Environmental Graphic Design

Changing the Perceptions of Divided Communities

through Cultural and Social Connectivity

A thesis submitted to the School of Visual Communication Design,

College of Communication and Information

of Kent State University in partial fulfillment of the

requirements for the degree of Master of Fine Arts

by

Andrew T. Schwanbeck

May, 2013
 Thesis written by

Andrew T. Schwanbeck

B.S., The University of the Arts, 2005

M.F.A., Kent State University, 2013

Approved by

David Middleton, M.A., Advisor, School of Visual Communication Design

AnnMarie LeBlanc, M.F.A., Director, School of Visual Communication Design

Stanley T. Wearden, P.h.D., Dean, College of Communication and Information

 Table of Contents

LIST OF FIGURES................................................................................................................ vi

CHAPTER 01: Problem Overview

Introduction ................................................................................................................ 1

Segregated Cities ......................................................................................................... 3

The Causes of Segregation: Economic & Racial ......................................................... 4

The Causes of Segregation: Economic and Development Divisions.......................... 6

The Causes of Segregation: Geographic...................................................................... 7

Why is Segregation an Important Issue?.................................................................... 9

Conclusion.................................................................................................................. 10

CHAPTER 02: Environmental Graphic Design

Introduction .............................................................................................................. 12

Origins and Purpose of EGD..................................................................................... 12

Exploring the Components of Environmental Graphic Design.............................. 14

Exploring the Possibilities of Environmental Graphic Design ............................... 18

Conclusion ................................................................................................................ 19

CHAPTER 03: Design Case Studies

Introduction .............................................................................................................. 21

Navigation: Integrated Wayfinding Systems............................................................ 21

Identification: Urban Identities ............................................................................... 28

Interpretation: Participatory Involvement and Interpretive Elements................. 34

Conclusion.................................................................................................................. 43

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CHAPTER 04: The Project Case Study - Research Investigation

Introduction .............................................................................................................. 44

The Design Research Process .................................................................................... 44

Step 1. Task Definition - Overview of Process ........................................................ 46

Step 2. Information Seeking Strategies - Overview of Process .............................. 52

Step 3. Location and Access ..................................................................................... 56

Step 4. Use of Information ....................................................................................... 57

Step 5. Synthesis ....................................................................................................... 69

Step 6. Evaluation ..................................................................................................... 74

CHAPTER 05: The Project Case Study - Design Process

Introduction .............................................................................................................. 75

Brainstorming and Concept Rating ......................................................................... 76

Prototype Development ........................................................................................... 77

Entice ......................................................................................................................... 81

Engage ....................................................................................................................... 82

Extend ....................................................................................................................... 90

Overview of Test ....................................................................................................... 90

Prototype Test Results .............................................................................................. 92

CHAPTER 06: Closing Remarks ........................................................................................ 94

Appendices

Appendix A: Preliminary Research Findings ........................................................... 98

Appendix B: Research Process Materials ............................................................... 104

Appendix C: Visual Anthropology Summary ........................................................ 110

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 Appendix D: Primary Research Materials ............................................................. 117

Appendix E: Research Synthesis ............................................................................ 128

Appendix F: Design Process Materials ................................................................... 138

Appendix G: Final Design Prototypes .................................................................... 149

Appendix H: Prototype Test Results ..................................................................... 163

REFERENCES.................................................................................................................... 173

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 List of Figures

Figure 1. David Gibson’s four strategies for a wayfinding approach ............................... 23

Figure 2. Walk Philadelphia Sign System .......................................................................... 25

Figure 3. Lance Wyman’s 1968 Olympic Game Symbols ................................................ 26

Figure 4. Signage for the Los Angeles Walks Program .................................................... 27

Figure 5. Iconic Hollywood Letters .................................................................................. 30

Figure 6. Milton Glaser’s I (heart) NY Logo ..................................................................... 31

Figure 7. Cooper Young Bridge .......................................................................................... 33

Figure 8. The Big Wave, Santa Monica, CA. ...................................................................... 33

Figure 9.Castro Valley Identification ................................................................................ 33

Figure 10. Haleiwa Hawaii Identification ......................................................................... 33

Figure 11. Candy Chang’s “I wish this was” project ......................................................... 36

Figure 12. Tidy Street project ............................................................................................ 37

Figure 13. The Freedom Trail in Boston MA. ................................................................... 38

Figure 14. The Freedom Trail in Boston MA. ................................................................... 40

Figure 15. Mural Town of Steubenville, OH ..................................................................... 41

Figure 16. Neighborhoods and Shared Memories ............................................................ 42

Figure 17. The Big 6 Information Literacy Model ............................................................ 45

Figure 18. Focus area for case study ................................................................................. 47

Figure 19. Overview of Visual landscape of each neighborhood .................................... 49

Figure 20. East Liberty physical structure map ............................................................... 50

Fig 21. Existing Engagement throughout city ................................................................. 51

Fig 22. KWL Chart ............................................................................................................. 53

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Fig 23. Sources Tactics Outcome ....................................................................................... 55

Fig 24. Visual Timeline ...................................................................................................... 59

Fig 25. E.L. Development Photos ...................................................................................... 60

Fig 26. E.L. Identity Comparison ...................................................................................... 62

Fig 27. Photo summary of different categories ................................................................ 63

Fig28. Gallery Crawl Document ........................................................................................ 64

Fig 29. Public Art Scavenger Hunt .................................................................................... 65

Fig 30. Photo of Pop-up Event .......................................................................................... 65

Fig 31. 5E’s Experience Model .......................................................................................... 71

Fig 32. Sample Persona ...................................................................................................... 72

Fig 33. Mind Map ............................................................................................................... 77

Fig 34. Graphic System ...................................................................................................... 78

Fig 35. System Identity ...................................................................................................... 79

Fig 36. 5E’s Opportunities for Design .............................................................................. 80

Fig 37. Test Process Outline .............................................................................................. 81

Fig 38. Website ................................................................................................................... 82

Fig 39. Neighborhood Loop with Destinations ................................................................ 83

Fig 40. Directional Sign ..................................................................................................... 84

Fig 41. Primary Interpretive Sign ..................................................................................... 86

Fig 42. Now & Then Interpretive Sign .............................................................................. 86

Fig 43. East Liberty Timeline ............................................................................................ 87

Fig 44. East Liberty Infographic (Identity) ....................................................................... 87

Fig 45. Printed Brochure .................................................................................................... 88

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Fig 46. Elements of Intrigue .............................................................................................. 89

Fig 47. What I love about East Liberty ............................................................................. 90

Fig 48. The prototype test ................................................................................................. 91

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 1

Chapter 01

Problem Overview

Introduction

In almost every city in the world, there is a certain level of geographic

segregation between the different cultural groups who occupy it. It’s a natural

phenomenon that’s rooted in the history of how cities were first formed. Typically such

diversities enhance the overall quality of life for those in a city. Different social groups

discover how to operate with each other rather than as individuals and development

happens in a more unified way. However in other cases, such diversities can lead

to a negative separation between neighborhoods. Invisible barriers are built by the

perceived cultural and economic differences between social groups. When these barriers

become extreme enough, these groups loose the ability to work together causing

their economics to plunge and their neighborhoods to fall into urban decay. Research

has shown that the more cross-participation a city has between its communities, the

better it will be able to operate both socially and economically (Stern and Seifert, 2008,

p.2). So in order for cities to collectively progress into the future, their segregated

neighborhoods must find a way to become more engaged with the rest of the city.

To re-connect separated neighborhoods with the greater part of the city a

number of development efforts need to happen. Commercial and retail corridors

need to be revitalized, crime and violence must be addressed and other infrastructure

elements like traffic control and public transportation may need improved. But

development alone is not enough. Furthermore, development that merely displaces

 2

residents to another neighborhood does not fix the problem. It simply delays it.

What needs to coincide with development is a communication process between the

neighborhood’s different social groups and the rest of the city. Both the perceptions of

the place and of the cultures that occupy it need to be changed. Development can take

care of the environmental elements like architecture and infrastructure, but it cannot

change the perceptions of the people who live there. There is an opportunity for design

elements to share the culture, history, and elements that make a place unique to the

rest of the city. If these qualities can be expressed to the rest of the city then there is a

possibility that more people will respect and appreciate the existing place along with the

new development.

This thesis will discuss a framework for implementing design elements that

promote the cultural, historical, and economical connectivity of a city. It will explore

storytelling, interpretive visuals, and placemaking tools as means to give an identity

to the diverse citizens of a segregated neighborhood. As part of this exploration, a case

study will be performed on a portion of the city of Pittsburgh, a large metropolitan

area with a rich industrial history. Pittsburgh currently ranks amongst the top 20

most segregated cities within the United States (United States, 2010). This case study

will develop a plan that focuses on understanding how these visual elements can help

combat some of the perception issues surrounding segregated neighborhoods. Various

artifacts will be explored such as proposals for public art, interpretive signage, murals,

placemaking signage, and wayfinding signage. This initiative will put forth techniques

for gathering information and optimizing design decisions that can reach local citizens

most effectively. Through doing so, it will demonstrate that the perceptions of a
 3

segregated neighborhood can be improved through its increased communication and

engagement with the rest of the city. The final goal of this case study is to propose

a framework that can be employed throughout the entire city as well as in other

segregated cities across the country.

Segregated Cities

Segregation in a city is defined as “the tendency of demographic groups to

have different distributions across neighborhoods” (Frankel & Volij, 2005, p.1). This

difference in distribution can be created by multiple factors such as; economic divide,

ethnic and cultural differences, and even the natural topography and the urban design

of the city. All cities are separated or segregated in some way and many began that

way. Around the turn of the 19th century, many European immigrants migrated to

American cities looking for better employment opportunities. Early migrants came by

the masses in particular because the of the unskilled labor force needed in American

industries. From 1880 to 1900, Pittsburgh’s population alone doubled reaching 451,000

(Bodnar et al. 1982, p.20). Large groups of migrants, mainly from Italy, Poland, and the

American South, began to assemble some of the cities first clusters of homogeneous

neighborhoods. These and many other cultural groups congregated together because

their shared traditions made it easier and more comfortable to exist in a new unfamiliar

place. As time passed neighborhoods built new foundations of social groups within the

city. Typically those in America sent word of opportunity to friends back home, who

often came and established their own residence in the same neighborhood. This was not

exclusive to Pittsburgh; any city that was largely built on manufacturing experienced
 4

a similar migration and structuring of immigrants. In Pittsburgh workers formed

communities near the central business district and the mills and factories along the

rivers. These early neighborhoods were crowded, and often times had very poor living

conditions with insufficient infrastructure. As social groups dispersed throughout the

city, the least desired immigrants often ended up in the least desired land. Interestingly

enough, as much as the demographic groups have naturally separated themselves, their

economic needs had also aligned them in many of the same neighborhoods during this

time period. Pittsburgh, in the early 1900’s, was a diverse city with small clusters of

highly concentrated demographic groups.

The Causes of Segregation: Economic & Racial

Economics have always had an effect on where groups of people locate

themselves in a city even as early as the late 1800’s. In Pittsburgh, competition for

low-income housing heavily influenced the structuring of ethnic distribution across the

cityscape. African American workers would often be forced to live in the closest section

of the city outside of the major downtown retail areas. Their work required them to be

mobile, often looking for additional work, and their best opportunities were within the

service industries downtown. These jobs were generally some of the lowest paying in

the city and therefore African Americans often had poorer living conditions than most

other demographic groups. In the Hill district in Pittsburgh, a predominately black

neighborhood, a leader concluded that it contained mostly “good Negros…although

the moral tone of the ward is not above reproach” (Bodnar et al. 1982, p.197) Other

struggling demographic groups would also need to rely on economic factors when
 5

deciding where to live. Aspects such as proximity to public transportation and lower

costs of land value would often integrate Italians and Polish along side of African

Americans. Similarly, they were forced to live under very crowded and troubled living

conditions. This sort of economic integration would last into the 1930’s until racial

oppression from the American south began to separate these groups once again.

Through both world wars and into the 1950’s and 60’s, some notable things

started to happen in Pittsburgh that would perpetuate the divide between these

demographic groups. European migration dropped off drastically, mostly due to the

boom or bust economic activity in the city and the increasingly difficult legislature

to deal with before coming to America. African Americans began to experience an

increase in racial discrimination and were essentially forced into living in predominantly

overcrowded and unstable neighborhoods. More and more, middle class families

were enticed to move further away from the downtown corridor of the city, entering

the suburbs and forming stronger homogeneous neighborhoods. Racism began to

foreshadow some of the later events that would happen in the civil rights era, and as

a result, the officials began to disregard certain wards of the city all together. The Hill

district was said to have six or more people sharing a bedroom with nearly one-third of

all the homes declared either unfit for living or in need of major repair (Bodnar et al.

1982, p.197) With poor economics and unfit living conditions, desperation set in and

many neighborhoods became very troubled places. In somewhat of a contrast, areas that

were inhabited by Irish, Polish, and Italians, have now had generations of families pass

through them and have formed a much stronger unity of people living together. They

began to take on a native status, and they used this ideology to separate themselves
 6

further from the African Americans still migrating to the city.

The Causes of Segregation: Economic and Development Divisions

One of the more recent arguments to surface supporting the divide in cities

today is the shift the economy has taken from a manufacturing base to a creative

base. In Richard Florida’s book, The Rise of the Creative Class, he defines the creative

economy as “the sum of economic activity arising from a highly educated segment

of the workforce encompassing a wide variety of creative individuals” (Stern and

Seifert, 2008, p.1). In this economy, workers rely on their cognitive based skills and

work in jobs that cover a diverse range of fields from the technology industry to the

high-end manufacturing and the creative arts. As this overall shift in our output

from a manufacturing and production model to an intellectual model is taking hold,

the landscape of employment within cities is changing in some drastic ways. “The

expansion of both arts occupations specifically and the creative economy overall will

create more opportunities for highly skilled workers than for urban residents with

modest educational qualifications” (Stern and Seifert, 2008, p.3). When observing a

city like Pittsburgh, one founded largely on the production of raw materials and blue-

collar work, there is a vast amount of workers finding themselves untrained to perform

in the creative economy. A neighborhood that was filled with blue-collar workers and

small businesses may now find itself entirely transformed to appeal to a younger and

more modernized workforce. Within this transformation, residential and commercial

development tends increase the notion of division putting longtime residents at

odds with development that appears to be not in their best interest. The Community
 7

Design Collaborative in Philadelphia says that, “Residential housing has to support

its local businesses. In other words, the two have to be on the same value” (Miller and

Woodward, 2011, p. 46). Simply put, when the two are not in sync, there is an obvious

divide between the old and the new.

The Causes of Segregation: Geographic

Not all causes of segregation are connected to social issues like race and

economics. As noted in the development of Pittsburgh, it’s unique landscape played

an important role in forming the divisions of different ethnic groups across the city.

In 1960 Kevin Lynch conducted a pivotal study in urban design that set out to prove

whether or not the tangible characteristics of a city had any effect on the way its

residents perceived it. His study looked at three U.S. cities; Boston, Jersey City, and

Los Angeles. Through comparing research findings in all three locations, he discovered

that there is a natural order of elements in a city that shape the way a person navigates

and perceives their surroundings. Lynch coined the five elements of the city; paths,

edges, districts, nodes, and landmarks. Each of these five elements makes up a person’s

image of the city and each have positive and negative effects of that image. A well-

defined path can serve as a main artery through multiple neighborhoods, often times

creating opportunities for businesses to thrive along it. It can also be an integral part

in connecting one part of the city to the next. But, areas outside of a prominent path

can become forgotten, as paths tend to become comfort zones for travelers. Edges can

sometimes be inherent geographic features that offer a non-alarming change in an

environment such as a river, or a steep hill. But others can also be defined by harsh
 8

contrasts in architectural or other environmental factors that send a person in the

opposite direction. Nodes are essential for adding a core to an experience and also to

connect paths through areas that may not have destinations. Districts naturally fall in

around the paths and edges of a city, but not all are well connected nor have a positive

perception. Landmarks are essential for giving identity to a place, both on a large scale

and smaller scale. Without them, a district has a ubiquitous feel and will likely have an

un-engaging environment.

The pivotal point to understand in Lynch’s work is that certain districts within

cities fall completely off the mental map of residents because either they’re not on the

typical paths of the city, or they’re without any landmarks to help distinguish them, or

they simply lack any intrigue of exploration. He discusses how if a city doesn’t have a

strong visible framework, than it will be much more difficult for residents to be excited

to explore new sectors of it. In the case of Pittsburgh, there is a lot working against it,

as its framework is somewhat difficult to grasp. Rybcynski cites Pittsburgh as having

“the “grid” plan which grows outward and has no regard for the natural typography”

(Rybcynski, 2010, p.13). These five elements can also be extreme enough in some cases

to expand the perceived quality of one district over another. “Both Jersey City and

Boston have shown the exaggerated attention paid to upper-class districts and the

resulting magnification of the importance of elements in those areas” (Lynch, 1960, p.

68).

City layout also has a profound impact on influencing where we travel in space.

Even the most practical element, distance, plays a significant role in shaping the

decisions one makes when setting out to complete a task. Colin Ellard writes that a
 9

person will walk when their goals are less than five minutes away from them (Ellard,

2010, p.212). Five minutes of walking equates to roughly only a quarter of a mile in

distance. The average size of an American city is something like 120 square miles so

that means for us to explore a city on foot we need a goal or destination every quarter

of a mile, which is hard to imagine. Pittsburgh is often described as a sprawling city

with rugged terrain where one relies on public transportation or driving to get from

point A to point B. This creates another inherent issue when trying to solve segregation

problems. The city is simply too spread out to assume people will travel on their own to

new neighborhoods, even if there is good reason to visit them. In this sense wayfinding

and integrated city signage is crucial not only to help people navigate but also to point

out what’s worthwhile along the way.

Why is Segregation an Important Issue?

When a neighborhood is segregated a number of things are working against it. First,

the perception of those who view it is from the outside in. It’s difficult for anyone to see

beyond the blight, the speckled past, the poverty, or whatever other factors are working

against it. When a neighborhood becomes closed off, less people are inclined to visit it

and there are limited opportunities for new business development. The perpetual cycle

of struggle ensues. Its geographic location within the city may make it more challenging

to access, and its overall environmental image may struggle due to a poor identity,

inefficient landmarks, a misunderstood past, and unfit connections to other thriving

neighborhoods. Worse off, when good intentions to revitalize fail, history can become

lost as architecture is destroyed and families are displaced, altering a once vibrant and
 10

proud culture of people. A recent study in Pittsburgh founded that “75% of respondents

indicate that there is no active level of diversity being celebrated in the communities

that they reside in.” Further more, 50% of respondents believe that our society is

multicultural and that more knowledge about each other will produce better cross-

cultural relationships (Unity Consultants, 2001, p.12). These numbers show a direct

correlation to the theories on which Stern and Eikfert base their argument of cross-

cultural productivity. Simply put, if the ever-diverse population of cities like Pittsburgh

can learn and understand more about each other, then cross-cultural relationships have

a will better chance of being cultivated and all neighborhoods throughout a city have an

opportunity to prosper from a collective engagement.

Conclusion

Kevin Lynch said that Environmental Images are a two-way exchange — “the

environment suggests distinctions and relations and the viewer with great adaptability

selects, organizes and endows with meaning what he sees” (Lynch, 1960, p.6). When

considering the vast collection of reasons that a neighborhood becomes segregated;

economic despair, ethnic separation, failed revitalization efforts, ultimately it’s the

image that each place represents outward to the rest of the city that communicates

it’s current state of operation. As discussed earlier, development plays a key role in

changing the landscape of a segregated neighborhood and making the environment

appeal to a wider audience. But to really bring back a segregated neighborhood, the

perceptions of the residents who live there also need to be revitalized. As development

starts to attract more outsiders into segregated neighborhoods, communication tools

 11

placed throughout the environment have a unique ability influence their perceptions

of the people and the places they are in. These elements can inform and link someone

directly to the surrounding experience of a neighborhood in a way that a website

or book cannot. They can also work to help encourage further exploration of a

neighborhood beyond the revitalized corridors and deeper into the unique historical

and cultural offerings it has. If development can be used to entice more people into

segregated neighborhoods, than environmental graphic design elements can be used to

create appreciation and preservation for what was there, what is there, and what should

remain there in the future.

