Arujo & Dega Identity and Interior Design Plan - Process Book by Andrew Hirsch

We are devoted to evoking an intriguing Peruvian Experience, paired with an intimate setting and wild infusion of culture and food. Arujo brings a vibrant social mix to the local community. Spring Semester 2009 Graphic Design Team Allison Clayton Andrew Hirsch Daniel Aabak Interior Design Team Ashleigh Deffert Bridgette Aliberti Tessa Demidovich

Mission Statement We are devoted to evoking an intriguing Peruvian Experience, paired with an intimate setting and wild infusion of culture and food. Arujo brings a vibrant social mix to the local community.

Core Values Peruvian

Infused

Vibrant

Intimate

Energetic

Table of Contents Final Identity Design

Research, Name, and Color Palette Development

Design Processes

Accessories

Renderings

Key Areas

Programming Summary

Schematic Design Summary

Codes Summary

Sustainability Summary

ARUJO + DEGA • SPRING 2009 • SIGN & SYMBOL

Final Identity Design

ARUJO + DEGA • SPRING 2009 • SIGN & SYMBOL

Final Color Palette and Logos

1. Pantone Black U

2. Pantone3165 U

6. Pantone 585 U

3. Pantone 346 U

7. Pantone 1525 U

4. Pantone 241 U

8. Pantone 4705 U

5. Pantone 462 U

9. Pantone 461 U

ARUJO + DEGA • SPRING 2009 • SIGN & SYMBOL

Research, Name, and Color Palette Development

ARUJO + DEGA • SPRING 2009 • SIGN & SYMBOL

Cultural Research

Peru is a beautiful place consisting of large mountains, vast forests and numerous rivers. Peru is broken up into three major divisions, the High Amazon Basin, Low Amazon, and the Andean Mountain Range. The high Amazon region consists of mostly mountains in the eastern range of the Andes. The Low Amazon region is spread over the eastern part of Peru. Peru maintains a rich cultural mix of indigenous people from the early Inca civilization and Spanish from early colonization. Peru’s rich culture is evident in their national symbols. The flag of Peru combines red and white bands with a shield in the middle. These colors are supposed to represent the peace obtained through the bloodshed of the martyrs. The Coat of Arms displays a picture of the national resources of the country, their national animal, and coins symbolizing their rich resources. Peru is known for their stunning textiles, brilliant Nazca Lines, and National drink, the Pisco Sour along with much more.

ARUJO + DEGA • SPRING 2009 • SIGN & SYMBOL

Naming phase of Restaurant and Retail venue

The typeface we chose is Fritz Quadrata Std Bold. We felt that the typeface was unique and offered a contemporary feel to our restaurant while representing the vibrant and energetic nature of our core values In 1613 a will of a resident of the of Ica —a town called in Viceroyalty of Peru, close to the Nazca lines - named by Pedro Manuel the Greek. In it he itemizes his worldly goods, including 30 containers of grape brandy, one barrel of the same spirit, a large copper pot and all of the utensils needed to produce pisco.

We went through our cultural research in order to explore the options for possible names for the restaurant and retail venues. We had a period of brainstorming where we tested potential names that were relevant to the culture of Peru and the coastal region which our cuisine would be centered around. We decided on Arujo for the name of the restaurant. The name was derived from Orujo, which is an alternate name for Pisco, which is the main element our restaurant is centered around. We decided to drop the O and change to an A for spelling and pronunciation reasons. The pronunciation and meaning of the original word was not jeopardized, as a result of the change we felt Arujo would potentially solve issues with internet searches and word of mouth communication among patrons. The name of the retail venue we chose is Dega. Dega was derived from the Spanish word Bodega. A bodega is a small grocery store, often found in a Spanish-speaking neighborhood, also in a Spanish-speaking country, a bodega can be wine shop or a warehouse for the storage of wine. We dropped the “Bo” in order to give the retail venue a more personal feeling to our restaurant as well as make a more cohesive design with the name of the restaurant, since both names have four letters.

Pisco was considered a lesser beverage by the Spanish and not consumed by them unless they were poor or curious. Spaniards preferred the original liquor which is called Orujo and which they deemed to possess a better flavor. The liquor made in South America was not called Pisco for a long time, although it is reported the Spanish usually called it “aguardiente” (firewater), which was a generic name for any brandy type liquor. The drink began to acquire consumers in the sailors that transported products between the colonies and Spain, who began to call it pisco, naming it after the port[3] where it could be bought. The drink then became a favorite of sailors and workers who visited the port of Pisco. It was exalted for its strong taste and ability to quickly affect the consumer. As trade from Peru to the world grew, so did the popularity of pisco, until it almost equaled wine in quantity as an export.

ARUJO + DEGA â&#x20AC;˘ SPRING 2009 â&#x20AC;˘ SIGN & SYMBOL

Development of Color Palette

1. Pantone Black U

2. Pantone3165 U

3. Pantone 346 U

4. Pantone 241 U

5. Pantone 462 U

The color palette was chosen based on cultural research we found about the coastal regions of Peru as well as the various textiles common to Peruvian culture. After experimenting with various color options we chose ones we felt supported our core values and mission statement. We felt it was important to have a palette with vibrant colors that would offer a vibrant atmosphere for our patrons. The final color choices would be reflected in the finishes and overall design of the restaurant.

6. Pantone 585 U

7. Pantone 1525 U

8. Pantone 4705 U

9. Pantone 461 U

ARUJO + DEGA • SPRING 2009 • SIGN & SYMBOL

Design Processes

ARUJO + DEGA • SPRING 2009 • SIGN & SYMBOL

Process : Andrew Hirsch

ARUJO + DEGA • SPRING 2009 • SIGN & SYMBOL

Initial Picture Marks

We decided to make our focus on the Peruvian drink, the Pisco Sour. The Pisco Sour would be our featured specialty as well as my basis of the picture marks that are shown here. I started researching the origins of Pisco and found that it is a type of grape brandy that originated from Spanish settlers in the sixteenth century. I decided to start with designing marks that had to do with grapes. The first mark I created was a bunch of grapes that resembled the physical shape of the country of Peru. Next was a single form of a grape that might also resemble the action of pouring Pisco into a glass. From these marks I decided to go into the direction of a wine glass. I tried to make a mark that was in a stylistic form mimicking the Nazca Lines. I felt these marks weren’t communicating our core values, so I went into more research about Pisco.

When beginning the process of creating a picture mark I had to look at our mission statement, core values, and the research that was collected about the Peruvian culture. Through our research, I discovered that the Peruvian culture is very vast and has many aspects to it, narrowing down a certain aspect was our first task. In the process of designing picture marks, I decided to start with one of Peru’s most famous cultural aspects, the Nazca Lines. The Nazca Lines are a series of larger than life drawings that are found in the Nazca desert in Peru, The giant images include a number of different animals, spiders, birds, plants, etc. These Nazca Lines did capture the meaning of Peru, but didn’t quite capture the essence of the Arujo experience.

I found that Pisco, in the native language of Peru, translates to have the meaning of bird. The birds that inhabited the valleys of the Ica region. This was my next step in creating a mark for the Arujo Bar and Grill. Once again, I started incorporating the Nazca style into these bird marks.

ARUJO + DEGA • SPRING 2009 • SIGN & SYMBOL

Secondary Picture Marks and Initial Type Treatments

After making the bird the focus of my designs, I started to try to incorporate it into every mark seen here. I was looking at our core values in this process. One of our core values is infusion, I felt this needed to be communicated into the rest of the picture marks I was designing. This infusion influenced me into creating marks that could be viewed as two different images. For example mark #1 and #2 have imagery that includes both a wine glass and a set of wings. This mark was successful in that aspect, but it did not have much of a Peruvian feel. Marks #3 and #4 are more of an abstraction of a pair of wine glasses. This mark was a good study, but had nothing to do with any of our core values or mission statement. Marks #5 and #6 were my final designs, this mark was starting to go into the right direction. Not only did it have the infusion of a bird and a wine glass, it incorporated even more of our core values. The mark was starting to go into the direction of a vibrant and energetic symbol, that really worked well with where our restaurant was going.

