Celebrate culture and diversity through a unique and vibrant experience in an urban Moroccan oasis.
Contemporary Innovative Sustainable Sensuous Moroccan
Fall | 2009 Jose Barrientos | Dana Ensing | Joshua Gambill | Jesse Knapper | Lena Schmidt | Jessica Thomas
Fall 2009 | Sign and Symbol | Restaurant and Retail 1
Table of Contents Cultural Research Naming Phase Color Development Graphic Design JosĂŠ Barrientos Josh Gambill Jesse Knapper Accessories Interior Design Programming Schematics Design Development References
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Cultural Research
2 Cultural Research
Cultural Research One of the oldest cultures, Morocco defines singularity and encompasses diversity in the same breath. Morocco was settled by the Berbers, yet is still largely influenced by Spain, France, and the Islamic world to name a few. The Spanish call it El Maghreb al Aqsa, “The Land of the Far West�. The Moroccan landscape varies from the coastline, to the expansive Atlas Mountains, to the Sahara Desert. These elements greatly influenced the architecture, the art, and the vibrant colors that Morocco is well known for today. Moroccan art has a strong emphasis on symmetry and repetition which can be seen in the architecture, clothing, and jewelry. The architecture boasts arched doorways, beautiful domes, large courtyards, and sprawling gardens. For much of their architecture, they have developed what is called Tadelakt.
Well known for the Sahara desert, Morocco also
The interior design for many Moroccan homes is
The Hamsa is a spiritual symbol found throughout
has mountains and a coastline.
quite the opposite of their plain exteriors.
the Moroccan culture.
Fall 2009 | Sign & Symbol | Restaurant and Retail 3
Rich spices are a staple in Moroccan cuisine, they
These large arches and geometric patterns are
The city of Marakesh is very populated, and a
can be found for sale in markets such as this.
very common in Moroccan architecture.
prime spot for tourism.
This is a bright nearly waterproof lime plaster. It can be found on the insides and outsides of palaces, hammans, and bathrooms. While many of the houses and buildings appear bare on the outside, the insides are lavishly decorated in bright colors and mosaics. While Morocco has a long history of being very traditional with their foods, customs, and religion, they have recently opened up to more contemporary ideas. This is partly to bring in more tourism, and can be found mainly in more urban areas such as Marakesh. Traditional Moroccan cooking uses an extensive array of rich spices including saffron, mint, cinnamon, cumin, turmeric, ginger, coriander and paprika. Tagine is a meat dish, which is also commonly served in Morocco, named after the terra cotta pot that it is cooked in. Meals always end with a cup of sweet Moroccan mint tea, the national drink.
Fall 2009 | Sign and Symbol | Restaurant and Retail 5
Naming Phase
6 Naming Phase
Naming Phase These are example of Moroccan words used to choose a name for the cultural center. These words are used daily in Morocco. They were selected because of their definitions and auditory quality. They have strong accents and heavy pronunciation. An exception was made: rather than choosing three words to name all sections of the cultural center, including retail, restaurant, gallery, a common name was selected for all. Maroc is the umbrella name for the cultural center. The retail is area is called the Tearoom, the restaurant area is called the Lounge and the gallery is simply Gallery.
Atay (Tea)
Seffa (Couscous)
Na’na (Mint)
Illi (My Daughter)
Berrad (Teapot)
Tala (Female Name)
Zagora (House)
Izza (Bell Pepper)
Zween (Beautiful)
Souk (Market)
Maroc (French Morocco)
Bastilla (Pigeon Pie)
Sukar (Sugar)
Taarija (Instrument)
Tajine (Cooking Ware)
Agadir (A Beach)
Ana (I am)
Tamri (A Village)
Akak (Please)
Zellij (Tile Work)
Maroc
Fall 2009 | Sign and Symbol | Restaurant and Retail 7
Color Development
8 Color Development
Inspiration for Color Moroccan culture is rich with strong and vibrant colors. Our color pallet is inspired by everyday living in this fascinating culture. We were especially enthralled by the colorful spice barrels found in the souks - Moroccan open air markets - where people flock to purchase their groceries for the day. The teas and pottery that are abundant in Morocco added another layer to the color pallet. Also, we developed our pallet from interior and exterior architecture. The brilliant colors of sunrise and
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sunset on the Atlas summit is reflected in the costume and clothing of women in Taroudant or Tzitin and found its way into our color scheme as well.
Fall 2009 | Sign and Symbol | Restaurant and Retail 9
Inspiration for Color These photos in particular inspired our color pallet. We pulled the orange, yellow, and red from the spice piles. The dark red and blue represented on the exterior of the building were utilized. The variety of olives at the market also interested us and we included the light green and dark green from this photo.
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10 Color Development
Color Development PANTONE DS 50-2C PANTONE DS 192-1C PANTONE 1817 C PANTONE DS 307-2C PANTONE DS PROCESS BLACK PANTONE DS 82-1C PANTONE DS 305-4C
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PANTONE 2727C PANTONE DS 18-4C
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Fall 2009 | Sign and Symbol | Restaurant and Retail 11
Graphic Design
Fall 2009 | Sign and Symbol | Restaurant and Retail 13
Development By JosĂŠ Barrientos
14 JosĂŠ Barrientos | Picture Mark Development
Ornate Picture Marks In developing a picture mark to represent our establishment, we conducted research on the Moroccan culture. The culture from Morocco is very rich with colors and patterns, which people from Morocco use to decorate many items in their every3
day lives. Inspiration was gathered from many sources, including books on Moroccan architecture, textiles, patterns, ironwork, henna tattoo, arabesques, doors, arches, pottery, and lifestyle. 2
1. Art and Crafts of Morocco, 19th Centu-
ry embroidered wall hanging, displayed by the wealthy rural population. 2. First picture mark attempt utilizing a
combination of fine lines, bold lines and open spaces. 3. Design directly inspired by the embroi-
dered pattern of the Moroccan wall hanging; it was used to further develop the circular picture marks. 4. Ornate picture mark created from the
outer pattern of the wall hanging.
