amy's portfolio+thesis

> A M Y KUA N - Y ING PA N

foreword

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A l l r ights reserved. No par t of this publ icat ion can be reproduced

without express permission from Amy Kuan -Y ing Pan.

Copyr ight @ 2010

Amy Kuan -Y ing Pan

email > amypan1209@gmai l .com

phone > 415.519.3593

web > www.amykpan.com

academy of art universit y

mfa school of gr aphic design

cl ass > Senior Por t fo l io / Spr ing Semester

instructor > Mary Scot t

dimensions > 9 x 12 Inches

t ypefaces > Adobe Garamond Pro, Universe

soft war e > Adobe InDesign, I l lustrator, Photoshop, Br idge

ca mer a > Canon EOS Rebel XSI

sca nner > Epson 34 9 0 PHOTO

cover stock > CM Arrestox BL / Gunny Saks

text stock > Wausau 80LB tex t / White

pr inter > HH Imaging, San Francisco, Cal i fornia

bindery > Herr ing & Robinson Bookbinders, Br isbane, Cal i fornia

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port fol io A M Y K U A N - Y I N G PA N

forEWorD

CO LO P H O N

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PROJEC T 01 >

MEMO

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AUR AL

PROJEC T 03 >

SPEAK WHAT YOU EAT

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DRIVE ’T IL SUNRISE

CONTENTS >

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PROJEC T 05 >

BIGELOW

A M Y K U A N - Y I N G PA NFOREWORD

TABLE OF CONTENTS

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DETAILS

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BUILD GREEN

PROJEC T 08 >

MIU MIU L IGHT BULBS

MFA T HE SIS >

5 POINTS

SPECI A L T H A NK S TO >

special thanks to ...

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for EWorD A M Y K U A N - Y I N G PA N

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S EL EC T ED WORK

design is a form of storytelling; my life experiences create my stories. i deliver these stories through my design.

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for EWorD A M Y K U A N - Y I N G PA N 0 0 01 02 03 0 4 05 0 6 07 0 8 0 9

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S EL EC T ED WORK

> by Tate Linden

design is an opportunity to continue telling the story, not just to sum everything up.

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obj e c t i v e >

The R3 Project : Rethink , Reimagine and Reuse,

was to identi f y an exist ing product and develop

a susta inab le redeign concept in the form of a

book and packaging.

solu t ion >

I named th is redes igned c amera — Memo. I t 's

a new, env i ronmenta l l y f r iend ly d ig i ta l camera

fe a tu r i n g f a s t w i re l e s s te c hn o l o g y an d s o l a r

cha rged ba t te r ies; i t redef ines what a d ig i t a l

camera can do. The book star ts out with photos

o f p o pu l a r c i t i es p r i n te d on t r ansp a rent f i lm .

W hen peop le f l i p th rough the pages they c an

se e d i f fe ren t im a g es ove r l a p p in g e a c h o the r

and discover brand new cit ies being born before

the i r ver y eyes . I a lso app l ied th is idea to the

p a c k a g i n g ; t h e c a m e r a i s w r a p p e d i n m u l t i -

colored transparent f i lm so people can play with

the packaging and use i t as a f i l ter whi le tak ing

p ic tu res . T he packag ing i sn’ t wasted and c an

be used repeated ly, fur ther s t rengthening the

concept o f the R 3 P ro jec t . I t i s my hope tha t

peop le w i l l not on l y be more env i ronmenta l l y

conscious, but have fun while doing it .

c onc e p t >

A travel ing journal. People use dif ferent ways to

document their lives; some people write a journal

or blog, some use photography and others collect

momentos. I chose the digital camera to develop

a sustainable and fun redesign.

cour se

PRINT 03

instruc tor

TOM SIEU

photogr a ph y

AMY K. PAN

t y peface s

OCR A, FR ANKLIN GOTHIC

c at eg ory

PRINT

dat e

SPRING 2009

dim ens ions

projec t 01 >

MEMO : MEMORY SHARING

7 "

5 .375"

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S EL EC T ED WORK SUSTA IN A BL E D ES IGN

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S EL EC T ED WORK > L AYOU T SM EMO: M EMO RY SH A RING

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S EL EC T ED WORK M EMO: M EMO RY SH A RING > L AYOUTS

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S EL EC T ED WORK > L AYOU T SM EMO: M EMO RY SH A RING

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S EL EC T ED WORK

design is not the narrow application of formal skills, it is a way of thinking.

> by Chris Pullman

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obj e c t i v e >

To obser ve and document a durat ion of t ime in

my l i fe then present it in the form of a book.

solu t ion >

The f inal result is a v isual account of the noises

that sur rounded my da i l y l i fe . I took notes and

t r i e d to ex p e r i enc e the temp o o f the sounds

a s t i m e p a s s e d b y. I a l s o m a d e n o te s o f my

surroundings accompanied with pictures in order

to give a more complete auditory experience.

c onc e p t >

Sound. Sound is inv is ib le and intangib le. L iv ing

in a big city, I chose to document the sounds that

surround me every day while I go about my daily

rou t ine . T he b ook shows the pass ing of t ime

in a compe l l ing way by u t i l i z ing exper imenta l

t y p o g r a p hy, im a g es , an d l ayo u t . I p u t a l l my

e f fo r t s i n to fo c u s i n g o n t h e s o u n d s I h e a r d

eve r yd ay such as tex t messages , t y p ing , the

printer, the coffee maker…etc. Whether outdoors

or indoors, either natural or ar tif icial, I wanted to

transform the sounds that I encounter on a dai ly

basis into a v isible and tangible object.

cour se

EXPERIMENTAL T YPOGR APHY

instruc tor

STAN ZIENK A

photogr a ph y

AMY K. PAN / VARIOUS

t y peface

HELVETICA NEUE

c at eg ory

PRINT

dat e

SPRING 2008

dim ens ions

projec t 02 >

AURAL

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6 "

8 .375"

S EL EC T ED WORK DA ILY JOURN A L

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S EL EC T ED WORK > L AYOU T SAUR A L

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S EL EC T ED WORK AUR A L

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> COV ER


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S EL EC T ED WORK > L AYOU T SAUR A L

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S EL EC T ED WORK > L AYOU T S

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AUR A L


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S EL EC T ED WORK

it’s art if can’t be explained. it’s fashion if no one asks for an explanation. it’s design if it doesn’t need explanation.

> by Wouter Stokkel

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obj e c t i v e >

To suspend real i t y, let our imaginat ion run wi ld ,

and produce a product for consumers dai ly l ives.

As a result , Mult i l ingual Candy was born.

solu t ion >

I fo r m ate d th i s i nvent i on b o ok as a b ro chu re

se l l i ng M u l t i l i ngu a l C and y and p acke d i t i n a

p l as t i c wrapper ve r y s imi l a r to popu la r c andy

brands. I developed an assortment of flavors and

even a l imited edi t ion ser ies in order to sat isf y

connoisseurs.

c onc e p t >

Novelty candy. Everyone loves to eat candy and

most are interested in exp lor ing other cul tures

and learning new languages. Candy is a novelty

in i tse l f, and to b lend i t w i th cu l ture produces

a p r o d u c t t h a t w i l l c a p t u r e t h e i m a g i n a t i o n

o f c o n s u m e r s . E a t i n g t h i s c a n d y w i l l g i v e

t h e c o n s u m e r t h e a b i l i t y t o s p e a k d i f f e re n t

l anguages . Each d i f fe rent f l avo r rep resents a

d i f ferent language. Of course, the ef fects only

last 24 hours, so the candy wil l stay in demand.

cour se

ELEMENTS OF T YPOGR APHY

instruc tor s

BRIAN SINGER / ARVI R AQUEL-SANTOS

i l lustr at ion

AMY K. PAN

t y peface

TR ADE GOTHIC

c at eg ory

PRINT

dat e

FALL 2007

dim ens ions

projec t 03 >

MULTILINGUAL CANDY : SPEAK WHAT YOU EAT

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5.25"

7.25"

S EL EC T ED WORK IN V ENT ION BO OK

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S EL EC T ED WORK SP E A K W H AT YOU E AT > L AYOUTS

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BONJOUR! NI HAO! CIAO!KONICHIWA! HOLA!

!

Green Tea

Champagne

Dr.Pepper

Tiramisu

Ginseng

Red Wine

Multilingual Candy also offers products that are featured in specific cultures and on holidays. For specific cultures, it is produced in many special flavors, such as green tea, tiramisu and red wine. In addition, Multilingual Candy produces occasional prototype flavors that are seasonally limited. The three newest flavors are pumpkin, cinnamon and turkey.

For specific cultures and holidays only...

Limited Edition Flavors Seasonal Flavors

Cinnamon

Pumpkin

Turkey

Hot Dog

Dill Pickle

Holiday Season

Football SeasonMultilingual Candy has nine official flavors that are made all year long. We search the world to find fruits and natural foods of the finest quality. We bring these ingredients together in unique and delicious way; allowing you not only to speak a foreign language fluently, but also providing you with recommended daily essential nutrients.

Additionally, Multilingual Candy produces “limited edition flavors” that are added for some specific languages. Seasonal flavors such as cinnamon or pumpkin are only produced at specific times of the year.

WHAT FLAVOR SPEAKS TO YOU? SOMETHING ABOUT TASTE...

peach

peach

lemon

pineapple

strawberry

mango

strawberry

peach

kiwi

banana

watermelon

mango

pineapple

lime

strawberry

lemon

pineapple

peach

banana

watermelon

mango

strawberry

lemon

kiwi

banana

strawberry

mango

pineapple

peach

strawberry

lemon

lemon

mango

mango

peach

lime

pineapple

lime

banana

watermelon

peach

pineapple

kiwi

strawberry

lemon

watermelon

strawberry

banana

pineapple

mango

strawberry

pineapple

lemon

mango

banana

lime

watermelon

kiwi

banana

strawberry

lemon

watermelon

watermelon

lemon

kiwi

watermelon

strawberry

mango

strawberry

lemon

watermelon

banana

pineapple

peach

watermelon

lemon

banana

kiwi

lime

peach

pineapple

lemon

banana

peach

kiwi

kiwi

lime

lime

kiwi

strawberry

lime

peach

watermelon

lime

mango

pineapple

peach

strawberry

banana

kiwi

peach

mango

watermelon

kiwi watermelon peach

banana lime peach

banana

pineapple

mango

mango

watermelon

lime

pineapple

banana

mango

banana

kiwi

banana

kiwi

waterlemon

mango

lime

watermelon

mango

mango

pineapple

watermelon

waterlemon

peach

Squeezed on the spot to provide 100% pure and sweet refreshment…compliments of Mother Nature.

