IdN v23n5: Environmental Graphics


Signage & Wayfinding
Exhibitions and conferences are among the most popular projects for environmental designers, given their temporary nature and concurrent need for compression of lots of information as well as luring people to particular, possibly competing, attractions. They have to know how to reach the exits, the first-aid centre, the toilets and the canteen, but they also have to decide between various activities, booths or sectors. Obviously, for the sake of harmony, the signage for these should share a visual identity, and if this can reflect the project’s brand — either as a permanent venue or its temporary sponsorship — so much the better.

In this issue, we have asked 54 leading designers/creative units, who have made something of a speciality of various kinds of environmental design, to show us some of their favourite work in this field and give us an insight into their approach by picking a project, actual or hypothetical, that they would like to engage with and telling us briefly how they would go about making a success of it.

What’s in this issue:
• Environmental Graphics
• Signage & Design
• Wayfinding System

SKU: v23n5 Category:


Find your way in the world of way-finding
The term “environmental design” has become somewhat ambivalent of late, often sparking a misapprehension that you are talking about design that is environmentally sustainable, involving the three Rs — reduce, re-use, re-cycle — and all that. It can be, and many would argue that it should be, about those considerations, but the precise meaning has to do with the environmental parameters of a design as applied in such fields as architecture, landscaping, urban planning or interiors. To boil it down even more to essentials, it is about enabling people to find their way around, ideally with maximum ease and aesthetic impact.

As always in the design world, however, when those two attributes — functionality and aesthetics — are placed on the creative weighing-scales, these will tend to tip in one direction or another depending on the inclinations of the artist concerned. Even to the point, in extreme cases, of the one cancelling the other out. Some way-finding design can be practical to the point of austerity, the purpose of it being to inform almost subliminally rather than to be noticed as a piece of design in its own right; at the other end of the scale, interpreting the instructions can be as much a mystery as actually discovering where to go if the artist has given full rein to his or her visual imagination.

485 Design | Shogo Kishino (6D) | Alphabet Design Agency | Dani Rubio | Arauna & Rai Pinto | Arbiter Creative (Yana Stepchenko) | Bildi Grafiks | Alphons ter Avest | Patrick Blanchard & Triana Thompson | Büro North | Bond Creative Agency | Brandlab | Character | Chat Travieso | Vero Gorri (Comando G) | Stefania Corrado | Craig&Karl | Doradora Design Studio | studio fnt | Variable | Foreign Policy Design Group | Peter Gregson Studio | Pardini Hall Architecture | Kine Halland | Heine Jones | ico Design | Christine Kim | Cheshire Architects | KXdesigners Multidisciplinary Studio | LAVA | Studio Makgill | Studio Matthews | Milk Design Studio | P-06 Atelier | Mission | mmmm… | North | Fabio Ongarato Design | PFP Disseny Gràfic | Chris Wyer (Rawcut Design Studio) | Frank Plant | Damien Poulain | Poulin + Morris | R2 | RikGrafiek | Roadsworth | Sciencewerk | Thomas Serrière | Synoptic Office | SILO | Shaz Madani | Slash | StudioSpass | superbüro | Ali Syed

160p + 8p cover
160mm (w) x 230mm (h)
4 varying paper stocks
4C process + matt lamination + gold foil
ISSN (English Edition): 1029 4805
ISSN (Chinese Edition): 1029 4813

Additional information

Weight 410 g

Chinese, English