S P E A K E A S Y A
“ SPI R I T E D ”
L O OK
U N IQU E
AT
T H E
DR I N K I NG
QU E E N
C U LT U R E
KYLE K. BERRY
T H E
F I R S T
E DI T ION
C I T Y ’ S
INDEX I N T R O D U C T I O N . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.0 PROJECT BACKGROUND............................................................1.1 PROJ EC T R AT IONA L E ...............................................................1 . 2 PROJECT SCOPE.......................................................................1.3 PROJECT SIGNIFICANCE...........................................................1.4
T R E N D S & D E S I G N C H A L L E N G E S . . . . . . . . . . . . . . . . . . . . . . 2.0 HISTORICA L BACKGROUND.......................................................2.1 FUTURE TRENDS.....................................................................2.2 S T E E P A N A LY S I S . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 . 3 THEMES AND INSIGHTS...........................................................2.4 PROBL E M IDEN T IF IC AT ION..................................................... 2 . 5
P R E C E D E N T S . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3.0 CASE STUDIES.........................................................................3.1
S I T E & C O N T E X T . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4.0 SITE CRITERIA.........................................................................4.1 POTENTIAL SITES...................................................................4.2 S I T E E VA L UAT I O N S . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 . 3 S WO T A N A LY S I S . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 . 4
P R O J E C T P R O P E R T I E S . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5.0 FACIL I T Y DE S CR IP T ION........................................................... 5 .1 CLIENT PROFILES....................................................................5.2 U S E R J O U R N E Y M A P. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 . 3 VA L U E P R O P O S I T I O N S . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 . 4 PROGR A M ADJACENCIES...........................................................5.5 PRO GR A M A R E A E ST I M AT E S ..................................................... 5 .6 BUILDING CODE R EQUIR EMENTS.............................................5.7
S U S T A I N A B I L I T Y & E T H I C S . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6.0 ET HIC A L & SUSTA INA BL E IS SU E ................................................6.1 S U S TA I N A B I L I T Y. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 . 2
D E S I G N P R I N C I P L E & C O N C E P T . . . . . . . . . . . . . . . . . . . . . . . . 7.0 C O N C E P T. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7. 1
S O U R C E S . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8.0 B I B L I O G R A P H Y. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 . 1 IM AGE SOURCES......................................................................8.2
A P P E N D I X . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9.0 USER INTERVIEWS & QESTIONNAIRE........................................9.1
S P E A K E A S Y A
“ SPI R I T E D ”
L O OK
U N IQU E
AT
T H E
DR I N K I NG
QU E E N
C U LT U R E
C I T Y ’ S
IN T RO 1 .0
S P E A K E A S Y T E L L I NG
T H E
TA L E
T H ROUGH
OF
A
BYG ON E
DE SIG N
E R A
INTRODUCTION PROJ E C T
B ACKGROU N D
Every grand adventure begins with a STORY
T
he ability of one’s design to tell a story is as crucial to the user experience as a quality gin is to a good Negroni. If you’re missing that essential element, everything else falls flat. This fact rings most true in the design of themed attractions. Merriam Webster’s Dictionary defines a themed attraction as “something interesting or enjoyable that people want to visit, see, or do involving a particular topic or motif that tells either a fictional or factual story.” In a themed attraction the user experience is key.
It was through this work that I became more interested in the designs and stories behind themed spaces. I must confess however, I’m not exactly the “Disney type”. By this of course I mean that unlike the fair Cinderella, you won’t have a problem finding me at “the ball” well after the clock strikes twelve.
It was this that got me thinking, why couldn’t someone apply the imagineering, storybased method of design, to something a bit more grown up. Why not design a themed version of the very thing I needed after a At my previous co-op as an Imagineer long day surrounded by rambunctious for the Walt Disney Company, I was often sticky fingered children and their plodding involved in the design and implementation parents ? of themed attractions and spaces within various Walt Disney World Properties. Why not design a bar?
1 .1
PROJ EC T
R AT IONA L E
This project is being undertaken as a means of challenging myself to apply the successfully proven Walt Disney Imagineering method of story-based design to a spacce often not associated with the squeeky clean image of Mr. Disney’s famous properties. It is my objective to design a speak-easy style bar that takes it’s patrons on a journey back to prohibition era Cinccinnati.
PROJ EC T
S COPE
This project will cover the research and design of the speak-easy bar, as well as the curation and development of it’s unique backstory. Elements of the story are to be implimented within the design so that it is inherently apparent to the user what this space is all about. The project scope will be limited to the overall design and remodel of the selected space.
SIGN IF IC A NCE This project is significant in that it will be one of the first adult spaces of it’s kind created using the story-based method of design of most commonly utilized in the creation of themed attractions.
