Kaiseki Teahouse & Japanese Cuisine

JENNIFER SULLIVAN

CONTENTS

01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16

Introduction Learning Goals Key Properties Design Themes Functional & Technical Research Precedents Site Identification Design Development Construction Documents Materials & Specifications Codes Ethical & Sustainable Understanding Professional Practice Interviews How To Roll Sushi Bibliography

01 INTRODUCTION

PROJECT BACKGROUND

01.03

INTRODUCTION

Tea drinking has been a widely accepted tradition in many countries for centuries. While some cultures enjoy a cup of warm tea as a relaxing afternoon treat, others hold it in such high importance that they have ceremonious rituals revolving around the service of tea.

Japan is one such country. The popularity of drinking tea in the United States has increased significantly.

America is the melting pot for every culture in the world to express their traditions freely whether that may be through holiday celebrations, fashion, religion, or cuisine. Japanese cuisine has become a highly appreciated form of food in America and worldwide. Shows just how flavorful and exciting this food really is! The number ofJapanese dining establishments, particularly sushi bars, in America quintupled between 1988 and 1998 and has continually grown since then. Some restaurants in cities where sushi is vastly beloved are able to charge customers upwards of $250 per plate.

Sushi venues are seen almost everywhere today. The recent popularity over the last few decades in the United States has essentially “Americanized” the work of art and has taken away much of the tradition that originally transformed the style of food into a culinary masterpiece.

This “Americanized” style of sushi has actually gained popularity in the Japanese market because it has grown into such a mega-industry in the United States.

However, with the rising number of sushi establishments there has been a decline in the number of authentic Japanese restaurants. There are even fewer establishments in the Cincinnati area that offer formal tea services and authentic Japanese cuisine. Kaiseki intends to fill that void and offer consumers new insight into Japanese culture through their diverse food and tea rituals.

01.04

INTRODUCTION THE PROJECT > KAISEKI

The traditional Japanese tea ceremony, otherwise known as the Way of Tea or chanoyu, is an art form in itself. The growing popularity of Buddhism in the 15th century and Zen practices have played a large role in developing the tea ceremony into a spiritual practice, which is centralized on principles of harmony, purity, respect, and tranquility. The ceremony is ultimately more about one’s connection with themselves and with nature than the tea itself. During the ceremony the host is adorned in a lavish kimono while preparing the tea. The ceremony takes place in a private tearoom ornamented with a simply scroll and hearth. No furniture is needed for these spaces.

Kaiseki will establish quiet rooms to perform traditional tea ceremonies for any guest that wishes to take part in the cultural practice. Guests will be invited to honor traditions including the removal of their shoes before entering the tearoom and purifying themselves in the provided water basins before and after the service. Not every customer will be comfortable with the ceremonial process, but being an important aspect of Japanese history, Kaiseki feels that it is an educational, cultural experience that everyone should experience at least once.

Kaiseki will work to provide a dining experience that goes back to those forgotten traditions and embrace the cultural practices of Japan. Kaiseki, literally meaning “stone in the bosom”, is a multi-century old practice that is served during chanoyu, the traditional Japanese tea ceremony. “Stone in the bosom” refers to an ancient practice where Zen monks would place hot stones in the front of their robes near their bellies to ward off hunger. In modern times, kaiseki suggests a small, multi-course dinner that incorporates texture, taste, appearance, and color.

THE PROJECT > KAISEKI

01.05

INTRODUCTION

Kaiseki will celebrate this by serving its courses in a traditional tapas style, with several small dishes composing a meal rather than one large main course. Guests will enjoy the option of ordering several different sides and tasting a variety of flavors. Generally, kaiseki is a very expensive meal since it accompanies the tea ceremony but Kaiseki will aim to serve a middle-class market with prices that are decently affordable for the area demographic.

In addition to honoring age-old tea service and eating practices, a retail environment will give customers the opportunity to purchase tea products that they experienced in the restaurant. They may also continue to pay homage to the Japanese culture from the comfort of their home. Many of the teas one would find in a teahouse are not products they could easily pick up in the local grocery store. If there is a product on the menu that someone just can’t wait until their next visit to have again, it is readily available in the shop for that client to take home with them. Offering this service to customers builds a special relationship with each guest because it provides them with a product they can enjoy on their own and when they need to re-stock their supplies the guest will want to return to the shop to purchase more. The retail aspect of the restaurant will help to build a regular clientele and also bring in extra profits that would otherwise be lost to other tea distributors.

01.06

INTRODUCTION THE PROJECT > KAISEKI

Kaiseki wants to be an educational force focused on Japanese tea and cuisine to the people of the Oakley community. The goal is to create a passion and appreciation for cultures other than their own and to know what practices make the Japanese culture so historic and special. It is human nature to bond over food whether it may just be a work lunch or a first date or a night out with friends. Kaiseki will work to create a unique experience for every guest that will help people bond with each other over dining and appreciate their food, knowledge of culture and the skill in preparations.

McCabe, Shaun, and Iwasaki Satoko. Chado: The Way of Tea. Boston, MA: Tuttle Publishing, 2002. Print.

LEARNING 02 GOALS

LIGHTING

02.09

LEARNING GOALS

The space will rely highly on lighting to create the mood and setting for each area throughout the building. Whether is it through natural or artificial light, it will be essential for the different uses of the space to be differentiated by something more aesthetically appealing to the clients than just simple wall partitions. I think it will be great to embrace the natural light that is available through the large curtain wall on two facades of the building. The modern and fun atmosphere that I am trying to capture will depend on the use of exciting and warm colored lights.

FUSUI An important belief of Japanese culture, fusui, or feng shui, is a helpful guide to creating a calming and organic space. By following many of the traditional aspects that fusui requires, I hope to create a place of zen for both the customers and for the employees. Embracing the elements of earth, wind, fire, and water will not only assist in providing that zen aura but also will grant several opportunities to utilize sustainable materials. Classic Japanese architecture was developed to give a sense of place versus an inhabitable space.

MEDIA Throughout this process I would like to explore several media types to discover which style works best to portray my work and to enhance my personal artistic skills. I have grown comfortable with digital rendering but know that this type of sushi venue would benefit from being represented with more traditional styles of presentation. The main media I would like to explore would be watercolors, ink, and wood craftsmanship.

KEY 03 PROPERTIES

FACILITY TYPE

03.11

KEY PROPERTIES

Combined restaurant and retail environments are a rare but interesting and are fun venue to visit. The dining spaces need to be fairly quiet for the guests to get the full experience of the tea service. A small retail area will also be provided that will be adjacent to the teahouse. This gives customers the opportunity to purchase their favorite teas or tea-making items. The teahouse will have both private ritual rooms and a public garden space for guests to wait before their tea service begins

COMPELLING REASON While there are already several sushi restaurants in the surrounding town, this venue would be the first to provide both an authentic Japanese restaurant and teahouse together in the same building and allow customers the opportunity to purchase the restaurant's merchandise. The space will be a blend of modern and culturally significant design that many of the ethnic restaurants in the Cincinnati area do not possess.

RETAIL ORGANIZATION The retail will be carried out by the waitstaff in two ways.

To promote the product to dining customers the host will present the tea to them while they are at their table, either prompting the guest to purchase from the host or to visit the store. Once the guest is given an option they may choose to visit the retail space, designed around the product, utilizing the number seven for the tea display because of its importance to Japanese culture.

03.12

KEY PROPERTIES USERS

Kaiskei is appropriate for a wide range of age groups and users but generally provides several activity options for a middle class young adult. For the more laid-back, relaxed client the teahouse is a place for social interaction but is more reserved and quiet. Today’s young adults are very conscious of culture and being appreciative and experimental when it comes to learning about other cultures. The teahouse private rooms are a place for traditional tea ceremonies to be practiced in the way Japanese cultures have. The food service in the teahouse will be somewhat of a tapas style to pay homage to the traditional Japanese kaiseki ceremony, for which the restaurant is named.

"FOODIE" CLIENT The "foodie" is a young adult that likes to experience new tastes and styles of food whenever possible. Desires interesting and unique flavors that cannot be found just anywhere.

SOPHISTICATED CLIENT The sophisticated client is more introverted than outgoing and just likes to keep to themself. This client would rather enjoy sitting in a corner with a book than in a hectic environment.

THE SERVICE The waitstaff, bartenders and hostess team make up the dynamic and feel for the entire restaurant. This user has more interest in the functionality of the space than a client may have.

03.13

KEY PROPERTIES

12:50 PM > Maggie and Lucy arrive at the restaurant and are kindly greeted by the hostess. She guides them to their reserved teahouse. Before entering the room, Maggie and Lucy are asked to purify themselves by washing their hands in a provided stone water basin and to remove their shoes.

1:00 PM > The ladies are permitted to enter through a small crawl door and are seated on the floor. When they are ready they close the door to alert the host of the tea ceremony to enter.

1:10 PM > Their host Kevin begins to heat water for tea while taking the girl's food order. This meal also consists of miso soup and three side dishes. Saki is served while the host waits for the food to be served.

1:30 PM > Once the meal is finished Kevin cleans the dishes and prepares the Maggie and Lucy for the tea service.

Several different teas are served during this time including a powdered green tea as the specialty.

1: 45 PM > After the tea service, the host bows to the women and escorts them out of the teahouse. Magge and Lucy put on their shoes and head towards the restaurant exit.

1: 50 PM > En route to the door, Maggie is attracted to the merchandise she sees in the tea shop retail area. Many of the items are the same dishes and teas that were used during their tea ceremony. She browses the options for a few minutes and decides to purchase a package of one of her favorite teas they tasted.

2:00 PM > Maggie and Lucy finally reach the exit and are given friendly good-byes from the hostess.

03.14

KEY PROPERTIES SPATIAL APPROXIMATIONS

Net Area Teahouse > Retail > Restrooms > Reception/Lobby > Back-of-House Operations >

6,000 sq. ft.

500 sq. ft.

600 sq. ft.

300 sq. ft.

2,000 sq. ft.

Net Total > Grossing Increment (25% of Total) >

9,400 sq.ft.

2,350 sq. ft.

Net Area + Grossing Increment Gross Area >

11,750 sq. ft.

Ceiling Height (all net areas) >

18' 5" - 19' 5"

PLANNING ISSUES One of the most important planning issues will be deciding where each space is best suited because there are so many windows. Deciding which will get the most beneficial use out of being exposed to the exterior and which will be better in a more isolated, closed off space will present a challenge. It would be great if both the teahouse and sushi bar got the most natural light and the retail was more internal.

Where to create the best exterior patio space will be challenging. The parking on the site limits restaurant extension outward to create a patio, which may cause issues with the amount of parking that will then be available.

This exterior space is important to the Zen atmosphere so a lot of factors need to be taken into consideration to make that a possibility without sacrificing other spaces.

04 DESIGN THEMES

04.17

DESIGN THEMES

Restaurant design can often be considered daunting and difficult because the layout must maximize space and maintain clear circulation. Codes and guidelines are restrictive and make some aspects of design a hard thing to work out. Everything from the employee uniforms to the menu to the prices of the products to the product itself are all factors that must be considered by both the designer and the business owner in order to make decisions on what elements will be the most successful. The space must reflect the product that the restaurant is trying to sell by creating a design that will invite customers in and make them excited about their experience. Underselling the product with a poor design will result in poor business while an overly luxurious space may intimidate customers by giving a false impression of how pricey the food items may be.

Design themes are a useful tool in creating an impression of the restaurant that will last from the moment the customer walks in the door to after the customer exits. Effective themes create a buzz about the building and keeps a guest wanting to come back again and again, ultimately generating more revenue for the business. Aside from the guest, having a great aura about the building makes the venue an exciting place for employees to come to work each day.