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5. Intricate curved pattern taken from
outer design of the wall hanging.
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Fall 2009 | Sign and Symbol | Restaurant and Retail 15
Circular Picture Marks Using this 19th Century polychrome couscous bowl and a geometric ceiling pattern helped further develop the idea for a round picture mark. The overlapping pattern, rotating pattern and variety of circular shapes creates designs within patterns. The beauty of these patterns inspired ideas for the designs used in the displayed picture marks.
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1. 19th Century polychrome couscous
bowl from Meknes. 2. Picture mark created using abstract
pattern of flower and petals within a water drop shape. 3. Pattern echoing the onion shape tops
of mosques used in a rotating pattern. 4. Pattern representing the outline of the
Tajin. 5. 19th Century geometric ceiling pattern
from Jajouka. 6. Refined vector design of image 2. 5
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7. Refined vector design of image 3. 8. Dinner plate rotating pattern.
16 JosĂŠ Barrientos | Picture Mark Development
Henna Inspired Picture Marks This Handira - a cloth to be draped over a person’s shoulder - provides multiple ideas for different directions to take with the development of our picture marks. It resembles the designs for the henna tattoos that women wear in Morocco. The motif contains the Moroccan star used in the nation’s flag. It also depicts the eye, which protects people from bad intentions. The thin and thick dotted lines and the heavy solid areas are direct interpretation used for these specific picture marks. 2
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1. Handira with motifs of henna design,
including eye and hand symbols. 2. Mint leaf design, utilizing hennas, with
tapered lines and dotted edges. 3. Tajin - a cooking artifact for steaming
foods - design with henna patterns. 4. Abstraction of the Hamsa hand, using
heavy lines, linear patterns, and dots outlining the main shape.
B 1
B 4
Jose Barrientos
Fall 2009 | Sign and Symbol | Restaurant and Retail 17
Arch and Mint Leaf Picture Marks The Mausoleum for King Mohammed V in Rabat was used to inspire enclosed designs with heavy outlines, as well as designs that could be placed onto a wall and repeated to create arabesque patterns. Also, the pattern on the faรงade of the mausoleum has leaf-like qualities, which sparked the idea to develop the mint leaf picture marks.
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1. Mausoleum for King Mohammed V in
Rabat, constructed in 1962. 2. Abstract design containing an interior
shape of overlapping leaves enclosed with heavy, thick lines. 3. Seashell design with thick outlines. 4. Dancing mint vine with henna pattern. 5. Simplified dancing leaf. 6. Sketch of leaf with spiral and linear
patterns. 7. Leaf created from two linear shapes. 8. Abstract leaf design created with
sharp and tapered heavy lines. 5
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18 JosĂŠ Barrientos | Picture Mark Development
Hamsa Picture Marks The Hamsa hand is an important symbol for the Moroccan culture. It is a symbol associated with the Hand of Fatima. However, its actual origin is associated with the Brahmen culture. It is used as an amulet to ward off evil. For these picture marks, the outline of the Hamsa hand was used to create designs that represented each aspect of our cultural center. One design relates to the Tearoom, one for the restaurant, and one for the overall culture center and gallery. 1
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1. Hamsa hand with intricate pattern,
containing evil eye and fish, which represent bathing in the waters to purify. 2. Hamsa amulet with symmetrical pat-
tern and design. 3. Non-symmetrical Hamsa with pattern. 4. Sketch of a Hamsa outline with a mint
leaf in its center which also creates a flame. Created for the Tearoom. 5. Abstract pattern of a building housing the eye. Created for the gallery. 6. A Hamsa design from one of Jesse Knapper’s picture marks, with slight changes. Created for the restaurant.
Fall 2009 | Sign and Symbol | Restaurant and Retail 19
Final Picture Marks After the long process of sketching picture marks and doing research, a set of picture marks was created that contains the best balance of graphic interpretation to represent the ideas and themes of our establishment. Inspiration from previous designs was incorporated in order to develop a set of picture marks that are consistent in visual relation to one another. Each picture mark mirrors the purpose for which it was created: the leaf for the Tearoom, the eye for the Gallery and Culture Center, and the birds for the Lounge.
1. Inspired by other designs of the mint leaf,
this picture mark combines the mint leaf
2. An abstract approach was taken for this
3. This design recreates one of Jesse
and the Hamsa hand. The leaves overlap
shape. It would traditionally be the finger of
Knapper’s picture marks, which was
to create a solid area for the bottom and an
the Hamsa hand. Instead they are portrayed
inspired by the popular Moroccan dish of
extending leaf comes out of the center. It is
Tea Room Tea Room Tea Room negative space, which provides separation
as a representation of a building or a complex
pigeon, and combining it with the Hamsa
bold, with heavy shapes and the use of little
where the eye rests. The eye symbolizes the
hand. This represents the lounge. The birds
visual world of our gallery. Also, it draws on
are placed at different heights in order
while breaking up the solidity of the shape.
the Moroccan art tradition of a Hamsa hand
to break the symmetry and give it some
It sits on two smaller leaves separating it
with the evil eye. The bottom of the picture
movement. The picture mark sits on the
from other elements.
mark feels equal to the top due to its heavi-
legs of the birds in order to prevent it from
ness, which includes a base and the thick
sitting flat. The legs continue with the
areas of negative space between the shapes.
curved swooping lines of the overall shape.
Gallery Gallery Gallery
Lounge Lounge Lounge
Barrientos JoseJose Barrientos Jose Barrientos
20 JosĂŠ Barrientos | Typography Development
Typography Development Once the name was determined, a typographic treatment had to be created in order to compliment the picture mark. The research began by typing the name
!"#$% Maroc Maroc Maroc 1
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in different fonts considered applicable for the final type treatment. All type was set without any settings or adjustments.
