Link Hotel

LINK

Senior Capstone Project

LANE SCHOFIELD LOUISIANA STATE UNIVERSITY DEPARTMENT OF INTERIOR DESIGN

2009

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445 THIRD STREET | BATON ROUGE, LOUISIANA | 70802

introduction

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link hotel

The idea for this project began as a response to the disconnect I perceived between creators and end-users of all the stuff in our lives. LINK is a hotel and gallery which celebrates all things individually conceived and produced in limited runs. It re-creates a link between artists and the general public. The art-hotel concept was further driven by two things: art-communities hit hard by the economy and a paradigm shift taking place in graphic design. Graphic artists are taking a traditionally two-dimensional craft into the third dimension, shaping and defining space. I collaborated with artists, embracing the movement and the need. The setting for this marvelous spectacle is a lateVictorian building ruined from years of neglect. It will be restored to reveal its former grandeur, but with a schizophrenic twist lent by an urban palimpsest; such as once-pristine architectural details set against layers of graffiti.

This study comprises two semesters of work and is the culmination of practices learned throughout the design curriculum. It covers all phases of the design process: site and building selection, drafting building plans, client selection, design programming, code research and implementation, schematic design, space planning, furniture and finish selection and specification, virtual modeling, rendering and presentation in the form of boards, Power Point and a professionally bound book to be presented to the client, senior project committee and professors.

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contents

01

program development

10

02

schematic design

34

03

design synthesis

44

04

focus

82

05

graphic analysis

104

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addendum

110

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committee /

Phillip L Tebbutt LSU Interior Design Associate Professor Theresa Ferrer LSU Interior Design Instructor Tracy Stultz, CID, LEED AP, NEWH Gensler-LA Senior Interior Designer Mary Caffery Caffery Gallery, Owner Artist Sandy Dokka Arts Council of Greater Baton Rouge Brian P. Falcon Chenevert Architects Architect

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program development / schematic design design synthesis focus

13 15 16 22 28 30 32

client concept site and environmental factors program controls special systems economic factors

graphic analysis addendum

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/client

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The hypothetical client for LINK is world renowned artist, George Rodrigue. Born in New Iberia, the heart of Cajun country, Rodrigue uses symbols of his native Louisiana, not only to capture the essence of his personal world, but also to express the spiritual and cultural ideas as they pertain to Louisiana, the South, and America. In the 1970’s, Rodrigue’s paintings included the subjects of oak trees, Cajun people and traditions, bringing new meaning to the phrase Cajun Artist. It was the Cajun myth of the loup-garou that inspired his Blue Dog works, his most famous series.

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/concept

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There are currently two hotels in downtown Baton Rouge. Both are implants from corporate chains: Hilton and Sheraton. In addition to plugging Baton Rouge into the international art circuit, this fantastical, 32-key art-driven hotel will be one of the first of its kind in the U.S..

LINK combines an experimental art gallery with boutique hotel accommodations, essentially operating as an inhabitable piece of art.

Guest room = Art Installation. Artists will be invited to transform rooms into unique art installations. Each of the guest rooms will be different in composition and character, with neighboring rooms provoking a multitude of responses from the patrons. This is part of LINK’s pleasantly schizophrenic nature — the only sameness will be in the unvarying differences. The hotel is a creative feast in that promotion is not limited to visual artists. Culinary arts are featured in a 70-seat restaurant serving gourmet fair with creative zest rivaling that of the guest rooms. Musical and performing arts provide entertainment in the lobby-lounge as well as on the rooftop lounge and terrace. A large gallery is also located here, capable of exhibiting a variety of art genres.

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I-10

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MAYFLOWER ST.

SOUTH BLVD.

GOVERNMENT ST.

FRANCE ST.

FOURTH ST.

THIRD ST.

LAFAYETTE ST.

RIVER RD.

SEVENTH ST.

SIXTH ST.

FIFTH ST.

RIVERFRONT DEVELOPMENT AREA

MAIN ST. I-110

LAUREL ST.

FLORIDA ST.

CONVENTION ST.

NORTH BLVD.

LOUISIANA ST.

LOUISIANA ST.

SPAIN ST.

EUROPE ST.

CANAL ST.

TENTH ST.

NINTH ST.

EIGHTH ST.

BUNGALOW

NORTH ST.

EAST BLVD.

MAXIMILLIAN

ST. JOSEPH

NAPOLEON ST.

ROYAL ST.

ST. CHARLES ST.

ST. FERDINAND

ST. LOIUS

ST. PHILLIP

SOUTH RIVER ROAD

MISSISSIPPI RIVER

UNIVERSITY WALK

The Kress, Knox, and Welsh Levy buildings are currently undergoing renovation.

All three interiors have been gutted, and the ground-level facades have been removed revealing the interiors of all three buildings. The Kress, Knox, and Welsh Levy buildings are situated on the corner of Third and Laurel St. facing east. The Welsh Levy building also fronts to the north. The buildings are located two blocks east of the Mississippi River levy and situated within downtown Baton Rouge’s Arts and Entertainment District. A parking garage is located one block to the north, and parallel parking is available in the area, and an on-grade parking lot is directly behind the buildings. The site is located two blocks east of the Mississippi River levy. A parking garage is located one block to the north, and parallel parking is available in the area, and an on-grade parking lot is directly behind the buildings. Main entrances are on Third St. for the Kress and Knox buildings and Laurel St. for the Welsh Levy building. Fire stairs are located in the southwest corner of Kress, exiting into the parking lot; on the east between Kress and Knox, exiting onto Third Street; on the north between the Kress extension and Welsh-Levy, exiting onto Main Street.

Roof access is available for the Kress and Knox buildings. It should be taken into special consideration that all three buildings are listed on the Louisiana Register of Historic Places. The Kress building has specific historic significance as it was the site of a 1960 civil rights protest by Southern University students at the lunch counter of the five and dime.

Opposite: Area map showing building site located on the north end of the Downtown Baton Rouge Arts & Entertainment District.

Right: Site map.

PUBLIC PARKING GARAGE

ONE WAY TRAFFIC PARKING LOT

THIRD ST.

ART DISTRICT

LAFAYETTE ST.

MAIN ST.

LINK SITE NEIGHBORING BLDG LANDSCAPE DELIVERY AREA

LAUREL ST. 01|17

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images shown here courtesy of Chenevert Architects Opposite: Historic photograph of Third Street showing the Welsh-Levy and Knox buildings in the right foreground.

THIRD ST.

MAIN ST.

Above Right: Historic Photo showing Main Street near the building site.

THIRD ST.

MAIN ST.

MAIN ST.

THIRD ST.

Above Left: Historic photo showing Main Street. The cornice of the WelshLevy building is visible in the background on the far right.

The two- to four-story Kress building, thought to be constructed in 1887, was originally a two-story commercial building. By 1947, a rear wing was acquired creating the building’s “L” shape and another facade was added. (The Third Street side is registered as two stories, while the Main Street side is registered as four.) The former “five-and-dime” store is recognizable for its Art Deco facade and the “Kress” name in Arts and Crafts lettering. 2

The two-story Knox Building, constructed in 1887, is revered for its survival. Though it has lost its original shopfront, Louisiana Division of Historic Preservation information says its second story, where many of the original Italianate details are intact (like the cast-iron cornice and rooftop pediment), is particularly invaluable. 2

Also built in the 1887-89 range, the Welsh-Levy Building is a three-story, plaster over brick structure richly detailed with corbelled caps, cast-iron lintels and ornamented brackets.

By 1900, the building was home to the Reymond general mercantile emporium, becoming Welsh and Levy Men’s Clothing in 1915. By 1970, the building was vacant. 2

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Main Street elevation

Third Street elevation

Opposite: Photos of existing building conditions

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/program

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keys installations (25) 7,100 sf function: private gallery featuring work from new artists equipment: wall-mounted bedside sconces; mood lighting fixtures; ambient light fixtures; wide screen interactive TV; telephone; window coverings; bed; pillow-top mattress with box spring; sound system with iPod connection; Wi-Fi connection; lounge chair; desk; desk chair; night stand; air conditioning; wardrobe; mirror; privacy screen; bathtub; colortherapy shower; sink; toilet; vanity; mirror; towel bars; shelves; tissue dispenser; paper holders; robe hooks suites (8) 4,500 sf function: Accommodations for guests to rest and relax. equipment: wall-mounted bedside sconces; mood lighting fixtures; ambient light fixtures; wide screen interactive TV; telephone; window coverings; bed; pillow-top mattress with box spring; sound system with iPod connection; Wi-Fi connection; lounge chair; desk; desk chair; night stand; air conditioning; wardrobe; mirror; privacy screen; bathtub; colortherapy shower; sink; toilet; vanity; mirror; towel bars; shelves; tissue dispenser; paper holders; robe hooks lobby and guest services lobby 1350 sf function: A special function of this hotel lobby will be to act as a gallery. In addition to establishing the image of the hotel, the lobby serves as the main circulation space, directing guests to the front desk, elevators, food and beverage outlets, meeting and banquet facilities and other public spaces; as guests linger, it serves as an informal gathering space. It also functions as a security control point, where the staff is able to visually supervise access to the building. equipment: multiple seating, tables, screens, decorative lighting, general lighting, valet office 80 sf function: Office to house keys and information about the vehicles staying at the hotel. equipment: desk; chair; computer; telephone, key ring hooks

check-in or after check-out. equipment: shelving; baggage carts front desk 365 sf function: Dual function, individual work stations for registration and cashier stations with queuing space for guests to line up. equipment: reception counter, shelving, computers, printer, fax machine, telephones, reservation systems concierge 200 sf function: previously checked-in guests and hotel visitors may get information on their stay at the hotel and area activities. equipment: desk, desk chair, visitor seating, telephone, computer lounge 1050 sf function: wraps around grand stair and provides central space for guests and visitors for meet and view art installations and exhibits equipment: piano, soft seating, art nook, decorative lighting guest elevator function: vertical circulation for Link guests

75sf

rest rooms 215 sf function: public rest room facility equipment: sinks, toilets, mirrors, soap dispensers, tissue dispensers, trash receptacles, chairs administrative spaces art lounge (4) 1990 sf function: small exhibit spaces are located throughout the hotel, with atleast one on each floor located at the elevator lobby. Here guests can meet and interact with one another while they discover new artists.

