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深圳渔民村是中国最早的“万元户”村，1984年邓小平同志曾到该村视察。渔民村社区与香港隔河相望，渔民村建设幸福生活的历程，也是深圳拓荒牛奋力开荒的历程。深圳是从一个小渔村演变为大都市的，这个“小渔村”指的就是渔民村。渔民村既是深圳的叙事起点，也是改革开放30多年辉煌成就和深刻变迁的缩影。——以上来自：百度百科
深圳渔民村是中国最早的“万元户”村，1984年邓小平同志曾到该村视察。渔民村社区与香港隔河相望，渔民村建设幸福生活的历程，也是深圳拓荒牛奋力开荒的历程。深圳是从一个小渔村演变为大都市的，这个“小渔村”指的就是渔民村。渔民村既是深圳的叙事起点，也是改革开放30多年辉煌成就和深刻变迁的缩影。——以上来自：百度百科
渔民村位于深圳市罗湖区南湖街道，其党群活动中心承担市民公共服务平台、日间托管、长者活动中心、图书馆、社区医院等公共功能。
我们在本项目中负责渔民村VI、室外导视、环境图形、鱼邨党群服务中心室内外导视等设计。
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在设计的过程中，我们尝试用更加亲民的语法，使图形语言更好地融入社区，让环境图形和导视设计可以更加亲和、轻柔、毫无距离感地进入社区。
在渔民村的VI设计中，我们通过图形直观地体现出“过去的渔村”“当代的渔村”“大海”“捕鱼的传统”“朝阳”等在地元素，配以亮丽明快的色彩，使VI设计的寓意通俗易懂，同时也易于结合现场导视和物料传播的工艺需求，具有丰富的延展性。
在导视设计中，我们以圆角的圆润形态构成导视设计的图形主题，符合社区日常生活的平和气息，也照顾到了社区中小朋友较多，要重点顾及安全等客观条件需求。同样的手法延续到精神堡垒的设计中，我们以堆叠的形态来削减精神堡垒的“敦实”感，使精神堡垒在保持标识功能的同时，保持温和、低调、亲和的社区气质。
环境图形的表达我们选择了壁画形式，通过壁画内容来阐释深圳、罗湖、深港之间的历史。这幅壁画落在了渔民村居民必经路上一栋原本废弃的建筑立面上，让原本废弃的建筑崇焕新生，同时也让观众在解读历史的过程中，获得趣味和美学享受。
我们在鱼邨党群服务中心的室内灯具设计上，结合了鱼、打渔帽、三角梅的形状，把这些具有代表性的象征性元素通过空间图形的方式进行翻译，使图像和空间产生更为紧密的关系。
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创意总监：张烁
设计总监：王小阳
项目经理：时小雯
标志设计：张来、王柳茵、邹景裕
导视设计：王柳茵、邹景裕、林颖
施工图设计：王柳茵、林颖、张炜煊（实习）
插画：张来
摄影：白羽、ACF
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建筑、景观、室内设计：iNgAmE局内设计
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The Fishermen’s village in Shenzhen is the first village in China that had a “Ten Thousand Household” and the comrade Deng Xiaoping once payed his visit here in 1984. The Fishermen’s village community is across only a river with Hong Kong. Its journey of pursuing a happy life is also the journey of Shenzhen pioneering with the most devoted efforts in the old time. As everyone knows, Shenzhen became a metropolis from a little fishing village and that little village refers to this very Fishermen’s village. The Fishermen’s village is the beginning of the Shenzhen story, and it’s also a epitome of the marvelous achievements and profound transitions in the last 30 years since the reform and opening-up.——The above is from the Baidu Encyclopedia.
The Fishermen’s village is located at the Nanhu street, Luohu area in Shenzhen. Its Community Service Center bears the public functions of public service platform of citizens, daytime trust, elder activity center, library, community hospital and so on.
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In the process of designing, we adopted a syntax which is easier of approach to most people trying to make the graphic language fit into the community better, and make it more friendly, gentle and less of sense of distance for the environment graphics and the guide design to enter the community.
In the design of the Fishermen’s village VI, we tried with the means of graphics to directly reflect the local elements of “The Fishermen’s Village in the Past”, “The Modern Fishermen’s Village”, “The Ocean”, “The Tradition of Fishing”, “The Rising Sun” and so on. Side with the bright and pretty colors, the moral of the VI design will be easier to approach, and easier to meet with the technical need of combining the field guide and the material communication, and will come up with a more diverse ductility.
In the design of the Fishermen’s village VI, we tried with the means of graphics to directly reflect the local elements of “The Fishermen’s Village in the Past”, “The Modern Fishermen’s Village”, “The Ocean”, “The Tradition of Fishing”, “The Rising Sun” and so on. Side with the bright and pretty colors, the moral of the VI design will be easier to approach, and easier to meet with the technical need of combining the field guide and the material communication, and will come up with a more diverse ductility.
In the guide design, we used the round shape of fillet to from the graphical theme of the guide design, which fits the calm vibe of the community daily life, and takes care of the objective needs of making sure of the security especially because of the big amount of children in the community. And taking the same technique into the spiritual fortress, we used the form of piling to cut the sense of “solidness” of the spiritual fortress, which will keep the functional identification of the fortress while keeping the community temperament of mildness, low-keyed sense and affinity.
On the choice of expressing the environment graphics, we landed on the form of wall painting, which explains the history among Shenzhen, Luohu, Shenzhen and Hong Kong with the content of the wall painting. The wall painting is put on an abandoned building facade which is on a way that must be passed by the villagers. It has not only brought the abandoned wall a newborn but also offers fun and aesthetic enjoyment for the audience while reading and learning the history.
In the design of the lamps in the Yucun Community Service Center, we combined the shapes of fish, fisherman hat and bougainvillea, and translated those representative symbolic elements in the way of space graphics, which brings the graphics and the space into a closer connection.
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Creative director: Zhang Shuo
Design Director: Wang Xiaoyang
Project Manager: Shi Xiaowen
Logo design: Zhang Lai, Wang Liuyin, Zou Jingyu
Guide design: Wang Liuyin, Zou Jingyu, Lin Ying
Construction drawing design: Wang Liuyin, Lin Ying, Zhang Weixuan (internship)
Illustration: Zhang Lai
Photography: Bai Yu, ACF
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Architecture, landscape, interior design: iNgAmE office design
Design Director: Wang Xiaoyang
Project Manager: Shi Xiaowen
Logo design: Zhang Lai, Wang Liuyin, Zou Jingyu
Guide design: Wang Liuyin, Zou Jingyu, Lin Ying
Construction drawing design: Wang Liuyin, Lin Ying, Zhang Weixuan (internship)
Illustration: Zhang Lai
Photography: Bai Yu, ACF
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Architecture, landscape, interior design: iNgAmE office design
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