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Chapter 02

Environmental Graphic Design

Introduction

Cities are filled with signals, both architectural and other, that help inform

communication between the environment and those who interact with it. Signs and

maps help to direct people to nearby destinations while address numbers work to

identify buildings in a larger urban framework. Public art communicates the unique

characteristics of an environment and other pageantry elements pave the way for

distinct neighborhood identifications. These visual elements along with many others,

make up the field of Environmental Graphic Design. Environmental Graphic Design,

or EGD as it is commonly referred to, is a design discipline that concerns itself with

three specific components of a place, they are: identification, in order to distinguish

it from other places; navigation, so that each place can be found in the context of its

surroundings; and interpretation, sharing information about the environment that

describes its context in the broader scope of society. Together these components work

to enhance the environmental image of a place and evoke a “sense of home” that helps

achieve a positive feeling of emotional security (Lynch, 1960, p.4).

Origins and Purpose of EGD

Environmental Graphic Design earned its roots in the beginning of the 20th

century. The industrial revolution had taken hold of American society and many

developments like public transportation, urban growth, and manufacturing booms led
 13

to a stronger need to communicate information throughout the surrounding world.

By this time, graphic design was well on its way to establishing itself as a profession

as was architecture and urban planning. So it was through the combination of these

three disciplines and the need for basic communication about the environment that

Environmental Graphic Design was born. “The boundaries between the two disciplines

were clearly delineated until graphic design and architecture began to merge in the

mid-twentieth century, with considerable influence from other fields such as industrial

design and urban planning. This merger has come to be called environmental graphic

design” (Berger, 2005, p.10).

With the exclusion of only a few key figures, environmental graphic designers

didn’t become known as specialists until after WWII. “As developments, complexes,

transportation systems, and superhighways proliferated, the need for graphic design

consultation became apparent” (Berger, 2005, p.15). Cities began to need wayfinding

elements to help their residents navigate transportation systems and increasingly dense

urban landscapes. Public areas needed murals, sculptures, and graphic identities to give

a sense of desire and individuality to a space. In the 1980’s the country experienced

another boom of development that would raise the level of the profession to a place

it had not yet been. “The urban scene was soon transformed by bustling themed

marketplaces and stores, grandiose corporate headquarters, and new or improved zoos,

botanical gardens, and museums” (Berger, 2005, p.15). These newly designed civic

spaces required an entirely different scale of EGD work, to not only make their spaces

functional, but also to add a unique identity to them. During this time environmental

graphic design slowly began to garnish the attention that it deserved for bridging the
 14

functional aspects of graphic design communication with the architectural disciplines of

the built world.

The current environmental graphic designer has a wide and considerably

different definition depending on type of work he or she does. However, in a broad

generalization they are concerned with “enhancing a persons relationship and

understanding to the environment they are in” (Moscardo, et al. 2007, p.4). First,

they work to identify a place so that it’s distinguishable from other similar places. This

might be through a monumental sign, a logotype, a series of thematic banners or even

a piece of public art. Second and often the most common task of an environmental

graphic designer is creating directional sign elements that help people to navigate

complex places. Seemingly simple, there are many variables in this task to consider.

Questions like who is the user and what are their potential destinations are just a couple

of the starting points for this assessment. The third and most unique task is to supply

contextual information about the experience along the way. Using interpretive sign

elements, designers are able to provide “information about a place, object, or event

that enhances a visitors appreciation, understanding, and enjoyment” (Moscardo, et

al. 2007, p.3). Items like time-lines, historic markers, and public art, are all examples

of interpretive elements. Together these three areas within the discipline; navigation,

identification, and interpretation, can create a positive connection between the user and

the environment that will result in a more functional and memorable experience.

Exploring the Components of Environmental Graphic Design

Navigational sign elements are perhaps the most functional components of

 15

environmental graphic design. Their purpose is to help someone find what they’re

looking for; whether it’s the restroom, an office inside a building or a location of a

nearby neighborhood. Designers work to understand the physical structure of the space

and the objectives of its users in order to determine a navigational plan that points

to all destinations. Once the destinations are understood, they create a program of

sign types that enable multiple layers of navigation to take place. For instance, when

considering an urban environment, a system may be developed to provide navigation

on both a vehicular level and a pedestrian level. Vehicular directionals work on a larger

scale, and are placed in locations more useful for vehicular traffic patterns. Readability

and repetition allow these signs to be quickly understood and keep users headed in the

proper direction. Pedestrian directionals work to direct users from their location to

nearby destinations on foot. The scale of these signs is smaller and their locations are

more integrated into the environment. Both sign types work within one system, but

each function for a different type of navigation. Orientation maps are also common

signs used to help to break down navigation paths. These signs have the advantage of

showing multiple destinations nearby at once. Maps work as descriptive elements that

help to communicate additional information about the surrounding area. An area can

be enlarged and shown in greater detail to identify destinations that a user may not

have realize existed. Often times orientation maps encourage exploration of a place and

can establish a sense of security through a creating a comfortable framework. As Kevin

Lynch discovered in his research work, “An ordered environment is good as it provides

an accessible framework for one to organize activities, beliefs, and knowledge”

(Lynch, 1960, p.4).

 16

Identification sign elements often serve as the landmark greeting to a place.

They work to communicate the semiotics of a neighborhood identity through multiple

elements in their design form. “The anticipation of entry and the fulfillment of

arrival, can be among the most dramatic aspects of place interpretation” (Fleming,

2007, p.228). Identification signs help establish these expectations. Their function is

to recount a place by portraying all of the qualities that belong to it as well as those

that make it different (Mollerup, 2005 p.109). Because of this, identification sign

elements have many different forms. In one case, a landmark sign may be used at the

gateways of a neighborhood to extend a brief, easy to interpret message. In contrast,

a piece of public art, or a system of pageantry elements can be used to provide a more

complex and interpretive identification that forces viewers to deliberate and find their

own meaning. Sometimes the message can become quite elaborate in its semantic

representations. Typographic treatment, materials used for construction, and even

the physical form itself can communicate a lot of subconscious characteristics about a

place. For instance, the “LOVE” letters in Philadelphia or the “I (heart) NY” logo in New

York City are both iconic identifications that allow for various levels of interpretation

through their design. The imagery of these identities activates a curiosity about the

place and also elicits some sort of an emotional response. To create an effective identity,

its necessary to understand the function of the space, the activities that happen within

it, the culture of the people who occupy it, and the boundaries it uses to separate itself

from other places. It may be appropriate to reference a historical moment in one

instance, while other times it might be better to celebrate a current characteristic. It’s

only with informed research into the past and present, that careful judgment can be
 17

made to give an appropriate identity to a place.

Interpretive graphics are used to express the story of a place. Their message

should provoke thought, create relationships and reveal something new to their

viewer. Quite often they take on the role of a tour guide or teacher (Moscardo, et al.

2007, p.3). Similar to identification elements, they take form through many different

configurations depending on the information they are communicating. In an urban

environment one of their most commons functions is to act as a historic marker. Often

they appear as plaques on a building, engravings in a sidewalk, or some other form of

didactic communication. This type of interpretation can often be uninteresting and

difficult for most engage with. The content may lack a relevance to current society and

could also be suffering from little or no supporting visuals. Good interpretation needs

to evoke emotion and a personal connection with a place. The core component to an

effective interpretive element is creating a memorable narrative that enriches the site.

It’s crucial to have a thorough understanding of the site and the users when developing

a narrative. Building on the existing knowledge and mental associations of potential

users are two tactics that help ensure the content will remain engaging. Interactive

components can engage the user in the learning experience by making them active

participants in it. Interactivity adds an element of fun and intrigue, and therefore

provides a memorable experience back to the user. Presentation of information can also

affect the success of an interpretive element. Complex photo-montages and smartly

crafted juxtapositions can stir interest and even controversy in a place. An overall theme

threaded through multiple elements can create an experience that begins to mimic a

museum. Ultimately the goal is to provide a framework that educates viewers enough to
 18

construct their own feelings and beliefs about a place.

Exploring the Possibilities of Environmental Graphic Design

As segregated neighborhoods begin to become redeveloped, there are a number

of services that environmental graphic design can provide that will help raise the overall

perception of the neighborhood. Robert Fleming describes environmental graphics as

being capable “of humanizing the essential elements of a cityscape” (Fleming, 2007, p.

21). However in order for this to happen, much care must be given to understanding

the specific and unique qualities of a place. Applying a one-size fits all design approach

can lead to a blanketed feeling of sameness that dulls an environment with a sense of

anonymity. In order to avoid this, extended efforts must be made through research and

community engagement to understand the qualities of a place. Ruedi Baur exclaims

that, “In a world where everything is tending towards resemblance, the extraordinary

— or at least the appropriately different — is acquiring great value. Creating places

that are unique, unreplicable, and therefore contextualized could be the great challenge

for towns and cities of our times” (Mollerup, 2005, p.304). Recently new strategies

have been implemented into design that have enabled designers of all disciplines

to take a more human centered approach with their work and focus more on the

experiences design can create. Andrew Blauvelt of Design Observer writes that, “Lately,

I’ve sensed that we’re in a third phase of modern design, what I sometimes call its

‘ethnographic turn.’ We’ve seen periods of great formal experimentation, exploding

the visual vocabulary of modernism. We’ve seen periods focused on the meaning-

making of design, its content, symbolism, and narrative potential. For me, this new
 19

phase is preoccupied with designs effects, beyond its status as an object, and beyond

the “authorship” or intentions of designers” (Blauvelt, 2007). The notion of research in

design commonly refers to a focused investigation that informs the action of design.

The investigation tends to be very qualitative focusing on uncovering the ‘why’ behind

a design problem. Quite often these research tactics are centered around the strategy

of Ethnography. Ethnography is a “research method based on observing people in their

natural environment rather than in a formal research setting” (Blauvelt, 2007). Its

goal is to understand a phenomenon through the perspective of the actual community

being studied. For example, to understand why a neighborhood is highly segregated,

a researcher would need to understand the culture of the people who live in the area.

Factors such as the physical infrastructure, the beliefs of those who live in it as opposed

to those who do not, it’s history and it’s range of citizens, would be just a few of the key

elements to realize. This type of research can inform all aspects of the design process;

everything from understanding the appropriate construction materials for a sign

element to realizing the ability to create effective messages that communicates to the

intended audience.

Conclusion

The components of environmental graphic design provide an open framework

for accessibility. When these tools are combined into a system, they can work together

to create a cohesive experience of all of the aspects that make up a place. The audience

may be enticed to explore an area through a wisely crafted identification. They can be

taught more about a neighborhood’s culture and people through a series of interpretive
 20

graphics. In addition, an easy to use navigation structure can allow them to comfortably

explore unknown places. A well designed sign system becomes an integrated part

of the environment. It feels just as much a part of the space as the buildings and

streets that surround it. Robert Fleming said that, “Trail systems, interpretive panels,

and placemaking public art have rarely been connected” (Fleming, 2007, p.222).

Furthermore he goes on to state that “when assessing the city, in the various levels

of public art, landmarks and other elements that form the characteristics of a place,

there’s a missed opportunity to enhance the meaning of these objects through a larger

connected story. Many placemakers remain isolated objects in space. Their effect could

be more pronounced if architects and urban designers sought to relate them in effect to

create a choreography of meanings” (Fleming, 2007, p.10). When looking to segregated

cities the idea of creating a system shows potential in two different ways. First, it

gives a cohesive feel to a segregated environment, providing a system of information

tools that help users to navigate and inform. Secondly and more importantly, a system

approach offers the opportunity to be expanded into other neighborhoods across the

city. Growing a system into a city wide experience creates a network that can make each

place feel cohesive and at the same time promote the characteristics that make them

unique.
 21

Chapter 03

Design Case Studies

Introduction

In order to take a closer look at the impact environmental graphic design

(EGD) can have on segregated cities, it’s necessary to consider the many examples that

currently demonstrate its value for a community. The following case studies represent a

small collection of this work and showcase many different lessons that can influence the

project portion of this research study. The common topics previously discussed within

EGD— navigation, identification, and interpretation— will be used to organize the

following case studies. It is important to note that interdisciplinary collaboration has

enabled much of this work to exist. Environmental graphic design is a very collaborative

profession where many different design disciplines come together to make these

projects a reality. Without collaboration, these works would not exist as they do today.

Navigation: Integrated Wayfinding Systems

As discussed, navigational sign elements are the primary functional tools of

the environmental graphic designer. Within this category there are two main types

of signs that exist; directional signs and orientation signs. Directional signs create

the circulation system of a wayfinding program. Their role is to provide the necessary

prompts that keep users on a given path towards a specific destination (Gibson, 2009,

p.50). They primarily use typography, symbols and arrows to display their messages.

While their design should harmonize with the surrounding area, there are also some key
 22

principles that control their ability to be effective.

The following guidelines are used to provide maximum legibility and communication in

directional signage:

• Signs should have a color contrast of at least 70% between type

and background color

• There should be no more than three or four destinations messages

per vehicular sign

• Use a limited color palette to differentiate destinations or districts

on a sign

• Sign type should increase in size relative to the speed in which

vehicles are traveling

• A combination of upper and lower case letters generally presents

better readability (Berger, 2005, p.44)

Orientation signs are designed to help acclimate people in space. Their most

common form is that of the “you are here” map. Maps, as already discussed, help to

provide contextual information about an environment. Designing an effective map is a

challenging task. The core idea is to simplify an area down to its most essential elements

and provide a basic visual framework that depicts it. An effective map does not show an

actual representation of every arc, turn, or shape in an environment. Instead it shows a

generalized expression of the environment that can provide a structure easy enough for

a user to remember. David Gibson outlines the four main approaches to a wayfinding
 23

strategy as: (figure 1.)

• An overall district approach can be taken that breaks down a large area into

sensible districts and then uses those districts to organize specific destinations.

• A landmark strategy directs users to major nodes and builds out more specific

prompts to further destinations at these locations.

• A connector strategy uses a main path, or paths as the central point of the

wayfinding plan and directs users to destinations off of it.

• A Streets model is more closely related to a neighborhood and uses the names of

“streets” to provide a detailed layout of the environment. (Gibson, 2009, p. 37)

Fig 1. David Gibson’s four strategies for a wayfinding approach:

Image Source: Gibson, 2009, p.37

 24

Some rules and principles of orientation maps are:

• Users can only comprehend a geographic area of about 600 sq. ft.

• Directional signs and identity elements should be closely coordinated with

orientation maps to provide an integrated wayfinding system.

• Maps should begin with the simplest image of an area possible and add

geographic and other details as necessary.

• Providing a “you are here” location along with a sensible orientation to the space

is essential for readability. (Berger, 2005, p.22)

A recent example of an effective wayfinding system is the Walk! Philadelphia

sign system. Designed by Joel Katz Design Associates, it’s an extensive map system that

outlines Philadelphia’s center city district. The system uses an iconic circle shape and

bold graphics that create a ‘cartographic’ brand that is easily recognized throughout

the city (Berger, 2005, p.33). What makes this system unique is the simplistic way

that Katz is able to break down complex environmental information into basic graphic

representations. He starts by developing a glyphic map, which is used to represent the

navigation plan through a purely symbolic vocabulary. Parks and rivers are basic forms,

and city blocks are broken into simple geometric shapes. In doing this, he removes

any extraneous information and emphasizes only the factors that a user will need to

remember. Katz has also developed the “heads up” theory to reading printed maps. The

“heads up” theory claims that by orientating a map to represent the direction it is facing

rather than the traditional approach of facing north, it becomes much easier to read

and relate to the surrounding environment. The graphic language of the Philadelphia
 25

maps is broken into four basic quadrants with a simple grid of color for each. On the

reverse side, there is a more in-depth descriptive map that gives detail to the specific

environment within the surrounding area. The colors of the quadrants on the maps

also appear on the directional signs within the district. This use of color re-enforces the

identity of the neighborhood and visually connects the directional signs to the maps.

Fig 2. Walk Philadelphia Sign System

Image Source: Gibson, 2009, p.37

Another important factor to directional elements is how they communicate to

a largely diverse audience. No other example shows this better than Lance Wyman’s

signage system for the 1968 Olympic games. In this system, Wyman developed a system

of basic pictographic symbols that depict each of the activities in the Olympic events.

The designs are based on “glyphs” that were inspired by the artwork of Mexican pre-

Hispanic cultures. Instead of depicting actual figures doing the different activities of
 26

the Olympics, Wyman used forms that would have a more universal understanding.

“The symbols looked to identify activities through elements that would have universal

recognition and forms that could be utilized in different ways” (Berger, 2005, p.16).

Instead of showing two figures boxing, he simply showed a boxing glove (figure 3).

Aside from their ability to communicate universally, the symbolic language was also

quite effective in evolving into other forms of design. The icons proved themselves

as functional communication tools for ticketing, wayfinding, and creating an overall

language of branding .

Fig 3. Lance Wyman’s 1968 Olympic Game Symbols

Image Source: Berger, 2005, p.17

The successful merger of symbols into a wayfinding system can be noted in

the Downtown Los Angeles Walks program. Conceived by Hunt Design and Corbin

Design, it was established to encourage pedestrian exploration of a predominantly

 27

vehicular city. The core element of the system is a network of 13 unique pictographic

identities that are used to establish each of the districts in the downtown city area. The

pictographic identities play a key role in branding each neighborhood with an individual

feel while reinforcing its place in the larger context of the city. The system provides an

easily grasped framework through its repetitious use throughout each district. “The

system includes 1,300 signs in a 4-sq.-mile area encompassing 350 city blocks, 300

intersections, 50 streets, 30 freeway off-ramps, eight subway stations, and hundreds

of bus stops” (SEGD, 2007, p. 75). The pictographs are smartly developed from an

understanding of what makes each area unique. They reflect a variety of attributes from

landmark architecture to cultural information. By stylizing the symbols to stand as

unique identities, they become the dominant design motif for the system. Along with

their integrated use of symbols, the system also features “Rolling Maps” that provide an

enhanced navigational experience. The rolling map features close up depiction of a nine-

block radius while also providing an additional map that illustrates a viewer’s location

within the greater downtown corridor (SEGD, 2007, p.75).

Fig 4. Signage for the Los Angeles Walks Program

 28

Image Source: SEGD Magazine, 2007, no.17

Identification: Urban Identities

Some of the most remembered identifications are those that require the least

interpretation. A good identity should be universally understood and should also be

physically and emotionally connected to the place it represents. “It’s not enough to

simply mark a place, you must also show or illustrate meaning with your marking”

(Fleming, 2007, p.112). An identity builds anticipation for what lies beyond it and is

one of the first crucial moments that design can shape a users experience. While there

are no governed rules for creating identities, the same basic principles of directional

signs are generally followed to provide legibility and coherence with the environment.

The following examples will look at identification signs as both descriptive and

non-descriptive markers. Descriptive markers display their meanings through a fairly

literal translation. Images, materials, and references to form and architecture are all

used to represent formal design elements that help connect these signs to a place. Often
 29

identifications are designed to build the anticipation of a place and set forth initial

expectations of the environment. Non-descriptive markers follow a less traditional

role and become more of an icon for a place. In this range of signs, the connections

typically don’t correspond with a particular, person, place or point in history. Instead

their interpretation is much more dynamic, and often connects on an emotional level

with the viewer. Both are effective strategies to create an identification and each have

an appropriate context for use. The following examples demonstrate the functions and

difference between both types.

Perhaps there is no non-descriptive gateway sign more iconic than the

Hollywood letters in California (figure 5). Situated on Mount Lee in the Hollywood

hills area of Santa Monica, the letters overlook the famed Hollywood district of Los

Angeles. The sign itself was originally conceived as a marker for real estate development

in 1923. Designed by Thomas Fisk of the Crescent Sign Company, the letters first read

“Hollywoodland,” and flashed on and off to draw attention to the potential real estate

development opportunities above the city (Hollywood Sign Trust). As time passed,

deterioration of the sign caused the greater part of “Land” to fade away leaving just

the letters “Hollywood” standing. Through the years the letters began to represent

more than just a distant moment in development history. “To movie goers and so

many others, the sign represents the earthly home of that otherwise ethereal world

of fame, stardom, and celebrity–the goal of American and worldwide aspirations to be

in the limelight, to be, like the Hollywood sign itself, instantly recognizable” (Braudy,

2012). Unlike most traditional identifications, the letters depict no human subject or

familiar object for anyone to connect with. Instead, they act as an abstract icon that
 30

provides a blank canvas for the many thoughts and associations of this place. In this

sense, these letters derive their meaning through the existing notions of “Hollywood.”

This phenomenon can only work when the culture of a place precedes it so much that

an abstract identity can absorb it, and carry forth the ever-evolving characteristics that

define the place.