Equipment: adjustable lighting, flexible seating gym 390 sf function: A small gym center will be available for guests to maintain regular fitness routines equipment: elliptical machines, treadmills, mats, water fountain

luggage storage 80 sf function: Area for guests to temporarily store luggage upon

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meeting room 290 sf function: Area provided for guest meetings, interviews, presentations. May also serve as a small, private gallery. equipment: tables, chairs, multi-media equipment, adjustable lighting

computer; sink; beverage station

food and beverage

chef’s office 120 sf function: Office for chef to conduct business, prepare menus, and oversee kitchen activities. Liquor storage will also be accessed from here. equipment: desk; desk chair; visitor seating; shelving; computer; printer; fax machine; telephone; locked liquor storage shelving

Toast tapas lounge 1090 sf function: intimate setting for patrons to have drinks and tapas equipment: tables, stools, chairs, decorative lighting Toast cullinary gallery 1330 sf function: communal or single party dining space to hold culinary art events equipment: tables, chairs, decorative lighting Toast cocktail lounge 1920 sf function: This is where restaurant guests will enjoy fabulous cuisine on small-plates with friends. equipment: lounge seating, stools, tables, chairs, decorative light fixtures, full bar rest rooms 215 sf function: rest room facility for restaurant and bar patrons equipment: sinks, toilets, mirrors, soap dispensers, tissue dispensers, trash receptacles public elevator 75sf function: Vertical circulation for Toast patrons and those visiting the rooftop terrace dumbwaiter, kitchen elevator function:

60 sf

storage 200 sf function: Storage for all kitchen and food related items equipment: walk-in cooler; walk-in freezer; shelves for dry food area

server pick-up area 180 sf function: This is where food prepared in the kitchen will be in queue for server pick-up and delivery to tables. equipment: heat lamp; high counter surface art gallery gallery 9600 sf function: dynamic space will exhibit artwork in various mediums as well as artists installations. It will be equipped for audio visual and digital installations equipment: gallery lighting system, built-in projection screens; built in stereo sound; dock/receiving 285 sf function: area to receive trucks with gallery deliveries; hold unloaded shipments prior to being removed to appropriate area equipment: loading/unloading ramp; garage door; open space for palettes

kitchen 850 sf function: This is the main food preparation space. equipment: sinks; ware-washing; ovens; stoves; ventilation; toasters; microwave

prep space 1245 sf function: event preparation space, secondary storage, load/ unload area for freight elevator equipment: freight elevator; shelving; collapsible tables

kitchen support 495 sf function: supports second level dining area and rooftop food & beverage service equipment: coolers; dishwasher; ice machine; shelving; POS

freight elevator function: vertical circulation for gallery freight

80 sf

public elevator

75 sf

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function: vertical circulation for gallery patrons gallery manager’s office 245 sf function: private office for art director to conduct regular business with a meeting space to convene with potential featured artists. equipment: desk; desk chair; visitor seating; shelving; computer; printer; fax machine; telephone. registrar’s office: 145 sf function: work and file space for gallery curator equipment: desk; desk chair; filing cabinets; shelving; computer; printer; scanner; fax machine; telephone. gallery staff area 475 sf function: where the staff can eat or lunch or go on break, use the rest room and store their belongings. equipment: tables; chairs; television; sinks; toilets; lockers; refrigerator; microwave; coffee machine; staff rest rooms security office function: hub for officers monitoring gallery equipment: Surveillance monitors, desk, chair storage function: safe holding space for gallery collections equipment: lateral art racks; storage cabinets

100 sf

1390 sf

function space meeting 330 sf function: employee meetings, interviews, presentations equipment: tables, chairs, smartboard accounting 190 sf function: office for regular accounting businesss, employee time records; general book keeping equipment: desk; desk chair; visitor seating; filing cabinets; shelving; computer; printer; fax machine; telephone general manager office 165 sf function: office for GM to conduct general business equipment: desk; desk chair; visitor seating; shelving; computer; printer; fax machine; telephone.

reception 285 sf Function: waiting area for administrative visitors Equipment: receptionist desk; desk chair; soft seating; cocktail table; lamp back-of-house services hotel staff area 600 sf function: where the staff can eat or lunch or go on break, use the restroom and store their belongings. equipment: tables; chairs; television; sinks; toilets; lockers; refrigerator; microwave; coffee machine; rest rooms laundry and housekeeping 470 sf function: This is where room service washes linens and towels, etc. A small office is needed for instructions and paperwork on daily duties. equipment: linen chute; ventilation; shelving units; laundry hampers; multiple washers & dryers and iron press machines; vacuum cleaners; maid’s carts; floor polishers mechanical area 275 sf function: office and shop space. desk; desk chair, visitor seating, energy equipment: management computer room; for telephone switching; television antenna system and associated video/movie functions; tools; uninterrupted power supply (UPS) and conduit for computer systems; surveillance systems dock/receiving 285 sf function: area to receive trucks with hotel and restaurant deliveries; hold unloaded shipments prior to being removed to appropriate storage area equipment: loading/unloading ramp; garage door; open space for palettes general storage 150 sf function: General Storage space for excess inventory equipment: shelving service elevator 75 sf function: Vertical circulation for back of house functions equipment: cab; frame

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waste/recycle 85 sf function: This is an isolated space for the removal of waste and recycling equipment: Large Dumpster for waste; large dumpster for all recyclables. rooftop terrace pool & deck 1300 sf function: A long, narrow pool will be available for laps during the day and act as a decorative feature at night when the rooftop is used as an entertainment venue. equipment: glass sided pool; wooden deck; lounge furniture for sunbathing and relaxing public elevators: function: Vertical circulation to rooftop terrace

75 sf

kitchen elevator 60 sf function: vertical circulation for food & beverage service staff rooftop garden 3000 sf function: green space for guests lounging or enjoying featured entertainment. Terrace is also available to rent for private parties and functions. equipment: seating; tables; lighting; easily convertible stage area for evening entertainment. rest rooms 120 sf function: public rest room facility equipment: sinks, toilets, mirrors, soap dispensers, tissue dispensers, trash receptacles, chairs

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/controls

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Americans With Disabilities Act: ADA-AG (September 1994 Edition) State of Louisiana - Rehabilitation Services 8225 Florida Boulevard Baton Rouge, Louisiana 70806-4834 http://www.access-board.gov/adaag/html/adaag.htm American National Standards Institute, Inc.: ANSI Standards American National Standards Institute, Inc. Sales Department 11 West 42nd Street New York, NY 10036-0000 www.ansi.org Energy Code Compliance Louisiana Energy Code legislation Louisiana Department of Natural Resources P.O. Box 94396 Baton Rouge, LA 70804-9396 http://dnr.louisiana.gov/ International Building Code: International Building Code, 2006 edition International Code Council 500 New Jersey Avenue, NW, 6th Floor Washington, DC 20001-2070 http://www.iccsafe.org National Electrical Code 1999 Edition published National Fire Protection Association Battery March Park Quincy, MA 02269 http://www.nfpa.org/ National Fire Code: NFPA 101 Life Safety Code – 2006 NFPA 10 - Fire Extinguishers NFPA 13, 13D, 13R - Sprinkler Systems NFPA 70 - National Electrical Code NFPA 72 - Fire Alarm Systems NFPA 80 - Fire Doors and Windows NFPA 96 - Hood and Exhaust Systems in Commercial Kitchens National Fire Protection Association (NFPA)

Battery March Park Quincy, MA 02269 http://www.nfpa.org/ State Sanitary Code Part XIV (Plumbing) Louisiana Department of Health & Hospitals 628 N. 4th Street P.O. Box 629 (Zip 70821-0629) Baton Rouge, LA 70802 http://www.dhh.louisiana.gov/ Louisiana State Fire Marshal 8181 Independence Boulevard Baton Rouge, Louisiana 70806 http://www.dps.state.la.us/sfm/ (1) Call two to three weeks in advance to schedule the inspection.

• Please call the Scheduling Secretary for the appropriate district to arrange scheduling.

• When arranging scheduling, please leave an alternate means of contacting you should you be away from your office during normal hours.

(2) The following documents must be on site at the time of inspection: • Original stamped set of plans (reviewed by SFM's Office) • Signed Certificate of Completion • All Project Architectural Systems Review Letter(s) (3) Please have architect, fire alarm/sprinkler/hood suppression system company representative, owner or tenant of the facility on hand at time of inspection to insure a flow of information to the inspector.

(4) Be sure to have someone at the site the day of inspection; if possible. Although we try to arrive at the scheduled time, it is difficult to pinpoint the time needed to complete each inspection on the day's itinerary and delays are common. Should it be necessary to contact you to arrive at the site, please convey this message at time of scheduling.

(5) Call as soon as possible should you need to cancel a scheduled appointment. Be prepared to arrange an alternate inspection appointment.

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/special systems: biophysical and technical needs

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Biophysical Needs-Building Management System (BMS) is a high technology system installed on buildings that controls and monitors the building’s mechanical and electrical equipment such us air handling and cooling plant systems, lighting, power systems, fire systems, and security systems. BMS consists on software and hardware and incorporates the following.

MECHANICAL SYSTEMS

HVAC System Indoor Air Quality (IAQ) Energy Efficiency Noise Criteria Central Cooling Plant Chillers Pumps for Chilled Water System Water Cooled Refrigeration Equipment Central Heating Plant Boilers Pumps for Heating Hot Water System PLUMBING SYSTEMS

Domestic Water Allowable Contaminants in Potable Water Hot Water Sanitary Systems Region Requirement Storm Drainage Systems Subsurface Water Water Treatment Water Analysis Chlorine Testing Water Softening Waste Water Treatment Plants Water Treatment Plants Piping Systems Design Pressures Disinfection of Potable Water Systems ELECTRICAL SYSTEMS

Distribution Wiring & Feeders

Power Distribution Switchboards & Panels Branch Circuits Receptacles, Telephone & Data Cable Lighting Design Service & access Considerations: Circuits Lighting Levels Communication dual telephone lines television cable internet Security Systems card-key systems closed circuit systems intrusion alarms Audio & Visual Systems video conferencing hand held technologies meeting room sound reinforcement guestroom entertainment systems Information Processing guest reservations guest registration and folio accounting accounting travel agency accounting (record of commissions to be paid) guest history and other marketing reports daily and monthly operating reports payroll and related reports inventory restaurant point of sale and production Life Safety Systems automatic fire detection and alarm systems fully sprinkled building central annunciator panels guest evacuation sound systems firefighters voice communication system smoke-proof and pressurized exit stairs emergency generator (alarm, lighting, exhaust)

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/economic factors

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Typical Budget Summary for 500-room mid-rate hotel*

† 1. Land Typical Budget Summary for 500-room mid-rate hotel* 9

2. General Ten-line construction summary budget 1. Land†

6.02 59.26 Percent

†

6.02

2. General construction Basic building 3. Furniture, fixturefinishes & equipment interior special for above Sitework, pools, utilities, landscaping† Surface parking, roads

59.26 53.00 18.61 2.22 2.85 1.19

3. Furniture, fixture & equipment Furniture and fixtures Kitchen, laundry, and back-of-house equipment 4. Technical Inventoriesexpenses (linen, china, glassware, supplies) Purchasing agent's fee Special systems (communications, computer, audiovisual equipment)

18.61 9.93 4.27 4.70 2.56 0.85 1.54

4. Technical expenses 5. Legal, financial & administration (Consultant fees, site survey, soils testing, field administration, typical guestroom mock-ups, construction testing, building permit, feasibility study, reimbursable, and miscellaneous)

4.70 1.26

5. Legal, financial & administration (Loan commitment, brokerage or syndication fees, owner's and 6. Marketing & preopening expenses lender's legal lees, developer's fee, appraisal, impact lees, real estate taxes, title, builder's risk, liability insurance, permits, licenses, relocation fees, and miscellaneous) 7. Working capital 6. Marketing & preopening expenses 8. Employee housing (Advertising, staff recruiting, training and pre-opening activities)

1.26 2.36 0.46 2.36 0

9.