After creating these final designs for a picture mark, we needed to start making a decision on what the letter mark was going to be. Trying to decide on a letter mark was somewhat difficult. I wanted to decide on a typeface that was somewhat modern yet still had some classic qualities incorporated with it. In the examples of marks #1 and #2, I used Friz Quadrata Std Bold. This typeface was successful to me because it had unique qualities. These qualities of these letter forms included the modernism of a san serif type face, but at the same time, giving it a classy look with it’s mild serifs. For marks #3 and #4, I used ScalaSans Caps Bold. For #5 and #6, I used AndrewAndreasXBold. Both of which are san serif, trying to keep a contemporary feel. Overall, Friz Quadrata Std Bold was the most successful.

ARUJO + DEGA â&#x20AC;˘ SPRING 2009 â&#x20AC;˘ SIGN & SYMBOL

Final Picture Marks and Type Treatment

After the completion of the first mark I felt it was very successful. The next objective was to create a picture mark for the retail section of our restaurant. This was going to be a difficult take, trying to make another mark that had the same type of qualities as the first. First off I needed to make the new mark syntactic with the first, as well as keeping up with our mission statement and core values. Starting off, I decided to break apart the restaurant logo and try to make a new mark with it. I felt the infusion of the wine glass and the bird was very important as well. So using the larger wing of the first mark I flipped it over and created a wine bottle in the negative space. Not only was this successful in that sense, I was able to incorporate the bird in a different way. After manipulating the wing of the first mark, I was able to create a mark that included two birds facing each other as well as the wine bottle between them.

After making the type selection and a final picture mark, it was time to make the two work together as best as possible. I changed the type selection to Friz Quadrata Std Medium, since the bold seemed to be to heavy. After that I started working the picture mark to create a better relationship between the mark and the type. This was achieved by taking the curves and shapes of the letters and incorporating it into mark. This made the relationship of the two very strong and much more united.

Next was manipulating the type for the Dega logo. Looking at the letter forms, we decided the original E was a bit too narrow among the other letter forms. So I decided to manipulate the E to better relate with the other letters. This was achieved by subtly stretching the bars of the E to make it more uniform with the other letter forms. After this unity between the two marks was created, I felt the two sets of marks and letter forms were successful. These marks were to be my final polished designs for the restaurant and retail logos.

ARUJO + DEGA â&#x20AC;˘ SPRING 2009 â&#x20AC;˘ SIGN & SYMBOL

Logo Color Combinations

After the final designs of the restaurant and retail logos, I needed to decide on some final color combinations. In this study I realized that many of the color combinations in our color palette worked well together. With that in mind, our core values allowed us to have the possibility to have an ever-changing color palette for the logo design. Having a vibrant color decision in the logo was the only requirement. With a color palette that can be changed, this made our possibilities for usage much more wide open. This is helpful because we could change the logo colors for different applications. If the logo is put into a certain application where the colors just arenâ&#x20AC;&#x2122;t working, all we need to do is change the colors to make it work with that certain application. Making the possibilities endless.

ARUJO + DEGA • SPRING 2009 • SIGN & SYMBOL

Poster Design

For the initial designs of the poster advertisements I was looking for a way to communicate the Peruvian themes of our restaurant. I started with taking a look at Peruvian artwork and giving it a exciting feel that expressed our mission statement. These ideas are illustrated in the images above. These initial posters weren’t communicating that idea so well, and felt awfully flat. Which didn’t go well with the rest of my designs. My final poster designs of the right have much more energy and vibrance which I wanted to convey. I used a part of the Dega logo and created a sort of infusion of color, movement, and energy. All of which are present in the Arujo core values and mission statement, which made for a much more successful design.

ARUJO + DEGA â&#x20AC;˘ SPRING 2009 â&#x20AC;˘ SIGN & SYMBOL

Model Design

For the model of the restaurant I was in charge of the signage design. This task was to design the outside signage for the building. For the design I wanted to keep the sign simple and elegant. The color palette used for the sign graphics coincide with the colors of the exterior walls, trim, and doors to make the sign harmonious with the outside of he building.

In the above photo, the design of the front desk incorporates the Arujo logo, making an interesting experience the minute you enter the interior space.

ARUJO + DEGA • SPRING 2009 • SIGN & SYMBOL

Process : Daniel Aabak

ARUJO + DEGA â&#x20AC;˘ SPRING 2009 â&#x20AC;˘ SIGN & SYMBOL

First Picture Marks

After creating the initial sketches the next step was to simplify them even more. With the Nazca tree icon I tried to go from a stiff image to a more organic softer shape. Although this shape is more unified its abstraction hinders its Semantic element. To solve this problem I tried the shape as an outline although this was still too abstract and not cultural relevant enough in appearance. Due to our product line being the Peruvian drink Pisco I considered creating a number of the diamond shapes in the icon below the curve to imply a grape vine. This did hold the appearance of a grape vine but still did not invoke enough of a cultural resemblance to Peru. Eventually I simplified the icon even more by placing it side ways with only four diamond shapes bringing it back to the traditional designs on textiles. With the Pisco word pattern I basically refined the icon to give it a unified appearance. Because the Pisco sour was part of our product line, I felt this also did not have relevance to an over all logo for the restaurant. Also with their already being a name for the restaurant this icon was not necessary.

Trying to find an appropriate cultural symbol led me to research some of the more recognizable aspects of the Peru culture. Peru is well know for their colorful textiles, Nazca Lines, Moche Art, Inca trails, and radiant masks and figures along with much more. My initial sketches were derived from the tree, one of the many Nazca line shapes. I tried to simplify the original Nazca Line tree by reducing its branches from six to three along with only four roots. The next icon was derived from a combination of Peruâ&#x20AC;&#x2122;s textile shapes and patterns. Following that is the same textile concept only I tried to shape the word Pisco out of similar shapes.

ARUJO + DEGA â&#x20AC;˘ SPRING 2009 â&#x20AC;˘ SIGN & SYMBOL

Secondary and Final Picture Marks

The second set of cultural icons were inspired from some of the Inca masks found in Peru. Many of the Peruvian masks contain similar shapes and line weights as the textile patterns and Nazca lines. This made it easy to maintain a Semitic relationship to my previous icons, allowing me to use parts of the same textile designs I used on my grape vine icon. The first icon on the top right is basically the same as the one next to it only I re-situated the direction the curves are facing. This does give the icon quite a different appearance as the first one looks like a bull and the second more like a canine. Because I did not want to take away from the mask appearance by bringing in an animal look, I decided to simplify the graphic even more. The third of these is a much more simplified version that holds more of a human appearance. The sun/mask icons were another approach to a mask that contained Nazca line elements. This first obviously looks like a sun, but not a mask. Therefore I added the features to the second to solve that problem. I found the mask/sun icons too animated in appearance and eventually decided to work more on the above icons. I finalized the main restaurant icon by tightening up the spacing between the shapes along with removing the eye and mouth shapes. I felt the icon was now successful as it tied in to our key values by being energetic, vibrant, and Peruvian. Now that I had the Arujo symbol I needed to develop our product line, Dega symbol. The syntax of the two symbols was important so I basically played with the same shapes. The only goal I had for the Dega icon was to tie in the shape of a glass demonstrating it relevance to our Pisco sour drink. After refining the icons the two shown on the bottom far right became my final cultural symbols.

