Pim Glastra van Loonindustrial design portfolio | september 2018

Design to me is the translation of

intended emotions and behavior into a

product. Should people feel comforted,

impressed, be nudged into taking action?

Products exist in a context of interaction

with the physical & digital environment

and their users. The exploration of this

context is the starting point of my design

process, and the variety of projects in my

portfolio share this analytical, human-

centered approach.

I aspire to work in a dynamic,

international environment, on projects

that stimulate me to keep learning.

pim glastra van loon

PassengerArriving at pier A (nS)

Transferring to central terminal (nS)

No boarding pass

D To get connecting flight

D To obtain boarding pass

D To go to transfer center

D To go to ‘transfers’

D To go to transfer desk / self-service machine

D To receive boarding pass

D To wait in line at the desk

D To provide necessary documents

2b. Group units into zones2a. Identify spatial units1. Decision diagram 2c. Link units with circulation

3. Environmentalcommunication

D to go to... D to go to... D to look up...

100 101wayfinding card 1: wayfinding design approach

T he approach to natural wayfinding design is

described in 'wayfinding: people, signs, and

architecture' by Arthur & Passini (1992). As it

describes a generic approach to organize an environment

to facilitate wayfinding, it is still relevant today, even

though the solutions to provide spatial information have

developed to include , for instance, digital solutions. This

card provides a step-by-step guide to natural wayfinding

design.

STEP 1: DECISION DIAGRAM

The starting point for wayfinding design is a diagram of

wayfinding decisions (Figure 64). Study shows that the

solution to a wayfinding problem is mostly determined

by the available information, and that sufficient and

unambiguous information indeed leads to very similar

decision plans among different visitors of a setting. The

decision diagram can thus be a hybrid of passengers'

expectations, and the behavior you want them to show

- provided that sufficient information is then designed to

support that behavior.

1. Start with the overarching decision: to reach a

destination (e.g.: to reach the taxi stand; to get on flight;

to go to check-in desk).

2. List subordinate wayfinding decisions to reach the

destination. This may be to (1) acquire its location, and (2)

move to this location.

3. For each decision, go further down the hierarchy. How is

the location of the destination acquired? If the passenger

needs to ask for it at an information desk, how and where

is he going to look for the information desk?

STEP 2: SPATIAL PLANNING

Identification of spatial unitsMake a list of the functional units of the building or area:

facilities, shops, vertical circulation points, waiting areas,

passport and security filters etc.

Grouping of spatial units into destination zonesIn a multifunctional building, some spatial units are

perceptually related to each other. For succesful

wayfinding, these should be grouped into what is called

destination zones (e.g.: retail; offices; food & drinks).

Organization and linkage of unitsThe destination zones are organized and linked together by

the circulation through the building or area. This process

can go two ways: to start with the form of the building

as a constraint and end with the circulation, or start with

the circulation and end up with a form. So the question is:

what are the design constraints?

1WAYFINDING CARD 1: WAYFINDING DESIGN APPROACH

▶ Figure 64 Passenger's decision diagram.

▶ Figure 65 Wayfinding design approach. After: Arthur & Passini (1992).

▶ Figure 66 Example sketches of circulation & first spatial planning.

▶ Figure 67 Orientation of vertical circulation.

Airport Design

Process Design

Spatial PlanningArchitecture

114 115wayfinding card 3: use of light for wayfinding

INDICATION OF SPACE & DESTINATION

Enhanced by physical spaciousness/height, the transition

from low and dark spaces to high and bright spaces

indicates a destination or central area has been reached.

At a sudden transition to spacious areas, passengers do

need to reorient themselves. The effect of brightness

can be used at Schiphol to indicate central areas such

as departure lounges and destinations such as a pier.

Therefore:

• Departure lounges & piers should be the brightest areas in the terminal on airside.

• The arrivals hall should be brighter than the baggage reclaim halls to provide passengers with orientation towards the exit.

Although the same principles apply during nighttime, the

source of lighting to indicate space and destination should

preferably be natural daylight. This means that:

• Piers, departure lounges and corridors should have large windows oriented towards airside (p.133).

• Reclaim halls and arrival halls should have large windows oriented towards landside.

DIRECTIONAL BIAS

People have a bias towards the brighter and wider

direction at a T-type junction, with brightness having a

stronger influence than width.

• At a decision point, the primary direction (main flow) should be brighter lit than secondary directions (p.134 & 139).

ARTICULATE PATHS, EDGES & SPOTS

Lighting can be used to articulate paths, edges and spots as part of natural wayfinding

described on Wayfinding Card 2.

