This is Tokyo's Nartita International Airport recent redesign in connection with the upcoming 2020 Tokyo Olympics. The design is based around a colour coded circuit, much like a running track. This design relates to the Olympic theme as well as directs passengers around the terminal. The simplicity of the design allows for ease of understanding allowing for passengers to move more efficiently around the terminal. This is a key design element in any way finding however in the context of an airport terminal, this would become paramount as to ensure passengers don't miss their flight. Within the design, Japanese creative lab PARTY, chose to use highly contrasting colours such as red, blue, black and white so that it is highly legible, recognisable and easy to see from a distance. Not only are the colours highly distinguishable, but the pictograms too. They utilise negative space as the symbol, making the white box that surrounds it the identifier. By creating an identifier it allows for the passengers to associate that shape as a form of information. The symbols created are big, bold and universally recognisable. The way finding design not only achieves its purpose but works in tangent with interior design of the terminal. Its minimalist, high impact visuals works along side the flush white walls and the similar aesthetic of MUJI's furniture design as shown below.
So not only does the way finding system have to deliver its purpose, but work alongside the environment of which its designed for. When they both work together it creates a seamless transition and it leaves the audience unhindered as to where they need to go.
Another established way finding example is the New York Subway system.
Much like Tokyo's Narita Terminal 3 redesign, the NYC Subway map uses colour codes, recognisable symbols and a minimal, clear design. The colours used are highly contrasting which allows for the commuter to easily associate the colour to the route they want to travel on. The Subway system may not use pictograms as identifiers, however it uses key letter forms to distinguish each train line. When using letter forms as an identifier, it is key to use a legible typeface that appeals internationally. Thus the choice of white Helvetica letter forms stand out against the colourful train lines and black backgrounds.
The minimal clear design also helps with legibility, creating less frustration with way finding and allowing for commuters to efficiently travel. Not only were the designs of the train lines and symbols be easily read and recognisable, the context of which they are placed on were as well. Much like the white boxes that are used in Narita Airport, the black boards with a white line are meant to be an identifier to commuters to provide information. Along with that the entrance of the subway systems are painted in a recognisable teal to inform commuters of the entrance. These design decisions are consistent on all stations which helps reduce confusion. Another design decision which creates ease of readability are the designs of the train lines. Taking inspiration from the London Underground Map layout, the Subway System is not entirely geographically accurate. The lines are designed in the most efficient way possible for legibility because there was no need to be accurate as the commuters are not traveling above ground. Congested areas such as Midtown and Downtown NYC, the train lines are enlarged and spaced out so that the words are clear to see.
The way finding system and interior design of adidas Laces in 2011 incorporate movement within their signage design to reflect the sports aspect of adidas.
Unlike Narita Airport and NYC's Subway signage, this was created in black and white to be unobtrusive towards the colourful products created within the building. It provides a neutral space for the staff. The layout of the building is designed in such a way that it loops itself around, to ensure that the signage are easily found and get maximum exposure, Büro Uebele designed the forms at hubs and intersections. This design decision can be taken into account in complicated floor layouts.
The style of signage used by Büro Uebele is different as compared to the previous two in terms of legibility. With Narita Airport and the NYC subway system being areas of high traffic, legibility and ease of usage are the number one priority as commuters need to travel as efficiently as possible to their destination without confusion or misguiding. Furthermore, the signage needs to work on an international scale because of the wide range of people that come through the airport and subway system. In the case of adidas Laces, the target audience of the signage are the employees themselves and maybe the occasional visitor. Thus legibility and ease of use may not be regarded so highly. Büro Uebele are then able to push the creativity of the signage and reflect what the adidas values are. By doing so it helps create a stimulating environment for these professionals within the building, maybe even inspiring their work. This design approach on signage can be taken account within establishments where the target audience is a selected demographic.
Lastly is the NationalRail's Guidelines on wayfinding. This outlines the different aspects one must consider when designing a wayfinding system.
- One must consider the different areas of the environment to design appropriate signage for each section. Each section within an environment will be designed differently, therefore the signage needs to adjust to the design structure to best communicate its information clearly to the reader.
- One must consider the placement of the signage, placing them where people need them the most. Relating to the previous point, a sign's placement is key in how effective the reader can access the information needed.
- One must consider the fixing height of the signage, establishing a common baseline height to allow for consistency. This variable depends on the environment the signs are placed in and the type of audience is catering to. For highly populated environments, signage placed above ground, hanging from the ceiling allows for quick reading unobstructed by anyone. However signage placed at eye level and on the building's structure in an art gallery would be more appropriate due to the low traffic and behaviour of the visitor.
- One must consider the structure of the environment, placing the signage in clear view which does not obstruct the visual aesthetic of the structure. This is done to respect the design of the environment which will be appreciated by the audience.
- One must consider statutory signage.
- One must consider third party advertising, signage of the establishment must take visual priority over the advertisements, avoiding visual conflict with the wayfinding signage.
- One must consider the colour combinations used on the signage. Creating a high contrast combination allows for clear legibility along with creating a identifier to help inform the reader that these colours mean an informative sign.
- One must adapt the visual information to the type of sign used. Not all signage must use the same format as others may be more appropriate due to their distance from the reader, position within the environment or zone.
- One must not only consider the wayfinding within the environment but the way out as well.
- One must consider the information hierarchy placed on the signs. Consider the priority of information that commuters value the most and placing them at an easy to read level. Within this hierarchy, grouping the information along with each other will help ease of use. For example grouping the facilities of the train station in one group and the platforms and ticket offices in the other.
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