04.18

DESIGN THEMES

The design themes help create a brand platform for the restaurant. Kaiseki’s goal is to be a recognizable household name throughout Cincinnati and to do so they must build a name for themselves by establishing a unique brand.

Restaurant brands worldwide are known because of their logos, commercial advertisement, etc. which ultimately creates an increase in business and revenue because their brand is attracting customers. The brand of this restaurant will become a well-known brand name that is reflective of the quality of food and impressive design. Inspiration from Impressionistic theories, the story of “The Secret Garden�, the traditional tea ceremony, and geisha culture will be compose a fresh modern design for the restaurant that will create an unforgettable user experience.

IMPRESSIONISM AND JAPONISM

04.19

DESIGN THEMES

Originating in Paris in the 19th-century, Impressionism was not widely accepted by critics at first because it violated many of the rules set by preceding artists. Rather than portraying detailed visuals and painting in a studio, Impressionist painters used pure unblended colors and preferred to paint outdoors. These artists avoided the use of black as much as possible. The play of light was a new technique developed to emphasize the changing qualities of light throughout time. With that, shadows shown in outdoor scenes were a newer technique that gave their work a sense of freshness. A group of young realists, Claude Monet, Pierre-Auguste Renoir, Alfred Sisley, Frederic Bazille and Paul Cezanne often painted together.

Monet, who was considered a “pure� Impressionist, often exhibited work that conveyed spontaneity, sunlight, and color. The Impressionist subject matter consisted primarily of portrait and landscape pieces but sought to capture the perception of nature rather than create exact representations.

Several artists were also influenced by Japanese art prints.

These artworks were significant to Impressionist painters because the portrayed their content in snapshot angles and unconventional compositions. The asymmetry and irregularity of Japanese art were greatly embraced. A few Impressionists including Paul Gauguin were even influenced by Japanese media choices such as block prints.

04.20

DESIGN THEMES

Kaiseki will celebrate many of the elements important to both the Impressionist movement and Japonism. Use of bright colors and embracing the natural beauty of the natural landscape will allow the garden oasis environment to become expressed. The space should be as vivid and exuberant as would walking through a field of blossoming flowers. Much of the artwork used in the restaurant should display views of plants and water and should feel like it belongs with the architecture of the space rather than just a piece of canvas applied to the wall. One of the most important elements of Impressionism is the play of light.

Embracing the vast amount of natural light available to the space will be essential to bringing the outside in. Creating a design that will allow for the most light throughout the interior will give a sense of being in an outdoor space where one can experience the change of light over time. Asymmetry and irregularity are important elements of Japonism that can be expressed through the interior architecture, furniture placement, and other standard design factors.

IMPRESSIONISM AND JAPONISM

04.21

DESIGN THEMES

04.22

DESIGN THEMES "THE SECRET GARDEN" BY FRANCES HODGSON BURNETT

A piece of classic children’s literature, the novel is about a young girl, Mary, who already in a state of temperament and anger loses her parents to cholera and is forced to move to England to live with her uncle. In her new home Mary is told a tale about her deceased aunt and how she spent hours in a secret garden growing roses. Mary’s intrigue in the story grows when she learns that after her aunt’s death her uncle locked the garden and hid the key so nobody could enter. While exploring the gardens surrounding the private garden walls, Mary finds the key belonging to her late aunt that will allow her to unlock the door. She decides to keep the key a secret until one night when Mary hears crying that seems to be coming from a hidden bedroom. Inside she finds a small boy, a cripple, whom she discovers to be her cousin. Mary admits to the boy, Colin that she has the key to the garden and decides to bring him outside in his wheelchair, the first time he has been outside the house in years. Colin and Mary spend every day from then on in the garden where Colin’s legs become stronger with each visit. Colin’s father and Mary’s uncle returns home from travels and walks the outer wall of the garden, mourning his wife. During his stroll, he hears little voices inside and is shocked to not only find the door is unlocked but that his son is running through the garden in full bloom.

The book’s central symbol is the garden. Using the garden motif, Burnett explored themes of the healing power that is inherent in living things. Burnett lived a number of years at Maytham Hall in England where she kept an impressive garden of her own, which is said to have also influenced and inspired many of the themes seen throughout the story.

04.23

DESIGN THEMES

Many of the characteristics of Burnett’s novel can be translated into the design of Kaiseki because they are similar to common design themes in Japanese culture. The beauty and sacredness of the garden from the uncle’s perspective can be implemented into the design by creating a serene garden oasis. Using materials like stone to mimic the garden wall, or iron to symbolize the secret key will reference some of the important elements that made the garden such a special place for the characters.

Plant life scattered through the restaurant space in a natural, non-regimented way will truly transform the space into an indoor garden getaway. Incorporating natural sights, smells, and sounds will enhance the earthy nature that is associated with a garden and involves all of the client’s senses in their dining experience. Burnett’s theme of the garden possessing natural healing power can be translated to many of the theories known to Japanese culture and their beliefs in living harmoniously with nature.

Many Japanese highly value their relationship with nature create spiritual bonds through gardening.

04.24

DESIGN THEMES "THE SECRET GARDEN" BY FRANCES HODGSON BURNETT

TEA CEREMONY

04.25

DESIGN THEMES

The Japanese tea ceremony, also called the Way of Tea or chanoyu, is a cultural ritual involving the presentation of powdered green tea. Influenced by Zen Buddhism, the performance is an art form and highly respected. The custom of drinking tea was first brought to Japan in the 9th-century by the Buddhist monk Eichu upon his return from a visit to China but interest in the product quickly faded. Strong influences for the development of the ceremony were drawn from 9th-century Chinese author Lu Yu and his book The Classic of Tea which focused on the cultivation and preparation of tea. The ceremony as a spiritual practice didn’t exist until the 15th-century when Murata Juko developed the concept of chanoyu while he studied under Zen monk Ikkyu. His practices involved spiritual awakening in human lives and taking steps towards enlightenment. In the 16th-century the philosophy that each tea ceremony should be treasured was developed.

Architecture, gardens, and art became important features in withholding the principles of harmony, respect, purity, and tranquility that are held sacred to the ceremony.

Teahouses are the ideal venue for the ritual. Tatamifloored rooms are necessary for serving to seated guests.

Low ceiling, a built-in hearth, shoji screens, and alcove for hanging scrolls, and simple decorative objects are the typical elements that comprise the teahouses. Multiple entrances are needed for both the guests and the host so the host can prepare in the attached room titled the mizuya.

04.26

DESIGN THEMES

Seasonality is important to the tea ceremony. The year is divided into two seasons for the cold months and warm months. The sunken hearth typically constitutes the colder months while the brazier season describes the warmer months. Variations in the practices performed by the host and equipment changes with the seasons as well as the room configurations in some cases.

In traditional ceremonial proceedings, guests arrive and wait in an interior room where the theme of the service will be displayed before they are escorted to a waiting bench in the outdoor garden. The host will welcome the guests and then proceed to a stone water basin where they purify themselves by washing their hands and mouths. Before entering through a small crawl-in door, all guests must remove their shoes. Once inside the teahouse guests will view the decorative items and the pre-placed tea equipment before being seated in order of prestige.

The closing of the door notifies the host that the guests are ready for the service to begin. The host, adorned in a vibrantly colored kimono, begins by making a charcoal fire to heat the water. Guests are served a meal of several courses, kaiseki, and sake while the water warms.

After their meal, the guests are asked to return to the garden while the host cleans the meal plates and prepares for tea service. The guests are summoned by a gong to return to the teahouse. During a ceremony the host will prepare both a thick and thin form of tea. For both forms, the host will offer the tea to the first guest, who then passes it to the next person until all guests have taken a sip. At the end of the ritual the guests leave the teahouse and the host bows from the door, signaling the finale. A typical ceremony can last up to four hours if done properly.

04.27

DESIGN THEMES

Flowers are a symbolic piece of the ceremony. Unnatural or out-of-season flowers are never used and are usually so simplistic and beautiful that only a single blossom is used.

Even the containers are composed of natural materials whether that may be of bamboo, metal or ceramic.

Kaiseki will aim to preserve the traditional values of the Japanese tea ceremony by implementing design elements and practices into the restaurant. Honoring the culture by providing private rooms resembling traditional teahouses will allow guests to experience the ritual from an architectural point-of-view. Natural materials that reflect Japanese ideologies like bamboo and fresh plants will not only further enhance the feeling of being in an authentic teahouse but also the feeling of Zen and peacefulness.

The aspects of Japanese art, cuisine, hospitality, and philosophy will be celebrated through the restaurant design.

START

GARDEN

1 » GUESTS ARRIVE

2 » GUESTS WASH HANDS IN BASIN

4 » GUESTS SERVED MEAL TEA HOUSE 6 » GUESTS SERVED TEA

END

3 » GUESTS REMOVE SHOES

5 » GUESTS RETURN TO GARDEN

04.28

DESIGN THEMES TEA CEREMONY

GEISHA

04.29

DESIGN THEMES

Literally meaning “artist”, geisha are traditional female entertainers who specialize in music and dance. Life as a geisha is a full career that requires extensive training and an initiation into the community. Having been said that the geisha women live in a separate reality called “the willow world”, they possess subtlety, strength and grace and can gain much prestige through their life as a performer. The geisha culture emerged when the beautyobsessed elite, often samurai, desired entertainment at their high-class gatherings. The women became proficient entertainers of dancing, singing, and playing music. Many high status, fashionable women in Japanese society were geisha. The culture of geisha was founded to promote female independence which results in many geisha being very successful businesswomen. It is most common to find geisha as entrepreneurs of their own teahouses. Modern geisha still study forms of entertainment including the playing of drums, playing games, singing and dancing.

Many are educated further to learn calligraphy, tea ceremony, literature, and poetry.

The traditional and most recognizable appearance of a geisha is extremely vibrant and colorful. The face is colored with thick white face makeup, red lipstick and red and black eye accents. Some geisha will even color their teeth black. All geisha wear a kimono. These already highly colorful pieces of clothes are paired with an even brighter-colored obi or sash. Color, pattern, and style of the kimono is dependent on the season and/or event they may be attending. Red, white, pink, silver and gold are some of the most predominant colors seen in the patterns.

04.30

DESIGN THEMES

Some of these extravagant patterns and styles take up to three years to complete due to the amount of complex painting and embroidering that must be done. For shoes geisha will wear flat-soled sandals or wooden clogs.

Hairstyle is one of the most characteristic appearances of a geisha. Highly skilled artisans must tend to the women in order to put the hair up in the traditional shimada style.

Cotton crepe or large elaborate pins decorate the hair.

Kaiseki values all aspects of the culture of Japan and will use many of the characteristics of the geisha lifestyle to influence the design. By abstracting the geisha form, Kaiseki will apply the idea of performing arts as entertainment, the vibrant colors iconic to geisha fashion, and the values and poise of geisha women. To celebrate the geisha culture, live performances will make customers feel as if they are in the streets of Tokyo. Geisha women are known for their beauty and sophistication, which will be reflected in the color choices of the restaurant and the simple classic atmosphere that the space possesses. These women hold themselves in high regard and exude characteristics of independence, class, and grace which will be honored in the design of the space. While the environment should still be trendy and fun, elements of class and subtlety will still be valued.

GEISHA

04.31

DESIGN THEMES

04.32

DESIGN THEMES TADAO ANDO

Tadao Ando is a Japanese architect that is a true success when it comes to blending modern building techniques with traditional values. Focusing on man as his centerpiece for design, Ando builds his spaces as a climate for the human soul, creating a sense spirituality and wellbeing for his users. The goal of Ando's work is to endow space with meaning by using the natural elements of everyday life: light and air, indications of the passing of time and the changes of season. He believed that conservative space abandoned the capability to inspire one's spirit. Ando created lightness and elegance of proportions in relation to the way the human body moves. His objective by doing so was to allow man to feel as comfortable in space as in nature itself.

