SA Wayfinding


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Space Agency employs an innovative approach to wayfinding design which blends and seamlessly integrates graphic design, architecture and urban scale. less

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SA Wayfinding

  1. 1. SPACEAGENCY First Floor Offices 33-35 Charterhouse Square London EC1M 6EA +44 (0) 207 722 1330 WAYFINDING AND ENVIRONMENTAL GRAPHICS Space Agency employs an innovative trained eye for capturing the global pattern approach to wayfinding design. Our of movement. philosophy is to provide intelligibility by revealing the latent spatial structure Simultaneously, the team’s expertise of a given space while seamlessly in environmental graphics supports integrating into the architecture. Rather this spatial perspective with graphic, than creating additive elements within narrative and informational layers, which a project, our primary design objective facilitate orientation and choreograph is to embed wayfinding indications the user experience. Large spaces into the architecture and landscape. become legible through an attractive and intuitive hierarchy of information revealed Through the use of research-based progressively throughout the visitor’s methods, we read cityscapes with a journey.
  2. 2. ANALYSE HIERARCHY AND 1 SPATIAL SPATIAL DECISION-POINT STRUCTURE HIERARCHY Process Diagram ANALYSIS ASCERTAIN MOVEMENT NETWORK IDENTIFY DECISION- MAKING POINTS MAP A GLOBAL WAYFINDING TOPOLOGY FOR THE SITE DEVELOP MAP 3D LOCATIONAL PLANS INFORMATION SYSTEM AT AND SCHEMATICS FOR SEVERAL SCALES MAP INFORMATION WAYFINDING SYSTEM HIERARCHY ONTO COMPONENTS OF INFORMATION DESIGN SPATIAL HIERARCHY DEFINE INFORMATION HIERARCHY STRATEGISE POSITIONING, DEVELOPMENT OF A PLACEMENT AND COHERENT WAYFINDING SYSTEM ACROSS INTEGRATION SCALES DEFINE FABRICATION PROCESSES MAP INDIVIDUAL DEVELOP AN WAYFINDING JOURNEYS FOR ENVIRONMENTAL CATALOGUE OF DIFFERENT NARRATIVE FOR WAYFINDING SYSTEM SCENARIOS DESIGN PROTOTYPES COMPONENTS STRATEGY THE EXPERIENCE DESIGN FOR ENVIRONMENTAL IDENTIFY USERS’ ENVIRONMENTAL INTERVENTIONS, GRAPHICS DIRECTIONALS NAVIGATIONAL STRATEGIES SIGNAGE DESIGN DESIGN A GRAPHIC SPECIFICATIONS LANGUAGE FOR THE AND STANDARDS WAYFINDING ANALYSE DEVELOP A SYSTEM BASED ON VISUAL FORMAL VISUAL THIS NARRATIVE LANGUAGE CONCEPT DESIGN IDENTIFY VISUAL INSPIRATION WAYFINDING METHODOLOGY FOUR INTERRELATED STRANDS Our approach to wayfinding design The second strand of our work focuses information up front can either confuse works in four parallel strands which are on how the user experiences the site from or lead to disorientation. The information inter-related and iterative. a bottom up, sensatiatory perspective. What architecture must be such that only the does the user anticipate? How do they build right level and quantity of information We begin with spatial analysis to gain a a picture of the space around them and how is given at the right time and in the right thorough understanding of the project can we make that process surprising and format. as a spatial system and a framework enjoyable? The use of visual narrative can for movement. This research-based give identity to places and guide the user’s The final component is the visual identity and analysis enables us to understand how procession through the site. design of environmental graphics. Based on users will access and use the site from an analysis of the formal language employed a topological, top-down perspective. The third strand is the design of information. on the project we work with the architect This informs decisions where to place Users of the site need to both find their way, to integrate qualities such as layout, scale, and how to structure directional but also to download information about colour, typography, iconography into the signage. what is around them. Too much or too little architecture, in a manner which enhances the visual language already in place.
