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Orientation & Identity

Wayfinding, signage design is still a young profession, balancing on the edge of two and three dimensional design. Wayfinding often is described as spatial problem solving and designers are multidisciplinary, with a psychological look into showing the way.

The book Orientation & Identity has 17 different projects discussed and show the potential for clients, urban planners, entrepreneurs and politicians. Each project is described from designer and client point of reference, giving a great insight on how the projects came together. This heavy weighted book shows a great in-depth insight in the field of architecture, environmental graphic design and wayfinding.

About Orientation & Identity

The first few chapters give an insight on identity and orientation standard, the philosophy and architecture. The wide range of interviews include, city-wayfinding, airport signage, Dutch road signs, museum design and corporate wayfinding in Europe. The book is written in both German and English, at first you need to adjust a bit to find the reading language of choice, after a few moments I was used reading the bottom of the pages.

The case studies starts off with a introduction of the topic followed by the people behind the projects, with full background details you will get a good feeling of who participated in the project. The interviews start by asking who participated and why projects are initiated, then the story following the discussion during the project. A great insight on how they made specific choices to come to a solution for the project.

The pages are filled with full color (detailed) photos of projects accompanied by sketches and / or 2D images of the wayfinding systems.

Projects included in the book:

• Legible London, London; City wayfinding
• Dialogmuseum, Frankfurt; Museum wayfinding
• Effenaar, Eindhoven; Environmental identity
• Messe, Stuttgart; Identity and wayfinding
• College wayfinding
• Dutch road signage, Holland; Typography Road signs and wayfinding
• Zürich Airport, Zürich; signage design and wayfinding strategy
• Lower Austrian Clinics, Niederösterreich; Hospital wayfinding systems
• and much much more

As the true value of the book is the various insights on the people involved to get a great perspective on how the projects emerged.

Conclusion

I personally enjoyed reading Orientation & Identity for various reasons; the focus of projects are European, that makes this book very relevant for EU countries and stands out to the many US wayfinding / signage books. Secondly the in-depth interviews with various stakeholders, architects and designers behind a project makes it interesting to get a peek inside a project. Lastly the book also provides in technical details, at the end some projects are displayed with typefaces details, construction drawings and iconography.

The language separation is not disturbing but could have been done better in my opinion and the weight of the book does not make it comfortable holding it for a longer period of time. Overall, if you are looking for the stories behind large-scale wayfinding and signage projects in Europe, this is the book for you.

Availability

The book is worldwide available via amazon.

Orientation and navigation in a unknown city can be hard, can these wayfinding apps help you along?

Exploring unknown cities for business or pleasure, for me, is always a joyful experience, walking around and getting into the city will enlighten your vision and makes you connect to the culture. Visiting the beautiful and exciting elements a city has to offer makes your trip an unforgettable visit. Getting information on how to get around in a city is essential for easy orientation and navigation.

Actually one of the most important factors that you will remember after visiting a city is how did you get around.

What items did you use to navigate through a city? How did public transport interacts with the navigation possibilities that you have? What was your feeling and with the items you used to navigate and did you find your way? Where did you get your information from and was it sufficient enough?

All of these questions make or break a your vision on city exploration.

Exploring a unknown city

When visiting a city there are different ways you can get there and after arriving you need to know where you are in the spatial environment in order to locate yourself and make decisions on where to go next. The provided information at that point of entry is critical for easy city exploration, if the provided information is insufficient, you might turn the wrong way and not finding the locations you want or need to visit. Going the wrong way increases feelings of disorientation, distraction and anxiety. The feeling that you are loosing time on exploring a city trip is one of the worst psychological emotions you experience.

City information

When visiting a new city is can be useful to check the cities website and obtain information about:

• Public transport and available connections between the various transportation services
• Getting a map of the city and locate your hotel, maybe even plan a trip from your city point to entry to the hotel
• Maybe plan your trip via google maps and mark all the points your want to visit
• Opening hours of the facilities you want to visit
• I’m that kind of guy that doesn’t do any of the suggested items as described above… I just try to explore the city using my senses and trying to find where I need to go next. Sometimes this is a great and joyful experience, sometimes it causes disorientation and arguments with the people I travel with at that time.