7. Interest Workingduring capitalconstruction

4.83 0.46

† 10. Contingency 8.

Employee housing Operating deficit reserve 9. Interest during construction Total cost 10. Contingency † Operating deficit reserve

2.50 0 0 4.83 100 2.50 0

Total cost

100

* See table below for Iuxury, upscale, and economy hotels. †Allowances Hotel Cost vary.

Indices Classifications

Cost index

Luxury Hotel Cost Indices Upscale Mid-rate Economy

1.33 1.20 1.00 0.80

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program development schematic design / design synthesis focus

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inspiration graphic identity relationships schematic drawings and diagrams

graphic analysis addendum

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Opposite: Detail of Jen Stark’s ‘Pieces of an Infinite Whole’ This page: Inspiration Images

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link levy

levy

levy

levy

levy

levy

ink

Wa]U

Hotel

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In the first logos proposed for LINK, I used contrasting elements – romantic/grunge, simple/ornate – for the ‘pleasantly schizophrenic’ character of the hotel.

Ultimately, I decided on a graphic system rather than a single logo. This system consists of two elements: chain links and pictographs. Simple and powerful, these symbols represent the foundation of traditional graphic design. Here they not only illustrate the functionality of the spaces, but also the radical departure seen in graphic arts from the confines of two dimensions.

Opposite: Graphic exploration for hotel identity.

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guestrooms 1. lobby 2. valet office 3. luggage storage 4. cart storage 5. concierge 6. house phone/computer 7. public restroom 8. general manager 9. lobby pantry 10. main gallery 11. front desk 12. admin office 13. art director 14. staff meeting 15. count room/safe 16. accounting 17. employee 18. purchasing 19. laundry/houskeeping 20. mech, elec, plumb. 21. dock 22. receiving 23. general storage 24. service elevator 25. waste/recycle 26. function-meeting 27. gym 28. rooftop bar 29. rooftop lounge 30. kitchen main 31. kitchen storage 32. tapas resaurant 33. private dining 34. public elevator 35. restaurant pick-up 36. wait stations 37. lobby lounge 38.

immediate adjacency negative relationship- seperate back of house access front of house access seperation ok, not required

Above: Adjacency Matrix Opposite: Preliminary criteria matrix

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Above: Block diagrams showing three zoning options.

Opposite: Schematic studies of standard hotel room layouts.

•For additional schematic studies refer to addendum.

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program development schematic design design synthesis / focus

47 62 80

drawings design development furnishings and materials

graphic analysis addendum

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Lighting Legend small LED Wall Sconce Wall sconce recessed downlight bathroom light with vent chandelier medium pendant small pendant 2 x 2 flourescent troffer 2 x 4 flourescent troffer ground-mounted wall-washer wall-washer ground-mounted LED end-fitting with no crsytal end-fitting with crystal type A end fitting with crystal type B nshower head with integrated lighting trimless linear recessed slot high bay surface-mounted flourescent strip

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VALLET

ACCT.

RECEPTION

UP

GEN MGR

FRONT DESK

MEETING LOBBY LUGGAGE

MEP SERVICE

CONCIERGE

STAFF

UP STAFF LOUNGE

LAUNDRY

/HOUSEKEEPING DRY

FROZEN CHEF COLD

TRASH

STORAGE

KITCHEN

/RECYCLE

TOAST LOUNGE LOAD/RECEIVE

SECURITY

LOAD/RECEIVE

GALLERY MGR.

UP

FREIGHT REGISTRAR

STAFF

STAFF

STORAGE

UP

Ground Floor 1" = 20'-0"

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GALLERY

Above: Reflected ceiling plan for ground level.

Opposite: Floor plan of ground level.

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UP

DN

2ND LEVEL ART LOUNGE TOAST COCKTAIL LOUNGE

MEETING

TOAST DINING

KITCHEN SUPPORT

DN

GALLERY

STORAGE

/EVENT PREP

UP DN

Level 2 1" = 20'-0"

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Above: Reflected ceiling plan for level two.

Opposite: Floor plan of level two.

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03 | 59

03 | 57

03 | 58

UP

UP

ART LOUNGE

GYM

3RD LEVEL ART LOUNGE

LAP POOL

DECK

03 | 56

UP

GREEN ROOF

DN

Level 3 1" = 20'-0"

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Above: Reflected ceiling plan for level three.

Opposite: Floor plan of level three.

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DN

4TH LEVEL ART LOUNGE

DN

Level 4 1" = 20'-0"

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Above: Reflected ceiling plan for level four.

Opposite: Floor plan of level four.

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base room detail 1/4" = 1'-0"

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ADA room detail 1/4" = 1'-0"

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suite 1 detail 1/4" = 1'-0"

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suite 2 detail 1/4" = 1'-0"

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Above: Building section Right: Typical corridor elevation

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TC iceh tn c p o rig 7 0 t2 y

TC iceh tn c p o rig 7 0 t2 y

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Above: Perspective showing view from Main Street entrance.

Right: Reference plan showing viewpoint.

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Above: Perspective showing lounge.

Shown here: Phat Knit by Bauke Knottnerus.

Right: Reference plan showing viewpoint.

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Above: Perspective of lobby and grand stair near Third Street entrance.

Shown here: Um was es nicht geht by Pixelgarten’s Catrin Altenbrandt and Adrian Niessler.

Right: Reference plan showing viewpoint.

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After sitting abandoned for some time, the Kress building was ravaged by a mysterious fire.

From the debris rose the inspiration for Link’s permanent gallery for the culinary arts, Toast.

This establishment hosts events featuring culinary artists.

When not in commission as a gallery, it serves as a small plate restaurant.

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Above: Perspective showing Toast lounge.

Right: Reference plan showing viewpoint.

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Above: Perspective showing Toast dining room.

Right: Reference plan showing viewpoint.

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Above left: Inspiration for roof terrace.

Above right: Perspective showing green roof.

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Above: Rooftop pool and deck.

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Above: Selected material and furnishings.

From left: Link lobby, pool and green roof, Toast lounge, Toast dining

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program development schematic design design synthesis focus/

86 96

Brad Jensen Otto Orellana

graphic analysis addendum

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The focus selected for this The focus of this project project is designing for is ‘designing for special populations: artists.’ This special populations: artists. involved researching, This included researching, recruiting and working with artists who would be contacting and invited working to create with the first phase of installations at artists who would. be invited to create the first phase of room installations at Link.

LINK

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•For detailed information on the exchange between the designer and artist, please refer to addendum.

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Brad Jensen Owner, Icon Visuals Born: 7.20.1979

My name is Brad Jensen and I’m from Haughton, Louisiana. Its a very small suburb outside of Shreveport pretty devoid of any kind of culture. I mention this only because I think in many ways that has influenced the way I see art and more particularly my art. Icon started out strictly as a clothing company based on a word (icon) that essentially got pulled out of the air. Little did I know exactly how perfect it fit what would later grow into a larger body of work consisting of screen-printed posters, stickers, paintings, street installations and a clothing line.

Icon didn’t really have a particular concept other than it just sounded cool and it sounded right. I felt if people saw and heard it enough, they would feel the same way too.

And so the develop of the Icon man is no different than the concept behind the name.

To everyone he looks like someone, he looks familiar to them. Everyone has a theory behind the name and the man thus further supporting the “fabricated coolness” that he and the name have become. In this way, Icon has become sort of a ironic jab in the ribs of the cultural social systems we all (myself included) are a part of. Sort of an ongoing joke that never really reveals the punch line.

For the room in particular I wanted to combine many of the existing elements that make up the brand Icon. Some of the elements are on the surface clearly represented as cartoons of the Icon Man, Logo Types and patterns. Just beneath those immediate representations are the ideas of subversion, commercialism, and repetition.

I feel like these are all ongoing ideas that impact everyone’s lives, just not everyone is aware of it. I don’t think there could be a better place to tell this twisted zinger than in a hotel that some one paid to stay in.

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Icon Man by Brad Jensen

This spread: example of promotional postcard/room brochure for Brad Jensen’s Icon installation. Actual Size.

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Graphic Designer Brad Jensen is the owner of Icon Visuals. His brand, Icon, is responsible for what is quickly becoming the most ubiquitous and recognizable character of urban art in the South, the Icon Man. Sightings are being reported at an ever increasing rate with a continuously growing body of work including screen-printed posters, stickers, paintings, street installations and clothing.

LINK HOTEL | 465 THIRD STREET | BATON ROUGE, LA | 70802

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Above: Elevations of Icon installation Left: Partial Isometric of Icon installation

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Above: Perspective of Icon installation

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Above: Perspective of Icon installation

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•For detailed information on the exchange between the designer and artist, please refer to addendum.

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OttO Orellana Born: 9-11-77, La Ceiba, Honduras, C.A. Resided in New Orleans ‘84 - ‘96 Has resided in Baton Rouge since 2000 I always wanted to master several things instead of just specializing in one. That lead me to playing music & dj’ing immediately after receiving a degree in Studio Art, with a concentration in Printmaking. I truly believe that music & visual art go hand in hand to enhance an idea, concept, or an experience.

Currently all my work is strictly done on paper and other forms of paper manipulation such as collage and mixed medium.

I believe the texture and matt applications resonate the flat illustration aesthetic in the music industry today. Most music that interest me is produced on a visual based programs such as Pro-Logic, CuBase, Serrato, and Ableton Live.

My goal is to enhance the possibilities of creating music based on visual elements and blur the line between the two different approaches.

When you look at my work, it has a rhythm, a flow, a direction that coincides with the way you would make a music track on these programs. Hopefully one day, they will be unified and expressed in the same way with little effort.

The body of work called “Loom” is a visual interpretation to very specific music genres such as House, techno, electro, minimal, and indie.

However the titles speak of feelings, places, or experiences involved with my personal love for music. Since the designs are non-objective, I rely on the shapes, colors and textile nature to express my experiences. My target audience are designers, dance music enthusiast, and music producers. I know they would be able to relate to this body of work because the work itself was created in the same fashion as they create their music. This is just a response to their call.

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This spread: example of promotional postcard/room brochure for Otto Orellana’s Loom installation. Actual Size.

detail of Lost in a New City by OttO Orellana

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Otto Orellana, a professional DJ formally trained as a studio artist, blurs the distinction between the creative processes in the two fields. His goal is to create music based solely on visual elements.

The body of work called “Loom” demonstrates this unified expression of musical and visual arts through an interpretation of musical genres such as house, electro and minimal.

LINK HOTEL | 465 THIRD STREET | BATON ROUGE, LA | 70802

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Above: Perspective of Otto Orellana’s installation in room option 1.

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Above: Perspective of Otto Orellana’s installation in room option 2.

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program development schematic design design synthesis focus graphic analysis / addendum

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zoning circulation stacking day light analysis

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MAIN STREET

/daylight analysis

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From top: Solar path diagram1.

Site map.

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Opposite: daylight analysis. From top: summer solstice 9 a.m., 2 p.m., spring equinox 9 a.m., 2 p.m., autumnal equinox 9 a.m., 2 p.m., winter solstice 9 a.m., 2 p.m.