• Light strips are used to articulate paths and edges. In crowded places such as the Schiphol terminal, the ceiling lends itself to light strips better than the floor does (p 139).

• Spots are used to indicate nodes or places to stay in rather than move along.

SYMBOLIC COLOR CUES

(LED) lighting is used to provide cues through color.

Examples are escalators, doors and gates. At Schiphol,

colored lighting is used such that:

• Green signals open/go, red signals closed/stop, and white is neutral (p.134 & 140).

3WAYFINDING CARD 3: USE OF LIGHT FOR WAYFINDING

P eople are naturally drawn towards light. Light can

therefore be used for wayfinding at Schiphol to

guide passengers, attract passengers, but also

to signal. Light can vary in color and intensity to create

contrast. This card presents principles for the use of light

in the service of wayfinding at Schiphol.

▶ Figure 88 Effect of lighting on wayfinding decisions (Blake et al., n.d.).

▶ Figure 89 Effect of corridor width and brightness on wayfinding decisions (Vilar et al., 2013).

B

A

C

D

E

F

G

H/Mto reclaim

to departures

Gates E

Airport Design

Process Design

Spatial PlanningArchitecture

106 107wayfinding card 2: wayfinding without signage

Wayfinding without signage can be divided into orientation and navigation without signage.

Orientation without signage is discussed on Wayfinding Card 2B.

NAVIGATION WITHOUT SIGNAGE

Navigation without signage relies on the conveyance of directional and identification information

through architectural design rather than graphic design. 'Wayfinding without signage' can more

specifically be written as: optimal legibility of the building in the service of navigation and

orientation. 'Navigation without signane' can be explained as: articulation of paths, spaces &

transitions for the purpose of primary wayfinding.

Architectural communication relies on affordance. Examples of affordances are grips, knobs

and sliders that indicate to hold, turn or slide them. In architectural design, affordances work in

a similar way. A gate, door, or doorstep articulates an entrance or exit as a transition from one

space to another. Architectural features effectively communicate a path, edge, or space. Integrated

signage identifies and confirms only which direction, transition or space it is (Figure 70). This direct

architecture-signage coupling is at the heart of natural wayfinding. This card dissects the Schiphol

terminal into paths and spaces of Amsterdam Airport Schiphol that are of importance to primary

wayfinding. Then, it presents principles to communicate their role within the circulation of the

terminal, thereby increasing the legibility of the terminal as part of natural wayfinding.

2A

WAYFINDING CARD 2: WAYFINDING WITHOUT SIGNAGE

Exit / To Baggage hall

The terminal throughway: departure lounges & other open spaces

The throughway: corridors between departure lounges

One-terminal layout & circulation principle

Pier ▶

Departure lounges are connected by corridors such as Holland Boulevard. The corridors lead from one departure lounge to

another and are part of the terminal throughway. They should be articulated as such. This means that:

• Corridors connecting departure lounges are an extension of the adjacent departure lounge and continue the material use & geometry of the lounge.

• Corridors between departure lounges are paths without junctions. Passengers cannot deviate from this path.

The departure lounges are central areas within the terminal throughway.

Wayfinding is easier along path than through undefined, open spaces, as open

spaces without articulated paths require passengers to stop and reorient (p.31).

The following principles therefore apply to spaces as part of the throughway

(e.g., departure lounges):

• Departure lounges are articulated as central spaces. They are high, spacious, and brighter than corridors.

• Departure lounges & other open spaces should contain an articulated path as continuation of the terminal throughway.

Piers are not part of the main circulation of the terminal, and should be articulated as branches. Therefore:

• Piers break with the geometry & materials of the throughway to emphasize the transition from one space and circulation to another (create a discontinuity and hierarchy (p.134)).

The one-terminal layout and hierarchical circulation principle are the backbone of natural wayfinding.

The departure lounges and Holland Boulevard form a continuous throughway from which each pier

branches off (p.39). This circulation principle should be effectively communicated to passengers. This

means that at Schiphol:

• There is a continuous throughway connecting the piers on terminal airside and the departure halls on landside.

• Each pier branches off from the throughway in sequential order.

Any extension should be a continuation of this circulation principle. Each block of

the terminal, i.e. the departure lounges & Holland Boulevard, the piers, corridors,

checking areas, and processing halls such as check-in and baggage reclaim should

be articulated according to their function in this macro-circulation. Each pier, lounge,

and processing hall also has a circulation of its own within this system (see backside).

Exits towards the baggage reclaim hall and arrivals at Schiphol are characterized by:

• Leading downstairs. Visible stairs characterize the transition as an exit (p.134).• Being situated in the extension of the beginning of each pier (p.120),

perpendicular to the throughway flow. The exit is visible as passengers coming from their gate approach the beginning of the pier (p.137).