Orientation and navigation in an unknown city

When using your senses to guide yourself in a unknown environment you need eye-level directional information and possibly a map to locate and navigate through the city. City often uses directional signs on streets to point you in the right direction and sometimes information panels are providing you with an orientation overview. In future posts I will go deeper into pedestrian navigation and city wayfinding. Other forms of navigation is through a mobile phone powered with for instance Google Maps or specific applications enhanced to bring you information about the city you want to visit.

City marketing and visitors information

As city marketing is the nr. 1 way of promoting your city, providing information to the visitors is also part of the branding strategy. Currently many cities worldwide are producing mobile applications to improve the visitors experience and this will make it easier to navigate through a city. I have compiled a list of iPhone applications which will let you navigation through a city using your own personal map.

The Cuba that we know is a very restricted, communism country. Yet was striking to see that environmental graphic design and wayfinding are thought well through. From a propaganda point of reference, it is understandable to communicate on a physical street level to interact with the local community. Everywhere in the city slogans from the Fidel regime are painted on the walls.

But, what was noticeable was the city wayfinding. A comprehensive wayfinding system is implemented throughout Havana. This article will feature the characteristics of the Havana city wayfinding system.

Streets and signs of Cuba

The street life in Cuba is a great contrast to the Western world. The atmosphere is authentic and feels like a movie from the fifties. The streets of Havana, the small way of living and the local customs puts our every day life (what we take for granted) in perspective.

Typography, color and symbol signs

The consistency in placement, readability of text, arrows usage and symbol signs are balanced and it seems there is a graphic standard in place. We tried to determine who designed the wayfinding system and we would be interested knowing which agency or authority designed this. If you know who designed the Havana city wayfinding please let us know (see contact details below).

Overall the city wayfinding system in Havana gave a good experience of the city and was a guidance along the tourist attractions.

With the help of typographic tools we discovered the typeface used in the signs; Traffic Type Spain. The font has an authentic look and feel and fits well into the Cuban environment. The arrow design seems to originating from the Aiga Symbol Sign collection. The symbol signs referring to museums, parks and memorials seems to a familiarity with standardized symbol signs collections.

Traffic Type Spain Standard (D)

Originally, the font “Traffic Type Spain” designed in the pre-digital area around eighties. Then there were no ready to use outline fonts and to manufacture traffic signs they had to cut letterings by hand or manually compose them from single stamp letters.
URW developed sign-making software called SIGNUS, the first of its kind used to cut letters and logo in vinyl. Due the popular demand of SIGNUS, URW designed the digital outline fonts for road signs for European countries.

Under the technical direction of Peter Karow, URW led the world in developing digital font technology. Its IKARUS suite of font digitization tools and file format standards handles fonts as bitmaps, as grey scale (anti-aliased bitmaps), as vector outlines, and as curved outlines.
The fonts are designed specific to country regulations. The artwork for the fonts was mostly provided the sign-making companies who would produce the traffic letterings for the corresponding governmental traffic offices. The digital production and completion of the character set was done at URW.

The name “Traffic Type Spain” was given by URW. They named them all “Traffic Type” plus the country, like Traffic Type Sweden, Traffic Type Luxembourg, etc. This meant that the font was officially used to produce the traffic signs in for instance Spain.

We can only imagine why the Spanish variant is chosen for the sign system, it could have been an accidental choice or something to do with the Cuba history or Spanish influence. We estimate the wayfinding system was implemented about ten years ago and have regular updates.

More about the font

The font “Traffic Type Spain” and other country related fonts are available via URW++ website. Below you will also find a reference to Ikarus Typography Software used to digitize paper fonts for digital use.

• Foundry URW++

Special thanks to Peter Rosenfeld of URW++ Design & Development GmbH for contributing to this article with background details and information about the font Traffic Type Spain.

Typeface: Rijksoverheid Sans / Serif

Currently there are over 200 departments and ministries which all have different logos and uses different typefaces as their brand identity. In a pitch held by the Dutch government studio Dumbar won this competition and introduced a new logo and 1 brand identity: 1 Logo.