Fig 5. Iconic Hollywood Letters

Image Source: www.hollywoodsign.org

The “I (heart) NY” logo is another powerful example of how an emotional

connection to an identity can effect the perceptions of an entire city. In the 1970’s

New York City was experiencing a surge of crime and drug use unlike it had ever seen

before. The city was at an all time low, suffering from a rash of terrible publicity and a

generally poor perception from both its visitors and residents. In 1977 the New York

State’s department for economic development commissioned a revitalization campaign

for the city that would boost tourism (Sooke, 2011). Milton Glaser’s logo became the

centerpiece of this effort. Originally conceived in the back of a taxicab as a crayon

scribble, the simplicity of the logo and the sincere message it embodies created an
 31

instant connection with its viewers (Sooke, 2011). Often the subject of t-shirts, coffee

mugs, stickers and many other objects, the identity strikes an emotional cord with all

who experience the city. Similar to the Hollywood letters, the “I (heart) NY” logo does

not reference a specific time or place. It’s beauty and effectiveness lies in the simple

communication of an idea. Its simplified visual language also helps to communicate

the message to a wide and vastly different audience. Using the symbol of the heart to

represent love and the letters NY for New York City, the message is comprised of three

basic visual elements (figure 6). The brilliance in this identification is the ownership it

bestows onto anyone who displays it. It simply suggests that even though things might

seem bad, (we) still love this place. That basic idea has spilled over, and spawned an

entire city to re-imagine it’s future.

Fig 6. Milton Glaser’s I (heart) NY Logo

Image Source: www.miltonglaser.com

Not all identity signs need to make such an impactful or emotional connection

with the place they are representing. Often times the most successful signs hint at
 32

what’s beyond, with a subtle semantic reference through their physical form, usage of

symbols or certain aesthetics communicated through color and typography. In these

cases, it’s the anticipation that is built through the sign that makes it effective. In this

scenario, it is the responsibility of the designer to research the place the identification

is representing. Understanding the culture and history of a place is crucial to creating

a successful identity. Along with this, it is important to understand what is significant

to the community. An outsider may think that a moment in history, a bit of quirky

culture or a reference to a type of architecture is a good idea, but the community may

have a completely different feeling about it. Engaging local community members and

developers will help to ensure that the right identification is communicated through

these signs. An example that demonstrates this is The Cooper Young Bridge in Memphis

Tennessee references the architecture of nearby buildings on its façade (figure 7). This

visual connection provides a contextual clue to the architecture that one will encounter

and therefore may also allow for interpretation or expectations of the culture that exists

within it. In another example, the Big Wave is simple representation of a wave situated

at the entrance to the city of Santa Monica California (figure 8). Designed by Tony

Delap, it is two bent pieces of metal come together at just the right point to form an

arch representative of the nearby waves. The wave represents an obvious connection to

the beach, but again, the thought of a beach may lead to further interpretations about

the people and culture that surround it. In a more traditional sense of an identification

sign, the Castro Valley, California and Haleiwa, O’ahu Hawaii signs both name the area

that they represent and also use color, materials and cultural references to describe it

(figures 9 & 10). The surfer depicted in the sign for Haleiwa paints a representational
 33

clue as to what lies beyond, just as much as the native canoe, coloring and typographic

treatment do on the Castro Valley sign. Examples such as these are plentiful and

although they may feel more literal in their representation, they still allow users the

freedom to build on their own expectations of the place.

Fig 7. Cooper Young Bridge Fig 8. The Big Wave, Santa Monica, CA.

Fig 9.Castro Valley Identification Fig 10. Haleiwa Hawaii Identification

Image Source: Fleming, 2005, p.230 - 231

 34

Interpretation: Participatory Involvement and Interpretive Elements

Interpretive signs are the final piece to communicating the culture and history

of a place. They take shape through many different forms and are often the elements

that celebrate the true distinction to a place. A mural may be used in one location, while

a historic marker is used in the next. No matter what the form is, interpretive elements

rely on a keenly developed narrative. Some basic principles for developing a successful

narrative are:

• Any interpretation that does not somehow relate what is being displayed or

described to something within the personality or experience of the visitor will

be sterile.

• The chief aim of interpretation is not instruction, but provocation.

• Interpretation should aim to present a whole rather than a part and must

address itself to the whole man rather than any phase.

• Interpretation is entertaining, relevant, organized and thematic.

• Interpretation should involve visitors and provide variety

• Interpretation should know and respect audiences

• To connect with a visitor, interpretation should use humor, analogy,

metaphor, stories, interaction, application of new knowledge, and

questions. (Moscardo, et al. 2007, p.3)

In the following examples, interpretation within urban environments will

be broken down into participatory engagement, historical communication, cultural

connectivity and political protest. In each of these areas, various tools can be used
 35

to create the intended objectives. However, it is the structure of the narrative that

ultimately impacts the success of these elements most.

Community engagement should always be at the forefront of creating a

compelling narrative. Design teams must interact with communities to understand

their core values and culture, and then translate those ideas back through elements

of design. Typically this engagement process works through focus groups or various

forms of town hall type meetings, where representatives of a community can come

forth and contribute their thoughts. A more unique approach to this idea is to allow

the community to be part of the narrative itself. Designers can provide a structured

framework for gathering input from a community that in turn can become the actual

designed artifact. This level of engagement provides ownership over the outcome that

a traditional process cannot. Candy Chang uses this technique often in her work to

produce a range of thought-provoking interpretive pieces. One of her most well known

works is the “I wish this was…” project. Started in her hometown of New Orleans, the

project was inspired by the many vacant storefronts surrounding her neighborhood.

From this, the conception of the project was to create a simple vinyl sticker in the

recognizable form of a “Hi my name is” sticker, and paste it on the façades of these

vacant store fronts. The sticker reads, “I wish this was” and gives an open space

beneath it for anyone to write their own thoughts. This simple gesture, along with

strategically placed markers, invites anyone who walks by to participate in the project

(figure 11). This project produces a narrative on two different levels. On one hand, this

narrative represents what the community believes would be better than the current

empty building. On the other hand, it represents the larger message of hope for the
 36

community. It shows in a very passive way that the citizens of a community have the

potential to imagine a better future.

Fig 11. Candy Chang’s “I wish this was” project.

Image Source: www.candychang.com

 37

Another example of a community engagement narrative is the Tidy Street

Project in London. Here designers and artists created a temporary infographic on

Tidy Street that marked each resident’s electrical usage over the course of two months

(Urbanized, 2011)(figure 12). Residents became engaged in the process, and their

participation in the narrative affected the representation of the graphic each day.

By using the temporary format of spray chalk, the designers were able update the

infographic each day to reflect the electrical usage of each house. The accountability

that it bestowed onto those who participated created a friendly sense of competition

to reach the lowest possible energy consumption. The effects of this narrative were

two fold. On one hand it made an entire street of people become engaged in how much

energy they consume and on the other hand, it created a lasting narrative that spoke

out to energy consumption in a much broader context.

Fig 12. Tidy Street project.

Image Source: www.designyoutrust.com

 38

Another frequently used strategy in interpretation is communicating the history

of a place. While it is common to find historic markers in almost every city across the

country, more engaging examples of historic interpretation are less frequent. When

creating historical narratives, it is essential to craft an engaging story that creates a

memorable experience for its audience. Time-lines, juxtapositions of old and new, and

cultural trails are among some of the better tools for this type of engagement. One of

the best-known historic trail systems is the Freedom Trail in Boston Massachusetts.

The Freedom Trail is a two and a half mile historical loop that directs visitors to 16

historically important sites. Conceived in 1951, the mission of the trail is to tie together

the story of the American Revolution thereby making it easy and enjoyable for residents

and visitors to experience (The Freedom Trail). A red brick path distinctively marks the

trail as it travels throughout the city. Bronze crests are also inlaid to act as trailblazers

marking the identification of the path (figure 13). Historic plaques, printed brochures,

and

Fig 13. The Freedom Trail in Boston MA.

 39

interactive phone applications all provide explanations of the destinations throughout

the walk. The easily-followed path gives visitors a glimpse at connected pieces of history

that collectively make up a greater American story. The integrated experience of seeing

history firsthand along with reading and listening to a narrative provide an experience

that a variety of audiences can engage with. Presently over 3.2 million people visit it

each year (The Freedom Trail).

Another recently produced trail system is the Battery point sculpture trail in

Hobart, Tasmania. Here the creative use of scale and different materials depict various

moments in the city’s history. For instance, one of the sculptures— the floating

numbers 313 (figure 14) — is fabricated with modern boat-making materials and

floats in the nearby port. The number 313 represents the number of vessels built at

Battery Point and launched into the river between 1825 and 1872 (EG, 2012, p.43).

Each sculpture in the trail is separated by a different scale and set of materials and

is unified through the use of a consistent typeface. They are accompanied by a brief

historical marker either as a sign post or embedded into the actual sculpture itself that

describes the message of the sculpture. The trail also has brightly colored directional

elements that help viewers navigate the path. In this project, the abstract and oddly

scaled elements draw intrigue into the story of what they are representing. This unique

approach, is another way to engage a viewer in a topic that might otherwise be not as

interesting.
 40

Fig 14. The Freedom Trail in Boston MA.

Image Source: EG, 02-2012, p.43

The creation of murals has been one of the most storied and variably successful

ways to communicate moments in history. Murals have been known to boost the overall

tourism and create inspiration for other infrastructure growth. Cities like Philadelphia

and Chicago both have a rich tradition of supporting the development of murals. Their

effects span beyond just beautifying an environment. One of the most classic examples

of a Mural Town is that of Steubenville, Ohio. Steubenville struggled from a gritty

steel and coal town reputation with a failing downtown unable to financially progress.

Murals were chosen as a vehicle to transform the downtown area into a sort of gallery

that could become a tourist destination and begin to change the town’s reputation. The

murals were also hoped to act as a catalyst to improve other downtown infrastructure

repairs and to teach local history and unify the community (Fleming, 2007, p.116).

The overall project consists of 25 murals that the community came together to plan

and inform (figure 15). Mainly depicting important movements in history, the murals

have achieved many of the cities initial expectations. Tourism has increased spawning
 41

the development of restaurants and shops along with the cities first ever information

booth. Capitol investment has improved in the downtown area enabling storefronts to

be revitalized and more grants for business development. Historical events depicted

in the murals have also been included into history curricula at local schools thereby

engaging the community through their shared history. The model for development has

been so successful that other rust belt cities have replicated the strategy. Some have had

more success than others, and the future fate of mural towns lies uncertain as closely

located cities continue to compete for tourism.

Fig 15. Mural Town of Steubenville, OH

Image Source: Fleming, 2007, p.117

Interpretation is also an effective way to foster engagement between different

cultures. The temporary rotating exhibit titled Neighborhoods and Shared Memories,

is an excellent example of cultural engagement (figure 16). The project was conceived

to help the El Paso museum of history move closer to the people that it serves. The

central focus of this exhibit is to make the community the curator. The design team

worked with members of the community to collect stories and artifacts directly from
 42

them. They then built those stories into a single narrative that expressed the culture of

the place. “We worked with a plurality of voices that do not necessarily build a single

narrative, but rather create a web of themes that will carry on for the museum as the

project continues, in future iterations, to examine El Paso’s other neighborhoods and

districts” (C&G Partners, 2012). The experience they created was meant to feel like a

casual visit to a neighborhood where locals approach you and tell you the history from

their perspective. “The takeaway for the visitors lies in the broadness and authenticity of

the experience, and a less linear, certifiable narrative” (C&G Partners, 2012). The exhibit

was set to be on display for 18 months, at which point it’s content would change to

reflect a different local neighborhood.

Fig 16. Neighborhoods and Shared Memories

Image Source: www.aiga.org

 43

Conclusion

These projects have been discussed to show the benefits of navigation, identification

and interpretation. In these cases, environmental graphic design demonstrates an

ability to keenly connect with its audience and provide a functional and informative

framework that enhances the connection to a place. Practical lessons such as ‘heads up’

map orientation and creating a system that is adaptable for various uses can also help

to integrate a more effective EGD system. Identification signs can be used to create

emotional connections to a place, or simply create anticipation that will entice people to

explore a place further. Interpretive elements have an incredible opportunity to inform

people of all the various aspects that define a place . If these principles and engagement

techniques can be applied to common places, such as segregated cities, there is an

opportunity to witness the same level of effectiveness as portrayed in these case studies.
 44

Chapter: 04

The Project Case Study - Research Investigation

Introduction

Robert Fleming said that “Small scale interventions are key to organizing and

preparing the community for future implementations.” He also remarked that, “there is

so much to be gained by doing hundreds of small experiments” (Fleming, 2007, p.13).

This case study will serve as one of those small scale experiments and test the theory

that environmental graphics can help people foster a better connection to segregated

neighborhoods and improve the overall perception of a place. It will provide accessible

channels of information about the favorable qualities of a neighborhood, and furnish

a toolkit of communication pieces that will help a person explore an area beyond its

preconceived barriers. It is the first step in many that will follow, and in the larger

scheme, can become a tool to articulate the value for further explorations.

The Design Research Process

It is important for both the process and the designer to allow for a range

of adaptability when conducting research. No two problems are the same, and no

technique draws the same results twice. Candy Chang provides the advice “Focus on the

things you can control, stay curious, keep an open mind, and try things out” (Chang,

2012). Throughout the course of this investigation, it was crucial to experiment and

remain open to new information changing the expectations of this project.

 Chapter Two: Practicing Research Driven Design

45

Fig 17. The Big 6 Information Literacy Model

STEP 6 STEP 1
EVALUATION TASK DEFINITION

6.1 Judge the Product 1.1 Define the

(effectiveness) Information
Problem

STEP 5
6 1 STEP 2
SYNTHESIS INFORMATION
6.2 Judge the Process 1.2 Identify
SEEKING
(efficiency) Information Needed
STRATEGIES

5 THE BIG6
2
5.1 5.2 ™ 2.2 2.1
Organize Present the Determine Select
from Information AN INFORMATION All Possible the Best
Multiple LITERACY MODEL Sources Sources
Sources

4.2 Extract Relevant 3.2 Find Information

Information Within Sources

4 3
4.1 Engage 3.1 Locate Sources
(read, hear, (intellectually and
view, touch) physically)

STEP 4 STEP 3
USE OF INFORMATION LOCATION AND ACCESS

For this case study, The Big 6 ™ information literacy model was used to guide
71
the process for this research (figure 17). Information literacy models are “structured

frameworks that focus on empowering individuals with the skills needed to find,

evaluate, analyze and effectively use collected information” (Visocky O’Grady, 2006,

p.70). The Big 6™ has a general approachability that breaks down the research process

into six basic steps. The steps in the process are:

 46

1. Task Definition - Define the information problem and identify the information

needed

2. Information Seeking Strategies - Determine all possible sources and select the best

3. Location + Access – Locate sources and find information within sources

4. Use of Information – Engage (e.g. read, hear, view, touch) and extract relevant

information

5. Synthesis – Organize from multiple sources and present the information

6. Evaluation – Judge the product (effectiveness) and judge the process (efficiency)

The steps outlined in this model were used to discuss the specific research

conducted for this study. In the following paragraphs, each of the six steps will be

discussed with an overview of what was done, a highlight of the tactics that were used

and the knowledge that was learned, and a summary any specific outcomes that affected

the project.

Step 1. Task Definition - Overview of Process

This project began with a very basic problem in mind – How can EGD and

it’s power to communicate information in the environment make a difference in a

segregated city? The city of Pittsburgh was chosen as an area to explore this idea

further. Its status as a working class, rust-belt city, demonstrated it to be the perfect

archetype for countless other areas cities across the country. Furthermore, it was

ranked as the 15th most segregated city in the United States (United States, 2010).

Before beginning any detailed research, multiple city visits were made to explore the

different neighborhoods of Pittsburgh. To narrow this study to a manageable scope, a

 47

focus area within the city was established. The focus area was determined by comparing

census demographics along with early primary research. The cluster of Bloomfield,

Garfield, Friendship, and East Liberty was chosen because of the extreme divisions in

both their race and economic structures as well as the significant historical background

that influenced the area (figure 18). (For an overview of the focus area demographics,

refer to Appendix A: figure 1 on page 99.) Early observations also concluded that the

cultural differences within these neighborhoods possessed some of the most noticeable

oppositions of all of the initial areas explored.

Fig 18. Focus area for case study

Summer
Hill

Perry North
Brighton
Heights
Stanton Morningside
Upper Heights
Lawrenceville

Lincoln-
Northview Lemington-
Heights Belmar
Spring Highland
Garden Park
Central
Lawrenceville
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Shadeland Perry South City View Garfield
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an

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Fineview Lawrenceville Liberty

Troy
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Hill Larimer
Chartiers
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California- Bloomfield
Fairywood City Kirkbride Polish Homewood
Frie

Central Hill West Homewood

Windgap Manchester East North
Northside
Sheraden Allegheny
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District Shadyside East Hills
Allegheny Allegheny elling Upper
Hill
Po
int South
West Center Dw Bre
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dfo
Chateau North Be Point Breeze No
Crafton Middle North rth
Heights Shore Hill Oakland
Elliott Terrace
Village Squirrel Hill
Crawford- North
Central West
Roberts Oakland
Business District

Morningside
Duquesne So Bluff Central
West Heights ut Oakland
Westwood End h
Sh

Stanton
or South Squirrel Hill
e
t

Ridgemont South
Regen
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Oakland
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Oakwood

Upper
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Heights
Washington
East
Carnegie Allentown

Lawrenceville
Greenfield Swisshelm
Southside Slopes Park

Beltzhoover Arlington
Knoxville Heights
Mt. Arlington
Beechview
Oliver
Banksville Mt.
Boro Oliver Hazelwood

Bon Air St. Clair

Glen
Hazel
Hays

Brookline
Carrick

New
Homestead
Overbrook

Highland
Park
Lincoln
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Central
PGH CITY OVERVIEW Lawrenceville

Garfield
Lower
Lawrenceville East
Liberty
ip

Larimer
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Bloomfield
n

Polish
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Hill

Upper Shadyside
Hill

North Point Breeze

Oakland
Squirrel Hill
FOCUS AREA North
SUPPORTING AREAS
BOUNDARY NEIGHBORHOODS
 48

Tactics Used and Knowledge Gained

An initial literature review was conducted to gain a better understanding of

how a segregated city was defined and how that definition translated specifically

to Pittsburgh. It was learned that communities form under three different ways:

assimilation, where a community integrates and one group conforms to another,

segregation, where groups separate and retain their own culture, and multiculturalism,

where groups integrate but still retain their own culture (Reich, 2012, p.4). As

Pittsburgh was formed, groups of migrants created the city’s first segregated

neighborhoods. Although one demographic dominated those early neighborhoods, they

tended towards multiculturalism with little tension between different social groups.

Later in the mid-19th century, economic separation and racial tension from the south

created value for certain demographics over others, sparking the negative divisions

between Pittsburgh neighborhoods.

Pittsburgh area blogs fuel the debate about the divided city. “As far as black and

white goes though, I really don’t see many black people in Pittsburgh’s ‘nicer’ areas

when I bike and walk around, which I do quite a bit,” and “This is true, but I believe

this is more of a socio-economical problem. Pittsburgh doesn’t have an extraordinarily

high black population, and an even lower black population that could be considered

white-collar”(Lexus, 2011). Early research also pointed to East Liberty as an area with

a high potential for this study. East Liberty appeared to be a neighborhood with both

a rich history and a troubled reputation. Currently in the midst of a revitalization, the

opportunity to use the area’s affluent past to affect its struggling present was something

noted in moving forward with this investigation.

 49

Initial primary research helped to establish a profile for these four

neighborhoods. Field notes and photography were used to captured the details of each

environment. Observational note taking was conducted in multiple points throughout

each neighborhood. In addition, primary areas were observed and documented through

photo documentation (figure 19). Using Kevin Lynch’s five elements of the city, basic

maps were constructed that illustrated the physical structure of each place (figure 20)

(To view all maps, refer to Appendix A: figures 2-5 on pages 100-103).

Fig 19. Overview of Visual landscape of each neighborhood

Friendship Bloomfield East Liberty Garfield

During this process, two significant discoveries were made. The first was

that public art and other cultural attractions provided many enhancements to these

neighborhoods (figure 21). The other realization was that not all neighborhoods were

meant to be “integrated” together. For instance, Friendship seemed to be quite capable

of surviving on its own. It had a dominant residential feel to it, with almost no foot

traffic and no commercial areas. It was apparent that residents living there desired those

qualities and that urging more integration into this area would disrupt its identity.