1. Baskerville
!"#$% Maroc Maroc Maroc
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2. Sabon LT Std 3. Adobe Jenson Pro 4. Minion Pro 5. Garamond 6. Bauer Bodoni Std 2 7. Bembo Std
Maroc 9
8. Caslon 3 LT Std
!"#$% !"#$% !"#$% 10
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9. Trajan Pro 10. Arial 11. Optima 12. Frutiger SAIN Bd v.1 13. Gill Sans 14. Myriad Pro 15. Verdana 16. ITC Avant Garde Gothic Std
!"#$% Maroc !"#$% 13
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Maroc 16
Fall 2009 | Sign and Symbol | Restaurant and Retail 21
Maroc 1
Maroc Maroc Maroc 2
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Typography Massage After much consideration, Trajan Pro was selected as the best type example to relate to the core values of the cultural center. The type setting had to be adjusted in order to balance the positive and the negative space so the type would not
Maroc 5
feel either too heavy or too light. 1. Reduce kerning between R and O. 6
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Lounge
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Gallery
2. Reduce kerning between O and C.
Tea Room
3. Reduce Kerning between A and R.
4. Too much space between R and O. 5. Enlarged the M to provide a more
natural order to the type treatment. 6. Experimented with a straight accent. 7. Changed the accent mark to a more
Lounge
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Lounge Gallery Tearoom
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Gallery Lounge Tea Room Tearoom
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Lounge Tea Room Gallery Tearoom
organic leaf like shape. 12
Gallery Tea Room Tearoom
8. Created an accent mark that resem-
Tea Room
bled the feature of Trajan. The bottom piece from the leg of the R was removed, flipped and changed to create an accent mark . 9. Sub-title in Minion Pro. 10. Sub-title in ITC Avant Garde Gothic Std 11. Sub-text in Bickham Script Pro. 12. Sub-text in Janson Text LT Std 65 Italic
Jose Barrientos
22 JosĂŠ Barrientos | Typography Development
Final Typographic Treatment Once the main logo-type was created and massaged to best represent the establishment, then we experimented with type treatments for the subtitle. Finally, we combined the main type treatment with the subtitle type treatment for a complete textual representation of all parts of the cultural center.
Lounge
Lounge Gallery Tearoom
Gallery Lounge Tea Room Gallery
Tea Room Gallery Lounge
Fall 2009 | Sign and Symbol | Restaurant and Retail 23
Color Development Once the picture marks and the typographic treatment were fully developed, it was time to put both elements together and prepare a color treatment from the nine swatch color pallet. These are examples of the combination of colors we considered. Each example combines a color variation for the picture mark, the establishment name, and the location specific subtext. From dramatic to mild, we explored many color combinations in order to determine the best fit for the theme of the cultural center.
24 JosĂŠ Barrientos | Color Development
Final Picture Mark and Typographic Treatment To create the final identity for each part of the establishment and the cultural center as a whole, we combined the finished picture marks with the completed type treatment, in order to unify the brand. We believe that these graphics fully represent Maroc’s environment and ideology.
Fall 2009 | Sign and Symbol | Restaurant and Retail 25
Poster Series Large posters were created to market Gallery
Gallery
the cultural center. This is the first at-
Gallery
tempt for the original poster series. The picture mark used in the poster has been enlarged to a point of abstraction. Only two colors were used to create a memorable and distinctive impression. The large picture mark is set on the left and a much smaller version sit on the top right, along with the typographic treatment. The phone number and website information sit at the bottom right corner. 1. Gallery picture mark in yellow (PAN-
TONE DS 18-4C ) on blue (PANTONE DS 192-1C) 2. Tearoom picture mark in dark red 1
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(PANTONE 1817 C ) on dark green (PANTONE DS 307-2C) 3. Lounge picture mark in blue (PAN-
TONE DS 192-1C) on orange (PANTONE DS 50-2C)
26 JosĂŠ Barrientos | Poster Development
Final Poster This set of picture mark posters were created using the same idea as the previous series. The picture marks were enlarged Lounge
Gallery
to an even greater degree. They truly become abstract shapes, rather than identifiable objects. Two colors were selected for each poster within the same hue so they are complimentary. 1. Large picture mark zoomed directly on
the eye in yellow (PANTONE DS 184C ) on orange (PANTONE DS 50-2C) background with small, white picture marks and website and telephone number in white. 2. Large picture mark zoomed into the
center of the leaf in green (PANTONE DS 305-4C) on dark green background (PANTONE DS 307-2C) with small, white picture marks and website and telephone number in white. 3. Large picture mark zoomed onto the
head of the pigeon in blue (PANTONE DS 192-1C) on light blue (PANTONE 2727C) background with small, white picture marks and website and telephone number in white.
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Fall 2009 | Sign and Symbol | Restaurant and Retail 27
Sketches for Transportation Graphics Sketches for transportation design were created utilizing buses, pedi-taxis, and company vehicles. The graphics for the vehicle are subtle colors. The color of the logo will be a beautiful coppery color which is taken form the orange used throughout our color pallet. The Gallery/ Cultural Center picture mark is placed on the center of the vehicle’s hood and on the both the passenger and driver doors. It also has the wesbsite and telephone 2
number listed. 1. Quick sketches for development of
transportation graphic 2. The graphics on the company car are
subtle and minimal in metallic orange. 1
The vehicle selected for this design is a 2010 Honda Insight Hybrid concept car. Built with a 1.3-liter gasoline engine serving as the main power source, assisted by an electric motor.
28 JosĂŠ Barrientos | Transportation Graphic
Bus Graphics The idea behind the transportation graphics for the bus is based on the use
48 EAST
of patterns taken from the Moroccan culture. The pattern is utilized throughout the entire bus and slowly fades into the orange of the bus. The name of the establishment, as well as its website and phone number, are displayed on this memorable bus. The buses are intended to move about downtown and make trips to the cultural center all the while enticing people with their large, vibrant graphics. 1. The graphics on the bus are patterns
fading from the front of the bus into
48
orange on the back. The orange pattern appears dominant in the front by standing out on the yellow background and calmly fading 3/4 of the way back into the orange background. The large picture mark uses the front tire of the bus to create the center of the eye, which really helps the graphic become part of the bus rather than just a graphic stuck on a bus.