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program development schematic design design synthesis focus graphic analysis addendum /

112 130 156 160 166 170 176

process drawings correspondence context research precedents industry trends publications bibliography

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What are these Public/Guest Spacs? Back to back plumbing better if these are toilets

Is this Galllery part 3 of your scope?

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What is this?

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Move Front office/ reception to function spacemake larger, more gallery like lobbytuck function space under back of stairs

Don't think Host 8 Raised platforms are trip hazards and ADA should be as you problems use three or enter- off to the more stairs if you want side- let bar and them. How will you stairs be the handle ADA access and focus storefront conditions

1 where does this door go? IS this a two story space? If not, maybe you can open some of it up to below?

Level 2

Roof top bar and 1 restaurant -if there is a view- better money makercould still have lap pool went to a Raddison SAS in Rome that had a good example

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Level 4

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1. The gallery is part of my scope as its part of the concept.

This isn’t a focus or something that I want to go into great detail with. I would like to figure out a basic plan. However, I wonder if it would be better to just block it out in a zoning plan as space designated for the gallery. What do you think?

I had blocked out a small space for retail in the gallery but I may add a stair so the retail has been removed for now. The galleries first level is to exhibit the work of artists featured in the guest rooms. The second level is open for other contemporary exhibitions.

2. I split the rest rooms that were shared between the gallery and restaurant. Now smaller (2 stalls each versus 3), but I added an additional rest room to the hotel reception area.

3. The ‘guest’ and ‘public’ spaces you previously asked about are elevators. The public elevator gives access the restaurant’s second level and rooftop lounge.

4. function/meeting rooms moved to the second levelpushed back reception desk to increase the lobby space.

5. I will move the host into the restaurant. Do you think it is necessary to have a concierge for the hotel near the Third Street entry?

6. I added a mezzanine. The second level is 18’ A.F.F. -there is space for a lounge underneath the mezzanine.

7. I am considering putting an addition above Kress. It will be a simple, contemporary structure with easy kitchen access. Because the weather here is so inclement, it would be risky to have the entire restaurant on the roof. The addition would be flexible to house gallery events and could be rented for private functions. Whenever weather permitted, it could be easily serve as an extension of the restaurant.

Legend for stacking diagrams: gallery F&B function space guestrooms lounge/art installations front desk B.O.H.

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level 4

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THIRD STREET

MAIN STREET

Ground Level Plan

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Level Two Plan

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THIRD STREET

MAIN STREET

Ground Level Plan

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Level Two Plan

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/tracy stultz

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Sun, Jan 11, 2009 at 5:45 PM Hi Tracy, How are you? I hope you enjoyed the holidays and your new year is off to a good start. My classes start on Monday and I’ll be working on my senior capstone project, a boutique hotel. I was wondering if you would be my mentor! I’m sure you’re busy but this shouldn’t require too much of your time. In addition to an assigned faculty committee, I need someone with expertise who can offer advice as I work through the programming and design process. At this point, I have written a program based on my research and I would need you to look over that. As I move into schematic design I would ask you to review my plans. I might email you once a week at the very most. I enjoyed the work I did with you this summer and I would love to have your input on my final project. Let me know if you’re up for it!

Sun, Jan 11, 2009 at 8:29 PM Good to hear from you. I would be happy to. I am starting on a boutique hotel in Tibet soon- I hope- we don’t have the contract signed yet!!!

Mon, Jan 12, 2009 at 5:52 PM Tracy, thank you! I’m really looking forward to working on it! I may set up a blog to post my work on. For now though I’ll email you what I have. I’ll put some information together for you and try to send it out tomorrow. Have a nice day!

Thu, Jan 15, 2009 at 12:45 AM Hi Tracy, I have a blog up and running, and most of the information I am sending you now can be found there. I will continue adding to it and will probably update it about once a week. Your comments are more than welcome there too: http://idcapstone. blogspot.com At the end of last semester I submitted an 80 page package of information with my ideas and research in it, and I have taken snippets from that to familiarize you with the project up to this point. If you need or would like more information pertaining to anything I am sending you, please let me know. Based on the research I did last semester, I have developed a program for you to review. I’ll look forward to your feedback!!

So, a boutique hotel in Tibet?! That definitely sounds like a fun project. Is Warner Brothers/South Hotel still active?

Tue, Jan 20, 2009 at 6:29 PM Hi Lane, Sorry I haven’t responded. I have not had a chance…I am sending this home so I can take a look tonight or tomorrow.

I could probably commit to a weekly interaction. What is your preferable day and I will set it up as a reoccurring event. ..also, if ever you need an immediate response, please put it into the subject line so I do not miss it.

Talk to you soon Tue, Jan 20, 2009 at 10:13 PM Hi Tracy, I’m really flexible in my availability. I have Thursdays and Fridays totally open. Let me know if one of those will work.

This week I’m working a lot on graphic identity..logo/book format.. so if you dont have time to look at the program for a few days that’s no problem. I just wanted to make sure you had received it. I am looking forward to talking about it with you though!

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Tue, Jan 20, 2009 at 11:32 PM How about Thursdays...what is your schedule? If possible early morning would work for me.

Wed, Jan 21, 2009 at 1:39 PM Sounds great! I’m available at anytime on Thursday and early morning is fine. My cell phone number is 225.937.4211. Let me know about what time you’ll be calling.

Talk to you soon Thu, Jan 22, 2009 at 11:45 AM I read through the blog and posted a comment. I am available at my desk this morning if you want to call. The restaurant and roof top lounge should be a priority as income generators. The ground floor restaurant should have a street entrance and presence as well as from the lobby. I would keep the design minimal, focus on the historic elements and art installation and don’t go overboard in the public spaces.

Thu, Jan 22, 2009 at 2:04 PM Thanks Tracy. I think thats a great idea-there’s a lot of potential in having contemporary art installations set against the historic backdrop. The comment on the blog hasn’t shown up yet..? So I apologize if I’m asking you to repeat yourself.

Did you have a chance to look over the square footage allotments in the program? I’m going to begin floor plans this weekend. I based the numbers on precedent research (some european) and my main research sources, listed below. I left some flex space in the program and I’m sure things will evolve as they take shape. But do you think it’s a good starting point for back-of-house/guest room/public space ratio?

Hotel Design, Planning and Development, by Rutes, Penner and Adams, 2001 Designing Commercial Interiors 2nd ed., by Piotrowski and Rogers, 2007 Thu, Jan 29, 2009 at 10:59 AM Hi Lane, Sorry I haven’t been in touch. If you want to call I will be at my desk for a while this morning. We have had a lot of layoffs and I have been very distracted because of it.

Thu, Jan 29, 2009 at 4:14 PM I can certainly appreciate your being distracted with the layoffs. I’m sorry for the effect the economic situation is having on Gensler. Hopefully things will stabilize soon.

I am going to post more work on the blog today. You’re welcome to have a look at that over the weekend or anytime you have to do so. As we discussed before- if I have anything I need an immediate response to I’ll email you and let you know.

Mon, Feb 16, 2009 at 2:57 PM Hi TracyHow are things out there? Thanks for the note on my blog about the art in hotels. I’m going to include it in my capstone book under ‘trends’.

I’ve posted some work on the site that I’d like for you to look at. I’ve gone through several iterations of the plan so far - partly due to the need for additional fire stairs. I’d like to get some feedback on the schematic plans this week. If you don’t have time before, maybe we can talk Thursday a.m.?

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Mon, Feb 16, 2009 at 7:25 PM Hi, Your site is crashing my computer and not opening. Can you check the link and re-send?

Mon, Feb 16, 2009 at 9:52 PM I just checked the site and it came up fine. I’ll try making the images smaller though. For now I made a PDF of the drawings that I’d like for you to look at. Please see attached.

Tue, Feb 17, 2009 at 10:50 AM Sorry, comments not on blog….attached

Fri, Feb 20, 2009 at 5:11 PM Saw this article.. http://www.hotelsmag.com/articleXML/LN929461490.html?nid=3457&rid=1950135187

Thu, Mar 5, 2009 at 7:43 PM Hi Tracy, Thanks again for the article reference. It’s encouraging to see I’m in-line with industry trends.

How are things in the office? I wanted to apply for a full time position to start after graduation but was waiting with the hope the economy would improve. Do you know if there will be any hiring for the spring?

I’ve made some adjustments to the plans based on your comments and my mid-review (which was this week). Please see attached.

Tue, Mar 10, 2009 at 12:53 PM Lane, I am unable to respond until next week.

Please contact me at Eric_tracy@verizon.net 310.383.1026 Tue, Mar 31, 2009 at 3:41 PM Hi Tracy, I hope all is well. I have a couple of questions I’d like to ask you if you have some time this week. Let me know if you’ll be available and I’ll get the files together to send you.

Lane Tue, Mar 31, 2009 at 4:38 PM Hi Lane, All is well. I just passed my LEED exam and am now getting my own business, SONKA STULTZ DESIGN back up and running..... any time is fine!

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Wed, Apr 1, 2009 at 7:29 PM Tracy, that’s great! Congratulations on getting your business back up. What kind of projects will you be working on? I really enjoyed working for you this summer and I’d be delighted to work with you again- If there is any position you need to fill please keep me in mind.

I’ve attached the latest plans for my project. In addition to any comments you have, I’d specifically like you’re opinion on a couple of things: -Corridors: I’ve had trouble getting a regular rhythm in the corridors. Is that to be expected considering it is a historic property, 3 actually, and none of them were originally hotels?

-Individual room layouts: The photos attached show a room from La Purificadora which is what I based my basic guestroom on. See room type 2 on Plan 17’-10”. Room type 1 is similar but without the glass closet. It looses the translucency and desk surface which wraps around from the vanity.

-Guest floor layout: I will duplicate the guestroom layout vertically throughout each building, but I have shown two options for Welsh-Levy. The layout on Plan 30-3 incorporates the columns better then the plan on 17’10, however, the issue of irregular corridors worsens with this layout. Maybe I can make the off-rhythm corridors a design feature.

I have been modeling the interior and working on materials and art placement. Once I get an okay from you on the major planning elements, I’ll send over preliminary renderings, etc.

Aside from working on the project, I’ve been also been working on my website/online portfolio. I’ve got it pretty much finished. Check it out if you get a chance! www. laneschofield.com

Thu, Apr 2, 2009 at 6:21 PM Tracy, I met with a restaurant consultant yesterday and made some changes to the restaurant and kitchen. Updated plans are attached.

Thu, Apr 2, 2009 at 8:24 PM OK- I review them all tomorrow

Hi Lane, Sorry for the delay. this got caught in bulk because I have been setting up new accounts for my business. I really think you should open up the Restaurant bar to the Lounge area and put the back bar up against a wall or the stair...it is hurting your seating areas and the overall ambiance. I also feel like the restaurant is very isolated and does not have much interest. Would be better if open to the gallery below to draw people up there.

I wouldn’t worry about the rhythm on the corridors...there are lots of design tricks to make them look good. I am sorry but I have to go..I really don’t understand you question re the option on the Welsh Levey...

Bye Lane!