1 . 2
1 . 3
1 .4
T R ENDS 2 .0
A “ SPIR I T ED� HIST ORY OF T HE QU EEN CI T Y
The City of Cincinnati was founded in 1788 by European Americans on the Northern banks of the Ohio River. Ethnic Germans were among many of the early settlers and they brought with them their traditions of brewing beer. Before long the City of Cincinnati had more breweries per capita than any other city in the nation. The city was also once home to some of the finest sparkling Catawba wineries in the world before the crop was wiped out by fungi in the late 1800s. Today, the Queen City has begun to see a resurgence in this brewing tradition with locals and tourists alike flocking to the many breweries located in historic Over the Rhine.
P OP U L AT ION:
2 9 6 , 9 4 3
A R E A :
7 9. 5 4
F O U N D E D :
17 8 8
R A N K :
6 5
C I NC I N N AT I
BR E W E RY
2 .1
S Q
M I
T H
L O C AT ION S
T R E N D S DE V E L OPI NG
T R E N D S
E N T E R TA I N M E N T
I N
T H E
SE C T OR
SHHH ...
T HE
SPE A K E A S Y
IS
B ACK
Dim, sultry, and need-to-know: there’s no more evocative image in American drinking than the speakeasy. And they’re in fashion for the first time since Prohibition. With bars such as The Violet Hour and Hanson’s Shoe Repair popping up all over the nation.
SENSE S
E VOK E
A
F EEL ING
Designers have been employing the 5-senses for years as a way to further enhance their designs and bring about new connections and emotions with the user. Recently designers of themed attractions have been employing more than just sight and sound to garner a reaction from the guest.
ST ORY T EL L ING
IN
DE SIGN
Designers of are finding storytelling to be more crucial in garnering a reaction from the user now than ever before. Guests have come to expect a fully immersive experience where they can live out their fantasies of being a part of an exciting adventure.
2 . 2
S T E E P A
S T E E P
E VA LUAT E W H IC H
A N A LY SI S
I S
DI F F E R E N T I M PAC T
A N
A
T O OL
USE D
E X T E R N A L
T O
FAC T OR S
ORG A N I Z AT ION .
S O CI A L Social factors that affect the bar/entertainment industry includes the average age, niche markets, and cultural norms. The average bar patron is between the ages of 21-50. While most customers go to bars and nightclubs to socialize, bar activities tend to focus more on drinking, while nightclubs focus on entertainment and dancing. The societal shift away from alcohol toward healthier lifestyles is also contributing to a decline in trips to bars and nightclubs. Alcohol consumption is expected to grow by about 0.08% per year.
T ECHNOL O GIC A L In an era of continuous technological advances, the bar/entertainment industry has seen different approaches to taking this on. In the entertainment industry, new technologies, such as the use and implimentation of augmented reality are often sought after and used. However, the traditional bar seems to be less inclined and slower moving in the adoption of emerging technologies.
ECONOM IC The economic climate can have a strong impact on the bar/entertainment industry. consumers
Bar/entertainment spending is viewed as a luxury by many so
during
difficult
economic
times
such
as
the
Great
Recession of 2009, spending on entertainment was reduced by 0.9%. This number has since made a rebound however, up 2.3% since 2011.
EN V IRONM EN TA L There are few environmental regulations on the opening of a bar/ entertainment establishment as these venues often have little affect on the local environment. It should be noted however that these establishments often have the opportunity to use reclaimed materials and finishes in their construction, as well as energy efficient lighting and appliances.
P OL I T IC A L Goverment restriction is often heavy within the bar/entertainment industry. Varying state liquor laws, along with government regulation of alcohol, and city and local ordinances concerning the serving of alcoholic beverages and noise often complicate the opening of drinking establishments.
2 . 3
THEMES & INSIGHTS E M E RGI NG
PAT T E R N S
W I T H I N
E N T E R TA I N M E N T
SE C T OR
T H E
PA ST From the previously mentioned trends it can be concluded that in the design of new spaces, people are still longing for a feeling of history and past. This is evident in recent resurgence of speakeasies and the increased focus on craft in how things were once made.
E X PER IENCE Experience has always been an important part of the entertainment sector. People are constantly seeking new and exciting experiences that they can share with their friends and loved ones and it is this industry that is always ready to deliver.
JOU R N E Y However, experience alone is not always enough. When it comes to the design of themed attractions and spaces within the entertainment sector, people are looking to go on a journey. Patrons are now viewing their entertainment as an escape from the mundane and have come to expect an exciting elevated adventure.
2 .4
THE QUESTION HOW T HE
MIGH T USER S
T HE M
ON
E VOK E S A N D
W E
E M PL OY
SENSE S A
T O
JOU R NE Y
F EEL ING S
CR E AT E S
A
OF
T H AT PA ST
L A ST ING
I M PR E S SION
T HROUGH
GU ISE
A N
OF
TA K E
T HE
O N-T R E N D
SPE A K-E A S Y ST Y L E DR INK ING A N D
EN T ER TA INM EN T E STA BL ISH M EN T ?
2 . 5
PR ECEDEN TS 3 .0
THE VIOLET HOUR C H IC AG O,
I L
PRECEDENT I T HE
V IOL ET
HOU R
A sophisticated speakeasy.