ARUJO + DEGA â&#x20AC;˘ SPRING 2009 â&#x20AC;˘ SIGN & SYMBOL

Type Treatments and Color Samples

Finding a color combination that fit our key values and mission statement was the next task. To begin with I tried to combine colors that were wildly infused with the Peru culture. I had to invoke a sense a vibrance with out hindering the overall appearance and effectiveness of a straight black and white logo. PISCO & FINE ART

PISCO & FINE ART

I began with basic color combinations that complemented each other. Then I combined colors that play off each other while still trying to maintain the integrity of the mark as a whole. My favorite combinations were the straight black with one color additions. More specifically the orange and yellow with the black and the green and pink with the black.

My next step was to test a number of different type faces with my picture marks. After going through various type faces that had simplistic resemblance to my picture marks I eventually decided to use Friz Quadrata Std Medium. I chose this type face because its serifs contained a similar appearance to the sharp corners in my icons.

PISCO & FINE ART

After kerning the type and placing the statements in the appropriate position my picture marks and statement were complete.

By creating these color samples I was able to narrow down how effective these logos would be on a large and small scale with color. Also I had to take into account how they would appear on different colored back grounds.

ARUJO + DEGA â&#x20AC;˘ SPRING 2009 â&#x20AC;˘ SIGN & SYMBOL

Final Picture Marks and Statements

The icons and statements on the right were my final set. I choose to use the black with the pink and green because they suited our mission statement the most. First the black is actually the PantoneÂŽ process black which is slightly off black giving it a mild grey tone. This worked nicely with the solid green and pink emphasizing the vibrance of these colors. By making the statements the same colors as the logos, this tied the overall mark together. Although one might first think that the Dega should contain the pink color to hint at it being the contents in the glass, the Pisco sour is more of a green/ yellow therefore I choose to use the green. Also I wanted to give the mask icon of the Arujo an especially wild look and therefore used the pink color for the eyes. By using two complementary colors the statements and picture marks are both aesthetic and culturally related to Peru.

PISCO & FINE ART

ARUJO + DEGA â&#x20AC;˘ SPRING 2009 â&#x20AC;˘ SIGN & SYMBOL

Poster Design

I decided it was important to keep a sense of consistency throughout the three posters. This led me to arrange the shapes together in a circular composition that would rest evenly over the edges of the posters as show on the far left. After completing a definitive composition I then started to play with color. In the poster set on the far left I used every color in our chosen palette. Spreading out this color definitely gave the posters a vibrant appearance. I was not satisfied with how this set of posters stood on their own even though they worked well together. 1529 south pearl street Denver, CO 80210 arujo.com 303 777 0500

1529 south pearl street Denver, CO 80210 arujo.com 303 777 0500

In creation of our restaurant posters making three that work together and on their own was the goal for a successful set. I first began with placing my Arujo logo in different sizes and positions on posters. Again I tried to emphasize on our key values and what was necessary to obtain a wild and vibrant look. Acquiring this meant playing with the sizes of the shapes and their relation to each other. Also how the colors blended and complemented each other in relation to their placement over the three posters and on their own.

1529 south pearl street Denver, CO 80210 arujo.com 303 777 0500

1529 south pearl street Denver, CO 80210 arujo.com 303 777 0500 Designer: DanielAabak

The larger set shown to the left was inspired by going back to my the roots of the beautiful patterns in the Peruvian textiles. After playing with the sizes and how the shapes lined up with each other I immediately began thinking about how they worked together as a set and on their own. As the shapes came together I basically made slight refinements to make the overall composition fit symmetrically in an aesthetic fashion. Next I produced a number of color samples in an effort to create the most wildly infused effect. In this case less was more and I settled on the black and two colors. Also I had to keep in mind how my picture marks would fit into the layout so as not to distract but still be bold enough to be recognizable. Finally after revaluating all the necessary factors the left became my final set.

ARUJO + DEGA • SPRING 2009 • SIGN & SYMBOL

Process : Allison Clayton

ARUJO + DEGA â&#x20AC;˘ SPRING 2009 â&#x20AC;˘ SIGN & SYMBOL

Initial Picture Mark Studies

The cultural research provided me with extensive information and examples to work with. Since the other two team members were focusing on traditional Peruvian symbols, I decided to explore some other areas. I began by sketching and tracing indigenous species of flora and fauna found in Peru. I also began researching and sketching graphic representations of the traditional reed boats found on the coastline of Peru. Here you can see a few depictions of the national flower of Peru and native palms, as well as the reed boats. I found that the investigation into the plant species did not provide the picture mark with enough relationship to the core values and mission statement. I was attracted to the graphic representation of the reed boats and found that it related more cohesively to the essence of the restaurant. The sketches and drawings of the boats began as a realistic rendering that needed to be abstracted even more in order to fulfill the needs of a well designed picture mark. I quickly omitted most of my sketches for cultural symbols and initial picture mark studies. I simply fell in love with the image of the boats and the actualization of the simplified form quickly came into existence. I continued to take out pieces of the graphic representation until I had essentially a strong line drawing of the boats. The next step was to take this simplified form and apply it to a cohesive set of marks for the restaurant and retail venues.

ARUJO + DEGA â&#x20AC;˘ SPRING 2009 â&#x20AC;˘ SIGN & SYMBOL

Secondary Picture Marks and Initial Type Treatments

I began by putting the simplified reed boat picture mark of inside of a perfect circle. Then I played with various orientation and size of the mark. By experimenting with the form and shape of the mark I was able to create several marks from just a simple circle and the abstracted symbol I designed. In each instance elements of the picture mark can be seen, although not all represent the cultural symbol enough to become a proper candidate for the restaurant identity. The final mark I chose represents the graphic rendering of the reed boats in a vertical orientation and scaled slightly enough that the mark larger than the circle,. By doing this, the mark is abstracted enough to become visually appealing without taking too much away from the cultural symbol. The picture mark for the retail venue is simply the picture mark for the restaurant turned 180 degrees. Now both picture mark are a cohesive set depicting a cultural symbol from Peru.

ARUJO

DEGA

A R UJO

A RUJO

I experimented with several typefaces, both serif and sans serif. I wanted to use a typeface that would make the picture mark and the text a cohesive set. I tried variations using Gill Sans regular and light, ITC Avant Garde, and Trade Gothic. I felt that Gill Sans provided a modern feel, as did the other two typefaces, but when combined with the picture mark the typeface did not offer enough vibrance for the nature of our restaurant. As a group we decided that Fritz Quadrata would compliment our marks and directly relate to our core values and mission statement. The typeface is unique and supports the wild infusion that we are striving to create within our restaurant. Now that the picture mark and typeface has been solidified, the next step is to consider color choices for the mark.

ARUJO + DEGA â&#x20AC;˘ SPRING 2009 â&#x20AC;˘ SIGN & SYMBOL

Final Picture Mark Color Studies

After the mark was solidified both visually, semantically, and pragmatically, color was introduced taking from the palette we chose . The mark was tested using several colors combinations both for the retail and restaurant venues. After many trials it was decided that the mark, along with the other members of the group and their respective logos, that the use of varying color combinations would not only work with our picture marks, but with the essence of our restaurant as well. It was important to chose color combinations that stand out and can be reduced or enlarged without losing the vibrance of the color combinations. The final color choice both embodies the essence of the restaurant, and satisfies the need for strong contrast in the choice of the logo itself. After experimenting with a number of color choice, the next step was to chose a color combination for the final set.

ARUJO + DEGA â&#x20AC;˘ SPRING 2009 â&#x20AC;˘ SIGN & SYMBOL

Final Picture Mark and color choice

ARUJO

PERUVIAN BAR & GRILL

ARUJO

PERUVIAN BAR & GRILL

ARUJO

PERUVIAN BAR & GRILL

The final mark developed much faster than originally expected. Once I began working with the cultural symbol and continued to graphically simplify the shape, it was clear that the mark would fit nicely inside of a circle and compliment the chosen typeface. It developed into an easily recognizable mark and fulfills the pragmatic, schematic, and syntactic requirements of a successful picture mark. The mark reduces and enlarges well and neither the forms nor the color choices are lost. The mark also has potential for successful signage and unique surface treatments such as sandblasting or glass work.