Similarly, the neighborhood of Garfield was still very debilitated. Although in need of
 50

many improvements, other development efforts needed to happen before urging more

integration into this area. The realization soon became evident that this problem was

not as clear as initially thought, and the idea that linking together all neighborhoods to

solve urban segregation issues might not necessarily be correct.

Fig 20. East Liberty physical structure map

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 51

Fig 21. Existing Engagement throughout city

Outcome

In a case of always being adaptable, the early idea of this problem needed

to shift focus. This project was no longer about connecting every neighborhood in

a city together through creating public art and interpretive design elements. There

was already evidence of that happening. Nor was it necessarily about trying to create

something out of nothing and linking every neighborhood together with continuous

storytelling elements. Not all neighborhoods were designed for that. Instead, the

mission became about helping more people connect to a place in need. In considering

the four neighborhoods; Bloomfield, Garfield, Friendship and East Liberty, East

Liberty seemed to align with this project the best. It possessed a rich history, cultural

attractions, public art and an overall bad reputation, despite it’s recent efforts to

improve it. Based on this realization, the refined problem statement for this case study
 52

became –

“Can environmental graphic design elements help to re-connect a segregated

neighborhood to the larger population of a city?”

Step 2. Information Seeking Strategies - Overview of Process

With a clear project definition in hand, the next step taken was to map

out all of the unknown information surrounding it. Listing assumptions helped

to realize the general areas that needed further exploration. Specific questions

were generated from those assumptions that further directed where the research

was headed. For instance, the assumption that East Liberty residents do not have

pride in their neighborhood generated the question, “How do the residents of East

Liberty feel about their neighborhood?” These research questions were formed into

similar groups and used to determine the potential range of strategies capable of

extracting the necessary information.

Tactics Used and Knowledge Gained

To help determine what research tactics were used, a chart was made that

illustrated what information was needed, how it could be learned, and when in the

process it should be acquired (figure 22). From this chart, a general outlook of what

needed to be accomplished was apparent. The first phase of research was directed

towards gaining a general understanding of the environmental profile of East Liberty.

The mission was to understand who are the residents were, how the neighborhood

was structured and what made it unique. That information was then used to inform a
 53

deeper investigation in second phase of research that focused on understanding more of

the beliefs and perceptions of East Liberty from both outside of the neighborhood and

from within.

Fig 22. KWL Chart

What do I need to know? How will I find it out? When do I need it?

What is the physical environment of Walking/Driving and observing Field Research 1

these neighborhoods like

What do the residents in these Observe residents in multiple Field Research 1

areas do? environments under different
conditions

Do outsiders/tourists visit these Ask people present - ask p-burgh Field Research II
neighborhoods city officials

Do individuals have any sense of their Ask Residents Field Research II

own cultural background

Are there artists who live in the area? Ask arts organizations - residents Field Research II

Is there public art in the area Walking/Driving and observing Field Research 1

Is there historical site markers in the Walking/Driving and observing Field Research 1
area

What is culturally signifigant to the Ask residents/self research into their Field Research II &
residents cultural values Secondary Research II

Are residents proud of their Ask Residents Field Research II

neighborhood

Understand Economic and Social Secondary Research Secondary Research I

Segregation

Understand and Evaluate Design’s role Secondary Research Secondary Research I

in change

Develop a plan for working through Secondary Research Secondary Research I

case-study

The research strategy for this case study was created to include a mix of both
NEEDthe
primary and secondary tactics. For secondary research, literature reviews showed TO KNOW - 1 (ENVIRO

most potential to understand Pittsburgh’s history, the number of issues surrounding

 54

segregation, and the precedent for what existing design projects could bring to this

problem. For primary research, surveys, interviews and a prototype test were chosen.

Each of these tactics offered a different benefit to the research: surveys answered broad

questions to overarching project questions, interviews allowed for a deeper engagement

where more specific information was learned, and the prototype test provided an

outlet for very specific and contextual feedback. In addition, self observation and

photo documentation were used for further analysis of the existing environment in

East Liberty. Consideration was also made to choose a variety of sources and engage

participants with various tactics to ensure as much triangulation to this research as

possible (figure 23). (To see complete list of research goals for each phase, refer to

Appendix B: figures 1 & 2 on pages 105-106.)

An overall outline was established to create a logical order for all research tactics

to be deployed. Each research method was analyzed to determine what was going to be

learned from it and how it would affect the next step. For instance, it was important

to launch surveys early in the process to allow enough time for the data to return. As

surveys were being circulated, other non-relating tactics were performed. This level of

planning was essential to coordinate the correct order of the research process. However

in the spirit of remaining adaptable, it was impossible to foresee all the variables that

came with conducting primary research. Bad weather, difficulty finding participants and

delayed responses to surveys, were just a few of the many factors that played a role in

shifting the expectations of this plan.

 55

Fig 23. Sources Tactics Outcome

Outcome

The outcome from this step was a research process plan. (To view the research process

plan, refer to Appendix B: figure 3 on pages 107-109.) This plan provided the framework

for how each research method would be deployed throughout the case study. It also

helped to establish what points of research should be informing the next, and kept a

broad look at what should be learned throughout the process. In the most basic sense,
 56

it became the road-map for this research process.

Step 3. Location and Access

Locating sources of information proved to be both easy and difficult. Secondary

research was fairly obtainable. Books, research articles and city news sources, all proved

to be powerful tools for understanding urban segregation in Pittsburgh. Locating

primary resources of information was the more difficult process. Generally speaking

the residents of East Liberty appeared to be closed off to outsiders. It became apparent

that if participants were going to be recruited for any element of primary research, a

different approach had to be taken.

Tactics Used and Knowledge Gained

In order to broaden the network of research participants for this case study,

a network of connections needed to be established. Key individuals, referred to as

“connectors,” were crucial in establishing those networks. Connectors were individuals

that were native to the area, had a vested interest in the image of the city, and were

more than willing share their personal network of contacts with this project.

Outcome

The outcome of this step was establishing a working list of contacts. This list was

under constant evolution as the research progressed. If a certain source was not able to

be connected with, then the next best one was tried. This process continued, until all of

the necessary contacts for this research were made.

 57

Step 4. Use of Information

Various methods were used to engage with the multitude of information sources

for this study. In working through this phase, it was crucial to use the research process

plan from step three to keep the process on track. It was also important to refer back to

the research questions to determine whether or not they had been answered. A constant

evaluation of what had been learned and what was still needed was important to avoid

chasing down information that was not necessary for the project goals.

Tactics Used and Knowledge Learned

Secondary Research

The first and most widely used tactic in this research process was literature

reviews. A multitude of secondary sources helped to inform everything from

segregation and urban re-development, to design case studies and research processes.

These resources proved useful throughout the entire process of this project. In the

beginning of they were valuable to help establish a baseline education of all the issues.

By the end of the project they helped inform much of the final information used in

the design prototypes. The summary below covers the most significant findings of this

process. In addition, chapters 1-3 discuss this information in further detail.

History of East Liberty

East Liberty has a rather unique and unfortunate story in the history of

Pittsburgh. In the golden era of the 1940’s and 1950’s, East Liberty was a vibrant

commercial neighborhood. Often dubbed as Pittsburgh’s second downtown, it hosted

 58

multiple movie houses and department stores, and was backed by a tight-knit affluent

community. In the late 1950’s the draw of suburbia began to have a negative impact

on this neighborhood. The dream to have a space to call home, with a car, backyard,

driveway, and easily accessible amenities began to lure many people away from the

city. During that time, East Liberty lost many of its residents and visitors to this

migration. The changing landscape in the neighborhood spawned a massive urban

renewal project that ultimately lead to East Liberty’s demise (East Liberty Development

Inc. Community Plan, 2010, p.6. ). In an attempt to mimic the landscape of suburban

development, community leaders devised a plan that leveled blocks of houses and

commercial property to make way for a large access road that circled the entire

commercial district. The streets inside ‘Penn Circle’ were closed off to vehicular traffic

and converted into a pedestrian mall. More than 1,000 apartment units were placed at

the perimeter of the circle, ending a long-standing tradition of home ownership in the

area (East Liberty Development Inc. Community Plan, 2010, p.6).

Over the course of the next decade, general disruption brought on from constant

construction and the ever-changing landscape of the neighborhood destroyed the retail

and commercial culture of the area. The new traffic patterns sent people around the

core business district instead of into it, causing businesses to quickly lose customers.

The decline of East Liberty was only worsened by the fact that the newly-formed

government-subsidized housing fell into decay and spawned the development of a sub-

culture where crime flourished. As the apparent decline of East Liberty was evident to

the rest of the city, the neighborhood became a forgotten place and fell into two decades

of decay (figure 24).

 59

Fig 24. Visual Timeline

1940’s – Bustling 1960’s – Demolition 1970’s – Retail 1990’s – Demoltion

Neighborhood for Renewal Project Areas Convereted of Section 8 Apt.

Present – Public Art Big Retail Development Neglect Still Present Residential Pride

Current Development in East Liberty

Since the early 1990’s various efforts have begun to restore East Liberty

(figure 25). The commercial district was re-opened to vehicular traffic, crime has been

reduced by removing many of the areas of housing that supported it, and business

development such as Home Depot and Target have started to interject new life into

the neighborhood. East Liberty Development Inc. has led the charge on many of

these efforts, forming two crucial community plans to serve as road maps for the

neighborhood’s future. Their first community plan in 1999 focused on bringing in large

development anchors and creating employment opportunities for locals. Among many

improvements, they succeeded in opening the first ever Home Depot to be located
 60

within a city. They have since moved on to an additional community plan in 2010 that

highlights their ongoing effort to continue to improve the neighborhood.

Fig 25. E.L. Development Photos

Image Caption:
Upper Left: ELDI and Community members planting trees. Upper Right: Installation of the Green Bus Shelter.
Lower Left: Pedestrian Bridge connecting East Liberty to Shadyside. Lower right: ELDI community meeting.

However, there are growing concerns amount how this development will

affect locals. Many East Liberty residents remain concerned for their future as the

neighborhood gradually changes to attract more income and value. “We’re more

concerned about us not being a part of the community when it’s revitalized and what

are they going to bring into this community? We want to be a part of it also... We are
 61

concerned people that live here. Even though we are low income, we are worried about

what’s going to happen to us, and where we’re going to go” (Page-Jacobs, 2012). As

development proceeds, it will be crucial to create an environment where the old culture

of East Liberty can co-exist with the new development.

The outlook is positive for East Liberty and Pittsburgh’s future. The city is

currently creating their first ever master plan. Titled Plan PGH, the 25-year-long

plan will host a range of improvements for various areas of city infrastructure. The

community plan will be created around public participation with it’s central ambition

to “find common threads among people and the places they care about” (Plan PGH,

2010). The recognition of design and art as part of the focus areas of this plan draws a

great connection to the research in this study and highlights a potential avenue for it to

inform the future development within the city.

Primary Research

Primary research helped to discover the basis of perceived barriers that divide

East Liberty and fuel its negative perceptions. It also helped to establish a framework

for how this project could exist, and what areas of the experience of East Liberty needed

improvement the most. The following sections will provide overviews to the tactics

conducted and the most significant findings from each.

Observational Note-Taking

Throughout the course of investigating East Liberty, observational note taking

was used to record simple perceptions of the neighborhood. Much of the information
 62

learned here provided a context for the many conversations that came later in the

process. For instance, it was observed that East Liberty suffers from the lack of an

enticing identification. Compared to other neighborhoods, there was little in East

Liberty to build a positive image of anticipation to the neighborhood (figure 26). It was

also observed that the area was still very much under development, and that newly

developed clusters existed directly adjacent to areas of neglect. Signs of history in the

architectural details of building facades and street furniture were evident, but mostly

appeared neglected, foreshadowed by a lingering sense of struggle. Though the area still

expressed many signs of potential, evidence of grief still lingered about on most street

corners.

Fig 26. E.L. Identity Comparison

Image Caption:
Left: East Liberty’s Current Identification Sign on it’s main entrance from Penn Avenue
Right: Newly Developed, Lawrenceville’s Identification sign and pageantry elements.
 63

Visual Anthropology

Along with note taking, photo documentation was used to record the visual

landscape of East Liberty. Multiple visits were dedicated purely to this tactic. During

these visits, the neighborhood was documented street by street for any significant

observations. Special attention was paid to signals of revitalization and separation.

After completing these sessions, the documentation was organized into similar

categories in order to better build a more accurate profile of the neighborhood (figure

27)(To view the entire visual anthropology summary, refer to Appendix C: figures 1-6 on

pages 111-116). This research also helped solidify that East Liberty was a neighborhood

with a lot to offer, though it had plenty of intimidating aspects to overcome.

Fig 27. Photo summary of different categories

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Self-Ethnography

In this process, a number of events throughout Pittsburgh were attended to gain

a better perspective on how different community practices bring together people. One

of the most interesting events attended was a First Friday art gallery night. For this

event, participants were given printed guides which provided navigation participating

art galleries and other downtown destinations (figure 28). In addition, the Pittsburgh

Office of Public Art offered a public art scavenger hunt (figure 29). This simple act of

engagement provided an additional interaction that enhanced the experience. As the

event ended, blocks of alleyways were closed off to host a pop-up retail event were

various local vendors sold food and other goods (figure 30). The experience of this

event provided exposure to the downtown galleries, other area businesses, and local

public art. It also illustrated that a diverse range of people could be brought together

and experience a neighborhood through a universal connection to art and culture.

Overall, this experience, along with others, helped solidify concepts for various forms of

engagement bringing diverse people together.

Fig28. Gallery Crawl Document

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Fig 29. Public Art Scavenger Hunt

Fig 30. Photo of Pop-up Event

Survey

A survey was developed to better understand the attitudes and behaviors

towards Pittsburgh’s neighborhood divisions. Both city and suburb residents were

asked to participate in two nearly identical surveys. Basic questions were developed

to understand each group’s experience with the city and opinions towards certain
 66

neighborhoods. The survey was created to avoid questions that were leading in nature,

and to provide a logical flow from basic questions to more intense questions. (To view

the survey questions, refer to Appendix D: figures 1-2 on pages 118-121). The online

application Qualtrics was chosen to build and distribute the surveys. A landing page

was made to inform potential participants about the study and allow them to agree to

consent before participating. Since the target audience was anyone who lived in the

greater Pittsburgh area, the survey was distributed online through email blasts and

social media. In total nearly 90 residents participated in the two surveys.

Questioning both groups of residents enabled some interesting comparisons

to be made. Each group was asked to express their general opinion of East Liberty as

positive, negative or no opinion. Nearly 50% of residents in the suburbs responded as

negative, while only 30% of city residents replied negative. The survey also uncovered

general facts about how each group interacts with the city. “Convenience to routine”

was the top deciding factor for what neighborhood city residents chose to live in. 79% of

residents living in the suburbs said that they visit the city primarily for entertainment.

Nearly 40% of each group replied that they have felt unwelcome in a Pittsburgh area

neighborhood. Overall the survey helped to verify that East Liberty does suffer from a

poor perception and that issues of segregation do affect the way people experience the

city (To view the survey results, refer to Appendix D: figures 3-8 on pages 122-127).

Interviews

Interviews were conducted in order to probe for more specific information.

Residents of East Liberty were spoken with to learn more about their individual
 67

perceptions of segregation and overall attitude towards living in the neighborhood.

Residents outside of East Liberty were also interviewed in order to gain a better

understanding of their thoughts and behaviors towards this area. For each group, a

script was created to guide and direct the interview. Questions were developed to allow

the participant to ease into the discussion. In addition, probes were written in case a

participant replied with short in descriptive answers. Simple phrases like “tell me more

about that” or “I’m not sure I understand,” were used to keep the participant talking and

create a comfortable flow for the interview.

Resident Interviews

Interviews with East Liberty residents helped to establish the sense of pride that

locals have for their neighborhood. Whether old or young, new or longtime resident,

everyone who was interviewed spoke with enthusiasm for where they lived. However

there were varying opinions of uncertainty for the future of the neighborhood. Some

residents spoke about this uncertainty with pessimism and fear. These residents

were concerned that too much development may change the economic landscape of

the neighborhood forcing them to leave and into a worse scenario. Other residents

approached the future optimism and excitement. These participants had a more

positive view on new development. When asked what was important for the future of

East Liberty, a participant replied, “I think for us the ongoing development is good, but

I do think there’s some gentrification going on. There are some things that we don’t

use. Like Wholefoods, it’s not ideal for us to shop there all the time. I think there’s a

few restaurants that aren’t ideal for a family to go to but then that’s the whole point
 68

right? There’s different places to attract different kinds of people. I think it’s making

the community beautiful and there’s no reason that people should feel afraid or like

there’s nothing here worth checking out.” When asked, “how do you think the rest of

Pittsburgh views East Liberty,” another participant answered, “I know that they look at

it as a downtrodden section. But they hear a lot of up and coming things about it. My

step-mom is from a small town 45 minutes from here, she knew it as trashy, and the

reason why is that there was a huge section 8 complex. That’s why it was perceived that

way and thats how she still thinks of it, and the people who don’t experience it day-to-

day, that’s how they still think of it. But you know you can’t judge a neighborhood by

who’s standing at the bus stops when you drive past, and again that’s a huge perception

issue with East Liberty.”

Visitor Interviews

Interviews with suburban residents helped to establish that lack of exposure to

the neighborhood was the primary issue for their negative perceptions. Most of their

notions of East liberty were formed by either word of mouth, or distant judgments

made from very limited experiences. For instance, one participant suggested that “I’ve

always heard it was a bad neighborhood in the city. I’ve never really been to it, but

just based on what I’ve heard, I probably won’t. Not until I hear more positive things

anyway, there’s just no point. There’s plenty of other nice places in the city to visit.”

Another participant noted the negative perception that local news paints of the general

area. “I always see violent crimes on the news happening around there…whether it’s

in East Liberty or not, I don’t really want to risk going into a place to visit a restaurant
 69

or something else if I’m going to get shot.” However not every person outside of East

Liberty had a completely negative opinion of it. When one participant was asked to

describe their experiences with East Liberty, they replied, “I really don’t have any

problem with it. I mean, I go to a bunch of restaurants there often. I get that it’s kind

of unsafe, but so are a lot of other places. If you’re smart about what you do, and stay

in the areas that feel comfortable, then your fine. But if you make bad decisions, if you

walk into the residential area late at night, then maybe something could happen to you.

But you know, that’s just common sense, you’re never gonna remove crime and violence

completely.”

Outcome

The various tactics used to engage with primary and secondary research

discovered information that validated many of the assumptions in the early phases of

this study. This information also influenced multiple ideas and scenarios that design

could be used to impact the perceptions of East Liberty and create a better experience of

the area. Overall, the research discovered in this phase illustrated the need for improved

interactions between the different neighborhoods and social groups that make up the

city of Pittsburgh.

Step 5. Synthesis

In this stage, all of the information gathered from the previous tactics was

analyzed and distilled into information frameworks that summarized the findings.

These frameworks were used to identify design criteria and locate opportunities for
 70

design solutions. They also worked to make the overall findings more accessible. This

enabled the research to articulate a concise value for design, that demonstrated it as a

viable option to project stakeholders.

Tactics Used and Knowledge Learned

AEIOU Framework

The AEIOU framework was used to organize all of the positive and negative

observations that were made in East Liberty. AEIOU stands for Activities, Environment,

Interactions, Objects and Users. This framework was helpful to summarize the

observational research data taken from early site visits and apply it to an easy to

understand graphic that illustrated its connections. The chart depicts a summary of all

the main observations that contributed to the experience of East Liberty. The negative

section also highlighted areas of opportunity that environmental graphics may improve

(To view the chart, refer to Appendix E: figure 1 on page 129).

The 5E’s Experience Model

The 5E’s experience model was used to illustrate what the experience of visiting

East Liberty was like. The 5E’s stand for Entice, Enter, Engage, Exit and Extend. The

data for this chart was informed by the elements in the AEIOU framework along with

notes taken from visitor surveys and interviews. The goal of the 5E’s model was to plot

out the existing experience of visiting East Liberty and compare that to the potential

change that elements from this study could bring to it. Each stage of the experience is

rated for it’s effectiveness on a scale of one through five (figure 31).
 71

Fig 31. 5E’s Experience Model

 72

Personas

In order to summarize all that was learned from the surveys and the interviews,

personas were developed that embodied the various groups who engage with East

Liberty. A persona is a fabricated archetype of an end user that identifies their

motivations, expectations and goals (Visocky O’Grady, 2006, p.72). Three personas

were developed for both visitors and East Liberty residents. Each persona has a small

written summary along with a How, Think, Do model (figure 32). The How, Think, Do

model was used to show how this persona forms their perceptions of East Liberty, what

they think about East Liberty, and what they do in East Liberty. From that chart, basic

criteria were developed to try to best meet each of these persona’s needs and work to

change their perceptions of the neighborhood. (To view all personas, refer to Appendix

E: figures 2-9 on pages 130-137).