T
he Violet Hour is a sophisticated speakeasy hidden behind an ever changing billboard in the hip Chicago neighborhood of Wicker Park. Creative cocktails, small bites, and a cozy yet elegant atmosphere help define this Windy City Secret The Violet Hour serves artisanal cocktails in the heart of Wicker Park. Rooted in pre-prohibition style libations, the James Beard Award-winning bar program features a seasonally rotating cocktail list, as well as an extensive selection of approachable and sought-after spirits.
The Violet Hour’s facade features an ever-changing mural with a singular light bulb designating its entrance. Divided into three salons, the interior features high-backed blue leather chairs clustered around small white tables that are illuminated by candlelight. A marble bar spans the length of the room and features cornflower-blue walls, white crown molding, crystal chandeliers and hardwood floors, giving the space an elegant feel.
3 .1
H A NSONS SHOE R EPA IR OR L A N D O,
F L
PRECEDENT II H A NSONS
SHOE
R EPA IR
A sophisticated speakeasy.
H
anson’s Shoe Repair is a cozy speakeasy disguised as a shoe repair shop in the heart of downtown Orlando. Craft cocktails, hundreds of flickering tea candles, and a must know password make this the place to get into in central Florida. Access to Hanson’s Shoe Repair is not always that easy however. Their deceptive website suggests nothing more than your run-ofthe-mill shoe shop offering onyl repair and shine services. To gain access, one must either text or call the business’ telephone number listed online and eagerly
3 .1
await a mysterious individual’s reply with that night’s password. This challenging, need-to-know approach to giving bar patrons access makes the feeling of exclusivty all that much better. Despite the required hoop-jumping and lack of overall promotion, Hanson’s Shoe repair boasts a long wait outside the door almost every weekend. The ever-elusive definitely back.
speakeasy
is
JA PPS SINCE 1879 C I NC I N N AT I ,
OH
PRECEDENT III JA PP S
SINCE
1879
A sophisticated speakeasy.
J
app’s is a classic craft cocktail bar by the talented mixologist Molly Wellmann. Japp’s specializes in handcrafted cocktails using only the freshest ingredients, made in-house, and inspired by classic cocktails from the 1700’s to the 1950’s.
experience. The building’s architecture complements the 100+ year history of Japp’s as a forner hair and wig store, and the unique history of Cincinnati’s Over the Rhine neighborhood. All of this provides an ideal setting for patrons to enjoy drinks and conversation.
Japp’s expert mixologists, headed by the “spirited” Ms. Wellmann are well versed in the history of the drinks they create, and the spirits that go into them.
House made ingredients, original 1800s architecture, occasional live music, and NO TV’s makes Japp’s one of the most authentic places to enjoy a crafted libation.
The environment at Japp’s was designed so that one can have an authentic Queen City cocktail
3 .1
SITE & CONTEXT 4 .0
S I T E E V A L U A T I O N CR I T ER I A From the following criteria the buildings strengths, weaknesses, and possibility for opportunity were evaluated and from that each building was rated on the given points system. The site with the highest number of points was selected.
L O C AT ION Convenience of access and use for the intended users. . . . . . . . . . . . . . . . . . . . . . ( 1 p t ) Compatibility with adjacent facilities. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ( 1 p t ) Central Location within the city. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ( 1 p t ) Distance from competing facilities. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ( 1 p t )
BU IL DING
PROPER T IE S
Appropriate size and volume of shell space. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ( 1 p t ) Appropriateness of shell shape in plan and section. . . . . . . . . . . . . . . . . . . . . . . . . . ( 1 p t ) Opportunities offered by the site with respect for the intended use. . . . . . . ( 2 p t ) Distance from competing facilities. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ( 1 p t )
CH A R AC T ER Suitability of the building exterior with respect to initial ideas regarding aesthetic expression. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ( 2 p t ) Presence of unique, int act, histor ic, architectural det ails w ithin the building. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ( 2 p t )
12 T O TA L
P OS SIBL E
P OIN T S
4 .1
4 . 2
4 2 5
F I N D L A Y
S T
L O C AT ION
2
This building’s location near historic Findlay Market puts it in an up and coming neighborhood, however this location also sports a high crime rate which makes it less ideal for late-night bar-goers.
BU IL DING
3
PROPER T IE S
This building is much larger with more open space than the other two possible sites and may prove challenging in designing an intimate bar/lounge.
CH A R AC T ER
3
This building boasts ample historic character with a history as an antique and furniture shop and much of the original signange still intact. There is however little historic interior detail.
8 T O TA L
P OIN T S
4 . 2
1 0 8 W. 3 RD S T R E E T L O C AT ION
4
This building features a prime downtown location near the Banks and right across the street from Paul Brown Stadium that could prove useful for a sports bar. There is also ample parking right next door.
