parking Identification Trail Directional Animal Vehicular Park Regulatory & Map Panels
Regulatory Panel Regulatory

oP
Ron
-T
VER
 WISSAHICKC WATERSHED |
=

Interpretive. signs
Relatively few users of the Wissahickon Valley know
its history or importance. Forbidden Drive has seen
VALLEY GREEN INN changes that cover the full continuum of American
In the mid-1800s the valley was changing
from an industrial center to a recreational
‘The most significant took place in 1899
when the Colonial Dames restored the history, from its first use as a route for Indian migra-
area, A new turnpike gave people easy access rundown building and added new elements
to the valley's beaucy. The Valley Green’ like leaded glass windows,
The building tion through European settlement and the American
Horel, built in 1850, gave thema place to’ then became known as ¢he Valley G
eat, drink and! rest. Other inns have come and gone along Revolution. The Wissahickon Creek was later host to
Wissahickon. Now only Valley Green,
But time cook its toll and
igh several renovations.
of themost beloved, places 4 more than twenty-seven mills during the height of its
still in operation. —
growth as an industrial center.

long, low building near the According to Dommert Phillips, Thinkframe’s interpre-
~ could keep their horses s
weather. The Friends of
tive consultant on the project, knowledge about a
Keeping true to the origt
wooden pegs instead of 1]
Philadelphia’s First park's resources, ecology, and history is a key means
DRINKING E
Back in 1854, whem this
of promoting stewardship for the environment.
Inspirational messages, such as writing, poetry, or
fountain was built for
travelers, it Howed with
clean, natural spring
quotes by famous people who have a close associa-
water. The inscription,
‘on the fountain promised
tion with the area, can become powerful tools for
“For the public good;
let it remain forever.”
creating an emotional connection with the park.
“Forever” lasted just 103 Interpretive signs should be permanent and should not
Interpretive panels fabricated years. By 1957 the water
in porcelain enamel.
had become too polluced
to drink, and the fountain
=~
ay;
rely on visitors having brochure information in hand.
had to be sealed. oe G

Things to be considered
1. Anticipated audiences/special characteristics/
reading level
2. Audience knowledge about the area/common
myths or misconceptions
3. Mission/purpose of the interpretive signs
4. Take-home messages
5. Define the “voice” to deliver the content
6. Characteristics of the writing style
7. Single perspective vs. multiple perspectives on
a portrayed topic or issue
8. Content to be timeless vs. representative of
current attitudes/approaches

> TEN BOX SHELTER

(oz)

es

Let

Small Interpretive Display Large Interpretive Display

ORs
PE
RT
 Additional examples of
large interpretive panels.
Additional examples of
small interpretive panels.

nA NDORRAYV NATURAL AREA

Model-building is essential to
the design resolution of complex
organic forms like these.

Full-size demonstration mock-ups cre-

ated out of temporary materials were
used in focus group exercises to test
Mission of the interpretive signage the form and content of messages.
To educate users of Forbidden Drive about the natural,
cultural, and historical importance of the Wissahickon
Valley Park.

To inform park users about the unique balance neces-

sary for the park to remain healthy and the ongoing
restoration efforts needed to insure its long-term health.

To tell the stories of individuals who have made per-

sonal contributions to the Wissahickon Valley Park -
so that the park can be sustained and thus continue
enhancing the lives of Philadelphians and visitors
to the area. eA
e
To inspire users of the park to become better stew-
ards by increasing their respect for the natural and
man-made features of the park.

Final interpretive structures were fabricated -

out of stainless steel with a powder-coated
fax
paint finish. Final interpretive panels were
made in full-color porcelain enamel es

romote environmental stewardship e.

i
THREE dimensionattynouranny

Two-dimensional letterforms can

be expressed in three dimensions
Typographic characters are essentially two-dimensional.
Even though there are hundreds of typefaces that offer
almost endless variety in personality, expression, and style,
letters and numbers on a printed page remain flat. They
have no thickness, cast no shadow, and express no literal
texture. And while the best graphic designers can create
implied depth, virtual physicality, and visual texture, their
work is, in the end, still flat.

However, the physical world allows environmental graphic

designers to add real, tangible depth to the already
interesting qualities of typography. All of the rich and
sculptural aspects of three-dimensional design can be
applied to letterforms.
PHYS ICAL Composition |

Much of environmental graphics involves the shaping of

individual components and their combination into interest- Wy
ing, stable, and appropriate signage elements. A typical is
issue is the joining of a sign panel with a base: informa- Vs
tion needs to be placed up, within the cone of vision, but VANVQyy
many signs are ground mounted—hence the need for an
integrated, dimensional design.

The classic post-and-panel sign is only one of dozens of

design challenges and opportunities in sign design config-
uration. These sketches show just a few of the virtually
limitless compositions possible.

we

IZ
Za
MASK
SS
Wr
EZ, g
Dx 3
4%
BALANGE
anc visuatimerest.
Balance in design concerns the “visual correctness” or
even the psychological effect of how something is com-
posed. Designers can manipulate and manage balance,
creating symmetrical designs or asymmetrical composi-
tions that look balanced.

THIS SIGN CAN BE BUILT TO STAND

SAFELY, BUT IT LOOKS SPINDLY AND
OUT OF BALANCE. ENLARGING THE
BASE PROVIDES BALANCE AND
VISUAL COMFORT.

THIS CANTILEVERED SIGN LOOKS

UNSTABLE. THE SAME PANEL ON A
FULL-HEIGHT POST LOOKS BETTER.
~~)
R Hotel Entrance
Valet Parking

Self Parking
eee

iB
THIS CONFIGURATION APPEARS
TO BE UNSTABLE. EXTENDING THE
POST ABOVE THE PANEL VISUALLY
STRENGTHENS THE VERTICAL LINE
AND RESTORES BALANCE.
OBJECTS COMPOSED OF EQUAL-
SIZED COMPONENTS ARE NOT
ALWAYS INTERESTING.

USING ASYMMETRICAL ELEMENTS

IN COMPOSITION ADDS INTEREST.

relative PrOPOFtiOn is important

ic

a
ew

ss

==

THIS BLADE SIGN LOOKS UNSTABLE, es

EVEN THOUGH THE POLE CAN
SUPPORT IT. ADDING EVEN A oe
MODEST TRIANGULAR SUPPORT
MEETS OUR PSYCHOLOGICAL NEEDS
FOR VISUAL STRENGTH.
e ° . ° e ° e e e ° e . . e e ° e ° e e e . . ° ° e e . e e ° ° ° . . e . e ° e e ° e e e e . . ° ° e

Pointing the way is the whole point Bi,

Directional signs make up a large part of wayfinding pro-
grams, and each has an arrow form of some kind. From
the nineteenth-century drawings of a pointing finger to
today’s optically corrected Helvetica arrow, designers have
explored countless ways to simply point the way.

Two schools of design thought exist on the design and

selection of arrows. More traditional designers view the
arrow as a unit of typography and prefer arrow forms that
mimic or relate to the sign’s type style. A more contempo-
rary method is to establish contrast with the typography,
either with unique designs or by enclosing arrows in circles
or other shapes. This approach is dominant on vehicular
signs, where quick sorting of messages is important.

Recreational environments, such as theme parks and hotels,

offer opportunities for arrow forms to play a decorative role
in signage design.

> >
o>
Ss»
> >
VONEOSTNWO OTAIMIS ATHRaOBa]
 aon ouarowon RETAGL ENVIRONMENTS _ | don’t know how much our clients learn from us,
but we definitely learn a lot from them. Two of the
visionaries of retail design and development as we
know it today were the late James W. Rouse, founder
of the Rouse Company,a pioneering mall developer,
and the late John Krantz, director of design at the
Mills Corporation, originators of the idiosyncratic
"Mills concept” of shopping environments. —

Jim Rouse stressed the importance of designing

places that were “warm and human,” whether they
were enclosed malls, outdoor shopping environ-
ments, or new planned communities. He believed
that the quality of our surroundings has an enormous
effect on how we feel and relate to each other and
that it is the responsibility of all who are involved in
the building process to contribute positively to the
places we design.

John Krantz helped transform the idea of the shopping toa

a

mall into a shopping machine—a giant but artful

machine. With structures almost a mile long and origi-
nally in a “train wreck” or “racetrack” configuration,
artfulness came in the form of sculpture, murals, ani-
mation, and every other type of graphics—graphics
as architecture and lots of it! Both of these innovators
understood the immense value of graphics in these
specialized environments, as well as the intrinsic bond
between the graphics and the architecture which is
required for success.

THE FOUNDATION
Some things we need to always consider as we lay the
foundation of our designs:

Community pride
Large letters establish this food
court's nature theme and serve as The graphics component of every project works with
>. |
a landmark and identification. The and supplements the architecture to bring a human
tas
engaging sign is visible from the scale to the built environment. By creating a shared
far end of the mall and parking lot. experience and community pride, the project can
wa mirror people’s sense of themselves. Researching
the community, its history, its people, the things they
ic)
make and do allows us to gain an understanding of
fa what is meaningful to the community in order to
reflect an artful interpretation of what we've learned.
Customers recognize and appreciate the effort to
customize their mall...to make it truly theirs.
Good placemaking is second nature

RO
E
PEE
 Ann established her design office,
Dudrow/Design, in Los Angeles in
1998 after a long career working
for architects and developers.

She began in New York with a BFA

in illustration from Rhode Island
School of Design and a desire to
create children's books, but she
soon migrated to Baltimore where,
billed as a “New York designer,”
she was hired by the Rouse
Company. It was there that an ini-
tial immersion in retail graphic
' design—“in those days we designed
Patterns fr re are used
every tenant storefront and every
for tabletops
contributin tenant sign’’—led to a lifetime in
the field.

When Ann landed at RTKL Associates,

the idea of graphics as a compo-
nent of retail architecture was only
just beginning to gel, and she
The outdoors is important in this area of helped transform that practice
Northern California where fishing is a top
activity, Identification is unnecessary— with the philosophy that a mall
everyone already knows the difference without graphics is like a day
between a bull trout and a brook trout.
without sunshine.

Ann is active in the Society of

Environmental Graphic Design,
where she has served on the board
of directors, and she was named a
Fellow of the organization in 1993.
She also is an occasional instructor
S
E
AY

Oe oyltd RM ANY eae ne yet ae

Pasadena, California.
C R F AT |N G [A N
Photography:
Dudrow/Design
RTKL/Whitcomb
Bok
PE
 goORHO

Involvement
We are always trying to find new ways to involve the
shopper. The more distinctive the graphics, the more
people pay attention to them. It is advantageous to
draw people in, to give them a continuing sense of
discovery, to elicit a second and third and fourth take.
Some ways of doing this are:

1. With words: quotations, rhymes, words, puns—on

the walls, in the floor, on the tabletops, etc.
2. With motion: animatronics, electronic, and
dynamic signs such as Trivision, LED displays, and
simple motor-driven features or images projected
in light—the options for animated imagery are
growing constantly. |
3. With scale: surprising juxtapositions of large and |
small objects.
4. With art: images in 2-D or 3-D, painting, photogra-
phy, or sculpture invite shoppers to stop and look.
. With ambiguity, metaphor, and symbolism.
. With sound.
. With lighting.
UW. With drama.
COND

> F

c)

c)

fated

This entry feature recalls the great

agricultural heritage of Texas as it
orients shoppers coming and going.

The banners boast in superlatives

as did the famed “Thrilla in Manila”
heavyweight bout hosted on this site.

\ P
EX
ERT
 ral arrows entice people
0 the upper levels at Lalaport
Shopping Center, Tokyo.

Demographics
It is essential to understand who your shoppers are.
Is it a young community with many children? An
older, upper-middle-class part of town? What is the
ethnic mix? The souci-economic mix? The designer
also needs to recognize that the mall population
changes significantly throughout the day: early
morning is for the mall walkers, usually retired peo-
ple getting their exercise; at midmorning, retirees
gather with friends at the food court. At lunch, there
are office workers; in the late morning or early
afternoon, mothers shop with small children. By late
afternoon to early evening the mall might be domi-
nated by teens just hanging out. So is there a place
where everyone feels comfortable? Is there a special
children’s area or feature? Have potential vandalism
or graffiti problems been considered?

1 F =

One of a series of watercolors a e ance by adding to Reston

that were translated into murals 5 Town Center the kind of elements
for.a food court. Visitors did a typical in long-established cities.
double take as they noticed the
food in the landscape.

+ letters Banner

S
E
AY

METAPHOR... ae
se
Oh
OS
TS
 The design of this project was based on
the conceptof sculptures, created by cut
and bent metal, combined with words
that elaborated on the itlea.

al QsUINEMhg
—MAND ES

The Process
Every project begins something like this
Suspended over the escalator leading up to the
food court, this sign announces the food court,
{ the cinemas, Though consisting of 1. Decide on the big idea, the design brief, the concept,
four separate parts, they visually combine as the attitude, the story, the theme, or whatever you
you ride up the escalator want to call the thing that will inform the design
from start to finish. The idea could be visual and
based on a look, a style, or a set of imagery. It could
be literary, based on poetry, historical references,
folklore, quotations, etc.; it could be tied to physical
or cultural aspects of the location or the community;
it could be serious or playful, spare or ornate.

2. As the idea is established, the look, tone, texture,

and palette are decided. Will this be an upper-end
mall with subtle colors, neutrals, or metallics? Or is
it really about color? Is the intent to melt into the
architecture or to jump out from it? Will you be
using a palette of traditional materials, such as
mosaics or hand-painted murals, or will you be
using LED displays and digital imagery? Will the
Y
A
S$
ES graphics take on a folk-art look or a traditional
one? Southwestern or Asian? Edgy and modern,
The theme for this mall is a celebration
= or classic and understated?
of celebrations. In the food court, the
signage takes on the character of
6S
Manila jeepneys, a kind of stretch jeep
bas that serves as public transportation.
Each is individually painted and adorned
& in an attempt to outdo the competition.

SS

ree
 A basic graphic motif can be applied to
The green area is planting; the rest is paving.
myriad applications: banners, trailblazing
signage, murals, partitions, counter fronts, bo —. sai
Always viewed from different angles—on it,
countertops, and tables. The more ways the
from above, through the floor openings, from
basic idea is applied, the more meaningful
the bridzges—the floor provides the greatest
the shoppers’ experiences will be. The goal
opportunity for color and pattern. The history
is to create interest, not just awareness,
of the Coliseum is laid out underfoot as
incised lettering recalls forty years of events.

Even interruptions for planted areas can

work within the overall geometry. Round

defining
shapes define one end of the mall, rectilinear
shapes the other. They meet here in the mid-
dle: the thrill's in Manila!

and positioning them within the whole

3. As you work simultaneously with plans, sections, 4. Do the items that support the main idea exist sepa-
and elevations—usually when the architecture is in rately as graphic elements or are they integrated
the schematic design phase—a general approach to, with light poles, planters, fountains, or benches?
applying the graphics emerges. Are spaces to melt And should they really be graphic elements at all or
into each other, or are they intended to be distinct? would the idea be better served as a lighting installa-
Where do we use the floor or the handrails; where tion? And speaking of lighting, this is the time to
do graphics elements complete the spaces and work with the project's lighting consultant to be sure
where are they used to demarcate areas? Do the that the lighting concept works with the graphics.
graphics reinforce the edges of the spaces or help to
fill them? Is there a variety of elements to use in the
horizontal plane of the floor, the horizontal plane
overhead, the plane perpendicular to travel, and the -
plane parallel to the line of travel (don’t forget that
this is a three-dimensional design opportunity)?

