This book is dedicated to my mother & father. I truly could not have done this without you.
TABLE OF CONTENTS Project Introduction Historiography Case Studies Talula’s Garden The Farm & Fisherman Mercato Ikibana
Design & Technical Criteria Topical Explorations Human Behavior Color Restaurant Trends
Existing Site Context Program Development Building Analysis Project Summary Bibliography & Appendix
6 20 37 38 55 77 99 117 133 135 139 153 157 171 177 187 191
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PROJECT INTRODUCTION & design objectives
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INTRODUCTION
“Life expectancy would grow by leaps and bounds if green vegetables smelled as good as bacon�. Unfortunately, no one has invented a way of producing bacon-scented vegetables yet, but there are other ways of improving quality of life that will hopefully result in longer life expectancy. People need to eat to survive, and it only makes sense to choose the best, freshest, and tastiest foods available as fuel. The problem is that not everyone knows exactly where to start when it
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comes to eating healthy. However, the demand for local and sustainable food is on the rise, and it is growing faster than ever. This local food movement has a direct impact on the quality of life for everyone involved, from the local farmers who produce the food, to chefs who prepare it, to the consumers who eat it. A restaurant whose mission is to help people improve their quality of life and allows them to make healthier food choices is in need.
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GENERAL DESIGN & RESEARCH GOALS
This restaurant will accommodate people who simply want to live and eat well and to people with health issues that affect their eating habits, such as those with diabetes or celiac disease. This restaurant will promote a healthy lifestyle through the use of locally sourced foods and sustainable design initiatives, and will create a place where people can to go get inspired to better their lives. It will have a seasonal menu that features locally sourced foods, and vegetarian, vegan, and glutenfree options. The design of the restaurant will include sustainable techniques and materials to go along with the theme of healthy living. Outdoor eating and lounging space will also be an important aspect of the design of this restaurant, as well as a fresh food marketplace. Technology will be utilized as a sustainable initiative as well as a tool to keep the experience of the customers
fresh and new each time they come back. Much research is needed to create a restaurant such as this that will function properly. Restaurant design sounds simple; tables, chairs, and people who know how to cook. In reality, there are so many factors that play a part in the success of any restaurant. In this case, the food will be locally sourced, so an understanding of how and where it will come from is necessary. Information from restaurants that already source locally as well as the farms they buy from is needed to begin to understand how to create a menu. In a restaurant where healthy lifestyles are being promoted, it doesn’t make sense to use unsustainable and harmful materials in the design. Reused and recycled materials will all be utilized in the design of this restaurant, as well as sustainable design initiatives such as natural light, solar energy, and waste management techniques.
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ROLE OF THE DESIGNER
The designer plays an enormous part in the functionality of any restaurant. If a restaurant is not designed properly, it will never function properly. For example, if the functionality of the kitchen is not taken in to consideration during the design process, it will never be as efficient as possible. If employees have to run around the kitchen in order to prepare a meal, it can affect the quality of the food, the time it takes for the food to reach the customer, and the overall satisfaction of the customers and the employees. They must also understand seating arrangements, bar design, flow of traffic in a restaurant setting, and the customers needs. The designers are
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responsible for educating themselves on both good and bad restaurant design before the design process even begins. In this case, the designer must also educate themselves thoroughly on the issues at hand, such as locally grown and sourced food, healthy lifestyles and diets, and certain health conditions that can be affected by certain diets, such as diabetes. Because there are so many restaurants in the world, the designer must think about how restaurant design could be improved in order to create the “ultimate restaurant�. They have to understand the space they are working in and the atmosphere they are trying to create through their design.
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CLIENT & USERS The client that will be funding the design and functionality of this restaurant is Visit Philadelphia, formally known as the Greater Philadelphia Tourism Marketing Corporation (GPTMC), as part of their Philly Homegrown project. The goals of this project are to inspire consumers to shop from within the 100-mile foodshed, to broaden the market for local food, and to amplify the work of the local food movement of Greater Philadelphia. The Philly Homegrown Project is funded by grants from the Delaware Valley Regional Planning Commission (DVRPC) and the William Penn Foundation. The goals of the Philly Homegrown project will impact the overall design objectives of this restaurant because they will dictate the foods that are being sourced to this restaurant. They will insure that the quality of the food being served to customers is the best that is locally available which will, in turn, inspire consumers to make locally grown foods a part of their everyday diets, not just as a special occasion at a restaurant.
The users of this restaurant will be the customers that come to enjoy a meal and an experience, as well as the kitchen and floor staff that prepares the food and takes care of the guests. The customers that come in to the restaurant can expect a fresh, sustainable, and delicious meal and an unforgettable experience. The customers needs will inspire the design of the restaurant, which will feature many different areas of tables, lounges, and bars, all to ensure that the customers will stay entertained. Each time they come back to the restaurant they will be guaranteed a wonderful and healthy meal, as well as a new and exciting experience. The needs of the chefs and waiters/waitresses are very important to the design and functionality of the kitchen. A kitchen has to function in a circle for it to be efficient; cooks cannot afford to be running back and forth trying to prepare meals. The kitchen needs to be designed properly for the service of the restaurant to function properly and efficiently.
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DEMOGRAPHICS
This restaurant and lounge will serve as an establishment for the middle class when income is a factor. Because the ingredients will be locally sourced they will need to be sold for a reasonable price. Although the food on the menu will be more expensive than any fast food restaurant, it will still be affordable. This restaurant will not serve to be a “special occasion only� establishment, and one of its main goals is to keep its customers coming back for more as often as they like. The budget for this restaurant will allow for some special design features, but to go along with the theme of sustainability many aspects of the design will feature recycled or reused materials, as well as natural lighting and solar energy. This establishment will be a place
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for anyone who wants to eat a healthy meal and try to improve their lifestyle. Whether someone is in college and living on his or her own for the first time, unsure of how to prepare a proper meal, a couple looking to start a healthier lifestyle together, or a person recently diagnosed with diabetes desperate for a healthy meal, this is the place for them. However, due to certain factors such as the average price of a meal or the multiple bars, the restaurant will be geared toward males and females between the ages of twentyone and forty. This establishment is to be located in an upscale suburban shopping center that is just outside of Philadelphia, so it will attract customers from Philadelphia as well as the surrounding counties.
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CITATIONS & IMAGES Image 1
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Image 2 http://freshwallpaperhd.com/wp-content/uploads/2014/08/fruits-and-vegetables-for-facebook-timeline-cover.jpg
Image 3 http://wallofflowers.files.wordpress.com/2011/09/post117_1.jpg
Image 4 http://kimballstarr.com/wp-content/uploads/2014/06/Designer-with-Colors.jpg
Image 5 http://grewallevymarketing.files.wordpress.com/2014/01/119014802.jpg
Image 6 http://www.bloomberg.com/image/ir3UeQTarEsA.jpg
Image 7 http://www.hotelandaluz.com/wp-content/uploads/2011/12/green_dining_cook_800w.jpg
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HISTORIOGRAPHY & contemporary global context
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HOW DID THEY START?
The various types of restaurants, bars, and lounges in the world today have not always had the same characteristics that they do now. The idea of a restaurant itself has vastly changed throughout the course of history based on the culture, demographics, and socio-economic status of the time and location. Whether they were used as meeting halls, social hubs,
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or spaces for private interaction, workers and customers in these establishments have always used the spaces for much more than simply serving food. From the earliest taverns and inns to the fast food and complex eateries of today, restaurants have progressed hand in hand with the changing way of life throughout the world.
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TAVERNS & INNS
Before restaurants were complex establishments with endless menus and amenities for guests they were simply taverns or inns where travelers could stop to regain their strength and eat a hot meal. Taverns offered food and drink, while inns offered the same as well as overnight accommodations. These public houses were often located on traveling roads about one days journey apart. They were a crucial part of a traveler’s life, providing food, lodging, as well as the occasional entertainment. In these establishments, meals were served at common tables to passing travelers. There were no menus or choices of food, and guests were served whatever the cooks had to offer them. These taverns often appeared as small houses constructed of stone, brick, and wood. The main setting was often a dimly lit, open hall with large tables for guests to sit and enjoy their food and drinks. Some taverns were separated into multiple rooms for eating versus drinking. Women were not permitted to drink with the men, and
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often were not even allowed in the same areas. Taverns, although they were simple in design and program, were essential aspects of the towns in the seventeenth century. They were often used as social hubs. They became a place where neighbors would meet to converse, gamble, relax, and even discuss issues of the day.1 On occasion they were transformed into settings for official town matters. The City Tavern in Philadelphia was the site of the first continental congress. The Salem Witch trials were supposed to be held at a local tavern as well, but it proved to be too small to contain the large crowds.2 Inns in the seventeenth century were nothing like the modern hotels of today. They provided the bare minimum in terms of lodging and amenities. Only the wealthy could afford to have their own private rooms, and only lords who had their own private kitchens or access to personal chefs enjoyed fine dining. It was not unusual for a common traveling man to share a bed with someone he had never met.
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THE RISE OF FINE DINING
The eighteenth century in France brought about many more changes to restaurant culture. A man named Boulanger opened the first restaurant in the 1760’s in Paris.3 He sold bouillon and other clear soups of that kind that were believed to be good for the health. Early French restaurants were designed to restore (in French, restaurer) sick travelers who came through Paris. This was the first time there was an intersection between cuisine and medicine, and these restaurants were used to improve the quality of Parisian life and commerce.
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In the years following the opening of these first small restaurants, decades of harsh winters greatly affected the crops, and when combined with oppressive taxation, left families without food on their tables. People were angry that a large part of the nations tax dollars had gone to pay for the excess spending of the government. By 1789 the people of France had had enough. Riots broke out throughout Paris, and the French Revolution had begun.4
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Following the revolution in 1799, the guild system that controlled who could do certain jobs and how was abolished. Many upper classmen fled or were executed, and as a result their former cooks and servants had to find new jobs. Many of them ended up starting their own restaurants or working in them, and they brought with them an entirely new way of doing things. Paris had become the center of the upand-coming restaurant scene.
After the revolution, restaurant culture began to change, and started to more closely resemble the kinds of establishments we know today. Menus offered more options and incorporated complete meals that customers could personalize to their liking. Meals were served to parties at individual tables during fixed hours. Additionally, women were allowed as well as men. The public and private aspects of French culture
were also beginning to be explored. People could go to the restaurants to have a private meal, while still having the chance to socialize if they wished to. These restaurants became the first public places where people went to be private.5 Though public houses and taverns did not disappear completely, the rise of fine dining in France soon spread throughout Europe and the United States.
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20TH CENTURY RESTAURANTS
The rapid growth of travel through the nineteenth century meant more people began traveling greater distances. The advancements made on railways and steamships made it easy for families to travel anywhere they liked, which increased the need of places to eat. A new style of dining became the norm in Europe and the United States that was based off of the success of the fine dining restaurants in France. Parties ate at their own private tables, and were able to choose their own meals from a menu. By the end of the nineteenth Century, fine-dining restaurants had become common for both wealthy Europeans and upper
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class Americans. Restaurants continued to evolve throughout the twentieth century. Different types of restaurants were created, and the atmosphere changed entirely. Fast food was introduced in the 1950’s, and chain restaurants and casual family dining became popular during the 1960’s. It wasn’t until the 1980’s that restaurant design became a topic of public conversation. Design aesthetic began to change as a result of the introduction of postmodern architecture. There was a push to appeal to broader markets.6 By 2000, families dining out on a weekly basis became the normal.