BU IL DING
1
PROPER T IE S
Although the building features a total of 6 stories above grade, the floor foot prints are actually rather small and in order to accommodate crowds large enough to sustain a bar, the facilities would have to expand vertically which is not ideal.
CH A R AC T ER
2
This building has unfortunately been stripped of most of it’s original character. There is a possibility however to feature some exposed brick walls.
7 T O TA L
P OIN T S
4 . 2
SEL EC T ED
SI T E
2 2 W. 9 TH S T R E E T L O C AT ION
4
This building’s central downtown location provides ample foot traffic and nearby parking, while still remaining far enough away from the bars of OTR and the Banks.
BU IL DING
4
PROPER T IE S
This building is appropriately sized to accommodate a large bar with the possibility of a kitchen for food service. The small and private outdoor space is an added bonus.
CH A R AC T ER
4
This building boasts ample historic character with multiple original fireplaces, a vault from it’s past as a bank, and a charming brownstone facade.
12 T O TA L
P OIN T S
E X IST ING
IN T ER IOR
4 . 3
I M AGE S
2 2 W. 9 TH S T R E E T BU IL DING
PROF IL E
Loated in the heart of Cincinnati’s Central Business District, 22 W. 9th Street was constructed in the year 1840 and boasts 8,075 sq ft of space.
A S-BU ILT
F IR ST
A S-BU ILT
F L O OR
S OU T H
PL A N
EL E VAT ION
4 .4
S W O T A
S T U DY
T O
I DE N T I F Y
S T R E NGT H S
A N D
T H E
BU I L DI NG ’ S
W E A K N E S SE S
ST R ENGT HS The building’s prime location in the Central Business District could attract proffessional clientelle just getting off work. This building is appropriately sized to accommodate a bar with the possibility of a kitchen for food service.
W E A K N E S SE S The buildings distance away from other bars and pubs in OTR and the Banks might make it a less desirable for bar-hoppers.
OPP OR T U N I T IE S The building’s historic character and past use as a bank and attorney’s office could provide an opportunity for an interesting “story” for the speakeasy bar. The small patio off the side of the building provides opportunity for some outdoor space.
T HR E AT S The buildings narrow foot-print may prove a challenge in the overall layout and planning of the space. There are however no other bars nearby which could prove good for lack of competition or bad for losing business from bar-hoppers.
PROPERT IE S 5 .0
K E Y P R O J E C T P R O P E R T I E S T H E
F OL L OW I NG
DE S C R I P T ION K E Y
OF
W I L L T H E
I NC LU DE PROJ E C T
OB J E C T I V E S
A N D
A A S
GE N E R A L W E L L
A S
G OA L S
The facility being designed will based off of the principles of a speakeasy style drinking and entertainment establishment. The main focus of the project will be a bar that, although newly constructed will give bar patrons a feeling of past and history. The facility will include all necesary support spaces such as restrooms, storage, a kitchen for the preparation of special drink ingredients and small bites, and a flexible space that can be used as both bar overflow for large crowds, or can be reserved exlusively for private events. The goal of this facility is to take patrons on a journey like no other where they are invited to explore and discover a Cincinnati speakeasy as it would have been during the tormultious period of prohibition. A false, bank themed, front entrance with passwords required at the door will give bar-goers a feeling of exlusivity as they navigate this heavily themed spaced in order to reach the prize of a well-crafted cocktail from the banks very own private vault.
5 .1
C L I E N T S
D E S C R I P T I O N S
JA K E Jake is a 32 year old single male who works in Cincinnati’s Central Business as a finanial analyst earning between $80,000-$90,00 annually. He seeks a sophisticated yet fun place to enjoy Happy Hour with his coworkers or clients as well as a quiet bar where he can grab a craft cocktail and unwind after work.
CL A IR E Claire is a 52 year old marketing director from Macy’s New York Office who earns between $100,000-$120,000 annually. She is in town with her husband Wilbur on business for the week and is looking for a bar that caters to patrons her age with more refined sensibilities while still remaining fun and engaging.
EL ISE Elise is a 26 year old hair stylist from Oakley who earns between $25,000 and $35,000 annually. She seeks an adventure in her night out and wants something more hip and interactive in her bar experience.
5 . 2
P R O P O S E D U S E R J O U R N E Y T H E
F OL L OW I NG
USE R
JOU R N E Y
TA K E N
A N D
1
Jake has a client in town
2
CONTEXT Because the clients experience is important to Jake closing the deal, he wants to give them a memorable night-out experience during their visit.
6
The group exits
CONTEXT Jake and his clients leave the bar with fun memories of the journey they just experienced and because of this Jake is able to form a lasting relationship with his clients.
DE S C R I BE S H I S
BY
A
OU R
P O T E N T I A L USE R
G U E S T S
Jake invites his clients to meet him at the Speakeasy
3
CONTEXT Jake chooses the speakeasy because he knows it will be a fun group experience that’s unique to the city. The activity will promote interaction between him and his client.