Sen Rikkyu, the ultimate tea master of Japan, built his last teahouse somewhere in the mountains overlooking the Inland Sea. He invited his most noble friends to his house, where they would have to pass through a carefully designed garden to reach the home. When they got there, they were upset because they couldn’t see the sea. But as they crouched to rinse their hands and mouth before entering the teahouse they were treated to a full view of the seascape through a small opening in a hedge.

Ando worked in a similar fashion. He wanted to makes the movement through the space a physical journey by converting natural elements such as water, wind, light and sound into abstract geometric forms to compose spaces.

04.33

DESIGN THEMES

Ando utilizes the Japanese tendency to dismantle the physical barrier between architecture and nature and creates harmony between the two, which can be seen in his work at the Lotus Temple. Ando's belief that light is the source of all being inspired man of his works such as the Church of Light. By contouring surfaces with shadows and illuminated edges, he creates depth and articulation.

Ando believed that natural light held a purity of power over artificial light which is fundamental to creating forms in architecture.

Ando chose concrete as the basic material for many of his projects for both economic purposes and spatial purity.

He felt as if the material created a mental response and spiritual quality of place with the architecture. For this reason Ando opted for three basic materials: concrete, unpainted wood and stone.

Each of these themes plays a pertinent role is creating a characteristic identity for the Kaiseki establishment.

Generating a new design from themes that are already so predominant in Japan will be difficult but embracing the ideals that they know and care about will allow the design to further honor the traditional Japanese culture.

Bringing that traditional culture to Cincinnati and creating an interest and appreciation in the local users will be the rewarding part of the design if it is accomplished. From the art to the cuisine to the ritual ceremonies to the entertainment, Kaiseki aims to educate and excite people about the Japanese way of life and hopefully will instill a desire in many to explore even further into other cultural practices.

04.34

DESIGN THEMES TADAO ANDO

04.35

DESIGN THEMES

Carter, David E. Logos of American Restaurants: Taste Tested. Comp. Suzanna M. W. Brown.

New York: Hearst International, 1997. Print.

Franck, Karen A. Food + Architecture. Ed. Helen Castle. 6th ed. Vol. 72. Chichester, West Sussex: Wiley-Academy, 2002. Print.

Inglis, Kim, and Masano Kawana. Asian Bar and Restaurant Design. Singapore: Periplus Editions, 2007. Print.

McCabe, Shaun, and Iwasaki Satoko. Chado: The Way of Tea. Boston, MA: Tuttle Publishing, 2002. Print.

Rossbach, Sarah. Interior Design with Feng Shui: How to Apply the Ancient Chinese Art of Placement. Trans. Lin Yun. London: Rider, 1991. Print.

Zabalbeascoa, Anatzu, and Javier Rodriquez Marcos. Ed. Tadao Ando: Architecture and Spirit.

Barcelona: Editorial Gustavo Gili, 1998. Print Santos, Quartino Daniela. New Bars & Restaurants 2. New York: Collins Design, 2010. Print.

05 F UNCTIONAL & TECHNICAL RESEARCH

ORGANIZATIONAL EFFECTIVENESS & EFFICIENCY

05.37

FUNCTIONAL & TECHNICAL RESEARCH

A strong restaurant concept and inviting design are essential attracting customers, creating business for the operation and building a reputation for good food and service. The desired dining experience, menu, client-base, and hours of operation are all considerations that must be taken into account when planning for a successful restaurant business. Full-service venues depend on the level of refinement and comfort to reflect the upscale service that is available inside. A restaurant program depends highly on space allocation and design to incorporate a proper balance to the variety of customers that will accommodate the space.

Several planning and design issues must be addressed for both the front and back of house operations within a restaurant space. Both front of the house (entry, waiting area, dining room) and back of house (kitchen, offices, trash) must coordinate well with each other to support the functions of each area. Service staff and guest traffic to and from the dining and bar spaces, restrooms, and wait staff service stations must flow throughout the restaurant.

05.38

FUNCTIONAL & TECHNICAL RESEARCH

The patron areas must be developed for their first impressions to the customer. A mixture of seating types, interior finishes, and lighting create a comfortable dining experience. There is great flexibility in the planning of dining spaces but they should be efficiently planned to ensure the greatest revenue potential for the business.

Privacy typically isn’t an issue in full-service dining because private rooms can be set apart from the main dining but there usually an allocated space between tables for more privacy. The suggested area per patron for fullservice restaurants is 15-18 sq. ft. Patron aisles require 36 to 44 in. for wheelchair access. Seating flexibility creates better opportunity for quick turnaround time during busy hours. The mix of table sizes between two-tops, fourtops or banquettes provide flexibility to arrange tables differently for smaller or larger parties and to offer guests a more intimate setting. Acoustics play a large role in a restaurant environment. Most restaurants are intentionally noisy to give the space an energetic atmosphere and promote conversation between guests. Noisier restaurants also tend to discourage lingering, which results in more tables served and more revenue. A space that is too quiet or dead can give the customer the impression that the venue is unpopular. Lighting is one of the most important technical aspects of the design because it establishes mood and creates dramatic effect. Restaurants tend to use incandescent light because it possesses warmer qualities of light. Different lighting requirements may be established for day and night operation. Interior materials must support the quality level of the restaurant concept.

Selections typically must be flame-retardant and depend on the desired life of the product and durability.

05.39

FUNCTIONAL & TECHNICAL RESEARCH

Restrooms must be placed in a convenient location for both restaurant patrons and employees. Odors and noise usually are grounds for placing restrooms further away from the waiting and dining areas. The design is important to patrons just as much as the main dining room because it builds a reputation for the restaurant that it is a clean, wellmaintained establishment. It is advantageous to provide adequate plumbing fixtures for the amount of patrons during peak operation hours The back of house operations depends on quality design in similar ways as the front of house planning and design.

Food equipment consultants commonly take part in the planning of those areas but it is important for the operation of the business and for the designer to understand how to coordinate the space with the front areas. Wait staff service stations are located in the middle space between front and back of house for convenient use of both areas. The size of the space available determines the number of wait stations and point-of-service (POS) terminals throughout the restaurant. These stations as well as food handling in the back of house should be fabricated from stainless steel or other sanitary and durable materials. Flooring, wall and ceiling materials should be easily cleanable and slip resistant. The local Department of Health places certain code requirements for general sanitation, food storage and food handling. Mechanical systems are important to the kitchen, dishwashing, and other back of house operations. Exhaust hoods and black-iron ducts are needed to draw smoke and odors out of the kitchen.

Grease traps are also important equipment pieces.

05.40

FUNCTIONAL & TECHNICAL RESEARCH

Food service equipment must meet construction and sanitation standards set by the National Sanitation Foundation. Sneeze guards are required at open food displays and refrigeration is required to store perishable food items. All food preparation areas must be kept separate from dishwashing and trash pickup. Public traffic should not cross food prep lines and dishwashing areas.

Lighting in back of house areas are typically fluorescent lamps and must be equipped with a cleanable prismatic or other lens to cover the bulb.

With the importance of changing seasons being an intergral part of Japanese culture, Kaiseki will aim to not only create different interior environments but also various food menus per season. The tea ceremony practice changes by month in Japan but due to American culture being more receptive to the four seasonal changes, Kaiseki will interpret the monthly tea ceremonies to create four season-inspired spaces. The monthly practices that will be interpreted are traditionally defined as follows: JANUARY The beginning of the new year remains in the winter season so images of snow can be seen in the space. The room should be warm and provided with candlesticks. A single flower of camellia adorns the room. Harmony between the color and shape of the utensils and food should be considered.

FEBRUARY Kettles with a wide mouth are preferred during this month.

Indicating the turning from winter to spring, plum blossoms are an acceptable flower for decoration. Dishes with images of the plum blossom are also used.

05.41

FUNCTIONAL & TECHNICAL RESEARCH

MARCH Images of gardens and blossoms indicate the arrival of spring and growing plantlife. Also known as the month for shell gathering, several shells are used for decorative purposes in the tea room.

APRIL The theme for this month is cherry blossoms. Some ceremonies may be held outside to embrace the flower.

Black lacquered bowls or bright flowery trays are used.

Porcelain should be avoided.

MAY Bamboo kettles are used in wide open rooms to allow sunshine in. Shallower bowls symbolize openness. Virtues of nature and grass-like flower depict the coming summer season.

JUNE The principle of coolness is important during this month because of the strong heat. Images of rice sprouts, fireflies, singing frogs, boats and fishing can be seen to emphasize this principle.

JULY Images of waterfalls and reeds continue to generate the feeling of coolness and the heat lingers throughout the summer. Dim lights create a cool and restful ambiance.

Feathers are an acceptable decoration piece this month.

05.42

FUNCTIONAL & TECHNICAL RESEARCH

AUGUST As the heat of late summer is severe, images of cool things such as bamboo or autumn flowers is desirable. Elegant snow-white or cone-shapes containers once again invites the feeling of coolness.

SEPTEMBER Displays of beautiful red colors and autumn grasses indicate that fall has arrived. Chrysanthemums can be seen in the flower arrangement and on the ceremony bowls.

OCTOBER The fire in the teahouse is oriented closer to the guests for warmth. Flowers that are reminiscent of the autumn season are preferred. Fresh bamboo should be avoided.

NOVEMBER Larger kettles are used as the months get colder. Grasses and winter chrysanthemums are acceptable flowers. Plain black lacquer with a high sheen is the appropriate form of dishware.

DECEMBER As the year-end approaches, wide-mouth kettles are favored. Images of the New Year's Imperial Party may be acceptable to display on the cups and bowls.

Binggeli, Corky, Pat Greichen, and Maryrose McGowan. Interior Graphic Standards.

Hoboken: John Wiley & Sons, 2011. Print.

Colborne, Robert. Fundamentals of Merchandise Presentation. Cincinnati, OH: ST Publications, 1982. Print.

Dean, Corinna. The Inspired Retail Space: Attract Customers, Build Branding, Increase Volume.

Gloucester, MA: Rockport, 2003. Print.

Pegram, Kimberly, comp. Stores and Retail Spaces 4. Cincinnati, OH: ST Media Group International, 2002. Print.

Richards, Kristen. Retail and Restaurant Spaces: An International Portfolio of 41 Designers.

Gloucester, MA: Rockport, 2002. Print.

06 PRECEDENTS

06.44

PRECEDENTS TYPE ANALYSIS

CHA TEA BAR Located in the Longwood Galleria Food Court in Boston, Cha Tea Bar is a calming escape where customers can relax and enjoy food and drinks or make a purchase. Soft, natural materials like Japanese maple and soapstone for the architecture and black steel stools reflect the tea pottery located in the store. Golden-toned lights illuminate the bar in an elegant way. A dimension of sound is created with a water fountain which echoes the Japanese aesthetics. The user experience and store brand are fused together to create a unique retail space.

GOAL > To create a cohesive design that connects both the teahouse and the sushi bar, giving both their own identity while still being able to identify the similarities. From this precedent I would like to takeaway the incorporation of design aspects that allow the space to flow nicely from retail to food service.

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PRECEDENTS TYPE ANALYSIS

CHA TEA BAR

06.46

PRECEDENTS STYLISTIC ANALYSIS

NOBU With locations all over the world exuding similar design ideal, Nobu restaurants portray the Japanese countryside exquisitely through use of natural textures, birch trees, wood floors, cherry blossom adornments and river stones.

A mix of traditional and modern elements surrounds you.

Energy pulsates throughout the space with its luxurious and whimsical designs. A separate bar space and dining space are provided for guests who may just be looking to relax or the guests that are planning on staying for awhile.

While Nobu claims it is the flavorful foods that create the best experience, it is truly the beautifully composed designs that transform the user experience from ordinary to magnificent.