The final color choice embodies both the essence of the restaurant and satisfies the need for strong contrast of color in the picture mark. The mark successfully work both in black and white and a number of color variations, as well as a lovely contrast on a black background which can be seen in the banner series designed for the restaurant. I chose Pantone Solid Uncoated 3165 and for the background of the restaurant mark and Pantone Solid Uncoated 4705 for the forms inside the circle of the picture mark. The reverse of this color combination was used for the retail venue.

PISCO & FINE AR T

ARUJO + DEGA â&#x20AC;˘ SPRING 2009 â&#x20AC;˘ SIGN & SYMBOL

Poster Design

The banner series began as an exploration with forms taken from the picture mark. I experimented with various orientations and scales of these forms, trying to create a vibrant design with the element of movement between the forms. Then I began testing the most vibrant color combinations possible to create a stimulating context between the forms and text. The final poster designs make a cohesive set, as well as standing on their own as individual pieces. The forms and the interaction between them depicts movement and vibrance, which support the restaurants mission statement and core values. The colors were taken from the final palette and combined in refreshing contrasts.

ARUJO + DEGA • SPRING 2009 • SIGN & SYMBOL

Accessories

ARUJO + DEGA â&#x20AC;˘ SPRING 2009 â&#x20AC;˘ SIGN & SYMBOL

Envelope, Letterhead, and Business Cards by Andrew Hirsch

1529 South Pearl St. Denver, CO 80210 303 777 0500

ARUJO

For the envelope, letterhead, and business cards I continued to incorporate the same designs that were used in the poster series. These designs work well in these different cases because it continues the energy and vibrance that we are trying to achieve.

1529 South Pearl St. Denver, CO 80210 303 777 0500

ARUJO + DEGA â&#x20AC;˘ SPRING 2009 â&#x20AC;˘ SIGN & SYMBOL

Clothing Design by Andrew Hirsch

To continue the vibrant colors throughout the restaurant, I decided to design the clothing for the employees of the restaurant. The colors used are from the same palette as the rest of our designs, making a the Arujo experience even more lively and energetic.

In the above photo, is an alternate jacket design to distinguish an employee with a different position. They can be used to signify the difference between managers, servers, bartenders, or hosts.

ARUJO + DEGA â&#x20AC;˘ SPRING 2009 â&#x20AC;˘ SIGN & SYMBOL

Dega brand Pisco & Gift Bag Design by Daniel Aabak

Pisco For the envelope, letterhead, and business cards I continued to incorporate the same designs that were used in the poster series. These designs work well in these cases because it continues the energy and vibrance that we are trying to achieve. For the Pisco label and the gift bag I used the Dega Picture marks. The Pisco label displays the specific grape used, along with a recipe for a Pisco Sour on the backside label.

Pisco

Arujo Restaurant Distilled White Grapes Inca Valley

Pisco Sour Recipe - 4 oz. pisco - 2 oz. lime juice -1/2 simple syrup -1 egg white - 2 dashes angostura - ice

368922 573200

ARUJO + DEGA • SPRING 2009 • SIGN & SYMBOL

Space Plans

ARUJO + DEGA • SPRING 2009 • SIGN & SYMBOL

Space Plan Color Rendering

Space planning for Arujo was inspired by the shape of a Peruvian key, and an interconnection of all the spaces. A simple and very open floor plan was created by using geometric circles and squares. This allowed for all of the spaces to flow, as well as be connect to one another without taking privacy way. The kitchen was the central ground for all the spaces. Each room was designed to be able to see, hear and smell all the good stuff from the kitchen. When we first began making changes to the restaurant, the goal in mind was to keep it close to the original space plan structurally and space wise for cost purposes and to keep the construction as sustainable as possible. Our main objective was to reuse, recycle and re-purpose as much of the pre-existing building as possible. We were able to accomplish that by keeping the windows, reusing the flooring and using most of the overall structural support, such as the beams and bricks while maintaining the front façade to its original neighborhood feel. As for the placement of the kitchen, it was kept in the same area of the restaurant to help with renovation costs and was nice that it stayed there for the employee parking lot kept behind. Now, it had more room in the back due to moving the bar. It had room to expanded and a new open was created in the back, making it more functional for the cooks and employees to make their circuit runs through the rest of the restaurant.

ARUJO + DEGA â&#x20AC;˘ SPRING 2009 â&#x20AC;˘ SIGN & SYMBOL

Fully Rendered Space Plan

The central location also brings a smooth flow and important circuit within the restaurant. The Bar was another important space that we wanted to have as a main focus. Placing the bar in front of the restaurant allowed the bar to be open to the street and made, as well as the ability of keeping the existing patio. A corner position created a great space open from all sides seen from every side giving it appeal and visibility for attracting for all passing customers. We also wanted the restaurant to have more function then just dining. The lounge, located in the key shape upstairs, allows it to be seen from all points in the restaurant, forgotten about, yet provides privacy for space underneath to become an intimate dining area. The retail space is visible from all places of the restaurant too. It was placed in the front for people to see it when they first walked in and again when then leave- suggesting sales. The same concept was kept in mind when placing the bar near the front where there is no waiting area, besides cocktail tables for the reason of promoting buying drinks from the bar and pushing people toward the retail center to look at products. Lastly, placing the rest rooms in the back of the restaurant was yet again another strategy for retail purchase and needed privacy and cleanliness for the restaurant.

ARUJO + DEGA â&#x20AC;˘ SPRING 2009 â&#x20AC;˘ SIGN & SYMBOL

Original Space Plan,

In expanding the restaurant we were able to use the two pre-existing buildings on both the north and south ends of the building. This allowed us to place the kitchen in the central location of the old restaurant. We were also able to triple the occupancy load with the new expansion. As well, moving the design into the building to the north side, gave us freedom to expand the ceiling heights and created a secondary floor that is now used as a lounge. The overall design was created to extend business hours and create more space for the restaurants purposes of revenue.

The original restaurant was a space that was too small for its business, making most of its money in the cramped bar area. The Black Pearl shared its bar an undefined front entrance with little to no room for traffic to pass by comfortably. The dining area was lacking in size and needed a change. When we created the design for our project, we wanted to continue to keep the charm of the old restaurant and we accomplished that by keeping the overall shape of the preexisting structure the same. In addition, we were able to sustainably keep all of the windows, the wood flooring and beams in the new renovation.

ARUJO + DEGA • SPRING 2009 • SIGN & SYMBOL

Model Facade and Interior

The model is depicting the new front entrance of the building. By reusing the existing façade, it was dressed up with recycled windows from next door, new signage was placed and the brick kept the old charm of the DU neighborhood. Blue fronts doors from Peru were the inspiration for the space. Placed on both the outside and inside you enter the space with an energetic blue excitement. Used like a magnet they attract and add beauty to the space to be noticed from the first moment you walk in. The wide windows were added so that passing customers could see in and see the fun, bringing you inside the building. On the interior, you are able to feel like both the outside and inside present and meet. The front desk greats you, with a straight path from the front doors. There are cock tail tables in the window seats and the bar placed at the right to promote business to costumers from the first moment they enter. The model also depicts Arujo’s main feature of the entryway, the water fountain. On the water feature, we placed our retail products, Pisco. Bottles sit on a double sided glass where they are able to be seen from all points in the restaurant. The water feature also allows privacy to the main dining and is a beautiful feature to be seen from all areas of the restaurant. The model was made with printed patterns on paper, placed on foam core. The flooring was created using layers on Photoshop to create the stained concrete flooring we were after. Real fabric samples were scanned to make the pillows. The water feature was constructed out of plexiglass and saran wrap. The model is meant to be to viewed from the inside out and the outside in to promote our idea of bringing both space together.

