In the field of cultural institution design—such as national parks, museums, and heritage sites—communication theory serves as the structural foundation that transforms physical space into a meaningful narrative. Design in this context is not simply aesthetic decoration, but a complex process of encoding meaning into visual and spatial elements to facilitate interaction between the institution and the visitor. To gain a deeper understanding of this process, we can apply Robert Craig’s seven traditions of communication theory, focusing on the Semiotic, Phenomenological, Sociocultural, and Rhetorical traditions as most relevant to design.

From the perspective of the Semiotic tradition, communication is viewed as intersubjective mediation through signs and symbols. In the design of a cultural institution, every element—from the logo and typography to the navigation systems—acts as a sign that must be decoded by the visitor. The designer’s task is to create a system of signs that effectively conveys meaning to different audiences. If the visual language is too abstract or culturally specific, the ‘decoding’ fails, and the institution becomes inaccessible to understanding. Design here is the creation of a visual language that bridges the gap between the reality of the location and the concept of the institution.

The phenomenological tradition shifts the focus to the experience of oneself and others through dialogue. In terms of design, this means recognising that visitors are not a monolithic mass, but individuals with unique backgrounds who perceive space differently. A cultural institution should be designed with ‘empathy’, providing an authentic experience of interaction with the environment. The design should facilitate dialogue between the visitor and the space, ensuring that the ‘experience of the other’ is taken into account. This implies creating inclusive solutions that resonate with families as well as athletes or solo travellers, affirming their personal interpretation of the space.