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/otto orellana

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Mon, Feb 16, 2009 at 3:32 PM Hi Otto I’ve been working like crazy trying to get through the programming and space planning portion of my project so I can start on the fun stuff! I wanted to see if you have a website or if there is anywhere online I can see your work? I was disappointed that the art show got canceled. Do you know when it might be rescheduled for?

Mon, Feb 16, 2009 at 3:51 PM Hi Lane, Good luck with your preparations. I don’t have a website of my work, but i can email you samples. that way you can pick out the ones you like & get started on fitting them into the virtual space.

I am bummed that the show got canceled too. We are waiting for a secure location to set a new date & time. Thanks for your interest.

So good luck with the project and let me know what else you would need from me. Here are some samples to start you off with.

Sat, Mar 14, 2009 at 7:42 PM Hi Otto. I went to see your installation at Urban Outfitters...awesome!! Do you know how long they have it up? I dont know what you are planning on doing with it after that, but if they’re taking it down by the begining of May I’d love to have it for my project! I noticed you had some of the same printed elements in it as you had in one of the pieces at the art show. Whatever it is-I like it!

I have some more information about the project and what I would like to get from you. The format for the final presentation will include a bound book and a minimum of six 20x30 boards. I will have a minimum two page spread in the book for each artist. This could include an artist profile, examples of your existing work, your concept for the guestroom and copies of work you produce for the project (if any). I was also thinking of doing mockup brochures for each of the artists, a copy of which would be left in the finished rooms for the guests to keep.

What I will need from you: -Biographical information/artist profile -Any self-promotional material already existing would help with putting together a ‘room brochure’.

-Existing work samples (which you may have already sent) -Your concept for a guestroom installation. This may be in any format you’re comfortable with. Verbiage AND graphics!! are encouraged.

-You can assume a room size of 14 feet by 28 feet with 12 foot ceilings. I can send you a basic floor plan by the end of the week.

Aside from my needing to place a bed and dresser in the room, you would have the entire space to work with and freedom to manipulate it according to your vision. Please note that this is a hypothetical project and you will not be executing any work in actual rooms.

However, if you are willing to produce something for the presentation, I will be more than happy to make materials available for you to do so.

If you want to visit my project blog site, you can see a little more about the project including precedents, which may be helpful. I’ll be posting an update this week. The site is: http:// idcapstone.blogspot.com/ Let me know if you have any questions 06|137

Thu, Mar 26, 2009 at 6:20 PM Hi Otto, I wanted to touch base about the project. I haven’t heard from you since I sent the last email. Also, I wanted to ask about including your contact information whenever I reference your work online or in print. What contact info would like for me to use?

Lane Fri, Mar 27, 2009 at 3:29 PM Hi lane, I’m in Miami till Mon, then I will be able to finish the items you requested for your project. I’m really excited about it sounds really cool. Sorry for not responding quicker.

My contact is pretty basic.

Otto Orellana

Fri, Mar 27, 2009 at 3:45 PM Oh, & to answer your questions regarding last email: Yes. Urban is taking it down for April so you may use them, and I was actually thinking of adjusting them for your project.

Yes. I will send you my bio and concept for the room, and I am totally fine with you running with it too.

And yes. I prolly would help you much better if I had a deadlines as to when the latest you need the items from me. It’s ok, you can be blunt, I don’t mind. And the only reason I say that is becuse I do all my work last minute feverishly, but I don’t wanna stress ya out.

Hope all is well, talk to you soon:) otto

Thu, Apr 2, 2009, at 2:18 AM Hi Otto, ok, deadlines: Now- :) I could use images of the work you’ll be using in the room right now. Do you have the work I really liked from the art show? I believe the name of the piece was ‘lost in a new city’. I remember it having some elements that you also used in the Urban installation. If you don’t already have those images, do you think I could get them by this Friday, April 3? I wouldn’t mind coming to take pictures if its a problem for you.

April 7th- room concept, your bio and any existing promo pieces I could use as reference to make your brochure.

April 15th- I need to know what size and format of whatever you will have for me to use in my presentation. I will also need images of the art as you invision it for the guestroom to use in the virtual model.

April 17th- I will need to have, or at least have access to, the art.

Let me know if these work for you Let me know when you get the work back from UO, I can come take some photos to use in my model while I wait for you to make any adjustments.

Also, I made some basic room models for you to see that may help. Attached are the plans and elevations as well as a perspective for two different room options. The first one more of a blank slate, which may be better for you.

Lane

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Fri, Apr 3, 2009 at 12:27 PM Hi Lane, I took some pictures of the “lost in a new city” for you and attached them here, with a short Bio & profile pic. The UO work will be down in a week or so, and i’ll be able to start on the rooms to meet your deadlines. See you tonight!

Ottoniel Orellana Mon, Apr 13, 2009 at 4:11 PM Hi Otto, I just wanted to check in and see how everything is going. Also, can you send me copies of the stabbed in the art event flyers? I’m going to include them as research for my project.

Thanks Lane

Sat, Apr 18, 2009 at 3:41 PM Otto.. Are you still out there??

Tue, Apr 21, 2009 at 6:53 PM Hi Lane, I have some more work for you.

Sorry i didn’t meet your deadlines, but i didn’t know how involved I was going to be in your project. my number is 2259750895 if you need to come by and grab some art work to use for your project. I hope these room plans work for you.

Urban outfitters has decided to keep the work up till the end may , and that is why i havent been able to get you the other (wings) for your presentation. I had to redo some rooms so that you may have the artwork that is actually used in the roomplans.

You are welcome to use my art pieces for your presentation. Please call to make sure I am here and let me know how long you will need them. text me first so that I know it is you, i don’t really answer unknown numbers.

Holler!

Thu, Apr 23, 2009 at 6:07 PM Hi Otto! I’m sorry for the delay in responding. I’m trying to finish some elements of the project..I have to turn in my boards tomorrow but I think I’ll be able to include your work.

Can you send me higher resolution images? You’re rooms look really good and I’d like them to appear larger on my boards, which are over 10 feet long! Thank you for doing this with me! I’m sorry we couldn’t get the work from Urban but having it up longer over there is great for you! That’s seriously awesome exposure!!!!! If I have time I’d like to get some pieces of actual art to include in my presentation, which is on Monday.

Lane Thu, Apr 23, 2009 at 7:13 PMHi Lane, The files I sent you are the largest I have, They’re the working photoshop files. So you can save them as large as you need them. I worked on the room perspectives on (photoshop) and saved them as I received them which were jpegs at 300 dpi. But since they are not vector files (illustrator) then they will get blurrier the larger you blow them up.

But you can come pick up the art, anytime, just call first to make sure I am home.

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/ brad jensen

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Mon, Mar 16, 2009 at 1:39 AM Hi BradWe talked last week at the Stabbed In the Art show about your working with me on my senior interior design project. I wanted to touch base and tell you a little more about the project and what it involves.

The hotel will exhibit the work of nationally emerging artists. But not by hanging their art on the wall. Rather, the art is painted/sprayed/drawn/adhered/etc ON the wall and any other surface you would like to incorporate in your work. Aside from needing to include a bed and dresser in the room, you would have the entire space to work with and freedom to manipulate it according to your vision. Please note that this is a hypothetical project and you will not be executing any work in actual rooms. However, if you are willing to produce something for the presentation, I will be more than happy to make materials available for you to do so.

The format for the final presentation will include a bound book and a minimum of six 20x30 boards. I will have a minimum two page spread in the book for each artist. This could include an artist profile, examples of your existing work, your concept for the guestroom and copies of work you produce for the project (if any). I was also thinking of doing mock-up brochures for each artist, a copy of which would be left in the finished rooms for the guests to keep.

What I will need from you: -Biographical information/artist profile -Any self-promotional material already existing would help with putting together a ‘room brochure’. This may include your photo.

-Existing work samples -Your concept for a guestroom installation. This may be in any format you’re comfortable with. Verbiage AND graphics!! are encouraged!

-You can assume a room size of 14 feet by 28 feet with 12 foot ceilings. I can send you a basic floor plan by the end of the week.

I had mentioned Hotel Fox in Copenhagen as one of my precedents. You can check out their site which may be helpful: http://www.hotelfox.dk/ I’d be happy to meet with you anytime to discuss the project. I’m VERY interested in hearing any thoughts or suggestions you have about project. Let’s collaborate!!

Talk to you soonLane Schofield

Thu, Mar 19, 2009 at 9:29 AM Lane, Hey thanks for reaching out, I was wondering about this. I checked out the Hotel Fox. Amazing! I’m still down for helping out in any way I can so count me in for sure. Give me a call sometime and we can get the details ironed out. I’m available anytime.

225.439.1033

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Thu, Apr 2, 2009 at 11:41 PM Hi Brad, It was nice to finally talk today. I’m really excited about your wanting to do an entire room.

Since I’ll need to put in the model and get the room rendered, I’ll need to have it from you by the 10th. If you don’t think you can do it by then, let me know and we can work something else out. The other things that I need from you are: -your bio/artist profile -concept and title for your room.

-a logo or photo I dont know if you have any existing promotional material you could send me, but if you do that would help in making the brochure for your room.

Understand that the whole room is yours-all surfaces and forms (furniture) even the textiles, like window coverings and bedding! I can drape anything you design over any of the surfaces in the model. The furniture that is in there is basically a place holder for scale. You don’t have to design furniture, but whatever isn’t addressed by you will just be left white in the rendering. If there’s a custom piece you want me to model for the room, we can get together and make it happen for sure.

Let me know if you have any thoughts or questions.

Lane

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Thu, Apr 9, 2009 at 6:45 PM Lane, Hopefully this isn’t too last minute. I numbered the files for each panel starting with the window wall and continuing clockwise. I hope this gets you to where you need to be. If you need larger images just let me know. Good luck and let me know how it turns out or if you have questions.

Thanks, Brad

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Thu, Apr 9, 2009 at 10:19 PM Wow! I’m so excited! Thank you so much. I’ll let you know if anything else comes up, and if not then I’ll get with you afterwards and show you everything. If you’re interested in coming to my presentation, I”ll let you know when that is going to be as soon as I find out.

It looks really great. I just cant thank you enough.

Lane

Sat, Apr 11, 2009 at 6:08 PM Hi Brad, I don’t think I received all of the images you intended to send. I have a partial 3D view and walls numbered 101, 102, 104, and 108.

I would like to get larger images to use on my boards. Do you have illustrator files? I dont know if that would be easier than sending more jpgs or not...

I also need to get: 1. your bio/artist profile 2. a concept statement for your room design 3. the Icon logo or photo of yourself These will go on the room brochure.

Thanks, Lane

Mon, Apr 13, 2009 at 12:05 AM Lane Here is a the Illustrator file and an Image you can use for my profile.

As far as the concept for the room it was mainly an excercise for me in my Icon “branding.” I really just tried to combine the different elements I tend to use that make up the Look and Feel of Icon. It was actually really informative experiment because while it usually makes sense in MY head I had actually never had to lay them all out together for ONE piece.

And for the Bio, what kind of info would you like for that?