“If we spoke a differentlanguage, we would perceive a somewhat different world.” —Susan Pasley, ESL support of Academy of Art University

ENGLISH

FRENCH

MANDARIN

SPANISH

ITALIAN

JAPANESE

We conduct yearly research to understand and improve our products. Here are some user experiences showing how amazing our product is.

WHAT IS SPECIAL ABOUT OUR CANDY? CASE STUDIES

ART STUDENTname: Chiharuage: 29 years old location: San Francisco, CAcandy: Englishusage: 2 years

“There is so much work to do at art school. How am I supposed to have time to learn English? This amazing candy is the easiest and simplest language method to learn a language… SO COOL!”

I have been studying in trhe United States for two years and try so hard to correct my Japanese accent. I hate English’s twister pronunciation. It embarrasses me when I am making presentation. If I can’t communicate my idea well to my clients, it is useless with my good design skills.

PHOTOGRAPHER name: Robertage: 45 years old location: Chicago, ILcandy: French, Italian, Spanish, Chinese, Japaneseusage: 10 years

“Due to my job, I have to travel around the world. This astonishing invention makes it much easier to speak a foreign language, especially at my age!”

I work with National Geographic Magazine. I travel overseas longer than I stay in my country. For me, to communicate with natives is an important way to understand and explore different cultures, so that I can make people see the world through my lenses. Multil ingual Candy helps me capture moments and memories, for me, for you, and for the world.

“Language is not a genetic gift, it is a social gift. Learning a new language is becoming a member of the club—the community of speakers of that language.” —Matt Servitto, Manager of Ogilvy Public Relations Worldwide

ORDER ANYTIME!WHAT LANGUAGE DO YOU WANT TO EAT?CALL 1 800 335 4269 or 1 646 09-CANDY

speakwhatyoueat.com

1 800 335 4265Fax completed order with credit card number and expiration date. Receipt of faxed orders cannot be confirmed. Fax only once! If an error occurs,

please mark the second fax as a duplicate.

SPEAK WHAT YOU EATP.O. BOX 6143New York, New York 10015Mail complete with payment or credit card number and expiration date. Please allow time for your order

to reach us!

ONLINE

FAX

MAIL

SAYONARA! ZAI JIAN!Academy of Art University

Amy KuanYing Pan

Written by Amy KuanYing Pan

Illustration by Amy KuanYing Pan

Printer: Epson R1800

Paper: HP Brochure & Flyer Paper

Software: Adobe InDesign and Illustrator

San Francisco, California

December, 2007

YOU SPEAK WHAT YOU EAT

GOODBYE! SALUT! ARRIVEDERCI! ADIOS!

!

HOW DOES IT WORK? Take a bite and you can start tasting our juicy and delicious products in your mouth. Once you are eating, our patented Language Crystals will stimulate the brain cells and the effect will last for 24 hours. It is the easiest, the most convenient, but most importantly, the most delicious way ever to speak a foreign language fluently.

THE MOST EFFICIENT SWEETNESS

FRENCH ITALIAN

JAPANESE

MANDARIN

SPANISH

ENGLISH

Millions of people are unable to connect with the world around them because they cannot speak particular languages.

Even completing day-to-day activities can be very challenging when you don’t know the local language. At the same time, those who succeed in learning a new language find that their possibilities are transformed: they are able to gain new insights, engage with new cultures, and make new friends. Learning a new language is life-changing.

How eating a piece of candy can change your world.

Our mission is to deliver the sweetest solutions for learning languages. We seek to make the languagelearning experience fun, easy, and most importantly, FAST. Our goal is to make users have no trouble to communicate in the world.

Whether you travel abroad as a student, on business, or vacation, one thing remains true: the more languages you can speak, the more convenient it will be. But who has the time and money to enroll in a language school? Fortunately, Multilingual Candy will satisfy your desire to learn languages faster than ever.

INTRODUCING: MULTILINGUAL CANDY

SPEAK WHAT YOU EAT

Multilingual Candy also produces sugar-free candy that come in all flavors.

Seeking lower calorie candy?

Along with all-natural fruit and 100 percent fruit flavors, our sugar-free candy are made with SPLENDA®. It is a no-calorie sweetener that is made from real sugar, but your body doesn’t metabolize it as a carbohydrate.

SAME TASTE, LESS GUILT.

How do we make candy with fewer calories and sugar than our regular ones, for those seeking a lighter taste? Does it still have the same effect? Is it still a fruity candy? Does it still contain fewer calories? Is it still the delicious candy that sugar followers from far and wide have come to love?Actually, it’s all of the above!

HELLO!

EVENT COORDINATOR name: Mirandaage: 35 years old location: New York, NYcandy: French, Italian, Spanishusage: 3 years

I work in New York’s top PR company and need to deal with celebrities with different nationalities. With Multilingual Candy, I can speak any language I want… Oh! I am so glad they make sugarless candy. I don’t have to worry about calories and still keep fit. I love my job!

COLLEGE STUDENT name: Andrewage: 21 years old location: Austin, TXcandy: Frenchusage: 3 months

“Ok….I can date any girl who comes from any country!

There is a French exchange student in my class. She is so cute and sweet. However, I don’t know French at all. I am so happy this incredible candy allows me have no trouble chatting with her!

“Speak French while traveling, German while jogging, Spanish while cooking. It makes my life easier!”

We ship overseas! Give the Perfect Gift!

ENGLISH FRENCH MANDARIN

ITALIAN SPANISH JAPANESE

Gift Cards are available in denominations from $25-$100. They arrive in our signature gift folder along with your personalized message and our latest catalog. There is no shipping charge. Gift cards can be redeemed online, by phone, or in stores.To order, call 1-800-335-4269 or visit speakwhatyoueat.com

Get It Fast! Express Delivery

Can’t wait? Express orders must be received before 1pm EST to be shipped the same day.Contiguous US:3–5 Business Days: add $6 2nd Business Day: add $10 Next Business Day: add $15 Saturday Delivery: add $25

Alaska, Hawaii, and Puerto Rico:3–5 Business Days: add $10 2nd Business Day; Next Business Day and Saturday Delivery not available.

*Express delivery is not available for back-ordered candy. Saturday delivery is not available for all areas.In some cases delivery may take 4 business days. Please call for details.

ADIOS!

!

Just one serving and the effect lasts 24 hours.

“When you know anotherlanguage, you suddenly realize there is a multitude of worlds. You can become a member of EVERY club.”

— Frank Smith, Linguistics Professer of Stanford University

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S EL EC T ED WORK

always design by considering a thing in its next larger context — a chair in a room, a room in a house, a house in an environment, an environment in a city plan.

> Eliel Saarinen

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for EWorD A M Y K U A N - Y I N G PA N 0 0 01 02 03 04 05 0 6 07 0 8 0 9

projec t 05 >

BUILD GREEN

obj e c t i v e >

To c re a te a m a g a z i n e t h a t fo c u s e s o n G re e n

Energy related topics.

solu t ion >

I d e c i d e d to fo c us t he c r u x o f Bu i l d G re en’s

a t t e n t i o n o n o b j e c t s a n d s p a c e s t h a t a r e

e c o - f r i en d l y, mu l t i - p u r p ose , m o du l a r, an d /o r

interac t ive. The phi losophy of the magaz ine is

t h a t a g o o d d e s i g n b a l an c e s su b s t an c e w i th

style and that form and function are inter twined

in design. Sty le and substance are not mutual ly

exclusive, and Build Green is here to prove it .

c onc e p t >

B u i l d G r e e n . D u e t o m y i n t e r e s t i n d e s i g n

i n n o v a t i o n s t h a t e n h a n c e s s u s t a i n a b i l i t y ,

efficiency, and interactivity in the home, I sought

to c re a te a m a g a z i n e t h a t s h o w c a s e d t h e s e

at tr ibutes. The f irst issue wil l examine the many

famous pieces of sustainable architecture around

the wor l d . T h i s pub l i c a t i on i s devote d to the

future of design, the t rack ing of innovat ions in

technology, and practices and mater ials that are

pushing archi tecture and home design towards

a smar te r and more sus t a inab le fu tu re . Bu i l d

Green isn' t meant to just showcase the g reen

a rc h i te c tu re t h a t c u r ren t l y ex i s t , b u t to a l s o

insp i re, educate, and empower peop le to work

towards more sustainable practices.

cour se

CONNECTING THE DOTS

instruc tor

MICHAEL K ILGORE

photogr a ph y

VARIOUS

t y peface s

EUROSTILE, TR ADE GOTHIC, CAECIL IA

c at eg ory

PRINT / MAGAZINE

dat e

FALL 2008

dim ens ions

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8 "

10 "

S EL EC T ED WORK M AG A ZIN E D ES IG N

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S EL EC T ED WORK

NetZero

The world’s largest color LED display gets its power—and symbolism—from photovoltaic cells embedded in a glass curtain wall.

Digital media displays are all about spectacle, and the new GreenPix wall, in Beijing, is no excep tion. Indeed, it is the largest color LED display in the world, with 2,292 of the energy-efficient lights spanning a 24,000-square-foot glass surface. In the evening, as traffic throngs the busy road it faces, the wall plays massive low-resolution video installa tions by Chinese, Japanese, European, and Amer-ican artists.

GreenPix is also a fairly radical example of sustainabletechnology. Simone Giostra and Part ners, working with Arup and German manufacturers Schüco and Sunways, laminated photovoltaic (PV) cells inside the glass curtain wall. In itself this is not new, but the level of integration and the scale of GreenPix are unique. The 6,000 square feet of PV cells are arranged with varying density: where nat ural light is needed inside the building, there are few or no cells; in other places, dense as sort ments of cells block the sunlight, reducing interior heat gain while generating enough electricity each day to power the display at night.

“It’s more symbolic than pragmatic,” Giostra says. “Of course, we could use the energy for more useful systems of the building. But we decided that perhaps it is more important to give an ethical sense to the project–that it is truly independent and self-supporting.” This also means that the system is vulnerable to outside conditions. If there is not enough sunlight during the day, evening performances will be shorter or the lights dimmer. That may cut back on the spectacle, but it does nothing to diminish the symbolism.

Composition Polycrystalline: Photovoltaic cells laminated within a glass curtain wall.

Properties:The photovoltaic cells block solar heat gain where needed and generate enough electri c ity to power an LED display.

Applications:Strategically embedding photovoltaics in glass allows buildings to squeeze extra electricity out of daylight.

www.schueco.com www.sunways.de

Bu

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/ 05

Ma

teria

ls

HAUS IM HAUSFRIM: Behnisch Architekten and NimbusLOCATION: Hamburg, GermanyINNOVATION: Lighting

Behnisch’s expansion of th’s historica stocl exchange Hanburg Chamber of Commerce is a five-level insertion into the city’s historic stock exchange. It is lit by about 160,000 LEDs.