GOAL > To implement traditional Japanese design elements using modern techniques. From this precedent I would like to takeaway the design technique of using natural-looking materials, plants and other objects found in nature.

STYLISTIC ANALYSIS

06.47

PRECEDENTS

NOBU

06.48

PRECEDENTS STYLISTIC ANALYSIS

PARK AVENUE RESTAURANT Considered a New York City landmark, Park Avenue redefines interior design within a restaurant landscape by continually changing the atmosphere throughout the seasons. The upscale establishment uses different elements to create summer, winter, autumn, and spring seasons which involves the changing of wall, ceiling and floor treatments, lighting fixtures, and furniture selections.

The changes in the design allow the customers to feel involved with the design because they can experience the seasons as they evolve and may have a different spatial experience each time they visit. This keeps the clientele intrigued and wanting to come back to view their favorite restaurant in various environments.

GOAL > To create a sense of changing seasons through materials and lighting. From this precedent I would like to incorporate the abstract feeling of transitioning through the seasons.

STYLISTIC ANALYSIS

06.49

PRECEDENTS

PARK AVENUE RESTAURANT

06.50

PRECEDENTS TECHNICAL ANALYSIS

EL MERCADO RESTAURANT This Peruvian venue’s design concept was to create two separate but similar private and public spaces. The dining room was transformed into a large open garden that can be experienced from both of those spaces. The floor plan is defined by the recycled wood materials, steel grid structure and greenery. The style in which the restaurant space was created makes the user feel as if they were in a serene, outdoor garden environment.

GOAL > To understand how to use sustainable practices to create an indoor garden oasis. From this precedent I would like to takeaway the use of environmental materials and using plants and natural light to emphasize the garden.

TECHNICAL ANALYSIS

06.51

PRECEDENTS

EL MERCADO RESTAURANT

06.52

PRECEDENTS TECHNICAL ANALYSIS

ROCK GARDEN AT RYOAN-JI The Peaceful Dragon Temple at Kyoto is the best example of a zen garden in Japan. The fifteen stones are composed in groups in a matter so that only fourteen of the stones are visible until one gains enlightenment. The brown and orange clay wall surrounding the garden is an important element in the design. The purpose of the garden is to abstract natural objects in space and to incite meditation.

Research has found that the garden is compositionally symmetrical with the temple architecture.

GOAL > To create zen using natural elements found in the Japanese garden. From this precedent I would like to takeaway the use of not only plants but also stone and pebbles to enforce the garden aesthetic.

Breithack, Matthias. Amsterdam: Architecture and Design. Ed. Sabina Marreiros. Kempen: Te Neues, 2004. Print.

Franck, Karen A. Food + Architecture. Ed. Helen Castle. 6th ed. Vol. 72. Chichester, West Sussex: Wiley-Academy, 2002. Print.

"Hotel Design | Restaurant Design | Spa Design | Hospitality Products." Hospitality Design.

Web. 18 May 2012. <http://www.hospitalitydesign.com/hospitalitydesign/index.shtml>.

Inglis, Kim, and Masano Kawana. Asian Bar and Restaurant Design. Singapore: Periplus Editions, 2007. Print.

Klanten, Robert, and Lukas Feireiss. Staging Space: Scenic Interiors and Spatial Experiences.

Berlin: Die Gestalten Verlag, 2010. Print.

Nolan, Billy. "Step By Step." Frame June 2008: 158-63. Print.

TECHNICAL ANALYSIS

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PRECEDENTS

ROCK GARDEN AT RYOAN-JI

SITE 07 IDENTIFICATION

ISSUES & CRITERIA

07.55

SITE IDENTIFICATION LOCATION

> Laid back setting > Convenient road access for pedestrian and vehicular traffic > Geared towards middle-class residents of Cincinnati > Markets to any age group but most particularly towards young adult and adult age demographics > Popular street that will attract more customers > Large parking availability > Adjacent facilities offer more shopping opportunities

BUILDING PROPERTIES > Size and volume of shell space must accommodate both retail and restaurant spaces including back of house operations > Shell must have variety of ceiling heights to create visual interest in the change throughout the building > Approximately 10,000-20,000 sq. ft. > Shell shape must allow for comfortable transition through the different spaces > Entrance must be a central point between the teahouse and sushi bar > Edges of shell must have large expansive windows to allow for views from all major spaces > Skylight will provide natural light for interior core > Three sources of egress for the main entry, bar entry, and loading dock/employee entrance > Views towards street to create connection with exterior landscape > Visibility to surrounding shops and attractions further fuels interest in community exploration > Unique opportunity for outdoor space is present with such a large shell and building site > Site can be altered to allow for construction of an intimate exterior experience such as a patio or enclosed terrace

BUILDING CHARACTER > The building exterior should have a modern esthetic that will draw intrigue in comparison to the surrounding site > The exterior should be visible from many angles to peak interest from passerby traveling in any direction > The building interior should generally be fairly open to allow for better spatial planning > The space should serve as a blank canvas for fresh development > Interior access should be located in a place that will be a beneficial focal point for all public building uses

07.56

SITE IDENTIFICATION DAVID A. MILLETT SHOWROOM, CINCINNATI, OHIO

Formerly known as Closson's Showroom, David A. Millett Showroom lies at the heart of Madison Road in the Oakley retail corridor alongside several high profile businesses. This historic furniture showroom underwent an extreme renovation before recently being taken into new ownership. The modern addition is beautifully composed of tall expansive windows along the faรงade with a functional shade system installed. However, the older portion of the building does not possess many windows at all other than a large thus making lighting in that space difficult. The pained concrete masonry and metal building materials keep the exterior looking fresh and contemporary. The interior is a fairly open concept with few partitions and a balcony space. High ceilings and exposed systems give the interior a warehouse atmosphere, while the warm brown tones used on the wall applications provide a calming residential feel. The site is fixated between two roads which allows for access from two points into the provided parking lot. The amount of available parking directly adjacent to the facility is limited but the showroom does reside in a business-oriented area that provides several alternative parking opportunities a short distance away.

DAVID A. MILLETT SHOWROOM, CINCINNATI, OHIO

07.57

SITE IDENTIFICATION

07.58

SITE IDENTIFICATION EXTERIOR CONDITIONS > Conrete Sidewalk > Reinforced Conrete Masonry, Painted > Stone Veneer, Caramel Finish > Structural Metal Columns, Painted > Stainless Steel Wire Mesh Screen Assembly > Thermal & Moisture Protection > Metal Composite Wall Panel System > Non-corrosive Metal Flashing > Pre-finished Metal Roofing > Pre-finished Metal Gutter and/or Downspout > Pre-finished Metal Coping > Metal and Glass Entry Door, Antique Bronze Finish > Flush Insulated Metal Door & Frame > Insulated Rolling Overhead Service Door > Tempered Glass Storefront > Vitrine Display Case > Truck Loading Dock

INTERIOR CONDITIONS

> Exposed HVAC System > Finished Plank Wood Flooring > Three Skylight Windows > Exposed Ceiling Structure, Painted > Directional Track Lighting Throughout > Reinforced Concrete Masonry, Painted > Stone Veneerm Caramel Finish > Structural Beams Exposed > Gypsum Wall Board, Painted, Various Colors > Public Restroom & Employee Restroom > Back-of-House Stock Area > Mezzanine with Employee Kitchen & Offices > Wood Millwork

07.59

SITE IDENTIFICATION

07.60

SITE IDENTIFICATION LOCATION

POOR

FAIR

GOOD

EXCELLENT

NEIGHBORHOOD > Located in core of Oakley retail corridor > Typical age demographic 25-35 years > Typical salary demographic $50,000-75,000

CONVENIENCE OF ACCESS > Access to main facility available at front from sidewalk and from center of parking lot > Access to back of the building from loading dock > Main entry is visible from most popular street entrance

ADJACENT FACILITY COMPATIBILITY > Numerous surrounding facilities including shopping, dining and entertainment venues > Proximity allows for quick and easy walking or driving to nearby establishments > Most facilities target similar demographics > Most facility product prices are fairly similar

ACCESSIBILITY FROM STREET > Entry from two streets to parking lot > Main entry to both vehicular and pedestrian traffic from Madison Road

PARKING

> Parking is easily accessible from two directions > Lot is small which limits amount of customer parking available > Street parking is an alternative option

CHARACTER EXTERIOR AESTHETIC > Modern materials and large windows give the building faรงade a unique and inviting character in comparison to nearby venues > Little extra available space for outdoor dining option

INTERIOR AESTHETIC > Change in ceiling height between the old and new wings created visual interest > Little architectural character but exposed systems offer warehouse appeal

POOR

FAIR

GOOD

EXCELLENT

OVERALL SIZE & VOLUME > 13,000 sq. ft. > Great amount of space for both dining and retail space to have significant functional area > Allows for decent space for back-of-house operations

SHELL SHAPE > Shape is ideal for differentiating between the program uses > May present difficulties in determining which program uses inhabit which wing of the building > Shape allows for access and visibility from two streets

EGRESS > Primary entrance is convenient for customers using parking lot > Primary entrance is a short distance from street for pedestrian traffic but secondary door is available from sidewalk > Loading dock entrance is ideally located in close proximity to side street

NATURAL LIGHT > Large window walls make up majority of exterior faรงade > Shading system is installed to control amount of harmful light entering the building > Older part of the building has limited amount of windows

VIEWS > Windows located at front of the building give great views of the active streetscape

PROPERTIES

07.61

SITE IDENTIFICATION

08 DESIGN PROCESS

SUMMER TERM PROGRESS

08.63

DESIGN PROCESS

ZONING ITERATIONS

SUSHI BAR

BACK-OF-HOUSE

TEA SHOP

RECEPTION

TEA HOUSE

TEA HOUSE

BACK-OF-HOUSE

TEA SHOP

RECEPTION

SUSHI BAR

08.64

DESIGN PROCESS SUMMER TERM PROGRESS

FLOOR PLAN ITERATIONS Kaiseki will utilize traditional Japanese architectural elements in order to create a functional and culturally coherent interior space.

The most important of which is the use of tatami mats or the proportions associated with tatami within a traditional teahouse. Using the proportions for zoning purposes and furniture placement will implement the understanding of proportions in nature and the built environment. The rules of tatami concerning seating and etiquette practices will be reflected in the design of the restaurant space.

SUMMER TERM PROGRESS

08.65

DESIGN PROCESS

MIDTERM REVIEW One of my main learning objectives throughout the course of the project was to experiment with different medias. For the midterm presentation I tried working with watercolors to see how well the media expressed my design aesthetic. At this point in the design the restaurant was divided into three main spaces: the sushi bar, the private teahouse and the retail shop. I placed the retail near the front of the building so it could be accessed by pedestrians off the street or restaurant users.

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DESIGN PROCESS SUMMER TERM PROGRESS

FINAL REVIEW

08.67

DESIGN PROCESS SUMMER TERM PROGRESS

FINAL REVIEW For the Final Review of the Summer Quarter, much of the space planning stayed similar to the midterm review with the exception of the retail space. Rather than locating the retail along the street only, I created a secondary retail space at the center of the building, allowing customers inside to have a more enjoyable experience.

One big change from the midterm was the incorporation of movable partitions along the exterior of the building.

Windows would be able to slide open and provide views to the garden space or just allow guests to enjoy the fresh air.

08.68

DESIGN PROCESS SUMMER TERM PROGRESS

FINAL REVIEW

SPRING TERM PROGRESS PREP SPACE

STORAGE

SCHEMATIC REVIEW

KITCHEN

RETAIL

GARDEN

TEA ROOMS

OPEN GARDEN/DINING

RECEPTION OPEN TO BELOW

PRIVATE ROOM PREP SPACE

B.O.H.