From the beginning of 2008 Peter Verheul was asked by studio Dumbar to take his typeface Versa and transform the typeface usable for a larger audience. He changed the look and feel of the Serif version of Versa Serif and created a complete new set of letters for the Sans version. The fonts are named Rijksoverheid Sans and Rijksoverheid Serif. The name of the typeface is recognizable as “government” and will be used in every way of visual communication.

The Rijksoverheid Sans will be used mainly for headings of text and in signage or wayfinding systems. The Rijksoverheid Serif is used as bread letter for reading text. In just under nine months Peter Verheul managed to finalize the fonts and released them in four different variations, from Regular, Italic to Bold.

Designing the Rijksoverheid typeface

Letterijk book

During the time of creation Peter Verheul did not have much time to take pictures (as said in his introduction speech) but he kept a note book full of drawings and notes of creating and designing the typefaces. After finishing the typefaces he donated them to Bijzondere Collecties, a Dutch important collection of valuable work from Dutch graphical, typographical- artists. The Bijzondere Collections hosts the booklet, first printouts and everything that is related in creating the typeface Rijksoverheid.

Letterrijk Book is a story about the birth and why of creation the typeface Rijksoverheid written by Mathieu Lommen, published by De Buitenkant Publishers. The booklet covers everything from the start of the project and the combination with project 1 Logo, a story about how the typography started working together, with many drawn examples of early stages of letter design. It also covers the complete glyphs of the typeface variations, with over 700 glyphs each this typeface is multi-language proof. With the design of the typeface several key factors of demands where given to Peter Verheul and Studio Dumbar.

The typeface should be easy to read, should not be too wide in order to reduce printing costs, it could be used for all forms of visual communication of the Dutch Government and every department will use it therefore it will reduce the costs of different typeface licenses. The typeface will function as a bridge between society and government, a typeface that everybody will feel comfortable with.

Rijksoverheids typeface

The Rijksoverheid Sans, an easy to read typeface with a large x-height. This allows maximum legibility for heading text, signage, wayfinding and other forms of visual identity. In the introduction speech Peter Verheul mentioned that he was impressed by the way the Sans version would be used for bread letter. He is interested to see the further development of Rijksoverheid Sans in this field.

Rijksoverheid Serif is the bread letter for reading text, I have read the booklet a couple of times and it seems to be a very legible typeface. Which will form the basis of the whole brand identity of the Dutch Government.

Project 1 Logo

The Dutch government brand identity was not concise or consistent, with over 200 departments and ministries costs were rising of each department havigd their own logo, typeface, print materials, signage and everything that involves the visual communication of that department. There was not a direct link to society and confusion about the identity the government wants to presents themselves. Project 1 Logo was born to bring back all brand identity of the Dutch government and give one signal to society about what the government stands for. In a pitch several design studios participated in order to create 1 Logo, 1 brand, 1 identity, 1 way of communicating between society and government, coming all together as 1 government.

From 2009 until 2011 every department should use the new logo and typeface in all forms of visual communication, a huge operation which involves many parties. I believe there will be a brand guideline from studio Dumbar to lead everything into the correct, concise and consistent use of the brand identity.

Read more

• Studio Dumbar, the designer of 1 Logo identity.
• Dutch government website about project 1 Logo, Rijkshuisstijl.
• Website of designer Peter Verheul

On Wednesday 31st March Ivan Bennett, Design Manger for London Buses, delivered a presentation on the design and development of Bus infrastructure furniture and products at Transport for London’s offices in Southwark. This article gives and overview of the evening and highlights some of the key topics discussed.

Background Information

As part of Transport for London (TfL), London Buses is responsible for securing the provision of bus services throughout Greater London in a safe, efficient manner, while encouraging the use of buses and public transport. Surface Transport Infrastructure Development are responsible for the design and development, specification, installation and maintenance of the supporting infrastructure within Greater London. As the main point of contact with passengers, bus stops in London currently total over 19,000.

Introduction

Mike Wolff, Chairman of the SDS, introduced Ivan and highlighted that the society often discuss the graphic design and strategy of wayfinding systems, but talk less about the design of products. That in mind he was very keen to get the event underway.