ARUJO + DEGA • SPRING 2009 • SIGN & SYMBOL

Key Areas

ARUJO + DEGA • SPRING 2009 • SIGN & SYMBOL

Key Areas Bathroom and Dinning Room

New and fun ideas were applied to the expanded bathrooms. The restrooms were designed to be something for the guest to talk about. They are bathroom that can be only be described as “You’ve got to check them out!” We wanted people to feel like the restaurant was fun and we think we accomplished that in the bathrooms by apply floor to ceiling wall covering of funny images, such as the large oversize alpaca from Peru. The major problem for this restaurant was that the bar was too cramped for the space it was in. It created an awkward entrance as well as little to no traffic for the employees and customers to pass to and from that space to the dining and bathrooms. In the new design the bar was moved to where the dining room use to be. It was extended and opened to the front of the building near the patio and dining areas. The bar was now open from all sides and customers and employees could now access it with ease. Visibility and space solved the issue for more revenue because the new space allows people to see it from the street as they passed, creating a social environment that the owners were looking for. In moving the bar, a new front entry was repositioned on the north end of the building, placing a clear entrance to the building for oncoming traffic. It also created a defined space for the hostess and retail stand to be seen from all points in the restaurant.

ARUJO + DEGA â&#x20AC;˘ SPRING 2009 â&#x20AC;˘ SIGN & SYMBOL

Dining Room, Bathroom, and Patio

These colors renderings depict key areas of the restaurant. Here you can see our vision for the patio, the restrooms, the dining room, and the patio Trace and Marker with some use of Prisma colored pencil was used for renderings. Each rendering is a representation of the patio looking in bar, main dining on both sides of the restaurant, funky and fun bathroom design, lighting aspects and used to show finished spaces.

ARUJO + DEGA â&#x20AC;˘ SPRING 2009 â&#x20AC;˘ SIGN & SYMBOL

Lighting and Bar

Medium used- Trace and Marker with some use of Prisma colored pencil. Each rendering is a representation of Patio looking in bar, Main dining on both sides of the restaurant, Funky and fun bathroom design, lighting aspects and used to show finished spaces.

ARUJO + DEGA • SPRING 2009 • SIGN & SYMBOL

Finishes

The design was inspired from things from nature; earth, wind, fire and water were all the inspiration for the spaces. Earth is found in the plaster walls, brick and color pallet for the space. Wind is found in the fans placed above, while fire is found in all corners of the restaurant in our fire features. Lastly, essence of water is found in the concrete flooring pattern, as well as on the 10’-0” water feature that is visible from all areas of the restaurant. We wanted to have our restaurant be costal Peruvian inspired. Light wood finishes reflected that of a reed boat, while dark colors ground the space. Inspirational colors found in the textiles and landscape complete the look for accessories found around the restaurant. Energy and social ability are what bring the fun vibe to all of the fabric and textures.

Raw materials was the idea when it came to picking finishes. We wanted to bring the outside in and the inside out, so that the client will see the same on both the interior and the exterior bringing them closer to nature. Keeping with the Peruvian theme, photograph of the area were taken with nature as inspiration, pulling from the idea of having the indoors be related to the outside. Rustic lamps gave character, and helped to add a fun flare to the rustic materials. All of the furniture in the restaurant are wood, with a slight contemporary flare, but still add to the idea of raw material. We wanted the design to be neutral, with pops of color, to add to the Peruvian, natured inspired them. 45

ARUJO + DEGA â&#x20AC;˘ SPRING 2009 â&#x20AC;˘ SIGN & SYMBOL

Furniture Finishes

Tables and chairs were picked out to reflect contemporary design, but were wood finished to bring the sense of bringing the indoors out into the environment. Sustainability was a huge factor for our project. Which is why the use of natural materials helped to promote our idea of earth, wind, fire, water that you would find in landscape. Bringing people back to nature, our design is rustic and primarily uses all natural, non-man-made materials.

ARUJO + DEGA • SPRING 2009 • SIGN & SYMBOL

Programming Summary

ARUJO + DEGA • SPRING 2009 • SIGN & SYMBOL

Programming Summary : Criteria Matrix

ARUJO CRITERIA MATRIX

AcousPlumbing tics

Square Footage

Privacy

Natural Light

View

100’-0”

656’-0”

Bar

620’-0”

Women’s Restroom

350’-0”

Men’s Restroom

248’-0”

Kitchen Patio Office

Hostess Stand Dining Room

Training Room Retail Space

Special Equipment

Notes

Service Station Computers

SS Computers, Water Feature

ADA Compliant

900’-0” 326’-9”

Y N

Y Y

Y N

183’-27”

Service Station Computers Fire pit Computer, Safe, File Cabinet

Incorporated

200’-0”

Service Station Computers

ARUJO + DEGA • SPRING 2009 • SIGN & SYMBOL

Programming Summary : Criteria Matrix

ADJACENCIES Hostess Stand

Dining Room

Bar

Women Men BathKitchen Bathroom room

Patio

Office

Training Retail Space Room

Hostess Stand

•

Dining Room

•

Bar

•

Women Bathroom

•

Men Bathroom

•

Kitchen

•

Patio

•

Office

•

Training Room

•

Retail Space

•

ARUJO + DEGA • SPRING 2009 • SIGN & SYMBOL

Schematic Design Summary

ARUJO + DEGA â&#x20AC;˘ SPRING 2009 â&#x20AC;˘ SIGN & SYMBOL

Bubble Diagrams of Kitchen Initial Plans for Host, Bar, and Patio

After listening to the client, we know from the get-go that we wanted to keep the kitchen as a central focus on the restaurant. The major focuses were on the bar. The client said that it was the highest money making aspect of the restaurant, so we knew that it was important to keep that centrally located, like the kitchen, for use of sales and functionality. We knew that keeping these two spaces close to the dining was very important for creating a circuit to the restaurant. The diagrams show that what the important spaces are by the relativity to size and location near one another. Another important area is the bar. This is an important area for income. We wanted to create a flowing area which would emphasis the coastal focus of the restaurant. The seating arrangements allow for a lounge area and additional table next to the bar In addition, the patio is also an important area to highlight since the existing space plan already has a wonderful outside area. .

ARUJO + DEGA â&#x20AC;˘ SPRING 2009 â&#x20AC;˘ SIGN & SYMBOL

Schematic Design Summary Relationship Diagrams Although the bar was the main center of focus for the Black Pearl, dining restraints were an issue as well. Opening up the space to the existing building on the north allowed for expansion ability to created places for more than one kind of dining experience. In the new design we were able to create four new areas for dining. An intimate area located under the lounge and to the side of the structural wall supporting the new second floor were created for privacy and kept the fine dining experience. The second area of dining was placed in the position of where the bar use to be. This became a less formal dining space for large parties to be a social area, designed in mind to mimic the outside patio, due to weather and the patio not always being available. Third, was the new lounge area created on the second floor looking over the whole restaurant to keep in connected to the rest of the spaces. In this space, the new restaurant is able to extend business ours and have more of a night feel, then just dining. Lastly, we kept the patio area opening the bar and placing the garage doors on two sides. This gave new light to the preexisting patio to be open most of the year with the use of heat lamps. Over all this space was changed to keep the social and energetic vibe the owners were looking for. Space is not an issue anymore and with the use of the new renovations the Black Pearl has new functionality and endless possibilities.