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Fall 2009 | Sign and Symbol | Restaurant and Retail 29
Development By Josh Gambill
Fall 2009 | Sign and Symbol | Restaurant and Retail 31
MARÓC
The MARÓC logos have been developed using the emblems from Arab Morocco for the Hamsa. In Arabic the symbol is also know as the hand of Fatima. Tea leaves are used for the tearoom, as green tea and mint is the most popular beverage of Morocco. The pigeon is used because of Morocco’s four hundred fifty four
!"#$% !"#$%!"#$% !"#$% !"#$%!"#$% !"#$% !"#$%!"#$% tearoomtearoom tearoomlounge lounge
lounge gallery gallery
gallery
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For the finalized logos I wanted to incorporate
For the lounge and dining area, the Hamsa
The shield protects the art, just as the art
the iris of the Hamsa. Here it is used with tea
was chosen to be directly used. We modified
protects the culture. It allows the culture to be
leaves to create a strong visual as well as a
it by adding two pigeon heads for a thumb and
carried on through almost any event. Just as
clear message for the Tearoom.
a pinky finger. This representation for a dining
the shield would for a soldier carrying it.
area conveys the warmth and kinship of the meal.
bird species, and as pigeon is a popular dish. The shield comes from Morocco’s long history of colonialism and patterns on mosaics.
32 Joshua Gambill | Design Development
Black and White
Here are the same three logos arranged in black and white. The black and white studies are just as important as the color studies. Based on contrast and change of scale, this is when a designer discovers how functional the picture marks become. If the line weights are not adjusted and nurtured, the logo may not be visible at the small sizes used for letter heads, or business cards. As demonstrated with the marks in the lower region, the goal was to not allow any details to fall away as the picture was made smaller.
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Fall 2009 | Sign and Symbol | Restaurant and Retail 33
Posters
Here the opposite change of scale is used. The picture marks have been blown up to a massive size. This allows the viewer to have a completely new perspective, and obscures the logos in a positive way. The posters would be used on billboards and signage, and would open up a plethora of ideas for application. I researched as many mosaics as possible, which inspired me to design my own version. I felt a very 800.667.6227 www.maroc.com
800.667.6227 www.maroc.com
800.667.6227 www.maroc.com 800.667.6227 www.maroc.com
800.667.6227 www.maroc.com
800.667.6227 www.maroc.com
800.667.6227 www.maroc.com
800.667.6227 www.maroc.com
800.667.6227 www.maroc.com
1.
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3.
The Tearoom poster, like the other post-
The Lounge poster, like the Tearoom, and
The Gallery poster, uses both round
ers uses the picture mark blown up. The
Gallery posters consists of very simple
organic lines, as well as strong verticals.
blue mark captures the viewers attention,
shapes. The negative and positive space
I used the shield and the mosaic since
and the repeating round forms make sure
of the hand form strict vertical lines lead-
their shapes relate well, and work to-
the viewers eyes never leave without
ing the viewer into the poster, and down
gether as a whole. Much like the artists
seeing the contact information and the
to the information at the bottom.
presenting work in the gallery.
small picture mark.
simple color scheme would be the most attractive. So I used only primary colors and a secondary.
34 Joshua Gambill | Design Development
Patterns
The patterns and mosaics of Morocco, and Moroccan fountains inspired this background tiling design I created it for background textures and parchment. The patterns add an elegant touch to mosaics, doors, and fountains. Like many Moroccan patterns, it can be applied in more ways than one.
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After sketching and drawing many pat-
Once the main component is attached to
terns, I developed a method of creating a
another the pattern fully emerges. Even
mosaic. This is the main component, and
with only three or four pieces, the repeti-
it allows for many uses, such as picture
tion becomes captivating and attractive.
marks, parchment , and subtle background textures
Fall 2009 | Sign and Symbol | Restaurant and Retail 35
Entry
When first walking into Maroc visitors will be greeted by a warm and friendly environment. The host stand is as warm and as vibrant as the Atlas mountains. The structure mimics the way the mountains move, as well as the dunes of the Sahara, this creates a good initial impression that will keep people coming back.
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This blue vinyl is perfect for walking into
This desk is warm , bright, and welcom-
This cut foam core was the first to scale
on a hot summer day, for its color is cool,
ing on cold days during the holiday’s. The
model built for the 12 foot high host stand.
calm, and refreshing.
color reflects on the spices grown and used in Morocco.
36 Joshua Gambill | Design Development
!"#$%
Type Treatments
tearoom
MARÓC
lounge
MARÓC gallery
Typography, like architecture can support and house many things. It is the foundation to the structure. When researching and reading about Morocco, I found that old traditions are just as alive today as they were hundreds of years ago. Those
MARÓC
!"#$%
tearoom
MARÓC
MARÓC
tearoom
gallery
lounge
traditions live hand in hand with the new contemporary youths, art, and architecture. In selecting the identity. I knew it would be a mixed use of San Serif, and Serif typefaces. The problem came find-
MARÓC
!"#$%
tearoom
MARÓC gallery
lounge
tearoom
MARÓC
MARÓC
MARÓC
MARÓC
lounge
tearoom
gallery
ing the perfect match. To find the perfect match I performed multiple tests. I concluded that Baskerville and Univers captured the true feeling. Baskerville having deep roots in the history of typography, and univers being the new contemporary
MARÓC
MARÓC
MARÓC
lounge
tearoom
MARÓC
gallery
tearoom
structure. The illustrations (to the left) are a few combinations I tried before reaching my final conclusion. MARÓC
tearoom
MARÓC lounge
MARÓC gallery
MARÓC lounge
MARÓC gallery
MARÓC lounge
MARÓC gallery
Fall 2009 | Sign and Symbol | Restaurant and Retail 37
Typography
When working with typography, there are guides to doing the font justice, or injustice. In some cases it is completely arguable. When adjusting a typeface, I always remember that a person has put days, months, or even years into designing the perfect font. Designers have spent their whole lives designing multiple typefaces, in order to communicate clearly. For myself, typography is something I pay a great deal of attention to. It is something I Iove, and something I want to share. When going through these fonts I choose each one carefully. I looked at every detail, the shape of the counters, the negative space between the letters, the terminals, the feet, the weight of the crossbars and spines, and everything in between. It has to be perfect.