5
JA K E
Jake and his clients Enjoy the Bar
CONTEXT
The group decides to order cocktails made by the bars master mixologist along with a collection of small bites. The bars hushed yet lively atmosphere maked it a great place for fun and conversation.
Jake and his clients must speak to the ‘teller”
CONTEXT The “teller” at this Bank themed speak-easy grants access only after patrons can deode the lock on the vault door. New codes are released each day via the Banks Newsletter.
4
Jake and his clients enter the s p e a k e a s y.
CONTEXT After Jake and his clients have entered the secret code to access the speakeasy, they are ushered through the vault door intoa gentleman’s club like atmosphere.
M A P PR I VAT E
Z ON E
3
5
Z ON E
2
4
Z ON E
1
3
PU BL IC S T R E E T
5 . 3
2
V A L U E P R O P O S I T I O N S W H AT
M A K E S
AT T R AC T I V E
T O
T H I S
E S TA BL I SH M E N T
C I NC I N N AT I
B A R
PAT RON S
While the Queen City boasts a bustling bar scene in both the neighborhoods of Over the Rhine and The Banks, the market in the city’s Central Business District remains largely untapped. The establishment of a speak-easy style gentleman’s club in the city’s Central Business District creates an opportunity for the area’s professional class to entertain clients nearby, or simply enjoy a craft cocktail after work. Speaking of craft cocktails, the bars knowledgeable mixologists and intriguing array of cocktails will help attract both the millennial and foodie crowds which according to the United States Census Bureau now make up the largest and most diverse portion of the population. Finally, the selection of 22 W. 9th Street as the building in which the bar will be constructed proves beneficial as it delivers on each of the following quantified values. The building’s 8,000 sq ft allows for ample bar space for multiple bar locations and divisions creating the sought after intimate atmosphere. The building can be easily divided into both public and private zones allowing for separation and seclusion of service facilities such as restrooms and the kitchen. And finally the buildings discreet yet regal street presence make it the perfect setting for a heavily themed speak-easy style drinking experience.
5 .4
P R O G R A M A D J A C E N C I E S A
PRO GR A M
DE T E R M I N E
A DJAC E NC Y
M AT R I X
A DJAC E NC I E S
E N V I RON M E N T
I S
W I T H I N
B A SE D
U P ON
USE D
T H E N E E D
Bar / Lounge Kitchen Restrooms Storage Banquet Space Entry/ Experience Space
A DJAC E N C Y
Essential
Preffered
5 . 5
T O
BU I LT
S P A C E R E Q U I R E M E N T S E S TA BL I SH I NG SPAC I A L
SPAC E
A
F OR M U L A
F OR
PL A N N I NG
PE RC E N T
S Q / F T
Bar / Lounge
33%
2,200
Kitchen
15%
1,000
Restrooms
7.5%
500
Storage
7.5%
500
Banquet Space
33%
2,200
Entry/ Experience Space
4%
250
T O TA L
100%
6,650
5 .6
B U I L D I N G C O D E R E Q U I R E M E N T S K E Y
BU I L DI NG
OR DI N A NC E S
C ODE S
T H AT
A F F E C T
A N D
WOU L D
T H I S
C I T Y
DI R E C T LY
PROJ E C T
The facility being designed will have to adhere to both state and local building codes and ordinances regarding the construction of public spaces that serve alcohol to patrons. Basic building codes dictate that the facility should follow any and all ADA guidelines under titles II and III regarding both public entities and accomodations. The facility will carry an A-2 Occupancy classification under the International Building Code with an NFPA Life-Safety Code of A-B for carrying assemblies of between 300-1000 patrons. An IBC table is to be created to determine the occupancy loads of various rooms within the building. Means of egress will also be provided according to local fire and safety codes providing a continuous, unobstructed path from any point in the structure to allow for a safe and expiditous exit in the unlikely event of an emergency. The total number of exits will be determined by the building’s IBC table with reference to the space’s occupancy code. Finally, in accordance with the State of Ohio’s Department of Commerce, the mentioned facility will seek to purchase a D5 ORC 4303.18 permit at a fee of $2,344.00 to allow for the sale and consumption of spirituous liquor, beer, and wine on premises.
5 .7
SUSTA INA BIL I T Y 6 .0
S U S T A I N A B I L I T Y & E T H I C S DI S C US SI NG
K E Y
S US TA I N A BI L I T Y C ON S T RUC T ION
OF
E T H IC A L I S S U E S T H E
I N
A N D T H E
SPE A K-E A S Y
Being located in a historic building constructed in 1840 in the heart of Cincinnati’s Central Business District a number of sustainabiltiy and ethical issues will need to be addressed. In order to maintain the building’s historic integrity, any and all historical details relevant to the buildings original construction acording to the obtained original construction documents will be either restored or preserved. Whenever possible, the designer is to impliment reclaimed architectural elements such as, but not limited to, reclaimed lumber, architectural details and moldings, fixtures, and furnishings. The designer is also to specify, whenever possible, energy efficient lighting and HVAC systems, and appliances. By reusing this once discarded elements and ennergy efficient technologies, one can aid in the creation of a more sustainable space.
