Process Book

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We are a unique Greek epicenter that entertains and educates through the awakening of all senses.

Greek Community Rejuvenation Experience Connection

Zachary Lin Patrick Scott Leah Apodaca

GraphicDesign

InteriorDesignKristen HoppeShannon WadeAlia Bien

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Table of Contents

Concepts8

Initial Logos9

Type and Color Studies10

Final Treatment11

Initial Posters12

Final Posters13

Transportation Graphics14

Accessories15

Concepts18

Initial Logos19


Final Treatment21

Initial Posters22

Final Posters23


Accessories25

Concepts28

Initial Logos29


Final Treatment31

Initial Posters32

Final Posters33


Accessories35

Building Model40

Final Model41

Concepts42

Floorplans43

Perspective 44

Matrix48

Bubble Diagram49

Codes50

Sustainability Summary51

Reflections53

Patrick Scott Zachary Lin Leah Apodaca Interior DesignResearch

Research5

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Research

Greece is a southeast country in Europe with a rich culture and history. Since Ancient Greece, people

have found items that symbolize Greece such as the helmets, pottery, and artwork. We delved into multi-

ple eras of Greek culture, not just the Classical Era. We looked into the Minoan and Archaic eras of Greek

history. In fact, some of our final designs are based on some of this early Greek artwork. The natural envi-

ronment of Greece was also an inspiration for us in our designs. The final color palette takes colors from

everything from Greek architecture to flowers of the Greek Isles. We were struggling at the beginning of

this process on what would be the best culture for us to draw from. In the end we chose Greece and we

could not have picked a more interesting and beautiful place to research and be inspired from.

Stoa - Covered walkways for public usage

Trophe - Nourishment, Food

Aroma - A pleasant characteristic odor, as of a plant, spice, or food

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ProcessPatrick Scott Sign & Symbol

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Concepts The starting point of our design process was the creating of rough

drawings and then would turn into more refined picture marks. The

drawings were inspired from Greek art and culture. I explored different

times in Greek history, not just the most commonly thought of Greek era.

(A) The Bull mark was taken from a famous piece of Greek art. It was not

from the High Classic Greek era, rather it was from the Minoan era of

Greek art. (B) The squid was also from the Minoan era. I was attracted to

this image because of the flowing lines. (D) The military was tied tightly

with Greek society and I felt that ancient Greek helmets were a great

piece of Greek Iconography. I was also was drawn to the fact that the

eyeholes recreated a sprout and the ridge a mountain. (F) The other

helmet did the same thing but was based off another type of military

helmet. (E) The middle drawing was an attempt to do the sprout again,

but in something that was also Greek besides a helmet. It is a Greek

tradition to smash plates at celebrations. I thought it was a great chance

to use the plate fragments to make a sprout like in the other drawings.

A

B

C

D E F

Patrick Scott Sign & Symbol

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Initial Logos Many of the ideas from the initial drawings where brought over to first

attempts at the logos. (A) The squid was largely unchanged although it

was difficult to vectorize the flowing shapes. The fish also was mostly

unchanged although there are subtle changes in its fins. The biggest

changes occurred to the bull. The first bull was much longer and that

kind of shape would be hard to work with in the later applications of the

logos. (B) The change that affected the rest of my design process was the

changes I made to the helmets. The first drawings had a broken plate that

tried to make the same effect as the helmets do with the sprout. I found

that the broken plate was hard to understand and in the end I decided

that I should do away with the plate. In the end, I replaced the broken

plate with the another helmet. This helmet would be different than the

other two helmets. The middle helmet was made so when put in the

center of the other two helmets, the ridge of the helmet would match up

with the other helmets’ ridges. The ridges when put together would make

a mountain range with peaks and valleys.

A

B


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STÓATRÓPHÉARÓMA TROPHE

Type andColor Studies

The process of creating the type for my design was going through as

many fonts as I could. I tried to pick one that combined a modern look and

a traditional Greek look. I looked through many and found the typeface

Cantoria that I felt did the job well. It was slick and modern, but also

had a look that resembled something Greek. I did make small changes to

Cantoria, though. I felt that the “T” and “H” where a little too long, and

changed them to my desired size. Many of the colors I picked for the color

palette where taken from both Greek art and the Greek environment.

I made sure to include black into the color palette because I thought it

would be helpful in the future work. After I had picked the colors I would

be using, I took different amounts of each and put them together to see

how they interacted. This allowed me to see the different color ratios to

put into the works that would be made from these palettes. I made sure

to experiment a lot and tried to see what worked.