38 Joshua Gambill | Design Development
Secondary Sketches
The idea behind this set was to introduce our sketches into Adobe Illustrator and to create as many ideas as possible. At this stage in the process, having as many ideas as possible is never a bad thing. With these sketches I was focusing on the designs of Moroccan doors, fountains, mosaics, and the cultural importance of tea. These areas of interest made solidifying an idea much easier and educational. Many Muslim patterns are drawn from mathematical equations, laws of light, reflection, and geometric sequencing. It can become incredibly chaotic. Howerver at a closer look the shapes become visible through a use of basic geometric forms, which to a designer could become an identity or an icon.
Fall 2009 | Sign and Symbol | Restaurant and Retail 39
Preliminary Sketches
Before starting the first drawings, I researched the Moroccan culture; no details were spared during this time. I observed everything from spices to the clothing the people wear. I found myself mostly attracted to the geometric patterns. The line work found is very striking and recognizable. All aspects of Moroccan culture and architecture are ornately decorated with these symbols. All of which can be drawn in this style.
40 Joshua Gambill | Design Development
Color Inspiration
These images were a direct inspiration for the selection of my color palette.
pms ds 197-4u
pms ds 84-1u
pms ds process black
pms ds 60-2 u
pms 574 m
pms ds 159-1u
pms ds 197-4u
pms ds 84-1u
pms ds process black
pms ds 60-2 u
pms 574 m
pms ds 159-1u
pms 376 m
pms ds 8 -2u
pms 42-u
Development By Jesse Knapper
42 Jesse Knapper | Picture Marks
Picture Marks In developing picture marks, I first researched Morocco to find symbols or ideas that reflected their culture. After settling on an idea I used tracing paper for drawing and Adobe Illustrator for the digital marks.
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In my research I came across this symbol of the Hamsa a number of times. This symbol represents the hand of Fatima, and is supposed to ward off the evil eye. 2
These are the first sketches and ideas for picture marks incorporating the hamsa. 3
After deciding on which sketch I wanted for the gallery, I vectorized it in illustrator. 4
Squab, (pigeon) is a dish served in Morocco, so I incorporated pigeons into the mark for the restaurant, and mint tea leaves into the mark for the tearoom. 5
As a group we decided to work off Jose's mark for the gallery, so the top row of marks show my process of taking Jose's mark (far left) and making it my own (far right). The bottom row shows the steps I took to unify the marks for the restaurant and tearoom with the mark for the gallery.
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Fall 2009 | Sign and Symbol | Restaurant and Retail 43
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These are the three final sketches I completed for my picture marks. I feel they are all unique but they work well as a set. 7
For the tearoom, I used mint leaves as an inspiration for the two fingers protruding from the sides of the hand. I also kept the stems of the leaves to relate this mark with the restaurant one. 8
This final gallery mark is a more abstracted version of my original idea. The triangle and the eye also represent a sun or moon rising over a mountain. 9
For the lounge mark I used pigeons as the two fingers protruding from the hand. I also incorporated the idea of the rising sun or moon over the mountain.
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44 Jesse Knapper | Type Development
Type Development Our cultural center is fairly expensive, so we wanted our typeface to reflect a classy establishment. 1
To help make a decision, I created a list of "Maroc" in twelve of the classic typefaces. 2
From this list, I chose the three that I felt worked the best. The first typeface I chose was Janson. 3
The second typeface I selected was Trajan Pro. This typeface works very well for titles and comes across as very elegant. 4
I wanted to include a San Serif as well so I selected Univers and tried out some of the different styles in that family. 5
This is the Janson typeface with a little tweaking of the space between certain characters. 6
The Trajan Pro typeface I also tweaked a little and made the accent mark larger. 7
The Univers typeface looks nice but I felt a Serif would be even more effective for our cultural center.
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Maroc Maroc Maroc Maroc Maroc Maroc Maroc Maroc Maroc Maroc Maroc Maroc
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MarÓc Maróc
5
MarÓc
3
4
Maróc
Maróc
Maróc 6
7
Maróc
Fall 2009 | Sign and Symbol | Restaurant and Retail 45
8
In deciding what typeface I was going to use for the subtitle I again created a list of possibilities. I wanted it to differ from the typeface I chose for the title so the list is all San Serifs. 9
I decided on the Univers typeface, and begin incorporating it with the title and picture mark. This is it with Trajan Pro. 10
With the Janson typeface, I preferred having the picture mark centered above the title. 11
With the Univers typeface as the title, I used Janson for the subtitle and moved the subtitle over to align with the right side of "Maroc". 12
I decided on using Janson for the title, and Univers for the subtitle. I felt the picture mark was most effective centered, and the subtitle aligned right.
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9
Gallery Gallery Gallery Gallery Gallery Gallery Gallery Gallery Gallery Gallery Gallery Gallery
10
11
Lounge
Tea Room
Gallery
12
Tearoom
Gallery
Lounge
46 Jesse Knapper | Color Development
Color Development Morocco is a culture that uses a lot of bright strong colors. I wanted to capture these colors but to an extent. As a group we decided on basing our center off traditional Morocco but also giving it a contemporary twist. With this in mind, I felt my color palette should reflect on Morocco but not scream it.
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2
1
These pictures are a few that I used to help make a decision on my color palette. I did not take the colors straight from the pictures, I instead looked over many pictures and picked out some of the colors that I felt were prevalent throughout them
7507 EC
159 EC
174 EC
7546 EC
2945 EC
7542 EC
123 EC
336 EC
2
For my final color palette, I included three shades of blue since this color is very reflective of Morocco. I chose a tan to relate to the walls of the buildings in Morocco. The other colors are reflective of spices, and clothing I observed in my research.
