Graphic Design in the Public Realm: How Is It Being Used in Buildings in London - Case Study Example

Graphic Design in the Public Realm: How is it being used translated onto buildings in London? Graphic Design which is also referred to as communication design is an art and the practice of planning as well as projecting an idea and experience using both textual and visual content. The resulting form of communication can either be physical or in a virtual form. The communication form also encompasses images, words or a set of graphic forms. It is also worth noting that the experience can be acquired in an instant or over a long period of practice. The Graphic design can assume any scale depending on the area and place of application. For instance, the design of a simple postage stamp assumes a small design scale as compared to a designed national signage that will require a larger and complex scale. Graphic design is of importance and is largely applied in the commercial, educational, political and the cultural arena1. On the other side, it can be seen that a well-established public realm can create a conducive and safer environment through the incorporation of natural surveillance. Natural surveillance refers to crime prevention that is necessitated through Environmental Design. In the 1960s, it was suggested that natural surveillance was naturally occurring. By ensuring that areas used by pedestrian are well lit, results to a constant flow of people which consequently results in crime reduction. It clearly means that the promotion of Natural Surveillance by the involved designers can only bare fruits if they consider using low landscaping, a superb street lighting and secure pedestrian areas that are continuously overlooked by using them. This is very critical when considering an alternative to installing CCTV cameras. This is because the accepted level of CCTV cameras depends on the culture of the people involved. Too much usage of CCTV cameras makes an environment very unappealing2. Through Graphic design, buildings and public spaces are being conserved and enhanced in many places of the world. Regions such as London lead in the application of Graphic Design. As a result, the quality of life of many people is drastically uplifted. A very good example is Westminster which is has ventured in an endeavour with partners to promote a high quality design innovation in both new buildings and the public realm which majorly includes public art (Julier, 2011). Graphic Design as Urban Design has been applied in London for many years in an attempt to make the city a perfect and motivating place for the residents to live. The depicted physical nature of numerous visual communication manifested in the built environment makes us believe that Graphic Design has largely contributed to the creation of cities such as London. For instance, it has been established by the New Economic Foundation that Britain entirely uses images in the high streets that feature branded fascia. This makes Graphic Design a very important element in the Design research society3. Through a vivid description of Urban Design, if a structure is taken as a mere building then it is very practical to assume that small structures such as signposts are elements of consideration. The weight which the designer assumes these elements to take should be equal to that which is assigned to an entire building (Butler et al, 2003). Equally, an object –which is a material thing- and can be seen and be touched, and then it must include every bit of material object that constitutes the entire built environment. It includes all the physical Graphic Design representations in a natural setting that is of service to a contemporary living. In any attempt to examine the importance of Urban Design, it is impossible to exclude Visual communication. This clearly tries to show how Graphic Design is very close to the core of Urban Design. For instance, if Urban Design fulfills an intention of integration activity then it is always inevitable to do without Graphic Design since it always has an important role to play. The formal online competition embraced in London to temporarily redesign the London Routemaster Bus came in to make the buses more attractive and very eye pleasing to the users in the streets of London. This competition that is an initiative of transport for London invited indiscriminately both the companies and the public domain to submit their ideas to be considered. The competition came in two categories with the imagine category associated with general ideas and the imaginary concepts while a design category that comprised of the detailed proposals. For the submission, there was a provision for the participants to either submit a designed whole bus or just proposals for mere parts of the bus. On the side of the imagine category, the organizers requested submission of impressive imaginative ideas for double decker bus that is red in color. The double decker was supposed to have a rear open platform and complete functioning exit/entrance doors. On the other side, the category concerned with the Design was to submit a design of a red double-decker with a low floor that has at least one single internal staircase. In addition to these requirements, the designers were to ensure that the bus comprises of a rear open platform, an entrance/exit doors that are to be crewed by the conductors and the drivers. The new design is to carry seventy-two passengers while seated and standing. For the design to be sound, and then they were to meet a set of suggested and a mandatory specification as well as be economically viable for mass production. To crown it all, the competitions winners were bound to carry home cash prices of up to £25,000 and motivating small prizes for the good ideas presented (Aynsley, 2012). Several proposals submitted over the years have gained media attention since their unveiling back in October two thousand and eight such as the smiley bus that is known as the H4.The future systems presented a space age alternative that was powered by hydrogen. The Foster and Partners had their submission of a design that is glass-roofed. This series of competitions have led to more kinds of innovative designs in the graphic design. The Temporary redesign of the London Routemaster bus through an application of the foil for the winner is just amongst many competitions cutting across London in an endeavour to embrace Graphic Design in the modern transport sector. London endeavours to prove the orchestrated move by embracing the advantages of the Graphic design in buildings and the public realm. A set of several projects have erupted London. For example, is the Digital Turnstile project. This project was proposed for the Camden area in London and which was more to the social effect. This project saw a previously dark area that was prone to drug users was finally lit up. The animated lit up by persons as they approach the area has led to changes in the peoples psychological and physiological perceptions about the place. This is due to a fact that well-coordinated and place d lighting can immensely reduce crime activities in a place. The perfect lighting has the same