When people are hungry, they say, “Let's

S
E
AY
eat”—a great way to identify a food court.
The graphics program is supplemented by
words—lots of words: cooking words at the
food stalls, eating words at the tables, plenty
ir
for people to read while their mouths are full. i) ®
z&
Na
5
fe a
EI

ee
ge
Wee
at
a|
 Why and Where?
The why and where
In most shopping centers, especially one-level devel-
Hierarchy of Signaye ‘
opments, there are very few walls to work with and
ceilings may be too high, too low, or nonexistent,
leaving columns, handrails, floors, bulkheads, or . To name or differentiate different zones or func-
trusses as our only canvas—our only opportunity—to tional areas of the mall. This can be done with a
put the philosophies of Rouse and Krantz into action. change in color, a change in name, use of symbolic
icons, upgrading or downgrading the perceived
Graphics in retail environments are placed where quality of materials, or altering the amount of
they are for several reasons: visual noise, to name a few. The important thing is
1. To call attention to important junctures, such as that the differentiation is felt in a significant way.
where two arcades cross. . To provide visibility: for example, blade signs can
2. To call attention to or announce venues on upper be used for tenants whose storefronts lack visibil-
(or lower) floors. ity from down the mall.
. To emphasize a sense of transition from one space
to another.
. TO ornament.
. To distract from awkward architectural features.
Looking up, the floating ceiling at the
food court level becomes a feature,
with patterns and images projected in
white and/or colored light.

/ is ;
(ho eel Ae
CT ee 8 ee

nn a.
i= This elevation, with its formal entryway
and the food court glowing visibly above,
eS vides opportunities for using the entire
facade to reinforce the idea behind the
baa Columns of light resemble folded paper
project identity. The building becomes part
shades and visually connect the sunken
of the natural environment, with a mural
a garden, ground, and second levels.
of glazed tile providing a focus.
=

bad
 7a = Entrance
Sign w/icon

Bridge Cafe ID sign ——_ a

— _(interior}- -

Bridge Cafe ID Sign

(exterior)

- "Bridge Cafe ID sign

(interior)
"Umbrella" disks
on columns

/ Special paving

<— eran blade signs ae | \|

fe Ip Seree eee phen ere |
i
|
= —_ . . . . «|

' VL EF.

~S Directional Signs
and directory
2+ SaDe S
QO

EEE Woyfinding Signs

i]
|
GE Placemaking Graphics i
"Umbrella" lights on t
columns w/bamboo motif BEBE Special Paving |

Exterior ID Sign w/icon GE Tenant Blade Signs |

Expanding the mall: the basic leaf shape
may be used in different ways in each area
by combining it with glass in unique ways.

eee :
PE
EX!
ss?
PLACEMAKING PROJECTS

1
A fun addition to a formal shopping center
After the suburban Los Angeles—area Northridge The addition would be positioned as an attraction
Fashion Center was devastated in an earthquake, it within the main mall or as adiscreet component of
was rebuilt as a sleek high-tech mall featuring apparel it. To signal its northerly orientation on the property
and upscale stores. But even though successful, its all- and to reinforce it as a distinct place, Hunt created
indoor configuration soon became dated as competing the name “North End at Northridge.” The name, easy
centers added exciting outdoor areas to feature enter- to pronounce and recall, led easily to graphic inter-
tainment and to lure younger shoppers. Usually based pretation in logos and signage.
around movie theaters, these new developments often
are designed as a streetscape of shops and restaurants. While signage in the expansion is minimal, signage
about North End at Northridge in the main mall and
The center's owner, General Growth Management, around the massive property is not. The graphic
made plans for a 150,000-square-foot outdoor expan- designers went to great lengths to integrate large,
sion to be built around a ten-screen theater complex. iconic pieces into the public spaces of the mall, not
To establish a complete and unique visitor environ- an easy task in a finished building. Also challenging
ment, the architect designed an intimate walkway of was the parking area wayfinding, where a thorough
stores and restaurants with tasteful lighting and and distinctive sign program was already in place.
hardscape details. What was needed was a way to The solution was an independent set of signs
distinguish the interesting addition from the massive designed to coexist with the existing program.
mall, as well as a method to guide shoppers into it.

The center already had a strong and effective iden-

A completely new identity was needed
tity and signage program; establishing a secondary
to distinguish the new shopping center
and parallel image would be a challenge. Consultant from the older portion of the mall.
Hunt Design suggested that the expansion needed
not only a unique look, but its own name as well.

NORTH END
at Northridge
|
Pacific Theatres
Borders
 NORTH END at Northridge

Three equal but distinct design

Photo-illustrations helped evaluate how the new
schemes were considered
graphics would look in the existing building.

S
PR
 Early ideas to integrate a large gateway
element into an existing bookstore
building proved unsuccessful

S
PROJECT
 The design theme, selected from three preliminary
concepts, is based on an abstraction of a compass or
~ weather vane and features a dimensional letter “N."
All of the twelve sign types present the letter in
some form. The designs were given a casual, eccen-
tric look to work with the expansion’s entertainment
concept and to contrast with the signage in the
mall. Asymmetrical compositions and skewed forms
are dominant.

A substantial challenge was the implementation of a

series of major North End pieces into the main mall
to help draw shoppers to the new area. The solution
was overhead “marquees” mounted to fascias above
the escalators and exit doors. These pieces are inten-
tionally nonmassive and “transparent” to preserve
views to the existing architecture.

FED osnortnsidge,

Studies based on a freestanding gate-

way show compositional variations of
basic “logo” components.

S
PR
 nesign ANALYSIS:
Overall look is informal and fun, >————__ Dimensional logo works well in a
a nice contrast with the adjacent \ variety of configurations, especially
shopping experience. pole-mounted.

Neon letters “float” in Tr ae

space at night.

a quirky, artful quality.

Pole design format makes for a

very small footprint, important
in the tight walking spaces.

ea

@3

Leal

eS

@.
 PROJECT OVERVIEW
Graphics program for an entertainment
addition to an upscale shopping center.

PROJECT FACTS
} Client:
ng mat i
General Growth Management
Graphic Design Team:
Hunt Design:
Christina Allen, Dinnis Lee,
Wayne Hunt, Perry Shimoji,
John Temple
Sign Company:
AHR Ampersand
Schedule:
One year
Photography:
Jim Simmons (Del Zoppo Simmons)

MATERIALS & TECHNIQUES

Aluminum posts and letters; exposed
neon, inner-illuminated channel letters.

UNIQUE ASPECTS
New graphics had to coexist with,
but complement, an existing signage
program. \

ENOVARE
REWARDS
OFBEING
lute
FA

The all-aluminum esign under

constructior at the si (C J n company

PR
Thematic signage and graphics for a Parisian environment
Today's gaming projects are some of the most com- Creating a believable Parisian environment requires the
plex building types imaginable. Part theme park, huge right mix of period architecture, romantic streetscape,
hotel, conference center, restaurant row, entertain- elegant lighting, and appropriate graphics. Signage is
ment center, resort, and of course, casino, they rely the final layer of design in a themed environment, and
on the coordinated efforts of more than a dozen when well executed, it can make all the difference in
design disciplines to plan, design, and build. And credibly establishing a theme. Here, the sheer quantity
increasingly, graphic designers play major roles in of graphic images and details probably exceeds those
establishing the look and personality of these destina- of any casino property yet opened. Hunt's team alone
tion developments. Hunt Design was pleased to be created more than three hundred graphic designs for
one of the signage-and-graphics consultants selected the interior spaces; other designers added dozens
to create the prewar Parisian ambience in this dynamic more, many expressed in fine detail in the elegant
gaming property. Rue de la Paix shopping street.

Consisting of 2,900 hotel rooms, multiple restaurants, After a detailed programming phase that determined
a Parisian shopping street, and a massive conference the locations and wording for most of the graphic ele-
center, Paris Las Vegas is the product of Park Place ments, an intensive research phase was begun. The
Entertainment, a major gaming company and owners “script” called for a “prewar” Paris aesthetic, so accu-
of Caesar's Palace, the Flamingo, and other major prop- rate reference material was essential. The designers
erties. The charge from Park Place from the outset was pored over Paris tour guides, French architecture books,
to design the best themed casino yet. The innovative and stacks of photographs provided by the client.
New York New York hotel, opened two years earlier,
had set the standard for casinos designed around a
single theme, and Paris Las Vegas was meant to
exceed even its design and detail.
 |

_a
=

The owner and interior designer

composed a detailed scrapbook
of Parisian images for reference pe (0 'e (e © 6 e 66 6 ee
= ——_
by the entire design team.

Comtrat
ULMia
© suhevambon
Ao:tLdpirbticnden
 Multiple, highly rendered
designs were done for each
finished sign.

Bae:
— ie) ss

CL CDOs. ES
Le Frovencal )
~~ A LO

wa L*HbOTEL
i
ELEVATORS
(e)

bd
WN Ive
=

_—]

eS

[-™
 reewerrrerer scr ron
.
eZ
——
oo
a)
S | a “ea
a 2
Oud
 The design work was organized into the broad sign-
age categories of exterior/site, parking, casino
_ wayfinding, casino marquees (large or illuminated
signs), theme or enhancement, gaming, and code
signs. Later, a layer of small decorative graphic
enhancements was added to the scope. Each category
was programmed, designed, revised, and developed
as a separate bid package. Close coordination with
the project's two architects and interior designer was
especially important because of the complex circula-
tion plan and the richly detailed facades. Also, as in
most large casino resort properties, the many depart-
ment heads and area managers had special needs
and requests. For example, the slots manager wanted
highly themed but brightly illuminated gaming signs,
a request that ran counter to the prewar look.

and vidually de ed

SPA ~+~SALON< FITNESS >:WEDDING CHAPEL: POOL

Care was used to find and use

period typefaces where practical.

S§
PR
 ASSOCIATES ASSOCIATES
as North Mentor Ave ay NorthMentor Ave
Pesedens, CA Pasedens, CA
91106-1709 p1v61799
‘
5 795-7847 626 237847
616 799-2549 fa 618 99-3549 fae

PARIS LAS VEGAS

Cosine and Publc Areas
Signage ara Graphics

3310"

Saito a
erties \ ep tanto, ~y erterton
Palo aiows FP py |
2895-001-01
ee
Sy

ENISTING WALL SURFACE

(WATCH COLOR PRINT SUPPUED
BYHDA) 2. = 4 y l
oy
4 a = ———} PAINTED LETTERS ON BASTING WALL ot Hi
| ese COLOR: GRADIENT FROM ~ - “- i
| MATTHEWS MARSEILLES BLUE 660-20 10 : ohik |

J SeAMMPS-ELRaee,
MATTHEWS-PARIS NIGHTS 77A-1A
axe:
PAINTED DROPSHADOW
COLOR: MATTHEWS-MARSEILLES BLUE 668-50

* Pallalsde Glage
PAINTED LETTERS ON BASTING WALL
COLOR: GRADIENT FROM
MATTHEWS ERMINE WHITE 12A-2P
MATTHEWS- MARSEILLES BLUE @68-20
—— PAINTED DROPSHADOW
COLOR: MATTHEWS-PARIS NIGHTS 77A-1A
ELEVATION LOCATION ELEVATION ELEVATION LOCATION ELEVATION
r ve

20600101
GENEFAL NOTES:
* EXACT MOUNTING CONOTIONS AND METHOO
OF ATTACHMENT TO BE DETERMINED BY ASSOCIATES
SIGN CONTRACTOR PRIOR TO FABRICATION.
—— ear2.00n-1 “FIELD VERIFY FACADE CONDITIONS. 25 NorthMentorAve
CENTER ON TRANSOM. ASSOCIATES asadens,CA
3g Non MesterAve 090 ALUMINUM CABINET/IGHT BOK 31106-1709
Poudena, CA ITHTOPAND EOTTOMFLOURESCENT
grte6-1709 STRIPLIGHTING, INSIDE OF LIGHT BOX G6 7977
10 BE PAINTEO WHITE 626 roy-asay fax
S35 79-7847
626 799-4549 fae BLOCKING5 STRIP Bete, Fhe
a VO" THICK WHITE AGRYUC OFFFUSER — Pare eine
Ga WITHREMOVABLE RETAINER FOR SERVICE Ea OS ie f,
PARIS LAS VEGASArese- ‘Sapage and Graphics
Casing ard Pe PRIMARY POWERBY OTHERS 7
Signage ond Graphice = =

STAINLESS GLASS FACE —

UTFORT BEAM.
VERIFY CONDIMG IN FIELO. CL. CENTER IN TRANSOM OVERENTRY
LOCATION ELEVATION MECHANICAL FASTENERS
AS PER WALL aaa
Berto = CONDITIONS: METAL STUD FRAMING WALL 3
Primary eneeation Elevation 4
MOUNTING PLATE GOLD FINISH
LETTERS cigs TILE DECORATIVE TRIM COVER BOTTOM
OFLIGHTBOK TO MATCH ADJACENT
FACADE TLE, TO BE COORDINATED
VO" THICK FROSTED ACRYLIC COVER WITH GENERAL CONTRACTOR
170" (FIELD VERIFY)
seme awn raetie
CLO (2-COLORS
TTD cLREQUIRED)
OMAN vr mm
FABRICATED .090 ALUMINUM UGHT BOK (BOTTOM AND TOF)
ORDER ILLUMINATION IN BACK: LIGHTBCWITH PAINTED FINISH
U4? THICK FORMED ACRYLIC "RIBBON Ce
L244) COLOR: MATTHEWS WHISPER GOLD 284-27"
WITH GOLDLEAFFINISH.
STAINED GLASS FACE
THK FLATCUT OUTACRYLIC
LETTE) COLOR (LEADGLASS RETAINTERS): LEADGRAY
WITH GOLD LEAF FINSH.
2G STAN GLASS COLORS
V4" DIAMETER STEEL RODS WITH GOLOLEAF VERIFY
FIELD
veEn
e0.8 COLOR (COPY): PURPLE TINTED GLASS TO MATCH
ANISH COLOR (COPY BACKGROUND):
ps COLOR: MINTED GLASS TO MATCH
FABRICATED ALUMINUM CANOPY/LIGHTEOK COLOR TINTED GLASS 10 MATCH
WITH GOLD LEAF FINISH. ISMA WHITE 2aerl
NEON UP UGHTING, NOTE: GLASS COLOR SAMPLES TO BE APPROVEDBY
ELEVATION ELEVATION HUNT DESIGN ASSODATES PRIOR TO FABRICATION.
we

DOROER
&EDGES
BORDER AND EDGES
(COLOR: MATTHEWS CALICOBLUEZ5A-1A Nove OWN
2- Lg Centre de Convention INUNE BORDER + COPY LAYOUTS SHOWN FOR DESIGN INTENT ONY COLOR: MATHEWS-JET BLACK 7BA-1A
COLOR: MATTHEWS JASMINE 280-27 + MESSAGES MAY CAANGE
BACKGROUND * VERIFY EXACT Me FRAME
COLOR: MATTHEWSPIEENGINE RED 4A:1A PRIOR TO FABRICATION. ASSOCIATES COLOR: OLYMPIC STAIN-NEW FILORIM RED. ASSOCIATES
aaa
25 North Mentor Ave 45 NorthMentorAve
Ca
ALCO BLUE 754-14 COLOR: MATTHEWS ERMINE WHITE 13A-27 Pasaslena, CA Pasadena,CA
NUINE BORDER 91106-1709 IIo 1709
- ORO SHADOW
526 795-7847 COLOR: MATHEWS-JET BLACK 7BA\1A a6 ey rker
626 ray-as4y fax Bek rppasan few

Ory &SRAM Peale GOLD LEAF

PARIS LAS VEGAS
CORDER& EDC Casino and Public Areas
Stanage and Graphicn
Sion
COLORS GENERAL Nom
ie ‘EXACT MOUNTING CONDITIONS ANO METHOO
OF ATTAOIMENT 10 BE DETERMINED57
SIGN CONTRACTOR PRIOR 10 FABRICATION
S14"WOE SANGE2S STEEL STRATTNG AMO) *
ALL BLADE MOUNTED SIGNS TO BEINSTALL
Sava Fie ATA MINIMUMOF60" ABOVE FINSSHED GRADE.
XACT SPUR CA TONSDMMNON Pinger Signs rete}. hr.
SEONATED
NIMYATES$8ERAN SHON TYPE 0202-001-01
((ypeal Poot Mounted) ee
7) Layouts and Colors
CL CENTER cory
STEEL CHAINLINK
Deca
EXSTING WOOD HEADER BEAM WO00 FRAME
i= Prene NNAAE (ACC) 95
+ x MEWS FIREENGIE RED 4&1 AN 686STEELMEOMANEAL ?