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The demographics of the twentieth century were a crucial aspect to the design and functionality of restaurants. The Baby Boomers, who were born from 1946 to 1963, were just beginning to enter an area of changing physical abilities, which altered many of their needs in regards to restaurant design. As the Baby Boomers began to climb into their fifties, they began to require certain elements of comfort and convenience from their dining environment. Brighter lights made it easy for them to read the menu and navigate throughout the restaurant, while acoustic treatments made it easy for them to have comfortable conversations. Seating that was easy to get in and out of was also becoming more of a necessity than a convenience. There could be no universal design however, as the offspring of the Baby Boomers had very different needs than their parents.7 Generation X, who were born form 1964 to 1981, were accustomed to dining out because many of them were raised in homes where both parents received an income, and as a result dining out was common. Those in Generation
X like to enjoy themselves, and with the recent advancements in technology, expect instant gratification. They have become the first truly technological generation, and expect some aspect of that in their dining experience. They expect restaurants to provide more than a meal and comfortable surroundings. A dining experience centered around socialization that also meets their technological needs, such as good cellular phone signals and wireless Internet access, became a must-have. This generation has no problem tolerating high noise levels, and prefers lower levels of light in their dining setting, unlike their parents.8 Generation Y, (born 1981-1985) are the truest technology wiz kids. Being the youngest generation, they prefer restaurant setting that are much more informal and fun. They are also the most environmentally conscious generation. Sustainable elements of design, menus, and foods are all important when they decide where they want to eat out. Food trends are also prevalent in this generation, such as vegetarian, vegan, gluten-free, etc., and the push for locally sourced food is strong.9
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CONCLUSION
Building form became much more important in restaurant design throughout its years of development. Unlike the inns and taverns that were located wherever it was convenient, restaurants were planned out and designed with a theme that would satisfy its customers. By the late twentieth century texture had become a very important design element. Buildings were often stripped down to their unfinished surfaces such as concrete, brick, stone, wood, or metal and the rough surfaces were shown off. Signature design elements became important as central features of the dining experience. Artists and craftspeople were engaged to create signature pieces.
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Lighting applications were created and developed to create dramatic sets and music was added to the dining experience. The design and function of restaurants has changed in many ways over the course of history. The early taverns and inns acted as the first hotels and bars, and served as some of the first places people could go to socialize in a public setting. The fine dining culture in France set the standard for the diverse menus and food options we have today, as well as all of the exciting styles of restaurants we have today. Without these historical precedents the restaurant would not have evolved to what it is today.
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CITATIONS 1
Jazmin Agostini, Pubs (Madrid: Kliczkowski, 2001) 5.
2
Elise Lathrop, Early American Inns and Taverns (New York: R.M. McBride & Co., 1926) 37
3
Rebecca L. Spang, The Invention of the Restaurant: Paris and Modern Gastronomic Culture. (Cambridge, MA:Harvard University Press, 2000) 14. 4
Sylvia Neely, A Concise History of the French Revolution (Lanham: Rowman & Littlefield, 2008) 44-45.
5
David Beriss and David E. Sutton, The Restaurants Book: Ethnographies of Where We Eat (Oxford: Berg, 2007) 11. 6
Regina S. Baraban and Joseph F. Durocher, Successful Restaurant Design (New York: Wiley, 2001) 275.
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7
Baraban and Durocher, Successful Restaurant Design, 276.
8
Baraban and Durocher, Successful Restaurant Design, 276.
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Baraban and Durocher, Successful Restaurant Design, 277.
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Richard Pillsbury, From Boarding House to Bistro: The American Restaurant Then and
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3.1
Visited Case Study #1
TALULA’S GARDEN philadelphia, pa
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OVERVIEW
Talula’s Garden is a cozy, garden-inspired restaurant located at 210 Washington Square in Philadelphia, Pennsylvania, and is the result of a collaboration between restaurateurs Stephen Starr and Aimee Olexy. With help from local architecture firms, Groudswell and Stokes, the previously vacant ground floor space in the art decoinspired Ayer building has come alive. Much like Olexy’s With its unique design and prime location, Talula’s Garden provides a serene indoor/outdoor dining experience that allows guests to connect with the adjacent Washington Square Park.
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This is not the first time Starr and Olexy have collaborated before. She has had a hand in overlooking and managing many of his restaurants, and has done so well that she has been promoted to Director of Restaurants, handling operations at Starr’s Continental, Buddakan and Tangerine and opening Pod in 2000. Owner Aimee Olexy owns many other award winning restaurants, such as Talula’s Table in Chester County, Pennsylvania. Olexy truly understands what hospitality means, and her energy and passion can be felt throughout Talula’s Garden. Talula’s Garden is a
notable case study due to its unique design and incorporation of sustainable techniques and design elements. It provides a new twist on the farm-to-table style eatery, and it truly a oneof-a-kind dining experience. Although Talula’s Garden’s design budget may have been high, the sustainable techniques it incorporates have helped make it manageable and able to be maintained. With all the factors that need to be accounted for, restaurant design can quickly become expensive. Talula’s Garden is an important example of how elegant and functional design is possible without breaking the bank.
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DESIGN CONCEPT & STYLE
Starr’s restaurants typically appeal to all of the senses, with a theatrical atmosphere and experience. The players, props, backdrops, and lighting are all equally important. Aimee Olexy, on the other hand, likes organic, slightly under-designed spaces, a major contrast to Starr’s hyper-designed approach. The overall concept and design of Talula’s Garden is a result of the combination of the two styles. It is a true Starr restaurant with the whimsical, home garden feel that Olexy brings to the table.
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FLOOR PLAN ANALYSIS
The floor plan of Talula’s Garden is relatively easy to navigate and understand. It is only a single story space, however the areas towards the back of the restaurant, including the cheese bar, kitchen, small dining area, and outdoor bar, are two and a half feet higher than the entry areas and main dining. The entrance to the restaurant is not immediately obvious. Diners must first enter into the outdoor garden area, and directly to their right is the entrance to the main building. After passing through a small, glass vestibule, customers are welcomed at the
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small hostess stand, and become immediatley submersed in the main dining area. They can then either proceed straight past the hostess to one of the main bars, or they will be seated at one of the four main dining spaces, each of which is different than the next. The interior bar is nicely sectioned off from the majority of the dining area, preventing any excess noise from disrupting the diners. The restrooms are adjacent to the bar, and are very discreetly concealed behind an unmarked door. Although there are a handful of tables relatively close to the restrooms,
they are hardly noticeable. After passing the restrooms there are four steps up to the next dining area, which also houses the ten foot long cheese bar and herb wall. This area serves as a prime location for the waitress station, as there is not much traffic from guests. Directly adjacent to this area is the kitchen, which is concealed behind a series of hallways and doors. Circulation throughout the interior of the restaurant is very obvious, as the majority of the restaurant is visible from the entrance.
The exterior dining area seats sixty six guests. Slightly concealed in the back is another small bar, which also provides casual seating for guests. The outdoor dining are is completely open, making for very easy circulation. From any table in the outdoor dining area, guests have a picture-perfect view of the adjacent greenery in Washington square.
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SUSTAINABILITY
Talula’s Garden is a noteworthy example of sustainable design methods. From the furniture and materiality to the food itself, many traditional and unique techniques have been implemented to ensure that Talula’s Garden creates and maintains the conditions under which humans and nature can exist in harmony, so that future generations can prosper. The menu is seasonal, and changes often based on the locally sourced
foods that are available. It will showcase pastured meats, farmstead cheeses, locally grown vegetables, and a 100% sustainable wine list. The cheese counter itself is constructed with salvaged granite and sits in front of an herb wall, serving as a focal point of the restaurant. The custom designed fountains in the outdoor dining area utilize re-usable water, and the pergola overhead is cantilevered and made from reclaimed truss wood.
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Other salvaged materials appear scattered throughout the dĂŠcor as well. Redwood planks from Vlasic pickle barrels have been restructured to fit the ceiling. Materials from the Queen Theatre in Wilmington, Delaware have been salvaged with the help of at-risk teens as a part of the Challenge Program and converted into the table tops throughout the restaurant.
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INTERIOR DESIGN
The interior design of Talula’s Garden lives up to what would be expected from a restaurant designed with garden’s in mind. With a classic gardener’s color palette of green, white, and wood, the interior of the restaurant is natural and elegant. The tall existing space has been scaled down with a number of warm materials and texturing. Each of the four dining areas, three of which are inside, have a unique aesthetic. The large outdoor dining area showcases custom designed window boxes that fill the area with seasonal flowers as well as a water wall of mismatched vintage faucet heads, all of which create a homely and whimsical feel. The intention for this space is to appear as someone’s extremely well-designed back patio. The front entrance and bar, however, have a slightly different ambiance. Wall tile and varying colored glass pendants offer a distinctive Moroccan vibe. Each table
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displays mismatched garden chairs. The table centerpieces vary throughout the restaurant, but always include greenery. The lighting in the daytime creates an extremely different atmosphere than the lighting during the evening. The length of the restaurant is lined with large windows, providing abundant amounts of natural daylight. Very little artificial lighting is actually required during the daily hours of operations, offering yet another sustainable technique. When the sun goes down, however, the atmosphere of the restaurant becomes magical. The overall lighting is dim, and very intimate. There are candles at many of the tables with pendants at some indoor dining areas and bars. The walls and pergola outside are laced with thousands of Christmas lights, creating an atmosphere dreamlike and enchanting.
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POST-OCCUPANCY SURVEY
The employees at Talula’s Garden could not be more pleased with the restaurant as a whole. It is rare to discover a restaurant that runs perfectly, but the employees could barely think of any complaints when asked. The outdoor space was quoted as being the most successful space in the restaurant, as well as the best selling point. The hostess indicated that, unlike most restaurants she has worked in, there really isn’t a bad table in the whole place. Although there are four tables in close proximity to the restrooms, which are usually quickly declared the worst tables in the restaurant, guests do not seem to mind them. The restrooms are so well concealed that some guests did not even realize that they were seated next to the restrooms. Many of the employees felt
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that although they were well concealed from the dining areas, the restrooms themselves could be improved. A single door leads to a series of unisex stalls, which were criticized for being slightly awkward or uncomfortable at times. The only other complaint I was able to extract from the employees was that the kitchen was slightly too small for the amount of people working in it. Although it was nicely sectioned off into areas, such as food prep and storage, the circulation was not up to par. The kitchen staff often has issues moving around without bumping into each other. All of this information is relevant when considering possible restaurant designs. The kitchen especially needs to function properly for the rest of the restaurant to function properly.
EVALUATION
Overall, I believe this restaurant is truly successful in almost all aspects of its design and execution. Its goal is to provide an atmosphere for its guests similar to an elegant home garden, and the combination of salvaged materials, live seasonal flowers and herbs, and unique outdoor dining areas all contribute to the success of this concept. The circulation and way finding are simple for anyone to figure out, as you are able to see the majority of the restaurant as soon as you enter the building. The location of this restaurant also contributes to its successful concept. The outdoor dining area, which is filled with plants and flowers, truly looks like a garden. This dining area is visible from the street between two tall, concrete office buildings, making this restaurant appear as an escape from the hustle and bustle of the city. Its location
being adjacent to Washington Square is important as well, as it allows for anyone walking through the park or around the square easy access to the restaurant. Because this area is so popular, it brings a great deal of business to both Talula’s Garden and the small adjacent café, Talula’s Daily. The fact that all of the employees I had the privilege to interview struggled to think of any complaints about their work environment speaks volumes about the true success of the restaurant. The employees evaluations are equally, if not more important, than customer evaluations because they can truly analyze how well the restaurant works as a whole. Everyone that I spoke to seemed genuinely excited to be there, and had nothing but good things to say about their home at Talula’s Garden.
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SPATIAL ANALYSIS
SPATIAL DIAGRAM
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PRIVATE PUBLIC
PUBLIC SPACE VS. PRIVATE SPACE
CIRCULATION
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CITATIONS
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1
“Talula’s Garden in Philadelphia.” Remodelista RSS. N.p., n.d. Web. 17 Dec. 2014.
2
“Stokes Architecture | Eat.” Stokes Architecture | Eat. N.p., n.d. Web. 17 Dec. 2014.