▶ Figure 72 Articulated path through departure lounge.

▶ Figure 75 Circulation in departure lounges.

▶ Figure 73 Exit at pier D (Schengen).

▶ Figure 74 Articulated transition from terminal throughway to pier & example at Arnhem CS.

▶ Figure 70 Integrated signage at KMar Lounge 1.

▶ Figure 71 Connection Lounge 3 - Holland Boulevard.

Aim

Airport wayfinding is a complex interplay of

architecture, public and personal information, and

people. Building a new terminal, Schiphol Group

needed a tool to help specify what constitutes

intuitive wayfinding at Amsterdam Airport Schiphol.

The aim was to develop design principles for

passenger wayfinding at the new Area A, by

integrating natural wayfinding, physical & digital

wayfinding solutions, and staff.

Solution

Initial research analyzed cognitive principles

of human wayfinding and examples of their

application in different buildings. Principles of

legibility, spatial orientation, lighting and decision

making were then explored through concept

design. Specific design principles for intuitive

wayfinding at Schiphol were presented and illustrated on Wayfinding Design Cards,

a physical tool used across departments to substantiate Schiphol Group’s vision on

intuitive wayfinding, and help to explain requirements to the architects and designers of

the new pier and terminal during the design process.

Intuitive Wayfinding.Master thesis: Defining wayfinding design principles for the new Amsterdam Airport

Schiphol pier & terminal, through conceptual design as a case study. Graded 9/10.

Project

Graduation

Internship

MSc.

April 2017

Client

Royal Schiphol

Group

fivefour

adobe cc

grasshopper parametric

keyshot rendering

▶ primary deliverable: wayfinding design cards.

Gates E

Commute Quest Explore

Repetition ofLocomotion Piloting

PathIntegration

Navigation byCognitive Map

PHASE 2 & 3

3

Exit

Transfer

Transfer S Gates

Transfer nS Gates

Transfer S Gates

Transfer nS Gates

Transfer

Corridor

nS (unscreened)

nS (screened)

S

Floor 3Security

Floor 2

Floor 1

Screened busFloor 0

KMar

Area A Transfers

Exit

Terminal South Security Departure Lounge South Corridor > A

Exit

Transfer

Corridor

Corridor

To Arrivals/Reclaim

To Arrivals/Reclaim

(S) Floor 1

(nS) Floor 2 KMar nS GatesArea A Departures

nS (unscreened)

nS (screened)

S

Floor 3

Floor 2

Floor 1 KMar

Area A Arrivals

1

2

One-Way Filter

To Central Terminal

Seating area

Vertical circulation pax

Retail/facilities

Transfer services

Information island

Arrivals (nS & nSu)

Arrivals (nS)

Transfers (nS)

Pier A 2nd Floor (nS) Phase 3Demarcation after: Benthem Crouwel NACO (2016)

T10

i

i

i

Research & Analysis

Analysis of cognitive and architectural wayfinding

literature. Identify generic wayfinding (design)

principles.

Concept Design: Circulation & Layout

Explore and evaluate different circulation schemes against requirements.

Present a spatial layout of destination zones, optimizing circulation and

orientation of different arriving, departing and transferring passenger flows.

Analysis of good and bad applications of wayfinding design principles in real-world examples through observations & photography.

Translate passenger journeys in the current Schiphol terminal to passenger

journeys in the new pier and terminal. Identify bottlenecks and opportunities

for wayfinding design.

sevensix

Environmental communication

Use principles of intuitive wayfinding to develop

conceptual designs of wayfinding situations that

integrate architecture, static/dynamic signage, and

digital solutions.

• Contrast between main flow and exit

embodied through lighting, open-closed

contrast, angled position of exit, directional

bias to the right. • Only identification of spatial elements with

static & dynamic signage.

• Indirect view on next process step through

signage (dynamic countdown sign indicating

bus departure).

• Direct view on next process step through

architectural design (mezzanine) and airport

process architecture (ensuring the mezzanine

has the same passenger security status.)

Visualization & Rendering

Develop & present ideas through a variety of visuals. Quick sketches to

develop, present and evaluate ideas, concept sketches for presentation and to

evaluate concepts, and 3D modeling and renderings for presentation.

nineeight

Aim

Redesign and embody an IR temporal artery thermometer to be used by

voluntary health workers in rural Uganda.

Solution

A hand-crank IR thermometer with symbolic

interpretation of the measurement

result.

Durability, ease-of-use, the

medical context of fever,

and interpretation of the

measurement by unschooled

volunteers were just a

few key issues that were

addressed in this project.