& COLOR: MATTHEWS ERMINE WHITE (SA-2F

LES
Bab INFORMATIONS ( INSIDE OFBORDER
1O HAVE SUB SURFACE
—_ CRACKED EFFE!

r 8 CRM cL
SUBSURFACE ETCHED SUBSURFACE GOLD LEAF
(=) LAYOUT ELEVANC PLAN SECTION ELEVATION LETTERS & FLOUR,
> LEAF FLED
DORER LOCATION ELEVATION

{- —

Bu
 ™ =

UGLOL
— WS

Se ee oh So ae
a

.
NNR eeee ane

OETA Se Carat
eae

A
Tes
C.
P se
 a
en ress
Pi
iy

|
 |
(CALOE CASTBRAS Reon ro Boo TLE TS
(COLOUR, RONEN AND FATNATN OFMEALS
WROUGHT IRON “ScROLLS*—
17 THICK BRASS 4 vannyr, i,ib BY CHAR HUGHES AND MICHAEL KOWE
MOUNTING PLATE at fe" OAMeTeR HALFRouNDPCD 4 ASSOCIATES
BIB" DIA WROUGHT IRON — 25 North Mentor Ave
ASSOCIATES. Ue WOR 1.Us TER Av EASED BoxoERS Pasadena, CA
(ph WM ANTIOUE ASD PATALAPast ay GENERAL NOTES: 91106-1709
45 North Mentor Ave ClLOe CAST BRASS eH 7246000KTRE + EXACT MOUNTING CONOMONS AND MENIOO
ene cca a Pasadena, CA ATTACHMENTTOBEDETERMINEDBY 626 791-7847
RASS FAN—— ; SurroKT ROD
DENOTES ———_— 91106-1709 ONTRACTOR PRIOR TO FABRICATION 626 795-2548 fax
626 2917847 4
626 793-2549 fax
ACEC SIGNPANEL — RECESSED
(VB" DEEF) ——— &
i : AND PAINTED EDGE = Fale
MOUNTING PLATE — 4 a te
4 PARIS LAS VEGAS
DENOTES SIGN o (Catine nd Pubic
TY COUMTERSLO Ke ===
KOUNOHEAD BRASS —— i
t FASTENER
LOCATION ELEVATION WROUGHT IKON "FRAME ——
|4 i ql Al Bey ce
we a
f rl en zor ES
A SECTION “a \DETAIL - MOUNTING PLATE Shon rile } | Primary dentition
2
ES (BS
De nese
Secondary dentition SS0a——— ] ]
S Elevation
V4" THICK BRASS "FAN" WITH POLIBHED FINISH r i PLAN
{AND PAINTED DETAIL: ATTACH TO SIGN PANEL - WALF IE ey :
MATH CONCEALED FASTENERS
COLOR: MATTHEWS-CRYBTAL GREEN 430-1 5 — ypoceare0BeasravesWnANTE a
FABRICATED WROUGHT IEON BRACKET AND “SCROLLS” auc | econ: cxsracesstsi9240soo me
MATH PAINTED IRISH: ATTACH TO ENSTING WALL WTH va TYR, vere CL CENTER COPY
‘AHOHORS AND BOLTS:
COLOR: MATTHEWS JET LACK TBAIA
Ve" THICK AGRYUC SIGN PANEL WTH PAINTED FINISH
ATTACH T0"FRAME™ WiTH CONCEALED FASTENERS
COLOR: VATTHENS: BURGUNDY DASH 7A:1A 8) 4
FF DIA BRASS KNOB WITH PANTED FINSH See Lo
(COLOR: MATTHEWS-CKYSTAL GREEN 430-17
UA THICK BRASS LETTERS WITH POLISED PINSH:
ATTACH 70 SIGN PANEL WITH CONCEALED FASTENERS
ve" MDE PANTED srIIres SIDE cu
COLOR: MATTHENS:WAR DANCE 441A
Yo" WROUGHTIRONFRAMEWTPANTEDFINS,
COLOR: MATTHEWS-JET BLACK7BAA 90
" LOCATION ELEVATION

18" THICK BRASS WITH POLISHED FINISH: ATTACH

TOSIGN PANEL WITH CONCEALED FASTENERS

H U.N T HiUEN FT
ITER COPY DESIGN
ASSOCIATES COMPOSITE PLAQUE ASSOCIATES
a5 North Mentor Ave 25 NorthMenior Ave
Pasadena, CA Pasadena, CA
91106-1709 91126-1799
STAND OFF WALL
626 799-7847 WH WE"THICK 66 7917847
636 z95-asa9 fax BLACK ACEYLUC 626 799-2549 fax
BACKING PANEL
ETCHED POLYMER
Prune
LOCATION ELEVATION
PARIS LAS VEGAS PLAGUE AND
ver Capina arc Pubic Arewo

mo
Signage and Graphics |WOUNE Conomon bcs
ae OS
WALL WATH

FASTENERS =
ERs HEX BOLT MECHANICAL —
FASTENERS WITH EXPANSION
ELEVATION (Note: ame devlgn for B1030-002-01; B1030-002-02, 610%0-001-02 WALL ANCHORS AS FER
Wwe WALL CONDTIONS
12°THICKSTEEL PLATE MOUNT V2" THICK STEEL MOUNTING
TOWALL WITHHEXHEADMECHANICAL PLATE @) SIDE SECTION
FASTENERS AND PAINTED FINISH Reviroom Identification jure
COLOR: MATHEWS-JET BLACK 78A-14 VE"THICK x WIDE FORMED ——
STEEL BRACKET Elevation
72" FORMED WROUGHT IRON =)
BRACKET WITHPAINTED FINISH STEEL CHAIN
COLOR: MATHEWS-JET BLACK 7BA-1A cAsrcomrosme
PLAZUE COMPOSED
‘STEEL CHAIN UNKS WITH PAINTED FINISH 2/4" THICK FLAT CUT OUT : me =; OF METAL ANO METAL
OMENSIONAL POL E ODE onsTRKE SOE oF 3
COLOR: MATHEWS-JET BLACK 7BA-IA DECORATIVE STEEL
BRONTE FNS
2/4" THICK FLAT CUT OUTSTEEL uesrecHwer
PLATE FLOURISHES WITH PAINTED
FINISH & MODLEBURT, ¥7. C72
COLOR: MATHEWS-JET BLACK 7BA-1A 3 TEL (002) 380-4667
Ay FAX (802) 508-8455. i |
s| 27
IMMA
CORTABTED
ATHENS PstCAPENOR 264:
V4" THICK STEEL FRAME
ae RE STI f By ret
| $I
elie ETCHED POLYMER
GRAPHICPANEL WH 8
heey: 82" RAISED LETTERS: a
we mexMAGeumanreD
PEE rar curovrsez.-—~ Gent.‘ / noes \ |
|
AND BRAILLE: FAINTED
FINSH | z x78.989
[ese { ANSI
beaks GACKOROINGNEGATNE
cree —*BACTMNNTIG
OF CONDENS
ATTACIENT TOBE AND METI
DETSANED BY |i as
a
COLOK (LETTERS): MATTHEWS PEARLY GATES + 3.29,

206A
ioe
= AMEN JETELACK714
COLOR (IMAGE): SIGN CONTRACTOR FRIOK TO FABRICATION.
i s.
{ |

Bi030.0
‘ONE UNE CONDITION COLOR (BKGD.): MATTHEWS CAFE NOIR 26A-1A Veer tS

ELEVATION (Note: sume design for B1020-001-01, B1030-001-02) ‘SIDE VIEW ++ ELEVATION LOCATION ELEVATION B365.0
Tr > F rr

GENERAL NOTES: PRIMARY POWERBY OTHERS —

+ BXACT MOUNTING CONDITIONS AND METHOD — = FNAL 10 BE arecinED a
OF ATTACHMENT TO BE DETERMINED BY N° BYYATESSUVERMAN HUNT
IGN CONTRACTOR PRIOR TO FABRICATION. co E 5
FIELD VERIFY MOUNTING GONDITONS.
STEEL MOUNTING BAR WITH FLATHEAD = Waex Ve
COUNTERBUNK. MECHANICAL FASTENE! STEEL TUBING ASSOCIATES
TOWALL SHEATHING WITH METAL STUO FRAMING 4 North Mentor Ave
Wexwe Pasadena, CA =i _ Pasadena,CA
FORMED ORNAMENTALS. ALUMINUM 91196-1709
1 BQUARE STEEL TUBE ANGLE 2 E i tae ysyrtar
WITH MECHANICAL FASTENERS SUPPORTS 626 793-7847 ———————) —_—_ I> 636 791-4549fax
REMOVABLE ALUMINUM RETAINER WITH < 626 95-2849 fas A
WELDED .090 ALUMINUM FACE
FABRICATED .090 ALUMINUM CABINET Pape
AND FAGE WITH APPLIED SCOTCHPRINT DCT arLPCATONSSDMENSONS
GRADATED BACKGROUND AND
FLUORISHES.
PARIS LAS YEGAS
Casino and Pubic Areas: LAUreCST TOBE PRONDED 18 PAR Ce
Signage and Graphics
ROUTED OUT COPY WITH 72" THC rus 3 OOROINATE MITH DA.
THRU CLEAR ACEYLIC LETTERS
ALUMINUM FLOURISH ATTAQHED AND TAPFERING Eien
INTO FACE OF ALUMINUM RETAINER (NOVISIELE
SEAMS) FLAN VIEW CS =
12/4" DIAMETER ACRYLIC (OR ALUMINUM)
HALF SPHERE a a oo
FLUORESCENT LAMPS WITH WIKEWAY [0 =
UO" THICK WHITE ACEYLC BACKING Primary entiation
WE THICK,4x $4V2"STEELMOUNTING
db
Elevation
PLATE WITH FLAT HEAD COUNTERSUNK MECHANICAL j
FASTENERS; PAINTED FINISH
COLOR: ANTIQUE DARK BRONZE 10 MATOH ExTING
METALWORK . TYPICAL LAYOUT: =
> 2/471 72"STEELTUBING FRAMING WITH 1/8" : Z-0V4 3 , « 8
‘STEEL FLAT GUTOUT FORMED ORNAMENTALS
COLOR: ANTIQUE DARK BRONZE 10 MATCH EXSTING
METALWORK ® SECTION
SQUARE STEEL VERTICAL SUITORT BARSPAINTED
|| COLOR: ANTIQUE DARK BRONZE TO MATCH EXISTING METALWORK
DECORATIVE ALUMINUM FLOURISHES ATYACHEO AND
BLENDED 10 TOP OF CABINET RETAINER WITH PAINTED
FFINSH. COLOR: ANTIQUE DARK BRONZE TO MATCHEXISTING
) |) a
METALWORK WITH GRADATED MATTHEWS BAYOL MISTOIA:
TO WHARF GREEN 618-40 HIGHLIGHTS : * |— =
———— ROUTED OUTCor wiTH Y=Nick PUSHThIRUCLEAR ACRYLIC
LETTERS WITHTRANSLUCENT GRADATED SCOTCAPRINE APPLIED
TOLETTERFACES, LETTER RETURNS 10 BE FROSTED.
(COLOR: (LETTERFACES) GRADATED MATTHEWS BAYOU MIST oot
GASP TO WHARF GREEN O15-40 deena Pa]
FABRICATED INTERNALLY ILUMINATED O90ALUMINUM CABINET
(ANDFACES
FLUORISHES.
WMTHAPPLIED SCOTCHPRINT GRADATED BACKGROUND AND
: “" BA0G.O

S
PR
 design ANALYSIS —
Using the lighting poles keeps clutter to
A a minimum and is thematically correct.

ae a The signs add interest and work as

v. focal points on the crowded floor.

Loe Registration
& Elevators
“~——-_ Colors are used to code categories
of destinations, making it easy to
sort the many messages.
Si Boulevard
_ Shops& Restaurants
Much thought was given to
typeface choice, in the end, this
= LeCabaret = (ss Le Centre de Convention” decorative approach won out.

Les Toilettes TOM

Lc)

t=

€3

bets

BS

[=F
 PROJECT OVERVIEW
Wayfinding and themed graphics for
a resort hotel, including casino, pool,
convention center, parking, and site.

PROJECT FACTS
Client:
Park Place Entertainment
Graphic Design Team:
Hunt Design:
Christina Allen, Karen Aseltine,
Jennifer Bressler, Esteban Hernandez,
Wayne Hunt, In Sung Kim, Dinnis Lee,
Sharon Persovski, Perry Shimoji
Wayfinding design in the colorful facility Sign Companies:
The casino’s eighty-foot ceilings precluded the use of Federal Signs, Studio Arts & Letters,
hanging directional signs, the type seen in most casi- YESCO
Schedule:
nos. The solution came from Paris itself: a series of Three years
“street’-mounted (floor-mounted) pointer or finger Photography:
signs with message slats that literally point the way Jim Simmons (Del Zoppo Simmons)
to each destination. Color-coding was used to help
differentiate the messages for quick reading and MATERIALS & TECHNIQUES
understanding: red signs indicated amenities, blue ~The complex project made use of nearly
signs shops and restaurants, white signs for conven- every sign-making technique.
tion center, etc. Instead of the typical map directo-
ries, the designers added the property map to the UNIQUE ASPECTS
Paris-style poster kiosks that had been selected for Very complex creative team with two
thematic enhancement. architects, four design firms, and a
complicated site and facilities program.

Parking garage communications, always a challenge for

Las Vegas operators, was solved by assigning Parisian
landmarks to each level and creating a color-based
sign system. Exterior signage is also highly themed and
features Art Nouveau forms with faux-copper details.

FA

Las
Le)

ca]

ec

Bo
Big results from a small budget
When supporters of a school improvements bond issue, To keep the unit cost under $300, the designers started
Measure Y, won a hard-fought victory at the polls, with the idea that a standard four-by-eight-foot sheet
there was concern that many of the resulting small, of plywood could be decorated and easily installed on
nonglamorous construction projects might go unno- four-by-four posts. After developing several designs
ticed. Voters tend to imagine large new construction as based on a flat painted panel, a concept featuring a
the primary use of bond funds; they often don’t realize cutout letter “Y” was put forward. This “transparent”
that dozens of minor, or “hidden,” improvements are design immediately captured the fancy of the client; it
happening right in their own neighborhoods. allowed viewers to see through the sign to the con-
struction work while still delivering the key message.
To help signify that projects were, in fact, underway
on multiple school sites, the Pasadena Unified School An additional benefit to the cutout symmetrical solution
District called on Hunt Design to create a design for was that it could be installed in any orientation—per-
an inexpensive construction marker. The design brief pendicular or parallel to the street—and still be legible
called for a low-cost freestanding sign that could be from two sides. And the background, whether trees or
quickly installed in any site conditions and that would building features, played a role in the total design.
last for up to six months.