  3. 3. PRECEDENT PROJECT STONE TOWERS, EGYPT: ZAHA HADID ARCHITECTS Space Agency is currently working as direct and accessible central core of Environmental graphics and wayfinding a consultant to Zaha Hadid Architects movement at surface level links the retail directional markers from the basement up, for a large mixed-use masterplan uses into a chain, serving to activate facilitate orientation and picture-building for in Cairo. The central spine of this natural movement through the heart of first time users and enhance the experience masterplan is to function as an oasis, the development. of getting where one wants to go. full of vibrant activity and a night time economy. In order to achieve this The primary approach for most users will be The diagram below breaks down the ‘buzz’, a strong, direct and convenient vehicular, through the basement parking. surface movement into specific routes and central axis of movement must be This type of subterranean approach is nodes where signage aids in welcoming emphasized through wayfinding cues like a gopher’s experience of popping-up a visitor, identifying a place or channelling and signage. A visually and physically and trying to decipher where it finds itself. movement. TO PARKING 2 COMPARTMENTS A,B,C,D,E,F Surface Movement Framework TO RING TO VIP PARKING ROAD FRONTAGE ROAD SUB LOOP VEHICULAR ROUTE EAST ACCESS PEDESTRIAN ROUTE ENTRY ENTRY SECURITY NB9 CHECK POINT TO STONE SUB LOOP ENTRY POINT ENTRY PARK EAST BUILDING ENTRY POINT NB8 ENTRY RETAIL HOTEL ENTRY POINT NB7 ZONE 5 PKG ENTRY DELTA NODE 5 HOTEL PARKING ENTRY NB6 ZONE 4 DELTA ZONE ENTRY RETAIL RETAIL ZONE TO PARKING NB5 ZONE 4 PKG COMPARTMENTS ENTRY DELTA NODE 4 PARKING ENTRY NODE A,B,C,D,E,F NB4 ZONE 3 DELTA ENTRY POINT ENTRY RETAIL NB3 ZONE 3 PKG ENTRY NODE 3 DELTA TO VIP PARKING NB2 ZONE 2 ENTRY NB1 PKG SUB LOOP RETAIL NODE 2 HOTEL DROP - WEST ACCESS ZONE 2 OFF LOOP DELTA ENTRY ENTRY SECURITY ZONE 1 SB9 CHECK POINT RETAIL ZONE 1 ENTRY PKG SB8 TO HOTEL NODE 1 PARKING ENTRY ENTRY ENTRY ENTRY ENTRY ENTRY SB1 SB2 SB3 SB4 SB5 SB6 TO STONE PARK WEST HOTEL ENTRY
  4. 4. 3 Metallic colour palette MASTERPLAN ZONE IDENTIFICATION METALLICS The systematic mining of metals was electrum (a native alloy of gold and silver an important industry employing many which was frequently used in architecture thousands of workers in ancient Egypt. and coinage) Jupiter. Metallurgy in particular was carried on with an elaborate technique and In homage to these religious and magical business organization. ideas about metals, we made a selection of five important metals used in ancient Egyptian and Chaldean mysticism Egypt- gold, silver, copper, bronze and relates precious metals and their electrum- as a form of identification properties to the sun and the planets - for the five project masterplan zones. for example, gold symbolises the sun, These identifiers are carried through the silver the moon, copper Venus, and wayfinding and identity strategies.