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Greek Markerplace Greek Center Greek Bakery

Final Treatment

Overall, I was pleased with my final outcome with the logos. The process

I went through led me to something that I believe is certainly well made.

I am glad that my idea of a logo that says both Greek and Denver. The

reason I think this happens is that the logos both show helmets, but also

shows a sprout at the foot of a mountain. The helmet is meant to be at-

tached to Greek and the sprout, and the mountain attached to Denver, and

also the fact that the cultural center would be green. The type also rode

the line between the classical Greek and the slick modern world. The use

of Univers for the positioning statement was also very successful. The

colors are simple and I believe communicate Greek as much as any of

the other choices I made well working on this project. The helmets were

a standout idea from the start and I’m glad I stuck with them. The other

marks I made were also good, but I think I made the right choice. The

other marks proved useful for other applications, but these marks, in my

opinion, do everything a mark is supposed to do.


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A

B

Initial Posters The posters used marks I had made, but used them in a non-traditional

way. I made sure to use the helmet marks the way they were supposed

to be used. I blew up the logos so much that the mountain range created

by the helmets was evident. I decided that the bull was a good mark and

worth using in the poster even though it did not make it into my final

logos. I colored the bulls with all the colors the group had picked for the

final color palette. The purpose of the bulls was to recreate a stampede.

I also varied the size of the bulls to try and create depth.


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Final Posters The main feeling I was trying to do with these posters was to recreate a

stampede of bulls. In the end, I’m glad I chose to go with the secondary marks,

and not just stay with the helmet marks that I had created. The only change from

the first version to this final version was the positioning of the individuals bulls

in the layout. The problem with the first poster set was the leftmost poster had

a black logo set in the bull’s backside. I felt that having the one black logo was a

little jarring. Also the logo was for “Aroma”. The word aroma becomes complete-

ly different when slapped on a bull’s backside, so I thought it better to move it.

Because I moved that one bull, I had to move others, but the layout maintained.


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TranportationGraphics

If you leave your house at all, you will probably cross paths with some sort of

public transportation. For the most part, there is nothing special or unique about

these vehicles, which is a shame because they are seen by so many people

everyday. My goal for this bus was to make something that would stick out on

the road and in people’s minds. I chose to use the bull mark again. I thought that

if the stampede idea worked on the poster, that this was the best application for

it now. I was hoping to make a vertorized stampede of bulls going down the road.

I thought that this would be interesting and impactful to anybody viewing. The

bulls, like in the poster, change sizes to create depth.

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Accessories The retail space of our cultural center will sell several different items. The most

important of which will be the different alcohol beverages. We decided there

would be wine, and of course, Ouzo. I originally just had wine, but later thought

I would be horrible to do this cultural center without the addition of some Ouzo.

The designs are not overly complex, and use the logos well to create a connec-

tion with the products and the cultural center. With the wine bottle, you can see

both the retail space’s logo and name through the wine.


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ProcessZachary Lin Sign & Symbol

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Concepts The first thing I did was to find what most people think about when they

think about Greece. Wine, olives, architecture, and pottery are just some

of the more recognized symbols of Greece. I made quick sketches of these

things, such as olive leaves (A), and moved onto making more simplistic

symbols such as the column (B). I tried to get it to look as abstract as

I could with it still looking like a column. I experimented with negative

space with the pottery (C). The next thing I did was to find ways to keep

the three logos for Stoa, Trophe, and Aroma match in style. I decided to

try having them all in circles. I made pictures out of the negative space in

the circles. For Trophe (D), I decided to use a wine glass with olive leaves

on the side. With Stoa (E), I used the top of a Greek column. Aroma (F), I

used some Greek pottery. The leaves inside it were suppose to be like the

black figures shown on old Greek pottery. I scanned all my marks into the

computer to vectorize them.

Zachary Lin Sign & Symbol

A B C

D E F

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Initial Logos In Illustrator, I vectorized my circular marks. I also found some more ideas

for logos. I took some pictures of Cycladic Idols (A) and vectorized them.

They were made from the negative space in a rectangle. I tried to make

(B), (C), and (D) different enough that you could tell the difference be-

tween them. I, however, decided to go with the circular logos. I changed

(F) a little because it looked like the Jeep logo. (G) was fine but it was

hard to tell that the marks inside the pottery were olive leaves. (E), (F),

and (G) were the marks that I wanted to work with.