ARUJO + DEGA • SPRING 2009 • SIGN & SYMBOL

Codes Summary

ARUJO + DEGA • SPRING 2009 • SIGN & SYMBOL

Codes Summary

Codes Summary Section 1003 General Means of Egress 1003.2 Ceiling Height. The means of egress should have a minimum ceiling height of 7’-6”. 1003.3 Horizontal projections. Structural elements, fixtures or furnishings shall not project horizontally from either side more than 4 inches over any walking surface between the heights of 27 inches and 80 inches above walking surface. 1003.4 Floor surface. Walking surfaces of the means of egress shall have a slip-resistant surface and be securely attached. Section 1004 Occupant Load 1004.1.1 Areas without fixed seating. The occupant load shall not be less that the number determined by dividing the floor area under consideration by the occupant per unit of area factor assign to the occupancy set forth in Table 1004.1.1 1004.3 Posting of occupant load. Every room or space that is assembly occupancy shall have the occupant load of the room or space posted in a conspicuous place near the main exit or exit access doorway. 1004.4 Exiting from multiple levels. Where exits serve more than one floor, only the occupant load of each floor considered individually shall be used in computing the required capacity of the exits at that floor, provided that the exit capacity shall not decrease in the direction of egress ravel. 1004.5 Egress convergence. Where means of egress from floors above and below converge at an intermediate level, the capacity of the means of egress from the point of convergence shall not be less than the sum of the two floors. 1004.7 Fixed seating. For the areas having fixed seats and aisles, the occupant load shall be determined by the number of fixed seats installed therein. The occupant load of seating booths shall be based on one person for each 24 inches of booth seat length measured at the backrest of the seating booth. 1004.8 Outdoor areas. Where outdoor areas are to be used by persons in addition to the occupants of the building, and the path of egress travel from the outdoor areas passes through the building, means of egress requirements for the building shall be based on the sum of the occupant loads of the building plus the outdoor areas. 1004.9 Multiple occupancies. Where a building contains two or more occupancies, the means of egress requirements shall apply to each portion of the building based on the occupancy of that space. Where two or more occupancies utilize portions of the same means of egress system, those egress components shall meet more stringent requirements of all occupancies that are served. Section 1005 Egress Width 1005.2 Door encroachment. Doors opening into the path of egress travel shall not reduce the required width to less than one-half during the course of the swing. When fully open, the door shall not project more than 7 inches in the required width.

ARUJO + DEGA • SPRING 2009 • SIGN & SYMBOL

Codes Summary

Section 1006 Means of Egress Illumination 1006.1 Illumination required. The means of egress, including the exit discharge, shall be illuminated at all times the building space served by the means of egress is occupied. Section 1007 Accessible Means of Egress 1007.1 Accessible means of egress required. Accessible spaces shall be provided with not less than one accessible means of egress. Each accessible portion of the space shall be served by not less than two accessible means of egress. Section 1008 Doors, Gates and Turnstiles 1008.1 Doors. Means of egress doors shall be readily distinguishable from the adjacent construction and finishes such that the doors are easily recognizable as doors. Mirrors or similar reflecting material shall both be used on means of egress doors. Means of egress doors shall not be concealed by curtains, drapes, decorations or similar materials. 1008.1.1 Size of doors. The minimum size of egress doors is 32” by 80”. 1008.1.2 Door swing. Egress doors shall be side-hinged swinging. 1008.1.4 Floor elevation. There shall be floor or landing on each side of a door. Such floor or landing shall be at the same elevation on each side of the door. Landings shall be level except for exterior landings, which are permitted to have a slope not exceed 0.25 units vertical in 12 units horizontal. 1008.1.6 Thresholds. Thresholds at doorways shall not exceed 0.75 inch in height for sliding doors serving dwelling units or 0.5 inch for other doors. 1008.1.8 Door operations. Except as specifically permitted by this section egress doors shall be readily operable from the egress side without the use of a key or special knowledge or effort. 1008.2 Gates. Gates serving the means of egress system shall comply with the requirements of this section. Gates used as a component in a means of egress shall conform to the applicable requirements for doors. Section 1009 Stairways 1009.1 Stairway width. The width of stairways should be a minimum of 44 inches. 1009.3 Stair treads and risers. Stair risers should be between 7 and 4 inches and tread depths should be a minimum of 11 inches. 1009.10 Handrails. Stairways shall have handrails on each side. Where glass is used to provide the handrail, the handrail must comply with section 2407.

ARUJO + DEGA â&#x20AC;˘ SPRING 2009 â&#x20AC;˘ SIGN & SYMBOL

Codes Summary

Section 1012 Handrails 1012.2 Height. Handrail height, measures above stair tread nosing, or finish surface of ramp slope shall be uniform, not less than 34 inches and not more than 38 inches. 1012.5 Handrail extensions. Handrails shall return to a wall guard or the walking surface or shall be continuous to the handrail of an adjacent stair flight or ramp run. Section 1014 Exit Access 1014.3 Common path of egress travel. The path should not exceed 75 feet. 1014.4 Aisles. Aisles shall be provided from all occupied portions of the exit access which contain seats, tables, furnishings, displays and similar fixtures or equipment. 1014.4.3.2 Table and seating access way width. Aisles shall provide a minimum of 12 inches. Section 1015 Exit and Exit Access Doorways 1015.2 Exit or exit access doorway arrangement. Required exits shall be located in a manner that makes their availability obvious. Section 1016 Exit Access Travel distance. 1016.1 Travel distance limitations. The maximum travel distance with a sprinkler system is 250 feet and located on each floor of the building. Section 1021 Exit Passageways 1021.1 Exit Passageway. An exit passageway shall not be used for any purpose other than as a means of egress.

ARUJO + DEGA â&#x20AC;˘ SPRING 2009 â&#x20AC;˘ SIGN & SYMBOL

Codes Summary

Section 1024 Exit Discharge 1024.1 General. Exits shall discharge directly to the exterior of the building. The exit discharge shall be at grade or shall provide direct access to grade. The exit discharge shall not reenter a building. Section 1025 Assembly 1025.5 Interior balcony and gallery means of egress. For balconies or galleried having a seating capacity of 50 or more must have at least two means of egress, with one from each side of every balcony or gallery and at least one leading directly to an exit. Section 1101 General Accessibility 1101.2 Design. Building and facilities shall be designed and constructed to be accessible in accordance with this code. Section 1104 Accessible Route 1104.3.1 Employee work areas. Common use circulation paths within employee work areas shall be accessible routes. 1104.4 Multilevel buildings and facilities. At least one accessible route shall connect each accessible level. 1104.5 Location. Accessible routes shall coincide with or be located in the same area as a general circulation path. Section 1105 Accessible Entrances 1105.1 Public entrances. At least 60% of all entrances shall be accessible.

ARUJO + DEGA â&#x20AC;˘ SPRING 2009 â&#x20AC;˘ SIGN & SYMBOL

Codes Summary

Section 1106 Parking and Passenger Loading Facilities 1106.1 Accessible Parking Spaces. For the total number of spaces provided between 1 to 25 the required minimum number of accessible spaces is one. Section 1108 Special Occupancies 1108.2.2.1 General Seating. Wheelchair spaces shall be provided in accordance with Table 1108.2.2.1 1108.2.2.1 Table Accessible Wheelchair Spaces. The capacity of seating in assembly areas is 301-500 the minimum required number of wheelchair spaces is 6. 1108.2.3 Dispersion of wheelchair spaces in multilevel assembly seating areas. In multilevel assembly seating areas, wheelchair spaces shall be provided on the main floor level an on one of each two additional floor levels. Wheelchair spaces shall be provided in each luxury box, club box and suite within assembly facilities. 1108.2.8.1 Dining Surfaces. Where dining surfaces for the consumption of food or drink are provided, at least 5%, but not less than one, of the seating and standing spaces at the dining surfaces shall be accessible and be distributed throughout the facility. Section 1109 Other Features and Facilities 1109.2 Toilet and bathing facilities. Toilet rooms and bathing facilities shall be accessible. Where a floor level is not required to be connected by an accessible route, the only toilet rooms or bathing facilities provided within the facility shall not be located on the inaccessible floor. 1109.2.1.6 Clear floor space. Where doors swing into a toilet or bathing room, a clear floor space not less than 30 inches by 48 inches shall be provided within the room, beyond the area of the door swing. 1109.6 Elevators. Passenger elevators on an accessible route shall be accessible. 1109.11 Seating at tables, counters and work surfaces. Where seating or standing space at fixed or built-in tables, counters or work surfaces is provided in accessible spaces, at least 5% of the seating and standing spaces, but not less than one, shall be accessible.