Fig 32. Sample Persona

 73

Outcome

The outcome of the synthesis phase was a summary of all research findings and

a list of criteria to guide the design development. The generated criteria for this case

study was as follows:

• Engage visitors beyond the typical destinations of restaurants and

commercial retail

• Create a narrative that can break down perceptions of inequality—racial,

economic, and cultural

• Create a welcoming identity that entices visitors to enter and explore

• Celebrate neighborhood differences while creating a feeling of connection to

the rest of the city

• Create a variety of ways for different personalities to form their own attachments

through open ended storytelling and a variety of experiences

• Bridge the culture of new to the culture of old

• Be specific to the history of the neighborhood and help inform visitors about

where they live and it’s significance in shaping the city of Pittsburgh

On a secondary level, criteria that was important, but not significant to the overall

success of this case study was determined as:

• Involve community members to instill a sense of ownership in the development

of their neighborhood

• Honor the different cultures of residents and the old versus new integration

happening throughout the area

 74

• Encourage deeper exploration from new residents to the neighborhood

• Create a way for new residents to feel like they too belong in the neighborhood

and are more than merely just transplants

• Raise awareness for new residents about the history of the neighborhood and the

rich culture instilled upon where they live

Step 6. Evaluation

Overall the research conducted for this case study met the requirement of

answering most of the necessary questions needed to move forward. A good variety

of techniques communicated a well-rounded list of design criteria and design

opportunities for the development phase of this project. One area to improve in the

future would be establishing contact lists sooner to improve recruiting methods. Ideally,

more candidates would have been interviewed to round out the last section of this

research. It also took too long to come to a project definition. A large amount of time

was spent conducting research on various other neighborhoods that were not ultimately

part of this project. Now that the focus mission has been determined, extraneous

research tactics should be reduced in the future. Time management should also improve

in future iterations since much can be learned from the planning and execution of this

process.
 75

Chapter 05

The Project Case Study - Design Process

Introduction

Producing a test that provided a measure of success to the initial problem

statement was the most important element of this study. To do this, an experience

needed to be created where participants with different backgrounds and viewpoints

could engage with East Liberty through the aid of various design elements and validate

whether or not those elements had any impact on their experience. If successful, that

validation would be integral to articulating the value for further exploration of this

concept. If not, questioning the research and design of the experiment could lead to

other explorations attempting validation, or it could prove the ineffectiveness of this

theory and stop someone else from investing time and resources in it. Either way,

testing was crucial to provide closure to this study.

Creating a test that could support this effort provided many challenges. First

and foremost, weather was not predictable in early march in Pittsburgh. Snow and

temperatures below 30 degrees caused many of the preparations and the first test date

to be canceled. Recruiting participants was also challenging. Asking someone to drive

into the city or travel across town to participate in a research study for a neighborhood

they might be uncomfortable in presented some resistance. In the end, well-crafted

communication pieces were crucial to recruiting participants and gaining local support.
 76

Brainstorming and Concept Rating

Brainstorming for this project began as a fairly open ended exercise. Despite the

fact that this investigation was largely based on environmental graphics, other areas of

information communication were considered. Both concept maps and sketching were

used for this exploration. Concept maps allowed ideas to be gradually built on and draw

inspiration from similarly clustered ideas (figure 33). As concepts began to materialize,

loose sketches were made to better inform their relevance to the established criteria.

Choosing which directions to move forward with was done by considering a few simple

points. First, how effective was the concept in targeting the criteria generated from

the research phase. In addition, how feasible was the concept for this study. Some

of the technical ideas showed potential, but their practicality was overruled by the

need to experiment with simple concepts first before investing large amounts of time

developing in-depth solutions.

Three main directions were chosen to move into concept development. First,

it was determined that a basic family of signs types could provide orientation and

interpretation of the neighborhood. Adding to this, the experiment also needed

something more memorable. An element of participation was necessary to entice users

to engage with the neighborhood in a more unique way. Finally, both an online and

printed element were chosen to provide additional channels of communication about

East Liberty before, during, and after the experience.

 77

Fig 33. Mind Map

Breadcrumb stories

Neighborhood Crawls
If you like this place than you
might also like... some sort of
City trails to connect to other app?
neighborhoods that network
throughout the city
Connect pop ups to other tempo-
rary cultural things like food
Pop Up exhibit’s & learning trucks , twitter, and other digital
stations that roam the city media

Exhibit Like Experience System Design

A Connected Story Using Multiple Media

INCREASE ENGAGEMENT
WITH EAST LIBERTY

Technology and enhanced

Participatory Engagement Common EGD Elements
storytelling

interpretive panels, murals, street Audio guides for exterior.

Send people on missions
art etc. each appropriately chosen QR code stations for smart
for their neighborhood phones

Interactive puzzles that involve

collecting something from various timeline location signage that interactive learning “wiki’s” that
areas turns or interfaces to show the hold the neighborhoods stories
progression of the site

Story guides or locals that tell

participatory wayfinding Past Present Juxtaposition - stories to passersby
photography as the medium

messages about a location told

through multiple ages and
demographics of citizens.

Prototype Development

It was necessary to develop the design of the individual components into an

integrated experience. Mood boards were used to set the creative tone for the designs
 78

(To view mood boards, refer to Appendix F: figures 1-3 on page 139-141). Early primary

research pointed to the divide between the old and new of East Liberty. This division

was used as inspiration for the graphic approach in this system. An identity was created

to brand the overall experience and create a visual cohesion between design elements.

The type and color system also helped establish an aesthetic that blended a sense of the

history in the area along with the aesthetics of the modern re-development (figure 34).

An analogous palette of blue was used that created a strong visual presence without

appearing over dominant in the environment. The overall graphic approach used

halftone pattern underlays to provide visual texture and additional reference to old

printed qualities.

Fig 34. Graphic System

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm
Nn Oo Pp Qq Rr Ss Tt Uu Vv Xx Yy Zz
123456789
-Chapparral Pro Regular

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll
Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Xx
Yy Zz 123456789
-Trade Gothic Medium
 79

Project Identity

An identity was created to tie together the different elements of this

project. “Explore PGH” was the name given to the overall experience. “East Liberty”

communicates the specific context for this exploration (figure 35). This structure of

the identity allows for it to expand into other neighborhoods throughout the city.

Designing a mark that could be expanded beyond East Liberty was a crucial component

to this project. The abbreviation PGH was used for its double meaning: one, as the

abbreviations for Pittsburgh, and another as the abbreviations for people, geography,

and history. The modern typography paired with simplistic line elements created a

justified block of text that also relates back early printing lock-ups. (To view entire

identity system, refer to Appendix F: figure 4 on page 142.)

AIN IDENTITY

Fig 35. System Identity

The Case Study Experience

The concepts for this case-study were developed around the idea of creating
ECONDARY IDENTITIES
a self guided neighborhood walk. A self-guided walk provided an open framework
 80

for various communication tools to be applied to. It also allowed for a comfortable

experience for participants to visit the neighborhood. In addition, it created a system

that anyone could discover while in East Liberty and use to explore the neighborhood

further. The information synthesized through the 5E’s framework in the research phase

guided the prototypes to improve three specific areas of the experience of East Liberty

(figure 36).

Fig 36. 5E’s Opportunities for Design

Entice Online Application

1. Share information about the neighborhood
2. Link to East Liberty Facebook page
3. Show map that points out destinations and shows user comments
Enter

Engage Directional and Interpretation

1. Provide orientation and direction to destinations throughout the neighborhood

2. Engage participants through a variety of interpretive pieces
Exit 3. Encourage self exploration

Extend Participatory Enagagment

1. Create a memorable experience that allows participants to share their feelings

and influence the future course of development in E.L.

The overall concept for this case-study test was to bring participants to a central

meeting spot in East Liberty where they would fill out a survey about their existing

opinions towards the neighborhood. After that, they would be introduced to various
 81

design elements that could assist their engagement with the environment. When

they were finished exploring the area, they would return to the start point and fill out

another short survey answering whether or not any of the elements of the experience

affected their perceptions of East Liberty (figure 37).

Fig 37. Test Process Outline

Group of Participants with different Set out and explore the neighborhood for Record the effectiveness of EGD elements
opinions of East Liberty 1-2 hours experiencing EGD elements Did their opinion change?

Entice

To entice participants to come to East Liberty, an online website was established.

The website created a crucial line of communication between the planning and the

research participants. It also became the home base for all important information

regarding the study. The website was also a helpful tool to promote with. For instance,

the about section pointed out all of the information relevant to the study such as what

it was trying to do, and why participation was important. The main blog offered a venue

to speak about the interesting qualities of East Liberty through the “you might not

have known” posts. Here, various tips about the history and current interests of East

Liberty were leaked out prior to the event in order to increase excitement for visiting

the neighborhood (figure 38). The Volunteer section provided more specific information

about the time and location of the test.

 82

Fig 38. Website

A Wordpress template was used to develop this website. Brief wireframes

were created to outline the functionality needed for this tool. The template provided

the opportunity to get content online quickly without spending too much time on

development. The primary focus was to test the communication value of the website.

As long as it was consistent with the design standards, using an existing template was a

valuable time saving tool for this process. (To view entire website development, refer to

Appendix F: figure 5-7 on pages 143-145.)

Engage

Multiple components were created to foster a more memorable engagement

with East Liberty. A simple sign family was designed to provide directional orientation

and additional interpretive information about the environment. The first step in this

design process was to establish the route of the walking tour. The starting point for the
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possible locations of interest. Secondary research complimented this effort to learn

more about the most significant sites. The decision to feature five primary destinations

was made based on their interest and proximity to the downtown corridor. The

remaining destinations were identified on the directional signage and wayfinding map.
 84

(To view the entire destination list, refer to Appendix F: figure 8 on page 146.)

Directional Signage

A simple orientation sign was developed to provide additional accessibility to

the neighborhood (figure 40). Many of the principles evolved by Joel Katz in the Walk

Philadelphia sign system were used to develop this map. The design was simplified as

much as possible in order to be easily and quickly understood. (To view close up of map,

Refer to Appendix F, figure 9 on page 147.) It also utilizes a heads up orientation and

a rolling map feature to provide for an optimal user interaction. Later in the project

development, this sign was removed from the package because the printed brochure

featured the same overall wayfinding map. The map was re-used in a smaller format on

the primary interpretive signage. This decision proved to be effective as it simplified the

sign family and provided and easier structure to the experience.

Fig 40. Directional14Sign

1/2”
17”

(front view) (side view)

Directional/Wayfinding Map
Scale: 3”=1’-0”
 85

Interpretive Signage

The bulk of this experience relied on an effective system of interpretive sign

elements. These elements carried the responsibility of engaging visitors and informing

them of the unique and positive character of East Liberty. Extensive planning went

into deciding what aspects of the neighborhood these elements highlighted. A system

of different markers was designed to point out landmarks and share information about

the neighborhood. Secondary research was used to extract the content for these signs.

Each element was designed with a similar composition, using the overall brand to

reinforce their connection as a system. The primary interpretive marker was created

to give site-specific information about a landmark. Its layout featured a contextual

photograph that enhanced the main story, along with a sidebar area to provide

additional written information. The final design also featured a small directional map at

the bottom (figure 41). A second more pictorial sign was developed to provide a quicker

interaction. This sign, called the Now and Then sign, was designed to show the historic

view of the area where the sign was located. This created a different type of interaction,

providing participants with a sense of what the area was like in its golden age (figure

42). The history of East Liberty was shared through a visual timeline. The goal of

the timeline was to provide an overview of the incredible changes the neighborhood

has gone through in its storied past (figure 43). The last interpretive element was an

infographic that served as the identity for the neighborhood. Since there was no visual

representation of East Liberty for visitors to connect with, this graphic was made to

communicate the positive qualities of the neighborhood and act as an identification

sign for this experiment. The final design featured the messages about East Liberty’s
 86

connections, diversity and positive changes (figure 44).

Fig 41. Primary Interpretive Sign

10 1/2”

Explore PGH

PEDESTRIAN BRIDGE
East Side Pedestrian Bridge
By Deanna Garcia
Wednesday, February 1, 2012

The much-anticipated East Side Pedestrian Bridge is now

officially open to foot traffic, after its original completion date of
December 27, 2011 was delayed because of weather and safety
issues. The walkway links the intersection of Ellsworth Avenue at
Spahr Street with the southwest corner of the Eastside
development parking deck in East Liberty.
Image credit: Pittsburgh Arts Council

The Urban Redevelopment Authority spearheaded the project.

Executive Director Rob Stephany said some time ago there was a
The project features an innovative
bridge linking the two areas, “but with East Liberty’s market
decline, the bridge was never reconstructed. Now that both design by Pittsburgh native Sheila Klein
neighborhoods are humming along and there are a lot of people that includes a curving fence bedecked
on foot and on bike, we finally have a connection that can zipper
16 1/2”

with glass sequins, an undulating

those two things together.”
pathway bordered with landscaping and
The bridge was designed by Pittsburgh native artist Sheila Klein, railings that were salvaged from the 31st
who now lives in Washington State. It features thousands of glass
Street Bridge when it was rehabilitated.
sequins made at the Pittsburgh Glass Center in Friendship and
railings that were salvaged from the 31st Street Bridge.
Source: http://outandaboutinthe-
The hope is that increasing foot traffic in the area will be a boon to burgh.blogspot.com/2011/04/final-
the economies of both East Liberty and Shadyside. ly-bridge-to-east-liberty.html

“East Liberty is waking up as kind of a commodities and retail

center for the eastern part of the city and starting to attract from a
rather large geography,” said Stephany. “Those two systems
better connecting, I think, is going to be a really special thing for
the city at large.”

The total project cost was $1.5 million, which included street
lighting and sidewalk improvements. An asphalt seal will be
applied when there’s a break in the weather, and it will then be
painted by Klein.

Source: http://wesa.fm/2012/02/01/east-side-pedestrian-bridge-now-open

(front view) (side view)

FigSecondary
42. Now & Then
Interpretive Interpretive Sign
Plaque
Scale: 3”=1’-0”
10”

Construction Specs:
Digital prints laminated to 1/4” thk. black foam core
Foam core attached with VHB tape and silicone
Sign attached to building with VHB tape
10”

1918
PENN AVENUE, 1918. Business on the north side of Penn Avenue had grown

substantially by the beginning of the 20th century. Prominent is the six-story

Liberty Building, which was designed by the noted architect Frederick

Osterling and built in 1890. This venerable building still stands, currently

housing East Liberty Development and other offices.

East End/East Liberty Historical Society (2012-09-18).

Pittsburgh's East Liberty Valley:

(front view) (side view)

Then & Now Interpretive Plaque

Scale: 3”=1’-0”
 87

Fig 43. East Liberty Timeline

60”

Explore PGH

HISTORIC TIMELINE 1913

PENN AVENUE, 1918. Business on

the north side of Penn Avenue had

grown substantially by the beginning

of the 20th century. Prominent is the

The 1960s redevelopment effort in East

Liberty included construction of a

1986
in 2009 the last remaining high-rise

apartment was demolished to make

way for new development throughout

East Liberty.
six-story Liberty Building, which was
four-lane, one-way road circling the main
designed by the noted architect http://www.post-gazette.com/stories/lo
business district. Portions of Highland cal/uncategorized/implosion-of-high-ris
Frederick Osterling and built in 1890. e-draws-crowd-of-gawkers-342390/
PENN AND CENTRE AVENUES. This and Penn Avenues and Broad Street
This venerable building still stands,
photograph taken before 1880 shows were converted to pedestrian malls, with
currently housing East Liberty
several businesses, including Thomas no vehicle access. For a variety of
Development and other offices.
Wilson’s store offering “Gentlemen’s Fine reasons, this plan was not successful,

Furnishing Goods,” as well as a store and the business district declined

East End/East Liberty Historical Society
operated by Joseph Bechtold, and one (2012-09-18). Pittsburgh's East Liberty rapidly. Work now underway to restore
Valley
featuring “Notions & Trimmings.” the vitality of the area is beginning to

bear fruit.

1930 2009
East End/East Liberty Historical Society

1960
(2012-09-18). Pittsburgh's East Liberty
East End/East Liberty Historical Society
Valley
GASOLINE STATION, 1913. Gulf Oil, founded in 1901 and (2012-09-18). Pittsburgh's East Liberty In 1979, the East Liberty Quarter Chamber of Commerce formed
Valley
headquartered in Pittsburgh, opened the world’s first drive-in the nonprofit East Liberty Development, Inc. (ELDI) to facilitate

station at Baum Boulevard and St. Clair Street to serve the growing redevelopment efforts in the neighborhood and begin the process
20”

1880 2010
number of cars in the wealthy East End. Previously gasoline pumps of reversing the effects of urban renewal. The organization’s first

were located at curbs and automobiles parked on the street for projects in the early and mid-1980s focused on improving the

service. A Pennsylvania Historic Commission marker center of the district. ELDI worked to reopen Penn Avenue,

commemorates this event. Highland Avenue and Broad Street to vehicular traffic and bought EAST LIBERTY DEVELOPMENT INC. continues to work

and redeveloped 100 Sheridan Square on the behalf of it’s residents and the greater city.

1960
East End/East Liberty Historical Society (2012-09-18). Pittsburgh's
In their 2010 Community Plan executive summary
East Liberty Valley
East Liberty Development 2010 Community Plan
reads “Recognizing the success that followed the

1999 plan, we decided to come together again to

1900 1970
PENN AVENUE, 1960S. Before the include more neighbors and expand and refine our
redevelopment, the 5900 block of vision. Through a process of community meetings,
Penn Avenue was one of the a broad range of stakeholders—people who live,
busiest shopping areas in East work, shop, play, worship, and invest in East
PENN AND FRANKSTOWN AVENUES, EARLY
PENN AVENUE, 1970S. This photograph shows the north
Liberty. The venerable Mansmann’s Liberty—shared our love for the neighborhood,
1900S. As the 20th century began, activity at this
side of the 6200 block after redevelopment. Schiff’s Shoe
Department Store is featured our concerns, and our dreams for its future.
familiar intersection increased, but there was still a
store occupied the first floor of the Liberty Building. The
prominently in this photograph.
preponderance of horse-drawn carts and carriages,
pedestrian mall filled the middle of the street. The 20-story
East Liberty Development Inc. 2010 Community Plan
with an occasional streetcar.
East End/East Liberty Historical Liberty Park high-rise apartment building dominates the
Society (2012-09-18). Pittsburgh's eastern end of the block,
East End/East Liberty Historical Society (2012-09-18). East Liberty Valley
Pittsburgh's East Liberty Valley:
East End/East Liberty Historical Society (2012-09-18).
Pittsburgh's East Liberty Valley:

(front view) (side view)

Fig Then
44. &East Liberty Infographic
Now Interpretive Plaque (Identity)
Scale: 1’-0”=1’-0” 20”

Construction Specs:
Digital prints laminated to 1/4” thk. black foam core
Sign attached to building with VHB tape
BLOOMFIELD GARFIELD
LAWRENCVILLE
FRIENDSHIP

THE STRIP SHADYSIDE

EAST LIBERTY

Penn Ave Penn Avenue is one of Pittsburgh’s primary

arteries connecting many of the city’s
neighborhoods, and it also supports
substantial commercial, institutional, and
UNIQUE

residential activity.

TRANSFORMED
ARCHITECTURAL
CONNECTED
INVESTED HOSPITABLE
CHANGING

ENCOURAGING RESIDENTIAL
WARM CULTURAL
PROUD
GREEN
3.2%
67.7% 25%
NICE
FAMILY FRIENDLY

ASIAN
30”

MEMORABLE
OLD AND NEW
NEIGHBORLY GROWING

WHITE
PROMISING
EXCITING

AFRICAN
AMERICAN BIG
86.8% Occupied
UNIQUE

Local churches, social There are only roughly 3%

service organizations, lesshousing units in East Liberty
and institutions take
pride in their diverse
KIND
ARTISTIC
OPEN today than there were in 2000

racial, socio-economic,
ECLECTIC

DIVERSE
and gender and sexual

HISTORIC
preference
constituencies.