6 .1
CONCEP T 7.0
Introducing
T H E
B A N K E S T.
18 4 0
Coming in Spring of 2017
C O N C E P T A N S W E R I NG HOW
M IGH T
W E?
T H E QU E S T ION
By employing all of the previous research and pertinent information, I found myself able to develop the following “how might we” question. How might we employ the users senses to take them on a journey that evokes feelings of past and creates a lasting impression through the guise of an on-trend speakeasy style drinking and entertainment establishment? The answer to this isn’t simple. It will require a design that follows the imagineering method of design to employ the users senses and take them on a journey. I will utilize my sites historical elements while pulling reclaimed elements from others to evoke feelings of past. And finally, I will also employ my skills as both a designer and a story-teller to create a lasting impression with the user through the guise of an on-trend speak-easy style drinking and entertainment establishment.
7.1
SOURCE S 8 .0
BIBLIOGRAPHY A mt r a k , R u s s e l . “ B a r B u s i n e s s 2 0 1 2 .” S BD C . n e t . S m a l l B u s i n e s s M a r ket Re s e a rch Rep or t , n .d . We b. 19 Ju l y 2 0 16 . B i c k , Ni c o l e . “ E x t e r n a l A n a l y s i s o f t h e C r u i s e L i n e I n d u s t r y.” E x t e r n a l A n a l y s i s o f t h e C r u i s e L i n e I n d u s t r y. S l i d e S h a r e , n . d . We b. 19 Ju l y 2 0 16 . “ G e t a L i q u o r L i c e n s e f o r Yo u r B u s i n e s s .” O h i o D e p a r t m e n t O f C om merc e . N.p., n .d . We b. 2 1 Ju l y 2 0 16 . “ T h e H a n s o n B u i l d i n g .” H a n s o n ’ s S h o e R e p a i r. N . p . , n . d . We b . 2 1 July 2016. L a g u n o v, D i m a . N o u n P r o j e c t . D i g i t a l i m a g e . N o u n P r o j e c t . N . p . , n .d . We b. 19 Ju l y 2 0 16 . “Millennials Outnumber Baby Boomers and A re Far More Diverse, C e n s u s B u r e au R e p or t s .” N .p., n . d . We b. R o y, M a r c A n d r e . M a n Wa l k i n g T h r o u g h D o o r. D i g i t a l i m a g e . H t t p s : // t h e n o u n p r o j e c t . c o m / s e a r c h / ? q = v a u l t D o o r & i = 1 5 8 1 8 . Nou n P roj e c t , n .d . We b. T s a n g , I v y. “ We e k 8 : U s e r J o u r n e y.” I v y D T T. N . p . , 2 3 O c t . 2 0 1 4 . We b. 2 1 Ju l y 2 0 16 . “ 2 2 W Ni nt h S t r e e t , C i n c i n n at i , OH 4 52 02 .” L o opNe t . N .p., n . d . We b. 2 1 Ju l y 2 0 16 . “ We l c o m e t o t h e V i o l e t H o u r.” T h e V i o l e t H o u r. N . p . , n . d . We b . 2 1 July 2016. We l l m a n n , M o l l y. “J a p p s .” J a p p s S i n c e 1 8 7 9. We l l m a n n B r a n d s , n .d . We b. 8 .1
IMAGE SOURCES A l c o h o l P r o f e s s o r . D i g i t a l i m a g e . H t t p : // w w w . a l c o h o l p r o f e s s o r . c o m / w p - c o n t e n t / u p l o a d s/ 2 0 1 3/ 0 6/ S T I L L _ 1 . A l c o h o l P r o f e s s o r, n .d . We b. B a r t e n d e r s T o o l s . D i g i t a l i m a g e . H t t p : // w w w . c h o w s t a t i c . c o m / a s s e t s/ 2 0 1 3/ 1 1 / m i x o l o g i s t _ b a r t e n d e r s _ k i t _6 2 0 x 4 1 3 . C h o w t a s t i c , 2 0 1 3 . We b. B r i t s k y , N i c h o l a s . V i o l e t H o u r . D i g i t a l i m a g e . H t t p : // w w w . n i c k d r i n k s . c o m / w p - c o n t e n t/ u p l o a d s/ 2 0 1 3/ 0 1 /a p h o t o 7 7 4 5 6 6 0 0 x . Nick D r i n k s , n .d . We b. B r o o k s i d e P o t o g r a p h y. Fo u nt a i n S q u a r e . D i g i t a l i m a g e . Ht t p // b r o o k s i d e p h o t o g r a p h y . c o m / w p - c o n t e n t / u p l o a d s / 2 0 1 5 / 0 4 / Fou nt a i n-. N.p., n .d . We b. C o c