Black EC
Fall 2009 | Sign and Symbol | Restaurant and Retail 47
8
8
9
This vertical column of colors are samples of possible color combinations. These were useful in choosing colors for the picture marks and the posters.
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Tearoom
Gallery
Lounge
Tearoom
Gallery
Lounge
Tearoom
Gallery
Lounge
9
I felt the colors for the tearoom picture mark should reflect the tea that we'll be selling in our tearoom. The spices they used in their tea are typically green, but the tea itself is a shade of yellow.
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10
For the gallery picture mark, I felt a blue was necessary since it is a strong Moroccan color. I also changed the color of the eye in the picture mark. 11
I felt the color for the lounge picture mark should be an appetizing color that reflected food. The bright orange is nice and also makes the title stand out.
12
12
For all three picture marks I used one color for the logo and carried that color over to the subtitle. I used a dark blue and dark red for the title "Maroc", because it needed to be bold.
Tearoom
Gallery
Lounge
48 Jesse Knapper | Posters
Posters The posters we designed for our center are a set of three that work together in a unified composition, but can also stand alone as three separate posters. In designing them I used the picture marks I designed earlier and blew them up into super graphics. For all of them I included the full picture mark with the title and contact information at the bottom.
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2
1
For this set, I used my picture marks from the lounge and the tearoom and put them opposite each other. I increased the size so they would overlap onto the middle poster.
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3
4
2
In this set, I only used the mark from the lounge on both ends. This composition created a neat middle poster since the birds are at varying heights. 3
For this set, I used more traditional Moroccan colors and increased the size of my gallery picture mark which I centered to cover all three posters. 4
For my last set, I took my tearoom picture mark and placed it on opposite ends of the posters. I also flipped one horizontal to create a symmetrical composition.
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Fall 2009 | Sign and Symbol | Restaurant and Retail 49
5
5
6
I decided to use the composition of the pigeons for the final poster set. I tried out these colors because I felt they were more Moroccan. 6
I felt these colors worked the best for this poster set. I made a few minor changes with the picture mark and contact info at the bottom. I separated the phone number and email address from the picture mark. This gave the mark and title more breathing room. 7
This was another color experiment I tried out for this composition. I liked the colors but I felt they were a little strange to be advertising for a restaurant. They also didn't speak Morocco to me.
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7
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50 Jesse Knapper | Transportation
Transportation Graphics For our cultural center, we needed to design transportation graphics that could be dislayed on buses, trains, or vans.
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1
Before I began designing, I researched transportation graphics. I found many examples to provide me with inspiration. In many of the train and bus wraps, large graphics and pictures were used to create interesting illusions. 2
I started off sketching out some ideas that could go on the side of a city bus. These include a long tea pour that magically defies gravity, barrels of Moroccan spice, and a geometric pattern that wraps around the bus. 3
I took my sketches and created rough layouts digitally in Illustrator and Photoshop. 4
This graphic is effective because the pattern is very Moroccan, and the color really jumps out to catch the viewer's eye.
4
Fall 2009 | Sign and Symbol | Restaurant and Retail 51
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For my final transportation graphic, I used my idea from earlier but made some changes. I kept the pattern from wrapping over the bus windows. I did this to make it easy for a passenger to see out the window from the inside. I also put all three logos on the side and placed the title on the top of the bus. 6
On the back of the bus, I placed the three picture marks we decided on, and our contact information. 7
On the front of the bus, I centered the title of our center. 8
On this side of the bus, I used the same design but had the pattern wrap over the door. I felt this was important because the pattern really says Morocco and it is a little hard to see in its entirety on the other side.
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Fall 2009 | Sign and Symbol | Restaurant and Retail 53
Accessories
54 Accessories
IPhone Application This application was created to keep loyal customers up-to-date on events and changes of our establishment. It provides information about both the current and the upcoming artists that the Maroc Gallery hosts, including biographical information about the artist and samples of their work. This app also contains information about the Lounge and Tearoom. Another great feature is the member area, which allows people who are utilizing the app to be the first to receive information about special events and the release of new products and foods.
1. The Gallery button is located on the
bottom left of the iPhone. 2. Information for upcoming artists and a
thumbnail of their work is displayed 3. Provides a large image of a specific
work of art from current artists that will entice the viewer to come to the gallery at Maroc 1
2
3
Fall 2009 | Sign and Symbol | Restaurant and Retail 55
Loose Tea Packages The loose tea leaf packages are designed using a foil material that is sealed to keep the tea fresh. Green is prominent because it is the color of the picture mark for the Tearoom. The pattern is from traditional Moroccan textiles. The brown and main areas are made out of recycled material. The front has a label which refers to the type of tea contained in the package. On the back is detailed information about the tea, including health factors and very specific directions for brewing the tea in traditional Moroccan fashion. 1. The large package depicts the Tea-
room’s signature tea: the Moroccan Gunpowder Mint which is associated with a green font and light green pattern. In the background is two of the many other teas that the Tearoom offers, “rooibos” and “oolong”.
1
56 Accessories
Tea Container The Maroc Tea Room is not only an area for selling packages of loose leaf tea. It is also known for serving delicious Moroccan Gunpowder Mint Tea brewed in the traditional Moroccan method. In addition, we serve a wide variety of other equally tasty teas of the highest quality and brewed according to strict methods.
1. The design for the tea container keeps
the consistency of the Tea Room utilizing the patterns used for the loose tea packages and the same recyclable material for the heat guard. The cups are meant to be pure green with light green patterns. The name of the Tea Room and the Tea Room picture mark only appear on the heat guard. All components - cup, lid, and heat guard - are created from sustainable materials.
1
Fall 2009 | Sign and Symbol | Restaurant and Retail 57
Uniforms
People hear the term uniforms, and think of authority, losing identity, or servants. Creating three different identities for the employees allows the visitors more comfort when asking a question, or trying to place an order. These uniforms are playful and elegant. Visitors will not feel like they are at a fast food establishment, nor will they feel that they are outclassed, or outcasts.