Thanks, Brad

Mon, Apr 13, 2009 at 3:10 PM Hi Brad, The illustrator file wont export as a jpg correctly on my computer...encounters an unknown shading type..? Can you send me the missing panels as jpg’s? I need 103, 105, 106 and 107. As far as concept and profile. Those are used as a sales tool, if you will, to promote your room. The profile can be the who, what when and where of you. For example: Where are you from? What mediums do you typically work in? How long have you been an artist? What type of artist would you classify yourself as? Do you have an overarching design philosophy that resonates in your work? Are you currently working on any large projects? Have you had any special recognition as an artist? I’ll attach a couple of brief articles on the artists’ rooms from Hotel Fox that may help. Let me know if this helps!

By the way, have I told you how much I appreciate your being involved...I DO!!!!!!

You’re doing a great job!

Lane

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Tue, Apr 14, 2009 at 10:55 AM My name is Brad Jensen and I’m from Haughton, Louisiana. Its a very small suburb outside of Shreveport pretty devoid of any kind of culture. I mention this only because I think in many ways that has influenced the way I see art and more particularly my art. Icon started out strictly as a clothing company based on a word(icon) that essentially got pulled out of the air. Little did I know exactly how perfect it fit what would later grow into a larger body of work consisting of screen-printed posters, stickers, paintings, street installations and a clothing line. Icon didn’t really have a particular concept other than it just sounded cool and it sounded right. I felt if people saw and heard it enough, they would feel the same way too. And so the develop of the Icon man is no different than the concept behind the name. To everyone he looks like someone, he looks familiar to them. Everyone has a theory behind the name and the man thus further supporting the “fabricated coolness” that he and the name have become. In this way, Icon has become sort of a ironic jab in the ribs of the cultural social systems we all(myself included) are a part of. Sort of an ongoing joke that never really reveals the punch line.

For the room in particular I wanted to combine many of the existing elements that make up the brand Icon. Some of the elements are on the surface clearly represented has cartoons of the Icon Man, Logo Types and patterns. Just beneath those immediate representations are the ideas of subversion, commercialism, and repetition.

I feel like these are all ongoing ideas that impact everyones lives, just not everyone is aware of it. I don’t think there could be a better place to tell this twisted zinger than in a hotel that some one paid to stay in.

Mmm… let me know what you think.

Thanks, Brad

Tue, Apr 14, 2009 at 11:08 PM Thank you Brad, thats great! It’s really helpful to have a story line. Do you have a workshop or studio space? If so, I”d like to come by and see it sometime this week if its convenient for you. I’d like to be more informed about the design, printing and application process.

I need to add a floor and ceiling for the rendering. Do you have any thoughts as to how the design might address those surfaces?

Lane

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/kerry beary

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Thu, Mar 19, 2009 at 3:45 PM Hi Kerry, Genny told me you had an interest in participating in my art-hotel project-which is great!

To tell you a little about the project: The hotel will exhibit the work of nationally emerging artists. But not by hanging their art on the wall. Rather, the art is painted/sprayed/drawn/adhered/etc ON the wall and any other surface you would like to incorporate in your work. Aside from needing to include a bed and dresser in the room, you would have the entire space to work with and freedom to manipulate it according to your vision. Please note that this is a hypothetical project and you will not be executing any work in actual rooms. However, if you are willing to produce something for the presentation, I will be more than happy to make materials available for you to do so.

The format for the final presentation will include a bound book and a minimum of six 20x30 boards. I will have a minimum two page spread in the book for each artist. This could include an artist profile, examples of your existing work, your concept for the guestroom and copies of work you produce for the project (if any). I was also thinking of doing mock-up brochures for each artist, a copy of which would be left in the finished rooms for the guests to keep.

If you want to visit my project blog site, you can see a little more about the project including precedents, which may be helpful. I’ll be posting an update this week. The site is: http://idcapstone.blogspot.com/ I’d be happy to meet with you anytime to discuss the project. I’m VERY interested in hearing any thoughts or suggestions you have about project. Let’s collaborate!!

I’ll look forward to hearing from you.

Cheers, Lane Schofield

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/jen stark

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Mon, Jan 19, 2009 at 7:58 PM Hi Jen, I’m an interior design student at LSU and I’m working on a hotel and gallery for my senior design project. The concept of the project is to work in collaboration with artists, inviting them to execute their work within a designated guest room at the hotel. I love your drawings and paper sculptures and would like to include you as an artists for one of the guest rooms. Aside from obviously needing to include a bed and dresser in the space, you would have the entire space to work with and freedom to manipulate it according to your vision. How would you anticipate translating your paper sculpture and/or drawn work into the built environment to address the entire space? The room size would be about 14 feet by 24 feet with 9 foot ceilings. As a student project, there is no actual work being commissioned from you. However, if it were a real project, is it something you would be interested in working on? If so, I would like to list your name with an example (quality image) of your work in my presentation.

Please let me know what you think and if you’d be interested!

Best wishes Thu, Jan 22, 2009 at 1:33 PM Hi Lane, Thanks for the offer, but right now I’m busy working on a solo NY show.

I’m glad you like my work though.

Best of luck on the project, Jen Thu, Jan 22, 2009 at 1:55 PM Thanks for getting back to me Jen! I cant imagine how busy you must be. Would you mind if I included an image of your work from your website? The context it would be used in is examples of ideal artists’ work. I would be happy to send you a copy when I finish the project.

Thank you for the kind wishes and best of luck to you in your show!!

Mon, Jan 26, 2009 at 2:19 PM Hi Lane, Sure you can include an image as long as you give the credit.

Good luck with your project!

Let me know if you’d like to be on the email list.

Best, Jen

Tue, Jan 27, 2009 at 7:23 PM I will most certainly give the credit to your site. The project is for a hotel that has a dual function as a gallery. So featuring the artists is what its all about!

I’d love to be added to the email list, thank you!

Best Regards,

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/rodrigue studio

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Thu, Mar 19, 2009 at 6:21 PM Mr. Rodrigue, I’m an Interior Design senior at LSU and I’m currently working on my senior design project, a boutique art hotel. The hotel will exhibit the work of nationally emerging artists - but not by hanging their art on the wall. Rather, the art is painted/sprayed/drawn/etc ON the walls and other surfaces the artists would like to incorporate in their work. Part of the project involves selecting a hypothetical client. I would like to define my client as a partnership between you and the Arts Council of Greater Baton Rouge. I am writing to ask, at the very least, for your permission to do so. However, if you have any interest in being more involved in the project, I would be honored to have you on my capstone project committee. I could then keep you up to date on the progress of your [fictional] investment.

I’ll look forward to your reply!

Fri, Mar 20, 2009 at 11:12 AM Lane, My name is Jacques Rodrigue and I work with Rodrigue Studio. I think you have a great idea for your project. I have even thought about the possibility of one day having a Rodrigue Hotel. We already have restaurants that do so well to promote my dad’s work. So, a hotel actually seems like a natural progression.

I am available in case you have any questions. I can give our concerns when we go into partnership with any organization or company. It is always difficult when you work with outsiders to get the message across about how serious the art really is. Also, if used correctly and taken seriously, the art that we have brings so many unique opportunities to make something special that is worth promoting in the right way.

Give me some more info and I will do my best to help you out.

Thanks, Jacques

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Guest rooms & Suites The common room width for the past several decades has been 12 ft. There is little advantage to increasing the guest room width beyond 13.5 ft. However, a room width of 16 ft or more opens up design alternatives.

Generally, hotels include a mix of rooms with one oversized bed (king), two beds (double or queen) and suites of various sizes.

Percent of total guest rooms for a boutique hotel: doubledouble: 10; king: 75; king-studio: 3; suites: 12 Queen or 72 in King bed: beds smaller than the 78 in king creates more open space.

Convertible Sofa or wall bed: these provide more open space and flexibility, either as the second bed in a queen or kind room, or as the only bed in a parlor.

Adequate Luggage and clothes space: sufficient drawers, luggage rack and closet space reduce the clutter of clothing and personal items throughout the room.

Armoire: combine drawer space with a television cabinet and possibly a pullout writing ledge in a single unit to eliminate the need for two or three separate pieces.

Desk: wheeled computer stand that rolls under the main desk offers a better height for a guests computer and provides additional work surface.

Lounge and desk chairs: lounge chairs designed at a height appropriate for the work desk may eliminate the need for desk chair.

Mirrors: mirrors enlarge the space visually.

Wall-mounted bedside lamps: these permit a smaller bedside night table Bathroom: designs should increase lighting and enlarge the counter top and mirror surfaces; compartmentalize the toilet and/or tunb/shower Administration Provide 3 to 5 sf per guest room for the front desk and related front office functions Front Desk Provide dual function, individual work stations for registration and cashier stations. Each 6 ft long.

Assume two stations for the first 150 rooms, one or more for each additional 100 rooms.

Queuing Space: Provide sufficient space in front of the desk for guests to line up.

Front Office Work Area

Includes mail, copy, fax, etc built-in counters and files Assistant Managers Desk: If required, provide a desk, seating, and storage near the front desk for a concierge or assistant manager. Consider making it a decorative feature within the lobby.

Front Office Manager provide private office convenient to the work area.

Reservations & Telephone provide space with counter area and acoustic partitions for telephone operators and reservations staff, convenient to the front desk; include security and alarm monitoring systems.

Safe Deposit Area Provide secure spaces with safe deposit boxes and, adjoining, a small guest view room with counter and chair.

Counting Room Provide secure spaces where food & beverage outlet and retail managers count receipts and place deposits in a dropsafe or pass directly to cashier.

Fire Control Room Provide space next to front entrance with dedicated alarm panels for use by fire and police in responding to fire and other emergency situations.

Support Functions: provide for such accessory needs as toilets, storage, coats and pantry Public Space: Lobby Most hotels provide between 6 to 10 sf of floor area per guest room in the lobby, not including circulation to remote functions. In addition to establishing the image of the hotel, the lobby serves as the main circulation space, directing guests to the front desk, elevators, food and beverage outlets, meeting and banquet facilities and other public spaces; as guests linger, it serves as an informal gathering space. It also functions as a security control point, where the staff is able to visually supervise access to the building.

The design of the other areas of the lobby deals with fewer functional elements but requires more manipulation of the space. The definition of circulation, seating, and the retail areas usually is advanced by such standard design techniques as level changes, floor materials, varying ceiling heights, special lighting, signage programs, articulation of decorative details, and custom millwork Bellman Station: provide a bell man station near the front

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desk and main entrance Luggage Storage: provide a lockable storage area adjoining the bellman station with shelving for checked luggage; provide direct access to the curb.

Telephones: include house phones close to the front desk and public phones convenient to the lobby, approximately 1 per 100 rooms.

Furniture and Fixtures: establish ambience of lobby area by providing special millwork detailing and finishes, front desk, bellman station, assistant manager’s desk, and furnishings (lounge seating, decorative lighting, artwork) to establish the image of the hotel.

Public Space: Food & Beverage Outlets A good rule of thumb in North America and Europe is to provide restaurant seats equal to 0.6 times the number of guest rooms and lounge seats equal to 0.3 times the number of rooms.

Restaurant and Bar area requirements in square feet per seat: Lobby Bar: Casual- 20; Formal- 25 Cocktail Lounge: Casual – 16; Formal – 20 Provide each food outlet with direct, convenient access to the kitchen; those outlets with minor food service may be served from pantries.