COMMERCIALDELICIOUS INTERESTING
DEVELOPED ECONOMICAL
HOPEFUL APPEALING
ENAGING
FUN

Community Pride Improved Green Space Reduced Crime

Community development efforts have Crime has reduced nearly
Residents of East Liberty are enaged
planted trees throughout the Penn Ave. 50% since 1999
in many development efforts
cooridor and commercial district

(front view) (side view)

Infographic Interpretive Plaque

Scale: 1 1/2”=1’-0”
With sign types designed, the next step was to find mounting locations. Getting
Construction Specs:
city permits
Digital wouldtohave
prints laminated heavily
1/4” thk. delayed
black foam core this experiment and risked modifying it beyond
Sign attached to building with VHB tape

it’s purpose, so no permission was given to post any of these signs. Locations along the
 88

path were scouted that would allow for easy mounting conditions with either foam sign

tape, or plastic zip ties. The sign forms were constructed out of simple foam board which

allowed for easy modifications for mounting. Careful consideration was given not to

obstruct any official city information and also not to damage any property. (To view the

sign location plan, refer to Appendix F: figure 10 on page 148.)

Printed Brochure

A printed brochure was designed for the participants to use during the

experience. The brochure featured a overall map of East Liberty with step-by-step

instructions to follow the walking tour. In addition, the map highlighted a complete

list of local destinations to allow participants set off on their own exploration. It

also provided a brief summary to the history of the neighborhood, along with the

neighborhood scavenger hunt. The concept for the brochure was to add an additional
HIGHLAND PARK
level of comfort to the experience by providing the users another element to help them

navigate the tour and feel more at ease with the area (figure 45).
STA
NT
ON
AVE

AVE
LID
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Fig 45. Printed Brochure

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NN

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1 – East Liberty Infographic RT
CL

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Continue walking on Penn to High- NN
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Start/Finish point for walk is AVE

To complete the scavenger hunt, you must land. If your still warm, turn left on
Starbucks on Penn Circle South
NN

finish at least 5 out of the 7 missions highland to view another Historic

PE

viewpoint of the area, and find a scav-

Y

stated below:
ATT

2 – Pedestrian Bridge
enger hunt clue. There is also union
Located on the second level of the
FRIENDSHIP
BE

pig and chicken and the shop

AS

parking garage behind Starbucks

1
EE

10 – East Liberty Timeline 7 9

8
CL

1. Find the old man posing as a door handle. 3 – Motor City Building
CIR

DoubleFRback towards Penn and cross BR

Hint: He’s nearby a building full of books Turn right on Penn Circle S and then IE
the street. NTurn
DS left and continue to 6 OA
DS
NN

left on S. Beatty. Look for the build- HIP T

Zekes. Stop in and Arest,
VE get some-
D

PE

ing with a large blue dome. A sign is

IEL

located across the street on a vacant

thing warm to drink, and view the 5
2. Find the “Joy of Life” in East Liberty 10
ITF

historic timeline of East Liberty.

building
WH

4
Finish 4
3. Try a new restaurant for lunch - 4 – Cantini’s “Joy of Life”
To finish, continue walking to the UTH
Station Street Hot Dogs is a favorite Walk forward to Baum Blvd and turn
end of Penn (location of target) and E SO
RCL
VE

right (do not cross street). Continue to PE

turn right on Penn Circle South. Stop N CI
YA

a tree way intersection with the Joy of 3 PEN NN

for lunch, or continue following until
LE

Life Sculpture. Just before it, there is AV

4. Find the yarn bomb in front of Zekes arriving back to Starbucks. E
EG

a sign on the edge of a building

SN

S. HIGHLAND AVE

5. Wave hello to East Liberty’s Robot 5 5 – East Liberty Presbyterian Church Secondary Destinations
Named for the common grazing lands - “liberties” - east Cross the street and walk towards car- 1
Hint: He’s hiding next to Ava Lounge 1-Cityscape Mural
of Pittsburgh’s original settlement, East Liberty became a negie library, (scavenger hunt mission 2-Farmer’s Market 2
LVD
city neighborhood when the trolley lines arrived. Soon its nearbby) then continue Beatty street. MB
There is marker for the church along BAU 3-Building Mural
6. Find the door that leads no where commercial center rivaled Downtown and produced luminaries 4-Music Mural
the way 5-Green Bus Shelter
Hint: you may need to call for help like dancer Gene Kelly and Billy “Take the A Train” Strayhorn. E
6-Carnegie LibraryTRE AV
6
In the 1960s East Liberty became the poster child for failed
6 – Now &Then - Penn Street Cars CEN SHADYSIDE 7
7. Get a hot drink from Zeke’s Coffee Shop When you reach Penn Ave, stop and Restaurants
urban renewal, but massive redevelopment efforts over the past get a glimpse of what the area used
Photographic Hints decade have revitalized this historic community. 7-Whole Foods
to look like. Sign is located on the
8-Starbucks
corner of the dentist office
9-BRGR
Historic buildings are being rehabbed, like the ornate old 10-Spoon
7 – Now & Then - Historic Penn Ave. Start/Finish Point Motor City Garden Cantini Sculpture Cantini Sculpture
Regent Theatre, renamed the Kelly-Strayhorn. New restaurants, 11-Abay Ethiopian
Cross Penn Avenue and get another
including Paris 66 Bistro and Abay, and bars like the Shadow 12-Pizza Sola
glimpse of the history of this area.
Your reward for completing the scavenger hunt is a Lounge - a spot for hip hop and acoustic music - complement 13-Tana Ethiopian
Marker is located on the phone booth
the array of ethnic eateries. The Penn Avenue business district 14-Paris 66 Bistro
hand printed letterpress poster honoring East Liberty. 15-Vanilla Pastry Studio
has everything from footwear to automotive supplies. Whatever 8 – Kelly-Strayhorn Theater
The poster will be printed with a Golding Pearl Press 16-Kazanda’s Cafe
you are looking for, you can find it in East Liberty. Turn right on Penn, and walk towards
17-Union BBQ
from 1897. To claim your prize, please be sure to fill the historic Kelly-Strayhorn Theater.
18-Station Street Hot-Dogs
Source: http://www.pittsburghcityliving.com Along the way visit the Green Bus
out an address form before leaving today. 19-Dinette E.L. Presbyteran Green Bus Shelter Music Mural Zeke’s Coffee
Shelter. Look for another sign marker
20-Plum
on the telephone booth before the
21-Zeke’s Coffee Shop
theater
 89

Scavenger Hunt

On the brochure, a scavenger hunt was designed to add another level of

engagement to the experience. Upon several visits to the neighborhood, various

elements of intrigue were noticed—such as the man posing as a door handle, and the

door that leads nowhere (figure 46). The scavenger hunt was designed to add incentive

to experience the neighborhood beyond the prescribed tour and also create another

element of fun for this test. Seven missions were created and if participants completed

the each one, they received a hand printed commemorative poster of East Liberty.

Fig 46. Elements of Intrigue

Business Engagement

A local coffees shop, Zeke’s, agreed to help participate in this study. Adding a

business to the walking tour gave visitors a comfortable spot to take a break from the

experience and get something warm to drink. Zeke’s became a destination on the tour

when they agreed to allow the timeline element to be hung in their shop. Here, users

stepped in from outside, had a drink, and found themselves in a comfortable setting to

engage with the timeline. Zeke’s also contributed coupons to participants for discounted
 90

coffee and contributed a good bit of neighborhood character to the experience.

Extend

After finishing, users were asked to return to the website and view the

“What I Love about East Liberty” page. Here participants were urged to share their

thoughts about East Liberty and spark the conversation for what the identity of the

neighborhood should become. This act allowed for an extension of the experience and

also provided a way to help to entice participants to visit East Liberty again (figure 47).

Fig 47. What I love about East Liberty

Overview of Test

The case study test was successfully conducted with a measurable outcome was

established. On the testing day, participants arrived at the starting point between 11:00

a.m. and 12:00 p.m. Upon arrival they were given a short survey to fill out and spoken
 91

to briefly about the experience they were participating in. With the printed brochure in

hand, participants set out to explore East Liberty through the aid of the various design

elements in this project (figure 48).

Fig 48. The prototype test

 92

When the participants returned, they were asked to fill out the second portion

of their survey discussing any change in their feelings towards the neighborhood.

Small discussions about the experience also provided additional information. Most

participants were eager to share their varied comments: “I don’t really care about how

nice the neighborhood was, if its crap now, then I’m not going feel like it’s worthwhile,”

“That was fun! It was really interesting to learn about the history of the area, it

definitely made me want to come back again.” (To view an overview of the entire design

process and testing elements, refer to Appendix G, figure 1-13 pages 150-162.)

Prototype Test Results

The test results provided an overall support for the statements in this thesis

validating the argument for further exploration of this theory. Overall, 65% of the

participants answered that their experience in this study improved their overall

perceptions of East Liberty. That statistic became even more significant when observing

that nearly 70% of participants rated their overall opinion of East Liberty before this

experience to be somewhere between very poor and just OK. In addition, 50% of the

participants replied that they would be likely, or very likely to return to East Liberty

again. All of the elements in the design concepts were rated valuable to the experience.

The interpretive signage received the most support, but many also noted that they

enjoyed the opportunity to engage with a local business. Other comments that followed

the survey were, “seeing the before and after images helped to influence my opinion on

how much potential the area has,” and that “the news gives a negative view of the area,

walking around today was great, there are lots of new businesses and things to check
 93

out, I would love to come back more.” (To view complete summary of the results, and

more photos taken of the experience, refer to Appendix H, figures 1-9 pages 164-172.)
 94

Chapter 06

Closing Remarks

The research presented in this paper demonstrated support for the theory that

environmental graphic design, along with other visual communication elements, can

be used to improve the perceptions of a developing neighborhood. The results in this

study depicted a 70% improvement in the perception of East Liberty. Furthermore they

articulated the value in pursuing this research further in both East Liberty and other

similar neighborhoods across the country. In spite of that, there was a bias to these

results. If the label of a “research experiment” was removed from this study, and no

participants were actively recruited for testing, would these tools yield the same results?

Could they entice random people to go to a neighborhood they thought bad of? How

would someone rate the experience if they didn’t know what was being tested? These

will be crucial answers to seek in future iterations of this research.

It can be said with certainty, that the prototypes in this project did not achieve

success alone. Much of the redevelopment in East Liberty also created a positive impact

on this experience. Looking to the future, this development will also play an important

role in attracting more people to the neighborhood. As East Liberty continues to re-

invent itself, there is a strong opportunity to use these concepts along side other

development efforts to continue to improve the perception of the neighborhood.

It also remains to be seen what the long-term effects of improving a

neighborhood’s perception will be. It is apparent that it does break down some

perceived barriers to a place, thereby making it inherently more integrated with the
 95

rest of the city. But what does that integration lead to? Sern and Seifert argue in their

paper, From Creative Economy to Creative Society, that an increase in cross-community

participation will lead to a more economic and culturally inclusive society. Their research

declares that “cultural engagement fosters the collective capacity of people, especially

in low-wealth communities” (Stern and Seifert, 2008, p.5). It is also unknown if an

improved perception of a place can lead to a better appreciation for its current people

and culture. If so, can that impact redevelopment efforts to work harder at preservation

and integration over purely replacement?

This test was one small experiment designed to validate further

exploration. In the future, it is suggested that the following measures are taken to

continue to develop these ideas:

• Design a more integrated communication system, that crafts specific narratives

directed to the personas developed in this case-study. Conduct multiple prototype

tests that allow these elements to circulate for longer durations of time in order

to understand whether or not they can randomly entice individuals to explore the

neighborhood further. These tests should feel more natural, removing as much of

the previously discussed bias as possible, and embody a larger amount

of participants.

• Develop a measurement for how effective these elements are in encouraging

deeper exploration of local commercial areas and analyze the positive effects they

have on the long-term qualities and development of a neighborhood.

• Develop implementation plans that work to determine what characteristics an

 96

environment should have in oder for these tools to be present.

• Design a full neighborhood system that works to connect a larger area of one or

more neighborhoods together.

• Produce additional case-studies that continue to communicate the value of this

research to other segregated cities.

In conclusion, it is in the opinion of this research that much promise lies ahead in future

explorations of this theory. Simple foam-backed paper signs along with a basic walking

tour and a cup of coffee, created a 70% improvement in the perception of East Liberty.

That alone shows promise for future research. If more time and energy is spent on

developing these ideas further, then the results shown here can only be magnified to

greater levels in the future iterations of this work.

Appendices
 98

Appendix A:
Preliminary Research Findings
 Garfield
East
Liberty

hip
99

n ds
Bloomfield

e
Fri
Appendix A:
Preliminary Research Findings

BLOOMFIELD EAST LIBERTY

POPULATION: POPULATION:
81.6% White 25% White
8.8% African American 67.7% African American
6.4 Asian 3.2 Asian

HOUSING: HOUSING:
89% Occupied 86.8% Occupied
8,442 Total Residents 5,869 Total Residents

INCOME: INCOME:
$24,014 Median Household $21,485 Median Household

GARFIELD FRIENDSHIP

POPULATION: POPULATION:
13.6% White 62.7% White
80.1% African American 20.3% African American
2.6 Asian 12.7% Asian

HOUSING: HOUSING:
76.9% Occupied 92.1% Occupied
3,675 Total Residents 1,785 Total Residents

INCOME: INCOME:
$23,219 Median Household $29,270 Median Household

Data taken from 2010 Census

Figure 1: Demographic Analysis of four focus area neighborhoods

 100

W
Appendix A:
T

RN
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Preliminary Research Findings

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Figure 2: Mapping exercise conducted for Garfield illustrating the five elements of the
city, paths, nodes, edges, landmarks, and districts.
 101

Appendix A:
SC
Preliminary Research Findings
DR

Park
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Figure 3: Mapping exercise conducted for East Liberty illustrating the five elements of
the city, paths, nodes, edges, landmarks, and districts.
 102

Appendix A:
Preliminary Research Findings
WA
Y
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GARFIELD

PENN AVE C RUGER W AY

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Legend
City of Pittsburgh
AM

Streets
Neighborhoods
Friendship
Parks
Water City of Pittsburgh
February 2003

Figure 4: Mapping exercise conducted for Friendship illustrating the five elements of
the city, paths, nodes, edges, landmarks, and districts.
 103

Appendix A:
Preliminary Research Findings

VE
GA
SC
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M
AN
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City of Pittsburgh

HIGH
P LE AV

R
TO ON

DR
N DA
LE
PL
LD WA
F IE SP Y
SS
Garfield

RIN
MO Y GE JA
A WA R CK
MOR ST
AN SO
TO N

RE
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City of Pittsburgh
O
AMELIA

MO

NS
AL
DA

NN
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EM
ROU

DISTRICTS
FRIEND
AIR

OR

YA

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February 2003 SHIP

Y
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TT
TF
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Res. Mix

EA
RA

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EV
ST

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ip

ARTEMUS
AMELIA WA

WAY
LE AVE
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Y
TT
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NN PL

SB
dsh
S MILLVA

WEST PE

Figure 5: Mapping exercise conducted for Bloomfield illustrating the five elements of
the city, paths, nodes, edges, landmarks, and districts.
 104

Appendix B:
Research Process Materials
 105

Appendix B:
Research Process Materials

Secondary Research Plan

GOALS
-Set the tone for the problems of segregated cities
-Pittsburgh as a segragated city
-Look critically at design desciplines as a way to address these issues
-Discuss the relevance and importance of good research
-Discuss existing projects through process and results
-Analyze all information into a potentail plan of action to put in place

ECONOMIC & SOCIAL SEGREGATION

-Definition in cities across america
-Context of segregation through past, present, and future opinions (cause & effect)
-Solutions that have been presented & reason for using environmental art

NEIGHBORHOOD CONTEXT
-History of each neighborhood & general pittsburgh
-Cultural profile / environmental profile of 3 neighborhoods
-Explanation on the current state of segregation and its evolution

DESIGN ANAYLSIS
-Designs potential role in cultural and economic segregation
-Environmental design - defined/audit
-Other discipline audit
-Research techniques and their importance in responsible environmental design
-Process of urban design work

CASE STUDIES
-How multiple disciplines of work can be applied successfully to project
-Impact of known examples successes and failures (mention of lack of system integration)

ANALYSIS
Written analysis
Visualizations - timeline - demographic charts, information diagrams/infographics

OUTCOME
-Explanation of problem and opportunity for design to change it
-Undersant context of pittsburgh and characteristics of neighborhoods
-Understand the role of design and desgn research in facilitating social change
-Set the tone for the primary research portion of project

Figure 1: General outline of what information was to be learned through secondary

research sources
 106

Appendix B:
Research Process Materials

City Research Plan

PLACE PROFILE
-Mark up landmarks - businesses - cultural destination - key paths - edges
-5 E’s of entering each neighborhood and making your first orientation shift on each key path
-AEIOU for each neighborhood - through observational notes
-Visual anthropology - focusing on physical traces, visual characteristics, language of place
-Business log - note types and possibly characteristics of each
-Public Art/Design documentation - photo document all public art and design

PEOPLE PROFILE
-First hand Demographics - log people for set amounts of time at each location - OBS notes
-Census Demographics - per neighborhood from credible source

VISUALIZATION
-AEIOU charts for each neighborhood to log observational notes
-Demographics through infographics
-Conduct a 5 e’s for each of the neighborhoods & various destinations
-Photo documentation of physical profiles - show in comparison to look at characteristics
-Photo collage of each neighborhood to show profile
-Mind map of neighborhood characteristics

OUTCOME
-Understand the geography and make up of each neighborhood via physical elements
-Create a well rounded profile for each neighborhood (present tense)
-Determine what neighborhoods are destination and what are transition
-Determine Focus areas for each neighborhood

Figure 2: General outline of what information was to be learned in through primary

research tactics.
 107

Appendix B:
Research Process Materials

THESIS RESEARCH LOGIC

1. ESTABLISH CONTACTS 2. SECONDARY RESEARCH 3. CASE STUDY ANALYSIS

Purpose To gain the necessary access of Purpose Understand the principles Review EGD systems, public
primary sources in order to dig behind urban development art, and urban revitalization
deeper and gain knowledge and causes of segregated initiatives that have
supported by secondary cities. Refresh myself on improved community
research. EGD & Wayfinding interconectedness. Survey
principles. Learn about 3 the current environment of
specific Pittsburgh neigh- design in Pittsburgh and
borhoods and how their related efforts towards
People Tom Gates history plays into the cities helping segregated
Research Librarian history. Understand key neigborhoods.
................................. points in good storytelling &
cultural engagement.
Needed Contacts Explore process’s for
Urban Development community/public art work
Historian (Pittsburgh Local) and and their relationship to
Exhibit Designer/Writer Design Research
EGD Designer(s)
Misc. Designer(s) Actions Case Studies Case Studies
Copywriter (for prototypes) Journals Lectures
3 Pittsburgh Neighborhoods Research Books News and Media Resources
City Council/Local Gov. Lectures
Penn Avenue Arts Initiative Scholarly Articles
Public Artist

Outcome Understand what I need to Have better understanding

extract from EGD case of how successful EGD
studies. Have 3 chosen systems work, and to
neighborhoods to work with understand what methods
in Pittsburgh. Formulate will be best for engaging
strategies for information different types of commu-
gathering with citizens of 3 nity members. In short, to
neighborhoods. Develop learn from others successes
intial plans for storytelling and failures. Working
and engagement. Consider knowledge of Pittsburgh
outlining process for this infrascture improvements
type of work

Figure 3: Research process model showing each stage of the research phase, the
purpose of it, actions to execute it, and expected outcome.
 108

Appendix B:
Research Process Materials

4. VISUAL ANTHROPOLOGY / 5. QUESTIONNAIRES 6. INTERVIEWS 7. PROTOTYPE TEST

OBSERVATIONAL RESEARCH

To document the landscape To learn the citizens Learn more first hand To understand if inital
of the 3 neighborhoods that response and opinion of information about a variety prototypes will help people
will be used in the case their own neighborhood as of issues including percep- unfamiliar with and whom
study. What do these places well as the neighborhood’s tions of segregation, may have a negative percep-
look like, and how do the around them. Understand if community efforts and tion feel more comforable
people who occupy them segregation related issues thoughts towards revializa- and respond that they are
behave. Participate in are important to residents tions, perspectives of more likely revisit these
Pittsburgh city happenings and possible angles to work designers on process and neighborhoods due to the
to understand community within. story telling to connect prototypes
particiaption and culture of residents
the city.

