Signage and Wayfinding Design

A Complete Guide to Creating Environmental Graphic Design Systems

Chris Calori, David Vanden-Eynden

• Editorial: Wiley
• Año: 2015
• ISBN:
  9781119085829
• Edición: 2
• Categoría: Architecture
• Categoría: Architecture générale

A new edition of the market-leading guide to signage and wayfinding design

This new edition of Signage and Wayfinding Design: A Complete Guide to Creating Environmental Graphic Design Systems has been fully updated to offer you the latest, most comprehensive coverage of the environmental design process—from research and design development to project execution. Utilizing a cross-disciplinary approach that makes the information relevant to architects, interior designers, landscape architects, graphic designers, and industrial designers alike, the book arms you with the skills needed to apply a standard, proven design process to large and small projects in an efficient and systematic manner.

Environmental graphic design is the development of a visually cohesive graphic communication system for a given site within the built environment. Increasingly recognized as a contributor to well-being, safety, and security, EGD also extends and reinforces the brand experience. Signage and Wayfinding Design provides you with Chris Calori's proven "Signage Pyramid" method, which makes solving complex design problems in a comprehensive signage program easier than ever before.

• Features full-color design throughout with 100+ new images from real-world projects
• Provides an in-depth view of design thinking applied to the EGD process
• Explains the holistic development of sign information, graphic, and hardware systems.
• Outlines the latest sign material, lighting, graphic application, and digital communication technologies
• Highlights code and updated ADA considerations

If you're a design professional tasked with communicating meaningful information in the built environment, this vital resource has you covered.

1
What Is Environmental Graphic Design?

Our need to hear and be heard, see and be seen, touch and be touched, that is, to communicate with our fellow humans, is fundamental to our well-being and, indeed, our survival.

Long before paper was invented, humans made marks on objects, such as cave walls, in their surrounding environment. The intent of making these marks, or signs, was to communicate information visually. This communication imbued these marks with meaning and they became a shared language among the people who made and understood them. (See Figures 1.1 and 1.2.) As such, environmental graphic design, or EGD, which can be defined as the graphic communication of information in the built environment, is one of the world's oldest professions.

1.1 Before the written word, graphics communicated information and recorded events, as in these cave paintings at Lascaux, France.

1.2 Environmental graphics from ancient Rome.

And you thought something else was.

Since the invention of paper and the electronic screen, most people think of graphic communication as taking place primarily in those two media. But just like early humans making meaningful marks on environmental objects, in the present era an enormous amount of information is communicated on signs and other objects located in the built environment.

The contemporary incarnation of EGD is a relatively new, cross-disciplinary field that has gained recognition and importance over the past 40 years. Sure, signs existed prior to that point, but they tended to pop up in an ad hoc, unplanned, almost reactionary manner—in other words, pretty much as an afterthought. (See Figures 1.3 and 1.4.) As cities grew and mobility increased, making the built environment more complex, people's need for information to better understand, navigate, and use their surroundings also grew. Simultaneously, technological developments, such as photomechanical reproduction techniques and computer-driven cutting devices, aided accurate large-scale rendition of graphic elements, such as typefaces and symbols, on signs. Thus, the need for proactive, systematically planned, visually unified signage and wayfinding programs emerged.

1.3 A collection of ad hoc signs in Greece.

1.4 Unplanned and uncontrolled signage in a building lobby.

If you don't think EGD is important, ask yourself: Could you understand how to use a large international airport or an urban rail transit system if there were no signs at all, or if the signs were a disparate mishmash of messages, graphics, and physical forms? The answer is most definitively no! As such, contemporary signage and wayfinding programs give a singular, unified voice to an environment or a site within it.

Looking to the future, there has been much speculation whether mobile computer devices with digital mapping and augmented reality applications will spell the end of physical signs. We say no, for many reasons, two of which are: Physical signs don't need a mobile device, signal, or battery power to operate; and not everyone is equipped with mobile computer devices. While there's no doubt that the various wayfinding applications on such devices have enhanced the way millions of people navigate the built environment—and will continue to do so—the word enhance is key. Our belief is that physical signs are here to stay, and that mobile digital devices offer rich opportunities for augmenting the communication function of those physical signs. More about digital communication systems, including mobile devices, appears later in this chapter and in Chapter 6, “The Hardware System.”

To underscore the relative youth of EGD as a field, consider that the terms environmental graphics, signage, and wayfinding were barely in use 40 years ago. In fact, the word signage, whose origins are attributed to Canadian designer Paul Arthur, didn't even appear in U.S. dictionaries until the 1980s. Nevertheless, in the 1970s, a group of designers found themselves designing graphics for a coordinated group of signs rather than for print. And because they often worked in architectural offices, and their design work related to architectural spaces, their work product was often referred to as architectural graphics or architectural signing.

These architectural graphic designers realized that there were significant differences between their design and print design (digital design didn't exist then)—most notably that architectural graphics encompassed the planning and communication of information on three-dimensional (3D) objects in the built environment, which is far more complex than designing a two-dimensional printed piece, such as a poster, book, or brochure. As these architectural graphic designers discovered each other and the commonalties of their professional interests, they joined together to form the Society of Environmental Graphic Designers (SEGD). The words relating to SEGD were slightly changed several years ago to the “Society for Environmental Graphic Design” to focus on the field rather than its practitioners, and changed again in 2014 to the “Society for Experiential Graphic Design.”

With the birth of the SEGD, the term environmental graphics replaced architectural graphics, for two reasons. First, architectural was viewed as too limiting, in that this form of graphic design is often geared toward nonarchitectural open spaces, such as roadways, cities, theme parks, and so on—that is, the larger sphere of the built environment. Second, the term architectural graphics could be confused with the drawings architects create to document their building designs.

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SEGD

The SEGD (Society for Experiential Graphic Design) is a global community of professionals who create experiences that connect people to place. Through educational programs, its website www.SEGD.org, publications, and research, SEGD's mission is to provide learning opportunities and resources for professionals involved in Environmental and Experiential Graphic Design (EGD/XGD), promote the importance of the discipline in establishing place, and continue to ref...