1.
2.
3.
In Morocco, and many other Arabic
The designs for these uniforms comes
Like the other uniforms elegance can be
speaking countries serving tea to another
again from a desire to please the people
playful. Having gallery attendants over
person is a sign of respect. It is an act
around you. To not view customers, as
dressed creates a non friendly viewing envi-
of hospitality that says they enjoy your
customers but as a friend, you have not
ronment. The visitors will never feel like they
company. These three designs for serv-
met. These allow elegance and playful-
cannot get close to view works, see and
ers and employees, shows the customer
ness to wed. These unique jackets also
breathe the paints, and find every detail.
that like in Morocco you can carry on the
allow guests to identify the host
traditional values, and move in a more contemporary direction.
58 Accessories
Menu Our restaurant is a high end establishment, so we wanted the menu to be very sleek and classy. 1
We want our guests to feel as if they are spending an evening in an urban Moroccan oasis. To go with this theme, we felt the cover of the menu should be black to represent the night. We used a dark grey pattern to fade in from the bottom to give the menu a Moroccan appearance. We also felt the yellow was a good color to really pop off the black. We made the inside white for legibility purposes.
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Entrees Couscous Tfaya
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Braised lamb over couscous, sweet and spicy caramelized onions, and raisins.
Couscous Marrakesh
30
Steamed semolina grains topped with sweet and spicy carmeized onions, raisins, and chickpeas covered in ginger sauce.
Moroccan Tagine
30
Tagine roasted rabbit or chicken with lemon, olives, onion, and chickpeas smothered in a spicy harrisa sauce.
Vegetable Tagine
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Tagine roasted mirepoix of onions, carrots, and celery, and lentils topped in a spicy harrisa sauce.
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This is a mock-up of how the menu would look with our design.
Moroccan Stew
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Lamb shoulder, roasted acorn squash, apricots, and lentils in a light and spicy vegetable curry broth.
Vegetable Curry
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Sweet potato, egg plant, zucchini, chickpeas, carrots, onions, and raisins in a Garam Masala curry over jasmine rice.
Interior Design
Programming
62 Programming
Inspiration As part of the research project, the project team members researched Morocco from every possible angle. These photos represent the core colors, architecture, trade, and beliefs of the Moroccan culture.
Fall 2009 | Sign and Symbol | Restaurant and Retail 63
Criteria Matrix The Criteria Matrix is used to define and document client requirements. It is the first step in the Programming phase of the project. Using a table format, the project space is broken into smaller areas, such as retail and gallery, making it easier to manage requirements. Furthermore, it allows the designers to determine adjacencies between areas, lighting and privacy needs, plus individual and total square footage.
64 Programming
Bubble Diagrams and Relationship Diagrams Bubble Diagrams and Relationship Diagrams are a continuation of the Programming phase. Using the data defined in the Criteria Matrix, the designers begin planning the space using bubbles and other means of sketching to visually represent square footage, adjacencies, lighting and privacy needs, and so forth. Each interior design team member created a bubble diagram, shown in the three images at the bottom of the page. The team then came together to review ideas and to create a comprehensive, final bubble diagram seen at the top.
Fall 2009 | Sign and and Symbol | Restaurant and Retail 65 Fall 2009 | Sign Symbol | Restaurant
Schematics
66 Schematics
Blocking Blocking is the last step in the Programming phase. The process allows the designers to visually place various areas within the overall space, again paying attention to square footage, adjacencies, and circulation. The Blocking Diagram is therefore a comprehensive representation of the space prior to Prototypicals and, finally, the Space Plan.
Fall 2009 | Sign and Symbol | Restaurant and Retail 67
Lounge
Rooftop Lounge
Outdoor Dining
Prototypicals Prototypicals are created as part of the Schematic project phase. Here, the designers create spaces based on the data collected in the Criteria Matrix and the sketches completed using Bubble, Relationship, and Blocking Diagrams. The designers define the square footage and begin to determine seating requirements, furniture specifications, and other design aspects such as views and circulation.
Gallery
Dining
Tearoom
Fall 2009 | Sign and Symbol | Restaurant and Retail 69
Design Development
70 Design Development
Space Plan Finally, the designers are able to create the final Space Plan using the previous processes. The Space Plan represents the final space, including defined spaces, furniture layout, wall thicknesses, doors and windows, circulation, and special design features such as fireplaces, display walls, and grand staircases.
Fall 2009 | Sign and Symbol | Restaurant and Retail 71
72 Design Development
Rendered Space Plan After the Space Plan is finalized, the designers rendered it to illustrate finishes.
Fall 2009 | Sign and Symbol | Restaurant and Retail 73
Rendered Space Plan To add further detail, the designers rendered the Rooftop Lounge to represent the emphasis on sustainability within the rooftop garden and solar panels.
74 Design Development
Rendered Perspectives The designers use a software called SketchUp to create three-dimensional spaces based on the First and Second Floor Plans. Then, the designers print various spaces from SketchUp, creating perspectives that are then rendered. The rendered perspectives provide a better understanding of the layout, spatial relationships, and finishes of the given space. Entry The Entry was designed to welcome guests into the space and to usher them into a contemporary Moroccan experience. The finishes seen here are carried throughout the entire space for cohesiveness.
Fall 2009 | Sign and Symbol | Restaurant and Retail 75
Gallery The Gallery will feature a rotation of contemporary Moroccan artists’ work. The space is a harmonious balance between natural elements and the vibrancy of the artwork.
76 Design Development
Lounge After being welcomed at the host stand, guests can partake in beverages in the Lounge, or transcend the grand staircase to the Rooftop Lounge. The Lounge is designed to accomodate individuals and large groups. Traditional communal tables are inset into the floor along the West window. The ceiling is accented by large Moroccan style pendants. The bar is brought together with a Tadelakt bartop, stylish barstools, and a cityscape collage designed by a Moroccan artist.