Ivan began his presentation by putting the scale of the London Bus project into perspective. Every weekday over 6,500 scheduled buses carry around 6.25 million passengers on over 700 different routes, amounting to over 1.7 billion journeys a year. He was also keen to point out that the first use of the iconic roundel was the 19th-century symbol of the London General Omnibus Company; its usage on the Underground came later.

History of London Buses

Illustrations of old shelters showed how little the identity had changed over the years and demonstrated how forward thinking London were in a period hung up on embellishment. Ivan emphasised the importance and influence of Frank Pick, head of the London Underground in the 1910s and 1920s and of the newly merged London Transport in the 1930s. Frank was instrumental in establishing the world’s most progressive public transport system and an exemplar of design management. Ivan went on to explain how Frank’s vision influenced the design of London bus products, including those we see on the streets today.

Creating Successful Products

TfL are a well known brand and the legacy of their products has a huge impact on defining the city. Their products and use of materials also help define the values of the system. Ivan identified his three intrinsic factors for creating successful products:

• Aesthetics
• Appropriateness
• Economics
• Even in the early 19th century, London Transport realised the importance of these values.

(quote: “The test of the goodness of a thing is its fitness for use. If it fails on this first test, no amount of ornamentation or finish will make it better; it will only become more expensive and more foolish.” – Frank Pick)

It was clear that Ivan and his team design products with a clear focus on ‘Appropriateness’. They adopt a cradle to grave approach to design and Ivan listed key considerations in their design process:

• Who will use the product?
• What will the product be used for?
• How long does the product need to last?
• What possible impact does the product need to withstand? (vehicles, pedestrians, weather)
• How often will the product need to be updated?
• How will the product be maintained?
  -In particular when looking at materials:

Do the individual materials proposed work together?

• Are the materials used sustainable?
• Do the materials work within the surrounding environment?
• What is the life span of individual materials?
• How will materials be disposed of at the end of the products life?

Current Product

Using a full scale replica of a bus stand located at the front of the room, Ivan described in detail the design of the current product used at bus stops.

Many of the components are easily switchable. Ivan demonstrated how using a tiling system, bus stop numbers could be changed and moved almost like pieces of a jigsaw puzzle.

Examples of timetables, route maps and network maps helped show how London Buses have simplified information to make it easier for bus stop users to answer three key questions:

• Where am I now?
• How do I get from A to B
• How will I know when I get there?

A good example of this simplification of information is the timetable, where individual times have been omitted and instead only first and last buses are listed along with the general frequency of buses throughout the day.

Example: Transport for London Journey Planner.

Where other systems fail

One reason other systems have failed is the lack of continuity. London bus stops extend beyond central areas and cover all routes in Greater London. Ivan indicated that passengers do not just want information about where they are travelling from, but when they get there, they need the same consistently presented information. People need information near their homes and local areas, not just in the centre of the city.

Ivan also pointed out that many systems fail because they do not own their products. London Buses design and build their products and own the intellectual property rights. This allows TfL the freedom to change manufacturers without having to reinvent their products. Continuity of the brand is maintained and London Buses can continually work on evolving their products.

Questions and Answers

The session concluded with a questions and answers forum. Unsurprisingly many of the questions focussed on manufacturing methods and material choices, but several of the questions were centred around brand identity and the roundel. A debate began on the use of the roundel and whether overuse was diluting its visual impact, a subject I am sure we all could have continued discussing at length, but time was pushing on and Mike sadly had to draw the session to a close.

Conclusion

I have been to several events organised by the SDS, but this was one of my favourites. The presentation was filled with facts, history, illustrations and physical examples. Ivan is obviously very knowledgeable on the subject and passionate about his job and this came through in his presentation.

I would like to thank Ivan, Mike, Michelle and the SDS for another great event.

For more information on the SDS visit: The Sign Design Society

Author Bio:
Hayley graduated in 2007 with a first class degree in Visual Communication. She now lives and works in London as a Wayfinding Designer for a large architectural practice. Her key projects to date include developing signage and information graphics for both Dublin and Rome Airport. Hayley’s thoughts and inspirations can be found in her regular tweets as Wayfinding_UK.

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