COMPAÑERO

A PROPOSED INTERIOR DESIGN FOR TREAT HAUS RESTAURANT
AND EMRALINO’S RESIDENCE TO DEVELOP AN INTERGENERATIONAL
RELATIONSHIP UTILIZING SENSORY DESIGN
JEAN CLAUDINE GUTIERREZ COMPAÑERO

Author
A Research Study
Submitted to the Department of Interior Design
Polytechnic University of the Philippines

Sta. Mesa, Manila
College of Architecture and Fine Arts

BS Interior Design Program
(October 2017)
CURICULLUM VITAE
ii
EXPERIENCE/EXHIBIT/SEMINAR
August 31, 2013 - Salumpuwit: Chairs in Filipino Life Lecture
Series
SM City North Edsa - The Block Atrium
December 13, 2014 - Craft Central: Seminar Workshop
PUP – Student League of Interior Designers
PUP – CEA, Sta. Mesa, Manila
July 14, 2015 - The Beauty of Design: A Different Approach
De La Salle – College of Saint Benilde
School of Design and Arts Campus
May 8 – 31, 2015 - Ala Mod Vignette
Exhibitor
SM City North Edsa – Interior Zone
October 05 – 31, 2015 - PUP Furniture Design Exhibit 2015,
Avesilla: “The Plight of Furniture Design
through the Philippine Avifauna”
Exhibitor
November 06 ,2015 - Toon Classics Vignette
Exhibitor
December 05, 2015 - Learning and Sharing of Knowledge:
Material Specification
AVR, 4th floor, PUP – CEA, Sta. Mesa, Manila
Thesis Preparation
Rendering Workshop
Furniture Design
December 05, 2015 - Matimco Wood Science Lecture
February 27, 2016 - Homestretch: A Symposium on Residential
Interior Design
SM City North Edsa - City Center
March 12, 2016 - PIID Annual Conference 2016
Usherette
SMX Convention Center
March 9-11, 2016 - UPIDAA IDisenyo 2017: Design Stories
Participant/Exhibitor
SMX Convention Center
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iv
ABSTRACT
This research study is based on sensory design theory which is guided by a strong
background about senses. Physiological and psychological theory about sight, smell,
hearing and touch as environmental stimuli is studied. It is applied to a mixed-use space,
a restaurant namely Treat Haus and two residential spaces, owned by Ms. Ofelia Emralino
and the other by his son, Rey. The final redesign shows distinct advances compared to
the original design, which reveals the importance of senses in designing. To make it more
specific, the five elements of nature was the basis to help navigate through the design of
the research.
In line with this, Chapter I discuss more about the art and the constraints met in
the study. It also contains the problems regarding restaurant interior design practice, as
well as the objectives, scope and significance of the study. After establishing the
preliminary ideas, Chapter 2 contains the supporting theories and studies that will
strengthen the research. Chapter 3 presents the concepts used – the input, the process
used, and the output when the theory is practiced.
Moreover, Chapter 4 contains the methodologies applied and the surveys that the
researcher had conducted. Chapter 5 presents the results of the gathered data from the
respondents. Then, tables and graphs are used to present the results. In addition to,
Chapter 6 discusses the problems of the existing conditions of the spaces. Chapter 7
contains the direct answers to the problems brought about by the previous chapter. It
discusses the solutions and application of the concept through interior design.
Lastly, Chapter 8 presents the recommendations of the researcher to its subject
space, together with the conclusions drawn from doing this book. This entails the
application of the theory to other spaces and, to draw another idea in line with sensory
design.