This layered and translucent interior addition to Hamburg’s

Chamber of Commerce, known as the “House in a House” [Haus

im Haus], claims to be the first structure in the world to be

entirely lit by LED lamps. The design adds five new levels to the

Borsenhalle, a neoclassical building on Hamburg’s Adolphsplatz,

providing space for a business-start-up center, consultation rooms,

a club, exhibitions, and meeting rooms. The top floor has views of

the city through the building’s clerestory windows. To maintain

the architecture’s transparency, Behnisch and its collaborator, Nimbus,

developed an energy–efficient and low maintenance lighting system

using approximately 160,000 LEDs. The building’s wide overhangs,

at heights of up to 52.5 feet, mean that scaffolding is necessary

to change lightbulbs, but a vault beneath the ground floor rules

out the heavy loads of conventional scaffolding solutions. LEDs

use around 4 times less energy than incandescent lights and have

a much longer lifespan. Arrayed in 387 modules, they cast a uniform

life that can be controlled so that corridor and meeting areas are

illuminated with different intensities. Programmed sequences are

able to move the light across the ceiling like clouds in the sky.

Bu

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Arc

hite

ctu

re

The first step was finding the right site. Loca-

tion is just as crucial to LEED–even for interiors–

as it is to real estate, so TVS joined Interface in

its search. The interior-design firm employs a LEED

specialist, Carlie Bullock-Jones, to shepherd proj-

ects through certifica-tion, and she helped to find

a building that would grease the path. After a store-

front on high-profile Peachtree Street fell through,

they settled on a space next to the Georgia Tech

campus, in Midtown. Right away Interface could

check off a slew of points: one for siting in a rapidly

growing infill neighborhood; one for accessibility to

MARTA, Atlanta’s public-transportation system; and

another for adding car-pool spots in the preexisting

garage. Other credits built into the site quickly be-

came apparent. As a new construction, the building

has an HVAC system that meets LEED’s prohibition

of chlorofluorocarbons, chemical compounds that

damage the ozone layer. And a gym on the lower lev-

el covers the needed showers and changing rooms

for bicyclists and pedestrian commuters.

The clever siting had provided enough pad-

ding to insulate against setbacks. But with unfa-

miliar guidelines and an ambitious goal, the team

needed to determine what points were possible un-

der a limited budget—and to hedge its bets. Bull-

ock-Jones gathered the project’s main players for

a planning session, called an eco-charrette, where

they methodically ran through the LEED checklist

to assess the feasibility of each point and to de-

velop a strategy to achieve enough of them for Plati-

num. Rather than reach for every credit, the team

would focus on what Bullock-Jones calls the “low-

hanging fruit.” That meant, for example, offsetting

two years’ worth of the showroom’s energy use with

wind credits, but not hiring a commissioning agent

after the project was complete to recheck that the

building systems were operating correctly; because

building systems were operating correctly; because

the showroom is only 7,000 square feet, the pos-

sible gains were too modest to justify the cost. “We

tried to go after almost every point,” she says, “but

strategically there were some that we knew from the

beginning we wouldn’t be able to do.”

One of the most important strategies–

minimizing energy use–was accomplished largely by

harnessing the daylight that floods the space through

a wall of east-facing floor-to-ceiling windows. The

showroom’s fluorescent lanterns, which use far less

electricity than incandescents, automatically dim

when sunlight suffices. Once the basics for energy

savings were in place, Bullock-Jones looked to how

the space would be used, a concern that LEED-CI

weights more heavily than its other certification

programs. “You can build the most energy-efficient

building, but if the client plugs in ten coffeemakers

and a hundred computers, then it’s all for naught

sometimes,” she says. Wherever possible, TVS

chose high-efficiency Energy Star appliances, and

it convinced the landlord to submeter Interface’s

bills rather than charge a flat monthly fee, so that it

would be responsible for actual energy use.

But even with the best practices and a

Platinum rating, the showroom’s footprint is too

small to have much of an impact on the environment.

Where the project could have a lasting effect is in

passing along what was learned in building it. To

meet the requirements of LEED-CI, TVS had to

educate itself as well as other team members about

novel products and processes. Bullock-Jones put

together mock-ups of unfamiliar materials such as

wheatboard (a rapidly renewable resource used in

the cabinetry and flooring) so that subcontractors

could become comfortable with them, and she

emphasized their own health stake in following

sustainable practices. She has also been able to

bring her research to new projects, most recently

a pair of showrooms for Kimball. She says, “I can

tell the owner, ‘We feel confident. We’ve used this

before. This is the path that we chose for this credit

compliance, and I know the USGBC has already

accepted that.’” And what could be more sustainable

than recycling knowledge?

“you can build the most energy-efficient building, but if the client plugs in a hundred computers, then it’s all for naught,” Bullock-Jones says.

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Ob

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d

If you try to relate the exterior form to the

experience of moving through the interior, however,

it’s a profoundly mysterious building. “There’s a

continual shifting of the ground plane relative to the

interior,” McVoy says. “The building cascades down

into the landscape, and the landscape grade moves

up and down, so that you think you’re going down

into the ground but then you find yourself above

the ground.” A pedestrian entryway near the front

of the first “lens”–one of the five translucent glass

pavilions rising above the landscape–offers the clos-

est thing to a transparent progression through the

space. From there the building begins its gentle roll

down the hillside and through the galleries, with

sloping pathways and light guiding you so intuitively

that signage would be redundant. It’s not until you

look at the building again from the outside that you

realize the trickery: inter med iate “lenses” poking

through the grass rooftops and strategically placed

lookout points belie the fact that the galleries are

mostly submerged below the surface.

But the most delicate and entrancing aspect

of the building is the way it pushes the current ideal

of drawing natural light into exhibition spaces to its

limit. “We looked at this as a possible new way to

bring light into gallery environments,” McVoy says,

referring to the glazed pavilions. “When you illu-

minate the art with natural light, you have to even

it out to such an extent that it loses a lot of its

inherent variation. We bring it in a way that’s very

high up in these zones, above the art, where the

dynamics of natural light can play with the architec-

ture and give you a vibrant environment. The light

shapes the volume of the spaces as it moves across

the lenses.”

FLUORESCENT COVE

FLUTTERING T-WALLSHADED WINDOWS

WITH LAYERS OF

DIFFUSED GLASS

STITCH TRACK

TUNGSTEN-HLOGEN

WALL WASHER

In the morning, daylight pours through the

windows on the east side and filters down

the curving T-wall.

A view of one of the Modern- and contemporary-ar t

galleries during the afternoon, when exposure to

sunlight from the west is limited.

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The Rolls-Royce

Concreteof

A high-end version of the common building material elevates a bus depot in the Paris suburbs to a piece of social commentary.

When the Paris firm Emmanuel Combarel Dom i n ique Marrec Architects won a competition to design a bus depot in Thiais, on the outskirts of the city, it wasn’t exactly getting a prestige project. The pro gram was strictly pragmatic–Paris’s transport agency needed the center to accommodate 300 buses, plus administrative offices–and the setting far from glamorous. “We could sum up this area by saying it’s a pretty shitty suburb,” Dominique Marrec says. “It’s very lousy all around.”

Still, the architects wanted to create something tied to the site’s specific context, even if that was little more than vast expanses of concrete. Emman uel Com barel and Marrec eventually conceived of a two-story building that would rise out of the parking lot, a sort of “deformation of the soil.” For the cladding, they chose Ductal, a high-performance concrete invented in the 1990s by the French building-materials company Lafarge. “We liked the idea of using this very high-quality concrete–in a way the Rolls-Royce of concrete–in an area that’s mostly poor-quality asphalt,” Marrec says. “The opposition of these two aspects was very inter esting to us.”

Besides possessing the strength and moldability necessary to form precast slabs for the roof and walls, Ductal allowed the architects to design a raised-dot texture that resembles Lego blocks. The material was tinted black to match the surrounding asphalt and given a layer of varnish for an even tone. If the result looks a little sinister, Combarel and Marrec don’t mind. “We wanted something pretty rough and virile– not feminine at all,” Mar rec says. “We wanted it to look mean.”

Composition Polycrystalline: Ductal is a cement-based composite materialwith metallic or organic fibers.

Properties:It has exceptional strength, moldability, durability, and ductility (the ability to deform while continuing to carry loads). Surface textures and colors will not deteriorate, even in harsh conditions.

Applications:Bridges, walkways, building envelopes, acoustic sound panels, flooring.

www.lafargenorthamerica.com www.imagineductal.com

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Metropolis March 2007

Five glass boxes rise from grass rooftops above the museum’s galleries and cascade down the hillside, merging with the Kansas City Sculpture Park.

A series of translucent glass pavilions cascades down a hillside in the Country

Club Plaza district of Kansas City, brightening the evening landscape with the

pale blue glow of refracted fluorescent light. From the outside they appear to

be separate buildings, minimalist ice blocks popping up out of the Kansas City

Sculpture Park with no purpose except to stand there and look pretty. It’s not

until you get inside, especially during the day, that you understand their real

magic: everything that happens on the outside for the sake of spectacle has a

functional equivalent in the daylight pouring through the subterranean galleries,

bringing the interior spaces to life and producing as many different experiences

for viewing art as there are qualities of natural light. The interplay between the

interior and exterior—the blocks rising above the surface are fundamentally

vehicles for light, and the landscape flows into and on top of the exhibition

spaces—makes this one of the most cap tivating contemporary museum experi-

ences since the opening of the Tate Modern.

Designed by Steven Holl Architects (SHA) as a contemporary addition

to the bulky 1933 neoclassical Nelson-Atkins Museum, the Bloch Building’s

elegance and apparent simplicity disguise the enor mous technical complexity

and careful material com position required to produce its light- and land-art

effects. With exterior surfaces composed almost entirely of translucent glass,

the addition required some major thinking to calibrate the sunlight pouring into

the galleries; and because the amount of light varies from season to season

and during the course of the day, it had to be balanced with electric light that

would consistently display the art to its greatest advantage. The museum hired

Richard Renfro, of Renfro Design Group, to do the mock-ups and calculations,

and to work with SHA senior partner Chris McVoy and museum staff to find arch

itectural and technical solutions for controlling daylight on the interior. Holl and

McVoy describe the addition as “built of volumes of light,” and with Renfro’s

help, the building is a rare instance when the hyperbole of architectural rhetoric

is actually surpassed by the reality of the experience.

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The price of innovation is often measured in years. Case

in point: the TKTS ticket booth in Time Square. Originally the

product of a 1999 competition won by a pair of young Australian

architects (Now Choi Rophia), the project finally opened earlier

this month, after overcoming a series of obstacles: the economic

downturn following 9/11, budget shortfalls, budget overruns,

a bankrupt contractor, and the bureaucratic hassles typical of

building in the public realm. But the booth was also the captive

of its own grand ambition. It is a first, according to its engineer:

an ‘’all-glass load-bearing structure.’’

