Entry Foyer Redevelopment

National Museum of Australia museum environmental
The National Museum of Australia briefed Trigger to revitalise its entry experience. The space, called ‘The Hall’, is a soaring, ‘football field’ sized space, designed by Architects ARM. The main challenges of the space were to de-clutter and rationalise existing displays and create a compelling arrival experience befitting an institution of this stature. The demands of the project include: creating a compelling sense of arrival, evocation of Museum themes and stories, solutions for a multi-use entry/exhibition/function space, increasing amenity for entry requirements and security, accentuating views to the landscape, using design to contribute to a constantly refreshed and evolving exhibition program, object display in a naturally lit space, enhancing and honouring complex geometric architectural building forms, and improving circulation, orientation and wayfinding.

The approach for this multi-use spatial project was holistic, immersive and layered. A unique spatial and graphic language was developed to create a dramatic arrival experience with impact and gravitas but also one with surprise and humour, is extremely memorable, resonates with the visitor and generates further thought, investigation and action by the visitor. The Trigger team created modular concepts, thematic design and digital opportunities and identified ‘icon’ objects. Curatorial depth is enhanced through the communication of different narratives simultaneously, and incorporation of diverse exhibition display techniques, addressing different learning styles, across 2D, and multi-media platforms.

This project is at fabrication stage and will be revealed later this year.

Novartis Headquarters Interior

Novartis private environmental
A series of environmental and digital graphics, created by Trigger, activate Sydney’s new Novartis campus for employees and visitors.
The suite of decal and digital screen designs create a cohesive look and feel across the six levels of the building, from the entry point to the meeting rooms to the exterior spaces.
The design approach was to create a space that is harmonious to work in and can be ‘lived with’ for a long period of time. The approach also complements the curved architectural forms and materials used and the open and industrial feel of the interior.
The ‘cloudfield’ graphic, derived from cloudscape images, represents organic, human qualities and reflects the key brand qualities of ‘caring and curing’. The cut out circles layer represents the ‘scientific’, derived from molecular structures and kinetic atoms, reflects the research and medical charter of Novartis.

Collette Dinnigan: Unlaced

MAAS Powerhouse Museum museum environmental
Trigger collaborated with Collette Dinnigan and stage designer/artist Anna Tregloan to realise the ‘Collette Dinnigan: Unlaced’ Exhibition, opened in September 2015 at Powerhouse Museum (Museum of Applied Arts and Sciences MAAS). Trigger provided environmental and marketing campaign design across print, outdoor and digital platforms.
The exhibition expresses Dinnigan’s ouvre through a number of evocative environments. The main entrance title wall was a 30 metre wide by 10 metre high fabric wall which featured a hand drawn lace pattern, created by Trigger. Bridal label panels were printed to brass plates and floor to celing wallpaper panels dressed the curved corridor that connected the two main areas of the exhibition.
We ensured that the look, feel and graphic language of the exhibition expressed Dinnigan’s design vision and was communicated consistently within the exhibition and through a targeted, strategic marketing campaign.

Photography by Marinco Kodjanovski, courtesy MAAS

Roger Tait / Workroom Group

Roger Tait private environmental
Trigger was engaged by Roger Tait to collaborate on the environmental design for his adjoining fashion retail premises and studio space, 'The Workroom Group, at Sydney's Central Park, as part of the Brand X creative spaces project. We worked with Roger and Loop Creative to develop a facade concept using a unique and cost effective system of specially died woven seat belts. We conceptualised a large scale projection screen and its content to anchor the retail space, allowing the flexibility to continually change projection content and easily refresh the look and feel of the space. We designed the neon signage for 'Roger Tait Man' and the screen printed signage for 'The Workroom Group', ensuring both identities coexisted harmoniously on the facade. Tait outdoor designed all retail furniture. Trigger consulted on lighting and and other integral aspects of the project. We also designed the brand identities for Roger Tait Man and The Workroom Group and applications to video, web, fashion and promotional campaigns and stationery.