  5. 5. LUMINOUS WAYFINDING BANDS METAL INLAY/L.E.D. NO RT H BU 4 ILD ING 06 3 NE ZO LTA DE TO 06 ING Zoom-in on ILD H BU UT SO TO junction of wayfinding bands E AC E SP UR AT FE GE ED LTA DE 5 TO Wayfinding bands layout in RT H BU ILD ING 05 landscape 2 NE ZO LTA 4 5 This diagram shows the concept in dovetailing with the retail strategy, increas- The illuminated bands complement the which illuminated metallic bands lie flush ing footfall between zones. striations in the building facades and cre- within the landscape paving, marking ate an atmospheric effect. Each of the il- the way to various destinations through- The second identity for these bands oc- luminated bands terminates at a specific out the masterplan. curs at night when visitors and hotel location: a building entrance, a lift to the guests may be arriving to visit the catering parking levels, a hotel entrance or a re- The passages between retail clusters and entertainment facilities. Alongside the tail destination. As these luminous bands as well as building entrances are ob- metallic edging an L.E.D. strip placed be- travel through the landscape they intersect structed from views across the site. neath translucent glass illuminates the way at clearly defined nodes and expand to The continuous jewel-like bands mark to the evening’s activities. display written information and directions the different trajectories and will sig- which form sculptural ‘events’ as well as nificantly reinforce orientation through, ID markers.
  6. 6. LUMINOUS WAYFINDING BANDS METAL INLAY/L.E.D. 6 Wayfinding inlay bands - day view 7 Wayfinding inlay bands by night - Gold, Silver, Copper and Electrum zones
  7. 7. LUMINOUS WAYFINDING JUNCTIONS METAL INLAY/L.E.D. 90° 60° 30° TO GA RD EN 9 TO NBO5 Day view: 0° 0° Silver zone junction TO SBO5 8 10 Four infill plate designs Night view: based on site geometry Bronze zone junction The wayfinding bands within the land- these diamonds, the wayfinding bands nation diamond without a directional arrow scape originate at junctions composed then independently follow trajectories and is made from a more eye-catching by four shapes of diamonds panels. based on the overall site geometry toward perforated metal rather than solid metal. specific destinations. Each band has one The diamond panels are both a start- specific origin, such as at a retail core, and Signage text is always the same size for ing point for the lines and a junction one specific destination, such as South each diamond marker. The letter height is point at key decision-making junctures Building 05. Whenever the lines change consistent and is positioned in the middle to the north and south of the retail lift direction or turn, a diamond marker with of the arrow height, 25 mm away from the core. directional signage is placed to remind the arrow and parallel to the wayfinding band. pedestrian of where the line is leading. Four directions are possible for each junc- The junction points are organised in a tion, but only two per diamond. compass of diamonds. Extending from The end of the line is marked by a termi-
  8. 8. LUMINOUS WAYFINDING JUNCTIONS METAL INLAY/L.E.D. The diamonds also indicate the dis- the next zone easily. 11 tance to the destination. Large dia- Day view: The diamonds indicate only six general Gold zone junction monds indicate a close destination. categories of destinations: Smaller diamonds indicate that the destination is further away from the • North Buildings pedestrian. The smaller diamonds are • South Buildings 50% smaller than the larger diamonds. • Retail Lift Cores • Retail Streets A diamond of the following or previous • Gardens retail zone is placed in each junction, • The following zone so that the pedestrian finds its way to • The previous zone
  9. 9. VERTICAL CORE BACK LIT/LASER CUT LIFT DIRECTORY + CORE WALL IDENTIFICATION 12 Lift directory The design of the lift car signage itself The lift lobby is the key interface between conveys a notion of upward movement, above ground and below ground signage reflecting the vertical spatial structure families. The lines on the walls wrap and and supporting the visitors’ around and mirror the visitors trajectories intuition of upward progression to the surface. through the different levels. Its design is of a beautiful minimalistic The cladding of the lift walls corresponds elegance and ties seamlessly into the to the metallic finish colour associated with vector based signage elements seen the zone. throughout the scheme. 13 Lift lobby view with wayfinding diamonds
  10. 10. ZONE IDENTIFICATION PARKING GRADIENTS 14 Colour strategy of directing visitors “towards the light” A matte colour palette complementing A form of gradient is used to lead the the metallic finishes animate the visitor ‘toward the light’ at the retail atrium, carpark areas. These colour areas a subtle guide. The further away from the differentiate the parking zones from core one is, the more intense the colour each other and identify which retail and the closer to the core, the lighter. zone a visitor is parking underneath. The scheme uses colour to assist This gradient can be executed simply by in wayfinding toward the lift lobby painting only the car parking spaces, each entrance, the immediate destination of with a different subsequent tone. A colour those parking cars. matched RAL colour corresponds to each parking space and the effect of a gradient can be seen over the length of the row.