TEA ROOMS

GARDEN

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DESIGN PROCESS

KITCHEN

SAKE BREWING

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DESIGN PROCESS SPRING TERM PROGRESS

SCHEMATIC REVIEW The Schematic Design Review was the first critique of the semester and the first time I began making serious design changes from where the project was in the summer. I decided I no longer wanted the project to be recognized as sushi bar and teahouse but rather a teahouse that served authentic Japanese cuisine.

I also struggled with pinning down a style for the restaurant so I ultimately chose to refer to Kaiseki as "an authentic experience with a modern aesthetic". The entire space planning tactic from summer was pitched and I realized that I wanted to really take advantage of the natural light for the garden spaces, driving my decision to keep the center of the building open to utilize the skylights and placing the gardens beneath the skylights and at the front of the building near the glass facade. Since I rid of the sushi bar aspect I incorporated more tea rooms around the gardens and rather than a

large back of house kitchen, I chose to have an open kitchen where people can observe the culinary process while they wait in the lobby. To provide more opportunities for guests I reintroduced the mezzanine level which gives visitors in large parties a place to hold gatherings that the tea rooms can't accomodate. The tea shop still has a presence in the space but is not as prominant as it was in the past. I realized the amount of product offerings I would like to have in the retail space was not large enough to justify having so much of the building devoted to its use.

SPRING TERM PROGRESS

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DESIGN PROCESS

SCHEMATIC REVIEW

08.72

DESIGN PROCESS SPRING TERM PROGRESS

SCHEMATIC REVIEW

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DESIGN PROCESS SPRING TERM PROGRESS

SCHEMATIC REVIEW

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DESIGN PROCESS SPRING TERM PROGRESS

DESIGN DEVELOPMENT REVIEW From the Schematic Review I was told that I still did not have a clear stylistic direction so my next step for the Design Development Review was to commit to an aesthic whether it be contemporary or traditional and make that obvious to someone who would be visiting Kaiseki. Spatially the only aspect of the design that changed was the addition of another tea room at the front of the building. I originially had that space designated as open garden but realized it was valuable real estate that could be used by the restaurant to turn a profit. Stylistically, however, many components of the design changed which mostly revolved around the use of more modern materials, colors and building techniques.

6 5 8

11

2 1 12

3

7

1 LOBBY

7 RESTROOMS

2 GARDEN

8 STORAGE

3 TEA ROOMS

9 COAT CHECK

4 TEA SHOP

10

PRIVATE MEZZANINE

5 KITCHEN

11

GUEST ENTRY

6 SAKE BREWING LAB

12

SERVICE ENTRY

9

3

4

10

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DESIGN PROCESS SPRING TERM PROGRESS

DESIGN DEVELOPMENT REVIEW

6

2 4

1

3

1 WASH BASIN

4 BAMBOO STAIR RAIL

2 GLASS RAIL

5 TEA SHOP

3 ETCHED WOOD DOOR

6 PRIVATE KITCHEN

5

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DESIGN PROCESS SPRING TERM PROGRESS

DESIGN DEVELOPMENT REVIEW

SPRING TERM PROGRESS

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DESIGN PROCESS

DESIGN DEVELOPMENT REVIEW

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DESIGN PROCESS SPRING TERM PROGRESS

DESIGN DEVELOPMENT REVIEW

SPRING TERM PROGRESS

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DESIGN PROCESS

DESIGN DEVELOPMENT REVIEW

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DESIGN PROCESS SPRING TERM PROGRESS

FINAL DESIGN > DAAPWORKS

SPRING TERM PROGRESS

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DESIGN PROCESS

FINAL DESIGN > DAAPWORKS

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DESIGN PROCESS SPRING TERM PROGRESS

FINAL DESIGN > DAAPWORKS Kaiseki will be heavily devoted to customer satisfaction and making sure the guests have the best experience possible during their visit. This begins before they even enter the door. Providing a valet service will allow guests to have their cars parked free of charge so the hassle of locating a parking spot is no issue at all.

Because the site does offer very little parking for guests, this method of providing a valet service will not deter people from coming to the restaurant and having an unpleasant experience right off the bat.

SPRING TERM PROGRESS

08.83

DESIGN PROCESS

FINAL DESIGN > DAAPWORKS

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DESIGN PROCESS SPRING TERM PROGRESS

FINAL DESIGN > DAAPWORKS At the finale of the tea ceremony when the host presents the tea shop offerings she will also give each guest a fortune cookie favor. » The Fortune Cookie Story According to family members, Mr. Hagiwara introduced fortune cookies to the United States from Japan in the 1890's or early 1900's. Initially, the cookies were made on site by hand using a special iron mold or kata. When demand grew, Mr. Hagiwara hired San Francisco confectioner Benkyodo to produce the fortune cookies in large quantities. Original fortune cookies made in Japan were savory rather than sweet, and it is believed that Benkyodo developed a vanilla recipe for Mr. Hagiwara to make it more appealing to Western palates, the flavor that is now widely popular across the U.S. The tradition of serving fortune cookies to tea garden visitors continues today; one is tucked inside every bowl of Japanese rice crackers or arare sold at the teahouse.

Choose 2 side dishes, a main dish and a sake for your meal set.

Side Dishes

Miso Soup Teriyaki Chicken Musubi Edamame Arare 15 Grain Rice Porridge Soy Quiche w. Mushroom Steamed Vegetables Red Bean Butter Toast

Main Dishes

Tea Smoked Salmon Chicken Soboro Don Ebi Chili Tuna Steak Salmon Tar Tar Unagi Hitsumabushi

Sake

Junmai Hoyo Daischichi Kimoto Dewazakura Tedorigawa

Tea

Sencha Genmaicha Matcha Hojicha Jasmine » Teas will be presented by the host during the tea service.

Sweet Treats

Sweet Potato Apple Cake Vanilla Matcha Cookies Kuzumochi

» Menu is subject to change due to seasonal availabilities.

SPRING TERM PROGRESS

08.85

DESIGN PROCESS

FINAL DESIGN > DAAPWORKS

6

3

5

2

8

11

1 12

3

7

2 4

3

OPEN TO BELOW

10

1 LOBBY

7 RESTROOMS

2 GARDEN

8 STORAGE

3 TEA ROOMS

9 COAT CHECK

4 TEA SHOP

10

PRIVATE MEZZANINE

5 KITCHEN

11

GUEST ENTRY

6 SAKE BREWING LAB

12

SERVICE ENTRY

For the final design iteration, I again made several material changes to emphasize the contemporary look of the establishment. The introduction of shou-sugi-ban finished wood throughout the building gave the restaurant the Japanese aesthetic in a non-traditional way. The spatial planning did not alter much besides the relocation of the stairwell at the mezzanine entrance. Because I treated the stairs as a sculptural piece by running bamboo from the ground through the mezzanine and to the ceiling I moved the stairs out from the wall so it centered location assisted in emphasizing the artform.

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DESIGN PROCESS SPRING TERM PROGRESS

FINAL DESIGN > DAAPWORKS

GLOW PLAN

LIGHTING L-1 Manufacturer: Tom Dixon Series: Beat Light Model: Stout Dimensions: 19,7" H x 20.7" W Finish: Black & Brass Lamp Type: Pendant Location: Decorative Lamp in tea rooms

L-2 Manufacturer: Artemide Series: Mercury Model: 1396018A Dimensions: 21.7" H x 43.3" W Finish: Aluminum Lamp Type: Ceiling light Location: Garden at front of building

SPRING TERM PROGRESS

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DESIGN PROCESS

FINAL DESIGN > DAAPWORKS

LONGITUDINAL SECTION - BACK OF BUILDING

LONGITUDINAL SECTION - FRONT OF BUILDING

DETAIL SECTION - LOBBY

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DESIGN PROCESS SPRING TERM PROGRESS

FINAL DESIGN > DAAPWORKS

START

GARDEN

1 » GUESTS ARRIVE

2 » GUESTS WASH HANDS IN BASIN

4 » GUESTS SERVED MEAL TEA HOUSE 6 » GUESTS SERVED TEA END

3 » GUESTS REMOVE SHOES

5 » GUESTS RETURN TO GARDEN

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DESIGN PROCESS SPRING TERM PROGRESS

FINAL DESIGN > DAAPWORKS

1

» 2 » 3 » 4 » 5 » 6

The journey begins when the guests enter the lobby and are greeted by the host of the tea ceremony. Guests are able to observe the sake brewing laboratory while they wait or they can relax on the Japanese-style chairs and the stone bench that allows views into the garden beyond the wall. An illuminated bamboo ceiling detail provides the guests with the initial Asian aesthetic.

Bottom Left » Additional lobby views Bottom Right » Location of lobby on floor plan

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DESIGN PROCESS SPRING TERM PROGRESS

FINAL DESIGN > DAAPWORKS

1 »

2

» 3 » 4 » 5 » 6

As the guests journey through the garden and are escorted to their reserved tea room they must purify themselves in the wash basins located adjacent to each room. This practice is recognized as a symbol of respect for the ceremony.

Bottom » Additional view of guests walking through garden space

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DESIGN PROCESS SPRING TERM PROGRESS

FINAL DESIGN > DAAPWORKS

1 » 2 »

3

» 4 » 5 » 6

Removing one's shoes is also viewed as a sign of respect for the tea ceremony. After the guests remove their shoes and place them in the allotted shoe holders they must wait on one of the stone benches until the host welcomes them into the tea room for the food service.

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DESIGN PROCESS SPRING TERM PROGRESS

FINAL DESIGN > DAAPWORKS

1 » 2 » 3 »

4

» 5 » 6

The host welcomes the guests into the tea room through the sliding doors at the front of the room. The host them closes the doors and enters the space through a seperate service entrance at the back of the room. Kaiseki is the term given to the meal served during the tea ceremony and is composed of several small dishes and sake. For the dinner service guests are seated on floor cushions or chairs. An alcove is implemented in the design to provide a space for storage and to display the traditional Japanese seasonal scroll.

SPRING TERM PROGRESS

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DESIGN PROCESS

FINAL DESIGN > DAAPWORKS

1 » 2 » 3 » 4 »

5

» 6

Once the food service has ended the guests are asked to leave the tea room while the host cleans and prepares the room for the tea service.

Guests are to return to the waiting benches located in the garden and enjoy their surroundings. Some guests may take this time to explore the retail offerings.

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DESIGN PROCESS SPRING TERM PROGRESS

FINAL DESIGN > DAAPWORKS

1 » 2 » 3 » 4 » 5 »

6

When the space is prepared by the host, the guests will be welcomed back in by the sound of a gong to enjoy the tea service. For the this segment of the tea ceremony guests will be seated on the floor while the host prepares and demonstrates the tea preparation. The host passes each tea to one guest and they will then pass to the next until everyone has taken a sip. At the end of the tea service the host will open the door and bow to the guests, signaling that the ceremony has ended and they are welcome to leave the room.

SPRING TERM PROGRESS

08.95

DESIGN PROCESS

FINAL DESIGN > DAAPWORKS In addition to the traditional tea rooms, which only accomodate up to six people, there is a private mezzanine that can be reserved by large parties. This space contains a grill pit for the host to warm the tea and a lounge space for a casual hangout. From the mezzanine level the guests can enjoy the hanging lighting sculpture, the ceiling height bamboo railing, and the tops of the wisteria trees that line the garden.

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DESIGN PROCESS SPRING TERM PROGRESS

FINAL DESIGN > DAAPWORKS Because the restaurant is so large there are two main garden spaces for guests to enjoy. The second garden space is equipped with a waterfall, a wisteria tree and bamboo plants surround the walkway. The sliding doors in this space are small and must be crawled through to enter the tea room. Immense skylights above the garden flood the space with an abundance of natural light.