3
“The News Journal Food & Drink Section.” The News Journal. N.p., n.d. Web. 17 Dec. 2014.
4
“Talula’s Garden.” Talula’s Garden. N.p., n.d. Web. 17 Dec. 2014.
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3.2
Visited Case Study #2
THE FARM AND FISHERMAN cherry hill, new jersey
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OVERVIEW The Farm and Fisherman Tavern and Market is located in a small strip mall along the Marlton Pike in Cherry Hill, New Jersey. At roughly 8,000 square feet, this 150 seat tavern and restaurant also houses a full market. This location, opened in November 2013, is the second iteration of this restaurant, the original being the Farm and Fisherman BYOB in Philadelphia. Eimer Design is a local Philadelphia architecture and interiors firm that was selected to expand and adapt the Philadelphia Farm and Fisherman BYOB concept into South Jersey.
The strip mall that houses the Farm and Fisherman was chosen not only because strip malls are so popular in the areas, but because of Lawler’s trips to Europe. “There are so many little shops where you can shop for a few things and relax over a glass of wine and some cheese while you are there”, says Lawler. Not only is South Jersey the land of strip malls, it is the land of farm stands. The chef believes that people will drive out of their way to pick up fresh food from their favorite farms because they know what good ingredients taste like, and the demand for them is higher than ever.
Image 2: Site Plan 57
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OWNER & USERS
The restaurant is owned by Chef Josh Lawler and his wife, Colleen, in partnership with Chef Todd Fuller. Josh Lawler also served as chef de cuisine at Blue Hill at Stone Barns, the acclaimed New York restaurant, which was named as one of Food & Wine magazines “10 Life-Changing Restaurants”. While there, Lawler developed the restaurant five and eight course tasting menus that focused on local, sustainably raised ingredients, and earned a multitude of awards. He set new standards for the farm-totable movement by pairing a world-renowned restaurant with its own on-site farm.
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However, The Farm and Fisherman Tavern and Market differs greatly from Blue Hill at Stone Barns. The focus on local, sustainable, and exceptional ingredients is just as important, but Chef Lawler aims to make these ingredients accessible to everyone, mainly by offering high quality foods at a very reasonable price. His philosophy is that, “If you can’t make food like this accessible to everyone, what’s the point?” Lawler’s goal is to have this restaurant be very family-friendly. With prices comparable to Panera, he aims to be able to feed a family of four for around forty dollars.
Image 4
DESIGN CONCEPT & STYLE
The concept combines fine dining, a tavern, and a fresh food marketplace into one diverse space. Everything offered on the menu is sourced from New Jersey or Pennsylvania, including the beers on tap that come from local breweries. The Farm and Fisherman aspires to pair regional produce and proteins with carefully-selected wine, spirits, and local drafts in a comfortable, family friendly, tavern environment. This carefully thought out menu and design combination gives the tavern a rustic and homey come-one-come-all vibe.
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Image 5: Conceptual Rendering
FLOOR PLAN ANALYSIS
The most dominant feature in the design of the restaurant is the U-shaped bar that wraps around the tavern and market areas. (Diagram 1) It becomes a bread display and a customer service counter where customer can order fresh food and sandwiches. The counter acts as a very multi-functional element, offering another point for sales to be made during the day, and an expansion of the tavern at night when the bar gets crowded. The public and private spaces are very obviously divided. The most public spaces, the bar, dining, and market, are located at the very front of the building while the most private areas, like the kitchen, waitress, and prep rooms, are located at the back of the building. The semi-private bathrooms are located in the center of the restaurant, between the public and private spaces, so they can easily be accessed by anyone. (Diagram 3) Diagram 1 63
Image 6
The three main public spaces in the restaurant are the main dining room, bar, and market. The walls have been strategically opened in certain areas to visually connect all three spaces. Customers can stand in the market and order fresh food and be able to look past their server and see parts of the entire restaurant or vice versa. (Image 7) This layering of spaces allows the restaurant to feel larger than it is in reality. Large signs dictate the tavern from the market on opposite sides of the bar. (Image 6)
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INTERIOR DESIGN The dĂŠcor inside the Farm and Fisherman is unique and inviting. Bright oranges, yellows, and bluegrays fill the space and give it a sense of airiness. In the tavern area, rustic wooden bar stools surround the bar and the I-shaped wooden tables that protrude out from the walls. The bar itself is stunning. The countertop is made of shiny, finished wood that sits atop a gray subway tiled base. (Images 8 &11) It wraps into the market area, adding additional seating and creating a slightly separate place where customers can stop in to buy fresh food. The main dining room is modern and trendy. The
rustic wooden tables and bar stools continue into this space, (image 9) and the deep orange vinyl booths line the walls and offer a pop of color. (Image 10) The seating is comfortable and well-spaced, aiding in acoustics and making conversation easy. The walls are painted fresh white and accented with Victorian style shadow box wainscoting. There are many custom art pieces and decorations that make the space feel unique. Bright colored custom painting are hung throughout the main dining room, and the menus have been fastened on wooden boards crafted by a local artist from Philadelphia.
Image 8
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Image 9
Image 10
Image 11
SUSTAINABILITY The Farm and Fisherman Tavern and Market does feature some aspects of sustainability. The demand for fresh, locallysourced foods is in demand now more than it has ever been before, and Chef Lawler has created a unique menu that features sustainably raised ingredients and locallysourced or house-made products, such as meat, cheese, baked goods, condiments, coffee and wine. When the Farm and Fisherman first opened, employees were trained to go to farms and markets and pick fresh ingredients. This restaurant plays an active role in the movement for sustainability in Cherry Hill, New Jersey. They sponsor a number of activities and foundations, and every first Wednesday of the month, the establishment hosts a green networking night. Anyone is welcome to stop by and meet people in their community who are thinking and talking about sustainability in an informal setting.
Image 12 67
Image 12
LIGHTING
Because this restaurant is located in between stores in a strip mall, the only windows are on the front of the building. However, these windows have been made as large as possible, maximizing the amount of natural light that filters into the space. Although the main light sources are the small, evenly spaces down lights throughout the space, the accent lighting in the form of industrial style pendant lamps and old fashioned light bulbs that hang intermittently over tables in the main dining room.
Image 13 68
EVALUATION
Overall I believe that the Farm and Fisherman in Cherry Hill is unique and successful. The design of the space as a whole is fresh and modern, and will rightfully attract customers and families of all ages. The design makes the most use out of the relatively small space it occupies. There is enough seating provided and it is all very well-spaced out, making conversations easy and eating a comfortable experience. The natural lighting has been maximized, and does a reasonable job of illuminating the space on its own. The location is a prime spot for an establishment such as this one. Its location
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in a strip mall along a busy roadway makes it easily accessible to many people in both South Jersey and in Philadelphia. Because there are other shops in the same shopping center, guests can take their time and shop around before stopping over to get a bite to eat or a drink. This creates a sense of community that is hard for a restaurant to develop. It also allows the business to thrive off of each other’s successes. The more successful one of these stores is, the more people will come to that shopping center to explore and be exposed to restaurants such as the Farm and Fisherman.
Image 14
SPATIAL ANALYSIS
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Diagram 2: Floor Plan 72
Public Space Private Space Semi-Private Space
Diagram 3: Public vs. Private Space 73
Diagram 4: Natural Lighting 74
CITATIONS
1
”Cherry Hill Restaurant Week Preview: Farm and Fisherman.” The Cherry Hill Sun Cherry Hill Restaurant Week. N.p., 02 Aug. 2014. Web. 17 Dec. 2014.
2
”The Farm and Fisherman Tavern and Market.” Eimer Design Architects Portfolio. N.p., n.d. Web. 17 Dec. 2014.
3
“Kristie Rearick | South Jersey Times. “Dining Out: Farm & Fisherman Tavern and Market.” NJ.com. N.p., n.d. Web. 17 Dec. 2014. 4
”About Us.” Sustainable Cherry Hill RSS 20. N.p., n.d. Web. 17 Dec. 2014.
5
“Kristie Rearick | South Jersey Times. “Dining Out: Farm & Fisherman Tavern and Market.” NJ.com. N.p., n.d. Web. 17 Dec. 2014.
6
”Cherry Hill Restaurant Week Preview: Farm and Fisherman.” The Cherry Hill Sun Cherry Hill Restaurant Week. N.p., 02 Aug. 2014. Web. 17 Dec. 2014.
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IMAGES
Image 1, 2, 6 maps.google.com
Image 3, 12, 14
http://www.fandftavern.com/home
Image 4
http://ediblejersey.com/files/2014/03/longWayBlueHill2.jpg
Image 5
http://www.eimer-design.com/portfolio.asp?a=Eimer-Design-Architecture-Hospitality-Portfolio&b=The-Farm-andFisherman&c=Tavern-and-Market
Image 7 http://media.nj.com/south-jersey-times/photo/2014/01/14062829-standard.jpg
Image 8, 13
http://photos.nj.com/8002621/gallery/010714farm/index.html#/0
Image 9, 10, 11
http://www.indystar.com/apps/pbcs.dll/gallery?Avis=BZ&Dato=20140214&Kategori=LIVING&Lopenr=402140802&Ref=PH
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3.3
Research Case Study #1
MERCATO
shanghai, china
Image 3.1
DESIGN CONCEPT & STYLE Mercato is a 10,764 square foot single story restaurant in Shanghai, China. The rustic Italian restaurant, which happens to be the first in Shanghai of its kind, was designed by Neri & Hu Design and Research OAffice, and was completed in July 2012. Mercato is one of six restaurants within Three on the Bund, a prominent complex of up-scale shops, fine dining, art galleries, and entertainment, located along the main
river in Shanghai. Three on the Bund is Shanghai’s high-class lifestyle destination because of its rich mix of gastronomy, art, culture, and music. It provides a sophisticated and stimulating gathering place for the lively people of Shanghai. Due to the bustling building location, upper class clientele, and overall design style, this building justifies a high construction budget.
Image 3.2: Site Plan 79
The restaurant is currently owned and run by French chef Jean-Georges Vongerichten. Mercato was designed based on the famous chef’s culinary style and ideas. However, the design of the restaurant was also based on the historical context of the building as a whole, taking influence from Shanghai in the early 1900’s, when Three on the Bund was a busy industrial hub.
Image 3.3
DESIGN CONCEPT & STYLE The overall design concept of Mercato celebrates the beauty of the bare structural elements by stripping back the layers on finishes that have built up over the years of renovations.3 Three on the Bund was the first building in Shanghai to be built out of steel.4 The decision made by Neri & Hu was to pay tribute to this historical landmark by revealing its original steel columns, which provides an industrial aspect to the refined interior at Mercato.4 This four hundred and twenty seat restaurant is a
noteworthy case study due to its location in an upscale department store building that offers a vibrant mix of culture, art, and food. These are important aspects to consider when designing a restaurant, as they will draw in different kinds of people. Mercato bridges organic design with elegance and modernity, and offers a comfortable quality that redefines the idea of “farm chic�, a style that many farm-to-table restaurants choose to embody.
South Section
East Section 81
Image 3.4
Image 3.5
Image 3.6
FLOOR PLAN ANALYSIS Though Mercato is situated in a large, prominent, mall in Shanghai, the restaurant itself is only one story. Large glass windows surround the space and highlight the dining tables that are adjacent to them. The most public areas of the space, the bar and Pizza Bar, are grouped together and are located in the center of the space, and closest to the entry vestibule, so
they are clearly visible from all vantage points in the restaurant. The public dining wraps around the exterior of the plan. The the private areas, such as the three private dining rooms and the kitchen, are grouped together as well, and located opposite the public areas. The open layout of Mercato allows its guests to move freely throughout the space,
LANDSCAPE
TERRACE MARKET
STREET
Diagram 3.1: Conceptual Planning 83
provides a welcoming ambiance, and offers prime views to the skyline that surrounds the building, as well as the series of parks located across the river. (Refer to back to Image 1 site plan) The main bar and innovative Pizza Bar, which is anchored by a large woodburning oven, are visible immediately upon entrance. The Pizza Bar is adjacent to the lounge area, and the communal tables and private dining rooms line the walls of the restaurant. The private dining rooms are defined by bands of textured glass along the top of each entry wall, which allows some transparency, while sliding doors separate the rooms and provide flexibility if larger dining areas are needed. This visual wayfinding continues into the corridor that connects the kitchen and dining areas. Based off of ancient warehouse windows, this glass wall is meant to encourage interaction between the chef and his guests.