The building is a kind of a public amphitheater, with a series

of 27 red steps (also made of glass) rising as a single piece of

architecture over a fiberglass shell at the north end, which houses

the ticket booths. ‘’ We’ve never really done a structure as large

as this, all in glass, without any structural load-bearing metal to

help support it,’’ says Radhi Majmudar, a principal at Dewhurst

Macfarlane and Partners, the engineering firm that helped

Perkins Eastman realize the design. The load-bearing walls are

two-inch-thick glass, laminated with SentryGals Plus, a super

strong interlayer that DuPont claims is up to 100 times stiffer

than conventional laminates. ‘’Glass has very strong compressive

properties,’’ Majmudar says. ‘’The challenge was not whether the

glass could carry the load but whether it could be transferred.’’

As the LEED ratings system grows and more stringent codes are

implemented (such as the Cal i fornia Green Building Standards

Code), a new gen eration of innovative building products and

technologies has emerged. Today’s green architecture must ad-

dress increasingly complex systems in a sustainable and socially

responsible fashion. With energy costs rising, developers and

architects need to maximize a building’s potential in ways that

call for even smarter solutions. Adrian Smith + Gordon Gill Ar-

chitecture’s design for Mas dar Headquarters, in the United Arab

Emirates, for example, has wind towers that support a large roof

canopy and also ventilate the building, creating a comfortable

microclimate. And firms like Arup and Skidmore, Owings & Merrill

are partner ing with manufacturers and suppliers to develop new

technologies and applications such as microturbines, prefabri-

cated flooring systems, and the next generation of photovoltaics.

We asked 11 lead ers in sustainable building to identify an inno

vative building product, technology, or application that they used

in a recent project. We think their responses–which range from an

office space en-tirely lit by LEDs to a “green screen” that helps

reduce temperatures by as much as 20° F–will inspire anyone to

see the long-term benefits of innovative building.

TKTS BOOTHFRIM: Perkins Eastman and Dewhurst Macfarlanand PartnersLOCATION: New YorkINNOVATION: Load-bearing glass

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Arc

hir

ec

ture

The price of innovation is often measured in years. Case

in point: the TKTS ticket booth in Time Square. Originally the

product of a 1999 competition won by a pair of young Australian

architects (Now Choi Rophia), the project finally opened earlier

this month, after overcoming a series of obstacles: the economic

downturn following 9/11, budget shortfalls, budget overruns,

a bankrupt contractor, and the bureaucratic hassles typical of

building in the public realm. But the booth was also the captive

of its own grand ambition. It is a first, according to its engineer:

an ‘’all-glass load-bearing structure.’’

The building is a kind of a public amphitheater, with a series

of 27 red steps (also made of glass) rising as a single piece of

architecture over a fiberglass shell at the north end, which houses

the ticket booths. ‘’ We’ve never really done a structure as large

as this, all in glass, without any structural load-bearing metal to

help support it,’’ says Radhi Majmudar, a principal at Dewhurst

Macfarlane and Partners, the engineering firm that helped

Perkins Eastman realize the design. The load-bearing walls are

two-inch-thick glass, laminated with SentryGals Plus, a super

strong interlayer that DuPont claims is up to 100 times stiffer

than conventional laminates. ‘’Glass has very strong compressive

properties,’’ Majmudar says. ‘’The challenge was not whether the

glass could carry the load but whether it could be transferred.’’

As the LEED ratings system grows and more stringent codes are

implemented (such as the Cal i fornia Green Building Standards

Code), a new gen eration of innovative building products and

technologies has emerged. Today’s green architecture must ad-

dress increasingly complex systems in a sustainable and socially

responsible fashion. With energy costs rising, developers and

architects need to maximize a building’s potential in ways that

call for even smarter solutions. Adrian Smith + Gordon Gill Ar-

chitecture’s design for Mas dar Headquarters, in the United Arab

Emirates, for example, has wind towers that support a large roof

canopy and also ventilate the building, creating a comfortable

microclimate. And firms like Arup and Skidmore, Owings & Merrill

are partner ing with manufacturers and suppliers to develop new

technologies and applications such as microturbines, prefabri-

cated flooring systems, and the next generation of photovoltaics.

We asked 11 lead ers in sustainable building to identify an inno

vative building product, technology, or application that they used

in a recent project. We think their responses–which range from an

office space en-tirely lit by LEDs to a “green screen” that helps

reduce temperatures by as much as 20° F–will inspire anyone to

see the long-term benefits of innovative building.

TKTS BOOTHFRIM: Perkins Eastman and Dewhurst Macfarlanand PartnersLOCATION: New YorkINNOVATION: Load-bearing glass

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Arc

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ture

Pet products are a natural lure for designers—judging from the Best in Show–style theatrics at

August’s Pet Fashion Week NY, people are happy to dig deep in their wallets for Fluffy’s Swarovski-

studded throne. Fortunately, industrial-design preoccupations such as simple forms, eco-friendly

materials, and social responsibility also seem to be coming to a dog dish near you. Here are a few

examples of what we hope is a new trend in pet products: good design that’s refreshingly modest.

Doggy DomeTraffic Works

Traffic Works’ lightweight, modular, Bucky Fuller-inspired Doggy

Dome, released this month, is assembled from ten recycled-kraft-

board panels that pack flat and fit insode a atandard cardboard

portfoilo box. Designed by Gregg Fleisman Studio, in Los Angeles,

the 26-sodes pet abode comes in two sizes and in recycledable

polypropylene.

LeashFound My Animal

These leashes are hand-spliced from hardy dock line by New

England rope-makers and feature marine-grade hardware.

Sales of the leads, which can be worn rather than held, ben-

efit a nonprofit that provides mobile animals care in rural

communities.

Letter SwetterStyle Hounds

Most pets don’t need clothes, but if your pup cant go outside

without erupting in shivers, try Style Hounds’ merino sweaters.

The New York company offers a ready-to-wear line (made by

a Bolivian women’s co-op through Aid to Artisans) and an

organic-wool DIY kit.

Pet Project

CharlyboxDesign Within ReachDWR sourced this combination jerry can and food dish from a

German hunting-supply distributor. While Charlybox’s porta-

bility and subdued color make it perfect for a traipse through

the woods with your trusty hound, it works just as well for a

Sunday afternoon in the park.

Tux Treat ToyWest Paw DesignWest Paw’s new treat-packing dog toy was designed to mini-

mize waste during its manufacture. It’s made of Zogoflex, a

durable nontoxic material. When Rex has had send it back to

West Paw to be recycled into a new Tux.

Operetta Pet LoungeKenneth CobonqueCobonque named his new airy pet bed Operetta because the

frame’s curved slats reminded him of theater architecture.

Along with polyethylene and recycled steel, the Philippine-

born designer used local materials such as rattan and abaca.

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Pro

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cts

> L AYOU T SBUIL D GR EEN

42 43 4 4

4 3 44 4 5

4 4 45 4 6


4 5 46 47

0 0 01 02 03 04 05 0 6 07 0 8 0 9


4 6 47 4 8

BUIL D GR EEN

15 16 17

17 18 19


51 50 52

S EL EC T ED WORK

design is in everything we make, but it’s also between those things. it’s a mix of craft, science, storytelling, propaganda, & philosophy.

> by Erik Adigard

5 0 51 52


projec t 05 >

DRIVE ’TIL SUNRISE

obj e c t i v e >

To ex p l o re t h e n e c e s s i t y o f d eve l o p i n g f u l l y

integrated messages across dif ferent mediums.

The venue for this exploration was a f i lm festival

i n h o n o r o f d i re c to r, G u s Va n S a n t ( M y O w n

Pr ivate Idaho, Drugstore Cowboy, Elephant and

Last Days, etc.)

solu t ion >

The f inal result of the project was a compilat ion

of communications mater ials that could be used

while promoting and faci l i tating the f i lm festival;

a l l of which are representat ive of some broader

theme the d irector has woven into his prev ious

mov ies . T he f ina l so lu t ion is a meld ing of the

poet i c and human is t i c themes p resent in Van

Sant ’s f i lms and turn ing them into a co l lec t ion

of festival pieces that are not only approachable,

bu t a l so ce leb ra te ou r neve r end ing ques t to

answer the questions of l i fe.

c onc e p t >

Road Tr ip . Home, the search, the path and the

a nswe r a re a l l c e n t r a l i d e a s b e h in d G u s Va n

Sant ’s f i lms. We fo l low Van Sant ’s poet ic , but

c lear- eyed excursions through America's seamy

underbel ly. He gives us c lues and we shape the

f i lm ou rse l ves . W hethe r you a re on your way

home or sti l l looking for a way back, the premise

of the f i lm fest ival is summed up in i ts mission:

Drive ’t i l sunrise. Discovering drama, real i ty and

hope, unti l we arr ive at our destination, as seen

in the f i lms of Van Sant.

dim ens ions cour se

INTEGR ATED COMMUNICATION

instruc tor

HUNTER WIMMER

photogr a ph y

AMY K. PAN

t y peface s

CL ARDENDON, LET TER GOTHIC

c at eg ory

PRINT / IDENTIT Y / PACK AGING

dat e

FALL 2007

51 52 5 3

6 "

8 "

S EL EC T ED WORK F ILM F EST I VA L

52 53 5 4


5 3 54 5 5

0 0 01 02 03 0 4 05 0 6 07 0 8 0 9

S EL EC T ED WORK D RI V E ’ T IL SUNRIS E > IDENTIT Y

5 4 55 5 6


5 5 56 57

Finding a way home with Van Sant's filmsFinding a way home with Van Sant's films

S EL EC T ED WORK D RI V E ’ T IL SUNRIS E > LOGO

5 6 57 5 8


57 58 5 9

0 0 01 02 03 0 4 05 0 6 07 0 8 0 9

S EL EC T ED WORK > L AYOU T SD RI V E ’ T IL SUNRIS E

5 8 59 6 0


5 9 60 61

0 0 01 02 03 0 4 05 0 6 07 0 8 0 9

S EL EC T ED WORK

6 0 61 6 2

D RI V E ’ T IL SUNRIS E > PACK AGING


61 62 6 3

0 0 01 02 03 0 4 05 0 6 07 0 8 0 9

S EL EC T ED WORK

6 2 63 6 4

D RI V E ’ T IL SUNRIS E > PACK AGING


6 3 64 6 5

S EL EC T ED WORK > L AYOU T SD RI V E ’T IL SUNRIS E

6 4 65 6 6


6 5 66 67

0 0 01 02 03 0 4 05 0 6 07 0 8 0 9

S EL EC T ED WORK

6 6 67 6 8

D RI V E ’ T IL SUNRIS E > POSTER


6 8 69 70

S EL EC T ED WORK

design is directed toward human beings. to design is to solve human problems by identifying them and executing the best solution.