  11. 11. DIRECTIONAL GRAPHICS WAYFINDING INFORMATION ON SUBTERRANEAN APPROACH Within the basement, pedestrians access the retail cores through a glazed entrance and security checkpoint. An approaching pedestrian would be inclined to think that the glazed double doors in front of the lift cores are entrances when in fact they are exits. For this reason, large environmental graphics are proposed etched onto this glazing to attract and redirect pedestrians toward the proper entrance and provide 15 information as to what services are within Basement parking the cores. core graphics
  12. 12. ELECTRUM A ENVIRONMENTAL GRAPHICS DYNAMIC TRAJECTORIES IN THE CARPARK 101- 103 B1 STONE TOWERS NB05 COPPER B1NB05 STONE TOWERS ELECTRUM 16 Long walls extend along the cores in the The wall-based signage will provide Basement parking basement carpark. These walls obstruct locational information as well as directional graphics signal a slowing of pace views across the basement and create indication which subtly leads visitors large surfaces. They therefore present toward their immediate destination, the lift a prime area for vibrant environmental core, once they leave their car. Near the lift graphics which animate the basement core services, the core wall graphics also space and provide locational information. serve to remind visitors of the zone they are in before they ascend to the ground As visitors circulate through the basement level to shop or visit offices. Later they will parking compartments looking for parking, be required to recall the zone they parked a key consideration will be to find a parking in, in order to find their car. space nearest their destination.
  13. 13. INFORMATION HIERARCHY DIRECTIONAL SIGNAGE 17 This simple signage is conceived as The most important level of information will Extruded rederered lettering extruded characters, extending differing be emphasized by either metallic paint or a on exterior staircase depths from the wall, up to150mm. metal edging around the characters. The color corresponds to the relevant zone. The size and extrusion of the characters is dependent on the hierarchy of information Two different focal points are shown in necessary at that juncture. In this these visualisations. One highlights the stairwell area, the floor level is the most zone as the primary brand element in the critical information, with icons to vertical space, underscoring the fact that one transportation and services as secondary has parked in that specific zone. The information. other scenario shows the level numbers as highlighted text, serving to aid the pedestrian’s vertical navigation.
  14. 14. LANDSCAPE INTEGRATED SIGNAGE DIRECTORIES Level 0 NB VIP Entrance / Delta 06 Copper Zone NB01 NB02 NB03 NB04 NB05 NB06 NB07 NB08 NB09 NB 05 NB01 NB02 NB09 NB03 NB04 BRONZE NB05 NB06 NB08 NB07 4 1 2 3 5 SILVER SILVER COPPER BRONZE GOLD ELECTRUM Shops Shops Shops Shops Shops LK Bennett 7 LK Bennett LK Bennett LK Bennett LK Bennett SB Gap Jcrew 3 Gap 2 Swatch Gap Jcrew Gap Jcrew Gap Jcrew 06 Swatch Swarovsky 11 Swarovsky Swatch Swarovsky Swatch Swarovsky Swatch Swarovsky SB Restaurants Restaurants Restaurants Restaurants Restaurants 05 1 Paul Paul 4 Eat Paul Paul Paul Eat 8 Starbucks Eat Eat Eat Starbucks Starbucks Starbucks Starbucks Petrussian Services Petrussian Petrussian Petrussian 6 Lift to Parking 5 Restrooms 12 Prayer Room 18 18 Retail directory map by zone Within the retail zones, signage and This directory also clarifies for the visitor maps are required to orient the visitor that the development is comprised of 5 toward the destinations they may be zones which are identified by 5 different seeking. Retail shops, restaurants metals and locates the visitor within this and services are listed in a very simple continuum. type of directory, integrated into the landscape as a horizontal wayfinding These furnishings are tightly integrated with element. Importantly, this signage the landscape and conceived by pulling enumerates not only the shops, up individual strips to form the signage services and destinations within the element. While providing the required zone it is located, but also lists all legibility and direction, this element is very of the shops and restaurants in the minimal and avoids cluttering of the space. 19 other zones. This type of directory is It also provides an opportunity to integrate Furnishings integrated essential in a shopping area. low level lighting. into landscape