Taking inspiration from its name, the circulation of the Mercato was designed in the style of a street side marketplace, offering a vibrant atmosphere that allows guests to walk around and view all the areas of the space.5
Diagram 3.2: Public Circulation 84
SUSTAINABILITY
There are sustainable elements that have been incorporated into the design. The most important aspect of sustainability is the fact that this building has been adaptively reused and restored. The architects stripped the interior of the space. They left all structural and designed elements unharmed, from the exposed brick to the plaster walls and Victorian ceiling moldings.
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Reclaimed and recycled wood was also put to good use. The banquettes along the edge of the dining room are constructed of wood that was salvaged from the site and fixed inside a metal frame. The walls, ceilings, and floors are covered in reclaimed wood as well. Mercato features a sustainable, seasonal menu as well, offering the freshest locally grown foods.6
Image 3.2
INTERIOR DESIGN
The interior design of Mercato is based off of a mix of old and new. The original structural system of the building, such as the concrete columns and wood beams on the ceiling, have been completely exposed and returned to their original state. The Victorian plaster ceilings are also part of the original design. In contrast with the existing brick, concrete, and plaster, the new elements of design are
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clearly defined by their sleek characteristics. Exposed steel, iron, and glass are prominent materials throughout the space. Steel mesh and wire glass boxes wrap around the Bar and Pizza bar. The private dining rooms also feature metal framing with panels of reclaimed wood, steel, antique mirror, and glass inside. Leather upholstery accents the custom designed wooden furniture, and evokes a masculine ambiance.
Image 3.8
Image 3.9 The large windows and mirrored panels at around the frames draw the guests’ attention to the exterior views of the city. Steel and iron structures on the ceiling extend to hold custom designed benches or hang low to hold transparent light orbs. The color palette of brown, black, green, white, and leather tones aid in the industrial feel of the design. The art and decoration is minimal, mainly consisting of plants and recycled colored glass bottles. The revealed structural and construction systems themselves are meant to be the main decoration in the space. The only signage is located at the entrance to the restaurant in the form of a sliding metal gate with words spelled out in between its horizontal bars. Image 3.10
LIGHTING Light is an important aspect in the design of Mercato, as it reinforces the industrial style of design and ambiance. To bring lightness to the space, the perimeter is lined with large windows, meant to represent
a connection between the interior and the exterior. Glass lamps are hung over tops of the main dining tables in a way that is representative of street lights in a marketplace.7
Image 3.11 89
The Pizza Bar and lounge are illuminated by the glow of the large wood burning oven and the suspended rail from which glass bulbs are hung. This network of steel tubes was inspired by butcher’s rails, and forms shelving as well as a main source of light.8
Image 3.12
EVALUATION
I believe this restaurant is highly successful in numerous aspects of its design and execution. The design is based around the concept that the original structure of this historically famous building should be celebrated and restored back to its original construction. The architects exposed the columns and the original brick, and the Victorian ceilings were left as they were, peeling plaster and all. (Image 14) Stripping back the layers of finishes that have accumulated due to renovations not only exposes the striking original structure, but gives the design of the space a classic industrial look. These industrial elements mix very well with the new aspects of the design. The fixtures, furniture, materials, and colors are sleek and modern, making the restaurant feel elegant and sophisticated. It is very important in restaurant design for guests
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to feel comfortable and relaxed, and they appreciate a stunning design on top of it all. All of the quantitative qualities have been met in the design of this restaurant. There is sufficient amount of space for all of the program needs and they have all been accounted for. My only critique about the size of the spaces is that I believe the public dining area could be slightly larger. Because it is located in such a busy building with many functions, I can imagine that it gets very busy. Other variations of seating may provide more comfort for guests as well, such as semi-private booth seating or intimate tables for two. The circulation and wayfinding are very successful. There are enough areas in the restaurant so that it is not boring for guests, but they layout is open enough that much of the restaurant is
visible from wherever you stand. My only concern about the space planning in Mercato is that the public restrooms are located completely opposite the public and private dining areas, and the circulation that leads to them is not direct. Although the restrooms themselves are stunningly designed as well, (Image 13) guests would have to navigate past both bars, the large open atrium space, part of the kitchen to reach them. While the restrooms are located across the restaurant, diners do have the pleasure of viewing the displays that have been designed along the long hallways to the restrooms. (IMAGE 15) In my personal restaurant design, I will focus on making the restrooms more accessible, however, I can appreciate the fact that the display walls in Mercato were designed to make up for the long circulation path to some extent.
Image 3.13
Image 3.15
Image 3.14
SPATIAL ANALYSIS
Diagram 3.3: First Floor Plan 93
Diagram 3.4: East Section
Diagram 3.5: South Section 94
LOUNGE AREA
VESTIBULE/ RECEPTION OFFICE
PUBLIC DINING
BAR
PIZZA BAR
ATRIUM
PRIVATE DINING
RESTROOMS
PRIVATE DINING
STORAGE
SERVICE AREA
CASHIER
KITCHEN MECHANICAL ROOM
PRIVATE DINING
Public Space Private Space Semi-Private Space
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Diagram 3.6: Public vs. Private Space
Diagram 3.7: Lighting 96
CITATIONS 1
“About Us.” Three On The Bund. Accessed October 01, 2014. http://www.threeonthebund.com/.
2
“Mercato Italian Restaurant at Three On The Bund.” Neri & Hu Design and Research Office. Accessed October 01, 2014. http://enthepractice.neriandhu.com/content/mercato-italian-restaurant-three-bund
3
“Mercato Italian Restaurant at Three On The Bund.”
4
Frearson, Amy. “Mercato Restaurant at Three on the Bund by Neri&Hu.” Dezeen Magazine. June 24, 2013. Accessed October 01, 2014. http://www.dezeen.com/2013/06/24/mercato-at-three-on-the-bund-by-nerihu/.
5
“Mercato Italian Restaurant at Three On The Bund.”
6
Jingmei, Luo. “Mercato by Neri & Hu.” In Design Live. Accessed October 1, 2014. http%3A%2F%2Fwww.indesignlive.com%2Farticles%2Fprojects%2FMercato-by-NeriHu.
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7
Frearson, “Mercato Restaurant at Three on the Bund by Neri&Hu.”
8
Frearson, “Mercato Restaurant at Three on the Bund by Neri&Hu.”
IMAGES Images 3.1, 3.5, 3.11, 3.12, 3.13
Frearson, Amy. “Mercato Interior.” Digital image. Dezeen Magazine. June 24, 2013. Accessed October 1, 2014. http://www.dezeen.com/2013/06/24/mercato-at-three-on-the-bund-by-nerihu/.
Image 3.2 “Site Plan” Google Maps.
Image 3.3
“Three on the Bund.” Digital image. Destinasia: Destination Info. June 22, 2014. Accessed October 1, 2014. http://destinasia.info/category/shanghai/.
Images 3.4, 3.6, 3.8, 3.10, 3.14
“Mercato Interior.” Digital image. Neri & Hu Design and Research Office. Accessed October 1, 2014. http://enthepractice.neriandhu.com/content/mercato-italian-restaurant-three-bund.
Images 3.7, 3.9, 3.15
Jingmei, Luo. “Mercato Interior.” Digital image. InDesign Live. Accessed October 1, 2014. http://www.indesignlive.com/articles/projects/Mercato-by-NeriHu#axzz3EwwtyFiN.
All Plans and Sections
Frearson, Amy. “Mercato.” Digital image. Dezeen Magazine. June 24, 2013. Accessed October 1, 2014. http://www.dezeen.com/2013/06/24/mercato-at-three-on-the-bund-by-nerihu/.
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3.4
Research Case Study #2
IKIBANA barcelona, spain
Image 1
OVERVIEW Ikibana Restaurant and Lounge is located at Avenida Del Paralelo, 148 Barcelona in Spain. Completed in June 2012, the interior was designed by El Equipo Creativo, an architecture firm based in Barcelona. This 2,800 square foot restaurant is a noteworthy case study due to its location along a major street in Barcelona, Avenida Del Paralelo. (Image 2) Because it occupies a corner spot at this intersection and is very visible to the public, the restaurant is easy to locate in the busy city. (Image 3) Location is extremely important in the design and planning of a restaurant
because a prime site will bring in more customers and allow the restaurant to be better known. The prices of the food and drink at Ikibana tend to run high, and in combination with all of the custom designed wood furniture and extensive ceiling elements, the user group would consist of mainly adults and young adults. The gastronomy of the restaurant is very unique, as it is a combination of exotic flavors in both Japanese and Brazilian cuisines, and would most likely not be ideal for children.
Image 2: Site Plan 101
Image 3
DESIGN CONCEPT & STYLE The design of the restaurant is meant to symbolize the connection between the Japanese and Brazilian cultures. After conducting extensive research about both Japan and Brazil, the architects discovered that the landscape was an important element in both cultures. The overall concept of Ikibana is to create a flowing landscape created by the different program elements or islands that are connected by winding ceiling elements. (Image 5)
Diagram 1: Axonometric Ceiling
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Brazil represents an extremely lush and extraordinary landscape, and a lifestyle that is always joyful and full of color. The Japanese have a much more modest lifestyle, containing unassuming colors and design elements, and their culture has a deep respect for nature. The art of flower arrangement in Japan is known as Ikebana, which inspired the name of the restaurant. (Image 4)
Diagram 2: Ceiling Plan
Image 4
Image 5
FLOOR PLAN ANALYSIS
Although the building is located in a high traffic area, the restaurant itself is only a small, one-story space. It is an open concept floor plan, and almost all public and private tables as well as the multiple bars are visible upon entry. The food is prepared in the dining area so guests can see exactly what is being created for them and how. The bars and kitchens are distributed throughout the restaurant, creating social gathering spaces spread throughout the space. Large, glass, paneled windows line the restaurant and highlight the dining tables that are adjacent to them. (Image 6) Unlike many restaurant layouts, the public and private dining areas are not separated. The private dining areas are defined by the custom wood benches that wrap around them and give them a sense of privacy, but they are placed in the midst of the public dining tables. (Image) With seating for up to one hundred diners at the high tables, islands, and bars, Ikibana becomes a very versatile space for organizing public or private events.
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Image 6 Image 6
There is no direct circulation in this restaurant. Because the dining areas are scattered throughout the space guests are able to freely move about. Normally a direct path of circulation is ideal, however, because Ikibana is a relatively small space the meandering circulation does not become an issue.
Diagram 3: Floor Plan 106
INTERIOR DESIGN
The elements representative of Ikebana articulate the interior design of the space. These artistic arrangements are all designed with the right proportion, composition and equilibrium in relation to the three elements: wood, leaves and flowers. The custom wooden ceiling elements symbolize a forest full of branches, while the green facade and flowers in the windows unifies the view between the interior and exterior.
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The wooden element is present in the remarkable ceiling designed as a forest of entwined branches. This winding and twisting ceiling plane extends throughout the entire restaurant, connecting all the programmatic elements together. (Image 7) When the natural light from the windows crosses the ceiling, lights and shadows are projected on every surface of the restaurant giving it a warm and magical atmosphere.