> by Ivan Chermayef f

6 8 69 70


OBJ EC T I V E >

To re -brand and give new l i fe to a dying product.

SOLU T ION >

As a tea lover, I chose Bigelow, a family owned

tea company for over 50 years. Bigelow was an

inf luent ia l fo rce that caused major changes in

the Un i te d S t a tes te a i ndus t r y. M y o b jec t i ve

i s to move B ige low away f rom the t r ad i t i ona l

“h o m e c o m i n g” c o mfo r t i m a g e a n d m a ke t h e

brand an integral par t of our daily l ives. I divided

t h i s b o o k i n t o t h r e e s e c t i o n s : ( 1 ) A g o l d e n

m o m ent ; ( 2 ) P u t t he ke t t l e o n; ( 3 ) A p e r fe c t

c u p o f te a . T he f i r s t se c t i o n t a l ks a b o u t t he

b a c kg ro un d o f t he b r an d an d i t 's new t a rg e t

a u d i e n c e . T h e s e c o n d s e c t i o n f o c u s e s o n

developing the new packaging and the expansion

of the brand. Finally, the third section deals with

Bigelow’s new identity.

C ONC E P T >

Tea break . The new brand ing st rategy is focus

not only on the satisfying and appealing taste of

tea but also the relaxing and therapeutic ef fects.

“The tea b reak” is a necessar y par t of today ’s

hea l thy l i fe s t y le . A nd the p ro jec t 's a im i s to

incorporate into the dai ly l ives of c insumers.

cour se

NATURE OF IDENTIT Y

instruc tor

HUNTER WIMMER

photogr a ph y

VARIOUS

t y peface s

AVENIR, DIN 1451

c at eg ory

PRINT / IDENTIT Y / PACK AGING

dat e

SPRING 2008

dim ens ions

projec t 06 >

BIGELOW

6 9 70 71

6.125"

8 .5 "

S EL EC T ED WORK T H E B R A ND E X P R ES SION

70 71 72


71 72 73

0 0 01 02 03 0 4 05 06 07 0 8 0 9


73 74 75

BIG ELOW


73 74 75

S EL EC T ED WORK BIG ELOW > IDENTIT Y

74 75 76


75 76 77

S EL EC T ED WORK > L AYOU T SBIG ELOW

76 77 78


77 78 79

0 0 01 02 03 0 4 05 06 07 0 8 0 9


78 79 8 0

BIG ELOW


79 80 81

0 0 01 02 03 0 4 05 06 07 0 8 0 9

S EL EC T ED WORK

8 0 81 8 2

BIG ELOW > PACK AGING


81 82 8 3

S EL EC T ED WORK > L AYOU T SBIG ELOW

8 2 83 8 4


8 3 84 8 5

0 0 01 02 03 0 4 05 0 6 07 0 8 0 9

S EL EC T ED WORK

typography at its best is a visual form of language linking timelessness and time.

8 4 85 8 6

> by Robert Bringhurst


projec t 07 >

DETAILS

cour se


instruc tor s

BRIAN SINGER / ARVI R AQUEL-SANTOS

i l lustr at ion

AMY K. PAN

t y peface

AVANT GARDE GOTHIC

c at eg ory

PRINT / PACK AGING

dat e

FALL 2007

dim ens ions

obj e c t i v e >

To redesign the CD packaging for an album using

only typography.

solu t ion >

I chose Br i t ish e lectronic music duo, Foru Frou

to exp lore and test my t ypography sk i l ls . They

re l e a s e d t h e i r o n l y a l b u m , D e t a i l s , i n 2 0 0 2 .

T hey w r i te , p ro duce and p l ay i ns t ruments on

t h e t r a c k s . T h e l y r i c s a re v i s i b l y p r i n te d o n

transparent f i lm to focus at tention on the details

and make i t des i r ab le . O nce the P VC c ase i s

removed, the viewer is lef t with two 2 CDs that

resemble a turntable and lyrics sheets. When the

l y r ics sheets a re s tacked up, the a lbum’s t i t le

“Detai ls” is revealed.

c onc e p t >

The whole packag ing is min imal is t ic b lack and

w h i te i n o rd e r to f i t w i th the b and 's s t y l e o f

electronic music.

15 16 17

10.75"

5 .5 "

S EL EC T ED WORK C D PAC K AGING

17 18 19


87 88 8 9

S EL EC T ED WORK D E TA IL S

8 8 89 9 0

> PACK AGIN G


8 9 90 91

S EL EC T ED WORK > L AYOU T SD E TA IL S

9 0 91 9 2


91 92 9 3

0 0 01 02 03 0 4 05 0 6 07 0 8 0 9


9 2 93 9 4

D E TA IL S


9 3 94 9 5

0 0 01 02 03 0 4 05 0 6 07 08 0 9

S EL EC T ED WORK

it’s not in the vulgar, it’s not in the shock that one finds art. and it’s not in the excessively beautiful. it’s in between; it’s in nuance.

> by Duane Michals

9 4 95 9 6


obj e c t i v e >

To deve lop an i r re levant p roduc t , a l i ght bu lb ,

fo r the b rand miu miu , and app l y the b rand ’s

essence to it .

solu t ion >

A n para l le l ing miu miu's ongo ing commitment

to reflect fashion's very personal v ision of style,

beaut y, and representat ion, I made a brochure

to promote this normal ly ord inar y product . The

r e s u l t i n g i m a g e s w e re i n s t i n c t i v e m o m e n t s

o f u n i n h i b i t e d s t y l e t h a t v i v i d l y p o r t r a y a n

ex t raord inar y young woman's s ingu la r beaut y,

self - confidence, and character. This unexpected

combination wil l al low miu miu and its l ight bulb

to insp i re a d i f fe rent approach to the th ink ing

behind design.

c onc e p t >

Precoc ious . miu miu has a lways be l ieved that

fash ion is f i rs t and foremost a way to express

one's individuality. While Prada, miu miu’s parent

company, is des igned for sophist icated adul ts ,

miu miu is for the naughty l i t t le s ister who has

a saucy act a l l her own. By stepping back f rom

normal l ight bulbs, the miu miu l ight bulb creates

an exc i t i ng and d r am at i c l i g h t i ng ex p e r i enc e

wh ich w i l l he lp i l l umina te the t r ans fo rmat i ve

moments in l i fe.

cour se


instruc tor

JENNIFER STERLING

photogr a ph er

JUERGEN TELLER

t y peface

HELVETICA NEUE

c at eg ory

PRINT

dat e

SUMMER 2007

projec t 08 >

MIU MIU LIGHT BULBS

dim ens ions

9 5 96 97

0 0 01 02 03 0 4 05 0 6 07 08 0 9

4.5 "

7 "

S EL EC T ED WORK

9 6 97 9 8

P ROMOT ION A L B RO C HUR E


m i u m i u l i g h t b u l b h a s

M e r e a e s t h e t i c s a r e i n f i n i t e l y

e n h a n c e d b y c h a r i s m a ,

i n d i v i d u a l s t y l e ,

a n d a n a l l u r i n g d o s e o f p o i s e .

I t i s n o s e c r e t t h a t g r e a t b e a u t y

[ c h a r m i n g g l a m o r o u s

a d o r a b l e e n g a g i n g

l u m i n o u s c a p t i v a t i n g ]

i s a b o u t m o r e t h a n g r e a t l o o k s .

t h e s e i n t a n g i b l e s q u a l i t i e s i n s p a d e s .

U N I T E D S TAT E S C A B r e v e r l y H i l l 3 1 0 2 7 5 3 0 2 4 C A FA S H I O N I S L A N D 9 4 9 6 4 4 4 7 9 8 C A S A N F R A N C I S C O C E N T R E 4 1 5 2 8 4 9 3 7 3 C A S A N TA R O W 4 0 8 2 4 4 1 3 3 9 C A S A N TA M O N I C A P L A C E 3 1 0 6 5 6 8 1 3 0 D C G E O R G E T O W N 2 0 2 3 3 3 2 2 2 4

F L AV E N T U R A M A L L 3 0 5 9 3 6 9 2 2 7 F L H Y D E PA R K 8 1 3 2 5 1 1 8 0 4 F L T H E FA L L S 3 0 5 2 5 9 8 4 8 9 F L W O R T H AV E N U E 5 6 1 3 6 6 1 2 6 6 G A L E N O X S Q U A R E 4 0 4 8 4 8 0 8 0 2 G A P E R M I E T E R M A L L 7 7 0 6 9 8 0 4 8 8 I L L I N C O L E PA R K 7 7 3 2 4 4 3 7 8 0

I L O A K S T R E E T 3 1 2 7 8 7 7 3 9 5 M A N E W B U RY S T R E E T 6 1 7 5 3 6 7 1 8 2 N Y M A D I S O N 2 1 2 7 1 7 4 2 2 5 N Y PA L I S A D E C E N T R E 8 4 5 3 5 3 2 2 2 4 N Y S O H O 2 1 2 6 2 5 2 7 2 3 N Y T H E W E S T C H E S T E R 9 1 4 9 9 3 0 3 5 3 N V A L A D D I N 7 0 2 7 3 5 2 9 4 7 T X D A L L A S

G A L L E R I A 9 7 2 7 2 6 0 2 2 7 T X H O U S T O N G A L L E R I A 7 1 3 3 5 5 2 2 2 4 T X N O R T H PA R K 2 1 4 3 6 3 9 2 9 2 WA B E L L E V U E S Q U A R E 4 2 5 4 5 4 7 6 9 1 WA PA C I F I C P L A C E 2 0 6 4 4 7 3 4 0 0 P U E R T O R I C O PA L Z E A L A S A M E R I C A S 7 8 7 7 5 1 7 5 1 6 5 4 3 C A N A D A

9 6 0 R U E S T. C AT H E R I N E , M O N T R E A L , Q U E B E C 5 1 4 8 6 8 9 5 6 1 R O C K L A N D , M O N T R E A L , Q U E B E C 5 1 4 3 4 4 9 4 4 4 C A R R E F O U R L AVA L , L AVA L Q U E B E C 4 5 0 9 0 2 0 1 5 8 VA N C O U V E R , B C 6 0 4 6 8 1 3 7 3 3 F R A N C E M A D E L E I N E , PA I S 3 3 1 4 3 1 2

5 5 2 0 S T. H I N O R E , PA R I S 3 3 1 4 0 2 0 1 6 5 0 G R E E C E K O L O N A K I S Q U A R E , AT H E N S 0 1 0 7 2 9 8 6 0 6 A PA PA N D R E O U 1 9 , X A L A N D R I 2 1 0 6 8 9 8 4 4 0 C H I N A P L A Z A 6 6 , S H A N G H A I 8 6 6 2 8 8 0 1 7 6 L A N E C R AW F O R D - C A N T O N R O A D , H O N G K O N G