SPRING TERM PROGRESS

08.97

DESIGN PROCESS FINAL DESIGN > DAAPWORKS

Beneath the waterfall is a glass reveal that allows guests in either the garden or lobby to peek through and experience the space beyond the wall. The waterfall feeds water basins that surround the walkway. Rather than individual benches in this garden, there is a large circular stone bench that is intended for use by all guests in those tea rooms.

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DESIGN PROCESS SPRING TERM PROGRESS

FINAL DESIGN > DAAPWORKS

At the end of each tea service the host will present the guests with the products available for purchase in the tea shop. The shop will provide guests the opportunity to purchase items used during their ceremony.

Tea items including Japanese tea pots, loose tea mix and other tea brewing items will be available for guests so they can recreate their ceremony experience in the comfort of their home.

CONSTRUCTION 09 DOCUMENTS

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CONSTRUCTION DOCUMENTS TECHNICAL REVIEW

DEMOLITION PLAN

SPRING TERM PROGRESS

09.101

DESIGN PROCESS

INTERIOR ELEVATIONS

09.102

CONSTRUCTION DOCUMENTS TECHNICAL REVIEW

BUILDING SECTIONS

SPRING TERM PROGRESS

09.103

DESIGN PROCESS

BUILDING SECTIONS

09.104

CONSTRUCTION DOCUMENTS TECHNICAL REVIEW

BUILDING SECTIONS

SPRING TERM PROGRESS

09.105

DESIGN PROCESS

RESTROOM ELEVATIONS

10 MATERIALS & SPECIFICATIONS

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MATERIALS & SPECIFICATIONS

FABRIC F-1 Manufacturer: Creation Baumann Pattern: Tiffany Color: Col. 378 Content: 35% cotton, 33% polyester, 32% vinyl Width: 55” Repeat: 11” Use: Pillow at FN-2

F-4 Manufacturer: Barbara Barry Pattern: Plush Box Color: Penny 22776-24 Content: 50% cotton, 50% modacrylic Width: 55” Durability: 29,000 double rubs Use: Upholstery at FN-2

F-2 Manufacturer: Kravet Couture Pattern: Mariposa Weave Color: Truffle 21384-106 Content: 100% silk Width: 54” Repeat: V 12" H 4 1/2" Use: Pillow at FN-1

F-5 Manufacturer: Telafina Pattern: Eduardo Color: #895 Spice Content: 95% acrylic, 3% polyester, 2% viscose Width: 55” Durability: 30,000 double rubs Use: Pillow at custom built-in

F-3 Manufacturer: Anzea Pattern: Electric Curves Color: Spring Twister 2008-04 Content: 88% polyester, 12% nylon Width: 54” Repeat: V 3" H 3 3/4" Durability: 81,000 double rubs Use: Upholstery at FN-1

F-6 Manufacturer: Schumacher Pattern: 61061 Mangalore Silk Color: Mimosa Content: 100% silk Width: 54” Repeat: V 35 1/2" H 26 3/4" Use: Upholstery at FN-3

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MATERIALS & SPECIFICATIONS

FURNITURE

STONE & TILE FN-1 Manufacturer: Circa A.D. Series: Seating Type: Edo Lounge Chair Dimensions: 29.5" x 26" x 26" Finish: Mahogany Upholstery: F-3 Location: Lobby

S-1 Manufacturer: Arizona Tile Series: Granite Color: Galaxy Black Finish: Polished Size: 12" x 12" Location: Kitchen Counter

FN-2 Manufacturer: Sajica Series: Sofas Type: Agura Dimensions: 15" x 10" x 10" Finish: Walnut Upholstery: F-4 Location: Private Mezzanine

S-2 Manufacturer: Strata Stones Series: Pebble Tile Color: Bali Island Finish: N/A Size: 12" x 12" Thickness: 1/2" Dimensions: 3/4" x 2 1/2" Location: Garden Flooring

FN-3 Manufacturer: Hara Design Series: Dining Type: Zatuku Dining Set Finish: Cedar Upholstery: F-4 Location: Tea room

T-1 Manufacturer: Alyse Edwards Series: Haute Glass Collection Color: Golden Slumber Finish: Non-iridescent Size: 1" x 1" Location: Kitchen Counter

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MATERIALS & SPECIFICATIONS

WOOD W-1 Manufacturer: Nydree Flooring Series: Engineered Acrylic Species: Radiatia Pine Finish: Chrome Cut: Tongue & Groove Thickness: 3/8" nominal Dimensions: 4" W, 12"-47" L Location: Multiple Locations W-2 Manufacturer: Nydree Flooring Series: Engineered Acrylic Species: Reclaimed Poplar Finish: Natural Cut: Tongue & Groove Thickness: 3/8" nominal Dimensions: 4" W, 12"-47" L Location: Multiple Locations W-3 Manufacturer: Per Contractor Species: Cedar Finish: Shou sugi ban Cut: Per Contractor Thickness: Per Contractor Dimensions: Per Contractor Location: Walls

Shou-sugi-ban is an ancient Japanese technique that preserves wood by charring it. Traditionally Japanese Cyprus was used but today cedar and other woods are used in the application. The process involves charring the wood, cooling it, cleaning it by brushing the charcoal off and finishing it with a natural oil.

Though a traditional practice, the end result is a dynamic wood grain with a contemporary feel.

11 CODES

OCCUPANCY

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CODES

Occupany Classification » Assembly International Building Code » A-2 (Assembly, Food and/or Drink Consumption) Life Safety Code and NFPA 5000 » A-C (Occupancy Load ≥ 50 ≤ 300) > Often these spaces have low light levels, loud music, late operating hours, and ill-defined aisles (e.g., movable tables and chairs). The serving of food and drink is the most defining characteristic.

Occupany Classification » Mercantile International Building Code » M (Mercantile) Life Safety Code and NFPA 5000 » M-C (1 story ≤ 3000 square feet) > A building or part of a building is classified as Mercantile occupancy if it is open to the public for the display, sale, or rental of merchandise. Most typically, these can include restaurants and entertainment areas.

Accessory Occupancies » When two or more occupancies exist in a building but one of them is much smaller than the main occupancy type, the smaller occupancy may be considered an accessory occupancy by the codes if the smaller classification is less than 10% of the total area.

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CODES ACCESSIBILITY

Almost all occupancy classifications under certain conditions can be considered public accommodations and/or commercial facilities and can be regulated by the ADA guidelines under the Americans with Disabilities Act. Requirements Âť

> Percentage of accessible wheelchair locations

> Location/size of wheelchair areas in relation to

fixed seats

> Types of floor surfaces

> Possible assistive listening systems

> Types and placement of listening systems

> Clearance and height of self-service shelves/

display units

> Percentage of accessible fixed tables

> Access to sunken and raised platforms

> Height of counters and self-service shelves

> Width of access aisles

CONSTRUCTION TYPE

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CODES

Fire Resistance Rating Âť Type 1A (Highly Protected) > Type 1 Construction is considered highly protected.

This rating takes several components into consideration including structural frame, interior and exterior bearing walls, interior and exterior nonbearing walls and partitions, floor construction including supporting beams and joists, and roof construction including supporting beams and joists. > These buildings are typically constructed with steel and concrete and are considered noncombustible. Wood, if used, is highly retardant. > Mezzanines are usually only allowed if it does not exceed more than 1/3 of the room or area in which it is located.

The appropriate headroom must be provided at each level. The construction of the mezzanine is required to be the same as the construction type of the building in which it is located. Typically, the mezzanine must be open to the room in which it is located and requires one or two exits to the room or space below.

Some of the typical rules and most common exceptions when evaluating allowable building heights and floor areas are Âť

> Construction Type

> Occupancy Classification

> Number of Occupants

> Location >Sprinklers

> Fire walls

> Mezzanines

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CODES EGRESS

The typical means of egress assumes that occupants can exit the building on their own. An "accessible means of egress" must also be provided for those building occupants who with mobility limitations. Codes usually require that at least two of the required exits be accessible.

The capacity of the means of egress reflects the number of people that can safely exit a building in an emergency.

Four factors must be determined: number of exits, exit width, arrangement of exits, and travel distance. Exits for an entire building are determined during the initial building design.

Minimum Number of Required Exits for Occupant Load 1-500 » 2 Number of Exits Provided » 3 Egress Width Per Occupant Served (With Sprinkler System) » 0.2 inches per occupant Additional Egress Requirements »

> Minimum door width of 32 inches

> Maximum door width of 60 inches

> More than one exit

> Minimum corridor width of 36 inches

> Unobstructed exit paths

> Minimum aisle width of 36 inches

> Signage (Exits or exit-related signs)

> Emergency Lighting and communication

PLUMBING & MECHANICAL

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CODES

Minimum Number of Required Plumbing Fixtures Âť

> Water Closets: 1 per 75 females

> Urinals: 1 per 75 males

> Lavatories: 1 per 200 occupants

> Drinking Fountain: 1 per 500 occupants

> Other: 1 service sink

Mechanical System Âť All-air system > This system uses centrally located fans to circulate hot and cold air to and from a space through long runs of ductwork. All-air systems are the most widely used mechanical systems in large buildings. They include the variable air volume system (VAV), which is more popular, and the constant air volume system (CAV).

Binggeli, Corky, Pat Greichen, and Maryrose McGowan. Interior Graphic Standards.

Hoboken: John Wiley & Sons, 2011. Print.

12 ETHICAL & SUSTAINABLE UNDERSTANDING

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ETHICAL & SUSTAINABLE UNDERSTANDING

Ethical factors have become increasingly important over the past several years and restaurant design has not taken a back seat to being aware of that fact. The industry has actually embraced the movement towards social responsibility and continues to take strides for more sustainably practices and ethical considerations.

ConSERVE- Solutions for Sustainability is an initiative recognized specifically by the National Restaurant Association to educate restaurateurs about the benefits of conservation practices. This source not only educates business operators on how to tackle sustainable issues but also gives tips on how solving such problems will ultimately benefit the business. I believe the effort that these types of groups exert into creating awareness in their industry proves just how conscious restaurants are becoming of the ethical problems surrounding them.

Kaiseki restaurant operators will be expected to exert that same effort. The aim for Kaiseki will be to utilize sustainable materials available in the area, to source its food products from local markets, and to create an energy efficient space using green building practices. From an ethical standpoint, Kaiseki will encourage employees to participate in green initiatives. Another large commitment Kaiseki must make will be to purchase organically. This will benefit the customers by giving them healthy food options and endorses a natural, preservative-free lifestyle. All of these practices will benefit the environment both locally and globally.

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ETHICAL & SUSTAINABLE UNDERSTANDING

Kaiskei specifically should understand the cultural and social differences between the American market and the Japanese market, because it is influenced by traditional Japanese practices and design elements. It would be ethically irresponsible to create a business that doesnâ&#x20AC;&#x2122;t value the traditions for which it is modeled. A large factor for the design process will be to understand which materials and design characteristics are widely used, which may or may not include certain structural styles and interior aesthetics. Kaiseki will be greatly influenced by feng shui and the properties that encompass it.

Purchasing organic products has become a widely used practice throughout the food industry as of late.

Consumers are more aware of what they are eating and feel it is very important to consume more organic foods and fewer processed products. Businesses like Chipotle and Whole Foods advertise that their products are either locally grown, organic, or both, and that has diverted many people away from the McDonaldâ&#x20AC;&#x2122;s-like chains and towards natural products. Kaiseki will make every effort to inform their consumers that the food theyâ&#x20AC;&#x2122;re being served is organic, safe and supportive for a healthy lifestyle. Kaiseki wants its customers to have the best quality ingredients and not be worrisome about what is on their plate. For Kaiseki employees, a wellness program will be offered to give workers some insight into what they are selling their clients, and hopefully use the program to better their own lifestyles.