Image 7
Image 8
The overall design and dĂŠcor is visually stimulating. The Brazilian influenced “color explosionsâ€? are present in the geometric designs of the tabletops which display fresh, tropical colors such as lemon yellow, lime green, passion red. The organic shapes of the tabletops have been modeled after flower petals and can be easily adapted for groups. The joining or separation of tables produces a new color composition with each arrangement. (Image 9) Image 10
Image 9
Although the ceiling element is the dominating decorative feature in the restaurant, smaller details have also been added. Suspended over the sushi bar are a series of sculptural Japanese flowers illuminated by spotlights. (Image 10) Glass mosaics line certain areas of the more private hallways. Images and videos are strategically projected throughout the space and are combined with a planned musical selection. 108
FURNITURE
The bowl-shaped islands that house the semi-private dining areas are designed like pieces of fruit with a dark exterior and a colorful interior. They are spacious enough to accommodate several tables inside, and can be rearranged to fit a large party or a series of couples. (Diagram 4) The furniture is the public dining areas mimics the ceiling elements. In some spaces, the twisting, wooden ceiling elements stretch down to form bench seating at certain tables. (Image 11) The tall stools that accompany each colorful table are the same color and material as the ceiling, unifying the spaces.
Image 11 109
Diagram 4: Booth Design Details 110
SPATIAL ANALYSIS
Diagram 5: Floor Plan 111
Diagram 6: South Section 112
Public Space Private Space Semi-Private Space
Diagram 7: Public vs. Private Space 113
Diagram 8: Natural Lighting 114
CITATIONS
115
1
“Ikibana.” Ikibana. N.p., n.d. Web. 17 Dec. 2014.
2
“Ikibana Paral Restaurant / El Equipo Creativo.” ArchDaily. N.p., 10 May 2013. Web. 17 Dec. 2014.
3
“IKIBANA RESTAURANT.” El Equipo Creativo. N.p., n.d. Web. 17 Dec. 2014.
4
“Ikibana Paral Restaurant / El Equipo Creativo.” ArchDaily. N.p., 10 May 2013. Web. 17 Dec. 2014.
5
“Ikibana.” Ikibana. N.p., n.d. Web. 17 Dec. 2014.
IMAGES
Image 1, 3, 5, 6, 7, 8, 9, 10 http://www.soujianzhu.cn/admin/uploadFiles/news/pic/big/20131023090639309.jpg
Image 2
Google Maps, “Site Plan”
Image 4, 11
http://farm8.static.flickr.com/7006/6454310919_f92dbebb9f_m.jpg
Image 12, 13
http://img.archilovers.com/projects/168b1369c32148bc92d463158296183e.jpg
Diagram 4
http://archtendencias.com.br/wp-content/uploads/2013/05/restaurante_ikibana_el_equipo_creativo-22.png
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4
DESIGN CRITERIA & technical information
FURNITURES, FINISHES & EQUIPMENT The basic, and often the most important, components of any restaurant interior are the chair and the table. Depending upon the restaurant type, menu, service, table setting, and degree of intimacy required, table size and overall furniture size requirements can, and should, vary greatly. A restaurant that encourages rapid turnover of customers will normally provide smaller table top and chair sizes. In contrast, restaurants that encourage limited turnover and emphasize the wining and dining experience will typically provide larger table sizes and larger, more comfortable chairs, with greater distance between table groupings. In any size or type of restaurant, comfortable seating for waiting should be available to customers near the entrance. (Time saver pg. 307 – use table size diagrams) (TSS pg. 316)
STANDARD MOVABLE SEATING
Dining room chairs should be stable so guests are able to maintain their balance as they seat themselves. Chairs must also be comfortable as guests will be sitting in them for an extended amount of time during meals. Chairs should be light and easy to reposition so that anyone is able to move them to make themselves more comfortable. (fig. 22) Dining room tables should have a stable surface at a convenient height and knee-space and legroom below the tabletop for customers in wheelchairs. (Figure 23) (TSS page 316)
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BANQUETTE SEATING
The lack of armrests makes it difficult to define seating boundaries in banquette style seating. However, the user tends to establish a territory by assuming a desired sitting posture and placing personal articles next to him or her, such a purse or a briefcase. (Fig 26 and 27 give typical dimensions for banquette seating.) Specific attention should be given to the depth of the seat, slope of the seat and back, and the relationship between seat height and table height. (TSS pg 318)
BARS
The distance between bar and back bar should allow adequate workspace. A minimum of 36 inches (90 cm) should provide space for one bartender to serve and another to circulate behind. Adequate clearance between bar stools is critical, and should allow patrons of larger body size a comfortable side approach and departure from the stool without coming into contact with the person next to them. (bar and back bar figures and chart) A 30 inch (75 cm) center spacing between stools will accommodate 95% of the users. (TSS pg. 346)
COMMERCIAL KITCHENS Kitchen design begins with the analysis of the individual tasks that must be performed in each area. This analysis then becomes the basis for not only designing the kitchen, but developing training programs for employees. Refer to (chart 5.1) for typical kitchen stations and configurations. The circulation in a commercial kitchen is extremely important to its success. A kitchen must work in a circular circulation pattern, not
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a triangle. (See kitchen circulation plans) Chefs need to be able to produce food in an efficient mannar, similar to a production line. If employees are running in all different directions instead of following a continuous path, the kitchen environment will be chaotic.5 There are many different kinds of specialty equipment for commercial kitchens, some more efficient than others. Refer to Table 5.1 for typical kitchen stations and configurations.
ERGONOMICS & MATERIALS The demand of waiting tables can lead to musculoskeletal complaints, so employees needs need to be taken into consideration during the design process as well. (informeDesign, 2006) Physical demands on wait staff included carrying items of various weights for varying lengths of time along different and sometimes complex travel paths. The following results have been determined from surveys: - Slips and falls were identified as the leading cause of work injuries - Back injury and back problems were ranked second by wait staff - Burns and cuts were ranked as third and fourth by both wait staff managers (HFITBE, pg. 292) Tabletop materials are important in the design of the dining area and for guest usage. Tabletop materials of marble, glass, Formica, and other hard materials give a different feeling than the warmth of wood tabletops and the fine dining image of linen tablecloths. Durability and cleaning need to be considered when selecting a tabletop material. Upholstery on chairs and in booths needs to be aesthetically pleasing as well as strong, durable, and easily cleaned. Stain resistant fabrics are best suited for restaurant seating because they endure many spills. When selecting a flooring material in a restaurant, it is important to select something that will last a very long time. It needs to be easy to clean, available in a color that compliments the space, deaden or heighten noise as necessary, and be in the same price range as other material selections. Vinyl is the least expensive flooring to purchase while terrazzo is most expensive. Wood floors very popular due to their warmth and eye appeal. However, wood floors have to be refinished about every nine months. Laminated wood flooring is easy to install and hold up well in restaurant environments that get a great deal of use. 123
LIGHTING Lighting influences diners in many ways, from the glow it creates on people’s faces to the mysterious shadows is can project onto various surfaces. Light has the power to completely chance the way certain colors look as well.7 Ideal lighting levels can be found in Images # and #. There are many things must all be considered in the lighting design of a restaurant.
NATURAL VS. ARTIFICIAL LIGHTING
The location of windows can influence the impact of sunlight because indirect light entering a restaurant is different than the glaring direct rays of the sun. Exterior plantings and window shading elements can minimize the harsh effects of the sun.
MOOD/DECOR/ART LIGHTING
This kind of lighting can create the most dramatic illumination in a restaurant. Outside signage and architectural lighting are first noticed from the outside and carry through the interior where surfaces are spotlighted with overlays of direct or indirect lighting.
PEOPLE/FOOD LIGHTING
The goal for designers is to make both the people and the food in a restaurant environment look as attractive and appealing as possible. Effectively illuminating people and food involves delicate manipulation of light sources and levels.
SAFETY AND SECURITY LIGHTING
This type of lighting is essential for the well-being of guests, employees, and management. It includes exit lights inside the restaurant, emergency lighting in case of power outages, parking lot and other exterior lighting, and lighting bright enough in the back of the house so the employees can work safely.
ENERGY UTILIZATION AND MAINTENANCE
Total energy consumption, total energy cost, and the coefficient of utilization (CU) of the lamps must be considered. Choosing lights that are energy efficient and do not need to be replaced often contribute to sustainable design. Solar powered lighting can also be utilized.
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SUSTAINABLE DESIGN Sustainable restaurant design mainly focuses on the technical aspects of the design that keep it economical and energy efficient. Sustainable energy sources are no longer limited to small restaurants but large, mainstream restaurants as well. While LEED certification is highly desirable, it may be out of reach for some projects. Even though their project may not lead to some sort of LEED certification it doesn’t meant that designers should ignore aspects of sustainable design. There are many small ways that a designer can create a more sustainable restaurant environment, especially through the use of recycled and eco-friendly materials, water
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conservation techniques, and solar heating. Going green also involves going local. Locally sourced food is becoming more and more popular in the foodservice industry. Not only are these ingredients fresher and healthier than others, if the restaurant runs out of a certain ingredient they are able to get more supply in a short period of time because the farms are close by. An even more sustainable technique that restaurants are adopting is to grow their own food directly on site. This eliminates the need for food to be transported completely and ensures quality, freshness, and in-season ingredients.6
WAYFINDING & SIGNAGE Spaces must be easy to maneuver without obstruction from the entrance to the table for guests and from the kitchen throughout the dining space for the wait staff. For those with physical limitations, navigating a space can be difficult; however, for those with visual limitations, navigating unfamiliar space is labor-intensive. For successful navigation, “people must continually reassess and respond to different stimuli and objects. Blind people in particular require suitable strategies for acquiring, processing, and recalling spatial information Designers must consider not only ADA for those who are physically limited but also for those with partial visual limitations. For example, those with partial vision may have limitations in color and depth perception, which can make it difficult to navigate a space. This is a particular concern for the elderly with poor vision who are not able to decipher color differences and distances. Designing spaces for those with limited vision may be different than for those with limited mobility. Therefore, both must be considered in the design of hospitality environments. 127
UNIVERSAL DESIGN/ADA/CODE Dispersed seating suitable for guests with restricted mobility should be available in restaurants. The Uniform Federal Accessibility Standards (UFAS) require a minimum of 5% of restaurant seating to be accessible. Accessible aisles should connect the entrance to these seating locations, public restrooms, and self-service areas.
THERMAL COMFORT CRITERIA The most important psychological effect of thermal space is its influence on one’s sense of crowding. Hot rooms feel more crowded than cool rooms. Overheated kitchens result in an uncomfortable dining experience for guests. Temperature control can become a particular problem in restaurant with walls of windows. Sustainable passive and active solar heating and cooling techniques can often be used to control this problem.
INTERIOR CONSTRUCTION/BUILDINGSYSTEMS A major concern in restaurant and kitchen design is cooking odors. Cooking fumes released from commercial kitchens can emit chemicals and carcinogens into indoor air. For this reasons, specifying kitchen ventilation systems will reduce air pollution into densely populated urban environments.9
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ACOUSTIC & VISUAL CONTROL The selection of appropriate products and materials is crucial in the design of food and beverage establishments. In particular, the selection will affect noise levels. If all the materials are hard, such as tile or wood, the sound will reverberate and can cause a buzzing in the ears and even headaches in members of the wait staff and even guests. Many customers like loud music and seem to tolerate it; however older people generally avoid it. These types of establishments cater to a younger crowd. However, regardless of age, being exposed to loud noise over a period of time can cause hearing problems such as constant buzzing, ringing, and eventual hearing loss. 10 Whether in a hotel or restaurant,
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safety and security of employees and guests are essential. In hospitality environments, surveillance cameras monitor all public spaces and give guests a sense of security. Safety also includes physical well-being. For example, wait staff in restaurants must have the ability to move through the space without objects impeding their movement. Thus it is important to provide ample space for wait staff to easily and safely maneuver through the dining area. Providing a sense of security in restaurant is also important. This can be accomplished with a layout and begins with a hos/ hostess station and guest waiting area near the entrance. Surveillance cameras are needed, however, guests also need privacy. Balance between security and privacy will need careful consideration.11
CITATIONS & IMAGES 1
Chiara, Panero, and Zelnik, Time-saver Standards for Interior Design and Space Planning, 316.
