The brief was to develop a wayfinding signage system to direct visitors through and around a complex environment comprising a residential high rise tower, four commercial mid-rise buildings, a railway station, bus terminal, and a retail/restaurant environment. This design employs strong color, graphic, and form language to ensure that the signage system is distinctive and legible in the urban environment. The form of the identification signs is based on a cube extracted to oblongs, either vertically or horizontally.
Melbourne's City Museum calls itself "The Gateway to Marvelous Melbourne," and is considered an excellent orientation to visiting the city. It is located in the historic Old Treasury building, at a primary city intersection. Its main entry, however, is through a nondescript door found only after climbing a grand stair and crossing a windswept podium.
emerystudio's job was to signal the presence of the museum in a dramatic way and encourage visitors to make the trek to see its permanent and temporary exhibits.
With miles of concrete and cinder block as their palette, the emerystudio design team decided to have some fun with graphics for the Eureka Tower parking garage in Melbourne.
Inspired by the work of Swiss artist Felice Varini—whose perspective-defying installations look a lot like giant vector art superimposed on buildings or interior architectural spaces—the team designed colorful forms that are both two- and three-dimensional.
emerystudio was tasked with designing temporary street decorations for the City of Melbourne's 2006/2007 holiday season. City officials dedicated a wall in a central city location for the installation of a nativity scene.
emerystudio steered the design solution away from the traditional crèche approach and instead designed a type-based solution founded on the "nativity text" from the Bible.
Architect Bates Smart and client PMP Limited, a media production and magazine distribution company, requested a three-dimensional, textural, dramatically uplit installation to add pizzazz to a two-story reception area wall in the firm's Melbourne headquarters.
emerystudio responded with an abstract piece that refers to streams of digital information and the notion of a performance indicator, "a visual representation of the transition from chaos to order." Small fragments of the 23- by 26-ft. piece—made from humble MDF—are placed throughout the office.
The Hawke Building is the new “front door” of the University of South Australia in Adelaide, one of the country’s top universities. It houses not only the university chancellor’s offices, but the Anne & Gordon Samstung Museum of Art and the Bob Hawke Prime Ministerial Library and Centre.
Designed by John Wardle Architects, the building is a compilation of dramatic dimensional concrete forms spliced by a glazed prism entry.
This system of environmental graphics serves not only as wayfinding devices but also communicates the library's visual identity. A combination of dynamic and controlled elements was designed and placed to identify, direct, punctuate, and complement the architectural statement. Identification of the library's various sections, open spaces, and rooms was achieved through the use of large fabricated numerals juxtaposed in various architectural elements.
Concepts were targeted at providing an emotional connection to the environment. Probably the most popular part of the program is the human-size mosaics, which greet visitors at the changing room entrances. The relaxed posture and friendly demeanor of the images provide a tangible personality to the entry.
Batman's Hill was the starting point from which Melbourne was mapped. The Hill was removed to make way for the extension of the railway system to Spencer Street in the mid 19th century. This marker, of monumental scale, identifies the location and height of the original Batman's Hill, which is now located in the Docklands redevelopment area. Interpretive panels on the nearby pedestrian bridge illustrate the significance of Batman's Hill and the development of the Docklands area.