k t a i l B a r . D i g i t a l i m a g e . H t t p -// b l o g s - i m a g e s . f o r b e s . c o m / f a t h o m / f i l e s / 2 0 1 5 / 0 9/ b r o o k l y n - c o c k t a i l - b a r s - . N . p . , n . d . W e b . C o c k t a i l K i n g d o m . D i g i t a l i m a g e . H t t p : // w w w . c o c k t a i l k i n g d o m . c o m / m e d i a / w y s i w y g /. C o c k t a i l K i n d o m , 2 0 1 4 . W e b . C o u p e . D i g i t a l i m a g e . H t t p : // s 3 - m e d i a 2 . f l . y e l p c d n . c o m / b p h o t o / U T Ui Fe cK M N A B 8lcl8K Y 2 yg /3 4 8 s . N.p., n .d . We b. D r i n k P o u r . D i g i t a l i m a g e . H t t p -// c a c h e 1 . a s s e t - c a c h e . n e t / xd/162 8 18 6 3 9.jp g ? N.p., n .d . We b. D r i n k s . D i g i t a l i m a g e . H t t p -// d r i n k s . s e r i o u s e a t s . c o m / a s s e t s _ c / 2 0 1 2/ 0 3/ 2 0 1 2 0 3 2 8 m i c h a e l b a l a n c e - t h u m b - 6 2 5 x a u t o -2 2 8 8 1 5 . j p g . S er iou s e at s .c om , n .d . We b. T h e D u c h e s s . D i g i t a l i m a g e . H t t p -// d a t a . w h i c d n . c o m / i m a g e s/4 0 1 8 0 7 6 5/ l a r g e . p n g . N . p . , n . d . W e b .
8 . 2
IMAGE SOURCES C ON T I N U E D
E d i s o n . D i g i t a l i m a g e . H t t p : // w w w . v i c t o r y - e u . o r g / w p - c o n t e n t / u p l o a d s/ 2 0 1 5/ 0 4/s p a r k l i n g - h o m e - . V i c t o r y E U , n . d . We b . E n g i n e e r s . D i g i t a l i m a g e . H t t p s : // w w w . g o o g l e . c o m / s e a r c h ? c l i e n t = s a f a r i & r l s = e n & q = h t t p // w w w . r e u t e r o r g a n . c o m +/ a s s e t s / h i s t _ p a g e / s o m e % 2 5 2 0 e n g i n e e r s & i e = U T F 8 & o e = U T F- 8 & g w s _ r d = s s l # q = h t t p % 2 F % 2 F w w w. r e u t e r o r g a n . com%2Fassets%2F hist_page%2Fsome%2520eng ineers. N.p., n.d. We b. H i g h v i e w . D i g i t a l i m a g e . H t t p : // w w w . h i g h v i e w . o r g / a m - s i t e / m e d i a /. H i g h v i e w C h u r c h , 2 0 1 2 . W e b . M o l l y We l l m a n n E nt r e p r e n e u r s . D i g i t a l i m a g e . T h e Ve r g e M a g a z i n e . T h e V e r g e , n . d . W e b . < h t t p : // w w w . t h e v e r g e m a g a z i n e . o r g / w p - c o n t e n t/u p l o a d s/ 2 0 1 2/0 4/ M o l l y We l l m a n _ Ent repreneu r s- 6.jpg >. M u l e . D i g i t a l i m a g e . H t t p -// c a p i t a l c r a f t n j . c o m / w p / w p - c o n t e n t / u p l o a d s / 2 0 1 5 / 1 0/ C o c k t a i l P a g e _ H e a d e . C a p i t a l C r a f t , n . d . W e b . N o s t a l g i a . D i g i t a l i m a g e . H t t p : // n o s t a l g i a . e s m a r t k i d . c o m /. N . p . , n .d . We b. O r l a n d o â&#x20AC;&#x2122; s B e s t . D i g i t a l i m a g e . H t t p : // t r a v e l e r . m a r r i o t t . c o m / w p c o n t e n t / u p l o a d s/ 2 0 1 5/ 0 4 /o r l a n d o - b e s t- . M a r r i o t t , n . d . W e b . P e r c h . D i g i t a l i m a g e . H t t p // w w w . e d i b l e e x c u r s i o n s . n e t / p e r c h / r e s o u r c e s/c r a f t- c o c k t a i l - t o u r - s a n - . E d i b l e E x c u r s i o n s , n . d . W e b . R a f f a e l l o . C h i c a g o R a f f a e l l o . D i g i t a l i m a g e . H t t p -// c h i c a g o r a f f a e l l o . c o m / w p - c o n t e n t/ u p l o a d s/ 2 0 1 3/ 0 8/ r a f f a e l l o -2 3 7 1 . j p g. N . p., n . d . We b.
8 . 2
IMAGE SOURCES C ON T I N U E D
R y e C o c k t a i l . D i g i t a l i m a g e . H t t p -// i . h u f f p o s t . c o m / g e n / 3 9 7 7 8 5 0 / i m a g e s/n-R Y E - C O C K TA I L -l a r g e 5 7 0 . j p g . H u f f i n g t o n P o s t , n . d . We b .