Several design options

before 1e final version

| « :
Thank ®

You | R
>
MeasureY
voters. ES At Work.
|| 2
2%
. SE
roa gee ene
Measure Y
SCHOOL BOND
ne
aa
|
|
es
you ve
 PROJECT OVERVIEW
Fifty easy-to-install construction signs.

PROJECT FACTS
Client:
Pasadena Unified School District
Graphic Design Team:
Hunt Design:
Jennifer Bressler, Felicia Lee
Sign Company:
Curcio Enterprises, Inc.
Schedule:
Eight weeks

MATERIALS & TECHNIQUES

Painted and screened plywood;
wood posts.

UNIQUE ASPECTS
Designed as a very low-cost,
temporary program.

Seeing through the sign to the

construction pro cts made it
especially interesting

at work.
FA

rt at work.
oe

PR
Colorful identity and signage for a special collection of attractions
The Northern California city of Redding has an inter- toward a cohesive description free of the “listing of
esting mix of cultural attractions, and in 1998 they attractions” approach. Selected to design the visual
merged their separate trustee boards to form a single identity, Hunt Design suggested that the words
dynamic civic destination. Originally comprising an “Turtle Bay” could still work, but with a new sec-
arboretum, art museum, trail system, summer camp, ondary phrase, “Exploration Park.” Dozens of logo
and butterfly zoo, the new organization set out to designs were created for review, and a colorful,
develop the combined property into the premier boldly drawn turtle image was chosen.
nature-oriented attraction in the region. A master
plan was completed which called for a state-of-the- To express the new identity, the designers began work
art visitor center and two interpretive buildings, one on a signage plan for the multiacre property. Again,
on each side of the Sacramento River (the three- color was the order of the day. In contrast to many
hundred-foot-wide waterway bisects the facility). nature-based attractions, Turtle Bay management
wanted to avoid the drab “park service” look and use
At the same time, world-renowned architect and colorful graphics to unify the huge site.
bridge designer Santiago Calatrava was selected to
design a dramatic footbridge to be built across the Sign types were developed for everything from major
river. The unique and eclectic destination was on its monuments to restroom signage. In addition to the
way to fulfilling its role as a major regional asset. bright colors, the turtle image was used as a back-
ground on many signs, even on the glass entry doors to
Needed now was a new name—and an all-new, uni- the visitor center. Rigid banners of perforated metal
fied identity. Operating under the awkward moniker define the parking edges, and modest directional signs
“Turtle Bay Museums and Arboretum on the River” mark the paths between attractions.
was difficult, and there was a clear need to move
 More than one hundred sketches preceded
selection of the final logo. Multiple client
reviews led to a more colorful approach.

—turtle Ba
LOOK LEARN TOUCH EXPLORE

TURTLE BAY
EX peER
TURTLE BAY
EXPERIENCES

Fexperiences |
TurtleEXPERIENCES
Bay EXPERIENCES

Turtle Bay EXPLORATION PARK

express identity with color

PR
CT
 rs
f ff yA
ff fee — eee CeCe ¢ f:
ff f’
ff f :
/ ea :
j f Pa |
/ é Zo
j ,
j ves
ao

f ff j
f f f a
ff ff f
e e e ° e e e ° ° e e “fe e e / e e e

£
o Fs
; -
=
\ ra £
aA Zé
\\ enrepeto™ -¢ f f
F
\ oe ¥

|
\ ——____ |
/ f.
y ff ee cess
y, re
=,
é - =~
f ee
&
ff ——_ \
Pf =e, &
ff =,
ff Me
%
®
%,
\
\
=,
“a,
ity
=e ——
=
es
= ee } 3 Entrance

ite Re sy
f
y,
4
A!
L
nian
MN.
2
-
a
oe | 3
)| :i- =n BAY|
fo j EXPLORATION PARK
é f
i r
é y4 ee, p

a fo ee
i é
f fr di f Sign Type $02 Site Identification / Vertical : = Sign Type $02 Site Identification / Horizontal

ee’ i

“Serena
Ae oo

a
f Scale 1/2” Scale 1/2”

\ 2
XY y 4 =
_ * ya HUNT DESIGN ASSOCIATES 2177 Turtle Bay Wayfinding Version f\.1 Turtle Bay Museums Site Identification 02] 03 | 00 |
“ee -_ I = i J
IO

retation of the turtle

Pppeafls as

a
<
aa
bu
—_t
-
ce
—
PARK
EXPLORATION

_ MAIN ENTRANCE
EXPLORATION PARK
MAIN ENTRANCE

i]

f=
Sign Type $02 Site Identification / Vertical Sign Type S02 Site Identification / Horizontal
Carh, dac eticliac = a Scale 1/2" Scale 1/2"
Early design studies for the
6
entrance monument

Pe)

m= ir = — — se T Kay oe i = —= a | i]
HUNT DESIGN ASSOCIATES 2177 Turtle Bay Wayfinding Version B.1 Turtle Bay Museums Site identification 02|09|00 |
Le —— I = — ee —- — SS a aDFs

eS

aS

eo
SSS ENT,

A rigid banner of
perforated metal.

Open 10am - 5pm

pas ween
x
a
<
a

Z
(e)
[ems

<
oe
Summer Hours
oTEMBER Dimensional marquee is
Open10a
ceiling mounted.
0
The graphic identity extends wad
to all operations signs.
a.

BAY
TURTLE
Open 10am-5pm
S
CLOSED MONDAY

x
Lid
 oesion Analysis —

NAultiple colors suc st the multiple aa 77 _ God logos often have a “picture” of
/ something—here it's the first word in
/ the name.

Hexagonal graphic form is a scientific reference

and works well as a separate decorative device,
colors

Bright colors translate easily to

retail product design, an important
ut bold, —————~
consideration.

TURTLE BAY
EXPLORATION PARK.»

wa

fot)

—_
The colorful logo makes a bright
S “highlight” wherever it is applied

fem

a
 Fa
ae 2. eas

Pee
tag
PROJECT OVERVIEW
Graphics program to unite diverse
museum and nature attractions.

PROJECT FACTS

TuRTLEBAY =f _ | tn
Client:

Main Entrance Parking a | |

Hunt Design:
Karen Aseltine, Jennifer Bressler,
Rick Chavez, Esteban Hernandez,
Wayne Hunt, Dinnis Lee,
ee
EAL
LLL
SLL
LALA
Heather Watson

eta Si Sas
ELS
IA
PPAR
LLOLA
Sign Company:

= x. _ eer
Wiedner Architectural
inistrative
Administ Ofices
rative Offices
a, OR ee Two years (first phase).
Bus Drop-Off ‘
MATERIALS & TECHNIQUES
Aluminum sign structures with
screened graphics; fabric banners.

UNIQUE ASPECTS
The sprawling wooded site and
diverse attractions called for bold, 137
colorful designs.
\

All exterior signs on tl

feature bold use of the

FA

PR
Cafeteria and bookstore in a design-driven building -
This new auxiliary services building establishes new Hunt proposed a series of bladelike rigid banners to
standards for architecture and design for a 175-acre herald, from a distance, the existence of the destina-
university campus located on a hilltop 10 minutes from tions within the building. These retail-like designs
downtown L.A., at the edge of the San Gabriel Valley. preclude the need for directional signs and lend an
The building was designed to feature a Barnes and active, animated quality to the environment. At the
Noble bookstore, among other campus services that actual entrances, or storefronts, more formal signs in
include a credit union, conference center, university stainless-steel letters greet visitors. Overhead are smaller
club, and cafeteria. To encourage use by students and signs identifying building amenities, such as restrooms.
invite circulation, the architectural concept is shaped
around a curved promenade, making the building's The designers also proposed that a sleek freestanding
program components viewable and easily accessible. directory be installed in the new hardscape around the
structure, linking the dramatic building to the rest of
The design architect, Tate Snyder Kimsey, called on the Cal State L.A. campus. Although the campus
frequent collaborator Hunt Design to support the employs a graphics standard for signs, in this case
unique building with a wayfinding and identity sign building-specific signage was considered appropriate
program. But instead of traditional architectural to match the dramatic architecture of the new facility.
signs, the graphics designers, inspired by the build-
ing’s retail mall-like format, recommended a bolder,
more dramatic approach.

The building's unique shape influenced

the signage design.

Sign location plan shows the arcade

space at ground level.
! E ; -=
#45 = | FP
~(720-1601)
wi :

16 |B A
-* é) aa
errgne *

it
iressT
it 7) —
ee

PR
CT
Close cooperation with the architect allowed
sign concepts to be incorporated in renderings.

Finished project differs little from

the original drawing
 PIERCED METAL
i

it

:}

OCRING GLASS-FAGED CABINET \ Gt vin Fo

‘WIR CHAMGEABLE SER MAP. | Kh
The map directory was studied
in four materials.

fate all STEELCABINET

LIGHT BRUSHED HYNKSH |)

I
Hl i

PLAN VIEW aia)

DOCKING (OLAS
S-FADED CABIN
WITH CHANGEABLE (NSERT ayseq
39
£N

-Lic-- |FABRICATED CABINET

‘WITHAPPLIED STC FINISH ||

ELEVATION |NOY Serre teerer ney

ELEVATION

S
PR
 e ° e m Analysts e e e e e e e e e e e e e e e e e ° e e e e e e e e e e e e e e . e .

Blade sign solution provides Se a University logo is worked into

visibility 5 from entrance. \ all primary sign elements.

Eclectic typography and graphic —--———

illustrations lend important detail.
and interest

Freestanding stainless steel

letters reflect traditional
Colors are drawn from campus signage.
the architect's palette,
but brighter.

Sign shapes lead the - —

eye downward toward
the doorways.

Lc)

i=

tt
=

GS

iam
 °

PROJECT OVERVIEW
An integrated signage program for a new
student services building.

PROJECT FACTS
Client:
California State University,
Los Angeles
Graphic Design Team:
Hunt Design:
Dinnis Lee, Perry Shimoji,
John Temple
Sign Company:
AHR Ampersand
Schedule:
Eighteen months
Photography:
Jim Simmons (Del Zoppo Simm

UNIQUE ASPECTS
Unique building design led to exception
from the campus sign program.

The design-driven graphics complement

the contemporary architecture.

wa

(+)

es

ites

Minor signs have

curved forms.

PR
 07 WILMINGTON
ts:
Signage as part of rebranding
As Wilmington Trust, a venerable East Coast financial designers. Intense competition for drivers’ attention
services company, evolved into a global wealth-man- from existing roadside signs also complicates matters;
agement company, a new personality and upscale look today retail and consumer financial companies are
emerged. Branding consultant Boyd Communications reaching out with colorful and engaging signage
was chosen to create elements of the enhanced brand presentations along roadways.
to appeal to the changing marketplace. Everything from
letterheads to Web sites was evaluated and redesigned The designers developed several design options, each
to help reposition Wilmington Trust as a sophisticated projecting an upscale image with elegant forms, dark
and trusted choice for wealth management services. colors, and a broad use of silver paint. The aesthetics of
the proposals related well to the lifestyle design present
As part of the comprehensive rebranding project, the in the daily lives of Wilmington Trust's customers. Major
powerful medium of signage was identified as an influences were the sleek, understated images of youth-
important way to communicate changes to customers oriented luxury cars and high-tech consumer products.
at diverse branch locations. Boyd brought in frequent This jewellike look was in stark contrast to the often-
collaborator Hunt Design to assist in interpreting the generic suburban architecture of the branch buildings.
new branding look into signage applications. The
firms had worked together on numerous projects, The final design features a slim silver pylon sign tower
including the successful branding/signage program with cantilevered dark-blue curved-face graphic panels.
for Sanwa Bank of California. Pushthrough, edge-lit letters are used for the name and
logo and add an elegant touch. Secondary and wall-
Establishing effective brand statements in diverse mounted signs share details with the pylon. The creative
urban and suburban environments is not easy. Eclectic use of materials, color, and form signaled positive
branch architectural styles, varying site plans, and changes while providing high visibility and recognition.
landscape conflicts present challenges for brand

WILMINGTON
TRUST WILMINGTON
TRUST

wl
|
es |

ua |
eal

=)
es
Qa.
 WILMI NGTON
TRUST

WILMINGTON Drive-in Teller Clearance 9'-0 Drive-in Teller

TRUST

Each design concept grouping

oa was WIL N
demonstrated on schematic site sketches. TRUST penis

To achieve the desired elegant look,

many design directions were explored.
These three finalists were developed in
detail and shown in scale models.

elegance with.
)
Bae
in
28
Se
&
hf
4 eer,
es
-
Bes
—
ar,
,
i
&
=
oe
ie
hs
Ff
as
7

zo & 3 (f , @ 8 a PS e ty
i. ts 6! , sf. ls z he
oe
£ » Oete of we
t lali oye oe & eS
fa GE
Mi V4“i i

Each design concept grouping was

demonstrated on schematic site
sketches. The design approach had
to work well as a large pylon sign
and as a small wall sign.

S
T
€
PR
 oesion ANALYSIS
——= Tall silver pylon suggests strength but
is sleek and contemporary.

SS Logo is understated; the

name words carry the day.

Intersecting forms create a

Cantilevered asymmetrical ———————.__ sculptural presentation.
design is unusual for the ms
f aris SS
Tinanctal Dusiness.

Curved form “animates”

in the changing light.

i]

l=

=)

has
=

i—}

&e

Bs
<3
‘

Multiple location site signage program.

Client:
Wilmington Trust
Branding Design Team:
Boyd Communications;
Signage Design:
Hunt Design:
Dinnis Lee, Perry Shimoji,
John Temple
Sign Company:
Philadelphia Sign Company
Schedule:
One year
Visual qualities of the pylon sign
Were incorporated in monument
and wall signs. The design solutions grew out of a
two-dimensional branding program.

WILMINGTON
TRUST

CABINET FABRICATED ALUMINUM

REVEAL WITH PAINTED
LETTERS PLAN 1/4"
FINISH. (2)
FABRICATED 1” THICK
FACE PANEL ATTACHED TO.
CABINET.