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ETHICAL & SUSTAINABLE UNDERSTANDING

By utilizing local materials, there are many beneficial outcomes for both the environment and the business.

Selecting materials from local sources will allow for a shorter transport to the construction site, essentially reducing the amount of emissions from the transport vehicle. The use of reclaimed wood or natural products like stone and glass will reduce the number of artificially produced materials on site. Other sustainable materials that may be considered are bamboo products because they are rapidly renewable, however the local availability may not be as simple as the above-mentioned woods and stones. Low VOC emitting materials and highly recyclable products should also be considered.

Kaiskei is located less than five miles from Cincinnatiâ&#x20AC;&#x2122;s downtown Findlay Market. The primary source for fresh food products in the area, Findlay Market supports over fifty local farmers, fishmongers, butchers, and bakers that provide the freshest food in the region. For Kaiskei as a business to purchase locally from Findlay Market they would not only be supporting small local businessman but also receiving the best food options to serve to their customers. These farmers bring their produce to the market three days a week so the food is guaranteed fresh with the use of fewer preservatives.

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ETHICAL & SUSTAINABLE UNDERSTANDING

The building shell is already equipped with an architectural mesh shading system on its main window wall faรงade.

The mesh allows only natural light to pass through into the interior and blocks harsh rays. This method reduces cooling costs, electricity costs, and solar heat gain.

Daylighting creates a stimulating environment for the users by improving the light quality and by reducing the amount of glare. The mesh also provides a great nighttime effect by reflecting the projected light and illuminating the exterior. In addition to the efforts already intact for reduced energy consumption, it will be essential to reduce carbon emissions by utilizing fluorescent and LED light fixtures and perhaps incorporate a solar roof panel.

Kaiseki will further its sustainability efforts by collaborating with a local recycling program to divert waste from landfills.

Employee training about recycling will be enforced to teach each new employee the importance of waste reduction and how to do so successfully in a restaurant environment.

Because food waste is such a large issue in restaurant establishments, a compost bin will be located outside and taken to a local composting farm. For water conservation, aerators will be installed in kitchen and restroom sinks to save as much usable water as possible, low flow toilets and automatic faucets will be installed in restrooms, remote condensing units will be included on ice machines and on-demand water heating systems will be utilized.

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ETHICAL & SUSTAINABLE UNDERSTANDING

From a more socially responsible perspective, Kaiseki understands that there are ways to contribute to the environment more so than sourcing local materials and recycling. Kaiseki supports many local organizations that are focused on keeping the neighboring landscape flourishing. Keep Cincinnati Beautiful is a volunteer organization that works to maintain the community environments. Involvement in efforts such as American Cancer Society and Freestore Foodbank are just a few examples of other groups Kaiseki will build relations with in order to sustain ethical responsibility.

Conserve-Solutions for Sustainability. The National Restaurant Association, 2012. Web. 7 June

2012. <www.conserve.restaurant.org>.

"Greening the Market." Findlay Market. Web. 07 June 2012. <http://www.findlaymarket.org/>.

"LEED for Existing Buildings: Operations and Maintenance Reference Guide Glossary." Home:

ENERGY STAR. USGBC, July 2008. Web. 07 June 2012. <http://www.energystar.gov/>.

PROFESSIONAL 13 PRACTICE

LETTER OF AGREEMENT

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PROFESSIONAL PRACTICE

March 10, 2013 Jun Shan, General Manager 2484 Grandin Rd. Cincinnati, OH 45208 Dear Mr. Shan, It was a pleasure meeting with you last week to finalize the next phase of your new establishment, Kaiseki, to be located in the former David A. Millett Showroom, 3061 Madison Road in Cincinnati. This letter of agreement outlines the services, fees, and other responsibilities of this firm, beginning June 18, 2012.

Based on our preliminary discussions, it is my understanding that the spaces to be included in the project are the ground floor (to include the tea rooms, garden, lobby, kitchen, restrooms, stock room and employee locker room), second floor (to include managerial offices), and mezzanine (to include partial kitchen and private tea room).

It is also my understanding that you wish to purchase the freestanding furnishings directly. To that end, we will provide specification documentation to assist you in making your purchases. While it is not expected that JLS Interiors will be selling you the materials as part of this agreement, we stand ready to assist you with the bid preparation and/or acquisition management as an additional service should you request the services at a later date.

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PROFESSIONAL PRACTICE LETTER OF AGREEMENT

Based on our recent discussions, I have outlined the scope of services and terms of the project below: A. Programming and Schematic Design •Meet with you and/or selected members of your team to determine the requirements that will affect the space planning and interior design of your project.

•Acquire floor plans and other relevant documentation of the building from the present owner and verify their accuracy.

•Survey existing layout and conditions that may be used in the design.

•Outline project objectives and provide a statement of probable project cost based on preliminary programming work.

•Review all programming findings with you and/or selected members of your team.

•Prepare preliminary schematic drawings.

•Develop preliminary furniture, color, and materials selections.

•Review schematic layouts, selections, and sketches with you and/or selected members of your team.

B. Design Development •Develop space plans, outline specifications, and other documentation (including perspectives and sections) detailing major functional spaces.

•Develop and finalize selections of all materials, finishes, and treatment for furniture, walls, flooring, windows, and ceilings.

•Prepare a statement of probable cost for interior furnishings.

•Present plans and product specifications for your approval.

LETTER OF AGREEMENT

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PROFESSIONAL PRACTICE

C. Contract Documents Phase •Prepare appropriate documents necessary for the construction of the space and installation of the interior work (including dimensioned floor plans, furniture layouts, reflected ceiling plans, electrical and MEP layouts for coordination with consultants, and elevations and details for millwork, casework, or other built-in work, and specifications).

•Prepare specifications and bid documentation for construction.

•Prepare specifications and bid documentation for furniture and equipment.

•Consult with you and/or your team members in developing the qualified bidder’s list.

D. Contract Administration Phase •Assist in obtaining and comparing competitive bids for construction furnishings and other elements.

•Assist in coordinating the schedule for delivery and installation of the work.

•Make periodic visits to the jobsite to ensure that the work in progressing in accordance with the contract documents.

•Coordinate installation of furniture, fixtures, and equipment provided by successful bidders.

•Upon completion of the installation, prepare a punch list of items needing attention by the contractor or vendors.

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PROFESSIONAL PRACTICE LETTER OF AGREEMENT

Terms of Compensation: Compensation for the basic services described above will be calculated on a lump sum basis. The fee is $250,000.00 payable for the work completed in association with the project. Additional services, including work required by a change in the project scope, design, or other services requested will be billed at an hourly rate of $200.00. No additional services will be performed without the written consent of Mr. Shan.

Reimbursable Expenses: Direct costs to the project will be considered Reimbursable Expenses and will be computed as a multiple of 1.15 times the actual expense incurred by JLS Interiors in the interest of the project. Reimbursable Expenses include but are not limited to the expense of transportation in connection with the project, long distance communication, filing or application fees required by regulatory authorities having jurisdiction over the project site, expense of production, reproduction, postage and handling of documents. Other expenses may be necessary and will be discussed with you before they are incurred.

Services of Other Consultants: The scope of this project may require services of consultants and/or other contractors. While JLS Interiors is not responsible for such relationships regarding their contracts and compensation, we will endeavor to work with Mr. Shan to suggest possible sources, probable fees, and other costs to assist with the timely inclusion of these services into the project. All consultant fees will be billed directly to you by the consultant.

LETTER OF AGREEMENT

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PROFESSIONAL PRACTICE

Billings and Payments: The client will pay an initial fee of $25,000.00 upon signing this agreement. This initial fee will be credited to you in the final project invoice. Invoices for services and reimbursable expenses will be sent on a regular, periodic basis. Invoices will be sent by email (with a hardcopy following by standard mail). Invoices are due when rendered and shall be considered past due if not paid within fifteen days after issue date. If the invoice is not paid within thirty days of the issue date, JLS Interiors may, without waiving claim or right against Mr. Shan and without liability whatsoever to Mr. Shan, suspend or terminate the performance of services. Payments to third party consultants are due in accordance to their billing procedures and are to be paid directly to the third party provider.

Terms and Conditions: I. All documents prepared for this project by JLS Interiors under this agreement remain the property of JLS Interiors and may not be used by Mr. Shan or any other person or endeavor without consent from JLS Interiors. However, Mr. Shan may use all documents, reports, and findings prepared under this agreement for the completion, implementation, and/or execution or recommendations contained therein.

II. Mr. Shan will provide JLS Interiors the opportunity to photograph the project and use such images in the promotion of its business endeavors. Photographs will clearly credit the project.

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PROFESSIONAL PRACTICE LETTER OF AGREEMENT

III. JLS Interiors provides good faith in assisting you in obtaining the services of qualified contractors but cannot be held responsible for the performance, quality, or timely completion of work by these third parties. Further, JLS Interiors is not responsible for changes made by you or your consultants without notification to the designer.

IV. JLS Interiors will provide on site review during the construction, as the firm deems necessary for the sole purpose of establishing compliance with the construction documents. Primary construction supervision remains the responsibility of the contractors hired to work.

V. JLS Interior will have access to the site for activities necessary for the performance of services. Mr. Shan understands that JLS Interiors is not responsible, in any way, for the means, methods, sequence, procedures, techniques, scheduling of construction, or jobsite safety, and will not be responsible for any losses or injuries that occur at the project site.

VI. This agreement may be terminated by either party upon seven days written notice. In the event of termination, Mr. Shan agrees to compensate JLS Interiors for all work completed up to the termination.

VII. All claims, counterclaims, disputes, and other matters in question between the parties hereto arising out of or relating to the agreement or breach thereof shall be presented to non-binding mediation, subject to the parties agreeing to a mediator, prior to either partyâ&#x20AC;&#x2122;s initiation of arbitration or other legal action.

VIII. The laws of Ohio shall govern this agreement.

LETTER OF AGREEMENT

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PROFESSIONAL PRACTICE

IX. In recognition of the relative risks, rewards, and benefits of the project to Mr. Shan and JLS Interiors, the risks have been allocated such that Mr. Shan agrees that, to the fullest extend permitted by law, a total liability to JLS Interiors for any and all injuries, claims, losses, expenses, damages, or claim expenses arising out of this agreement from cause or causes, shall not exceed $500,000.00 for any claim arising out of negligence.

X. This agreement represents the entire and integrated agreement between Mr. Shan and JLS Interiors and supersedes all prior negotiations, representation or agreements, either written or oral. This agreement may be amended only by written instrument signed both by Mr. Shan and JLS Interiors.

If this agreement is in keeping with your understanding, please sign in the space provided below and return a signed copy to our office along with a check for the $25,000.00 initial payment. Upon receipt, weâ&#x20AC;&#x2122;ll begin work on the project. Our first step will be to schedule a meeting with you and the project team to prepare the strategic plan for project implementation.

Thank you for the opportunity to work with you again and to realize the ideas we developed during the programming phase. We look forward to an engaging and productive working relationship.

Offered By: Jennifer Sullivan, Principal Designer JLS Interiors

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January 7 » January 30

March 27 » April 23

PROFESSIONAL PRACTICE Phase 3: Design Development

Phase 7: DAAPWorks April 22 » April 26

January 30 » April 8

GANTT SCHEDULE

Phase 4: Build Fragment Model

Plan Actual

April 1 » April 23

Wk. 8 Wk. 9 Wk. 10 Programming

Wk. 11

Plan Actual

Mileposts

Milestones

Wk. 1 Wk. 2 Wk. 3 Wk. 4 Wk. 5 Wk. 6 Wk. 12 Wk. 13 Wk. 14 Wk. 15 Wk. 16

» Revised Program Due

1/30

4/26

4/8

» Send Book for Publishing

Schematic Design 1/30

Design Development 4/8

Build Fragment Model » Turn in Model to RPC

4/1

» Finish Model for Book

4/8

4/23

4/8

4/23

Technical Reviews 3/27

Presentation Production » Send Book for Publishing

DAAPWorks 4/23

Wk. 7

Wk. 8

Wk. 9

GANTT SCHEDULE

Plan Actual Wk. 8

Wk. 9

Mileposts

Milestones

Wk. 10

Wk. 11

Wk. 12

Wk. 13

Wk. 14 4/8

Wk. 15

Wk. 16 4/26

4/8

4/1

4/8

4/23

4/8

4/23

3/27

4/23

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PROFESSIONAL PRACTICE

14 INTERVIEWS

INTERVIEW 1 > STEPHAN HARMAN > FUSIAN ENTREPRENEUR

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INTERVIEWS

What advantages and disadvantages are there to being located in a downtown setting?