2
Chiara, Panero, and Zelnik, Time-saver Standards for Interior Design and Space Planning, 316.
3
Chiara, Panero, and Zelnik, Time-saver Standards for Interior Design and Space Planning, 318.
4
Chiara, Panero, and Zelnik, Time-saver Standards for Interior Design and Space Planning, 346.
5
Baraban and Durocher, Successful Restaurant Design, 147.
6
Nussbaumer, Human Factors in the Built Environment, 292.
7
Baraban and Durocher, Successful Restaurant Design, 118.
8
Baraban and Durocher, Successful Restaurant Design, 286.
9
Nussbaumer, Human Factors in the Built Environment, 291.
10
Nussbaumer, Human Factors in the Built Environment, 291.
11
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Nussbaumer, Human Factors in the Built Environment, 292-293.
5
TOPICAL EXPLORATIONS
human behavior, restaurant trends & color
Image 5.1
HUMAN BEHAVIOR
Restaurants serve as a place to relax, socialize, dine, and drink. People use these venues as social establishments and stress reducers. Human behavior is particularly affected by the design of space. When you go to a restaurant for the first time, you have to figure out the rules of the space and how things are done. You must quickly decipher clues to the mood and ambience from the decorations and lighting to the behavior of the other customers, and decide how you feel and how you will act in that environment. (Ethnographies) There is a psychological need for social connection, intellectual stimulation, and selfexpression in a restaurant setting. Understanding
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that food is as much about connecting with others and pursuing new tastes and experiences as it is about survival is vital in designing a successful restaurant. (Trading up: 204) Social connection is a psychological need, and it is important to design a space that will accommodate these needs. All of these needs can be affected by the way a restaurant is designed programmatically. Behavioral trends differ based on the demographic of the user group. For example, U-shaped bars allow for maximum eye contact and socialization, which is important to young adults. On the contrary, semi-private or privately enclosed tables may satisfy an older crowd that does not want to be part of a large, loud group.
Image 5.2
Image5.3
Research shows that people in general prefer to be seated near anchored architectural elements, such as walls or partitions. However, even tables that are tucked away must be ADA compliant and provide enough access and circulation for those with physical disabilities or limitations to be comfortable. Seating layouts and table types must be carefully considered in the design to increase the restaurants performance. More and more dining guests are demanding restaurant environments that are more stimulating and active. Forty percent of adults have reported an interest in display cooking. The concept of display kitchens receive the positive reaction of customers due to the smells and
Image 5.4
process of cooking. (Image 5.4) Restaurant are also moving towards serving produce from their own kitchen gardens. Several restaurateurs reported a growing interest in people to sit at tables located in or in close proximity to these gardens.(Image 5.3) Dining in natural settings can enrich the dining experience as a whole for any demographic. The combination of all these environmental and behavioral elements affects how people feel and how they act in a restaurant setting. These elements can also affect how long customers stay, how comfortable they feel while they are there, what they remember, and perhaps if they want to come back again.
COLOR
in restaurant design
COLOR PSYCHOLOGY Color perception is rooted in a physiological and programmed response that begins in early childhood and continues throughout the course of life. Colors can affect the way we see, experience, and feel things. Particularly in restaurant design, color is important because it has the ability to change the way food looks. Color is important in creating a unique and comfortable atmosphere in any type of space. Color and lighting should always be chosen and considered together because the two are so closely associated. They communicate a variety of psychological messages on obvious and subliminal levels. Color perception results from of the type of light source and its reflective surface. In other words, the same color takes different hues or appears to be a different color when seen under different light sources or when viewed in direct or indirect light. For example, a fluorescent light will make a color appear slightly different than if the same blue was held under and incandescent light. Whether the source is a tinted bulb, a neon tube, or a candle, light is a color itself.
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All colors have different effects on spaces and rooms. Light and cool colors recede, a principle that can be utilized in restaurant design to expand a sense of space. On the other hand, dark and warm colors advance and can be used in large rooms to keep the space from feeling vast and impersonal and to instill a sense of intimacy. Warm colors become excellent highlights as points of color on a tabletop and add to a feeling of elegance. Bold, primary colors and bright lighting encourage turnover and are appropriate for quickservice and casual restaurants that depend on fast turnover. Light colors can make a room feel brighter. Because they carry various associations, colors can evoke a theme, a style, a culture, or a country. Purple is the color of royalty, green is the color of nature, and red and gold suggest a Chinese influence. Color schemes should also relate to climatic conditions. Warm colors feel right in colder conditions, cool colors feel right in warmer conditions. On their own, cool colors are generally never appetizing. Even in a warm climate, cool color schemes should always include warm accents.
Image 5.5
RED Red suggests aggression, hostility, and passion. A limited number of colors harmonize with red because it is so intense, but the edge can be tempered with gold, wood, brass, crystal, or mirrors. Red and black are a classic combination, with an upscale, stylish association. Red has been proven to enhance the appetite.
Image 5.6 143
YELLOW Yellow suggests radiant sunlight, expansiveness, and high spirits, in small doses, it can evoke cheerful, exuberant feelings, and it is particularly appropriate in breakfast areas. Yellow commands attention and can be used effectively as a color accent or an architectural symbol, as in the McDonald’s arch.
Image 5.7 144
GREEN Green is associated with nature and general well-being. Because of its link to the outdoors and therefore to good health, it has become a trademark of natural and green restaurants. Green is also linked with “lite� and good foods. Live plants and lightcolored woods can complement green. Although it can be refreshing in moderate doses, green should not be overused because its reflective nature negatively affects the appearance of skin tones and some foods.
Image 5.8 145
BLUE Blue is stark, cool, and refreshing. It can visually expand a room, but it does not complement most foods and should be avoided on the tabletop. Blue goes particularly well with warm colors and materials and is complemented by bleached or light woods. It is said to have a calming effect.
Image 5.9 146
GOLD Like yellow, gold has a warming influence. It can help offset cold materials, such as stone, and brighten dark materials, such as dark wood. Gold is associated with wealth and power, and it tends to invoke a timeless feeling because of its historical events.
147
BLACK Black has negative sociological connotations. It is associated with depression and mourning, but it can be stylish and it works well as an accent with all other colors. Black goes especially well with white because it is opposite, creating a classic statement. It does not usually work well as a background color, with the exception of nightclub environments or in conjunction with colored lighting.
148 5.13
WHITE White is extremely effective when it is harmonized with other colors. It works well as a background or as a statement in its own right, but it is not ideal for walls because its brightness produces glare that can lead to eyestrain. In a quick-service environment where contact is minimal, white walls can encourage turnover and are in keeping with the bright, clean atmosphere. Although white is traditionally associated with tabletops, it is not always the best choice because white tends to neutralize the color of the goof and the tabletop pieces. White tabletops can also contribute to glare in sun-filled restaurants.
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NEUTRALS Darker brown suggests masculinity, and lighter terra cottas suggest warmth and femininity. A rosy hue complements food and people. Neutrals are excellent for the tabletop because they tend to enhance the colors of food. Another advantage of neutrals is that they provide an excellent backdrop and an effective canvas for a variety of colors. A neutral backdrop also allows for flexibility, because the mood of a room can be changed just by changing the color accents.
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COLOR THEORY
Color will be best utilized when it is selected based on the specific user group of the space. In a sustainable, farm-to-table restaurant, green should be utilized because of its connections with nature and the perception of all around well-being. Accent colors, such as orange and white, could also be utilized to add freshness and fun to the design. Other material factors must be considered as well, but a fresh color scheme has the power to attract the types of people this restaurant is focusing on, such as those who are trying to enhance their lives and feel better about themselves.
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RESTAURANT TRENDS Menu Trends: The top restaurant menus trends for 2014 focus on local sourcing, environmental sustainability and nutrition, children's nutrition in particular. These trends have been gaining momentum for several years already, and indicate that they are not simply passing fads. “Today’s consumers are more interested than ever in what they eat and where their food comes from, and that is reflected in our menu trends research,” said Hudson Riehle, senior vice president of the National Restaurant Association’s research and knowledge group. “True trends, as opposed to temporary fads, show the evolution of the wider shifts of our modern society over time, and focus on the provenance of various food and beverage items, unique aspects of how they are prepared and presented, as well as the dietary profiles of those meals.” Technology trends: Menus displayed on tablet computers were ranked as the top trend by chefs in modern restaurant technology. Smartphone apps for consumers, such as digital ordering, reservations, and daily deals, are also predicted to become increasingly popular. There will also be smartphone apps for chefs that will allow them to have instant access to recipes, manage tables, and track point of service stations. Other trends predicted to gain popularity include mobile payment options for meals and social media marketing techniques. 153
Sustainable Design Trend: Consumers are becoming more environmentally and socially aware of the choices they make and their impact. Because of this, sustainable interior design is becoming a valuable quality in restaurants. There are many simple ways that a designer can minimize the environmental impact of their restaurant. Buying locally when possible is important, not only in the purchasing of ingredients but of furniture, materials, artwork, and other interior fixtures. Locally sourcing reduces carbon emissions caused by long-distance transportation, while supporting the local economy. Specifying products and materials that are reclaimed, recycled, or reused is another easy way to enhance sustainability. Tables, chairs, lighting, carpets, flooring, and other accessories can all be salvaged or constructed from recycled materials. Energy efficiency is the heart of sustainable design. It is important to specify and install the materials and products that have the highest efficiency. For example, lighting is a key part of interior design, especially in restaurant design, but it can be a major consumer of energy. Installing lowenergy lighting systems, dimmers, and motion detectors in rooms and corridors can greatly reduce energy use.
CITATIONS
155
1
Nussbaumer, Human Factors in the Built Environment, 219.
2
Baraban and Durocher, Successful Restaurant Design, 79.
3
Baraban and Durocher, Successful Restaurant Design, 80.
4
Nussbaumer, Human Factors in the Built Environment, 219.
5
Nussbaumer, Human Factors in the Built Environment, 219.
IMAGES Image 1 http://bloggingpet.com/tag/hotel-interior-design-los-angeles/
Image 2 http://www.redlantern-mammoth.com/gallery/
Image 3
http://www.decorreport.com/a345005-the-standard-hotelnew-york-opening-soon
Image 4
Image 6
http://thelist.com.hk/restaurants/article/hotspot-valentine-dinners-0
Image 7
http://www.monde-attitude.com/2009/04/02/the-opposite-house-pekin/
Image 8
http://openbuildings.com/buildings/la-ville-de-pins-profile-44256
http://bloggingpet.com/tag/hotel-interior-design-los-angeles/
Image 5
http://alaurorejesuisnee.com/2014/06/02/un-weekend-a-capri/
Image 9
http://acasadava.com/2010/08/if-ever-in-beverly-hills
COLOR THEORY DIAGRAMS
http://paper-leaf.com/blog/2010/01/color-theory-quick-reference-poster/
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6
EXISTING SITE ANALYSIS
context, climate, & zoning
Image 1
CITY: KING OF PRUSSIA King of Prussia is a census-designated place (CDP) in Upper Merion Township, Montgomery County, Pennsylvania. Upper Merion is sixteen square miles as a whole, and offers countless businesses, recreation options, employment opportunities, and entertainment. It is located about fifteen miles outside of Philadelphia, and is considered part of the Greater Philadelphia area. Four major highways, the Schuylkill Expressway, Pennsylvania Turnpike, US 422, and US 202, meet in or near the center of King of Prussia. King of
Prussia is well served by many transit lines including multiple bus routes, the Norristown High Speed Line operated by SEPTA, and the Rambler operated by the Greater Valley Forge Transportation Management Association. Like the rest of Montgomery County, King of Prussia continues to experience rapid development. The construction of one of the nation’s largest shopping malls, thousands of homes, various hotels, strip malls, restaurants, freeways, a convention center, and more has resulted in King of Prussia becoming a highly developed community.