1-10!
10-112" t+
= — + 1-4:1/
10 v4" p44]
3-3 3/4"
i-3 1/2
EQ. FABRICATED ALUMINUM INTERNALLY ILLUMINATED 4
¢ iat DOUBLE SIDED CABINET / FOLE COVER WITH PAINTED
METALLIC FINISH AND 3/4" THICK FLAT CUT OUT PUSH
|
a
+—17—«
z t THRU CLEAR ACRYLIC WITH POLISHED RET 1D
SURFACE APPLIED OPAQUE WHITE VINYL FACES.
| C2 ||
FABRICATED INTERNALLY ILLUMINATED ALUMINUM ww
WILMINGTON RES CABINET WITH PAINTED FINISH, (7)

TRUST a —
T Tv f=
\ : ACE APPLIED TRANS!
FACES
Nee ; iee
2 eS ®|
3| :
FABRICATED ALUMINUM
VITH PAINTED
€5
OPPOSITE SIDE LAYOUT | 1/4" | Cc
i
® (
s{ E
[
=
\
tts
| | i PRIMARY PO THERS

|F
WITH PL E
DETERM
CONTRA

ELEVATION 1/4" SIDE VIEW | 1/4

BOYD £24 Melrose Avenue

Los Angeles, California 90038
PROJECT
WILMINGTON TRUST
|cuieNT
Wilmington Trust
=| ‘SHEET TITLE
Extoior Small Pyion Sign | are 062300 sueeT

323 933 8383 Sign Guidelines Elevator | sone 2192 2.0

Fax; 323 933 8461
www.boydcomm.com

3k.
PB
ST
A graphics face-lift for a famous venue
Built in 1922, the Rose Bowl is a beloved, multiuse Working with the very old building proved challeng-
stadium set in Pasadena’s beautiful Arroyo Seco. As the ing. Sight lines to logical sign.locations were limited,
site of the annual Rose Bowl game and home to UCLA and there were few placement opportunities for new
football, the 103,000-seat facility also has hosted three signs. The building's all-concrete construction posed
NFL Super Bowls, soccer's World Cup, as well as con- mounting problems, and new sign lighting required
certs and events as diverse as the Rolling Stones and surface-mounted conduit. And because blending in
Billy Graham. But because of the venue's age and all- with the rough concrete surfaces was impractical, the
concrete structure, efficient circulation is difficult for designers decided to use the more than one hundred
large crowds. The 2002 Bowl Championship Series sign elements to help establish a new visual identity.
(BCS) championship game provided the right incentive
and funding to update the signage in and around the The resulting designs are targetlike, with a circular
stadium. Hunt Design took on the design assignment outline used for emphasis and as a continuity device.
and the challenge of a rush schedule—four months Typography is boldly stated and reflects a sports sen-
from concept to installation. sibility. To contrast with the green sign backgrounds,
the designers specified a strong palette of red, yellow,
Most important to the client was improving the appear- and white for the words and numbers. Great care was
ance of the Rose Bowl’s eight entrance gates, the point used in the design of the many regulatory signs that
of first impression for visitors. These framed turnstile often present a negative greeting and add a cluttered
enclosures would set the tone for the entire graphics appearance at sports venue entrances.
program. In addition, a “traditional stadium” look was
important; the Rose Bowl needed to reestablish its own The design program extended out into the vast parking
identity, free from any one tenant's aesthetics. areas and also included off-site directional signs along
area roads. In addition, a program of temporary signs
Starting with a selection of sign types from the prop- was developed for use when the adjacent golf course
erty, the designers prepared a series of alternate design is used for parking.
schemes, including one featuring backgrounds of large
digital graphics of roses. The Rose Bowl and its prime
tenant strongly preferred a more neutral “stadium
green” appearance in which bright colors were used
only as accents.

SS SSS ES BS SS
 Several color options were considered,
including one with a motif of digital
rose petals.

tocaniay eucvarion |rom

WUNT DESIGN ASSOCIATES [2270 | Rose Bowl | ka5 | Stociium

Gatay OPTION B 313010

traditional but DOIG

gupnareertig

t ii

ii
Mt |

HUNT OFS1C x AssocuarES |2270 | RoseBow! Ki 5 Stadium GatoA.OPTION B without banners | copcstor ||

eS i]
a ‘
he 210 west 210 «134 110 210 to 134 0 4
E ¥ v cast J

uayour 1a" Outboued

£0 width varies £0

4 Pa) w”
ai nf
> t General Parking / '&|/ Passes 3 —
‘| r WY BOTHLANES Y ;

i)
| ©
at) ih oe i
; 2 heb
a program Fi | akon wih carb align‘witsedge of aachalt ||
: —
of temporary Ov ead banner bi

! signs was developed to direct

S
game-day traffic in and out of
the constricted site.
es
gan’ ahaa a
 |

Base by Event Serices inc.

|
SMOKING POLICY ASSISTIVE LISTENING
ie
a

~ ELECTRICAL CONDUIT

eel |

\ \ |
|
10 7:10 | 10
cs oa = = t +

— Scaled sketches of the final designs show

the color theme: green background, red
e3 band, yellow letters and numerals.

fa]

oy

=]

ise

Ba
selective seo,
Drignt Colors
 oesion Analysis —

Red circle is target-like and

provides visual focus.

Aluminum panels make a neat retrofit

on existing steel structure and help
define an array of turnstiles.

Yellow letter is as large as possible

for distance recognition.
The design is somewhat neutral
allows for prominent display of ¢
participants’ logos.

“Stadium green” color scheme

is reminiscent of traditional
sports venues.

tJ]

tes

Lid

—_

au
 New wayfinding and identity signage for
the Rose Bowl.

Client:
The Rose Bowl;
Pasadena Tournament of Roses
Graphic Design Team:
Hunt Design:
Karen Aseltine, Rick Chavez,
Wayne Hunt, Dinnis Lee, Perry Shimoji,
John Temple, Heather Watson
Sign Company:
AHR Ampersand
Schedule:
Four months

Aluminum sign panels with painted, vinyl,

and screened graphics; vinyl banners.

: bey 4 | | faded. ; JER le ade | ; Thecentury-old facility posed difficult

Stadiums: information-rich | an :fa base ey f | | | implementation challenges.

CNVITONMer | ; :
LIGHT DETAIL | 1/2"

| TUNNELS
91-1028 |
€ 12-24
® 25-26 ,

FA

PR
 tan orenc on EXHIBIT DESIGN AND PROGRAMMING
When planning an exhibit, most clients have defined manner. We provide experiences one after another,
an overall message they wish to convey and have allowing the visitor to build up the whole story but
determined a need to communicate it to “their” public. never allowing him to-see-er experience the whole
When we begin to program and design such a project, story at once. Revealing the story step by step is a key
one of the guiding principles that sustains the process, factor in engaging the visitor.
start to finish, is the “story,” our extended interpreta-
tion of the message. It is essential for us to develop a Collaboration with a large team of specialists, includ-
broad and deep understanding of the client, its mis- ing client, project architect, interior designer, lighting
sion, and the potential visitor. The exhibit, when consultant, audiovisual consultant, acoustic consult-
brought to physical form, must communicate this ant, and interactive computer hardware and content
understanding in a well-organized format in order to consultants is a routine requirement for producing a
effectively tell the story. complex exhibit environment. We must work closely
with the overall team to effectively bring the narra-
Exhibit projects tend to be more complex, yet more tive through the process. The team will have concern
focused, than wayfinding or visual identification pro- for the entire exhibit space as well as the spaces sur-
grams, but they are similar in that an essential rounding, especially those that form an approach
design concept must be established to serve as the sequence, including the vehicular approach to the
“guiding light" throughout the programming and site, the pedestrian approach, the building entry
design process. Further, the concept is conveyed in a sequence, and the transition into the exhibit space.
logical, sequential physical arrangement in the result- This entire sequence affects a visitor's impression of
ing built-out exhibit. Greater complexity and focus the story. Clearly, the exhibit narrative helps establish
require a concept more flexible and more capable of the overall guiding principles, but all of the other
evolving during the design process. disciplines have contributions to make to assure the
success of the exhibit and the entire visitor experience.
Conducting thorough and meaningful advance research
reveals the narrative, which is key to understanding the The designer must appreciate the aspirations of the
essential message of the exhibit. The design process exhibit, its functional criteria and goals. As a team we
then methodically transforms the narrative into a pursue the design concept, design development, and
sculpted three-dimensional space, bringing the story to implementation of the overall program. Sensitivity to
life for each visitor. Just as in architectural and interior all aspects of design, including coordination with all
design disciplines, the space must be organized into a design team members, budget requirements, calendar
sequence that relates the space to the story, and the schedules, and spatial allowances, must be included.
story to the visitors. Typically, a sequence of experiences All aspects of the exhibit, from overall concept down
arranged around a timeline theme or a hierarchical to tiny details for connections, graphics, and finishes,
theme—in the same way that a verbal story would be must be coordinated.
told—will communicate in a logical and comfortable

or
or
a|

if Sa
H vay §
FINE
it
i
Bible Fecus Introduction.

PERT
EK
Rich and varied materials establish
a warm, Inviting environment

Flow diagram shows visitor Jan holds a bachelor of science

circulation sequence and choices degree in Industrial Design, a master
of science in Visual Design, both from
the Institute of Design in Chicago, and
a master of science in Architecture
from Georgia Tech. He was selected to
jury the SEGD Competition in 1996,
and in 2001 he was the jury Chairman.
He is on the Advisory Board for the
2S . Georgia Tech College of Architecture
Industrial Design Department and is a
| o, i} =a frequent speaker at design schools
3 oo VAN
WN of
i
hehf i of"! By / ats Pe i and conferences. He helped establish
ust 0M
4 a
fl
nn the Allied Design Council in Atlanta,
f ‘a
Oyhy
iM) which promotes dialogue among vari-
ous design disciplines.

In 1978 Jan established Jan Lorenc

Design in Chicago and then moved the
firm to Atlanta in 1981. He relocated

A ho again in 2000, to historic Roswell,

ra psa a)we"
Georgia, and at the same time
renamed the firm Lorenc+Yoo Design
(LYD), acknowledging his partnership
ree
va with Chung Youl Yoo. The firm includes
Nao “a
a multidisciplinary team of twelve
2 designers with broad experience in
industrial design, architecture, interior
design, graphic design, furniture
design, and journalism, all collaborat-
ing in crafting a narrative for each
client and each project which is then
realized through the design of various
complex environments.

LYD undertakes projects of varying

complexity and magnitude involving
museum planning and design, visitor
center design, trade show exhibits, S
E
AY
and a variety of environmental graph-
ics programs. Our mission in our proj-
ects is the unification of the arts
where all of the images and spaces
and details of each project are coordi-
nated seamlessly into a complete
design statement, imparting a singular
Lergvsge & Cultre medern ‘abi vabibn: Invelvement Y202%
narrative specific to the project goals.

BT
ek
ce
 An exhibit must tell a well-organized story

When conducting advance research for the program- Materials and graphics must be supportive of the story.
ming phase, the designer must carefully listen to the If the story is speaking of the future and high technol-
client and to other people who influence or affect the ogy, the design should reflect those values. If the story
client's business, activities, or organization. We gather is more groundedin history, then aspects or artifacts
every conceivable type of information relating to the from the time period should be considered without
message from the client and other sources. Further, resulting in trite or condescending messages.
we must understand opportunities embedded in the
exhibit message. This might include “reading between The segments of the narrative must be communicated
the lines.” It is important to understand the client and effectively and may be further broken into elements of
the message beyond the factual information gathered. primary focus, secondary focus, sidebar or supporting
information, or additional categories. This communica-
Once the message is understood, the process of pro- tion should be tailored to the intended visitor types—
ducing a narrative version of the message must begin. those familiar with the subject, those unfamiliar with the
This complex process involves breaking the message subject, children, visually focused, auditory focused, and
into segments according to the anticipated needs of sensory focused. Further, the information must be mean-
the visitor. It is important to research and understand ingful when experienced briefly or with greater scrutiny.
the variety of visitors with whom we must communi-
cate effectively. The message segments then evolve Once the segments are known and the degree of detail
into a physical space with attributes that address is determined, the designer must determine the physi-
basic human ergonomics, circulation, and graphic and cal means of communication. This area of effort invites
sensory elements. In essence, the designer must arrive enormous creativity since the communication may
at an architectural definition of the nature of the over- occur through an almost endless variety of means,
all exhibit space. including: visual, auditory, touch, interaction, technol-
ogy, color, light, vibration, mechanical devices, and so
The exhibit design process on. As the method of communication is determined,
The process helps organize the overall execution of the the segment of the narrative defined, and the narrative
goals defined by the client and the design team. The sequence maintained, a well-organized, meaningful
traditional architecturally based process of conceptual exhibit experience will begin to emerge.
design, design development, fabrication documenta-
tion, and construction administration helps to establish
a basic organization for the design effort. The process
benefits greatly from continual feedback and response
from the client, focus groups, or other study measures
to ensure that the design communicates effectively and
comfortably with the intended visitors.

So

t4

ws

Cc]
“Rendered” elevations are easy
to prepare, and very informative
Lad for clients.

PERT
EX
 Kieeh
ounbey
7H aeed.
ISTIV VAISS

Study model and installed show—it's Speen soe

L, £, 14) ri yec.o chuwech +re ruw
always gratifying when the f:inish fulfills
the model's intent.

ct
Y
ok
e

ful
Me 7

and Cultore
Iavelvemen-t V 2025 mederr translation: Language
EW
P
 Tha se
ns,dent
WAN

Hho Utes thie sporti to

slearn beyond
one’s own immediate life @Xperience

\ =]
[J]

{J-)

teed

im The Bible « Ete fewer ¥ Hier

Ce0erial Sketeh—

TI
UEDA
K.P
E
Exhibit design principles
1. Foster an environment that nurtures the mis-
sion and vision.
2. Invite and motivate the visitors to share in
the mission.
3. Maximize the storyline communication. Install
a clear and compelling message that informs,
educates, and engages the visitor.
4. Create a memorable exhibit experience that
captures the imagination of the visitor. Inspire,
motivate, and stimulate the heart and mind to
greater understanding and awareness.
5. Assist self-guided flow and circulation through
the exhibit. Allow for a sequential story but
allow random browsing.
6. Develop strategies to allow for expansion and
flexibility where required. Consider the needs
for further expansion in a master plan.
7. Create a variety of exhibit displays within an
organizing scheme. Look at the big-picture
ideas together with the component details.
a. Provide places to pause and reflect along
with places for active integration.
b. Accommodate a wide range of visitor groups
of different ages, different backgrounds, dif-
ferent degrees of familiarity and education.
c. Utilize a combination of electronic, mechani-
cal, 2-D/3-D displays of varying complexity
to engage the casual or active visitor.
d. Provide a solution that will accommodate
groups of various sizes.
8. Assist the client in designing a cost-effective
solution that presents the story and overall
quality goals.
9. Communicate the narrative in a creative, imag-
inative, and visually appealing way, but in no
way allow exhibit design features to over-
whelm the message.

al

==

wa

ic)

Bat

and the visitor

oT
FOR
Eo
 Wty
Wid

i 3 noth:
nt Seg} en ca Dlomote
‘fuelis ignited inthepresence ofan oxidizer, an agen: ;
‘that eupplies oxygon tothe combustion process.
Energy Isproduced inthe form ofhot gases under
Pressure, When the gases are expelled, they create
‘@reaction force that propels the rockot.

‘The F-1/at Work

‘The F-1 enginos were fueled by a form of keroseno
‘Known 88 RP-1/and the oxidizer LOX or liquid oxygen.
‘Tho propellantswere stored in the Saturn V's first
‘Stage and were driventothe F-1's combustion
chamber by a 3,000-pound turbopump assembly.
‘As thetwo propoliants entered the combustion
chamber, four small pro-bumera caused thom to
ignite. Tho gases produced during the process were
expolled from the chamber into the engine's nozzle
ata rate of 1 million cubic feat per second.
 *

iy. Sears rower OKYDECK »)

A visitor center 103 floors up
Once the tallest building in the world, the Sears High visitor capacity and lack of floor width led to a
Tower remains a major Chicago tourist destination. design consisting largely of two-dimensional media.
In addition to the spectacular views of “America’s However, the designers created insets and shadow-
second city” from the 103rd floor, today’s visitors boxes where possible and established a rhythm at the
expect and deserve more for the price of admission. tops of the walls by setting some title headers back
Opened in the early nineties, the observation deck and moving others forward. Dramatic carpeting and
had, over the years, become dated and uninteresting heightened lighting add much to the look of the open
to viewers. Also, with as many as one hundred bad floor, even in full daylight.
weather days, when the view is less than wonderful,
a new attraction that had appeal independent of the As a design counterpoint, two concave walls were
weather was needed. The property owner contracted included to feature two of Chicago's most important
with a multidisciplined design team to renovate the and interesting stories: sports and architecture. These
glass-enclosed space. In addition to the concept rich mini-spaces provide topical focus and spatial
design firm and architect, Hunt Design was picked contrast. A custom carpet design presents a large
to design the graphic exhibits. compass star as a complement to the presentation
on the city’s great architects.
Based on Chicago stories, the exhibit is a linear
interpretive experience designed to circulate guests An interesting facet of the design solution is the par-
counterclockwise around the building's elevator/ser- allel children’s story line called “Knee-High Chicago.”
vice core. High traffic and near-capacity crowds make Here, special copywriting and visuals are placed along
constant visitor flow important. The project's architect all of the display walls at a lower height and signaled
suggested that the display walls be curved to contrast by a continuous, curving, dotted line.
with the rectilinear windows and to add a dynamic
quality to the space. The resulting separate, curved
portions provided a logical means to organize the sto-
ries and images. The perpendicular walls between the
curved wall segments are filled to the edges with
large backlit transparencies.