Fall 2009 | Sign and Symbol | Restaurant and Retail 77
Dining The Dining has a dynamic relationship with the exterior - the natural light and the neighborhood are brought into the space through large street-side windows, and more natural light floods the space through the expansive skylight. The interior space remains true to the contemporary design and communal atmosphere. Overall, this important space is sleek and versatile.
78 Design Development
Tearoom The Tearoom infuses tradition, style, and community. Sustainability is addressed through interior gardens, supplying fresh mint and herbs to the customers.
Fall 2009 | Sign and Symbol | Restaurant and Retail 79
Rooftop and Outdoor Dining The exterior space, the Rooftop and Outdoor Dining, share the same finishes and style to provide cohesiveness. Guests will enjoy a relaxing atmosphere whether dining downstairs or having a cocktail with the Denver skyline in the background.
80 Design Development
Restroom Design details are not spared, even in the restrooms. Clerestory windows brighten the women’s restroom with natural light. American clay is carried in as wall finishes to provide a simple background for the colorful tiled backsplash. The fishnet pendant lights are stacked over the countertop for interest and illumination.
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Exterior As part of the project, the designers took the liberty to design the exterior of the building as well. The perspective represents the brick fascade, the use of tall and clerestory windows, uniquely Moroccan doors, street banners, and the center’s name, “Maroc”.
82 Design Development
Model The project team decided to create a model of the entry. The entry was ideal because it presented spatial and relationship challenges for the team, and the model helped the team work through these. Further, the entry is the central hub of the entire space - it welcomes visitors and invites them into the Gallery and Lounge. It was important to represent the space in a simple, conceptual manner.
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84 Programming
Design Palette
Fall 2009 | Sign and Symbol | Restaurant and Retail 85
86 Design Development
Code Summary The Maroc establishment is compliant with the International Building Code 2006, specific fo A and M occupancy classifications, and is ADA compliant.
Chapter 3: Use and Occupancy Classification The building structure is classified as Assembly (A) and Mercantile (B) occupancy for use of social gathering and sale of merchandise.
Chapter 8: Interior Finishes
Chapter 10: Means of Egress
Materials used within the space shall be limited in flammability and combustibility. Windows shall be above grade and made of metal. Interior walls and ceiling finishes shall be tested in accordance with NFPA 286. Floor finishes shall be in compliance with NFPA 253 and withstand a minimum critical radiant flux.
A ceiling height of no less than 7’6” shall be available throughout the space. A Means of Egress shall be provided in the occupied space; additional exits have been provided. The means of egress shall be clearly marked with exit signs and illuminated. The egress shall provide a safe and effective escape route(s) for all occupants, regardless of disabilities, should the space become dangerous, hazardous, or otherwise unsafe.
Chapter 11: Accessibility
Chapter 29: Plumbing Systems
The building structure shall be accessible for physically disabled persons. Floor finishes and grades present no obstacles. Elevator shall be incorporated for rooftop access; a stairway shall be available for emergency exit. Public pathways, corridors, and restroom facilities meet or exceed minimum clearance requirements. At least one handicap restroom shall be available in Assembly spaces and marked as such. Decorative materials and artwork protrude less than 4” from the finished wall and are more than 32” above finished floor. General and Assembly seating allows for wheelchairs.
Plumbing systems and equipment shall be constructed, installed and maintained in accordance with the International Plumbing Code. Private sewage disposal systems shall conform to the International Private Sewage Disposal Code. Plumbing and restroom facilities shall be provided according to Occupancies Assembly and Mercantile. The number of facilities shall be dependent upon Occupancies A-2 and A-3.
Fall 2009 | Sign and Symbol | Restaurant and Retail 87
Sustainable Sites 23 points were achieved through:
Water Efficiency 4 points were achieved through:
Energy and Atmosphere 25 points were achieved through:
Materials and Resources 10 points were achieved through:
• Brownfield redevelopment • Project location near light rail and bus stations • Bicycle storage on site • Vegetated Roof • Light pollution reduction through daylight and occupancy sensors and controlled reduction during night hours
• Water use reduction through the specification of efficient fixtures and appliances
• Energy assessment via computer-simu lated models • Renewable energy through installation of 40 photovoltaic panels • Enhanced refrigerant management through swamp cooling and natural refrigerants • Purchasing of wind power when gridenergy is required
• Retention of existing exterior walls, roof, and floor system • Deconstruction and recycling of existing ceilings and partitions • Use of reclaimed, recycled, and rapidly renewable materials • Use of regionally manufactured and acquired materials
Indoor Environmental Quality 14 points were achieved through:
Innovation and Design Process 1 point achieved through
Regional Priority 1 point achieved through:
• Protection and covering of the HVAC system during construction to reduce construction contaminants in indoor spaces • Specification of low-emitting, urea-formaldehyde free materials and finishes • Operable clerestory windows • Thermal comfort through the use of individual thermostats for each of the spaces • Daylight and views in all spaces
• Implementation of an educational program to spread awareness of green building and on-site growing practices
• 40% water use reduction through the use of efficient appliances and fixtures
LEED Summary As a key concept to the design, sustainability was addressed through the LEED rating system. Gold standard has been achieved.
88 References
Reference Books Bonfante-Warren, Alexandra. Maroccan style: Architecture and design library. New York, New York. Friedman Fairfax Publisher, 2000. Bradbury, Dominic & Luscobe-Whyte, Bradbury. Marocco: Decorations, Interior and Design. Conrad Octopus Ltd, 2002. Bravo, Jaques., Genini, Izza,. & Richer, Xavier. Splender of Marroco. New York, New York. Touris Park Books, 2000. Jareb, James F. Art and craft of Marocco. London, England. Thames and Hudson Ltd, 1996. Morocco: Eye witness travel guides. New York, New York. Darling Kindersley Limited, 2002. Marocco: Perfect places to eat and explore. Berkly, California. Time Out Group Ltd, 2008. Verner, Corinne. Marroco: The Rillas and riads. New York, New York. Harry N. Abrams Inc Publishers. Windo, Pamela. Escape to Marocco. London, England. Fodor’s Travels Publication, 2000.