Self observations like writing Online and in-person Interview 5 residents, 2-3 Set up a series of prototypes
notes and taking photos conducted questionnaires designers and thought in the city and get at least
Physical trace search, admistered - hopeful (40) leaders, community organiz- 10 participants to travel
Mapping exercises responses from anyone city tions, public artists, City through the experience.
wide. officicals Interview for feedback
during and after.

Understand the diversities To learn what the actual Gain a deeper insight into Set forth criteria to design
between segregated commu- citizens think and believe what makes each place permanent pieces based on
nities. Start to see patterns about the neighborhoods special and unique. Learn user feedback. Present a
of similarities that may they live in and their place information about past, plan that would include
serve in later strategies of in the city makeup. present, and future that was larger implementation.
concept development. not obtainable from second- (example prototypes).
Understand the culture of ary sources. Present a process model for
Pittsburgh through the doind the work
outreach events they
conduct.

Figure 3 (cont.): Research process model showing each stage of the research phase, the
purpose of it, actions to execute it, and expected outcome.
 109

Appendix B:
Research Process Materials

BULK OF WRITING
9. VISUALIZE / ANALYZE 10. CONCEPTUAL DEVELOPMENT 15. SUMMARIZE 16. FUTURE DEVELOPMENT
RESEARCH

To understand my research Come up with concepts for To conclude findings from To envision where the project
in context and realize if I’ve environmental graphics, prototype testing in order to will head in future develop-
missed anything or need to wayfinding, interpretive continue developing ment, how it can impact cities
pursue any additional graphics and placemaking designs, and to move beyond just Pittsburgh. How
information. Present process that incorporate all research forward into funding efforts can it become a framework for
plan for design like this to this point for production. other designers to use

Information Literacy Models Sketching Visual Documentation Funding for construction &
Cluster Maps (to distill info) Storyboarding / Scenario Experience Written Summaries of implementation
Personas Rapid Prototyping prototypes and Revisions
Mental Models Writing Content for Artifacts Plan for future development Plans for how to continue
Experience Models Gathering Images for Artifacts throughout all Pittsburgh

Documentation and Promotion for

project to other cities

Work Published
To Distill my research into Move through the creative Finish the design portion of
visual models that other process and have a refined the project. Move forward to Speaking Engagements
people can understand. number of designs that are finishing thesis document Enter in SEGD annual competition
Inform people of the results able and ready to be proto-
of my prototype test and typed.
give credit to the proposed
plan, prototypes, and
process model.

OPTIONAL PART OF PROCESS

Figure 3 (cont.): Research process model showing each stage of the research phase, the
purpose of it, actions to execute it, and expected outcome.
 110

Appendix C:
Visual Anthropology Summary
 111

Appendix C:
Visual Anthropology Summary

Figure 1: Visual summary of photo documentation capturing the general environment

of East Liberty, note the mix of history, decay, residential, and urban environment.
 112

Appendix C:
Visual Anthropology Summary

Figure 2: Visual summary of photo documentation capturing the Current Development

of East Liberty. Apartment buildings, large retail, and small specialty shops all illustrate
new or ongoing development
 113

Appendix C:
Visual Anthropology Summary

Figure 3: Visual summary of photo documentation capturing the historic and cultural
destinations of East Liberty. Conflict Kitchen and the Waffle Shop have since moved,
however the neighborhood still has a large number of destinations
 114

Appendix C:
Visual Anthropology Summary

Figure 4: Visual summary of photo documentation capturing the general retail

environment of East Liberty. Note the drastic differences of specialty shops and large
scale retailers
 115

Appendix C:
Visual Anthropology Summary

Figure 5: Visual summary of photo documentation capturing the urban decay still
present in East Liberty.
 116

Appendix C:
Visual Anthropology Summary

Figure 6: Visual summary of photo documentation capturing the public art present in
East Liberty, of special note the top left image features the Joy of Life Fountain that was
designed to represent unity of all those in the neighborhood.
 117

Appendix D:
Primary Research Materials
 118

Appendix D:
Primary Research: Survey

1. Please indicate the following:

Male - Female

2. Please indicate your age group:

18-25 - 26-35 - 36-45 - 46-55 - 56-65 - 65+

3. Please state the neighborhood in which you currently live:

4. Which of the following factors most influenced you to move into this neighborhood?
Close to work/routine
Familiarity with this area through family and friends
Affordable living
Familiar ethnicity of residents
Entertainment
None of the above

5. Do you know any history or cultural heritage of this neighborhood?

Yes - No

6. If you could promote one quality about the neighborhood you live in to others, what would it
be?
Great Entertainment
Family Friendly
Friendly Neighbors
Convenient Location
Historical Value

7. How are you most likely to find out about events throughout the city?
Websites
Newspaper
Family and Friends
Social Media
Posted Advertisements
Other

8. Do you feel your neighborhood could benefit from a more diverse group of residents?
Yes - No - Unsure

9. Have you ever participated in a community day or cultural event?

Yes - No - Unsure

10. Are you interested in learning more about the cultural qualities of Pittsburgh’s different
neighborhoods?
Yes - No - Unsure

Figure 1: Survey created for city residents

 119

Appendix D:
Primary Research: Survey

11. Please rate your general opinion of the neighborhoods listed below as either Positive, Negative,
or No Opinion at all.

Positive - Negative - No Opinion ---- East Liberty

Positive - Negative - No Opinion ---- Garfield
Positive - Negative - No Opinion ---- Friendship
Positive - Negative - No Opinion ---- Bloomfield
Positive - Negative - No Opinion ---- Lawrenceville
Positive - Negative - No Opinion ---- The Strip

12. Do you believe that public art can help to tell the historic and cultural stories of neighbor-
hoods?
Yes - No - Unsure

13. Have you ever felt unwelcome in a neighborhood in Pittsburgh?

Yes - No - Unsure

14. Do you believe that Pittsburgh neighborhoods are only welcoming to aparticular demographic
of residents?
Yes - No - Sometimes

Figure 1 (cont.): Survey created for city residents

 120

Appendix D:
Primary Research: Survey

1. Please indicate the following:

Male - Female

2. Please indicate your age group:

18-25 - 26-35 - 36-45 - 46-55 - 56-65 - 65+

3. Please state the neighborhood in which you currently live:

4. How often did you visit the city during this past summer?
Never
1 time
2-5 times
6-10 times
11-15 times
16 or more times

5. Which reasons below best describe what you do when you visit the city?
Employment
Visit Family
Visit Friends
Shopping
Medical
Entertainment
Cultural
Recreation
Other

6. How are you most likely to find out about events throughout the city?
Websites
Newspaper
Family and Friends
Social Media
Posted Advertisements
Other

7. Have you ever participated in a community day or cultural event?

Yes - No - Unsure

8. Are you interested in learning more about the cultural qualities of Pittsburgh’s different neigh-
borhoods?
Yes - No - Unsure

Figure 2: Survey created for suburb residents

 121

Appendix D:
Primary Research: Survey

9. Please rate your general opinion of the neighborhoods listed below as either Positive, Negative,
or No Opinion at all.

Positive - Negative - No Opinion ---- East Liberty

Positive - Negative - No Opinion ---- Garfield
Positive - Negative - No Opinion ---- Friendship
Positive - Negative - No Opinion ---- Bloomfield
Positive - Negative - No Opinion ---- Lawrenceville
Positive - Negative - No Opinion ---- The Strip

10. Have you ever felt unwelcome in a neighborhood in Pittsburgh?

Yes - No - Unsure

11. Do you believe that public art can help to tell the historic and cultural stories of
neighborhoods?
Yes - No - Unsure

12. Do you believe that Pittsburgh neighborhoods are only welcoming to aparticular demographic
of residents?
Yes - No - Sometimes

Figure 2 (cont.): Survey created for suburb residents

 122

Appendix D:
Primary Research: Survey

City Visitors
Q. How are you most likely to find out about events throughout the city?

Websites
Newspaper
Family and Friends
Social Media
Posted Advertisements
Other

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17

City Residents
Q. How are you most likely to find out about events throughout the city?

Websites
Newspaper
Family and Friends
Social Media
Posted Advertisements
Other

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17

Figure 3: Survey Results

 123

Appendix D:
Primary Research: Survey

City Visitors
Q. Do you know any cultural heritage of this neighborhood?

35%
No
59%
Yes

5%
Unsure

City Residents
Q. Do you know any cultural heritage of this neighborhood?

41%
No 59%
Yes

Figure 4: Survey Results

 124

Appendix D:
Primary Research: Survey

City Residents
Q. If you could promote one quality about the neighborhood you live in to others,
what would it be?

Great Entertainment
Family Friendly
Friendly Neighbors
Convenient Location
Historic Value

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18

City Residents
Q. Which of the following factors most influenced you to move into this neighborhood?

Close to work/routine
Familiarity with area
Affordable living
Familiar ethnicity
Entertainment nearby
None of the above

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17

Figure 5: Survey Results

 125

Appendix D:
Primary Research: Survey

City Visitors
Q. Please rate your general opinion of the neighborhoods listed below as either
Positive, Negative, or No Opinion at all.

East Liberty

Garfield

Friendship

Bloomfield

Lawrenceville

The Strip

2 4 6 8 10 12 14 16 18 20 22 24 26 28 30

Positive No Opinion Negative

City Residents
Q. Please rate your general opinion of the neighborhoods listed below as either
Positive, Negative, or No Opinion at all.

East Liberty

Garfield

Friendship

Bloomfield

Lawrenceville

The Strip

2 4 6 8 10 12 14 16 18 20 22 24 26 28 30

Positive No Opinion Negative

Figure 6: Survey Results

 126

Appendix D:
Primary Research: Survey

City Visitors
Q. Have you ever felt unwelcome in a Pittsburgh Neighborhood?

59% 41%
No Yes

City Residents
Q. Have you ever felt unwelcome in a Pittsburgh Neighborhood?

38%
No
57%
Yes

5%
Unsure

Figure 7: Survey Results

 127

Appendix D:
Primary Research: Survey

City Visitors
Q. Do you believe that Pittsburgh neighborhoods are only welcoming
to a particular demographic of residents?

28% 28%
Yes No

44%
Sometimes

City Residents
Q. Do you believe that Pittsburgh neighborhoods are only welcoming
to a particular demographic of residents?

41%
5% No
Yes
46%
Sometimes

Figure 8: Survey Results

 128

Appendix E:
Research Synthesis
 129

Appendix E:
Research Synthesis

ACTIVITIES ENVIRONMENT INTERACTIONS OBJECTS USERS

ENTICE
Shopping and Dining Large Anchor Retail Farmer Markets and Bus Routes through
out & Good Restaurants summer time area; Public art and
markets Historic Draw

Crime, Busy Little communication No enticement about Perceived as

Vehicular Area about positive witnessing history of Segregated Population,
qualties, No Identity the area African American
Dominant

ENTER
Smell of food from
local restaurants

No Identity to set Weak ID signgae and

the tone for no banners or other
neighborhood pageantry

ENGAGE
Public Art, Niche Welcoming Businesses, Trees, bus shelters, Young students,
Busy environment,
Businesses, Anchor friendly individuals, broad sidewalks, Elderly, Profession-
many people present
Businesses, Interesting shopping and eating, trash cans, art, als, Construction
in neighborhood
architecture many people walking signage Workers - Diverse

People waiting for Poor retail ID signage People waiting for Trash, Debris, Chain Unemployed,
bus, standing on on Penn, bad graffiti, bus, standing on Link Fence, Limited Homeless, Number
corners, odd feeling of neglect in corners Street Furniture of intimidating
activities from some areas, boarded people
vagrant individuals up businesses

EXIT

EXTEND
Neighborhood East End Historical
Facebook Page & Society Book
Local Blogs

Poor reputation
damages extension of
experience

Positive Elements Negative Elements

Figure 1: AEIOU framework highlighting the various positive and negative components
of East Liberty that shape the experience of the neighborhood.
 130

Appendix E:
Research Synthesis

I stay pretty busy with the kids. I

love to get them out and involved
in as many activities as I can,
especially in the summer.

Beth lives in the nearby suburb area of Washington,

PA. She is a stay at home mom with a three year old
boy and a two year old daughter. During the week she
is engaged in many different volunteer activities and
in addition takes her children to activity centers and
various excursions throughout the city.

Beth
How Think Do

Word of Mouth Believes the neighborhood Currently she has only

is unsafe been to the neighborhood
Local News to one of their upper class
Feels unwelcome restaurants.
Her Husband who works
in the city Interested only because of She has also driven through
a few restaurants and retail it on occasion
Personal Opinion: she locations
has driven through it and
eaten at one restaurant Does not believe it has
anything to offer her

Prefers the adjacent

neighborhood, Shadyside

Figure 2: East Liberty Visitor Persona

 131

Appendix E:
Research Synthesis

I try to get out and experience as

much of the life in Pittsburgh as
I can.

Mike lives in Shadyside, a neighborhood just adjacent

to East Liberty. He’s married, but without children. He
works downtown and takes the bus to his job. Most of
his favorite destinations are throughout the city, and
he enjoys eating out and shopping near where he lives.
He’s social, and has friends throughout the city with
whom he and his wife visit frequently on the weekends

Mike
How Think Do

City Paper Thinks it’s an OK Shops at Target and

neighborhood but isn’t too Whole Foods.
News - NPR and local interested to explore it.
television networks Walks across the pedestrian
Likes that there’s some big bridge to Starbucks on
Friends and Co-workers retail destinations within occasion
the neighborhood
His own perceptions - he Visits the Ethiopian
visits some of the retail Enjoys some of smaller restaurant and a few other
locations regularly. restaurant locations restaurants, probably once
a month.
Still considers it to
be an up and coming
neighborhood and not the
most welcoming place in
the city.

Figure 3: East Liberty Visitor Persona

 132

Appendix E:
Research Synthesis

I don’t get out too much, I’m

getting older and after work, I’m
pretty tired.

Vernon lives in Garfield and works in a nearby auto

body shop. He’s lived in Pittsburgh since he was 15
years old. He and his wife have raised a family of three
children, two of whom have moved out of the house.
In his younger days, Vernon has always been focused
on his family, and his lower income has inhibited him
from exploring too much of the city.

Vernon
How Think Do

His own perceptions - he Doesn’t have strong feelings He grabs a bite every once
transfers bus lines in the one way or another about and a while when he has a
neighborhood every day. the neighborhood enough time to on his way
home from work.
Old friends and family. Feels somewhat
disappointed by some of
He remembers many the development and how
of the struggles of East it’s pushing out the old
Liberty from personal culture of the neighborhood
experience. Some friends
of his were actually
displaced when the last
high-rise was taken down.

Figure 4: East Liberty Visitor Persona

 133

Appendix E:
Research Synthesis

I’ve been around here for quite

a while and have seen a lot of
change, some good, some not so
good.

Lorraine has lived in East Liberty most of her life, hav-

ing moved there just before the decline of the neigh-
borhood in the early 60’s. She’s seen much of the up
and down history of the neighborhood and watched
as it’s slowly become a destination once again. She
has mixed feelings of security about her place in the
neighborhood as it feels to her that parts of it are

Lorraine slipping away.

How Think Do

Personal experiences such She realizes that the She meets with friends
as interactions with a new neighborhood needs many twice a week for coffee
range of businesses and improvements but believes
residents. that crime and violence She attends regular
are more important than meetings with the local
The news and town hall development. development inc. to stay up
meetings that help explain to date on what’s happening
development efforts She feels as though her in the neighborhood
place in the neighborhood
is jeopardized, as a growing She goes to church every
number of surroundings Sunday
are shifting to appeal to a
different and more diverse She visits her remaining
audience local stores as much as
possible

Figure 5: East Liberty Resident Persona

 134

Appendix E:
Research Synthesis

East Liberty is my neighborhood,

I love this place and believe in it’s
future.

Pearson has lived in East Liberty his entire life. He’s

currently attending college nearby and chose to
remain at home. He’s comfortable in the neighbor-
hood and knows its people and destinations quite
well. He doesn’t think there’s anything wrong with it,
and doesn’t believe that most of the development is
necessary.

Pearson
How Think Do

Personal experiences. Believes East Liberty is He has a lot of friends

perfect the way it is. throughout the
Friends and family who neighborhood
live in the neighborhood. Has a lot of pride for his
neighborhood. He engages with local
Local businesses and restaurants frequently
social areas throughout Is weary of the development
the neighborhood taking place and scared He goes to church with his
that it will run out the mother and father every
people who live here and week.
make the neighborhood feel
like everywhere else.

Figure 6: East Liberty Resident Persona

 135

Appendix E:
Research Synthesis

I really love the diversity here, I

wouldn’t want to live anywhere
else.

Margot just moved into the neighborhood about a year

ago. She lives in artist subsidized housing and raises
her two children with her husband. In the past, she’s
lived in middle America suburbia, and actively sought
out a neighborhood that had a reputation as an up
and coming place, and also as a place that celebrates
diversity. As a minority in the neighborhood, she still
feels safe and welcome throughout the area and re-

Margot spects the history of where she lives.

How Think Do

Personal experiences. Enjoys the diversity of Walks her children to

destinations and people in parks throughout the
Friends who live in the the environment. neighborhood often.
neighborhood.
Believes it’s a safe place, Runs daily
but there’s still many
improvements that need to Participates in Art shows
happen. throughout her community.

Believes that development Visits many of the diverse

is good, and enjoys living in restaurants
an area that has an up and
coming status

Figure 7: East Liberty Resident Persona

 136

Appendix E:
Research Synthesis

Design Criteria

Engage visitors beyond the typical destinations of restaurants and

commercial retail

Create a narrative that can break down perceptions of inequality; racial,

economic, and cultural

Create a welcoming identity that entices visitors to enter and explore

Celebrate the neighborhoods differences while create a feeling of comfort and

simularity to the rest of the city

Create a variety of ways for different personalities to form their own attachment to
to the neighborhood

Create connections between various levels of destinations that can lead to

the exploration of new places

Figure 8: Summary of design criteria to meet the needs of East Liberty visitors
 137

Appendix E:
Research Synthesis

Design Criteria

Involve community Members to instill a sense of ownership in the development of

their neighborhood

Honor the different cultures of residents and the old vs. new integration happening
throughout the neighborhood.

Be specific to the history of the neighborhood and help inform residents about where
they live and it’s significance in shaping the city of Pittsburgh.

Encourage deeper exploration from new residents to the neighborhood.

Create a way for new residents to feel like they too belong in the neighborhood and
are more than merely transplants.

Bridge the culture of new to the culture of old

Figure 9: Summary of design criteria to meet the needs of East Liberty residents.
 138

Appendix F:
Design Process Materials
 139

Appendix F:
Design Process Materials

Figure 1: Wayfinding and Indentificaiton Mood Board

 140

Appendix F:
Design Process Materials

Figure 2: Wayfinding and Indentificaiton Mood Board

 141

Appendix F:
Design Process Materials

Figure 3: Design Inspiration Mood Board

 142

Appendix F:
Design Process Materials
MAIN IDENTITY

SECONDARY IDENTITIES

Figure 4: Identity System

 143

Appendix F:
Design Process Materials

Home

A place where bits of information can be

released that build anticipation for coming to
ENTICE
East Liberty - “You might not have known”

Volunteer

Inform potential participants about what is

needed to volunteer and about why they should
help.

About

Tell potential participants about my study and

the general overview and focus of its research

What I love about East Liberty

A place where participants can extend their

experience and be part of creating a new
EXTEND identification for East Liberty

Figure 5: Website Site Map/Content Outline

 144

Appendix F:
Design Process Materials

Figure 6: Final Website Screen Captures; Top: Main Blog, Bottom: About this Study
 145

Appendix F:
Design Process Materials

Figure 7: Final Website Screen Captures; Top: Volunteer Information, Bottom: What I
love about East Librty
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Figure 8: Overall Map and Destinations list considered for this case-study
 147

Appendix F:
Design Process Materials

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Interpretive
Y E R MA Y
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AV 6-Now & Then Sign ND
1-Infographic 7-Now & Then Sign
2-Pedestriant Bridge 8-Strayhorn Theater
3-Motor Square Garden 9-Now & The
4-Joy of Life Sculpture 10-Now & Then
5-East Liberty Presbyterian Church 11-Historic Timeline

Figure 10: Sign Location Plan

 149

Appendix G:
Final Design Prototypes
 150

Appendix G:
Final Design Prototypes

Identification
DIRECTIONAL SIGN

Wayfinding Map
Area Rolling Map feature, with detail and overall key
Map Detail Map
Destinations include retail, commercial, cultural

30”
20”
5’-0”

Directional Sign

Figure 1: Directional Signage Schematic Drawing

 151

Appendix G:
Final Design Prototypes

14 1/2”
17”

(front view) (side view)

Directional/Wayfinding Map
Scale: 3”=1’-0”

Construction Specs:
Digital prints laminated to 1/4” thk. black foam core
Foam core attached with VHB tape and silicone
Sign attached to building with VHB tape

Figure 2: Directional Signage Final Drawing

 152

Appendix G:
Final Design Prototypes

Identification PRIMARY INTERPRETIVE SIGN

Infographic “Who We Are...”