Rado House

Rado private environmental
Trigger's approach to wayfinding signage design is that it should look effortless, weightless and not include any unnecessary elements. We created internal and external way finding for the Rado House building, in Surry Hills, a 4 level structure that serves as headquarters for 3 creative businesses. To address the constraints of the small lobby area and the labyrinth like building we configured the signage to 'hug' the existing contours of the building. The main directory signage playfully swivels about a support column, belying its solid steel construction. The swivelling technique also provides more accurate wayfinding for visitors in a confusing space with many movement options.

The external signage, also made from steel, kinks to reference the building's heritage as a factory for pleating fabric. Using hidden fastenings, we configured this sign to float within the existing space created by the I-beam lintel above the main entrance. In the evening lighting enhances the weightless look of the signage.


Australand private environmental
Australand commissioned Trigger to provide interpretive signage in the landscape to interpret the former site of Lidcombe Hospital, which is now a brand new suburb of Sydney - Botanica. Part of the site is a heritage precinct of architecturally significant buildings, while the vast majority is contemporary housing. The challenge of the interpretation was to convey the themes and messages of the sites’ heritage in a physical form that would relate to the new development and its future as a new residential area. A contemporary design language achieves this. The large sculptural signs clearly pinpoint sites of interest in the vast development and brass markers embedded in roads and footpaths direct visitors and residents along a heritage trail that takes in all the heritage sites and information.
The signs are constructed from steel, 3m laser cut galvanised pylons and vitreous enamel interpretation panels, to ensure long term survival in the elements.

Law Society Headquarters

Law Society of New South Wales private environmental
As part of a complete interior and exterior building refurbishment for The Law Society of New South Wales, Trigger was commissioned by PMDL Architects to design all interior graphics across 12 levels. This included graphic glazed panels for all offices, meeting areas, breakout spaces, council rooms and function spaces. A twenty one metre long typographic mural using key legal terms and phrases, expressing the values of the Law Society of New South Wales was designed for the revitalised lobby space. The project required intense consultation with the Law Society, project management team Incoll, PMDL and the Buildcorp construction team.

The 80s are Back

Powerhouse Museum museum environmental
Trigger designed site-specific environmental supergraphics and smaller pieces for the ‘The 80s are Back’ marketing campaign that appeared at key sites at the Powerhouse and throughout the city. As well a central androgynous hero character, who appeared standing for portrait orientated outdoor and supine for landscape orientated outdoor, Trigger created 5 archetypal characters that featured throughout the marketing campaign and in the exhibition as life-size moving projections. Trigger also wrote copy such as the main marketing tagline ‘Rewinding 80s culture’ which appeared on outdoor.

17th Biennale of Sydney

Biennale of Sydney arts environmental
Trigger, partnered with Barnbrook Design (UK) and some of the worlds leading artists to create an unforgettable visitor experience across Sydney in May, June, July and August in 2010. Trigger applied Barnbrook Design’s brand concept to promotional, environmental and print material. Trigger was also involved in the design of onsite facilities such as ‘Education Hubs’, merchandise stores and designed wayfinding across the city and Cockatoo Island. Trigger fitted out a fleet of ferries with signage, and designed material for the diverse range of venues which included Cockatoo Island, the Museum of Contemporary Art, Wharf 2/3 and Artspace. Visitation statistics record a doubling of numbers from the previous Biennale.

Original concept by Barnbrook Design

16th Biennale of Sydney

Biennale of Sydney arts environmental
Trigger created a very successful and highly visible campaign for the 16th Biennale of Sydney in 2008, one of the largest and oldest art biennales in the world. Trigger worked closely with the Artistic Director to ensure the visual identity communicated the themes of the exhibition, and the Biennale marketing department on strategy and production. Trigger created site specific environmental design such as the Biennale Hub, which transformed Customs Square into a BOS information point and social enclave during the day and in the evening. The ‘Hub’ was constructed from readapted container terminals, repainted and signed with space for a lounge and DJ booth. Trigger also created environmental graphics across all Biennale site such as the Museum of Contemporary Art, The Art Gallery of New South Wales, Cockatoo Island, The Botanic Gardens and Artspace as well as street banners and posters.