  15. 15. OFFICE DIRECTORIES BACK LIT PERFORATED METAL 20 Tree structure represents 21 building configuration 3D view of reception The office tenant directory at the to be replaceable, a simple and yet elegant which is backlit throughout the day. reception area is one of the first solution has been designed. impressions for a visitor. As the base for Adhered to the glass is a mask made of welcoming visitors coming to meetings, This design uses a custom perforated opaque vinyl which is easily die-cut to display it must give an impression of quality and metal sheet which is perforated using the names of the tenants and signage. Thus prestige. For this purpose, the 5 metallic the diamond motif over a gradient of where the mask is positioned, light does finishes set the perfect tone. Additionally densities. This gradient of densities allows not come through, but where the mask has the office reception signage is meant to the sheet to begin as a solid wall which been cut, light comes through the perforated feel special and bespoke. gradually becomes translucent, creating a metal to read the tenants’ names and logos. beautiful and ethereal installation. Behind For each floor level, an individual panel of With these objectives in mind as well as this removable perforated metal panel is glass with a vinyl die cut mask can be slid in the requirement for the tenant signage positioned a sheet of translucent glass and out for replacement.
  16. 16. OFFICE DIRECTORIES BACK LIT PERFORATED METAL 22 The office directories display tenant names Close-up of and floor numbers at the office lobby level.The office directories design for the office directories is conceived from the project-wide theme of converging and bifurcating lines. Within this language the directory structure mirrors the primary routes of circulation in the building: branching out into the separate floor plates from a central core. As a stylized and abstracted tree, this ‘trunk’ forms the permanent ‘backbone’ of the directories with branches leading to each office space.
  17. 17. BUILDING ADDRESS HIEROGLYPHICS CHISELLED IN STONE 23 24 25 23 The design of the building adress is recessed The addresses are situated at the two short Embossed lettering with into the head walls of the office towers in the ends of each building where glass reinforced metallic edge same fashion as the architectural features. concrete ribbons wrap up the side of the It therefore provides a coherent and minimal building - one facing the ring road and drop 24 solution. The contours of the characters are off, the second facing the interior public Section detail finished with the metal corresponding to the space. The signage on the road side will be relevant zone, which provides enhanced sized appropriatly to be legible from a moving 25 legibility and glows when lit at night. car before reaching the drop off, the signage Eye level view upon entry on the delta side with be sized to be legible from the pedestrian point of arrival.
  18. 18. 26 27 INTEGRATED TENANT SIGNAGE EMBEDDED LIGHT IN SUN-SHADING LOUVER 26 The above proposal has been developed the buildings by applying corporate logos to Tenant signage from an analysis of most visible viewing an- the building louvers without any additional by day gles for tenant signage. loss of light to tenants. The tenant signage 27 zone occupies a specific band in the lou- Tenant signage Rather than tacking a foreign element vered facade where special, replacable by night onto the building, the building itself is louvers are clad at their front and bottom embedded with signage. Tenant signage faces with a powder coated perforated is positioned on the most prominent face of metal behind which is a grid of L.E.D.s.