ARUJO + DEGA â&#x20AC;˘ SPRING 2009 â&#x20AC;˘ SIGN & SYMBOL

Codes Summary

Section 1110 Signage 1110.1 Signs. Required accessible elements shall be identifies by the International Symbol of Accessibility at the following locations: accessible parking spaces, passenger loading zones, areas of refuge, toilets, entrances, and lockers. 1110.2 Directional signage. Directional signage indicating the route to the nearest like accessible element shall be provided at the previous locations. Section 2901 General Plumbing Systems 2902.1 Minimum number of plumbing fixtures. The minimum number of plumbing fixtures for assembly in restaurants, banquet halls, and food courts is one w 2902.2 Separate facilities. Where plumbing fixtures are required, separate facilities shall be provided for each sex. 2902.3 Number of occupants of each sex. The required water closets, lavatories and showers or bathtubs shall be distributed equally between the sexes based on the percentage of each sex anticipated in the occupant load. The occupant load shall be composed of 50 percent of each sex, unless statistical data approved by the building official indicate a different distribution of the sexes. 2902.4.1 Location of the toilet facilities in occupancies other than covered malls. The required public and employee toilet facilities shall be located not more than one story above or below the space required to be provided with toilet facilities and the path of travel to such facilities shall not exceed a distance of 500 feet.

ARUJO + DEGA • SPRING 2009 • SIGN & SYMBOL

Sustainability Summary

ARUJO + DEGA • SPRING 2009 • SIGN & SYMBOL

Sustainability Summary : LEED Official Check List

LEED for Commercial Interiors v2.0

Registered Project Checklist

Project Name:

Yes 2

Arujo Restaurant

Project Address: 1529 S. Pearl Street, Denver CO, 80210

Yes 42

? 0

No 0

PLATINUM

Certified: 21-26 points

Yes 6

? 0

No 0

Project Totals (Pre-Certification Estimates) Silver: 27-31 points

57 Points Gold: 32-41 points

Platinum: 42-57 points

Sustainable Sites Credit 1

7 Points

Site Selection

1 to 3

Select a LEED Certified Building

-OR- Locate the tenant space in a building with the following characteristics:

1 to 3

Option 1A Brownfield Redevelopment

Water Efficiency

Option 1B

Stormwater Management, Rate and Quantity

1/2

Option 1C

Stormwater Management, Treatment

1/2

Credit 1.1

Water use Reduction, 20% Reduction

Credit 1.2

Water use Reduction, 30% Reduction

Yes 11

? 0

No 0

Yes Yes Yes

Energy & Atmosphere

Heat Island Reduction, Roof

1/2

Option 1F

Light Pollution Reduction

1/2

12 Points

Prereq 1

Fundamental Commissioning

Required

Prereq 2

Minimum Energy Performance

Required

Prereq 3

CFC Reduction in HVAC&R Equipment

Required

*NOTE for EAc1: All LEED for Commercial Interiors projects registered after June 26th, 2007 are required to achieve at least two (2) points under EAc1. Projects may earn two (2) points from achieving any combination of the 4 sub-credits under EAc1.

Credit 1.1

Optimize Energy Performance, Lighting Power

1 to 3

Option A Reduce lighting power density to 15% below the standard

Option B Reduce lighting power density to 25% below the standard

--> Option C Reduce lighting power density to 35% below the standard

Credit 1.2

Optimize Energy Performance, Lighting Controls

Credit 1.3

Optimize Energy Performance, HVAC

1 to 2

Option A Equipment Efficiency and Zoning & Controls

1 to 2

Option B Reduce Design Energy Cost

1 to 2

Optimize Energy Performance, Equipment & Appliances

1 to 2

1/2 to 1

Option 1E

2 Points

1/2

Option 1D Heat Island Reduction, Non-Roof

Option 1G Water Efficient Irrigation, Reduce by 50%

1/2

Option 1H Water Efficient Irrigation, No Potable Use or No Irrigation

1/2

Option 1I

Innovative Wastewater Technologies

Option 1J

Water Use Reduction, 20% Reduction

1/2

Option A 70% of ENERGY STAR eligible equipment ENERGY STAR rated

Option 1K

On-site Renewable Energy

1/2 to 1

--> Option B 90% of ENERGY STAR eligible equipment ENERGY STAR rated

Option 1L

Other Quantifiable Environmental Performance

1/2 to 3

1/2

Credit 2

Development Density and Community Connectivity

Credit 3.1

Alternative Transportation, Public Transportation

Credit 3.2

Alternative Transportation, Bicycle Storage & Changing Rooms

Credit 3.3

Alternative Transportation, Parking Availability

Last Modified: May 2008

1 of 4

Credit 1.4

1 2

Credit 2 0

Enhanced Commissioning

Energy Use, Measurement & Payment Accountability

1 to 2

Case A

Projects with area less than 75% of total building area

1 to 2

Case B

Projects with area 75% or more of total building area

Credit 3

Credit 4

Green Power

2 1

Last Modified: May 2008

2 of 4

ARUJO + DEGA • SPRING 2009 • SIGN & SYMBOL

Sustainability Summary : LEED Official Check List

Yes 8

LEED for Commercial Interiors v2.0

Registered Project Checklist

Materials & Resources

14 Points

Yes

Prereq 1

Storage and Collection of Recyclables

Required

Credit 1.1

Tenant Space, Long Term Commitment

Credit 1.2

Building Reuse, Maintain 40% of Interior Non-Structural Components

Credit 1.3

Building Reuse, Maintain 60% of Interior Non-Structural Components

Credit 2.1

Construction Waste Management, Divert 50% From Landfill

Credit 2.2

Construction Waste Management, Divert 75% From Landfill

Credit 3.1

Resource Reuse, 5%

Credit 3.2

Resource Reuse, 10%

Credit 3.3

Resource Reuse, 30% Furniture and Furnishings

1 1

Credit 4.1

Recycled Content, 10% (post-consumer + 1/2 pre-consumer)

Credit 4.2

Recycled Content, 20% (post-consumer + 1/2 pre-consumer)

Credit 5.1

Regional Materials, 20% Manufactured Regionally

Credit 5.2

Regional Materials, 10% Extracted and Manufactured Regionally

Credit 6

Rapidly Renewable Materials

Credit 7

Certified Wood

Yes 14

Indoor Environmental Quality

17 Points

Prereq 1

Minimum IAQ Performance

Required

Prereq 2

Environmental Tobacco Smoke (ETS) Control

Required

Credit 1

Outside Air Delivery Monitoring

Credit 2

Increased Ventilation

Credit 3.1

Construction IAQ Management Plan, During Construction

Credit 3.2

Construction IAQ Management Plan, Before Occupancy

Credit 4.1

Low-Emitting Materials, Adhesives and Sealants

Credit 4.2

Low-Emitting Materials, Paints and Coatings

Credit 4.3

Low-Emitting Materials, Carpet Systems

Credit 4.4

Low-Emitting Materials, Composite Wood and Laminate Adhesives

Credit 4.5

Low-Emitting Materials, Systems Furniture and Seating

Credit 5

Indoor Chemical and Pollutant Source Control

Credit 6.1

Controllability of Systems, Lighting

Credit 6.2

Controllability of Systems, Temperature and Ventilation

Credit 7.1

Thermal Comfort, Compliance

Credit 7.2

Thermal Comfort, Monitoring

Credit 8.1

Daylight & Views, Daylight 75% of Spaces

Credit 8.2

Daylight & Views, Daylight 90% of Spaces

Credit 8.3

Daylight & Views, Views for 90% of Seated Spaces

3 of 4

Yes Yes

Yes 1

Last Modified: May 2008

Innovation & Design Process

5 Points

Credit 1.1

Innovation in Design: Provide Specific Title

Credit 1.2

Innovation in Design: Provide Specific Title

Credit 1.3

Innovation in Design: Provide Specific Title

Credit 1.4

Innovation in Design: Provide Specific Title

Credit 2

LEED® Accredited Professional

Last Modified: May 2008

4 of 4

ARUJO + DEGA • SPRING 2009 • SIGN & SYMBOL

Sustainability Summary : Check List

LEED for Commercial Interiors v2.0 Registered Project Checklist Sustainable Sites 1.