Early sketches illustrate

dimensional wall effect.

wa

ee

us!
_

Ss

(- =)
 ag

oe ays

This architect's study shows the

curved walls of the displays

The entire exhibit was studied

with scale models

A special kid sized story line runs

parallel to the main narrative.

Ss
1
6
€.
3
P
 23'-11" ( flattened view)

4-0" Seams (typ) _, |

| — Flat cut out 1/4" thick acrylic copy

with painted finish. Copy to be formed to
match curvature of wall surface and
pinned flush to face with epoxy

— Formed soffit sets foward 1'-0" from face of

wall SS-W5 and to have painted finish

— Vertical square tube steel supports with

rolled square tube frame mounted onto front
of supports. Steel frame to be covered with stee
7 x sheeting. Apply 1/8" thick "Sintra" panels to fi
of steel sheeting with acrylic adhesive sheeting
10'0" 9 3/4" al | 1410 3/8" ic and concealed mechanical fasteners. Apply “Le
graphics to face of Sintra. Ease all edges. Seam
be hairline seams with no gaps or uneven surfa

98 1/4" (Flattened view)

= aa —— 4" recessed toe-kick with painted finish
(Actual wall curvature is formed to match 58-7" radius) NOTE: Low voltage strip lighting recessed
into concealed area of toe-kick for down
lighting of toe-kick area.

box; 2'-6"

hole: 1:10 1/2

One of the few interactives:
5 ‘i i the narrow space and high
aI males traffic led to a graphics-
2 zy y cee Nae panview| | dominant design solution.
+ L Sone xi i ; } hole. 140 1/2" u

muffin fon hole ©

SUB-7 9° diometer

diorama
box: 20"

Here a special wind effect

surprises visitors,

| tm
Massacre

ari

Stinking weed? DZ
Pale cat?
eetgh Chieaya
ae
i
 DANIEL
BURNHAM.
— ; 0
ya.

Just as hu
have sk

Concept design, construction

drawing, and finished installation
of the “Chi 7

30'-1/8" (Flattened view)

(Actual wall curvature is formed to match 10'-0" radius)

Flat cut out 1/4". thick acrylic copy Formed soffit set back 6" from face of wall SS-E1
with painted finish. Copy to be formed to and to have painted finish.
| match curvature of wall surface and pinned flush NOTE: Low voltage strip lighting recessed
to face with epoxy into concealed area of soffit for up-lighting
of soffit area

|Hi &assy
:
10'-11 3/4" 1-5 7/8" ees (oe 12'-8 5/8
. .
61/2" 1°7 5/8" = 5" 1-7 7/8" eis 4-9 1/8"
Ise co BSE nar ° .

AA eS
>| 8
Ss
/ al ®
——

S
ey o
>
“2 xmm
x

4" recessed toe-kick with painted finish

NOTE: Low voltage strip lighting recessed

into concealed area of toe-kick for down
lighting of toe-kick area. Vertical square tube steel supports with ‘h rolled square tube
\® e frame mounted onto front of supports. Steel frame to be covered
with steel sheeting. Apply 1/8" thick “Sintra” panels to face of
steel sheeting with acrylic adhesive sheeting and concealed mechanical
fasteners. Apply “Lexjet" graphics to face of Sintra. Ease all edges.
Seams to be hairline seams with no gaps or uneven surfaces.

S
PR
 Title headers are alternately set
forward and back for variety. |.

: Heavy on historic photographs,

The story was organized into camaaian the displays are made interesting
dramatic subtopics. by creative variation in image
sizes and composition.

Great Fire

Wel Ninn equrpinientt

then ond now! :

A colored line signifies

the “Knee-High Chicago”
children’s story.

Larger images activate

*” lower viewing areas.
ke

(=)

kad

—=

aS

&
The design was

daylight and at night.

PROJECT OVERVIEW
An intense, graphics-oriented exhibit as
part of a major building's observation
deck and visitor experience.

PROJECT FACTS
Client:
TrizecHahn Office Properties
Design and Production Firm:
Dellmont Leisure Design
Graphic Design Team:
Hunt Design:
Jennifer Bressler, Wayne Hunt
Concept Consultant:
Michael Devine
Project Photographer:
Evan Mower
Architect:
James Fox
Graphics Production Company:
Williams Graphics
Schedule:
One year

MATERIALS & TECHNIQUES

The graphics were digitally printed on
the reverse side of .005 Lexan and
installed in vertical four-foot pieces.

UNIQUE ASPECTS
The design had to compete with and
complement the spectacular views of
Chicago and work in daylight and night-
time for thousands-of daily visitors.

FA

PR
 A lively exhibit brings to life the experience ofa unique culture
Traveling exhibits, shared by major museums, are In this colorful example, actor and art collector Cheech
becoming an important part of the changing land- Marin collaborated with Clear Channel Entertainment
scape at many of our nation’s cultural institutions. Exhibitions, Inc., to create a five-thousand-square-foot
No longer is it always possible for a single museum multimedia show that will travel to fifteen cities in five
to author, finance, and install complex topical exhi- years. To plan and script the exhibit, entertainment
bitions. Increasingly, independent exhibit production design firm Wyatt Design Group was selected; they in
companies identify specific subjects of national turn engaged Hunt Design to create the graphic look of
interest and “presell” an exhibit concept to two, the show and to design the dozens of walls and inter-
three, or more institutions. pretive graphics. Wyatt and Hunt had teamed before,
and the creative staffs of the two firms worked as a
Unlike permanent installations, a traveling show needs unified team to achieve the richly layered final results.
to be freestanding and somewhat portable. The floor
plan must allow flexibility for differing conditions in The rich-looking exhibit consists of six displays, each
each museum, and ceiling heights are often limited. meant to inspire appreciation of Chicano artistic,
Major set pieces have to break down for shipping, and scholastic, and cultural achievements. Included in the
components tend to be light in weight. All of these program are original art, three-dimensional environ-
parameters often lead to shows that are more graphic ments, film and video presentations, music, history, and
in execution, and graphic designers often play a bigger artifacts. The designers created dynamic information
role than they would otherwise. panels for each display, capturing the unique Chicano
168 style by layering background imagery behind descrip-

yS, oyel, the tive typography and original artwork.

‘iful and of v
stee, The Smithsonia

| Funkahuatal
artist
plaques Guewara TWrteryprod
facion Ro

a,
The exhibit is organized around
artists and work commissioned
for the show.
 plture’ Clash (
The graphic look that emerged, bright and powerful isone of

to match the spirit of the exhibit, is not what one

sees in conventional interpretive exhibits. There are
no plain white information plaques with easy-to-read
twenty-five-word captions. While the text is readable,
the narrative approach is more integrated with the art-
work than is common in museums. The design team felt be
that the subject matter required this unique approach.
The seamless integration of original scenic murals, pho- Brown Men Videos? en ertormed by culture clash
Ghltite, clash
(es a S }

tographs, art, and technology created an environment mokin’Mirrors/Franciso Weyi@ipdez

Akira Boe Ape’ ‘Soncogidinafo! -Joi Turner
Dave Karson Lata aN Smith, Ryan Sudap, Kirk
that invites visitors to experience the impact and joy of JuanC.Garza superuiifig dM Ward, Lalo Medina, Lallfe,Salinas, Marnie Shelton
Mark Salinas - ight ks Nope 17 TM, Mr. Cartoon,
Chicano contributions to American culture. ranacas 13. Han venido en son dgipagy el Smith Estaban Oriol,€ypre
Gonzales/Homiescentral.comy
de los chicanos y los habitos de ta: Tony Valdez, Cheech, Maria {
Los Hombres Morenos seran tus g Rafael Castro, Adriana, SI Esparza/Katz,

A substantial challenge to the project's graphic Sefor Coconut,

designers was the need to speak in Spanish as well

as English. Because parallel one-to-one translations
often detract from the flow of visitor experience, the
two languages are presented in multiple typefaces
and eclectic formats. ‘= — AE MipeE : len, ULPTURE.

| —_AATISTS MURAL

Hua pang®

House

Banda

Disco

Faquachito;<

Pom
$
1
€
8
 Sod
ic
wt The border is many borders. It is the Bhysical borde
of today, the historical border of yesterday, the
The United Sta
x\\\ _. mythical border of everyday. It isa "psychological

‘
border, always to be crossed. It is a place of_
convergence, interaction, creativity, transformation.
inthe early 19th century, thelareas of Texas,
New Mexico, Arizona, Califorpia, Nevada, Utah, i Me
\\
Y4 fe Chicanos, the border is a state of mind.
Belshoma, apid\portions of Wyoming and Colorado
ERB were part of Mexico. Long before the US. absorbed
the!Southwest; Mexicans lived and owned land there

o,de Animo Fronteriza

J08 s) Mexicanos
1is multiple. Es la frontera fisica de hoy, la frontera ft Brica
pripcipios de Ames areas de Texas, Nuek ico,
frontera mitica cotidiana. Es una frontera psicoldgico | fort Oklahoma a de
© @ue cruzar constantemente. Es jugar de convergercia, The U.S.-Mexico border is 2,100 miles WV yommyg yi de Colrat de Mexico, Mucho
parte
: es dig los Est s Unidos absorbieransebisuroeste, los
featividad, transformaciOn. Para los chieanos, la frontera i
long-Some cross freely. Some risk their = ef roe ee ae te :
= a MaMcatos Vivian y tenian tienras wh
mo. lives to cross. For some the border is a es aoa
bridge; for some it is a bantie 2 i

The-Border
see

3Puente o barrera?
La frontera entre Estados Unidosy México tigi
Close to a million people cross back and forth over se tndides 78kmi. Algunos la crue
very day. Millions of dollars libremente. Al
‘orth every day. Cultuiieipasses 4 Para algunos fa front ne —
* frontera es una barrera..
{
of years, as though there were no border at all. .
| - = 4
st} intl Bridge: ee‘@
>
|| Mexico Megi
i
crud ange fa'frontera entre México y los Estados Unidos. = = iy * ep ociate .
ff
iit ome de délares de bienes van y vienen a diario, La
iy
iltura pasa de un Jado a otro de la frontera y se mezcla,
ie a Se
> Td ,
como lo ha hecho durante miles de afios, como si esa
> y !
fronfera no existiera.
hf

Beningin the
ah away

c
—Carlos Vélez- Ibanez, culturalae.
q antrop 6logo, cultural

x & iy

$
4
PROJECTS
Typical full-height exhibit wall
snows the eclectic composition
Of images and typography.
[cutie
:z

)as

ean
iaints
eRUNRESIET
Sele
RIC:
Se
co}
a

saan
iste

eeeeee

Graphics location plan

) Fach graphics element was clearly located
On plan drawings prior to design.
N¢
ESC
PR
 AAn “immersive” environment ——————_
of imagery surrounds visitors,

Layered images and text ignore traditional

2 exhibit picture/word layouts. The effect is
more like a Web site or hip magazine design.
The exhibit features ——————-~_
extensive use of
Spanish, but not
one-to-one translations.

_Technician
fhaxana VaraiTexos

Chicanos Ro
The roats of
Scientist
iro2 a ;
buen hit
shepachaca
epsience of eay

attitudes and bens

— Saturated colors and dramatic

Surprising objects, each displaying lighti d ,
: ighting predominate.
content, greet guests
 The ra of the Dead celebrates the cycle of life and dear ee
e

by remémbering dead ancestors. Chicanos reinvented this =

traditional Mexican holiday as a means of artistic and cy ¥%

expressi “often celebrating it in public places like ip,

neighborhood stores, cultural centers, and museums, g
PROJECT OVERVIEW
Five-thousand-square-foot
traveling exhibit.

PROJECT FACTS
Client:
Clear Channel Entertainment
Exhibitions, Inc.
Design Team:
Wyatt Design Group:
Larry Wyatt, Eric Williams,
David Woody
Graphic Design Team:
Hunt Design:
Jennifer Bressler, Heather Watson
Consultant: Peter Redetsky
Exhibit Fabricator:
Lexington Scenery; Williams Graphics
Schedule:
Six months

MATERIALS & TECHNIQUES |

~ Wood construction; mixed media;
digitally printed vinyl laminated with
satin-finish Lexan.
\
\
UNIQUE ASPECTS
=e: : A complex collaboration of two design
firms, an art collector, an arts group,
all part of a gatural *»Sugat Skull es/Galaveras deDul and a design-oriented client.
a“cookies are
cycle, then you can believe
in going back and forth."
-Tere Romo, art curator

“Cuando tienes la idea de que no hay. diferencid entrela vida y la

de que todo es parte de ce puedes créer en 7 y venir

“The Day ofthé FA

each year, the

RO
 SIGNPOSTING:«:
Even small displays can be interesting assignments
The Automobile Club of Southern California operates To serve the many-and varied district offices, most
service-oriented district offices in the Los Angeles of which had little or no display space, a modular
region where members can buy insurance, plan trips, approach was called for. The designers suggested a
or get help with vehicle registration. Because each solution of three designs, each a different size and
location serves hundreds of customers each day, configuration, that could rotate through the offices in
opportunities exist for the club to communicate with six-week cycles. A larger, freestanding unit for larger
its members about additional services and about the lobbies and two wall-mounted versions for smaller
organization itself. In an effort to remind visitors offices were studied and developed.
about the rich and storied history of the Automobile
Club, Hunt Design created this program of light- Several design themes were explored as organizing
weight lobby exhibits. devices for laying out the varied text and photo-
graphs. The preferred concept, based on large sign
At the turn of the last century, the Automobile Club arrows used as backgrounds, offered flexibility for
was first to install road signs on public highways; it creating large and small exhibits. The arrow shapes
wasn’t until after the First World War that local and also lent a sculptural quality to the freestanding ver-
state governments began to assume the role. Some of sion and an interesting profile to the wall pieces.
the four thousand signs the club deployed on the route
between Kansas City and Los Angeles can still be seen Because ease of installation was important, no fasten-
today. And because the Automobile Club of Southern ers are needed to erect the freestanding display: the
California maintains a rich photographic archive of the two interlocking flat pieces are held in place by gravity.
era, the topic of the club’s historic involvement in sign-
posting was an obvious topic for public display.

W% HOLLYWOOD FRWY
SAN
| if

By the earl
maintained
of standard
 Cf

ff"
LS

||
an @XHIDIt about SIGNS SSNey &ms
fe)ee
figured in all of the
nitial design sketches.

cov
Sos
cC— Bog
nos
Ooag65

S|
A Oo
ox
<=re
9
oeHee
3wo a
 Many configurations were explored
for the wall-mounted display.

The freestanding version went

through several iterations.
Signpasting: Program

wa

f=

(=)

kad

eS

a.
 PROJECT OVERVIEW
Lightweight, demountable history dis-
plays in three sizes.

PROJECT FACTS
Client:
Automobile Club of Southern
California
Graphic Design Team:
Hunt Design:
Jennifer Bressler, Nancy Holman,
Wayne Hunt
Sign Company:
Williams Graphics
Schedule:
Six months
Photography:
Jim Simm Del Zoppo Simmons)

SCHEDULE
The exhibit folds flat and
ships in two pieces. Six months

. MATERIALS & TECHNIQUES

Digital prints on Sintra.

