The new wayfinding system for the complex of 18 public hospital buildings takes advantage of its recent redesign, which created a unified network of ground-floor corridors and lobbies. Instead of using building names, the new system is based on "routes" and "stops," like a subway system. People use ground-floor color-coded "routes" to find their "stop" — usually an elevator that takes them to their final destination. From there, building graphics guide users to departments and offices.
Two McDonald's restaurants in two states received a new design treatment integrating architecture, graphics and space. The corporate identity is expressed through both as part of the interior and exterior architecture. At Colorado Springs, the giant box of French fries beckons customers; larger than the golden arches sign outside, it is both sign and sculpture. Inside the store, menu graphics become part of the décor. Instead of squinting to see one giant menu board over the clerks' heads, patrons can look at the small menu board posted by each cash register.
Integrated signs for both blind and sighted audiences open the Calais museum's 19th century sculpture room to all. A Braille and audio handrail describes the floor plan and collection to blind audiences, who are permitted to "see" the sculptures with their hands. Photo sensors on the rail trigger audio descriptions that describe the sculptures and their characteristics for all visitors.
A new museum focusing on news, journalism and the role of the press in a free society needed a design that would keep pace with technology and the ever-changing nature of the news. It presents all of human history as, at a time, "news." Visitors can watch news broadcasts be prepared and recorded, are invited to write and edit news stories in interactive games and can air their news-related concerns at an ethics center. At the museum's entrance, a glass globe presents the names of prominent newspapers in their own typefaces. News-related quotations line the wall by the stairs.
This streetscape enhancement program was designed to meet strict federal Main Street standards, combining an area's history with contemporary design and materials. The project includes sidewalk enhancements, bus shelters and seating and an identity gateway.
A quote from Rodin about his fascination with Michelangelo ran along the corridor wall leading to two concurrent Rodin exhibitions, one about Michelangelo's influence on the sculpture. Visitors could pass freely between the exhibits, which were anchored by three graphic scrims that provided an ornate architectural note to the plain gray walls and box-shaped pedestals.
Susan Maxman Architects, Willie Fetchko Graphic Design
An on-the-street exhibit that reveals how cities work, the Science City exhibit for New York Hall of Science and the National Science Foundation is a truly interactive piece. Visitors see the depth of water mains below through periscopes, look at the antennae through telescopes and read about infrastructure on interpretive signs. The idea is slated to be adopted by science museums throughout the United States.
Inspired by the hospital's new logo, but not wanting to simply reproduce it, the designers came up with a coloring book theme. It was designed to appeal to children and to reassure them that the hospital is a good place. Giant crayons — some of them supports for the signs — decorate the signs, which depict brightly colored stick-figure children. Several signs include fiberoptic lighting, which illuminate the signs at night.
This project by a student at Pratt Institute converted computer pixels into black, white and gray tiles. The concept is illustrated with a design for the walls at 42nd Street Subway Station, featuring the faces and feet taken from a vintage photo of the Ziegfeld Follies dancers, who became synonymous with the area. To convey the scale of his design — the entire length of the 42nd Street Station — the designer used a mathematical trick, a spiral presentation that fools the viewer in to seeing the drawings in perspective and in context.