Who We Are...
Graphic depications of basic census statistics
Demographically Diverse Housing/Commerically Communicate diversity in all aspects
Diverse
Build interest in Historic qualities
Discuss status of changing neighborhood - point out
improvements

Historic Evolving

20”
30”
5’-0”

Primary Interpretive Sign

Infographic

Figure 3: Infographic Schematic Drawing

 153

Appendix G:
Final Design Prototypes

20”

BLOOMFIELD GARFIELD
LAWRENCVILLE
FRIENDSHIP

THE STRIP SHADYSIDE

EAST LIBERTY

Penn Ave Penn Avenue is one of Pittsburgh’s primary

arteries connecting many of the city’s
neighborhoods, and it also supports
substantial commercial, institutional, and
UNIQUE

residential activity.

TRANSFORMED
ARCHITECTURAL
CONNECTED
INVESTED HOSPITABLE
CHANGING
ENCOURAGING RESIDENTIAL
WARM CULTURAL
PROUD
GREEN
3.2%
67.7% 25%
NICE
FAMILY FRIENDLY

ASIAN
30”

MEMORABLE
OLD AND NEW
NEIGHBORLY GROWING

WHITE
PROMISING
EXCITING

AFRICAN
AMERICAN BIG
86.8% Occupied
UNIQUE

Local churches, social There are only roughly 3%

service organizations, lesshousing units in East Liberty
and institutions take
pride in their diverse
KIND
ARTISTIC
OPEN today than there were in 2000

racial, socio-economic,
ECLECTIC

DIVERSE
and gender and sexual

HISTORIC
preference
constituencies.

COMMERCIALDELICIOUS INTERESTING
DEVELOPED ECONOMICAL
HOPEFUL APPEALING
ENAGING
FUN

Community Pride Improved Green Space Reduced Crime

Community development efforts have Crime has reduced nearly
Residents of East Liberty are enaged
planted trees throughout the Penn Ave. 50% since 1999
in many development efforts
cooridor and commercial district

(front view) (side view)

Infographic Interpretive Plaque

Scale: 1 1/2”=1’-0”

Construction Specs:
Digital prints laminated to 1/4” thk. black foam core
Sign attached to building with VHB tape

Figure 4: Infographic Final Drawing

 154

Appendix G:
Final Design Prototypes

Identification

1920 1930 1940 1950 1960 1970 1980 1990 2000 2010 PRESENT

PRIMARY INTERPRETIVE SIGN

Timeline

Show evolution of history

Photo and written explanation

60”
20”
5’-0”

Primary Interpretive Sign

Timeline

Figure 5: Timeline Schematic Drawing

 155

Appendix G:
Final Design Prototypes

60”

Explore PGH

HISTORIC TIMELINE 1913

PENN AVENUE, 1918. Business on

the north side of Penn Avenue had

grown substantially by the beginning

of the 20th century. Prominent is the

The 1960s redevelopment effort in East

Liberty included construction of a

1986
in 2009 the last remaining high-rise

apartment was demolished to make

way for new development throughout

East Liberty.
six-story Liberty Building, which was
four-lane, one-way road circling the main
designed by the noted architect http://www.post-gazette.com/stories/lo
business district. Portions of Highland cal/uncategorized/implosion-of-high-ris
Frederick Osterling and built in 1890. e-draws-crowd-of-gawkers-342390/
PENN AND CENTRE AVENUES. This and Penn Avenues and Broad Street
This venerable building still stands,
photograph taken before 1880 shows were converted to pedestrian malls, with
currently housing East Liberty
several businesses, including Thomas no vehicle access. For a variety of
Development and other offices.
Wilson’s store offering “Gentlemen’s Fine reasons, this plan was not successful,

Furnishing Goods,” as well as a store and the business district declined

East End/East Liberty Historical Society
operated by Joseph Bechtold, and one (2012-09-18). Pittsburgh's East Liberty rapidly. Work now underway to restore
Valley
featuring “Notions & Trimmings.” the vitality of the area is beginning to

bear fruit.

1930 2009
East End/East Liberty Historical Society

1960
(2012-09-18). Pittsburgh's East Liberty
East End/East Liberty Historical Society
Valley
GASOLINE STATION, 1913. Gulf Oil, founded in 1901 and (2012-09-18). Pittsburgh's East Liberty In 1979, the East Liberty Quarter Chamber of Commerce formed
Valley
headquartered in Pittsburgh, opened the world’s first drive-in the nonprofit East Liberty Development, Inc. (ELDI) to facilitate

station at Baum Boulevard and St. Clair Street to serve the growing redevelopment efforts in the neighborhood and begin the process
20”

1880 2010
number of cars in the wealthy East End. Previously gasoline pumps of reversing the effects of urban renewal. The organization’s first

were located at curbs and automobiles parked on the street for projects in the early and mid-1980s focused on improving the

service. A Pennsylvania Historic Commission marker center of the district. ELDI worked to reopen Penn Avenue,

commemorates this event. Highland Avenue and Broad Street to vehicular traffic and bought EAST LIBERTY DEVELOPMENT INC. continues to work

and redeveloped 100 Sheridan Square on the behalf of it’s residents and the greater city.

1960
East End/East Liberty Historical Society (2012-09-18). Pittsburgh's
In their 2010 Community Plan executive summary
East Liberty Valley
East Liberty Development 2010 Community Plan
reads “Recognizing the success that followed the

1999 plan, we decided to come together again to

1900 1970
PENN AVENUE, 1960S. Before the include more neighbors and expand and refine our
redevelopment, the 5900 block of vision. Through a process of community meetings,
Penn Avenue was one of the a broad range of stakeholders—people who live,
busiest shopping areas in East work, shop, play, worship, and invest in East
PENN AND FRANKSTOWN AVENUES, EARLY
PENN AVENUE, 1970S. This photograph shows the north
Liberty. The venerable Mansmann’s Liberty—shared our love for the neighborhood,
1900S. As the 20th century began, activity at this
side of the 6200 block after redevelopment. Schiff’s Shoe
Department Store is featured our concerns, and our dreams for its future.
familiar intersection increased, but there was still a
store occupied the first floor of the Liberty Building. The
prominently in this photograph.
preponderance of horse-drawn carts and carriages,
pedestrian mall filled the middle of the street. The 20-story
East Liberty Development Inc. 2010 Community Plan
with an occasional streetcar.
East End/East Liberty Historical Liberty Park high-rise apartment building dominates the
Society (2012-09-18). Pittsburgh's eastern end of the block,
East End/East Liberty Historical Society (2012-09-18). East Liberty Valley
Pittsburgh's East Liberty Valley:
East End/East Liberty Historical Society (2012-09-18).
Pittsburgh's East Liberty Valley:

(front view) (side view)

Then & Now Interpretive Plaque

Scale: 1’-0”=1’-0”

Construction Specs:
Digital prints laminated to 1/4” thk. black foam core
Sign attached to building with VHB tape

Figure 6: Timeline Final Drawing

 156

Appendix G:
Final Design Prototypes

Identification
SECONDARY INTERPRETIVE SIGN

Historic Marker
Features photos and text explanation
Photo
Sidebar info
May be paired with directional sign
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Narrative to vary for increased feedback
posuere adipiscing. Nunc feugiat urna eu ligula luctus quis

Building mounted
tristique sapien pulvinar
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vestibulum. Proin vitae massa sed velit varius eleifend. Nam sagittis metus, quis

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nec. Nulla orci velit, lacinia
Aliquam nec purus vitae diam iaculis elementum. Nulla
nec cursus non, interdum
turpis libero, dictum eleifend sagittis sed, venenatis vitae quis augue. Class aptent

ligula. Maecenas dictum eleifend turpis eget vestibulum. taciti sociosqu ad litora
torquent per conubia nostra,
Maecenas ac lectus sit amet lacus pulvinar vestibulum.
per inceptos himenaeos.
Proin vitae elementum sapien. Aenean tempor turpis eu nisl
Lorem ipsum dolor sit amet,
viverra iaculis varius erat ullamcorper. Sed nec dignissim consectetur adipiscing elit.

urna. Pellentesque habitant morbi tristique senectus et Morbi faucibus pharetra

libero ac venenatis.
netus et malesuada fames ac turpis egestas.

Cras a leo nec leo ultricies tempor nec quis dolor. Phasellus

consequat felis tristique sapien pulvinar vulputate. Aenean

venenatis sagittis metus, quis imperdiet diam adipiscing nec.

Nulla orci velit, lacinia nec cursus non, interdum quis augue.

Class aptent taciti sociosqu ad

10”
20”
5’-0”

Secondary
Interpretive Sign

Figure 7: Primary Interpretive Marker Schematic Drawing

 157

Appendix G:
Final Design Prototypes

10 1/2”

Explore PGH

PEDESTRIAN BRIDGE
East Side Pedestrian Bridge
By Deanna Garcia
Wednesday, February 1, 2012

The much-anticipated East Side Pedestrian Bridge is now

officially open to foot traffic, after its original completion date of
December 27, 2011 was delayed because of weather and safety
issues. The walkway links the intersection of Ellsworth Avenue at
Spahr Street with the southwest corner of the Eastside
development parking deck in East Liberty.
Image credit: Pittsburgh Arts Council

The Urban Redevelopment Authority spearheaded the project.

Executive Director Rob Stephany said some time ago there was a
The project features an innovative
bridge linking the two areas, “but with East Liberty’s market
decline, the bridge was never reconstructed. Now that both design by Pittsburgh native Sheila Klein
neighborhoods are humming along and there are a lot of people that includes a curving fence bedecked
on foot and on bike, we finally have a connection that can zipper
16 1/2”

with glass sequins, an undulating

those two things together.”
pathway bordered with landscaping and
The bridge was designed by Pittsburgh native artist Sheila Klein, railings that were salvaged from the 31st
who now lives in Washington State. It features thousands of glass
Street Bridge when it was rehabilitated.
sequins made at the Pittsburgh Glass Center in Friendship and
railings that were salvaged from the 31st Street Bridge.
Source: http://outandaboutinthe-
The hope is that increasing foot traffic in the area will be a boon to burgh.blogspot.com/2011/04/final-
the economies of both East Liberty and Shadyside. ly-bridge-to-east-liberty.html

“East Liberty is waking up as kind of a commodities and retail

center for the eastern part of the city and starting to attract from a
rather large geography,” said Stephany. “Those two systems
better connecting, I think, is going to be a really special thing for
the city at large.”

The total project cost was $1.5 million, which included street
lighting and sidewalk improvements. An asphalt seal will be
applied when there’s a break in the weather, and it will then be
painted by Klein.

Source: http://wesa.fm/2012/02/01/east-side-pedestrian-bridge-now-open

(front view) (side view)

Secondary Interpretive Plaque

Scale: 3”=1’-0”

Construction Specs:
Digital prints laminated to 1/4” thk. black foam core
Foam core attached with VHB tape and silicone
Sign attached to building with VHB tape

Figure 8: Primary Interpretive Marker Final Drawing

 158

Appendix G:
Final Design Prototypes

PRIMARY INTERPRETIVE SIGN

NOW & THEN COMPARISON

Photo Historic Photograph with Caption

1963 Placed in the environment nearest to the view it depicts

Caption describes photo with minimal additional info
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Aenean venenatis sagittis metus, quis imperdiet diam adipiscing nec. Nulla orci velit, lacinia nec cursus non,
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Lorem ipsum dolor sit amet, consectetur adipiscing elit. Morbi faucibus pharetra libero ac venenatis.

10”
10”
5’-0”

Primary Interpretive Sign

Now & Then Comparison

Figure 9: Secondary Interpretive Marker Schematic Drawing

 159

Appendix G:
Final Design Prototypes

10”
10”

1918
PENN AVENUE, 1918. Business on the north side of Penn Avenue had grown

substantially by the beginning of the 20th century. Prominent is the six-story

Liberty Building, which was designed by the noted architect Frederick

Osterling and built in 1890. This venerable building still stands, currently

housing East Liberty Development and other offices.

East End/East Liberty Historical Society (2012-09-18).

Pittsburgh's East Liberty Valley:

(front view) (side view)

Then & Now Interpretive Plaque

Scale: 3”=1’-0”

Construction Specs:
Digital prints laminated to 1/4” thk. black foam core
Sign attached to building with VHB tape

Figure 10: Secondary Interpretive Marker Final Drawing

 160

Appendix G:
Final Design Prototypes

8 1/2 x 11 Tri Fold

B D
A B C D E F F

(front) (back) Overall Form

Content Outline
A - List and Short Description of Primary and Secondary Destinations
B - Overall Wayfinding Map with all destinations labeled
C - List and Short Description of Retail Destinations
D - Historic Summary of East Liberty
E - Scavenger Hunt
F - Cover

Figure 11: Content outline and schematic planning for brochure

 161

Appendix G:
Final Design Prototypes

Scavenger HunT
To complete the scavenger hunt, you must
finish at least 5 out of the 7 missions
stated below:

1
1. Find the old man posing as a door handle.
Hint: He’s nearby a building full of books

2. Find the “Joy of Life” in East Liberty

4
3. Try a new restaurant for lunch -
Station Street Hot Dogs is a favorite HIGHLAND PARK
4. Find the yarn bomb in front of Zekes

5. Wave hello to East Liberty’s Robot 5

Hint: He’s hiding next to Ava Lounge Named for the common grazing lands - “liberties” - east
of Pittsburgh’s original settlement, East Liberty became a
city neighborhood when the trolley lines arrived. Soon its
6. Find the door that leads no where commercial center rivaled Downtown and produced luminaries STA
N
Hint: you may need to call for help like dancer Gene Kelly and Billy “Take the A Train” Strayhorn. TON A
VE
6
In the 1960s East Liberty became the poster child for failed
7. Get a hot drink from Zeke’s Coffee Shop urban renewal, but massive redevelopment efforts over the past
Photographic Hints decade have revitalized this historic community.

Historic buildings are being rehabbed, like the ornate old

Regent Theatre, renamed the Kelly-Strayhorn. New restaurants,
including Paris 66 Bistro and Abay, and bars like the Shadow
Your reward for completing the scavenger hunt is a Lounge - a spot for hip hop and acoustic music - complement

AVE
the array of ethnic eateries. The Penn Avenue business district
hand printed letterpress poster honoring East Liberty.

LID
has everything from footwear to automotive supplies. Whatever
The poster will be printed with a Golding Pearl Press

UC
you are looking for, you can find it in East Liberty.

NE

Y
GARFIELD
from 1897. To claim your prize, please be sure to fill

ATT

VE
5
Source: http://www.pittsburghcityliving.com

BE

NA
out an address form before leaving today.

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1 – East Liberty Infographic RT
CL

PE H
Continue walking on Penn to High- NN
CIR

Start/Finish point for walk is AVE

land. If your still warm, turn left on
Starbucks on Penn Circle South
NN

highland to view another Historic

PE

viewpoint of the area, and find a scav-

Y
ATT

2 – Pedestrian Bridge
enger hunt clue. There is also union
Located on the second level of the
FRIENDSHIP
BE

T
pig and chicken and the shop AS
parking garage behind Starbucks
EE

10 – East Liberty Timeline 7 9

8
CL

3 – Motor City Building

CIR

DoubleFRback towards Penn and cross BR

Turn right on Penn Circle S and then IE
the street. NTurn
DS left and continue to 6 OA
DS
NN

left on S. Beatty. Look for the build- HIP T

Zekes. Stop in and Arest,
VE get some-
D

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ing with a large blue dome. A sign is

IEL

located across the street on a vacant

thing warm to drink, and view the 5
10
ITF

historic timeline of East Liberty.

building
WH

Finish 4
4 – Cantini’s “Joy of Life”
To finish, continue walking to the TH
Walk forward to Baum Blvd and turn SOU
end of Penn (location of target) and LE
IRC
VE

right (do not cross street). Continue to PE

turn right on Penn Circle South. Stop NC
YA

a tree way intersection with the Joy of 3 PEN NN

for lunch, or continue following until
LE

Life Sculpture. Just before it, there is AV

E
EG

arriving back to Starbucks.

a sign on the edge of a building
SN

S. HIGHLAND AVE

5 – East Liberty Presbyterian Church Secondary Destinations

Cross the street and walk towards car- 1
1-Cityscape Mural
negie library, (scavenger hunt mission 2-Farmer’s
D Market 2
LV
nearbby) then continue Beatty street. MB 3-Building Mural
There is marker for the church along BAU
4-Music Mural
the way 5-Green Bus Shelter
VE
6-Carnegie LibraryTRE A
6 – Now &Then - Penn Street Cars CEN SHADYSIDE 7
When you reach Penn Ave, stop and Restaurants
get a glimpse of what the area used
7-Whole Foods
to look like. Sign is located on the
8-Starbucks
corner of the dentist office
9-BRGR
10-Spoon Start/Finish Point Motor City Garden Cantini Sculpture Cantini Sculpture
7 – Now & Then - Historic Penn Ave.
11-Abay Ethiopian
Cross Penn Avenue and get another
12-Pizza Sola
glimpse of the history of this area.
13-Tana Ethiopian
Marker is located on the phone booth
14-Paris 66 Bistro
15-Vanilla Pastry Studio
8 – Kelly-Strayhorn Theater
16-Kazanda’s Cafe
Turn right on Penn, and walk towards
17-Union BBQ
the historic Kelly-Strayhorn Theater.
18-Station Street Hot-Dogs
Along the way visit the Green Bus
19-Dinette E.L. Presbyteran Green Bus Shelter Music Mural Zeke’s Coffee
Shelter. Look for another sign marker
20-Plum
on the telephone booth before the
21-Zeke’s Coffee Shop
theater

Figure 12: Final Brochure Design

 162

Appendix G:
Final Design Prototypes

Figure 13: Advertisement Flier used to Recruit Pariticpants for Case Study Test
 163

Appendix H:
Prototype Test Results
 Before Survey
164
14 Participants: 11 from the Suburbs
3 from the City
Appendix H:
Prototype Test Results

Before Survey
Q. Please rate your existing opinion of East Liberty:

No Opinion
Very Poor
Poor
Ok
Good
Great

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17

Number of Responses

After Survey
Q. Please rate your current opinion of East Liberty:

Worse than Before

Remained the Same
Improved

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17

Number of Responses

After Survey
Q. Which part of the experience was most enjoyable?
Figure 1: Before and After Results Depicting Incerease in Opinion of East Liberty

Descriptive Signage
Scavenger Hunt
Timeline
Remained the Same
Improved
165
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17
Appendix H:
Number of Responses
Prototype Test Results

After Survey
Q. Which part of the experience was most enjoyable?

Descriptive Signage
Scavenger Hunt
Timeline
Local Business

1 2 3 4 5 6 7 8 9 10 11 12 13 14

Number of Responses

After Survey
Q. How Likely are you to return to East Liberty for another visit?

Not Likely
Somewhat Likely
Likely
Very Likely

1 2 3 4 5 6 7 8 9 10 11 12 13 14

Number of Responses

Figure 2: Survey Results taken after completing the case study experience
 166

Appendix H:
Prototype Test Results

Figure 3: The Joy of Life Primary Interpretive Marker

 167

Appendix H:
Prototype Test Results

Figure 4: The East Liberty Presbyterian Church Interpretive Marker

 168

Appendix H:
Prototype Test Results

Figure 5: The Historic Timeline located in Zeke’s Coffee Shop

 169

Appendix H:
Prototype Test Results

Figure 6: Various photographs taken during the case study test

 170

Appendix H:
Prototype Test Results

Figure 7: Various photographs taken during the case study test

 171

Appendix H:
Prototype Test Results

Figure 8: Various photographs taken during the case study test

 172

Appendix H:
Prototype Test Results

Figure 9: Various photographs taken during the case study test

 173

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