Image 2: Site Plan 159
King of Prussia is seen as an idyllic place to live with some homes and farmsteads older than two hundred years present. Much is being done to protect King of Prussia’s many historic sites and landscapes. Just across the highway from the highly developed section of King of Prussia is the Valley Forge National Historical Park which was the site of the third winter encampment of the Continental Army during the American Revolutionary War. This park offers relief from the rapid development happening throughout Montgomery County.
Image 3
All of the Greater Philadelphia area experiences summers that are typically hot and muggy, fall and spring that are generally mild, and cold winters. The average temperatures in the summer months range from the low 60’s to the high 80’s, fall and spring months have temperatures from the high 30’s to the mid 60’s, and in the winter temperatures normally range from the low 20’s to the low 40’s. Snowfall can be unpredictable, with some winters bringing only light snow and others bringing several major snowstorms. The the normal seasonal snowfall is 22.4 inches. Precipitation is spread throughout
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the year, with eight to twelve wet days per month at an average annual rate of 41.5 inches. The population of King of Prussia as of the
2010 census was 19,936. The median resident age is thirty seven, which is slightly lower than the overall Pennsylvania median age of 40. The estimated median household income in 2012 was recorded as $73,096, more than the estimated median income for Pennsylvania as a whole, which was only $51,230. Concerning race in this area, whites make up the majority of the population at almost 70%. (See chart) King of Prussia has 50,000 employees, making it the region’s largest suburban employment complex. (Prussia rotary)
King of Prussia monthly wind speed information
Average monthly King of Prussia temperature with heat index
King of Prussia monthly precipitation with daily maximum. The yearly average is 41.5 inches. 162
NEIGHBORHOOD
King of Prussia is home to the King of Prussia Mall where the building site is located. The King of Prussia Mall is the largest shopping complex in the United States based on shopping area square footage. It was originally developed and operated by the Kravco Company and it now owned and managed by Simon Property Group. With nearly three million square feet of buying opportunity the King of Prussia mall draws twenty five million visitors a year, and accommodates a very broad spectrum of consumers. The mall comprises two main buildings, connected by a covered crosswalk, that have various restaurants and large stores scattered around them. Prominent restaurants at the mall include Sullivan’s Steakhouse, Ruby’s, Maggiano’s Little Italy, TGI Fridays, California Pizza Kitchen, The Cheesecake Factory, Bahama Breeze, Seasons
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52, The Capital Grille, and three food courts. The mall complex provides visitors with much more than lavish retail therapy. The surrounding area offers abundant accommodations and attractions, as well as employment opportunities. Currently, over seven thousand people are employed at the King of Prussia mall. An estimated twenty to twenty five percent of the malls visitors are tourists, bringing people from all over to experience everything it has to offer and adding to its overall economic growth. Within two miles of the mall there are multiple hotels, apartment complexes, and single-family residential homes. There are also smaller retail center that are unaffiliated with the mall itself, such as Trader Joe’s and TJ Maxx. King of Prussia also contains major office complexes and corporate headquarters for companies like Lockheed Martin and Lilly Pulitzer.
STREET The building that has been selected for this project is the existing Crate and Barrel store, located at the southwest corner of the King of Prussia shopping complex. It sits in a prime location on the corner of the intersection of Mall Boulevard and North Gulph Road, two of the major freeways that allow access into the mall. The building is surrounded by parking lots, allowing the maximum amount of people easy access. There is a small amount of green space incorporated into the site in the form of grass and small trees and plantings. The majority of the buildings in the immediate
surrounding area, mainly in the shopping plaza itself, do not exceed two stories. It is a busy area and there are copious amounts of people walking around the complex shopping, eating, and exploring. It is important to note that directly adjacent to this building, which is being proposed to be transformed into a restaurant, is a Season’s 52 restaurant. These two building are not physically connected in any way at this time, and they have separate parking lots. There are many other restaurant in the surrounding area as well, whose locations can be seen in Diagram 8.
Image 4 165
Restaurants
Retail
Diagram: Competing businesses 166
SITE ANALYSIS & ZONING
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I-276
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RADAR
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THGATE D ROA
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JEAN DR
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HIDD
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TICONDEROGA DR JOHN HANCOCK DR
MAP 15
HAMLET CIR.
D
SE
SUSA
KING OF PRUSSIA S R AM FIRE CO. BR SUBSTATION A
ROSE BLVD
IN
RO
LYNROSE CT
PR
GLENN
GLENN ROSE CIR
UPPER MERION TOWNSHIP BOARD OF SUPERVISORS Ralph P. Volpe
Scott Sibley
Barbara S. Frailey
Dan Rooney
Anthony J. Volpi
Adopted as ordinance 82 as amended. Approved by the Board of Supervisors of Upper Merion Township, Montgomery County, Pennsylvania, February 25, 1960. Revised January 2005.
CITATIONS & IMAGES
1
“A New Effort Hopes to Show That King of Prussia Is More than a Mall.” King of Prussia PA Rotary. N.p., n.d. Web. 17 Dec. 2014.
2
Shen, Zuo-Jun Max. “A Joint Location-Inventory Model.” Transportation Science 37.1, Focused Issue on Supply Chain Management (2003): 40-55. Web.
3
”King of Prussia Still Evolving.” Philly.com. N.p., 17 June 2008. Web. 17 Dec. 2014.
4
Township, Upper Merion, 175 West Valley Forge Road, King Of Prussia Pa 19406, and 610.265.2600. Upper Merion Township Vision 2020 (n.d.): n. pag. Web.
Diagrams & Images http://www.areavibes.com/king+of+prussia-pa/weather/ http://factfinder2.census.gov/faces/nav/jsf/pages/community_facts.xhtml http://www.uppermerion.org/ http://www.city-data.com/city/King-of-Prussia-Pennsylvania.html
168
7
PROGRAM DEVELOPMENT
& documentation
Image 1
PROGRAM
171
172
173
174
ADJACENCY MATRIX ADJACENT NEARBY PREFERRED UNRELATED
175
TEST FIT This diagrammatic test fit is meant to verify that all necessary programmatic spaces fit inside the building. This test explores the option of designating the second floor of the building to the main restaurant and bar. The main floor houses the fresh food market, areas where cooking classes will be held, and the employee spaces. First floor plan
Kitchens Dining Areas Bars Entry Market Demonstration Space Storage Employee Areas Garden
Second floor plan
Circulation 176
8
BUILDING ANALYSIS code, regulations, and standards
Image 1
EXISTING BUILDING ANALYSIS The Crate and Barrel Homestore at the King of Prussia Mall was designed by Good Fulton & Farrell Architects. The store currently displays furniture and other home accessories over two floors at 35,760 total square feet. The building houses a glazed central spine which divides the store into two different spaces; one of which is a curved stucco volume that contains housewares and furniture sales, while the other is a curved cedar box that provides
First Floor Natural Light Diagram 179
additional furniture display and houses stockroom and office functions. There is also a small outdoor area on the second floor that could be utilized. The exterior of the building is composed of stone masonry, cedar planks, stucco, and glass. The existing exits on either end of the building are defined by large glass volumes. The interior design of the store is kept modern and sleek to allow the furniture and accessories to stand out.
Second Floor Natural Light Diagram
The floors are polished concrete or natural wood, a material that also repeats on the walls and ceilings. Structural columns are located twenty five feet apart, creating large open spaces that will be utilized to promote a social atmosphere and allow for highly flexible space planning. Both floors will be utilized for programmatic spaces while allowing for maximum circulation and open to below spaces.
Image 2
Image 3
First Floor Structural Diagram
Second Floor Structural Diagram
Building Hierarchy Diagram 182
EXISTING BUILDING CONSTRUCTION
First Floor Plan
Second Floor Plan
Cross Section 183
CODE EVALUATION OUTLINE PROJECT DATA Project Name: Crate and Barrel Store Address: 160 North Gulph Road, King of Prussia, PA Stories: two Total Gross Square Feet: 35,760 BUILDING CODE Zoning Ordinance: SC Shopping Center Districts Building Code & Date: ICC 2009 Fire Code: Pennsylvania Fire Code, 2012 Edition Energy Code: 2009 IECC SANITATION Total Building Occupant Count: 1,079 Male: 540 Female: 540 Men’s Water Closets: 7 Women’s Water Closets: 7 Lavatories: 5 Drinking Fountains: 3 Maintenance Sinks: 3 FIRE PROTECTION Fire Exit Enclosures: 2 Hours Shafts and Elevators Hoistways: 2 Hours Smoke Barriers: Assume 30 Minutes Corridor Fire-Resistance Rating: 0 Hours
MEANS OF EGRESS Sprinklered Dead End Limit 50’ Minimum 2 Exits Per Floor USER GROUP CLASSIFICATION Proposed Classification: Assembly Group A-2 Accessory Occupancies: Fresh Food Marker – M (Mercantile) Dry/Refrigerated Storage – S (Storage) A-2 (Assembly Group) Gross Area – 14,000 square feet Area Per Occupant – 15 net Maximum Occupancy – 923 people Minimum Corridor Width – 44 inches Exit Access Travel Distance – 250 feet M (Mercantile Group) Gross Area – 4,000 square feet Area Per Occupant – 30 gross Maximum Occupancy – 133 people Minimum Corridor Width – 44 inches Exit Access Travel Distance – 250 feet S (Storage Group) Gross Area – 7,000 square feet Area Per Occupant – 300 gross 184
Image 4
CITATIONS & IMAGES “Crate & Barrel King of Prussia Homestore - Good Fulton & Farrell, Inc.” Good Fulton Farrell Inc. N.p., n.d. Web. 16 Dec. 2014.
Image 1
http://gff.com/wp-content/uploads/2001/01/kop_e_2_reduced-1166x656.jpg
Image 2
Crate and Barrel Store, photo taken by Alexandra DeSantis
Image 3
https://c1.staticflickr.com/3/2541/5762137661_51430240c7_z.jpg
Image 4
https://c2.staticflickr.com/4/3521/5762685602_34be78fe53_z.jpg
186
9
PROJECT CONCLUSION & research summary
Image 1
Over the course of my research, I have learned that there is much more involved in designing a successful restaurant than meets the eye. A restaurant is a social environment that has the ability to bring people together and enhance their lives. It must be a functional, safe place, and guests must feel comfortable for the entirety of their experience. A well-designed kitchen has the ability to make or break a successful restaurant. Specific colors and materials can have an important impact on the atmosphere of a restaurant. A dining area that offers spaces for social eating and spaces for privacy is one that will be most successful and appeal to all kinds of people. Technological advancements are also important to consider. Restaurants have changed both in function and design since their beginnings, and the society has changed as well. Generation Y has become accustomed to technology, and they expect the convenience it brings in all aspects of their lives. My design will strive to incorporate the latest technological trends in order to satisfy its customers. Locally sourced foods are continually becoming more in demand. People want to know where their food is coming from, and they want to know that it is fresh. The farm-totable movement is something that needs to be recognized and considered in the design and operation of restaurants, as it is becoming a major force in the food industry. My goal is to create a space that combines the aspects of healthy living with those of a highly social environment.
189
“A healthy outside starts from the inside�
Robert Urich
10
BIBLIOGRAPHY & appendix
BIBLIOGRAPHY SECTION 2
Agostini, Jazmin. Pubs. Madrid: Kliczkowski, 2001. Baraban, Regina S., and Joseph F. Durocher. Successful Restaurant Design. New York: Wiley, 2001. Beriss, David, and David E. Sutton. The Restaurants Book: Ethnographies of Where We Eat. Oxford: Berg, 2007. Lathrop, Elise. Early American Inns and Taverns. New York: R.M. McBride & Co., 1926. Neely, Sylvia. A Concise History of the French Revolution. Lanham: Rowman & Littlefield, 2008.