Provide each beverage outlet with a service backup, either from the kitchen or bar storage area.

Locate Each outlet accessible from public flow areas; make the café visible from the lobby.

Pair each food outlet with a nearby bar or include a small holding lounge.

Locate restaurants and bars where appropriate, with exterior frontage and direct outside access.

In a small downtown property, the primary beverage outlet may be a quiet and luxuriously furnished lobby bar.

Fully open to the lobby space, separated only by planters, railings, a water feature, or level change, the lobby bar offers additional public seating when it isn’t used as a beverage outlet.

Consider including the following features in a lobby bar: Visibility: provide an open area that is obvious to hotel guests and visitors Seating: furnish the bar primarily with lounge seating – sofas, lounge, chairs, end tables – or with a combination of lounge and bar seating; provide a few

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seats at a service bar.

Bar: feature a small bar for beverage service with nearby storage or back up from the kitchen.

Entertainment: specify a location for a piano or other entertainment.

Food Service: consider back-of-house access for limited food service, especially continental breakfast, hors d’oeuvres, and snack service The second beverage outlet often is some type of active bar or lounge. Quite different from the lobby bar, the entertainment lounge is completely enclosed to reduce high noise levels and features lower light levels and more closely spaced seating. Consider the following in the layout and design of an entertainment lounge: Entry Sequence: develop an enclosed entrance to maintain acoustic and visual separation between the lounge and the hotel circulation areas.

Separate functions: establish distinct zones for the bar, entertainment/dancing area and quieter lounge area.

Bar (about 10-25% of the lounge area): provide a large bar that is visible from the entrance and is situated so that guests can view the entertainers; provide pickup stations for the staff, provide close-by bar storage.

Entertainment area (50-60%): develop an integrated section to accommodate at least half of the guests – add platforms to provide better sight lines throughout the space.

Lounge Area (20-30%): design a separate lounge area where guests can sit outside, but within reach of the active zones; consider soft lounge seating.

Lighting: install flexible lighting, controlled at the bar, including stage and dance floor lighting as appropriate.

Video and sound system: provide control of all video screens at the host stand or bar; or provide integrated sound system with speakers focused on the dance floor area.

Back of House: Food Preparation & Storage Kitchen Planning 6 sf / restaurant seat 1 st / lounge seat 1 sf / hotel guest room

Provide straight-line flow of food from storage to serving; eliminate cross-traffic and backtracking.

Minimize distance between kitchen and serving area and restaurant seating.

Arrange compact work centers.

Locate secondary storage near each station, as required.

Place shared facilities centrally.

Plan for efficient use of utilities.

Group all walk-in refrigerators and freezers together to share common walls and compressors Depress floor slabs for refrigerated storage so that the refrigerated floor is even with the kitchen floor.

Plan aisles at a minimum of 3.5 feet Back of House: Employee Areas Areas total between 6 and 10 sf per room HR office: Provide office suite for HR director and administrative support with sufficient space for job applicants.

Include additional private office for interviewing and counseling employees.

Provide a training room for staff meetings and education.

Employee Lockers and Toilets Provide separate facilities sized according to the staff program and shift staff schedules; estimate staffing time at 60% male, 40 % female unless local experience differs.

Employee Dining Include snack vending machines

Back of House: Mechanical & Engineering The offices and shop space require between 3 and 5 sf per room.

Planning should accommodate the following: Locate the secretarial area to to control all access to the shops and mechanical areas.

Group engineer, assistants’ offices and record/drawing storage around central work area.

Provide energy management computer room ar required.

Locate grounds maintenance space convenient to the outdoors.

Locate mechanical areas in high-ceiling space (16 ft) where noise and vibration will not disturb guest or public activities.

Provide secure rooms for telephone switch and for television antenna system and associated video/movie functions.

Locate rooms where large equipment can be replaced reasonably easily.

The mechanical equipment do not need to be immediately adjacent to the other service areas, although they should be close to the laundry, kitchen and other high energy use areas for most economical operation. The equipment rooms can be located off a separate service corridor for better control and supervision. However, the maintenance and engineering function operates 24 hours a day and, therefore, must be directly connected to back-of-house areas and to service elevators. It should be convenient to the loading area to receive equipment and materials needed for engineering activities.

Back of House: Laundry & Housekeeping 10 sf per guest room – The necessary space is about equally divided between laundry and housekeeping.

Provide a linen chute including provisions for smoke control, venting and locked access.

Provide dry cleaning services in upscale and luxury hotels.

Provide locked storage for laundry chemicals.

Establish separate locked linen storage for particular departments. such as f&b or health club.

Provide locked room for guestroom amenities.

Provide lost and found storage room.

Create separate area for night shift to access cleaning equipment and supplies

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Hospitality Design Trend Forecast 2009

2. What is catching your eye as a trend?

I spent this week at the ALIS conference in San Diego - enjoying the sun as well as some not-so-sunny industry forecasts. While waiting at O’Hare airport, I found inspiration at the magazine stand and decided to ask two of my esteemed colleagues to do some 2009 trend forecasting.

Prendergast: At every design meeting, I hear that modern and sleek is still top-of-mind, but with a softer edge.

I have asked Julius van Heek and Meg Prendergast, two seasoned hospitality design professionals who are on the forefront of balancing design trends with clients’ needs, to share what they see on the design horizon this year.

1. What colors, fabrics and treatments do you expect to see a lot of in 2009, and what is standing out?

Prendergast: I still see the minimal use of patterns in interior design. Rich, lustrous fabrics are always a preferred direction since they add such depth to a room or space.

Technology is helping develop really cool treatments to standard products. I am particularly excited about micro-lasered leather for a new look. van Heek: I expect a resurgence and spin on the muted tones that we experienced in the mid to late 80’s. Informally, I call these “Colorado colors” from the boom days of big ski residences.

Look for muted tones of mushrooms, beiges, warmer/softer tones based on the browns, peaches to soft rusts/bronzes.

The evolution of “green/sustainability” will compound this color trend. The extrapolation and abstractions of pattern based upon nature’s influence will continue. Think sky (clouds), sand (color and texture) and flowers (gradation of one basic color).

I also expect that within this overall muted color/pattern palette, we will see a pop of vibrant color and/or pattern. Think of a beautiful, natural field with the pop of wildflowers coming through; or the calming effect of being underwater while being surprised by colorful tropical fish swimming by. Consider accents of Aubergine, deep purples, intense blues, hot reds.

3. Do you have a particular favorite trend of 2009?

Prendergast: Clients and, in turn, their guests, want spaces that work. Comfortable spaces that provide a lot of userfriendly flexibility seem to be key.

My personal favorite, however, is an art program that really adds character to a project. This is an investment that brings quality and value to any project and really sets the tone from a design standpoint. Moreover, beautiful art transforms mere spaces into places where we want to spend time. For the hotelier who wants to ensure that guests spend time in the lobby, an art program is the best way to go. van Heek: I would say it is the gradation of color concept discussed previously. It is a good example of maintaining subtlety while still attracting attention to a wall, furniture piece or flooring material.

From a technological standpoint, I love what companies are able to do with laser cutting and/or etching. I’ve seen it in porcelain tiles, marbles/granites, leathers and glass and it seems to be an effective technique to add “subtle glam” to tried and true/basic material. Click here to see some examples of how etching can transform the basic to the extraordinary.

4. What are your clients asking for from a design standpoint?

Prendergast: It’s no surprise – ROI, ROI, ROI! Large or small, luxury or economy, this economic environment mandates solutions that will help provide long-term returns on investment for ownership.

5. What design trends do you predict will be dictated by the economy? van Heek: If it is a high ticket concept/item, it better last

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and/or get better over time (think leather or beautiful wood flooring aging and getting more beautiful over time.) These pieces, however, provide amazing value and are worth the investment.

A good design team also always has their eye on ease of maintenance, which makes design cost-effective in the long term.

Finally, the line between work and play has been obliterated (not just blurred) in this economy and needs to be reflected in design. This trend started with the cell phone, migrated further by the Blackberry and has now been destroyed with the world economic situation. Business hotel and resort hotel design has meshed forever as a result of the times.

6. What design trick is your favorite “bang-for-the-buck” application?

Prendergast: Layers of gypsum board for a good way to add detail without the cost of millwork. There is also a lot of mileage to be gotten out of grout patterns without the hassle or expense of too many different stone materials. van Heek: I always employ what I call “experience designing,” which entails thinking of the person who may be using the space, how they might use the space (flexibility) and then accommodating as many varied needs with the physical parameters of the space. When a designer approaches a project with this philosophy, the opportunities for valueengineering are more easily exposed.

Hill, Roger. “Hospitality Design Trend Forecast 2009 .” Hotelsmag.com. 30 Jan 2009. Hotels Magazine. 30 Jan 2009 <http://www.hotelsmag.com/ blog/380000638/post/1920039992.html>.

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Hotel may be first in UK to have an artist-in-residence; Art galleries have them, cathedrals, educational establishments, theatres - even workplaces too. But a Roseland hotel believes it is the first in the UK to employ its own artist-in-residence.

Jeanni Blaxall, who lives in Grampound, has taken up the role at the family-owned, four-star Nare Hotel, situated near Veryan on one of the finest stretches of Cornwall’s southern coastline.

Given its spectacular setting overlooking Carne Beach, and with perfect sea views, the hotel’s attraction for those with an artistic temperament is obvious.

But Jeanni believes that everyone, regardless of the ability they think they might have, has the potential to shine through art.

She explained: “When you allow yourself to let go of your preconceptions about your artistic inability, then you can begin to succeed.”

As an artist and teacher of many years standing, Jeanni is also a visual awareness trainer who runs team-building sessions for businesses and individuals, including UK Sport.

“The truth is that anybody is capable of anything and we can all discover new perspectives and perceptions.”

As part of her work at the Nare Hotel, Jeanni runs visual awareness art breaks in which she invites participants to explore their inner artist and find new inspiration through art.

A spokesperson for the Nare Hotel said: “Having an artist-inresidence is a unique opportunity for us to provide an additional, memorable experience for our guests during their stay.

“We’re very proud to be associated with Jeanni and her work.”

The next art course at the hotel begins on March 16 and is open to non-residents as well as hotel guests.

To find out more about Jeanni’s work or book a lesson contact her on 0781 883 8524 or see her website http://www.jeanniart.

No author specified. “Hotel may be first in UK to have an artist-in-residence.”

This is Cornwall. 16 Feb 2009. West Briton. 30 Feb 2009 <http://www. thisiscornwall.co.uk/news/Hotel-UK-artist-residence/article-701932-detail/ article.html>.

The theory underpinning her work is that the human brain is split into two halves with different functions and that in some people the left side is dominant and in others the right side.

Whereas the left side is concerned with language and logical thought, the right side holds a more creative and emotional approach to viewing the world.

Jeanni said: “It’s all about creating balance in your life. By exploring the other side to our brain people can begin to see the bigger picture.

“The advantages are enormous, not just in teamwork, but also on a personal level. People can learn to work together better as a team, but also come to a new understanding of what they are personally capable of.

