Andrea Chang Interior Designer
Fleur de Lys Restaurant
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he purpose of the restaurant was to capture Hubert Keller’s cooking philosophy, which inspired the design of the restaurant. Following this, classical French architecture and interior
elements in new ways and materials. The drama of French classical theaters was the objective. When walking through the restaurant, people have different experiences, whith height and lighting . In the entrance, there is a grand staircase under a 21 foot high vaulted ceiling holding a 4 foot chandelier. When standing in the foyer, the staircase provides the viewer has a framed view of the main dining area with an arch opening. Underneath both flights of stairs, there is a wine rack in acrylic and brass. The dining areas are separated into banquet, semiprivate and private dining. The semi-private dining is located adjacent to the banquet dining, which consists of niches with a tent-draped ceiling. The private dining is located on the second floor, and offers the customers a 270o view. Directional lighting was used to create emphasis and contrast when entering rooms and leading people through the spaces. For main transitonal areas, arches are used supported by columns to make emphasis. For the semi-private and private areas I used the combination of chandeliers and cove lighting with fabric-draped ceilings for a more romantic appeal.
Above: Perspective of dining area looking at the entrance and private dining Below: First and secondfloor
It was very important for this restaurant to capture Kelle’rs cooking vision and represent his label, but at the same time innovates the brand. An axis was created along the space. The grand staircase is the focal point and to emphasize this, the ceiling height varies throughout. The staircase creates a division, it frames the view and adds a transitional experience, both visually and spacially.
Below: Longitudinal section e levations
The basic materials and colors that were used in the restaurant are remeniscent from French classical architecture. The elements were redifined. Blue mossaic tiles as wall treatment throughout the restaurant. Marble was used on vertical access. The wall behind the stairway entrey, was used also as vase holder to add romanticism to the space. On the semi-private dining areas, the ceiling was lowered to create a cozy-romantic feeling; the walls were treated with tufted panels of grey silk. Rhythm was created for the private dining by alternating the color of the chairs. Three chandeliers drop to make the dinner more intimate.
Opposite page, from top: Entrance, foyer, semi-private dining, private dining, and materials. On this page, below: Transversal section elevation
On this page, above: Bar floor plan Left: Tunnel section and bar perspective Opposite page from the top: Semi-private dining perspective and perspective fromsemi-pivate dining
Craigmore Residence
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his was a split- level renovation home. It reflects the young couple’s taste and provides them with a versatile space that can be easily adapted to fulfill their needs. The house was
grouped into private area, located upstairs, social and utility area, downstairs. By doing this, the rooms were given more square footage and storage space. When you walk in the house and go to the main level you have a view of the living and dining room. The spaces are separated with a bookshelf, which is both decorative and functional. An L- shaped porch surrounds the main level for entertaining purposes. It is connected to the interior of the house with folding doors, which makes it easier to integrate it. To mantain this concept, a dining table goes through the window and connects it to the barbecue area. The cooking area faces towards the dining of the house, so they can enjoy cooking and entertaining at the same time. When walking upstairs, the family room is located in the middle of the floor. The master bedroom is located the opposite from the other bedrooms to give the couple more privacy.
Above: Perspective of living room Below: Concept sketches of the living room and dining room
Left: Existing floor plan- first floor Below:Floor plan- first floor
Left: Existing floor plan- first floor Below:Floor plan- second floor
Opposite page, from top: Dining room, kitchen and master bedroom On this page, from top: perspective of new facade, old facade and materials
Alumbaugh-Dihn Residence
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he Alumbaugh-Dihn Residence resembles the couples passion for the places the couple has traveled to. The furniture throughout the house oriented focusing on the exterior.
For the living room a window seat was created with storage underneath it. The furniture was placed in a versitile way, so the room could be transformed into a multi-functional room: as lounging, reading space, watching tv or just for playing the piano. The kitchen and dining area were connected, so they could entertain guests easier. Marc or David could be cooking while chating with the other at the other side of the counter. The wet bar is adjacent to it for the same purpose. For the breakfast nook, there is both, bench and chair seating, for convenience when they have guests over. A door was placed towards the backyard for two purposes, one being to integrate the exterior and second to have easier access to the trash disposal. The master bedroom was kept simple yet elegant. Floor to wall tufting was used as a headboard. A niche was created so they could store their books.