A B C D

E F G

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Type and Color Studies

I tried to find fonts that reminded me of the Greek style. I found several

that looked like the fonts that the Greeks carved in marble. The fonts I

found were Trajan Pro (A), Lithos Pro (B), and Penumbra Flare (C). Using

the accents above the letters make it feel even more Greek. I really liked

the blocky style of the letters and the font that I ended up using was

Lithos Pro (B). The colors sets had pictures of Greece that I took samples

from. Color set (D) is a set of natural colors from the earth and plants of

Greece. I added some blue for the sea of Greece. Color set (E) was taken

from a picture of Greek flowers. Color set (F) is another set of natural

earthy colors. Color set (G) are colors taken from old greek pottery such

as the black figure pottery. I decided to use color set (D) for my picture

marks.


A B C

D E F G

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Final Treatment

These are the final logos using the color palette that my team decided on.

The colors that we used reflect different parts of Greece. The plants, sea,

and flowers are what drove us to use these colors. The negative space of

these circles creates the images. The column represents the entire cul-

tural center, the wine glass represents the bakery, and the Greek pottery

represents the marketplace. The logos can be used together or apart, and

they represent Greece.

Greek Bakery Greek MarketplaceStoaCultural Center

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Initial Posters The posters needed to be tied together and show the combination of

Stoa, Trophe, and Aroma. I decided to try to add a “I’m thinking Arby’s”

style to the posters. Because I used circular logos, they could be formed

into thought bubbles. The black background causes the logos to look nice

and stand out. As a set of three the posters, they needed to fit together so

I had the left poster curving to the left and the right poster curving right.

This added enough symmetry so the posters could become one large

poster. The poster art is the focus of the posters so people would hang

them on walls for decoration. The website for Stoa is at the bottom of the

posters with the phone number. The movement of the logo bubbles move

your eyes down to the website and phone number.


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Final Posters These are the final posters for Stoa, Trophe, and Aroma. I just took close-

ups of the logos, and used the team’s color set. The left and right poster

tie all three posters together.

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Transportation


The bus graphics are very simple but stand out. The helmet makes it look

like a charging Greek warrior. The website and phone number can be seen

on the side. The word Stoa is reversed on the front of the bus so that

people looking in their mirrors can read it. It is called the Stoa bus.

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Accessories The accessories I created were the outfit for the waiters and the menu.

The waiter’s outfit is based on Greek vests. The vest has pockets and the

Stoa logo on it. Under the vest is a plain white shirt. The outfit has plain

black pants and nice black shoes. The menu is one of our colors on our

color set. It has the Stoa logo on the front. The menu folds out to show

three pages.

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ProcessLeah Apodaca Sign & Symbol

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Concepts

Leah Apodaca Sign & Symbol

(A-G) The first thing I think of when I hear the word Greek is columns. Be-

cause of this, I wanted to use a column as a symbol for Greek culture. By

using tracing paper, I was able to create multiple drawings and concepts

from the same original image. (H-K) Because our cultural center, restau-

rant, and retail store are tied in with nature and community, I thought it

was important to include a nature inspired picturemark. There are many

types of Greek flowers and leaves that I looked at for inspiration, some of

which came from Greek pottery. (L) Military is a big part of Greek culture,

so I thought it was only fitting to include one for a picturemark. Although a

helmet is metallic and hard, I included some organic curves to my drawing

that would relate back to the spiral of the column and the round shape of

Greek leaves. (M-R) Pottery is my favorite medium from Greek art.

I researched the main types of containers and simplified the shapes so

that they were still recognizable, but were also bold and graphic.

A

B

CD

E

F GH I J K L

OP Q

RM N

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Initial Logos


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Type and Color Studies

I went through a number of fonts looking for one that I could pair with the

three logos I had created. I wanted a font that would standout, but also

wouldn’t overpower the logos. For the color palatte, I wanted to incorpo-

rate both traditional Greek colors along with vivid colors that are seen in

Greek architecture and nature. The grays and off white I chose come from

Greek architecture. The lighter blue comes from the water of the different

seas surrounding the country, as well as from modern Greek culture. The

bright pink comes from the native flowers of Greece.

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Final Treatment

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Initial Posters

1.800.468.7862 stoa.com 1.800.468.7862 stoa.com 1.800.468.7862 stoa.com 1.800.468.7862 stoa.com 1.800.468.7862 stoa.com 1.800.468.7862 stoa.com

1.800.468.7862 stoa.com 1.800.468.7862 stoa.com1.800.468.7862 stoa.com

For the posters, I wanted to incorporate the logos in a more abstract

way. To do this, I made the logos large and experimented with cropping

them. Another way I experimented with the logos was by rotating and

tiling them. Through this, a pattern was made, and the logos were more

subliminal. In all of my posters, I used similar colors to help unify them as

one set of posters.