5 Points

Site Selection a.

Building off of an existing structure and existing site

Option1i Innovative Wastewater Technologies: i. Use of grey water systems

Development Density and Community Connectivity

Alternative Transportation

South Pearl Street encourages high density development through it’s highly populated surroundings. This will reduce urban sprawl.

Public Transportation: Bus Stop located approx. seven blocks NE of space, encouraging public transit when possible.

Bicycle Storage and Changing Rooms: Bicycle Racks provided behind the building for employees. Changing room provided immediately when employee’s enter through back door.

Parking Availability: Parking area available approx. 50 ft. from the front entrance. Two carpool spots available closest to the front entrance. Valet parking encourages people to park immediately rather than drive around wasting gas while trying to park themselves. Water Efficiency 4 Points 1. Water use Reduction a. Water recycled through the use of grey water. Black water and grey water are on separate plumbing systems in order to allow proper upkeep of septic tank as well as to allow reuse of grey water for landscaping purposes.

b. By Xeriscaping our balcony and roof area and using water efficient irrigation strategies we will reduce our water use by 20% Innovative Wastewater Technologies a. Water Saving Flush Features: i. The use of a no-water urinal in the men’s restroom will reduce water use by at least half. ii. The use of a dual-flush toilet will reduce the water use in both restrooms by half. b. Credit 3.1 i. Our LEED certified plumbing engineer will use infrared sensors and flow restrictors

ARUJO + DEGA • SPRING 2009 • SIGN & SYMBOL

Sustainability Summary : Check List

Energy and Atmosphere 9 Points 1. Fundamental Commissioning a. A commissioning agent will create a commissioning plan and certify our building after construction. 2. Minimum Energy Performance a. Our building complies with building envelope requirements through the use of double-pane low-E glazing and well insulated walls and roof by continuous insulation. 3. CFC Reduction in HVAC&R Equipment a. Through the use on newly packaged equipment and a CFC phase-out plan we will reduce the amount of CFC’s by 30% 4. Optimize Energy Performance, Lighting Power a. The Energy Calculation for the lighting throughout our space is .789 which signifies it as green certified. 5. Optimize Energy Performance, HVAC a. By using a natural air ventilation system and using filters and insulation our restaurant will stay green. 6. Optimize Energy Performance, Equipment and Appliances a. By using all Energy Star rated appliances in the kitchen will reduce our energy use by at least half. 7. Enhanced Commissioning a. We will have our building commissioned prior to the Construction Documents phase, near the completion of this phase and then develop an energy management manual. The commissioning agent will not be a part of the design team, he or she will be a third party. 8. Energy Use, Measurement and Payment Accountability a. By using short-term monitored data along with building automation trended data to address all energy conservation measures and end-uses that the USGBC desires. 9. Green Power a. By purchasing green-tags from Renewable Choice, GT Energy for at least a 2 year contract for 50% of the buildings electricity cost through the use of renewable sources.

ARUJO + DEGA â&#x20AC;˘ SPRING 2009 â&#x20AC;˘ SIGN & SYMBOL

Sustainability Summary : Check List

Materials and Resources 9 Points 1. Storage and Collection or Recyclables a. By incorporating a recyclable dumpster behind the building and having several recycle bins throughout the space we will make sure to recycle 2. Tenant Space a. By committing to a long term lease we will keep this space running green for years. 3. Building Reuse a. By reusing 75% of the buildings original materials we will lower the amount of new materials used in the construction. 4. Construction Waste Management a. By recycling and reducing the amount of materials used during the construction of the space by 75% we will reduce the amount of waste produced during the construction process. 5. Resource Reuse a. There is easily more than 10% of reused materials in our restaurant. We reused several things from the original structure including: i. Several walls ii. Upstairs glass and wood from railing iii. Doors iv. Circular light fixtures in entry v. Outside patio fireplace 6. Recycled Content a. There is a large percentage of furniture and finishes in our restaurant that have been recycled. These include: i. Outdoor patio chairs ii. Outdoor patio tables iii. Circular Dining Tables iv. Ceiling Beams v. Bar Millwork vi. Restroom Millwork 7. Regional Materials a. Several of our materials are from local manufacturers, including: i. Outdoor patio tables ii. Venetian plaster walls throughout restaurant iii. Bathroom countertops iv. Garage doors surrounding bar v. ALL textiles from local manufacturers 8. Certified Wood a. The Forest Stewardship Council has certified the forests where the wood covering our millwork and the support beams on our ceiling.

ARUJO + DEGA • SPRING 2009 • SIGN & SYMBOL

Sustainability Summary : Check List

Indoor Environmental Quality 14 Points 1. Minimum IAQ Performance a. Our building meets the ANSI/ASHRAE 62-2001 standards for indoor air quality 2. Environmental Tobacco Smoke (ETS) Control a. As of March 2006 Colorado implemented a statewide smoking ban that includes any indoor public place, which our restaurant is included in. 3. Increased Ventilation a. By placing our ventilation ducs in areas where they will take in the freshest air, such as near the top floor of the building, and not taking air from anywhere where car exhaust could be a problem we will achieve better air quality in our restaurant which results in higher occupant productivity and satisfaction. 4. Construction IAQ Management Plan, During Construction a. Contractors will obey the SMACNA Guidelines for Occupied Buildings Under Construction in order to achieve this credit. There are 5 control measures that must be accounted for at 3 different times during the construction period. 5. Construction IAQ Management Plan, Before Occupancy a. By performing a 2 week full flush out after construction and before occupancy and doing an independent Indoor Air Quality Test we will achieve the credit. 6. Low Emitting Materials, Paints and Coatings a. Both paints that we use in our restaurant have low VOC’s and will not emit toxic compounds into the interior of this space 7. Low Emitting Materials, Systems Furniture and Seating a. All wood furniture is certified and local and will not emit any toxins 8. Low Emitting Materials, Composite Wood and Laminate Adhesives a. The sealed concrete flooring is green and contains no VOCs 9. Indoor Chemical and Pollutant Source Control a. The entryway doors to our restaurant have 2 sets of doors and a space between them, which helps immensely with keeping outdoor toxins from entering through foot traffic. The use of permanent entry mats in this entryway will make it a very clean and non-toxic building. 10. Controllability of Systems, Lighting a. The use of a Lutron Grafik Eye Light Controller will allow this restaurant to be set to a specific lighting plan that will reduce light during day-time hours and keep certain areas less lit when reasonable. Because it is a computer system it will not forget to turn down lights like human error might and will save energy b. The use of motion sensors in the bathrooms will save energy by keeping lights off when no one is using the bathroom. c. Dimming lights are used throughout the space, and are controlled by the Grafik Eye, which once again doesn’t leave room for human error. 11. Controllability of Systems, Temperature and Ventilation a. The use of a Variable Air Volume Box along with an attached thermostat in every room will make sure we have control of temperature and ventilation. 12. Daylight and Views, Daylight 90% of spaces a. There are clerestory windows along the entire perimeter of our main space with provides great light throughout, as well as 11 lower windows in our main space, providing 90% day-lighting in our very sunny space. Innovation and Design Process 1 Point 1. LEED Accredited Professional a. All 3 designers in the group are green emphasis majors and will all be LEED certified in their field.

Total Points: 42 – Platinum Certification 69

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