Above: Perspective of living room Below: Materials
Left: Existing floor plan- first floor Below:Floor plan- first floor
Left: Existing floor plan- first floor Below:Floor plan- second floor
Opposite page, from the top: Dining room perspective and materials On this page, right: Concept sketch Below: Kitchen perspective
On this page, below: Materials and transversal section elevation Opposite page, from the top: Bedroom perspective, concept sketches and floor plan
Andrea Chang Studio
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he importance of this project was to create a space to represent my brand. It was very important that people could perceive my design vision and style. I wanted to
demonstrate versatility in material combination, color and texture. I used the same flooring tile and chevron-patterned wooden wallcovering throughout the main spaces in the office so it could all relate. When you enter the reception, you see a purple velvet curtain wall, accented with a wall wth the chevron pattern. Metal columns flank my name, which is mounted to the wall and surroundeed by geometric shapes. It also acts to block the view from the waiting area to the studio. The studio is an open space, so there is a better work atmosphere. The conference area is located in the middle. I wanted to make an interesting wall, using books and storage space. I mixed traditional and modern pieces of furniture and accesories to create a contrast and also to reflect my eclectic style. For the main office, I wanted to have a neutral color palette and experiment with pattern, textures, accesories and metals. I arranged the seating space in a way that it could frame and strengthen my focal point, which is the work space. I treated the wall the chevron pattered wooden wallcovering to create a more intricate background. I also used a tribal print area rug to also create more interest and strengthen the focal point.
Above: Office Below: Materials
Opposite page, from top: Reception and conference room On this page, right: Floor plan Below: Materials
Pause
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he eco-friendly store for dogs was created to accomodate both human and dog needs. The concept for the store was to recreate a park inspired by 1950s modern architecture. The
display area was used as a focal point. To grab the attention, wood trunks of different diameters and heights were used. Shelves were shaped in form of houses to reinforce the feeling of taking a walk in the park. The ceiling was treated as the sky, drop down cut outs of clouds were used above the display area to create an emphasis. The shapes of the clouds pay homage to the 1950s cartoon. The blue strip light was used to emphasis the sky and also to create the illusion of the ceiling height being higher. Paneled wood cut out partitions were used throughout the store to represent the light coming through the trees. The grooming area is used as a background for the store. The panels are lit from the inside to add depth. The grooming area is separated into wet and dry area. The bathrooms, storage and office were kept on the back of the store, which can be accessed by a cut out door. The challenge for this store was to make people want to come back and bring their dogs. A dog treat machine, resembling that of a gumball, is located in customer service, so everytime people walk in with their dogs, they get a treat.
Above: Store perspective Below: Conceptual Sketches
The store was divided for two purposes: the salon and retail. The retail area was kept in the front, while the salon area was used as a background. Datum was used thorughout the layout. The display area was shaped in the forms of opposing paws. This was emphasized by the change of floor material, from creacrete to carpet covering under recycled glass.
Opposite page: Design process On this page: Floor plan
On the opposite page, from top: Perspective of entrance, conceptual sketch of shelves, and materials On this page, right: Conceptual sketch and perspective of display area
Grania
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his side table was done with a combination of walnut and silver maple wood. Named Grania, after its concept, love. Built with two silver maple ring pieces and eight maple dowels
that interlock in a fifteen degree angle and unite the rings. The rings are made with four section of wood, wich consists of 1/4 of a circle to make them stronger. The wood was given a natural finish to contrast and emphasize the focal point, the middle, when all the dowels show the movement.
Opposite page: Floor plan On this page, above: Grania
Zarah
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his foot stool was inspired by the Ashanti tribe from Africa. The tufting was done with a tribal yellow and blue pattern, remeniscent from the tribe. The legs are made by lathing cilinder
shapped wood. The stool is made from silver maple, stained in a dark red brown.
Opposite page: Top view and conceptual sketches On this page, from top: Zarah, front view of Zarah and detail drawing