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Final Posters

303.468.7862 stoa.com303.468.7862 stoa.com 303.468.7862 stoa.com


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Transporation Graphics


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Accessories For our retail store, I created labels that could be affixed on the products

in our store. In the example below, the label is for the spice anise, com-

monly used in Greek food. I also designed a shopping bag that would hold

the items that the customers purchased.


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Accessories For the business card, letterhead, and envelope, I used the same four

colors to help unifty the three pieces. I also used round corners in some

way on all three items for the same reason.


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Interior DesignAlia BienKristen HoppeShannon Wade

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BuildingModel

The model represents the façade that houses the bakery and the kitchen on the first floor, as well as the office and the employee break area on the second floor. Also included in the model is the community dining area, the water feature, and the northeast wall of the building. The water feature offers three versions of graphic symbols etched into the glass, in order to try out different op-tions. The façade shows a main element of Greece culture. The façade in the model clearly represents the city roofline in Greece. Through the model it is clear how the community aspect of the restaurant is dominant, but there are still private spaces.

Team Stoa

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FinalModel

Team Stoa

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Concepts Inspiration was drawn from the Mediterranean life of Greece. From the city

roof line to the brightly colored flowers, Greece is a rich culture that goes far

beyond the classic ancient Greece that is so well known. The images below

demonstrate the incorporation of the five senses within the cultural center. The

energetic sound of Greek dancing, the smell of the fresh flowers, the taste of the

food of the sea, the enticing textures, and the visual stimulation of all the vibrant

colors all show the Greek lifestyle.

A. Bien, K. Hoppe, S. Wade

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Floorplans From left to right:

First Floor Rendered Plan

Second Floor Rendered Plan

Rooftop Rendered Plan


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Perspective The image on the left is a perspective of the first floor Stoa dining area. The im-

age on the right is a perspective of the Aroma retail space.

A. Bien, K. Hoppe. S. Wade

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Perspective The image on the top left is a perspective of the water feature in the dining area

on the first floor. The image on the bottom left is of the first floor outdoor bar.

The furniture on the right are included throughout the first floor.


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Perspective The image on the left is a perspective of the entrance to the rooftop. The image

on the right is of the lounge area on the rooftop.


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Perspective The image on the top left is of the custom lounge area and the community din-

ing area on the rooftop overlooking downtown Denver and the mountains. The

image on the bottom left is of the community dining area on the rooftop with

downtown Denver in the background. The image on the right is of the furniture

and fixtures throughout the rooftop.


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Matrix


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BubbleDiagram

These are the preliminary bubble and relationship diagrams that helped originally

define the space.


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Codes

Ch. 3 v Occupant Load

302.1 Occupancy classification- assembly, mercantile, officeCh. 10 Means of egress1001.2 Min. required exits- unlawful to reduce number of exits or means of egress to less than required.

1003.2 Ceiling height- meets min. height 7’-6”

1003.7 Elevators, escalator, moving walks.- elevators used ADA

1004.1(Occupant load) design occupant load- means of egress requirements met

1004.2 Areas without fixed seating

Assembly-standing space/5 net

Comm. kit.- 200 gross

Mercantile- 60 gross

1004.3 Posting of occupant load- signs will be posted

1004.7 Fixed seating- occupant load determined by number of fixed seating

1004.8 Outdoor areas- shall be provided with means of egress

1006.1 Illumination required- illuminated at all times

1006.3 Illumination emergency power- power means of egress power supply provided by premise; electrical supply

1006.4 Performance of system- emergency lighting shall provide illumination of average of 1 foot-candle

1007.3 Exit stairways 48” min. handrail

1007.4 Elevators- to be part of means of egress will have emer-gency operations and signaling devices.

1008.1.1 Size of doors- Min. width of each door opening shall be sufficient for occupant load

1008.1.3.2 Power-operated doors- means of egress doors are oper-ated by power

1008.1.6 Thresholds- shall not exceed .75 in

1008.1.7 Door arrangement - space between two doors in series shall be min. 48” plus W of door swing

1008.1.8.1 Hardware- shall not require tight grasp etc.

1008.1.8.2 Hardware height- installed at 34” min & 48” max.

1008.1.9 Panic & fire exit hardware - yes

1009.1 Stairway width -no less than 44”-yes

1009.2 Headroom- min.80” yes

1009.3 Stair treads & risers 7” max and 4” min. height, tread depth 11” min.

1009.5.1 Stairway surface- shall not slope steeper than one vertical 48 units hour.

1009.5.2 Outdoor conditions shall have no areas where water ac-cumulate on walking surface

1009.10 Handrails- stairwell shall have handrails on each side

1011.1 Exit signs where required- exits will be marked by approved exit signs

1011.2 Illumination- exit signs shall be internally or externally illuminated

1011.53 Power source- exit signs shall be illuminated at all times

1012.1 Handrail where required- shall be adequate in strength

1012.2 Height- height shall be uniform and no less than 34” and no more than 38”

1019.1 Min. number of exits- all rooms have. min. number of exits

according to their occupant load

Ch. 11 Egress continued

1103.1 scoping requirement- areas shall be accessible to persons with physical disabilities.