UNIQUE ASPECTS
Low cost, easy to tr sport:and install
(no fasteners).

FA

RO
Exhibition design for America’s Apollo Moon program
Mounted permanently in its own 400,000-square- Exhibit designers frequently look for a single big story
foot building, the mammoth Saturn V rocket is said to build an exhibit around. Here was the biggest single
to be the largest object ever put on display indoors. story imaginable; the challenge was how to tell it cred-
Its restoration and installation as the centerpiece of ibly in an indoor forty-five-minute experience. With the
a spirited exhibit marked the completion of a major huge rocket as the dominant object in the sunlit space,
expansion of the Visitor Center at Florida's Kennedy the designers turned to a series of supporting stories:
Space Center. The all-new attraction, known as the the rocket’s power, its function and components, and
Apollo Saturn V Center, tells the exciting story of its development by four hundred American companies.
America’s greatest adventure of the twentieth cen- The stories are presented in a series of modular dis-
tury—man’s voyage to the moon. plays visible along the walkway beneath the rocket.
Each display features a neon question mark for dis-
To create a compelling and educational feature tance recognition, as well as a single provocative title,
around the phenomenal Apollo program, NASA such as “How Big Is Big?”
selected noted entertainment and attraction design
firm BRC Imagination Arts. BRC’s concept team pro-
posed a three-part visitor experience: a large static
exhibit designed around the 330-foot rocket flanked
by two theatrical shows demonstrating a. Saturn V
blastoff and a dramatization of the historic Moon
landing of Apollo 11. Hunt Design, a frequent*collab-
orator of BRC, was brought in to design.the exhibit
for the mighty Saturn V.

ibit e
 To provide order and add visual punctuation through-
out the long exhibition space, each of the ten Apollo
missions is presented in sequence along the rocket.
The colorful mission patches of the flights were re-
created in sixteen-foot-diameter banners that form a
dramatic overhead procession. The segmented stages
of the giant rocket are identified with flying signs,
and an actual Moon lander, or LEM, hangs above the
crowd. Smaller individual displays, such as Astronaut
James Lovell’s Apollo 13 space suit, add more detail
and serve as substories.

The exhibit also works as a circulation device, attract-

ing visitors and flowing them toward the climactic
Lunar Theater at the far end of the hall. Along the way |
~are restrooms and the Moon Rock Café, featuring an |
_ actual Moon rock on display. The designers added a
sculptural blade sign for the café and a neon marquee
for the theater to further aid visitor traffic flow ~

lo ~~ ) Proposed designs were demonstrated —

Ts it on the architect's building model.
i)

This early sketch is remarkably similar Bs

to the finished exhibit.
=

i=)

ce

;=
 ske tch conce ptS emerge into detailed design
The design issues faced were not unlike those in any
large exhibit, except one: the gigantic Saturn rocket
tended to overwhelm anything placed next to it.
Everything looks small in comparison, especially
information and graphics planned for human scale, a
requirement of most exhibits. Further complications
included the expressive architecture, with its many Zz
large trusslike columns along the walls which pre-
ot
cluded the use of wall-type displays, as well as the
natural light shining in from three sides of the build-
ing—designers prefer a light-controlled environment.

Ff
ed AC
[tbe Jon?
lpme Vaal
wa
[Hw eer
A (RU
=

€
How fav could
ttt

ha Many ideas didn’t make it to the

final design, such as this Sports on
eS the Moon concept.

6S

Ro
 me LEN
HOW Dip mrty>

g ©
‘ ¢F 3 +E x See
4 — iy

are
: i%
1,
ie sd Sey ail

ll
INSTRUMENT UNIT, (10),
Known 9s the Terain’ of he Saturn.
‘V.tha JUconta}ned equipment 10: =).
‘guide, navigate and stabilizo the.
rocket duringNighOndisplay is)
fultstzo replica of tha lU used)
tho Saturn! rockot a pre-cureor (0)
the Sawn) a

‘Coan opus en
Tra iy witha monn
ity
eontinins
Rein atte |
‘apne bli ainely Was
Vedi maha) eben
the egal a)
lle Feiyaly aan IsS|

Extensive use ¢
validate the

to present specifi
seen from ad stan
important detai

Ss
RO
 Hanoi
MOUNTING (ATE

_— HANDRAIL ataneHier
MESH iI eerTenlteme

ae
|| |

sign
projects out over the walkway ‘ tos
a
: i
i
i
ry |
wo
|
|
v —
~ Hy 3 Rais
ao
y VI Q a
i
i
| DiRe

|9
| \y ee Me

ait. altere!

BRUCTUPE(ELEVATION, PLAN ANP SIZE VIEWS)

wale|-o}

S
PROJECT
 [= =

landed:
Noll Armstrong,

on Ee aaa
Lo RE | PURAPLY BASE HANOBA). ELEVATION
Leiner Nissi
~eVIIETE: ABET LAMINETI are Se =
MeANIeRUN AINIGH ae)
404

APRICAT
ES? ALUMINUM Pec
WITH ATENAL CUT @RAFHIC IMAGE
MW? PANNTEDO FINISH,

eae
> cele = oes
TECHANICA\_ FASTENERS 4HI>
| |
MOE RES - PWT FINIGH
Foy
IMPRICATED ALUMINUM Pie
| j : |
JITH PAINTED FINIGH

PMPRICATES SUUMINUM PANELS LITH

ZUP-NED mceS AND ForlpeR cose FINiad
4 SUR RMce SoREEUEU 2
Hed BoLT] -TO
BRAN St 7 iy
(ORI ZONTOL- ALUMINUM Ne" HHAeHINE
LS ——
AITH raibee copTEeED FINISH
(RATICeAL ALUMINUM SUPRRT
URES WITH Forlibee CasTeD FAINI@H
a :a
aacee BE, S €

o atlases TUBE TYP. :

2' eatere tee
ay it

‘Neien tyre #2) ¢ MDU FZ (sian t4re #4)

The main Apollo stories are presented in

island-style displays along the rocket. Cc
ROj
48
§$
d
ldgd32fo
~~ -

,a
- Serra SEBO
th ‘ip sscLh.
 [= __ A'“distance-view" neon question mark invites
/ visitors to keep-moving-thretgh the building.

(——————_ Stories are further broken up

onto dedicated panels.

/ p———————_ Aluminum grid structure allows panel

Careful use of bright colors, bold ————- compositions to vary on each display.
headline words, and cutout shapes \
creates interest.

TO MOVA

r } ' ; j : INSIDE TILE

| aera : i

Use of illustrations to demonstrate HOW DOES I. COMPARE ?

story points is important

Guardrail is intrusive,
but necessary.

iJ]
Large flying signs mark
i= the Saturn rocket stages
and help establish zones
€3 in the huge space.

betel

[-

Be
 Exhibit design for Apollo Space Programs
as part of the Kennedy Space Center
Visitor Center.

Client:
NASA; Kennedy Space Center
Project Producer:
BRC Imagination Arts
Graphic Design Team:
Hunt Design:
Christina Allen, Esteban Hernandez,
Wayne Hunt, Dinnis Lee,
Brian Memmott
4
Exhibit/Sign Company:
Lexington Scenery
Schedule:
Two years
Photography:
Jim Simmons (Del Zoppo Simmons)

rn
a asa
;aaae=

A detailed, multistory exhibit all

staged around a huge single object-the
Saturn V rocket.
\

A wide variety of exhibit media was

used, including aluminum structures with
digital graphics; backlit transparencies;
hand-painted canvas; neon letters; and
sculptural media.

a) pease Vos 529s aS

get
ae ee acxiedeecrcy ONY |
The designers also developed the
attraction logo. Here are some of
the many design studies. pn tee
M |HUNDRED JETRIGHTERS

F-1 engnes in therocket's firststage together

unds ofthrust
aforce
urge
thanthethrust produced
bytwohundred
Ditton FABjetfighters

2TS
F
)

63

ad

ia)

[=a

[-5
 Ps

PRESENTS

A traditional sign medium makes a splendid return after years of disrespect

Invented more than one hundred years ago, neon

soon became the standard for sign illumination on
our nation’s streets and in its downtowns. Technically,
neon is only one of several gases that, when energized
by electricity in sealed glass tubes, produce vibrant
concentrated colored light. This brightness of illumina-
tion, combined with the bendability of heated glass
tubes, virtually made “writing with light” possible. The
result is a timeless graphic and decorative medium.

After its heyday in the thirties and forties, neon fell

from popularity as people came to associate the tech-
nology with bars and seedy hotels; in the sixties many
cities actually banned the use of exposed neon. Today
neon tias been rediscovered, and its visual purity and
flexibility of use have led to a major resurgence in
both traditional and new applications.

|
on flat cutout forms

&®
TECHNIQUES

MATERIALS
n fe yn OU tlin ¢

N eo n reinf

halo illumins d tl on
 The first and most enduring sign material
Stone is an ancient building material and probably the
first sign medium. The carving of figures and letters
into stone walls predates modern man and to this day
remains a major sign-making technique. Stone can be
carved by hand or sandblasted; it can be fabricated
into shapes, and it can be etched with acids and cut
Ornate letters cut with water jets. Carved-out letterforms can be paint
PM LIS filled or decorated with gold leaf; stone’s surface can
be polished to a reflective smoothness or left rough
and natural-looking.

While many kinds of rock can be used for signs, mar-

ble, limestone, and granite are the most frequently
chosen. Stone’s timelessness and durability make it
192 appropriate for dignified and formal sign solutions.

EC
T
HN

&

ALS

These words are sandblasted

deep into the stone.

MATER
 Classic hand-carved numerals.

Chisel-cut, flat profile

letters in tiled stone.

ea

aod

=
cos

ce

tid
a

Cast-in-place concretes: eS
not stone, but stone-like.
 In its dozens of varieties, wood is a favorite sign-making material
: Tea Because it requires only the lowest of technology and
nel eae it does grow on trees, wood of all types has been a
oy ee io oe popular choice for sign-making for generations. And
in the right hands, wood can be especially beautiful
for graphics applications.

As a sign face, wood can be carved, sandblasted, or

milled for a wide variety of effects. Letters can be cut,
carved, and routed. Woods are also used as sign struc-
tures, delivering high strength with relatively light
weight in many situations. Wood finishes are myriad,
from paints and metal-leafing to transparent finishes
that show off natural grain and visual texture.

Even corporate identities can

be expressed in wood—here,
sandblasted redwood.

fae

i=)
Ltd
=

&
Carved and painted, a
traditional sign technique

MATERIALS
eee RICHARD
S. GORH4M
Mixed media: routed wood, hand-
painting, and leather straps.
ANTIQUES38

Classic prismatic letters.

 Brilliant, reflective, and durable

Light-transmitting qualities and a reflective surface

have made glass a popular choice for a wide variety of
signage designs. From decorative window graphics to
sophisticated etching techniques, glass is an appealing
substrate for graphics applications. Glass is available
in several quality grades and multiple thicknesses and
can be acted upon by a wide variety of graphic and
physical media. Glass can be fabricated, carved, sand-
blasted, etched, and silk-screened on either the front
or back surface. It can be back lit, edge lit, or left to
reflect ambient light.

ww

bel

—)

(—J

aS
Stainless steel connectors contrast
i=)
well with etched-glass panels.
tad Supemiotscaull Earcutire
olinmo®
‘ ‘Olliceniecdak.S)
plojegtipanvaeti Ke
[=
Freestanding glass sheet is elegant
against stone background.
&

MATERIALS
Multilayered sandblasting
yields this sculptured look.

TE

<a a| § : Sandblasted glass with laminated

¥, : Stainless steel letters.
AT
 Light, strong, and workable
Emerging in the 1950s as an alternative to steel, alu-
minum is probably the most frequently used material
for large sign faces and components. Aluminum does
not rust, and with its high strength-to-weight ratio,
this contemporary metal can be used for many types
of sign fabrication. It can be cut, formed, welded,
routed, etched, and engraved. It can be painted,
powder-coated, and anodized for virtually unlimited
color expression.

, : on : Aluminum can also be cast into letters, plaques, and

ae! 1 | & Se Ee other shapes. This “moldability” has led to this flexible
fe ] s ak ear 2 metal’s use in manufacturing complex, high-quality
extrusions; these structural, often interlocking frame
SECTION ee i j 4 at
102 ee = aH og members are important in many elegant and efficient
“off-the-shelf” signage products and systems.

Layered aluminum panels

make up these stadium signs.

TECHNI

Aluminum is used as structure

in this airport directory sign

MATERIALS
 Geek
Me <7,

yesh

This aluminum cabinet and

base hide a steel frame.

Sheet aluminum takes on a

decorative quality when
“captured” by vertical poles.

non NPN NARA IAEA

Hira ers
kePaul
TE

&
 An elegant stencil-cut sign
|
iI|
in stainless steel plate.

Strength and durability keep steel

in the forefront of sign-making
Displaced by aluminum as the primary material for
making sign faces, steel remains the main component
for large sign-making; it is frequently the hidden inter-
nal structure. And as an exposed surface material, steel
has limitless possibilities. It can be cut, fabricated into
shapes, welded, and torch-cut. Steel can be painted
and finished any number of ways, or even left to rust
for certain aesthetic effects.

Stainless steel, not really steel at all, has seen wide-

spread use for signage, from classic individual letters
to entire sign faces. Its self-finishing surface can be
‘|| ee a eT brushed, ground, or polished for a variety of effects.
i] Cast iron, one of the most
| || pt durable sign materials
i} =
e
==

5S

6
ian)
i=

&

A beautiful painted casting

from Europe.

s on Stainless: the
comes from the
ence in finishes

S
MATERIAL
Stainless steel base;
aluminum panels.

Mixed metals: the sign frame is welded

steel, the panels aluminum and the
logo porcelain enamel.
 This illustrative marker, with
its bas relief effect, is likely
cast aluminum.

The results of ancient metallurgy

remain valid today
Metal chemistry, from the Bronze Age to today, has
given us beautiful, enduring metals that excel as sign
materials. Bronze, copper, brass, zinc, and other metals
are specified for a wide variety of signage types. Each
exotic metal has unique visual and physical qualities
as well as advantages and disadvantages.

A primary appeal of exotic metals is their rich and

slowly changing finishes created by aging and expo-
sure to various environments. Copper, for example,
can express not only reds and oranges, but also vivid
blues and greens.

TECHNIQUES

&

Constant foot traffic keeps this

bronze piece polished.

Bronze casting with a rich patina,

developed over many years

MATERIALS
 Casting can render
significant detail.
OO
aR Ee ee sO at etak :

Contemporary styling and painting

distinguish this elegant plaque.

Brass frames unify the

signage in a civic building
 PORCELAIN ENAMEL
A vibrant and enduring sign medium
Consisting of a layer of glass fused to a steel surface,
this rich-looking sign methodology has stood the test
of time for color-fast, durable signage—many porcelain
enamel signs from the early 1900s still look good
today. Nearly all mass-produced commercial signs from
1930 to 1960 were made using this eye-appealing
technique. And until just recently, porcelain enamel was
the standard on roadside highway signs. Colors are
virtually fade-proof, and except for direct damage to
the sign face, a porcelain sign will last forever.

wn

baad

=z

Ei]

€3
bead RIDE RULES
—
Riders Must Be
Taller Than This
| Genéve 3 Rive
&
Rue du
Passengers weight for
i olleg
icux-Collége 4:

A “mural” of porcelain panels Porcelain enamel signs are

presents children’s self-portraits. prevalent throughout Europe.

Porcelain’s toughness is per-

fect for “touchable” signs.