The project has helped me

further develop creative skills

(aesthetic/semantic/emotion

analysis, semantic solution

space exploration).

eleventen

Medical Thermometer for rural Uganda.An infrared forehead thermometer for Village Health Workers. Graded 8.5/10.

Starting point for concept

design was the most

comfortable interaction

between nurse and patient.

Conflicting emotions of

nurse (sense of authority)

and patient (being comforted)

are reflected in the design

of the product, which aims

to steer the user towards

a comfortable interaction

for both. The overall shape

is the result of a semantic

exploration, and iteratively

refined and detailed through

foam models, clay models,

digital models and 3D prints.

Project

Group

MSc.

Spring 2014

Client

TU Delft

Erasmus

University

Leiden

University

adobe cc

keyshot rendering

thirteentwelve

▶ ergonomic research of patient-

nurse interaction

▶ aesthetic language collages ‘caring’ (left) and ‘robust’ (right)

▶ left: exploration of semantic

solution space during ideation

▶ right: evolution of mockups and

prototypes

Design Process

Function analysis determined the necessary

components, which form the product architecture.

The duality between the user experience of

the voluntary health worker and the patient is

reflected in the design of the two halves of the

thermometer’s housing, and was during the design

process represented by the metaphor of an eagle

ray with a soft, caring side, and a tough side.

These two aesthetic values were the starting point

of ideation collages and sketches, and the basis of

the final embodied design.

EMOTIONAL VOID NOSTALGIA IMPERFECTION

ORIGINALITY TO HAVE AND HOLD

WHAT ARE THE DRIVERS BEHIND THE REVIVED POPULARITY OF ANALOG EXPERIENCES?

Digital proucts leave an emotional void that analog experiences �ll.

Superseded technologies remind of lost or better times.

The imperfetions present in analog products break with the ‘visual sameness’ of digital media.

Younger generations in particular �nd orinignality or quirkiness in the adoption of items people no longer have a need for.

Physical artifacts can be keepsakes, identity markers and status symbols to collect, share, frame, or display.

Source: JWT, 2013

Aim

Instant photography is regaining popularity but exists mostly

alongside digital photography. This project aimed to define the

role of and give purpose to instant photography in harmony

with the digitized world.

Solution

We designed a concept which allows people to create tangible

memories by attaching personal digital content to an instant

photo, which can then be shared with and relived by others.

This concept combines the unique benefits of physical

photographs (valuable, unique, nostalgic), with those of digital

content (easily shared, dynamic media), and establishes a

purpose for instant photography in harmony with the digital

world.

My contribution in the

research phase focused

on trend analysis, an

online survey on instant

photography use, and

creating personas as a

guideline for target groups.

After a collective ideation

phase I became responsible

for materialization &

production, for which

I collaborated with the

client’s factory and external

consultancies.

▶ context mapping

▶ sketch model of

an alternative

concept during

ideation

▶ still from concept

presentation film

(photography by me)

fifteenfourteen

Project

Group

MSc.

Spring 2015

Client

Impossible

Connected Film.Digitally enriched analog photos. Graded 9/10.

adobe cc

(ai, id, ps,

premiere &

after effects)

MODII is a parametrically designed, digitally fabricated

modular interactive installation. It consists of an assembly

of 96 wooden cones, each unique in shape and size. The

aesthetic finish of the installation uses the unique flexible

properties of .3mm thin birch triplex sleeves, wrapped

around each cone. The design and assembly of 96 unique

cones required complete integration of parametric modeling

and digital fabrication techniques.

Visitors could physically interact with columns of

electroluminescent wire spun between opposing cones,

which responded through light and twisting movement.

I have been responsible for materials & fabrication. I

established a sponsor deal with a large Finnish wood

manufacturer for the flexible birch triplex and took shifts in

setting up and overlooking laser cutting and CNC milling

of components. I also took part in the initial concept

design and have been involved in digital modeling in Rhino/

Grasshopper.

seventeensixteen

MODII.modular interactive installation.Minor project on interactive design and digital fabrication.

Project

Group

BSc.

Fall 2011

Client

TU Delft

adobe cc

grasshopper parametric

autocad

Contact Information

Pim Glastra van Loon

t +31 6 43 97 22 38

e hello@pimglastravanloon.com

w pimglastravanloon.com

What I like and what I’m good at.Analytical thinking

Academic writing (Dutch & English)

Graphic design & reporting

Hand drawing

Physical model making

Parametric modeling (Grasshopper for Rhino)

CAD modeling (Solidworks, Rhinoceros, AutoCAD)

Interactive prototyping & coding (Arduino)

Adobe CS (primarily PS/AI/ID)

Photography