1104.1 site arrival points- site shall have accessible parking, load-ing zones etc.

1109.2 toilet and bathing facilities- shall be accessible

Ch. 29 Plumbing

2902 min. plumbing facilities-assembly WC-male 1 per 75 female 1 per 75 LAV’s 1 per 200

2902.4 required public toilet facilities- customers and every one shall be provided public toilet facilities.

Ch. 8 Finishes

801.11 Interior finishes- provisions shall limit the allowable flame spread and smoke development based on location and occupancy

803.2 Interior wall or ceiling finishes other than textiles- shall be tested in accordance with NFPA 286

803.4.4 materials- finishes that are no more than .25” thick shall be applied directly against a noncombustible backing.

803.6 Textiles- interior wall textile shall comply with section 903.3.1.1

803.8 Insulation- Thermal and acoustical insulation comply with section 719

803.9.1.1 suspended acoustical ceilings- shall be installed in ac-cordance with the provisions of ASTM

804.2 Interior floor finish classification – materials shall be Class 1 or 2


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SustainabilitySummary


PV panels added to the rooftop of the bathrooms to increase the use of on-site energy and the energy supply will be off-set with wind power. The building will be commissioned to insure that it is operating in the most sustainable way possible.

The shell of the building will have some changes of windows being added for ventilation and daylighting, but the part of the building that will not be reused will be recycled or salvaged. Building mate-rials that are not being reused form the existing building will be of recycled, regional, or rapidly renewable materials or certified wood.

Materials and finishes will be treated with zero or low VOC sealers to ensure that the indoor air quality is healthy for the construction workers. Before the building is open to the public and customers it will go through a process of ventilation to make sure that the VOCs have been aired out. The different areas of the building will have separate lighting and thermal control to make sure that the customer and worker are as comfortable as possible. The added windows will improve the daylighting, views, and natural ventila-tion for each space.

The use of American Clay produces negative ions that will off-set the positive charge in the air form electrical products and will increase the mood of people occupying the space as well as boost energy and relieve stress. The customer will be able to learn about that and the benefits of the different materials that will be used in the space and how that relate back to the Greek culture as well as sustainability.

The goal is to stay close to the Greek culture which is naturally a very sustainable culture; with staying close to the culture the hope is to achieve LEED Gold Certification. Certification will be achieved through the use of an integrated design method and the assistants of a LEED AP. Although some materials that are mainly used in Greece, will not be used because of high embodied energy. These materials will be substituted with products that are similar but have less of an impact on the environment. Products that would use fewer natural resources will also be selected keep-ing in mind water conservation and energy savings.

Third Party Certification products are an important part of the products that are being used. The different certifications that are referenced are the Environmental Protection Agency, Forest Strew-ship Council, and the U.S. Green Building Council. Knowing that a product is sustainable, but has the variation to back it up is also important.

The site is a building in an urban area that will be redeveloped in the near future to add to the community with new commercial spaces and the addition of a light rail station close the building. There are bus stops near the site and bicycle storage will be avail-able for the customer, also for employees there will be a shower and changing room if they choose to bike to work. The only change to the lot will be done to the building. The parking lot will have no new spaces and the current landscape will not be taken out, but with the possibility of future landscaping being added. Vegetation and a greenhouse will be added to the roof to supply food for the kitchen and herbs that will be sold in the retail space. It will also improve the CO2 emissions.

Low flow and waterless water fixtures will be used in the bath-rooms, kitchens, and bar area; reducing the use of potable water. The amount of energy being used will be reduced by the use of LED lights and Energy Star appliances. There will be an addition of

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Reflections

Team Stoa is an efficient team filled with many creative individuals. From the start of the project, everyone was eager to work on the design of the cultural center. Everyone agreed on the culture pretty easily. We did go back and forth between an Aztec and Greek cultural center, but in the end we chose Greece because we felt it as more of a challenge. Week by week, all members of the team brought new ideas to the table. We always had work done ahead of time, and we nev-er had any major setbacks. Overall, it was a great experience.

Team Stoa

Process Book

Documents

Transcript of Process Book