8 5 2 2 1 1 8 3 4 2 8 S O G O Y O K O H A D E PA R T M E N T S O R E , H O N G K O N G 8 5 2 2 8 3 1 4 6 2 6 J A PA N G I N Z A , T O K Y O 8 1 3 3 5 6 2 8 2 8 6 T O H O H I B I YA C H A N T E R , T O K Y O 8 1 3 5 5 1 1 8 6 2 3 Y O K O H A M A B AT S I D E M A R I N A , T O K Y O 8 1 4 5 7 7 0 5 3 6 5 S I N G A

P O R E PA R A G I N , S I N G A P O R E 6 7 3 8 1 0 6 3 TA I WA N B R E E Z E C E N T R E , TA I P E I 8 8 6 2 8 7 7 2 3 3 2 1 M I T S U K O S H I S H I N Y I D E PA RT M E N T S T O R E , TA I P E I 8 8 6 2 2 7 2 5 5 5 6 4 PA C I F I C N E W S O G O , TA I P E I 8 8 6 2 7 7 7 3 3 7 9 8 M A L AY S I A B A N D A R U TA M A ,

K U A L A L U M P U R 6 0 3 7 7 2 7 6 9 6 7 I S T E N K L C C , K U L A L U M P U R 6 0 3 2 3 8 2 0 2 8 9 K L C C , K U L A L U M P U R 6 0 3 2 3 8 2 0 3 8 7 B H A R A I N S E E F M A L L , M A N A M A 9 7 3 5 8 7 8 7 5 K U WA I T A R R AYA C E N T R E , K U WA I T C I T Y 9 6 5 2 9 9 7 7 3 9 C H I L E S A N T I A G O










































































































Fa s h i o n i s r e d e f i n i t i o n b y

n a t u r e ; i t i s w h a t c o n s t r u c t s

p e r s o n a l i d e n t i t y a t a

m i u m i u l i g h t b u l b i s r o o t e d

i n r e a l i t y a n d f a n t a s y a s i n g u l a r

a n d u n i q u e m o m e n t c a p t u r e d

i n t i m a t e l y a n d i n t u i t i v e l y .

[ T h e l i g h t b u l b c r e a t e s

a n a m a z i n g l i g h t i n g e x p e r i e n c e

i n a t r u l y t r a n s f o r m a t i v e

m o m e n t i n o u r l i v e s . ]

s p e c i f i c m o m e n t i n t i m e .

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0 0 01 02 03 0 4 05 0 6 07 08 0 9

S EL EC T ED WORK > L AYOU T SMIU MIU L IGH T BULB

9 8 99 10 0

9 9 100 101

10 0 101 102


102 103 10 4

M FA T HES IS

a thesis addresses a specific and unique topic and ultimately provides an end solution that will be a catalyst for change.

102 103 10 4


10 4 105 10 6

0 0 01 02 03 0 4 05 0 6 07 0 8 09

M FA T HES IS

design is not just what it looks like and feels like. design is how it works.

> by Steve Jobs

10 4 105 10 6


obj e c t i v e >

T h e M FA t h e s i s i n g r a p h i c d e s i g n i s a s e l f -

d i r e c te d p ro j e c t d r i ve n b y re s e a rc h , c r i t i c a l

th ink ing , and innovat ion . I t a l l ows a des igner

t o a d d r e s s a s p e c i f i c a n d u n i q u e t o p i c a n d

ult imately provide an end solut ion that wil l be a

catalyst for change.

solu t ion >

B y u n d e r s t a n d i n g to u r i s t p a t te r n s a n d t h e i r

destination points, I use San Francisco as a case

study to develop a comprehensive informat ion

s y s te m i n c l u d i n g p o r t a b l e m a p s , d i re c t i o n a l

s i gnage , i n te r ac t i ve webs i te and ap p l i c a t i on .

These additions will not only make San Francisco

eas ie r to exp lo re , bu t the des igns beh ind the

information system will beautify the city. It is my

hope that the pro ject wi l l prov ide v is i tors with

a bet ter understanding of the c i t y 's at tract ions

and rel ieve the anxieties of explor ing a new city.

c onc e p t >

The pr imar y purpose of my thes is , 5 Po ints , is

to a l l ow to u r i s t to g e t a ro un d S an F r an c i s c o

more quickly and ef fectively. The project is bui lt

around providing a savvy navigational helper that

wil l provide information and directions in a c lear

and user- fr iendly fashion whi le tour ists explore

the c i t y. By p rov id ing an ef fec t i ve nav iga t ion

system, i t wi l l add a dif ferent dimension to San

Francisco's tour ist industry.

cour se

MFA THESIS

instruc tor s

PHIL HAMLET T / MICHAEL MCQUEEN /

DO YOUNG AHN / CAROLINA DE BARTOLO

i l lustr at ion / photogr a ph y

AMY K. PAN

t y peface

WHITNEY

c at eg ory

PRINT / IDENTIT Y /

PACK AGING / INTER ACTIVE

dat e

SPRING 2010

projec t 09 >

5 POINTS

dim ens ions

10 5 106 107

8.5 "

11"

M FA T HES IS 5 P O INT S

10 6 107 10 8


10 9 110 111


10 9 111 110

> SK E TC HES


111 112 113


112 113 114

> SK E TC HES


A CITY IS A LARGE AND DIVERSE

ENVIRONMENT FULL OF PEOPLE

GOING ABOUT THEIR DAILY ROUTINE,

INTERACTING WITH OTHERS, AND

MAKING THEIR MARK ON ALL THOSE

AROUND THEM.

0 0 01 02 03 0 4 05 0 6 07 0 8 09

107 108 10 9

M FA T HES IS

A VISITOR'S FIRST IMPRESSION OF

A NEW CITY WILL STAY WITH THEM

LONG AFTER THEY LEAVE. THIS

IMPRESSION WILL DETERMINE IF

THEY WILL RETURN OR IF THE CITY

BECOMES ANOTHER ITEM CHECKED

OFF OF THE TO-DO LIST.

5 P O INT S

10 8 109 110


113 114 115


114 115 116

i de n t i t y s y s t e m >

The concepts behind 5 Point 's logo are s imple:

open (open hear ted), easy (easy to get around),

and connected (connected to each other). The 5

co lors represent 5 d i f ferent locat ions that help

v isitors to easi ly traverse the city.

> ID EN T I T Y SYS T EM


AN EFFECTIVE NAVIGATION SYSTEM

SHOULD BE DESIGNED TO BE

A SAVVY HELPER. IT SHOULD

PROVIDE INFORMATION TO PEOPLE

IN A CLEAR AND USER FRIENDLY

MANNER WHILE ASSISTING THEM

DURING THEIR TRAVELS.

0 0 01 02 03 0 4 05 0 6 07 0 8 09

115 116 117

M FA T HES IS

TO MAKE A CITY MORE NAVIGABLE

FOR TOURISTS, THERE NEEDS TO BE

A METHOD OF COMMUNICATION

WHICH ALLOWS THEM TO ALL SPEAK

THE SAME LANGUAGE. TOURISTS

FROM ALL COUNTRIES SHOULD FEEL

AT HOME, EVEN WHEN ABROAD.

5 P O INT S

116 117 118


117 118 119


s t r e e t s ig n ag e >

Street s ignage is p laced strateg ica l ly in tour ist

hotspots. The information on the street signage

cor responds wi th the por tab le maps and each

d ist r ic t has a unique and h igh ly v is ib le marker.

T h e u n i f i e d i n fo r m a t i o n s y s te m h e l p s g u i d e

people quickly determine their current location.

> S IG N AGE

118 119 120


119 120 121


120 121 122

> PRO CES S


LEGEND

MUNI

CABLE CAR LINE

PEDESTR AINROUTE

G - 6

G -5

H-3

F- 4

E- 4

C- 6

G - 4

CHINATOWN GATE

OLD ST MARY’S CHURCH

KONG CHOW TEMPLE

FIRST CHINESE BAPTIST CHURCH

BUDDHA’S UNIVERSALCHURCH

OLD CHINESETELEPHONE EXCHANGE

FORTUNE COOKIE FACTORY

VISITOR INFORMATION

PARKING

DINING

TEMPLE

SQUARE

GIF T SHOP

5 POINTS

S

2

S

S S

S

S

SS

S

S

S

Welcome to the San Francisco! Let 5 POINTS be your guide to this characterized metropolis beside the Pacific.

CHINATOWN GUIDE MAP

San Francisco

30

9x

2 2

1 1

1 1

3 34 4 30 45

45

4

1

1

5

2

2

63

74

4

MA

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N

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GR

AN

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AR

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B ROA DWAY

PAC I F I C

JAC K S O N

WA S H I N GTO N

C L AY

SAC R A M E NTO

C A LI FO R N IA

P I N E

B U S H

S U T T E R

COLUMBUS

Powell-MasonCable Car


Powell-HydeCable Car

CaliforniaCable Car

STA R T

ST. MARYSQUARE

PORTSMOUTHSQUARE

5

3

7

6

E N D

A B C D E F G H JI

A B C D E F G H JI

1

2

3

4

5

6

7

1

2

3

4

5

6

7

N

LEGEND

MUNI

CABLE CAR LINE

PEDESTR AINROUTE

G - 6

G -5

H-3

F- 4

E- 4

C- 6

G - 4

CHINATOWN GATE


KONG CHOW TEMPLE





VISITOR INFORMATION

PARKING

DINING

TEMPLE

SQUARE

GIF T SHOP

5 POINTS

S

2

S

S S

S

S

SS

S

S

S


CHINATOWN GUIDE MAP

San Francisco

30

9x

2 2

1 1

1 1

3 34 4 30 45

45

4

1

1

5

2

2

63

74

4

MA

SO

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MO

NT

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RY

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PAC I F I C

JAC K S O N

WA S H I N GTO N

C L AY

SAC R A M E NTO

C A LI FO R N IA

P I N E

B U S H

S U T T E R

COLUMBUS




CaliforniaCable Car

STA RT

ST. MARYSQUARE

PORTSMOUTHSQUARE

5

3

7

6

E N D

A B C D E F G H JI

A B C D E F G H JI

1

2

3

4

5

6

7

1

2

3

4

5

6

7

N


DOWNTOWN GUIDE MAP

San Francisco

LEGEND

MUNI

CABLE CAR LINE

F-LINE

H-5

J -5

J -5

J -5

JEWISH MUSEUM

CARTOON ART MUSEUM

SF MOMA

MUSEUM OF THE AFRICAN DIASPOR A

VISITOR INFORMATION

PARK

SHOPPING

GALLERY

DINING

PARKING

5 POINTS

2 G -7

J - 4

I -5 J - 6

METRON THEATER

CALIFORNIAHISTORICAL SOCIET Y

CENTER FOR THE ART

2 2

2 2

38

38

3 3

3 3

4 4

4 4

30

30

9x

9x

45

45

30

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14

27

1

1

5

2 6

374

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MO

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RY

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MARKET

MISSION

HOWARD

MARKET

NEW

MO

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OM

ERY

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FOR

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F

JK

L

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UNIONSQUARE

M a c y ’s

N e i m a n M a r c u s

Saks Fif t h Ave n u e

YERBA BUENA

GARDENS

Westf ie

ld

San Francisco

Center

M A I D E N

2

3

4

5

6

7

7

A B C D E F G H JI

A B C D E F G H JI

1

2

3

4

5

6

7

1

2

3

4

5

6

7

NWelcome to the San Francisco! Let 5 POINTS be your guide to this characterized metropolis beside the Pacific.

