Twelve identical colonnade blocks arranged in a circle. Nothing on them tells you which one you're standing in front of.
So the system starts there: one grid, two typefaces, an arrow drawn out of the typeface itself, and a board that says two things instead of fourteen. Then it gets tested against the people who actually get lost — and against the RPWD Act, which has opinions about all of it.
Mentor Dr. Arati Prakash Khare · Built 14 signs · 1 directory board · 1 kiosk · 1 printed guide
blocks run A to N. there is no I and no J. nobody I asked could tell me why.
so: twelve.Drag the ring. Hover a block. Notice how little changes.
the whole project is one question: which of these am I standing in front of?
The kit is identical for all twelve. Only Block A was drawn out — which is exactly why the other eleven still look like each other.
Nothing here is invented. Signboards disagree on font, size and colour. Some are behind poles, wires and shop boards. Others have weathered until they can't be read at dusk. Languages switch without warning and directional cues contradict each other.
Each thing that lands gets named on the right as it arrives. None of them is vandalism. Each one was installed by somebody with a reason, and the sum of the reasons is a post nobody can read.
every single one of these was somebody's reasonable idea.
Connaught Place's circular design and identical blocks make orientation difficult for first-time visitors.
Few directional signs and poor visibility cause confusion while navigating between blocks, metro exits, and parking.
Inadequate provisions for visually impaired and mobility-challenged users; absence of tactile paths, ramps, and audio aids.
Excess advertisements and unorganized boards compete with signage, reducing clarity and making navigation stressful.
starting with the only thing everybody actually reads: the letter.
both of them end up asking a stranger. one of them has been here forty times.
Foreign travellers and people unfamiliar with CP's circular layout.
People exploring the markets, restaurants and retail stores in CP.
Office workers, metro users and people passing through CP regularly.
Senior citizens, wheelchair users and people with vision or mobility challenges. This group set the heights.
The pictogram came last. What came first was arguing about what a person is.
Every direction below was drawn before a single sign existed. Three of them were wrong in a useful way — they are the reason the fourth is the one on the street.
Dropped. A photograph of a washroom door is a photograph of one washroom door. It stops being true the moment the door is repainted.
Dropped. Two languages already fill the panel. A third message in words leaves nothing for the person who reads neither.
Dropped. The square container fought the arch behind it, and thin outlines vanished at 20 m in the first blur test.
Kept. The circle sits calmly against the colonnade, the solid figure survives dirt and distance, and the same construction takes all fourteen signs without redrawing anything.
the ones that got thrown away are the ones that did the work.
Clean, modern, and highly legible. The bold weights stay readable from a distance while keeping the design refined and professional.
Clean, simple and highly readable, especially in Indian contexts. Its open letterforms hold up from a distance and stay clear at any size or environment.
the weights weren't picked on screen. they were picked by blurring the sheet until one of them broke first.
T, J and Z have sharp terminals. That angle became the arrowhead — so the arrows never look bolted on.
Helvetica Neue, set in the signage blue. Look at where the strokes end.
Turn the layers on. The grid, the construction circle and the sign dimensions are all still in there.
the figure keeps a convex curve and one slightly sharp edge — same edge the arrow came from.
consistency isn't a mood board.Every sign is the same square figure field over the same caption block, so a new sign is a new pictogram and nothing else. Colour carries the grammar: navy states a fact, red forbids. Click any sign to see its construction.
figure-centric, because a figure survives a dirty board better than a word does — and CP boards get dirty in one monsoon.
This is the redesigned signage board for Connaught Place, A-Block, created to offer clearer navigation and a more inclusive user experience. It displays an organised list of shops and categories, so visitors can quickly locate fashion stores, restaurants and essential services within the block. A simplified block map at the bottom shows their exact position and explains the circular layout of CP. Braille is included so visually impaired visitors can navigate independently.
The A is the largest thing on the board on purpose. It's the one piece of information that never changes when the shops do — and the landing-page version of this board went from fourteen messages to two.
first version alphabetised the shops. useless — nobody arrives knowing the name, they arrive knowing "somewhere that sells shoes".
grouped by category instead.Toggle the layers. The board changes. That's the point — none of these are skins.
One thing the Act is often read as demanding: a black-and-white version. It doesn't. It asks for contrast, and the blue already has it — so the contrast layer measures the palette instead of replacing it. Nine requirements, measured rather than asserted.
Full compliance was a constraint, not a feature. The Act asks for high contrast — it does not ask for black and white, and the signage blue already clears the bar at 9.12:1, so there is no separate monochrome variant to maintain. On top of that: legible fonts at readable sizes, Braille and tactile elements set on the same board rather than a separate one, universally recognised symbols, and heights and angles that work for a seated user.
The plate is scaled here to how it would actually appear at that distance. The point where it stops working is the point where the directory board has to exist.
Comfortably legible. This is the range the plate is designed for — the width of the carriageway plus the depth of the colonnade.
Sizing basis — 25 mm of cap height per 3 m of read distanceThe obvious move is to draw a second black-and-white set for low vision. I measured the navy first. It clears AAA on white by a wide margin in both directions, so a second set would only be a second thing to maintain, a second thing to install wrongly, and a second thing for a visitor to learn.
Pure black on white would measure 21:1. It would also read as a hazard or a legal notice in Indian street context, and it throws away the one colour that already identifies civic wayfinding here.
Grade 1, at 1200–1400 mm. Separate braille panels put blind readers in a different part of the board from everyone else.
Found by hand at the same place on every block, so the location itself becomes the instruction.
A printed board can only be one size. The screen can be both, so the enlargement lives where enlargement is possible.
Nothing that has to be touched sits above the line. This is what Reach Mode enforces on the kiosk below.
Reach Mode and Magnifier Mode aren't screenshots here — they actually change the interface.
a touchscreen alone fails the person who can't reach it. so the kiosk keeps physical arrows, back, select and hide.
the buttons above work too.This is the whole system standing in one place: five sign types, one kiosk, one directory board, and the person every height was set from. Click anything in the drawing.
the wheelchair user in this drawing is not decoration — the heights were set from her eyeline, not mine.
Selected under Chhatra Pariyojana Vittiya Sahayata — a government student-project financial assistance scheme — in the 2025–26 cycle, in both categories it was entered for.
छात्र परियोजना वित्तीय सहायता
This recognition means a lot, and it keeps me designing with purpose.
A consistent, accessible signage system for one of Delhi's busiest commercial areas: one grid, two typefaces, fourteen pictograms, arrows drawn from the letterforms, and a board that tells you where you're standing — in print, in Braille, and on a kiosk that bends down to meet you.