Graphics Reference
In-Depth Information
graphic system. Moreover, it needed to be a non-hierarchical system where no lan-
guage was superior to the others and all had a similar visual weight and presence.
Such a system did not exist at the time and therefore it became clear that a new cus-
tom Hebrew typeface was needed.
The DMH Hebrew typeface brings the Hebrew as close as possible to the Latin font
(The Mix by Lucas de Groot), but without betraying the script's authentic nature and
tradition. Adi's goal was to create a Hebrew typeface that could stand on its own
right; the Hebrew should not be apparent as Latininfluenced, nor the Latin to look
Hebrew-influenced.
When designing the system, Adi didn't want a 'sign', a three-dimensional object,
hung or stuck on the wall. He says, 'I looked for an elegant, quiet and harmonious
solution that would fuse with the wall. In a sense, my approach to the design was two-
dimensional. I wanted to think of the entire wall as my format. The wall was treated
as paper, as a poster or a magazine page. Above all, my wish was to create a system
that would be on one hand very simple and basic while on the other hand unconven-
tional, interesting and unique.'
To blend with the building, one thing that was crucial was to make the arrow look as
if it is part of the wall. The designers needed to find a way to hide the seam between
the arrow and the wall, so they used the same paint, with the same colour and texture,
to make the connection as smooth as possible.
In producing the signage, several sizes of the typefaces and arrows were tested in situ
with mock-ups. The difference in size between the planned arrows (based on archi-
tectural plans and simulations) and what was eventually produced was immense. By
the end of the process, the final arrows were roughly double in size compared to the
initial intention.
Outcome
The solution for the wayfinding system is an unusual one. The choice of the white ar-
rows, which seem to emerge from the wall, goes against what you might expect from
an interior signage scheme. Although this is a break from convention, the signage
system is straightforward to use. It is quiet and does not compete with the dramatic
architecture of the building itself. It is a clever, imaginative and highly original result
that integrates seamlessly into the interior space. Most wayfinding is designed by its
functionality, which can lead to outcomes that are visually unattractive. On the other
hand, to disregard functionality can bring about systems that are impractical to use.
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