DOWNTOWN GUIDE MAP

San Francisco

LEGEND

MUNI

CABLE CAR LINE

F-LINE

H-5

J -5

J -5

J -5

JEWISH MUSEUM

CARTOON ART MUSEUM

SF MOMA


VISITOR INFORMATION

PARK

SHOPPING

GALLERY

DINING

PARKING

5 POINTS

2 G -7

J - 4

I -5 J - 6

METRON THEATER


CENTER FOR THE ART

2 2

2 2

38

38

3 3

3 3

4 4

4 4

30

30

9x

9x

45

45

30

9x

45

14

27

1

1

5

2 6

374

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SO

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PO

WE

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AN

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MO

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E LLI S

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MARKET

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OM

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THIR

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F

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UNIONSQUARE

M a c y ’s



YERBA BUENA

GARDENS

Westf ie

ld

San Francisco

Center

M AI D E N

2

3

4

5

6

7

7

A B C D E F G H JI

A B C D E F G H JI

1

2

3

4

5

6

7

1

2

3

4

5

6

7

N

0 0 01 02 03 0 4 05 0 6 07 0 8 09

121 122 123

or i e n tat ion s ig n ag e >

Orientation signage offers tourists an overview of

their surroundings in the form of comprehensive

s i te m aps and d i rec t i ons . T hey a re p l ac e d a t

the boundar ies or entr yways of each respective

distr ict and al lows a stranger in the city to have

a bird's eye view of the area.

M FA T HES IS


FISHERMAN'S WHARF GUIDE MAP

San Francisco

LEGEND

BIKE ROUTE

F-LINE

CABLE CAR LINE

VISITOR INFORMATION

CR AB STAND

GIF T SHOP

DINING

RESTROOM

PARKING

5 POINTS

S

S S

S S

S

S

S

S

E-3

F-5

H- 4

J - 6

C- 6

C- 6

D -5

C- 6D -5

SAN FR ANCISCO CUISES

WA X MUSEUM

AQUARIUM OF THE BAY

ALCATR AZ (FERRY BUILDING)

GO CAR

SEGWAY TOUR

DUCK TOUR

BIKE THE BRIDGE

SAN FRANCISCO BAY

F

GR

AN

T

BAY

B E AC H

JON

ES

THE EMBARCADERO

COLU

MBU

S

PI E R 39



ST

OC

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ON

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PO

WE

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MA

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NW

OR

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VA

N N

ES

S

LA

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IN

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LK

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DE

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BAY

J E F F E R S O N

1

8

8

3

4

2

7

8

5

8

6

1 5

2 6

3 7

4 8

F

F

30

A B C D E F G H JI

A B C D E F G H JI

1

2

3

4

5

6

7

1

2

3

4

5

6

7



San Francisco

LEGEND

BIKE ROUTE

F-LINE

CABLE CAR LINE

VISITOR INFORMATION

CR AB STAND

GIF T SHOP

DINING

RESTROOM

PARKING

5 POINTS

S

S S

S S

S

S

S

S

E-3

F-5

H- 4

J - 6

C- 6

C- 6

D -5

C- 6D -5


WA X MUSEUM

AQUARIUM OF THE BAY


GO CAR

SEGWAY TOUR

DUCK TOUR

BIKE THE BRIDGE

SAN FRANCISCO BAY

F

GR

AN

T

BAY

B E AC H

JON

ES

THE EMBARCADERO

COLU

MBU

S

PI E R 39



ST

OC

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ON

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1

8

8

3

4

2

7

8

5

8

6

1 5

2 6

3 7

4 8

F

F

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A B C D E F G H JI

A B C D E F G H JI

1

2

3

4

5

6

7

1

2

3

4

5

6

7

N


DOWNTOWN GUIDE MAP

San Francisco

LEGEND

MUNI

CABLE CAR LINE

F-LINE

H-5

J -5

J -5

J -5

JEWISH MUSEUM

CARTOON ART MUSEUM

SF MOMA


VISITOR INFORMATION

PARK

SHOPPING

GALLERY

DINING

PARKING

5 POINTS

2 G -7

J - 4

I -5 J - 6

METRON THEATER


CENTER FOR THE ART

2 2

2 2

38

38

3 3

3 3

4 4

4 4

30

30

9x

9x

45

45

30

9x

45

14

27

1

1

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2 6

374

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SO

N

PO

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AN

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TA

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E LLI S

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MARKET

MISSION

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NEW

MO

NTG

OM

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FOR


F

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L

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UNIONSQUARE

M a c y ’s



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M AI D E N

2

3

4

5

6

7

7

A B C D E F G H JI

A B C D E F G H JI

1

2

3

4

5

6

7

1

2

3

4

5

6

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DOWNTOWN GUIDE MAP

San Francisco

LEGEND

MUNI

CABLE CAR LINE

F-LINE

H-5

J -5

J -5

J -5

JEWISH MUSEUM

CARTOON ART MUSEUM

SF MOMA


VISITOR INFORMATION

PARK

SHOPPING

GALLERY

DINING

PARKING

5 POINTS

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4

5

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N

San Francisco

GOLDEN GATE PARK MAPWelcome to San Francisco! Let 5 POINTS be your guide to this charming metropolis beside the Pacific.