Sh a ken . D i g it a l i m a ge . G e ek s w it h D r i n k s . N.p., n .d . We b.
S h o w e , J a m e s . Va u l t D o o r. D i g i t a l i m a g e . J a m e s S h o w e P h o t o g r a p h y. N . p . , n . d . W e b . < h t t p : // j a m e s h o w e p h o t o g r a p h y . c o m / w p - c o n t e n t / u p l o a d s / 2 0 1 3/ 1 0/ V a u l t - D o o r > .
S m o k i n g C o c k t a i l . D i g i t a l i m a g e . H t t p s : // t h e m e t r o p e r s p e c t i v e b l o g . f i l e s .w o r d p r e s s . c o m / 2 0 1 3/0 8/ 3 c 0 6 e 6 2 4 f 9 . j p g . T h e M e t r o P e r s p e c t i v e , 20 15 . We b.
T a s t y T i e s . D i g i t a l i m a g e . H t t p -// b l o g s - i m a g e s . f o r b e s . c o m / k r i s t e n p h i l i p k o s k i / f i l e s/ 2 0 1 5/ 0 3/ T a s t y T i e s _G y p s y T a n . N . p . , n . d . W e b .
T o d d , R u s s e l . C i n c i n n a t i a t N i g h t . D i g i t a l i m a g e . H t t p -// i m a g e s . f i n e a r t a m e r i c a . c o m / i m a g e s - m e d i u m - l a r g e - 5/c i n c i n n a t i - s k y l i n e - . F i n e A r t A mer ic a , n .d . We b.
T o n i q u e , D a v i d . M a n S m o k i n g w i t h D r i n k s . D i g i t a l i m a g e . H t t p : // w w w . t o n i q u e c o n s u l t a n c y . c o m / w p - c o n t e n t / u p l o a d s /. T h e T o n i q u e C o n s u l t a n c y, 2 0 1 4 . We b.
T h e V i o l e t H o u r . D i g i t a l i m a g e . H t t p -// i m g 2 . 1 0 b e s t m e d i a . c o m / I m a g e s / P h o t o s/ 2 4 6 3 3 1 /c h i c a g o _ n o r t h s i d e _ n . T h e V i o l e t H o u r, n . d . W e b .
V i r i d i a n R e c l a i m e d L u m b e r. D i g i t a l i m a g e . - B u i l d i p e d i a . N . p . , n . d . We b . 21 July 2016.
W h i s k e y B a r . D i g i t a l i m a g e . H t t p : // b r a s s e r i e a m b a s s a d e . n l / l i b r a r y - b a r/. N.p., n .d . We b.
8 . 2
A PPENDI X 9.0
S U R V E Y O n
a
bu s y
r a n g i n g
i n
s e l e c t e d
T hu r s d ay
n i g ht ,
2 0
a ge
2 2- 4 6 ,
we r e
t o
f r om
a n s we r
t h e
i n d i v i du a l s
t h r e e
r a n d om l y fol l ow i n g
q u e s t i on s a b out t he O ve r t h e R h i n e B a r S c e n e . T he i r
1
W H AT
r e s u lt s
BR I NG S
YOU
we r e
T O
a s
OV E R
fol l ow s .
T H E
R H I N E ?
A. I live here B. I work here C. I play here
2
W H E N T O
C HO O SI NG
A
B A R ,
W H AT
I S
MO S T
I M P OR TA N T
YOU ?
A. The atmosphere B. The drinks C. The location
3
W H AT ’ S
M I S SI NG
F ROM
Open Ended Reponses Gathered
O T R ’ S
B A R
S C E N E
R E S U L T S 1
W H AT
BR I NG S
YOU
T O
6 A. I live here
2
W H E N T O
C HO O SI NG
T H E
R H I N E ?
2
12
B. I work here
C. I play here
A
B A R ,
W H AT
I S
MO S T
I M P OR TA N T
YOU ?
7
7
A. The atmosphere
3
OV E R
W H AT ’ S
M I S SI NG
6
B. The drinks
F ROM
O T R ’ S
C. The location
B A R
S C E N E
1. A place where I can hear people talk
11. A place where you can meet people
2. More venues with live music
12. A lounge
3. A place for a late night snack
13. A piano bar
4. A speakeasy
14. A bar with good food
5. A bar with strippers
15. A rooftop bar
6. A place with craft cocktails that’s fast
16. A bar with outdoor and indoor venues
7. A wine bar
17. A bar with cheap drinks
8. An Alehouse
18. A nightclub
9. A place where I can dance
19. A themed bar
10. A place my wife would want to come too
20. A sports bar
9.1
KYLE K. BERRY
S P E A K E A S Y A
“ SPI R I T E D ”
L O OK
U N IQU E
AT
T H E
DR I N K I NG
QU E E N
C U LT U R E
C I T Y ’ S