Image 2 - https://s3.amazonaws.com/b.assets.cmshanken. mshanken.com/foodarts/article/12295/LIGHTBOX_IMG/ stanford.png Image 3 - http://www.historytrekkershoppe.com/FineArtPrints-1/8x12/i-VSkq76V/0/L/IMG7469-L.jpg Image 4 - http://dvcpqzrjfwvhx.cloudfront.net/600x400/g_j/H0016_13968_1.jpg Image 5 - https://s3.amazonaws.com/b.assets.cmshanken. mshanken.com/foodarts/article/12295/LIGHTBOX_IMG/ stanford.png
Pillsbury, Richard. From Boarding House to Bistro: The American Restaurant Then and Now. Boston: Unwin Hyman, 1990.
Image 6 - https://s3.amazonaws.com/b.assets.cmshanken. mshanken.com/foodarts/article/12295/LIGHTBOX_IMG/ stanford.png
Spang, Rebecca L. The Invention of the Restaurant: Paris and Modern Gastronomic Culture. Cambridge, MA: Harvard University Press, 2000.
Image 7 - https://s3.amazonaws.com/b.assets.cmshanken. mshanken.com/foodarts/article/12295/LIGHTBOX_IMG/ stanford.png
IMAGES
Image 8 - http://www.edgerestaurantmiami.com/content/ art/photo_gallery/gallery_29.jpg
Image 1 - https://s3.amazonaws.com/b.assets.cmshanken.mshanken.com/foodarts/article/12295/LIGHTBOX_IMG/stanford.png
193
Image 9 - https://m1.behance.net/renditionmodules/58604373disp/2afcd11c9d4ead8cbf4879e815e1a9bf.jpg
SECTION 3.1
“Talula’s Garden in Philadelphia.” Remodelista RSS. N.p., n.d. Web. 17 Dec. 2014. “Stokes Architecture | Eat.” Stokes Architecture | Eat. N.p., n.d. Web. 17 Dec. 2014. “The News Journal Food & Drink Section.” The News Journal. N.p., n.d. Web. 17 Dec. 2014. “Talula’s Garden.” Talula’s Garden. N.p., n.d. Web. 17 Dec. 2014.
IMAGES
Image 6 - http://m2.paperblog.com/i/128/1282917/talulas-garden-L-2B1k0c.jpeg Image 7 - http://www.remodelista.com/files/styles/733_0s/public/img/sub/uimg/06-2012/700_spigot-waterfall.jpg Image 8 - http://media-cache-ak0.pinimg.com/736x/10/6e/ b9/106eb9f03987cf40e37f639e718484a6.jpg Image 9 - http://talulasgarden.com/main/main.shtml Image 10 - http://talulasgarden.com/main/main.shtml
Image 1 - http://talulasgarden.com/main/main.shtml
Image 11 - http://www.winemag.com/2014-100-Best-Restaurantsin-America
Image 2 - http://thehuntmagazine.com/wp-content/ uploads/2013/01/Talulas-aimee-edit.jpg
SECTION 3.2
Image 3 - http://www.crainsnewyork.com/apps/pbcsi.dll/storyimage/CN/20130719/HOSPITALITY_TOURISM/130719855/AR/0/ Stephen-Starr.jpg?q=100&cci_ts=20130720134548 Image 4 - http://talulasgarden.com/main/main.shtml Image 5 - http://www.heimdecor.net/picture-resolution/1920x1440-beautiful-kitchen-decoration-with-wood-diningtable-and-chair-also-white-marmer-table-plus-painting-as-wellas-round-lamp-and-plants-decoration-245.jpg
”Cherry Hill Restaurant Week Preview: Farm and Fisherman.” The Cherry Hill Sun Cherry Hill Restaurant Week. N.p., 02 Aug. 2014. Web. 17 Dec. 2014. ”The Farm and Fisherman Tavern and Market.” Eimer Design Architects Portfolio. N.p., n.d. Web. 17 Dec. 2014. “Kristie Rearick | South Jersey Times. “Dining Out: Farm & Fisherman Tavern and Market.” NJ.com. N.p., n.d. Web. 17 Dec. 2014. ”About Us.” Sustainable Cherry Hill RSS 20. N.p., n.d. Web. 17 Dec. 2014.
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IMAGES
Image 1, 2, 6 - maps.google.com Image 3, 12, 14 - http://www.fandftavern.com/home
Frearson, Amy. “Mercato Restaurant at Three on the Bund by Neri&Hu.” Dezeen Magazine. June 24, 2013. Accessed October 01, 2014. http://www.dezeen. com/2013/06/24/mercato-at-three-on-the-bund-by-nerihu/.
Image 4 - http://ediblejersey.com/files/2014/03/longWayBlueHill2. jpg
Jingmei, Luo. “Mercato by Neri & Hu.” In Design Live. Accessed October 1, 2014. http%3A%2F%2Fwww.indesignlive.com%2Farticles %2Fprojects%2FMercato-by-NeriHu.
Image 5 - http://www.eimer-design.com/portfolio.asp?a=Eimer-Design-Architecture-Hospitality-Portfolio&b=The-Farm-and-Fisherman&c=Tavern-and-Market
IMAGES
Image 7 - http://media.nj.com/south-jersey-times/photo/2014/01/14062829-standard.jpg Image 8, 13 - http://photos.nj.com/8002621/gallery/010714farm/ index.html#/0 Image 9, 10, 11 - http://www.indystar.com/apps/pbcs.dll/ gallery?Avis=BZ&Dato=20140214&Kategori=LIVING&Lopenr=402140802&Ref=PH
SECTION 3.3
“About Us.” Three On The Bund. Accessed October 01, 2014. http:// www.threeonthebund.com/. “Mercato Italian Restaurant at Three On The Bund.” Neri & Hu Design and Research Office. Accessed October 01, 2014. http:// enthepractice.neriandhu.com/content/mercato-italian-restaurant-three-bund
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Images 3.1, 3.5, 3.11, 3.12, 3.13 - Frearson, Amy. “Mercato Interior.” Digital image. Dezeen Magazine. June 24, 2013. Accessed October 1, 2014. http://www.dezeen.com/2013/06/24/mercato-at-three-onthe-bund-by-nerihu/. Image 3.2 - “Site Plan” Google Maps. Image 3.3 - “Three on the Bund.” Digital image. Destinasia: Destination Info. June 22, 2014. Accessed October 1, 2014. http://destinasia.info/category/shanghai/. Images 3.4, 3.6, 3.8, 3.10, 3.14 - “Mercato Interior.” Digital image. Neri & Hu Design and Research Office. Accessed October 1, 2014. http://enthepractice.neriandhu.com/content/mercato-italianrestaurant-three-bund. Images 3.7, 3.9, 3.15 - Jingmei, Luo. “Mercato Interior.” Digital image. InDesign Live. Accessed October 1, 2014. http://www.indesignlive. com/articles/projects/Mercato-by-NeriHu#axzz3EwwtyFiN.
SECTION 3.4
“Ikibana.” Ikibana. N.p., n.d. Web. 17 Dec. 2014. “Ikibana Paral Restaurant / El Equipo Creativo.” ArchDaily. N.p., 10 May 2013. Web. 17 Dec. 2014. “IKIBANA RESTAURANT.” El Equipo Creativo. N.p., n.d. Web. 17 Dec. 2014.
IMAGES
SECTION 5 Baraban and Durocher, Successful Restaurant Design, 147. Nussbaumer, Human Factors in the Built Environment, 292.
IMAGES
Image 1 - http://bloggingpet.com/tag/hotel-interior-design-losangeles/
Image 1, 3, 5, 6, 7, 8, 9, 10 - http://www.soujianzhu.cn/admin/uploadFiles/news/pic/big/20131023090639309.jpg
Image 2 - http://www.redlantern-mammoth.com/gallery/
Image 2 - Google Maps, “Site Plan”
Image 3 - http://www.decorreport.com/a345005-the-standardhotel-new-york-opening-soon
Image 4, 11 - http://farm8.static.flickr.com/7006/6454310919_f92dbebb9f_m.jpg
Image 4 - http://bloggingpet.com/tag/hotel-interior-design-losangeles/
Image 12, 13 - http://img.archilovers.com/projects/168b1369c32148bc92d463158296183e.jpg
Image 5 - http://alaurorejesuisnee.com/2014/06/02/un-weekenda-capri/
Diagram 4 - http://archtendencias.com.br/wp-content/uploads/2013/05/restaurante_ikibana_el_equipo_creativo-22.png
Image 6 - http://thelist.com.hk/restaurants/article/hotspotvalentine-dinners-0
SECTION 4
Image 7 - http://www.monde-attitude.com/2009/04/02/theopposite-house-pekin/
Chiara, Panero, and Zelnik, Time-saver Standards for Interior Design and Space Planning, 316. Baraban and Durocher, Successful Restaurant Design, 147.
Image 8 - http://openbuildings.com/buildings/la-ville-de-pinsprofile-44256
Nussbaumer, Human Factors in the Built Environment, 292.
Image 9 - http://acasadava.com/2010/08/if-ever-in-beverly-hills
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SECTION 6
IMAGES
Shen, Zuo-Jun Max. “A Joint Location-Inventory Model.” Transportation Science 37.1, Focused Issue on Supply Chain Management (2003): 40-55. Web.
Image 2 - Crate and Barrel Store, photo taken by Alexandra DeSantis
“A New Effort Hopes to Show That King of Prussia Is More than a Mall.” King of Prussia PA Rotary. N.p., n.d. Web. 17 Dec. 2014.
”King of Prussia Still Evolving.” Philly.com. N.p., 17 June 2008. Web. 17 Dec. 2014. Township, Upper Merion, 175 West Valley Forge Road, King Of Prussia Pa 19406, and 610.265.2600. Upper Merion Township Vision 2020 (n.d.): n. pag. Web.
IMAGES
http://www.areavibes.com/king+of+prussia-pa/weather/ http://factfinder2.census.gov/faces/nav/jsf/pages/community_facts.xhtml http://www.uppermerion.org/ http://www.city-data.com/city/King-of-Prussia-Pennsylvania. html
SECTION 7
“Crate & Barrel King of Prussia Homestore - Good Fulton & Farrell, Inc.” Good Fulton Farrell Inc. N.p., n.d. Web. 16 Dec. 2014.
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Image 1 - http://gff.com/wp-content/uploads/2001/01/kop_e_2_ reduced-1166x656.jpg
Image 3 - https://c1.staticflickr.com/3/2541/5762137661_51430240 c7_z.jpg Image 4 - https://c2.staticflickr.com/4/3521/5762685602_34be78fe53_z.jpg
CAPSTONE COMMITTEE
ALEXANDER MESSINGER Capstone Research Professor AAM Architects & Associates 2522 Bryn Mawr Avenue Ardmore, PA 19003
JEFFREY GOTASKIE Outside Advisor Project Manager, Xcelerated Concepts 63 West Lancaster Ave., Suite 1 Ardmore, PA 19003
Cell: 610-613-2959 E-mail: aamarchitects@verizon.net
Cell: 215-435-1921 E-mail: jgotaskie@xcelerated-concepts.com
LISA PHILLIPS Assistant Professor Philadelphia University 4201 Henry Avenue Philadelphia, PA 19144
KENNETH FREDERICKS Outside Advisor Head Chef, Temple University 1801 North Broad Street Philadelphia, PA 19122
Cell: 215-518-3535 E-mail: phillipsl@philau.edu
Cell: 732-939-2410 E-mail: kenneth.fredericks@gmail.com
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