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ACKNOWLEDGEMENT
I extend my gratitude to all those who crossed my path during this learning
experience, my friends, my seniors, my solid BSID Batch 2018 bloc mates and most
especially to my family who supported me financially, emotionally, spiritually and generally
being my source of motivation and energy. They are all my driving force that help me
navigate all throughout this freaking stressful semester. My mom who witnessed me all
throughout the never ending stressful days it must be really tiring to wake me up, all the
sacrifices just to make sure I will finish my task and really guided me with everything and
makes sure that I eat healthy to consolidate my deprived sleep thus I offer this to my
parents. I would like to express my sincere thanks to my thesis adviser, IDr. Mary Jade
Bantug for her earnest guidance, patience, time and all the support and encouragement,
it was really a big help. She is one of the reasons why we pass the hurdles. Her kind heart
and patience just to let us finish everything was beyond admirable. She has given me a
very good suggestions and creative ideas in pursuing my second take. Generally, it was
really very stressful. I think I felt the famous saying, “Walang madaling kurso” during the
last few days before the final submissions on my first take. Still, I decided to stop all that
because I have this sense of pride every time I do certain things. I know I’m not ready that
time and I am not afraid to fail which I still not regret until this day. Failures can make us
realize so many things in life, it’s a way for growth. And also, I used the time to sharpen
the saw and really take action to improve my skills and grow as a person. They say fall
seven times, stand up eight. During the one-year hiatus from the stress, it’s not a break
because every single day I persisted on doing this thesis. I felt the eagerness to finish
college and experience all the beautiful things in life after this chapter in my life. Also,
many thanks to my mentor during my part-time job on summer of 2017, Mr. Jeffrey Ford.
I also learned to hustle from that mentor and got so much wisdom during our car rides
vi
going to different job site locations, so again thanks to him. To my friends who support me
all throughout. Many thanks to my graphic designer friend Rubel Barrera and Niccola
Nobleza who helped me with everything during the last-minute hurdle to submission. To
my co-thesis takers friends Lorraine Baniqued and Ally Asprec, we lift each other up
through the never ending “dami ko pa kulang” and “pagod na ko”. And to the surprise visits
to my dorm when I’m alone and no one to talk to. Thank you because I really need a friend
to talk to during that time. To Jonarld Piloton who take a leave from work to give back and
help, thank you for keeping your word. To Justine Durognan, for lending me his all kinds
of markers and the white poster paint, the jolly spaghetti and the list goes on. To the team
divisoria, Aldrin Timbal, Gil Alejandro Maac, and Justine, thank you for lifting the illustration
boards. To Rondal Sinagote, who is very kind with his words and stories, you provided me
with good laughs and good vibes. To Carmela Solomon, who gave me her sheets as
reference without second thought. I was really touch and admire her as a senior. To my
seniors at my part-time job, Jonela Taan and Sherley Sarmiento, thank you for the advices
and for letting me copy your sketch up components and many more references. I also find
myself reading so many inspirational books like the one that Sofia Amoruso wrote about
her success story and I really look up to her during this year, 2017. I naturally found her
on YouTube because I was watching too many inspirational speakers like Will Smith, Jack
Ma and I pretty binge watch through a very good YouTube channel with a username
Lavendaire, I needed that to support my daily mental struggle, somehow. Well, that’s my
dream. To inspire many people through the work that I do. So, if you’re reading this, I hope
maybe you got some inspiration. Again, my sincere gratitude to all these people, you’re
all my role model.
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DEDICATION
“Strive not to be of success, but rather to be of value.”
Learn from failures but never stop. I still remember my Interior Design 1
professor Idr. Billie Jean dela Cruz during one of our lectures during my first year in the
university and I quote, “Designers shouldn’t settle for mediocrity.” And then on, I promised
to myself that I won’t do mediocre works, in my mind that’s being a good designer. My first
take didn’t work, so I promise on my second that I will fulfill my heart’s desires and finish
it with a calm heart. I just want to say that I learn so many things in life from that experience,
so I play smart. Failures, it makes us alive. Trust me, believe in the process. I want to have
that certain fulfillment that I can be proud of my work and my design, a sense of pride. I
want to be of value so I never stop on learning.
viii
TABLE OF CONTENTS
CURICULLUM VITAE................................................................................................................... ii
APPROVAL SHEET....................................................................... Error! Bookmark not defined.