effect as that of a more populated street environment4. This project was positive move which contrasted head on with the usually used paraphernalia such as the CCTV cameras, the anti-climb and the many signs that just say ‘no Loitering ‘but fail to enhance the relationship between the locals and the streets. This is clearly seen as a potent force but only when placed in a more relational context with the individuals using these streets. This means that the installation of vital signs; construction of memory walls and the animated Digital Turnstile are more interactive and cultivate a more and strong relationship with the people and the space. In an effort to underscore the level of Graphical design adoption which has been in the United Kingdom and more specifically in London, several examples of companies and firms have erupted to assist the locals in redesigning their buildings, as well as their public realm for the better. These firms are operating in the UK, and they comprise of groups of specialists who help in uplifting the conditions of the town centers. A good example is the Retail Revival firm. This firm helps the residents in meeting a growing demand associated with specialist support in the struggling retailers and the service providers. The firm basically helps the residents in identifying the business needs, develop sound action plans and develop design grand schemes, as well as a provision of the training. In addition, the firm also helps the residents identify suitable market sites and also facilitate the process of getting permissions from the landowners. For instance, the firm has helped dwindling markets in Warwickshire and Wycombe. The firm also helps residents in improving their retail security, as well as the shop layout and visual display with marketing (Arthur, 2010). Another firm that is well-established is the objctif. Objectif is an experienced graphic design practice that works in the architectural and the public realm. This firm basically is involved in helping individuals understand the site’s specific conditions as well as assessing different places to reveal their social dynamics. The firm helps and advice on design decisions that cut across the signage and the marketing. Objectif is very adversely skilled in the design and the sourcing of superb materials for the outdoor signage and equally give installation technique specifications (Butler et al, 2003). The firm helps people in realizing contextual and a striking signage in the public domain. For example, this firm has designed event signage throughout London such as the large Free standing letters that spelled ‘FEAST’ that was for the volunteer market in West Norwood. The firm also designed crystal clear enamel panels for the Altab Ali Park in Aldhate East AND the North Finchley in Barnet, which tell stories about the two places. The other clients for this firm range from the V&A Museum, Hampton Court, and the Technical University of Berlin to the British Council (Barnard, 2005). The third example of a graphic design firm in the UK is the Maddison Graphic. This firm specializes in the provision of thoughtful and very creative responses to a very wide range of different types of projects within the special field of graphic design. This firm is known to develop perfect graphic and the branding identities for many projects, organizations, and events. The firm goes ahead to implement these identities in superb combinations of different processes and products that include signage, websites, merchandise and the documents. This firm also goes ahead to assist her clients in illustration, typography large scale art work and in the entire process of the publication and the documentation. For instance, this firm designed the manual in the Stratham Street. This manual is a guide for the local authority and the esteemed partners in the evaluation of the number of potential projects that are designed to improve the area around this street. Lastly, this firm also is responsible for the production of the large scale mural for a new health Centre in Hull. This provided a way of finding clear information panels for the Ely Cathedral and the well installed window screens that the St.Luke’s Church in Cambridge enjoys up to date. Through research, it has been established that the public realm is bound to be in a constants evolution as it tries to accommodate the endless user needs and the constantly changing technologies. A good example has been the skateboarders at the London’s South Bank. This means that some cultures will present significant needs in an attempt to recognize the spatial features. It is very true to conclude that there exists a direct link between the aesthetics associated with the built environment and the resulting emotional response. This resulting positive impact on wellbeing that emanates from the built environment depends on the extent to which the expectations of the locality. The expectations are a function of the cultural, social and the geographical nature of the surrounding. This means that the impact depends on the location itself (Carmona et al, 2003). The Graphic Design in the Public Realm has been used and translated into buildings in London to a large scale. A t the same time, the relational model of enquiry is also widening in the real world. People in Britain are awakening into the down of Graphic design products. Projects such as the ARGENT LLP in Kings Cross and the Across the BUilding Project remain inevitable examples of the intense application of the Graphic Design in the London. It is clearly seen that concepts behind the relational aesthetics is a very wide scope of thinking about the communication and the expected effect of its dissemination in London and may be in the entire world. Competitions such as the online competition to temporarily redesign5. The London Routemaster Bus via a foil are the best way in promoting the Graphic Design in London and transforming our surrounding to suit the citizens as well as boosting their wellbeing. Bibliography Aynsley, J. (2012). Pioneers of Modern Graphic Design: A Complete History. London: Mitchell Beazley. ISBN 1-84000-939-X Arthur, P. Passani, R. (2010). Wayfinding: people, signs, and architecture. Toronto: McGraw-Hill Ryerson. ISBN 0-9731822-0-2 Barnard, M. (2005). Graphic Design as Communication. London and New York: Routledge. ISBN 0-415-27813-9 Butler, J., Holden, K., Lidwell, W. (2003). Universal Principles of Design: A Cross- disciplinary Reference. Massachusetts: Rockport Publishers, Inc. ISBN 1-59253-007-9 Carmona, M., Heath, T., Oc, T., Tiesdell, S. (2003). Public places – urban spaces: the dimensions of Urban Design. Oxford: Architectural Press. ISBN 0-7506-36327 Julier, G. (2011). The culture of Design. London: SAGE Publications Ltd. ISBN 0-7619-6867 http://www.kingscross.co.uk/whos-developing-kings-cross http://www.kingscross.co.uk/across-buildings https://www.youtube.com/watch?v=HTDRz9A89lw https://www.youtube.com/watch?v=2_P-8rArDnE http://www.dezeen.com/2015/03/09/kemistry-gallery-to-re-launch-first-uk-public-institution-of-graphic-design/ https://www.designcouncil.org.uk/sites/default/files/asset/document/open-space-strategies.pdf 1. Read More