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/publications

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Southern University Civil Rights March On February 1, 1960, four black college students in Greensboro, NC, sat down at the whites-only lunch counter in Woolworth’s and politely placed an order. It was one of the most important events in the Civil Rights Movement and it set the stage for student involvement in the movement nationwide...

Later that month, student activists at Southern University, wanting to show support for the Greensboro students and to protest segregation, began planning their own lunch counter sit-in at the Kress store in downtown Baton Rouge.

Fearing the possibility of campus demonstrations in Louisiana, on March 15, 1960, the State Board of Education ordered all college presidents to “take disciplinary action against any students involved in incidents that would discredit the institution” – in other words, punish all student protesters and participants in sit-ins, demonstrations or rallies.

At Southern University, President Felton G. Clark convened the student body to announce that any student taking part in a demonstration would be expelled. Further, he told the faculty that he would demand the resignation of any collaborating faculty member.

On March 28, the Southern student activists went to the Kress store and took seats at the whites-only counter refusing to move to the counter for black customers. They were quickly arrested for disturbing the peace.

March 30th sees approximately 2000 Southern students at a rally in support of the arrested demonstrators.

Beginning on the SU campus, the demonstration moved downtown where marchers picketed Kress, Sitman’s Durgstore and the Greyhound Bus station. The march moved on through downtown to the steps of the State Capitol where a rally was held. Major Johns addressed the gathering reciting the Preamble to the Constitution of the United States and exhorting them to work for equality for African Americans. The groups sang hymns and made their way back to the Southern campus for another rally where they were urged to boycott classes.

The student leaders of the march were expelled as threatened and on March 31, almost half of the Southern student body attempted to resign in protest but were refused. In early April protesters again encouraged students to resign en masse, but President Clark met with the Kress protesters and hammered out a deal where the activists would leave Baton Rouge and the University would cease expulsions.

Ultimately, the expelled students transferred to other schools and about 5% of the students resigned.

No author specified, “The History of the Southern University Civil Rights March.” Our African American Legacy. East Baton Rouge Parish Library.

04 Oct 2008 <http://www.ebr.lib.la.us/reference/ourafamlegacy/oaal_ SUcivilrights/SUCivilRightsMarch1.htm>.

The next day, lunch counter sit-ins were staged at Sitman’s Drugstore and at the Greyhound Bus Station. Again the students were asked to move to the blacks-only counters and again they refused and were arrested.

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Making new histories The following is an excerpt from the article With a slew of new developments announced left and right, it can be easy to forget Baton Rouge is steeped in more than 160 years of history, with downtown as its epicenter.

It’s hardly a new phenomenon to renovate an existing building or incorporate it into a new design: the Hilton Baton Rouge Capitol Center, Shaw Center for the Arts, City Club, Varsity Shop, Lyceum Dean, etc.

But as new downtown histories are written, an increasing number of projects are doing what they can to preserve history: Kress at Third and Main, Stroube’s, I.M. Causey and Co. building, MAPP Construction’s Belisle Building and more.

Existing downtown buildings define the uniqueness of Baton Rouge, says Davis Rhorer, executive director of the Downtown Development District. Giving new meaning to the buildings while saving the structures to benefit the community speaks volumes about our history and who we are as a people, he says.

Architect Trula Remson of Remson-Haley-Herpin Architects refers to the older buildings downtown as “the fabric,” and says when they’re working on a renovation of an older building they take an “if-it’s-not-broken-don’t-fix-it” approach.

Knox and Welsh-Levy Buildings on Third Street as well as the Hotel King. Schneider says it took more than 18 months to put the financing side of the Kress deal together and to find a bank that would deal with commercial lending and tax credits.

He says the project would have been impossible without the ability to use federal and state historic and new market tax credits.

“We felt that section, the northern section of what’s now becoming the arts and entertainment district, often sees the demolition of historic buildings like the Paramount Theater,” he says. “It was important to us to save these three buildings, so we combine a strong personal interest as well as a civic interest in making it happen.”

Here’s a little bit of history—past and future—of a handful of downtown renovations. For more histories, check out the Foundation for Historical Louisiana at fhl.org or pick up a “City of Landmarks Walking Tour” brochure at the Old Governor’s Mansion.

Welsh-Levy Buildings 445 to 465 Third St.

Remson-Haley-Herpin Architects completed the renovation of the Belisle Building for MAPP Construction last year and is currently working on the renovation of the Stroube’s building.

Remson says her firm is lucky to have worked with clients who understand the costs are significantly more on a renovation, but it’s a good investment.

On the afternoon of March 28, 1960, seven black Southern University students walked into the Kress store on Third Street and walked out making history. Marvin E. Robinson, Felton Valdry, John W. Johnson, Donald T. Moss, Kenneth Johnson, Jeannette Hoston and Jo Ann Morris asked to be served at the “whites-only” lunch counter and were denied. They were arrested for disturbing the peace, but they launched the sitin movement in the state, according to information from the Louisiana Division of Historic Preservation’s online database.

John Schneider, president of Cyntreniks of Baton Rouge, is knee-deep in history as Cyntreniks redevelops the Kress,

The buildings’ histories at Kress, Knox and Welsh-Levy go back to 1887 and will last for years to come thanks to Cyntreniks

“I don’t think you have to keep things just because they’re old, but if it’s working you need to try to keep it working,” she says.

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of Baton Rouge, the developer of Kress at Third and Main.

The entire project, spread over the three buildings, will contain 18,000 square feet of retail space, 12,000 square feet of office space and 35,000 square feet of residential space.

The two- to four-story Kress building, thought to be constructed in 1887, was originally a two-story commercial building.

By 1947, a rear wing was acquired creating the building’s “L” shape and another façade was added. (The Third Street side is registered as two stories, while the Main Street side is registered as four.) The former “five-and-dime” store is recognizable for its Art Deco façade and the “Kress” name in Arts and Crafts lettering. In the renovation, the Kress building will have first-floor retail units and the possibility of a recently announced 3,800-square-foot movie theater. Its second floor will have office space, and the third and fourth floors will have residential units.

for rent of four studio lofts, seven one-bedroom units and eight two-bedroom units.

Chenevert Architects is handling the renovation. Cyntreniks’ Schneider says the buildings have been totally gutted to the walls, and exteriors such as the brick walls and columns will be maintained. All the buildings are on the National Register of Historic Places.

Frayer, Marissa. “Making New Histories.” Business Report. 11 Nov 2007.

Greater Baton Rouge Business Report. 20 Oct 2008 <http://www. businessreport.com/news/2007/nov/20/making-new-histories-rlet1/>.

The two-story Knox Building, constructed in 1887, is revered for its survival. Though it has lost its original shopfront, Louisiana Division of Historic Preservation information says its second story, where many of the original Italianate details are intact (like the cast-iron cornice and rooftop pediment), is particularly invaluable. In the renovation, the Knox Building will have a lobby entrance to the residential units above.

Also built in the 1887-89 range, the Welsh-Levy Building is a three-story, plaster over brick structure richly detailed with corbelled caps, cast-iron lintels and ornamented brackets. By 1900, the building was home to the Reymond general mercantile emporium, becoming Welsh and Levy Men’s Clothing in 1915.

By 1970, the building was vacant. In the renovation, WelshLevy will have a 3,800-square-foot restaurant on the first floor and residential units elsewhere. The project has 22 residential spaces total: three, two-bedroom units for sale and 19 units

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Saved Long before shopping malls invaded our midst, residents of Baton Rouge ventured downtown to purchase necessities. Two major players in the downtown shopping experience were the S.H. Kress five-and-dime store and Welsh and Levy. These two buildings, located at Third and Main Streets, provided generations of Baton Rougeons with a perfect way to spend a Saturday afternoon. Following their closures, these gems of architecture were poorly adapted into office buildings and later sat abandoned, and, as so many other historic buildings, awaited the wrecking ball that was sure to come. Plans to destroy the buildings to create surface parking lots were hotly protested among preservation leaders and eventually the creation of the Downtown Demolition Ordinance prohibited this action from taking place. In 2006, the two buildings were purchased by local developers who have begun work to adaptively restore both buildings for mixed use, including office space, retail space, and residential units. Completion is expected later this year.

No author specified. â&#x20AC;&#x153;Kress and Welsh and Levy.â&#x20AC;? Saved!. National Foundation for Historical Louisiana. 20 Mar 2009 <http://www.fhl.org/FHL/ Stewardship/saved.shtm>.

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Partners Unveil Kress: Boutiques and Condos Coming For 19 years, banker Lori Mitchell watched barges and ships ply the Mississippi River several blocks away and wondered when, if ever, the stagnant Third Street landscape beneath her office window would change.

On Tuesday, the unthinkable happened.

Mayor-President Kip Holden and developers Brace Godfrey and John Schneider snipped a red ribbon on Kress at Third and Main, for an $18 million redevelopment of more-than-century-old structures with 65,000 square feet of residential, retail and office space.

Mitchell beamed in a Kress lobby bedecked with crown molding, cove lighting, marble flooring and concierge services worthy of a Manhattan residential tower.

“I’d watched this thing for 19 years be a dump,” said Mitchell, a Capitol One Bank commercial lending manager, referring to the former state of the Kress, Knox and Welsh & Levy buildings that nearly fell prey to demolition earlier this decade.

“And now, what downtown has turned into is unbelievable.

We used to be afraid to walk to our cars. Now, we’ve got restaurants and places to go for lunch.

“It’s a wonderful place for people to go to work. And young professionals who work down here: Now, they’ve got a place to live.”

That’s what Godfrey and Schneider envisioned in 2005, when they acquired the property from businessman Bob Dean and salvaged pillars of history in danger of becoming another downtown surface parking lot. Not only did the architecture date back to the Victorian and Edwardian eras, customers in

the Kress store on March 28, 1960, witnessed a lunch counter sit-in by seven black students who demanded service, were arrested and suspended from Southern University, but who precipitated civil rights change that made the previously unthinkable possible.

On Tuesday, Godfrey — a black attorney and former Downtown Development District chairman — and his business partner, Schneider — a white business consultant who returned from Atlanta to work with Godfrey — embraced in an emotional moment at a DDD meeting held in their Cyntreniks LLC redevelopment project.

In addition to 19 upper-floor residential units, Kress at Third and Main will house 12,500 square feet of second-floor office space and 15,000 square feet of ground floor retail space that will include an art gallery/museum with an exhibit paying homage to the 1960 Southern students. A gala in the coming months will mark their contributions to history and the formal opening of Kress at Third and Main.

“At that grand event will be the survivors of that group from Southern University,” Godfrey said, noting that the sit-in group produced, among other vocations, a judge, lawyer and doctor.

“They’re itching to get here.”

Condos are available now in Kress at Third and Main, with retail and office space slated to open by Feb. 1, the Cyntreniks partners said. Stores planned include the previously announced Little Village Fish Market restaurant; a bakery with a wine and cordials bar; a men’s clothing store, two women’s clothing and accessories boutiques; and a credit union office.

“It’s a beautiful facility and a great addition to downtown Baton Rouge,” DDD Chairman Derrell Cohoon said. Chenevert Architects LLC designed the renovation, with financing by Chase Bank.

Perilloux, Gary. Partners Unveil Kress.” The Advocate [Baton Rouge]15 Oct 2008: 1D.

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