Monet and the Impressionists

Art Gallery of New South Wales arts environmental
Trigger was commissioned by the Art Gallery of New South Wales to design promotional material for its major Summer 08/09 exhibition – ‘Monet and the Impressionists’. The shimmering light and myriad of colours that define paintings of this period inspired the design. A dual cool/warm colour palette was used to ensure the design complimented any artwork used for marketing purposes. The campaign encompassed citylight posters, banner and a range of advertising and printed collateral.

Bunda Flagship Store

Bunda private environmental
Bunda Fine Jewels commissioned Trigger to conceive environmental graphics for its flagship store located on busy George St, Sydney. The brief was to create graphics that communicated the Bunda luxury brand and to enhance the separateness and privacy of the store from the adjacent Hilton Hotel foyer. Trigger created an intricate ribbon pattern which wraps around the store’s clerestory windows in a developed spectrum of Bunda's signature colour - purple. Because the graphic is two offset patterns separated by the thickness of the glass, the illusion of movement and vibration is created for passers-by.

'Library' Space

Johnson and Johnson Medical private environmental
Previously an under-utilised dark thoroughfare space in a heritage building at Johnson and Johnson Medical’s Australian headquarters, Trigger worked with PMDL Architects to transform the space into a large flexible zone used by staff for meetings and as a series of smaller breakout zones. As part of this transformation to a lively, yet reflective space, befitting its location as the epicentre of the building and the historical core of the headquarters, Trigger consulted on the interior design and designed a super-graphic to cover all walls. The aim of the graphic was to encourage creative thought and provide an uplifting experience for the rooms users, in tune with the Johnson & Johnson Medical credo. The mural plays on the idea of the room as a contemporary ‘library’ space – tranquil but with a playful edge. Inspiring stories from people Johnson and Johnson have over its long history helped are typeset in the forms of ‘flying’ books. The graphics are free, loose and not over-branded, and use the white space of the walls as a canvas. Typographic forms flow seamlessly over cornices and architraves and ‘float’ in the double height void area at the entrance to the buildings.

Round Up Maze

Shear Outback Museum museum environmental
Artist Marion Borgelt created a large scale outdoor sculpture in the grounds of the Shear Outback Museum in Hay, in south western corner of New South Wales. The ‘Round Up Maze’ is inspired by the award winning aerial photograph taken by photographer Peter Leaver, featuring a mob of 2000 sheep being mustered on the Hay Plains. The maze is an interactive experience for visitors to understand what it means to be inside sheep yards – the sights, the sounds, the dusty atmosphere. Trigger was commissioned to design panels to interpret aspects of the maze’s construction and meaning and assist in orientating visitors. Typefaces used reference log books and ledgers from sheep stations in the area. Smaller interpretive panel’s within the maze are signposts for an interactive audio tour.


Singapore Dance Theatre arts environmental
Gregory Anderson of Trigger worked in close collaboration with choreographer Adrian Burnett to create a set design for ‘Oneiros’. The piece was made on the dancers at Singapore Dance Theatre and had its world premiere at the Esplanade Theatres, Singapore, in July 2010.

‘Oneiros’ is the Greek word for dream. The Oneiroi, from Ancient Greek myths, are the personified deities of specific types of dreams such as nightmares and sexual dreams. The choreography for this piece is the choreographer’s response to the period of altered consciousness that occurs between wakefulness and sleep, where the veil between dream and reality is traversed. Thoughts become loosely associated, images are vivid and senses metamorposize.

The choreographer explains “this ‘altered state' provides fertile ground for my creative inspiration and investigation. This ‘state’ is made more delicious because it is difficult to remember when I am awake. Access to this world is fleeting; remembering thoughts and feelings is by chance. Memories evaporate quickly or mutate into entirely different creatures. Often all that is left is a fragment, a feeling, or a talisman with mysterious meaning. I wonder what universal forces are at work.”

This piece is accompanied by the scores 'Tenebrae 1' and 'The Dreams and Prayers of Isaac the Blind', by composer Osvaldo Golijov. His vision of transmuting ‘passion into geometry… longing, light and hope’ compliments my intentions for the piece. The music weaves together with the movement to help open a space between reality and dream.

The set employs natural material - sisal rope - to express geometric forms that move into different formations to physically express potential dream-state environments. The design is minimal to allow multiple interpretations on what it may mean or conjure for audiences. The form is geometric, yet the texture is human.

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