S
MATERIAL
 Wildlife thot hos disoppeored
from the earth
a fovea pto flora queha de 1adal plocar

a fovna
yfaBoraqveestén0n pabgro de deneparecer
aa
THEATENIEA
Wildlife that moy become endangered inthe neor foture
(a fowna y fe flere que preden ayrar en pe en hitwo ineedate

AY
HO CARES ABOUT ENDANGERED S| iit ||
a
—
#2008 have Species Survivol Plans
(SSP) for many endongered onimals.
®SSP progroms feature “computor doling
services” for wildlife fo match the best motes.
#Some zoo-roised endangered animols ore
released into the wild,
The Los Angeles Zoo is part of mony SSP programs including
Colifornio condar —_gorill el
vigor

ATE
 Many types of signs can still be made
the old-fashioned way—by hand
From timeless sign lettering to the contemporary
carving of high-tech sculptural foam, appreciation of
handcrafted signs and graphics has never been higher.
Predating the emergence of the designer, makers of
handmade signs brought not only craft and skill, but
aesthetics and creativity too. Today, when a craftsper-
son executes a design from a designer, the result is
often better than the original drawing.

Carvedd and pa in ted sign foam

¢
is used for sculptural effects.

N
H
EC
T
Mosaic tile expressed as a sign.
&

Remnants of sign painters past

S
MATERIAL
 ainting over masonry—
traditional sign technique.

Authentic leaded and

stained glass.

Gold-leaf letters—a classic

sign-making method

Carved wood remains an

appealing sign medium
 Signage and graphics need not
always be made of rigid materials
The banner revolution is in full force. New fabrics and
flexible substrates, combined with breakthroughs in
digital printing and other application techniques, have
made the use of banners popular for many kinds of
projects. Whether screen-printed, pieced together, or
digitally executed, banners and flags bring animation
and color to the environment.

Flags come alive in the |

TECHNIQUES

Screened letters on
stretched awnings

MATERIALS
 OR EHISFE LE,
7,

People

Fabric elements form a pattern

high on this building.

Overhead banners and stream

animate the street
 Now, any image can be presented
on nearly any kind of sign
The last fifteen years have seen the continued evolu-
tion of image-making based on digital technology.
Made up of small dots, or pixels, complex images have
gone beyond the printed page to be displayed on
countless substrates and sign materials, both perma-
nent and temporary. One especially interesting process
allows the capturing or embedding of digital images
within durable layers of high-pressure laminates.

al penta ees
cae
sa 11009. |

This two-block fence features

large prints laminated to plywood.

S
TECHNIQUE
Digital print on Sintr,™ a
plastic substrate

MATERIALS
 EIGHT THOUSAND DAYTONA 500
STARTING FIELDS

The SsaturaV;sifirststage alone generated

approximately 160,000,000 horsepower. That makes
itovereightthousand)imes more powerful than all|of
the race care inthis year's Daytona 500 combined.

TO NYC FOR1-1/4 GREE

he Saturn V's first wo stagos) together generated
Senoligh eneroy to hove supplied electrony ieNEW.

VER TWO HUNDRED

18 JET. FIGHTERS
The five Wenginesinitherockot's first Stage
together
generated over 7.5'milllon'pounds of thrust. a
force
largerthan the thrust produced by two
hundred
thirteen 78 jet fighters.

‘a Lior
feStciay

And that's not alt!

* prceunt ee
Betta Ceissblltoeae

Anleinfey ony sDeigelyn.

ce iby (ApLamente
otar seu alata

Increasingly, zoos and other

attractions are specifying digital
graphics emk
resin laminates

A temporary sign of digital output

on foam board
 GLOSSARY —
The language of environmental graphic design
The field of environmental graphic design has a lexicon all Braille Design review
its own. While not an exhaustive or detailed list, these terms Alphabet of raised, tactile dots for use by the visually Review of the aesthetics of certain projects before construc-
are often used during the planning, design, and implemen- impaired. tion, usually by a board or commission appointed by a local
tation of signage programs and exhibits. jurisdiction.
Breakaway
Acrylic Structural component of a sign designed to fail in the event Digital media
Generic term for certain workable plastics used in sign- of impact or excessive wind, i.e., wood post on a roadside Print or other graphics output composed of digital or pixi-
making, i.e., Plexiglas R. sign. lated images.

ADA CAD Division 10

Americans with Disabilities Act, 1991 federal legislation Computer-aided design or drafting. Chapter in the Construction Specifications Institute—16
requiring equal access to public facilities. Has specific Division Format dealing with specialties such as signage.
requirements for signage and related design. Change order
Directive to change a scope of work, design in process, or DOT
ADA signage ongoing construction. Department of Transportation—local, state, or federal.
Certain signs and design standards that meet the intent and

##)(C (4)
letter of the ADA, such as tactile letters, Braille, letter size,
and contrast. ®

ADAAG
Americans with Disabilities Act Accessibility Guidelines. The Charrette
specific design and implementation guidelines for accessible Intense work session usually conducted just before a
design as required by the ADA. deadline. Based on the French word for “cart,” on which Travel-related pictographs issued by the U.S. Department of
architecture students were said to roll their final projects Transportation, now standard in most U.S. airports.
Ambient light into class while making last-minute changes.
Existing or surrounding light in an area or space. Dynamic sign
Conceptual design Sign with changeable display capability, such as an elec-
Animation The initial or idea phase of the design process. tronic message unit or reader board.
Moving images, real or electronic, on a sign or display.
Construction documents Elevation
Architectural scale The combined package of construction drawings, specifica- Drawing of front or side view of a building or structure;
One of twelve drawing proportions used to draw objects tions and bid instructions. Also: bid documents, contract direct perpendicular view of a surface.
larger than the page, i.e., 1/4” = 1’. documents, or bid package.

Area development Construction drawings

Exterior public circulation spaces and landscaped areas. Set of detailed instructional drawings that show how some-
thing is to be built. Also: working drawings.
Art glass
Decorative graphic techniques, such as chipped glass. Cost-plus contract
Contract type in which the designer or contractor charges
Back of house for all costs incurred plus a percentage markup for profit. Facade
Nonpublic areas of a facility. Front exposed surface of building or store.
Design-build
Backing Construction business structure in which a single company Facilities impact
Internal structure added to a wall or ceiling to support the is responsible for design and construction. Refers to the impact the addition of signage elements has
weight of a sign. on a structure, usually weight and electrical load.
> Design development
Bid Phase of the design process in which the design is finalized FF. & E.
aa Price or firm estimate of price. and methods and materials are selected. Furniture, fixtures, and equipment.
<
Bond Design intent drawings Fiber optics
*” Guarantee by a third party (bonding company) that a con- Drawings that show the visual intent of the designer but Illumination technology based on transmitting light through
tractor can and will complete a project. without substantial detail. plastic fibers.
Cc)

oe]

rox

eS
FIDs Freestanding
Flight information displays. Ground mounted; without attachment to walls or ceiling.

Field set GIS

Set of construction drawings used at the job site, usually Geographic information system. Refers to the integrated, Kiosk
annotated with field notes and observations. multilayer computer mapping of a building, place, or city. Freestanding information structure such as a map directory,
touch-screen display, or message-posting device.
Hard costs

0
Costs associated with construction, fabrication, or purchase Knockdown
of physical facilities or components. A fabricated exhibit or object that is designed to be
taken apart and rebuilt at another location. Also: KD
Finial Hardscape or demountable.
Decorative ornament attached to the end of a pole. Paving, curbs, railings, and other “hard” outdoor surfaces or
objects. LCD
Finger sign Liquid crystal display. Electronic display screen capable of
Directional sign made of individual pointed slats, each High-pressure laminate presenting complex, pictorial images and information.
mounted to point directly in the direction of a destination. Durable, decorative plasticlike material used for countertops
Also: pointer sign. and other high-use surfaces, i.e., Formica. LED
Light-emitting diode. Technology based on tiny light sources
First surface Icon organized into a grid for the display of changeable messages.
Front or exposed side of a sheet material. Symbolic graphic representation, simplified picture, or image.
Also: a large distinctive object in an environment or space. Load
Amount of electricity needed to power something, usually
Interactives expressed in amps. Can also refer to weight or accumulated
Objects, controls, computers, and video that guests can weight in structural engineering.
\\VAblee move, activate, or affect in some way.
at ee Marquee
Interpretive design Identification sign.
Flag-mounted sign Design discipline focusing on explaining or interpreting
Sign mounted perpendicular to a wall.~ information, as in exhibit or museum design. Message schedule
Also: blade sign or outrigger sign. A list of signs, by category, presenting the wording of each
sign and often indicating additional information such as
mounting type, references to other documents, etc. Also:
ISA message matrix.
International symbol of accessibility.
Used to indicate accessible routes, ( F Millwork
facilities, parking, etc. Cabinetry, counters, and other built-in woodwork.

Flips
Small hinged panels that, when lifted by guests, reveal cap-
tions or other information.

Flexible media
Nonrigid sign-making material, i.e., fabric banners or vinyl Kerning Monument sign
wrapping. The spaces between letters in a word. Also: letter spacing. Formal ground-mounted identification sign.

Footing MUTCD
The hidden or underground structure that supports a sign or Manual of Uniform Traffic Control Devices. Federal or state
other freestanding object. guidelines for highway signage.

sG&G
RS
A
tg
 Not-to-exceed contract Professional liability insurance RFQ mat)
Contract based on hourly billing, but with a limit that Insurance that protects against errors and omissions by Request for qualifications.
cannot be exceeded. Also: NTE. design professionals.
ROI
Notice to proceed Programming Return on investment.
Official written notice to start work previously approved by The process of organizing the signage needs of a project
a contract. Also: NTP. into types, locations, and messages. Scale
Relative size of one thing to another. See: Architectural scale.
Patina Proposal
Effect of wear or aging on a surface. Usually refers to the Written offer of services, costs, and schedule for a project Schematic design
warm and interesting appearance of aging seen in exotic or assignment. Design phase that results in scaled drawings showing the
metals such as bronze or copper. basic appearance of a building or object. Includes visual
Punch list details, but little information about structure or materials.
List of items for correction or completion, usually prepared
at the end of a project. Screen-printing
Printing of images through a stenciled screen. Also: silk-
Pushthrough (letters) screening.
Refers to acrylic letters that have been “pushed through”
Pattern matching letter shapes cut out of sheet material. Second surface
Full-size paper layout of the letters and messages of a sign Back side of a transparent material.
for approval prior to fabrication.
Shell building:
Peer review Structured walls, roof, and mechanical core of a building.
Review of designs or drawings by an independent profes-
sional peer; only seen in certain government projects. Shop drawing
Detailed fabrication drawing by vendor (not designer).
Phenolic resin signage
Digital graphics embedded in high-pressure laminate Pylon sign Short list
material. Tall vertical sign or overhead List of finalist candidates for a project or contract.
sign on a pole.
Photopolymer
Plastic that can be photoetched to leave tactile “high Record drawings
spots” for Braille and tactile letters. A set of the construction draw-

&
ings revised after construction is completed to reflect field
Plan view changes made during construction. Also: as-built drawings.
Drawing of a building or object viewed from the top or city
above. Also: top view. Reflected ceiling plan ws
eames
A drawing of a ceiling as if it were viewed reflecting off the
floor or transparently through the roof.
Sign code
Retro-reflective Official limitations to signage on private property, usually as
The ability of a material to reflect light back toward its part of a municipal code. Typically includes limitations on
source, instead of away at an equal angle. Developed for sign size, quantity, location, and lighting.
night viewing of highway signs.
Sign engineering
Porte cochere ie RFI Structural or electrical engineering for sign structures, foun-
> Roofed overhang at a vehicle entrance or drop-off. Also, Request for information. Formal requests from contractors to dations, or electrical power.
carport. designers or architects during construction.

< POV RFP

Point of view. Usually refers to the angle of view in an Request for proposal.
” architectural rendering or photograph.
”
—)
vod

es
 Streakers, strollers, and studiers Wind load
Exhibit design shorthand for the three types of exhibit visitors. Pressure applied to a surface by wind. Usually expressed in
pounds per square foot.
Submittal
Official document provided as part of the design or approval Working drawings
process, i.e., a shop drawing or color sample. See: Construction drawings.
Site plan
Drawing showing the configuration of a piece of property, Subsurface
including placement and shapes of buildings, streets, walk- Graphics printed on the back side of a transparent surface
ways, and landscape elements. but read through the front surface. See: Second surface.

Soft costs Tactile sign

Costs associated with planning, designing, and managing a Sign with information read by tracing one’s finger along
project. raised letters and/or Braille.

Soft opening TCO

Prepublic opening for training and shakedown of systems Temporary certificate of occupancy.
and equipment.
TDD
SOQ Telecommunications device for the deaf; allows telephonic
Statement of qualifications. messages to be displayed.

Stick set (drawings) Tl

Final, definitive set of construction drawings, including Tenant improvements. Changes or “build out” that a tenant
annotations, kept in the design office for reference. brings to a shell building, usually from a separate budget.
Refers to the wooden “sticks” that held large drawings
in precomputer days. Touch screen
Electronic display technology activated by touch, as in an
Specifications _ : information kiosk.
Written technical descriptions of the materials, fabrication
techniques, vendor, and product performance requirements Urban design
prepared as part of a set of bid or construction documents. Design discipline that creates streetscapes, building facade
improvements, and street furniture.
Square-foot sales
Method of measuring retail sales by dividing total sales by Value engineering
the square footage of the store, usually stated annually. Process of simplifying a design to reduce cost while preserv-
ing design intent.

Vinyl letters
Letters cut from adhesive-backed vinyl. Also: die-cut letters
or VDC.

Water feature
Fountain or other water-based design.

Wayfinding
Signs and other graphics for visitor circulation. Sen
Stanchion
SS
Leglike base for a freestanding sign.
ez

2c)

Zw

weal

(t-]
ACKNOWLEDGMENT
Thank you to all who helped make this book possible, especially:

Karen Aseltine
Jack Biesek
Jennifer Bressler
Christina Chang
Rick Chavez
Jeff Corbin
Ann Dudrow
Virginia Gehshan
Todd Hays
In Sung Kim
Dinnis Lee
Jan Lorenc
Suzette Mason
Jerry McConnell
Michele Perez
Debbie Peters
Sherri Schottlaender
Perry Shimoji
John Temple
Carla Walecka
Heather Watson
Tzumin Wen
Enviroprnm
ayAP
e P bGéiss
Wayne Hunt is founding principal of
Hunt Design Associates in Pasadena,
California, a consulting design office
specializing in graphic design for build- «
ings, places, and spaces. The firm’s clients
include the Walt Disney Company,
Kennedy Space Center, Clear Channel
Entertainment!—Exhibitions, Universal
Studios Hollywood, MGM Grand, and
more than twenty cities and government
agencies. Mr. Hunt teaches Environmental
Graphics at Art Center College of Design
and is past president of the Society
for Environmental Graphic Design.
He edited the book Designing and
Planning Environmental Graphics and
is the author of Urban Entertainment
Graphics, and numerous articles about
signage and graphics.
|) STATE-OF-THE-ART PROJECTS
}t

~TURTLEBaY
DESIGN ANALYSES
|

wey Main Entrance Parking

<a / Adit Offices

Jack Biesek on Educational Environments

Jeffry Corbin on Medical Environments

Virginia Gehshan & Jerome Cloud’6n Design Details

Ann Dudrow on Retail Environments

Jan Lorenc on Exhibit Design

Cs es} | ISBN 0-06-054844-4

: ;
Harper Design International
,

An Imprint of HarperCollinsPublishers
o ; eclie aae
|
ae
; 4
See
eo
| || | Il WT
89! 780060 I 548445 I
|||
www.harpercollins.com wr er ENVIRONMENTAL GRAPHICS