The advantage is that there is a strong daytime population downtown. I heard once that there are about 600,000 people working downtown during the week. The disadvantages are that there is little parking and the dinner and weekend business isn't as strong.

Did you have previous experience in this business before deciding to open your own restaurant? If not, why did you choose sushi as your restaurant type?

No, we had no experience. We decided to get into the sushi business because there are pretty few options downtown. We partnered with another man in the business that helped us get started. And sushi rocks.

I know that your downtown location was your first site. What have you learned from this location that changed your design goals for the next site?

We've learned a lot about the business which is why for our Dayton location we wanted to target a larger and weekend crowd. For the design changes we have teamed up with with FRCH to enhance the interior aspect.

Many people appreciate the business ethics of Fusian because you claim to use sustainable natural products for both your food and the various materials you see around the restaurant. What are a few examples of those sustainable practices?

Almost all of our consumer products are compostable and composted, from the food scraps to the containers we serve the food in and we are 98% landfill free. Many of the food products are farmed. In the restaurant we use eco-materials and LED or fluorescent lighting.

One of the most ideal aspects of Fusian is the quick, almost fast-food-like service. Is this an appealing business practice for the owner or in future restaurants will you implement the use of sit-down tables for dine-in guests? And if this is the case, would that make it easier to expand the menu options?

We like to refer to ourselves as upscale fast casual because our concept fits the niche between dine-in and grocery bought products. The concept we have now creates a different consumer experience.

What is the biggest complaint you receive if there is any? Do you feel that the design of the restaurant have any part in that?

The design is the biggest complaint mostly from our co-workers. Operations management is difficult because of the size and the equipment in the downtown location needs imrovement.

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INTERVIEWS

Do you feel that the style of sushi you serve is â&#x20AC;&#x153;Americanizedâ&#x20AC;? or do you try to consider cultural characteristics of the food when deciding what to put on your menu?

We definitely have an "Americanized" menu. We want to market to people who have never had sushi before and might be nervous about trying it. We try to bring something familiar to the food to expand our our consumer base. For example, this month our fruit of the month is strawberries which isn't something you would typically find in sushi.

Did you personally design the first restaurant site? If so, what drove your design decisions? Did you do any prior research on other sushi venues or were you attempting to create something unique for this brand?

Yes we did personally design it but we didn't do much research. We wanted to focus on a Chipotle style of create your own dish and were inspired by the warm colors Panera uses in their restaurants. Our first name was "Soho Sushi" so we wanted a warehouse feel and to play off of the existing materials that were in the space.

What are your future plans for the restaurant? Do you intend to expand the chain further into neighboring states or would you like to keep it local?

Our goal is to have 500+ locations nationwide.

Where do you purchase all of the food products that you need to operate each restaurant? Do you buy from local sources or do you have to order a lot of the product to be shipped in? How often do you purchase your fresh food items?

Ohio is seasonal which makes purchasing locally year round difficult but we do source local from produce suppliers in Dayton, Kentucky, and Chicago. Many things we have to source from out of state in order to get exactly what we want.

What advice do you have for an entrepreneur that wanted to start their own business in the restaurant industry? Do you think there are any significant differences between operating a typical restaurant versus a sushi venue?

Sushi is a more sensitive food type so the restaurant has to be conscious of what is going to get them good business. But you can't have a good restaurant business at all without an enjoyment for food.

Dive in and experiment with things you might not be comfortable with. Don't ever stop asking questions that will help you out.

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INTERVIEWS

What is your favorite part about operating this business?

The rush of the busy days in the restaurant and the proud feeling of getting people to enjoy something they may have never had is the best part. Serving food touches on every sense; taste, feel, touch, sight, hear; we pick our own music, serve fresh and amazing food and have natural materials in the restaurant.

Many people frequent Fusian because of the relatively low prices. In comparison to nearby sushi hotspots the prices seem to target a more casual market. Would you ever consider translating some of the restaurant sites into a more formal dining style or do you think that would tamper with the image of the brand youâ&#x20AC;&#x2122;ve created?

We are raising our prices a bit and increasing the interior feel that will create a better experience than what we have now. I don't think we would actually create formal dining venue but there is a value to having a space where you can eat in rather than quick-dining.

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INTERVIEWS INTERVIEW 2 > JENNIFER ENG > FRCH DESIGNER

It seems as though even with the recent economic downturn sushi restaurants are thriving in every geographic area you go to. Why do you think that sushi restaurants in particular have become such a predominant presence in the restaurant industry over the last 10-20 years?

The popularity in media and availability of people to educate about the food has increased. Sushi is more in demand in more ethnically diversified areas. Sushi also tends to be a healthier option so it is more appealing.

Do you think the American version of Japanese sushi dishes has taken away any cultural significance of the traditional cuisine? Or do you think Japanese consumers embrace the unique alterations Americans have made because it is not the ordinary dish they are accustomed to?

Americans have a false sense of tradition and tend to be "scared" of ethnic foods but American sushi eases the style of food into the culture and bring the two cultures together. Typically Japanese sushi is very plain so while it may take away cultural significance, it is also exciting to see the new innovations that chefs come up with.

There are currently over 75 sushi restaurants located in the Greater Cincinnati area. For what reasons do you think sushi restaurants seem to flourish in this area more so than other types of restaurant venues?

Do you think these venues seem to target a particular age group or household income?

Cincinnati is home to several large corporations like Proctor and Gamble, Toyota, and Suzuki which are science related and large Asian employers so those people want a taste of home. It is also largely based on popularity since it targets a younger market of ages 25 to 40. The restaurants also have to target people with a medium income since the prices are based on ingredients; fresh ingredients are harder to come by in a landlocked city.

What spatial needs are necessary for this type of restaurant venue? How much space should be designated for back of house operations? Is there a suggested amount of square footage that should be designated for the restrooms and lobby?

Bathrooms relate to the local code. The sushi area itself doesn't need much space because it doesn't require much equipment. Back of house for cooked food must be larger because of all of the equipment requirements needed to fit code restrictions. All spatial needs will vary based on capacity.

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INTERVIEWS

I certainly want to incorporate Asian design elements into the space but also want the space to feel modern and organic. Are there certain design elements or materials that should be avoided or embraced so the space evokes a sense of a traditional sushi bar and tea house without being too literal or over the top?

Avoid rice paper, samarai men, and pagoda architecture. Many people don't like the tatami-style booths because they don't like to kneel. Embrace nature, wood tones, clean lines, and little clutter.

To what degree is sustainable design in a restaurant feasible? What types of suggestions do you have about how to obtain sustainable elements either through materials, systems or practices in the business?

Do customers of restaurant venues appreciate green building as much as other types of industries like corporate or residential?

Sustainable practices like the types of detergents used, lighting, using recycled/recyclable content are good ways to be green. Daylighting systems help reduce energy consumption and solar heat gain.

People aren't going to avoid places because they aren't sustainable, but communicating the green story will at least help customers understand the efforts made.

In the teahouse wing of the building I want to include a small merchandise area for customers to purchase their favorite tea or products from the restaurant. How do you suggest incorporating a small retail space into the teahouse portion of the restaurant? Can it be clearly visible from the dining/cafĂŠ space or would it be more appropriate for the merchandise to be partitioned into a separate space from the dining?

Keep the design simple and uncluttered. Most retail spaces within restaurants are small vignette or presentation spaces. The retail can be intergrated if it is kept simple otherwise it can be its own space.

I am aiming to create a space that is modern and organic. I want the sushi bar to be trendy and colorful while the teahouse is more serene and peaceful. Are particular colors or materials more appealing to a restaurant of this nature? Do you have suggestions on how to differentiate the two spaces while also keeping a uniform atmosphere throughout the whole building?

Be cautious of what colors can be agitating to diners and which are more calming.

Which ADA issues do you find to be the most predominant in restaurant or which codes are most important to be conscious of?

Wheelchair accessibility is the biggest one. Make sure to have elevators and wide doors.

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INTERVIEWS INTERVIEW 3 > MELISSA SULLIVAN > POTENTIAL CUSTOMER

What types of restaurant do you usually choose to eat out at?

I typically go to moderately priced restaurants so Im not spending a fortune on a meal.

What is your favorite type of dining experience (dine-in, take-out, fast food)?

I enjoy dining in and take out equally. Its nice to get out and enjoy a different atmosphere when dining in and when taking out its quick and you get to choose where you eat.

Before you go out to a restaurant do you ever check the menu beforehand online to see what your options are before you arrive?

No i don't usually go online to check the menu before I go out to eat.

Most sushi restaurants are not mainstream or large chain businesses like Chipotle or Applebeeâ&#x20AC;&#x2122;s. How have you typically discovered the sushi restaurants that you visit?

I've discovered sushi restaurants from word of mouth mostly or I will go online and search for nearby places with good ratings.

Have you ever ordered food other than sushi at a sushi restaurant?

When I go to a sushi restaurant it was to experience the sushi so I don't buy anything else other than that.

Have you ever visited a teahouse that specializes specifically in tea service? Have you ever visited a retail store that only sells tea products?

I have been to a retail store that only sells tea products and it was called Teavana. They have many varieties to choose from which is great for a tea lover like me.

How often do you eat out at sushi restaurants?

I typically only go to sushi restaurants a couple times a year. Not many of my friends are fans of sushi so it's hard to go out to eat there when I don't want to go alone.

What is your favorite part of the sushi dining experience?

My favorite part of sushi dine in is that its fresh and made specially for you.

Is there anything that bothers you about going out for sushi (donâ&#x20AC;&#x2122;t understand the menu, restaurants are too small)?

Nothing bothers me about sushi restaurants. I enjoy the atmosphere and everything about it.

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INTERVIEWS

How often do you purchase sushi from a grocery store to eat at home?

I purchase sushi at grocery stores about once a week or every other week.

Would you enjoy eating out at a restaurant where you can interact with the chef during your meal preparation?

I only enjoy eating out at a restaurant where you can interact with the chef if the chef is outgoing and not shy. If they are it can make for an awkward dining experience.

What is one thing about sushi that you dislike or wish you could change?

The one thing i would change about sushi is to make them more bite size. It can be pretty messy if you take two bites or if you take one then you're mouth is overflowing.

Would you like having the option to purchase the food or drink items you were served during your restaurant visit?

Yes I would like to have the option to purchase the food items or drinks served.

What is the most exciting thing about sushi or describe a great memory you have involving an experience at a sushi restaurant?

The most exciting thing about sushi is how much care is put into it and the patience. It's like art.

15 HOW TO ROLL SUSHI

» Prepare various components to be the filling for the sushi.

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HOW TO ROLL SUSHI

» Place a sheet of Nori seawee shiny side up on your mat.

» Spread a cup of sushi rice thinly over the Nori sheet.

» Flip the Nori so the race faces down and layer with filling.

» Roll sushi tightly so ingredients stay in place and rice sticks.

» Use sharp, wet knife to cut roll into even pieces.

» Enjoy!

16 BIBLIOGRAPHY

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