N-LINE

MUNI

VISITOR INFORMATION

RESTROOM

PARKING

L AKE

PICNIC AREA

MUSEUM

SPORTING FACILIT Y

LEGEND

5 POINTS

18

A-5

B -5

C-5

D - 6

H-5

G - 6

G - 6

D - 6

BEACH CHALET

GOLF COURSE

BUFFALO PADDOCK

FORT DOG RUN

JAPANESE TEA GARDEN

STR AWBERRY HILL

BOTANICAL GARDEN

SHAKESPE ARE GARDEN

445

5

18

18

18

71 71

7171

NN

N

44

29

29

28

28

29

44

GR

EA

T H

IGH

WA

Y

47

TH

AV

E

F U LTO N

LI N CO LN

I RV I N G

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43

RD

AV

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41S

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30

TH

AV

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25

TH

AV

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23

TH

AV

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22

TH

AV

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19T

H A

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9T

H A

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7T

H A

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PR

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10T

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AR

GU

EL

LO

ST

AN

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N

1 5

2 6

3 74 8

1

24

4

4

48

5

7

6

3

4

De Young Museum

Academy of Sciences

A B C D E F G H JI

A B C D E F G H JI

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N

San Francisco


N-LINE

MUNI

VISITOR INFORMATION

RESTROOM

PARKING

L AKE

PICNIC AREA

MUSEUM

SPORTING FACILIT Y

LEGEND

5 POINTS

18

A-5

B -5

C-5

D - 6

H-5

G - 6

G - 6

D - 6

BEACH CHALET

GOLF COURSE

BUFFALO PADDOCK

FORT DOG RUN

JAPANESE TEA GARDEN

STR AWBERRY HILL

BOTANICAL GARDEN

SHAKESPE ARE GARDEN

445

5

18

18

18

71 71

7171

NN

N

44

29

29

28

28

29

44

GR

EA

T H

IGH

WA

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47

TH

AV

E

F U LTO N

LI N CO LN

I RV I N G

J U DA H

43

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41S

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BLV

D3

6T

H A

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30

TH

AV

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25

TH

AV

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5T

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23

TH

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22

TH

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19T

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9T

H A

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7T

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H A

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8T

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AR

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LO

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AN

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N

1 5

2 6

3 74 8

1

24

4

4

48

5

7

6

3

4

De Young Museum

Academy of Sciences

A B C D E F G H JI

A B C D E F G H JI

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MUNI

BIKE ROUTE

PEDESTR AINROUTE

VISITOR INFORMATION

RESTROOM

PARKING

DINING

L AKE

PICNIC ARE A

PARKING

SPORT FACILIT Y

LEGEND

65 D -1

E-3

C-5

G -3

J -3

F-7

F- 6

E-2

GOLDEN GATE BRIDGE

EAST BEACH

BAKER BEACH

CRISSY FIELD

PAL ACE OF FINE ART

MOUNTAIN L AKE PARK

PRESIDEO GOLF COURSE

FORT POINT


PRESIDIOGUIDE MAP

San Francisco

SAN FRANCISCO BAY

PACIFIC OCEAN

69

69

95

2

1 5

2 6

3 7

7

4 8

10

75

10

65 10

56

4

61

1

3

5

4

6

8

Exploratorium

5 POINTS

Cl ay

WA S H I N GTO N

PAC I F I C

L A K E

F R A N C I S CO

M A S O N

LYO

N

25

TH

LIN

CO

N

A B C D E F G H JI

A B C D E F G H JI

1

2

3

4

5

6

7

1

2

3

4

5

6

7

N

MUNI

BIKE ROUTE

PEDESTR AINROUTE

VISITOR INFORMATION

RESTROOM

PARKING

DINING

L AKE

PICNIC ARE A

PARKING

SPORT FACILIT Y

LEGEND

65 D -1

E-3

C-5

G -3

J -3

F-7

F- 6

E-2

GOLDEN GATE BRIDGE

EAST BEACH

BAKER BEACH

CRISSY FIELD

PAL ACE OF FINE ART

MOUNTAIN L AKE PARK


FORT POINT


PRESIDIOGUIDE MAP

San Francisco

SAN FRANCISCO BAY

PACIFIC OCEAN

69

69

95

2

1 5

2 6

3 7

7

4 8

10

75

10

65 10

56

4

61

1

3

5

4

6

8

Exploratorium

5 POINTS

Cl ay

WA S H I N GTO N

PAC I F I C

L A K E

F R A N C I S CO

M A S O N

LYO

N

25

TH

LIN

CO

N

A B C D E F G H JI

A B C D E F G H JI

1

2

3

4

5

6

7

1

2

3

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5

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N

5 P O INT S

122 123 124

2x

3x

0.25x

1.75x

1.8x

> S IG N AGE


123 124 125

S

S S

S

S

SS

S

S

S

30

9x

2 2

1 1

1 1

3 34 4 30 45

45

4

1

2

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ON

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B ROA DWAY

PAC I F I C

JAC K S O N

WA S H I N GTO N

C L AY

SAC R A M E NTO

C A LI FO R N IA

P I N E

B U S H

S U T T E R

COLUMBUS




CaliforniaCable Car

STA R T

ST. MARYSQUARE

PORTSMOUTHSQUARE

5

3

7

6

E N D

A B C D E F G H JI

A B C D E F G H JI

1

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N

LEGEND

MUNI

CABLE CAR LINE

PEDESTR AINROUTE

G - 6

G -5

H-3

F- 4

E- 4

C- 6

G - 4

CHINATOWN GATE


KONG CHOW TEMPLE





VISITOR INFORMATION

PARKING

DINING

TEMPLE

SQUARE

GIF T SHOPS

2 1 5

26

3

74

CHINATOWN


124 125 126

> S IG N AGE

125 126 127

126 127 128

DOWNTOWN

P

NO PARKING

2 AM - 6 AM


SAN FRANCISCO BAY

PACIFIC OCEAN

69

69

95

2

7

10

75

10

65 10

56

4

61

1

3

5

4

6

8

Exploratorium

C l ay

WA S H I N GTO N

PAC I F I C

L A K E

F R A N C I S C O

M A S O N

LYO

N

25

TH

LIN

CO

N

A B C D E F G H JI

A B C D E F G H JI

1

2

3

4

5

6

7

1

2

3

4

5

6

7

N

MUNI

BIKE ROUTE

PEDESTR AINROUTE

VISITOR INFORMATION

RESTROOM

PARKING

DINING

L AKE

PICNIC ARE A

PARKING

SPORT FACILIT Y

LEGEND

65 D -1

E-3

C-5

G -3

J -3

F-7

F- 6

E-2

GOLDEN GATE BRIDGE

EAST BEACH

BAKER BEACH

CRISSY FIELD

PAL ACE OF FINE ART

MOUNTAIN L AKE PARK


FORT POINT

1 5

2 6

3 74 8

PRESIDIO

0 0 01 02 03 0 4 05 0 6 07 0 8 09

127 128 129

DOWNTOWN

P

NO PARKING

2 AM - 6 AM

M FA T HES IS

San Francisco


N-LINE

MUNI

VISITOR INFORMATION

RESTROOM

PARKING

L AKE

PICNIC AREA

MUSEUM

SPORTING FACILIT Y

LEGEND

5 POINTS

18

A-5

B -5

C-5

D - 6

H-5

G - 6

G - 6

D - 6

BEACH CHALET

GOLF COURSE

BUFFALO PADDOCK

FORT DOG RUN

JAPANESE TEA GARDEN

STR AWBERRY HILL

BOTANICAL GARDEN

SHAKESPE ARE GARDEN

445

5

18

18

18

71 71

7171

NN

N

44

29

29

28

28

29

44

GR

EA

T H

IGH

WA

Y

47

TH

AV

E

F U LTO N

LI N CO LN

I RV I N G

J U DA H

43

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41S

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SU

NS

ET

BLV

D3

6T

H A

VE

30

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AV

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25

TH

AV

E 2

5T

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VE

23

TH

AV

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22

TH

AV

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19T

H A

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9T

H A

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7T

H A

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PR

ES

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D

10T

H A

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8T

H A

VE

AR

GU

EL

LO

ST

AN

YA

N

1 5

2 6

3 74 8

1

24

4

4

48

5

7

6

3

4

De Young Museum

Academy of Sciences

A B C D E F G H JI

A B C D E F G H JI

1

2

3

4

5

6

7

1

2

3

4

5

6

7

N

San Francisco


N-LINE

MUNI

VISITOR INFORMATION

RESTROOM

PARKING

L AKE

PICNIC AREA

MUSEUM

SPORTING FACILIT Y

LEGEND

5 POINTS

18

A-5

B -5

C-5

D - 6

H-5

G - 6

G - 6

D - 6

BEACH CHALET

GOLF COURSE

BUFFALO PADDOCK

FORT DOG RUN

JAPANESE TEA GARDEN

STR AWBERRY HILL

BOTANICAL GARDEN

SHAKESPE ARE GARDEN

445

5

18

18

18

71 71

7171

NN

N

44

29

29

28

28

29

44

GR

EA

T H

IGH

WA

Y

47

TH

AV

E

F U LTO N

LI N CO LN

I RV I N G

J U DA H

43

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41S

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30

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25

TH

AV

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5T

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23

TH

AV

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22

TH

AV

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19T

H A

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9T

H A

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7T

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10T

H A

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8T

H A

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AR

GU

EL

LO

ST

AN

YA

N

1 5

2 6

3 74 8

1

24

4

4

48

5

7

6

3

4

De Young Museum

Academy of Sciences

A B C D E F G H JI

A B C D E F G H JI

1

2

3

4

5

6

7

1

2

3

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5

6

7

N

San Francisco


N-LINE

MUNI

VISITOR INFORMATION

RESTROOM

PARKING

L AKE

PICNIC AREA

MUSEUM

SPORTING FACILIT Y

LEGEND

5 POINTS

18

A-5

B -5

C-5

D - 6

H-5

G - 6

G - 6

D - 6

BEACH CHALET

GOLF COURSE

BUFFALO PADDOCK

FORT DOG RUN

JAPANESE TEA GARDEN

STR AWBERRY HILL

BOTANICAL GARDEN

SHAKESPE ARE GARDEN

445

5

18

18

18

71 71

7171

NN

N

44

29

29

28

28

29

44

GR

EA

T H

IGH

WA

Y

47

TH

AV

E

F U LTO N

LI N CO LN

I RV I N G

J U DA H

43

RD

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41S

T A

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SU

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D3

6T

H A

VE

30

TH

AV

E

25

TH

AV

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5T

H A

VE

23

TH

AV

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22

TH

AV

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19T

H A

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9T

H A

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7T

H A

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PR

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10T

H A

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8T

H A

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AR

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LO

ST

AN

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N

1 5

2 6

3 74 8

1

24

4

4

48

5

7

6

3

4

De Young Museum

Academy of Sciences

A B C D E F G H JI

A B C D E F G H JI

1

2

3

4

5

6

7

1

2

3

4

5

6

7

N

San Francisco


N-LINE

MUNI

VISITOR INFORMATION

RESTROOM

PARKING

L AKE

PICNIC AREA

MUSEUM

SPORTING FACILIT Y

LEGEND

5 POINTS

18

A-5

B -5

C-5

D - 6

H-5

G - 6

G - 6

D - 6

BEACH CHALET

GOLF COURSE

BUFFALO PADDOCK

FORT DOG RUN

JAPANESE TEA GARDEN

STR AWBERRY HILL

BOTANICAL GARDEN

SHAKESPE ARE GARDEN

445

5

18

18

18

71 71

7171

NN

N

44

29

29

28

28

29

44

GR

EA

T H

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WA

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47

TH

AV

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F U LTO N

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I RV I N G

J U DA H

43

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41S

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SU

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6T

H A

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30

TH

AV

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25

TH

AV

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5T

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23

TH

AV

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22

TH

AV

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19T

H A

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9T

H A

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7T

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PR

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BLV

D

10T

H A

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8T

H A

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AR

GU

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LO

ST

AN

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N

1 5

2 6

3 74 8

1

24

4

4

48

5

7

6

3

4

De Young Museum

Academy of Sciences

A B C D E F G H JI

A B C D E F G H JI

1

2

3

4

5

6

7

1

2

3

4

5

6

7

N

PIER 39

GHIRARDELLI SQUARE

WAX MUSEUM

AQUARIUM OF THE BAY

F

F

FWelcome to the San Francisco! Let 5 POINTS be your guide to this characterized metropolis beside the Pacific.


San Francisco

LEGEND

BIKE ROUTE

F-LINE

CABLE CAR LINE

VISITOR INFORMATION

CR AB STAND

GIF T SHOP

DINING

RESTROOM

PARKING

5 POINTS

S

S S

S S

S

S

S

S

E-3

F-5

H- 4

J - 6

C- 6

C- 6

D -5

C- 6D -5


WA X MUSEUM

AQUARIUM OF THE BAY


GO CAR

SEGWAY TOUR

DUCK TOUR

BIKE THE BRIDGE

SAN FRANCISCO BAY

F

GR

AN

T

BAY

B E AC H

JON

ES

THE EMBARCADERO

COLU

MBU

S

PI E R 39



ST

OC

KT

ON

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AR

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PO

WE

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AV

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VA

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ES

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LA

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IN

PO

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DE

NORTH P O I NT

BAY

J E F F E R S O N

1

8

8

3

4

2

7

8

5

8

6

1 5

2 6

3 7

4 8

F

F

30

A B C D E F G H JI

A B C D E F G H JI

1

2

3

4

5

6

7

1

2

3

4

5

6

7

N

5 P O INT S

128 129 13 0

> S IG N AGE


129 130 131


13 3 131 132

> PACK AGIN G


131 132 13 3


132 133 13 4

> PACK AGIN G


13 4 135 13 6


13 4 135 13 6

> PACK AGIN G


13 5 136 137


13 6 137 13 8

> PRIN T


137 138 13 9


13 8 139 14 0

> P H O N E A P P L I C AT IO N


13 9 140 141

M FA T HES IS

GOOD INFORMATION NEEDS TO BE

IN THE RIGHT PLACE AT THE RIGHT

TIME. THIS ALLOWS PEOPLE TO

UTILIZE IT MORE EFFECTIVELY AND

PROVIDES SOLACE FOR TOURIST AS

THEY EXPLORE A NEW CITY.

5 P O INT S

14 0 141 142

The people who have continuously pushed me to work harder and polish my design skill s .The people who have encouraged me; because of your support , I became stronger.

my blood >

my parents and my family

my inspir ing instructors >

Mary Scot t , Phi l Hamlet t , Hunter Wimmer, Michael McQueen, Do Young Ahn,

Carol ina de Bar to lo, Michael K i lgore, Br ian S inger, A r v i Raquel -Santos, Stan Z ienka,

Tom Sieu, and a l l ESL suppor ters.

my inspir ing people >

Shawn Hsu, Chiharu Tanaka, Lang Lee, Thui Monchaya, Robbie Tsai ,

V incent Lo, Blue Chang, Katy L iao, Kamilah Dove, Shihwen Wang, Louis Chen

my sunshine >

Char lene Jan, Marv in Steele, Jul ie Huang, Olga L iu, Shan Wu, Mik i L iu, Rita Hsu, Zachar y Hsu, Angela Tsai , Dee Kan, Er ic Su and my lovely Red -Zero fe l lows in Taiwan.

speci a l th a nk s to >

A M Y K U A N - Y I N G PA NFOREWORD

T H A N K YOU N OT E

MANY MANY THANKS.

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