ABSTRACT ................................................................................................................................... iv
ACKNOWLEDGEMENT .............................................................................................................. vi
DEDICATION .............................................................................................................................. viii
TABLE OF CONTENTS .............................................................................................................. ix
LIST OF TABLES ........................................................................................................................ xii
LIST OF FIGURES......................................................................................................................xiii
CHAPTER I: INTRODUCTION ................................................................................................... 1
A. Statement of the Problem ..............................................................................................2
B. Objectives of the Study...................................................................................................3
C. Significance of the Study .................................................................................................4
D. Scope and Delimitations of the Study .............................................................................5
DEFINITION OF TERMS........................................................................................................7
CHAPTER II: REVIEW OF RELATED LITERATURE ........................................................... 10
A. Theoretical Framework ............................................................................................. 10
B. Review of Related Literature ..................................................................................... 11
I. Literature on Mixed Use Building .................................................................................. 11
III. Literature on Sensory Design Theory ......................................................................... 12
SENSATION VS. PERCEPTION ............................................................................................. 12
SIGHT .................................................................................................................................. 13
Color ............................................................................................................................... 13
Lighting........................................................................................................................... 14
HEARING ............................................................................................................................ 16
Sound ............................................................................................................................. 16
Music .............................................................................................................................. 17
Noise .............................................................................................................................. 18
SMELL ................................................................................................................................. 18
Fragrance ....................................................................................................................... 19
TOUCH................................................................................................................................ 20
II. Literature on Sensory Memory ...................................................................................... 21
ix
Iconic Memory ................................................................................................................... 22
Echoic Memory .................................................................................................................. 23
Haptic Memory .................................................................................................................. 23
II. Literature on Mehrabian-Russell Stimulus-Response Model ........................................ 23
II. Literature on Different Generations ................................................................................. 24
VIII. Literature on Restaurant Design ................................................................................ 27
Sign Design ......................................................................................................................... 27
Menu .................................................................................................................................. 28
Mezzanine .......................................................................................................................... 28
Lighting............................................................................................................................... 28
Color ................................................................................................................................... 29
HVAC System...................................................................................................................... 29
VII. Restaurant Space Planning Considerations (Front of the House).............................. 30
Entrance/ Entry Area ......................................................................................................... 30
Dining Area......................................................................................................................... 31
Tables ............................................................................................................................. 32
Seating ........................................................................................................................... 32
Banquette ...................................................................................................................... 33
Lunch Counter and Aisles............................................................................................... 33
VIII. Literature on Kitchen Design (Back of the House) ..................................................... 34
Service Area ....................................................................................................................... 34
Preparation Areas .............................................................................................................. 35
Production Areas................................................................................................................ 35
Ware washing Station ........................................................................................................ 37
Kitchen door....................................................................................................................... 37
Kitchen Lighting.................................................................................................................. 38
VI. Literature on Wayfinding ........................................................................................... 40
X. Literature on Accessibility .................................................................................................. 41
Research Paradigm ........................................................................................................... 53
53
CHAPTER IV: METHODOLGY ................................................................................................. 55
A. RESEARCH DESIGN .................................................................................................... 55
B. SAMPLING DESIGN .................................................................................................... 55
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C. PROCEDURES OF DATA GATHERING........................................................................... 56
D. INSTRUMENTS .......................................................................................................... 56
1. Interview ............................................................................................................................ 56
2. Ocular Observation ............................................................................................................ 56
3. Photo Documentation........................................................................................................ 57
4. Survey................................................................................................................................. 57
5. Sensory Analysis ................................................................................................................. 57
CHAPTER V: PRESENTATION OF DATA GATHERED ...................................................... 58
EXISTING MASTER KEY PLAN ............................................................................................. 58
A. Presentation of Facts and Data .................................................................................. 59
B. Results of Procedure of Data Gathering ..................................................................... 73
1. Interview ........................................................................................................................ 73
2. Survey for General Market ............................................................................................ 74
3. Survey in Treat Haus ...................................................................................................... 77
Chapter VI: ANALYSIS............................................................................................................... 81
A. Ocular Analysis ......................................................................................................... 81
DESIGN CYCLE ................................................................................................................ 108
PROPOSED MASTER KEY PLAN ........................................................................................ 111
CHAPTER VIII: CONCLUSIONS AND RECOMMENDATIONS ........................................ 133
A. Conclusions ................................................................................................................ 133
B. Recommendations ..................................................................................................... 134
APPENDICES ............................................................................................................................ 135
PLANS AND BOARDS ...................................................................................................... 135
BIBLIOGRAPHY ............................................................................................................................. 171
xi
LIST OF TABLES
Table 2. Common Associations and Human Responses to Colors ....... Error! Bookmark not defined.
