Information design is fastly becoming a great interest of mine. Every designer is capable of having the greatest vision, but I am starting to realise that it all comes down to such communication that will offer these visions with great success. I feel that information graphics is an excellent way of informing and developing ideas into reality. Last year, I felt that I had many appropriate ideas for design outcomes. However, I often could not teleport these imaginative ideas from my head onto paper or screen because little could inform a functional and achievable outcome. I believe that information design and graphics can provide a profound link in-bewteen. I am fond of technical information being processed into something attractive, stimulating and simple, this balance must be the greatest challenge for any designer to overcome.
Note that the images can be maximized for more clarity.
Data Flow V.1: Visualising Information in Graphic Design
pg. 134/135
This case study is from Project New Museum (2007) in Bowery, New York. The total cost was $50,000,000 and the architects responsible for this scheme consisted of Kazuyo Sejima and Ryue Nishizawa (SANAA). This document was intended for the interest of structural engineers (p. 134) and the buildings potential user (p. 135); providing stability between technical specifications and experientials. Page 135 will evidently inform further design solutions regarding interior and exterior spaces (interior design, furniture design, lighting design etc.) because elements such as volume and area are clear throughout the shown floors on the isometric drawing.
From first glance at this case study, I see simplicity that masks great technicality. Data Flow V1 classifies this graphic as Datascape, 'switching between topography and topology, the spatial arrangement of data at once impose flow, direction context and order'.
The minimal mood is achieved by the backdrop of a non-changing olive green which erradicates any potential interference to the viewer. The fact that the colour does not appear to change in saturation or purity on page allows each element to be looked upon similarly, providing a huge relationship between both pages. Since each page was intended to hold a wealth of important substance, I think that the singular use of colour in backdrop was the right decision of the information designer. High contrast between the white/black diagrams and the olive green backdrop provides instantaneous recognition of their importance. In addition to this relationship, two centred isometric wireframe models catch the eye. The intensity of the isometric wireframe model on p. 134 immediately draws the attention to the starting page where one can become aquaint with the detail of the structures integrity, insulation and exterior materials. The ordered explosion of certain insulators and exterior materials provide the viewer with an abundance of info. Once the insulator and exterior elements are recognised in form and order the reader is directed to descriptive text through means of number symbolisations further down the page, away from the sophisticated diagram where one can view the elements material specifications, from detailed dimensions to finishes.
Near the bottom of the page, a large scale aerial view of Bowery Street's spatial orientation is shown, enabling the viewer to recognise the context of the proposed 'New Museums' placement in relation to a number of familiar buildings nearby. A good reference of elevation and spatial awareness are given. The majority of building blocks were left un-extruded, this is probably because the information designer thought the buildings spatial surroundings were just as important as the other building heights shown on Bowery Street.
It is evident that p.134 puts upmost emphasis on the building itself and its context. Conversely, p.135 focusses on the interaction between the building and its users. Area seems to overide any other potential concern where we can see what the outlined skeleton contains; interactive space for its users. The contrasting use of white marks out exterior interactive areas also. Small figures situated on these floor plans give an effective sense of scale. At the left hand side of p. 134, a side measure is shown giving the viewer insight to different floor levels of New Museum. If you look closely you can see how the measure is extended from the isometric angles, the same key solution is used to mark out these floor levels as what was used to indicate the exploded elements of the buildings insulation and exterior materials. Such similarities help create this simplicit information graphic aswell as font type and size consistencies throughout. An experiential element is added to the right hand side of the page (partly exploded from the edge of facade), it simply portrays the skyline that will become viewable from the shown perspective. Perhaps the designer considered this piece of information relevant, but not important which is why little contrast is used to make it fully noticeable. It seems to hide away nicely whilst breaking up some blank space.
One criticism involves the layout of text, the scripts seem to awkwardly impose the view towards smaller visuals, making such visuals appear to be less significant despite their smaller size. Maybe if more symbolic methods were introduced, this text issue wouldn't seem so scattered and lost.
Data Flow V.1: Visualising Information in Graphic Design
pg. 92
The series of 'Datanets' shown above are information representations that "reveal the structure of meaning, the network of data points show cause, context or collaboration" (Data Flow V1) The two 'Internet Map' visuals will be discussed in detail, the original information came from The Dimes Project. The representer of such information is Chris Harrison. A summary of these maps can be read at the top of page.
As previously mentioned on page, the designers intent was clear; to represent complex data in a pure and striking manner. Despite the titles from being shown on each visual, I immediately identified elements of geographical context and connections. The two visuals represent relating data, but both contexts can be recognised clearly (continental and global). I think that these images are a piece of art yet hugely educational. They represent internet connections between cities across Europe and the world, eliminating all other information that would confuse the viewer significantly. City names, country borders and coastal ranges are not shown, making linework indicate the connection between population, development and capital throughout different cities to continents in a clearer fashion. The majority of people who view this page are aware of our global situation, i.e. the unbalanced economic development of countries, so the placement of connection origins and destinations will largely lie within developed countries (some internet activity does take place in underdeveloped countries). The intensity of linework indicates a rise in connections made, however many connections that are made within developed countries show less intense linework, this is because population levels in such countries are much lower. In a smaller context (continental Europe) this representation is less obvious as the divide between urban and rural areas are considerably shrunk. The contrast of black and white was the correct choice, revealing all connections in a clear and instantaneous manner.
I find these pieces of art to be exceptional, they allow the viewer to promptly understand and dictate such a huge database of fact in a matter of minutes. One can clearly recognise context, cause, situation and collaboration of these internet connections by simply looking at a series of lines sprawling across blank space. It also surprises me how simple and effective something can be, through this it is definately an asset that your audience holds knowledge about a certain topic, in this case capital, population and geographical context. E.g. If someone could not identify Latin America or Australia on an atlas they would fail to interpret these information graphics in their intended form.
Information Design: Source Book
pg. 112,113/114,115
This case study of Hara Design Institute, Umeda Hospital (1998) is possibly one of my favourites. Conceptually, the signage created responded to the brief effectively. Umeda Hopsital, as mentioned on p. 112 required a tranquil and clean interior in order to reassure its patients. The originality of this concept allows every patient to acknowledge the efforts of the hospital that in turn, ensures their stay to be a relaxed one. A high level of maintenance is expected for the upkeep of its signage to achieve such purpose and experience.
White is a neutral colour, it does not particularly trigger emotion. However, one is aware of the fact that because of its lightness it can become more susceptible to wear and colouration in its appearance. Due to the hospital cleaning staff washing such fabric (signange) regularly it reminds everybody of the hospitals pledge to a high level of cleanliness. There is certainly an element of warmth that emmits from all examples of the hospitals signage, showcasing what appears to be ironing table cloths, pillows, towels and socks (all associated with comfortability and to a certain degree consolation). It is easy to recognise the extreme efforts that this hospital provides through the display of these signs, providing a much wanted alternative to being constricted within one of those extremely daunting and generic hospitals out there. Through very little physical change, it is clear that the experience of a patient in this hopsital would improve dramatically. One could say that the reassurance of such patients would exist from subconsciousness to these signs, or perhaps they are reminded about qualities that exist within each of their homes. Some colour is introduced to the interior, mostly noticed on walls where the use of peach may enable one to think of health and vitality. I think that if no colour was introduced to the interior then such experiences may become awkward and tense. Through this, the concept from the designer would appear to be obvious and unpersuasive.
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