Table 3. Aromatherapy: The Effects of Fragrance to People ...............................................................20
Table 4: Approach/Avoidance Aspects ...................................................................................................24
Table 5. shows the different types of generations and their characteristics+ ...............................................25
Table 6. shows the existing interior elements present in the reception facade ............................................62
Table 7. shows the existing interior elements present in the reception area. ...............................................63
Table 8. shows the existing interior elements present in the dining area. ....................................................65
Table 9. shows the existing interior elements present in the restaurant kitchen area. .................................68
Table 10. shows the existing interior elements present in Ms. Ofelia Residence. .........................................70
Table 11. shows the existing interior elements in Rey Emralino's Residence. ...............................................73
Table 12. Results that show how often a certain generation dine in a restaurant .......................................74
Table 13. Results that show how long a certain generation dine in a restaurant .........................................74
Table 14. Results that show how a certain generation considers the visual look when dining in a restaurant
.......................................................................................................................................................................75
Table 15. Results that show the difference on certain generation if they spend more for the ambience of a
restaurant ......................................................................................................................................................75
Table 16. shows the factors a certain generation consider when choosing a restaurant .............................75
Table 17. Results show if a certain generation dine in with music ................................................................76
Table 18. shows the music preference of a certain generation when dining in a restaurant ........................76
Table 19. shows the how a certain generation place their orders ................................................................76
Table 20. shows if a certain generation consider a room's aroma when dining in .......................................77
Table 21. shows if a certain generation consider the restaurant's signage/logo before dining in................77
Table 22. The graph above shows the level of satisfaction of the respondents in terms of the condition of
the ceiling, wall and flooring .........................................................................................................................78
the space planning. .......................................................................................................................................78
the furniture. .................................................................................................................................................79
the ventilation. ..............................................................................................................................................79
the lighting. ...................................................................................................................................................80
the noise control. ...........................................................................................................................................80
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LIST OF FIGURES
Figure 1. Framework of Sensory Design Theory according to Aradhna Krishna ............................................10

Figure 2. Conceptual Framework (Flow of design proposal) .........................................................................53
Figure 3. shows the existing floor plan of Treat Haus Restaurant and Emralino's Residence .......................58
Figure 4. Treat Haus Restaurant and Emralino's Residence ..........................................................................59
Figure 5. Location of Treat Haus and Emralino's Residence ..........................................................................59
Figure 6. shows the Existing Floor Plan with furniture layout of the Restaurant facade. It has a total of
18.51 sqm. .....................................................................................................................................................62
Figure 7. shows the Existing Floor Plan with Furniture Layout of the Restaurant Reception Area. It has a
total of 27.90 sqm. ........................................................................................................................................63
Figure 8. shows the Existing Floor Plan with Furniture Layout of the Restaurant Dining Area .....................64
Figure 9. shows the Existing Floor Plan with Furniture Layout of the Garden Alfresco .................................66
Figure 10. shows the existing floor plan with furniture lay-out. of the restaurant kitchen ...........................67
Figure 11. shows the existing floor plan with furniture lay-out of the residential space, particularly the
Dining Area, Living Area, Entertainment Area and Veranda. ........................................................................69
Figure 12. shows the existing floor plan with furniture lay-out of other residential space, particularly the
Living Area, Dining Area and Kitchen. ...........................................................................................................71
Figure 13. shows the Existing Floor Plan with Furniture Layout of the Restaurant façade. It has a total of
18.51 sqm. .....................................................................................................................................................81
Figure 14. shows the ceiling of the restaurant facade. .................................................................................82
Figure 15. shows the floor finish at restaurant facade ..................................................................................82
Figure 16. shows the Existing Floor Plan with Furniture Layout of the Restaurant reception. It has a total of
27.90 sqm. .....................................................................................................................................................83
Figure 17. shows the two arcs .......................................................................................................................84
Figure 18. The main entrance to Ms. Ofelia Emralino's Residence................................................................84
Figure 19. shows the wall with paint scratches .............................................................................................85
Figure 20. shows the Existing Floor Plan with Furniture Layout of the Restaurant dining area. It has a total
of 176.27 sqm ................................................................................................................................................86
Figure 21. shows the space planning of the dining area ...............................................................................87
Figure 22. shows the analysis of interior elements of the restaurant dimming area ....................................87
Figure 23. shows that masking tapes are used to post signages ..................................................................88
Figure 24. shows the existing condition of the chairs on the restaurant dining area ....................................88
Figure 25. shows the lighting and ventilation the restaurant dining area ....................................................89
Figure 26. shows the Existing Floor Plan with Furniture Layout of the Restaurant Kitchen. It has a total of
53.32 sqm. .....................................................................................................................................................90
Figure 27. show the ceiling of the restaurant kitchen ...................................................................................91
Figure 28. shows the washing area in the restaurant kitchen .......................................................................91
Figure 29. shows the floor finish in the restaurant kitchen ...........................................................................92
Figure 30. shows the safety screen installed in the restaurant kitchen .........................................................92
Figure 31. shows the Existing Floor Plan of the Garden Alfresco. It has 123 sqm. ........................................93
Figure 32. shows the garden located at the back of Mr. Rey Emralino's Residence .....................................94
Figure 33. shows the Existing Floor Plan with Furniture Layout of the Restaurant façade. It has a total of
18.51 sqm. .....................................................................................................................................................95
Figure 34. shows the ceiling on the entertainment's area ............................................................................95
Figure 35. shows the wall finishes .................................................................................................................96
Figure 36. shows the wood flooring ..............................................................................................................96
Figure 37. shows the dining area ..................................................................................................................97
xiii
Figure 38. shows the Existing Floor Plan with Furniture Lay out of Mr. Rey Emralino's Residence. It has
66.43 sqm. .....................................................................................................................................................98
Figure 39. shows the ceiling of the house......................................................................................................98
Figure 40. shows the floor finish of Mr. Rey Emralino's residence ................................................................99
Figure 41. shows the kitchen area .................................................................................................................99
Figure 42. shows the furniture clutter in Mr. Rey Emralino's residence ......................................................100
Figure 43. Sensory analysis of restaurant facade ........................................................................................102
Figure 44. Sensory analysis of restaurant reception....................................................................................102
Figure 45. shows the sensory analysis on the restaurant dining area .........................................................103
Figure 46. shows the sensory analysis on the garden alfresco ....................................................................103
Figure 47. Sensory analysis of restaurant kitchen .......................................................................................104
Figure 48. shows the sensory analysis on Ofelia Emralino's Residence .......................................................104
Figure 49. shows the sensory analysis on Rey Emralino's Residence...........................................................105
Figure 50. shows the concept board with the title "Ayurveda" ...................................................................107
Figure 51. The Design Cycle explains shows the certain use of specific classical element of nature and its
purpose that effects on how customers perceived it through senses..........................................................108
Figure 52. shows the Proposed Master Key Plan .........................................................................................111
Figure 53. shows the proposed plan with furniture layout of restaurant facade ........................................112
Figure 54. shows the proposed design perspective of the restaurant façade .............................................114
Figure 55. shows the swatch board for restaurant facade ..........................................................................114
Figure 56. shows the proposed plan with furniture layout of restaurant reception ....................................115
Figure 57. shows the proposed design perspective of the restaurant cashier area ....................................116
Figure 58. shows the proposed design perspective of the restaurant waiting area ....................................117
Figure 59. shows the swatch board for restaurant reception .....................................................................117
Figure 60. shows the proposed plan with furniture layout of restaurant dining area.................................118
Figure 61. shows the proposed design perspective of the restaurant dining area ......................................120
Figure 62. shows the swatch board for restaurant dining area ..................................................................120
Figure 63. shows the proposed plan with furniture layout of garden alfresco ............................................121
Figure 64. shows the proposed design perspective of the garden alfresco .................................................122
Figure 65. shows the swatch board for garden alfresco .............................................................................123
Figure 66.shows the proposed plan with furniture layout of restaurant kitchen ........................................124
Figure 67. shows the proposed design perspective of the restaurant kitchen ............................................125
Figure 68. shows the proposed design perspective of the restaurant kitchen ............................................126
Figure 69. shows the swatch board for restaurant kitchen .........................................................................126
Figure 70. shows the proposed plan with furniture layout of Ofelia Emralino's residence .........................127
Figure 71. shows the proposed design perspective of the Ofelia Emralino's Residence ..............................128
Figure 72. shows the swatch board for Ofelia Emralino's Residence ..........................................................129
Figure 73. shows the proposed plan with furniture layout of Rey Emralino's Residence ............................130
Figure 74. shows the proposed design perspective of Rey Emralino's Residence ........................................131
Figure 75. shows the swatch board for Rey Emralino's Residence ..............................................................132
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CHAPTER I: INTRODUCTION
Provinces tend to have a high rate of senior citizens compared to the busy districts
of an urban area because younger generations like the millennials became the workforce
to drive the country to progression. Senior citizens tend to lay back from that social hustle
and go back to their hometowns to relax. Generally, it happens everywhere. Ms. Ofelia
Emralino, following her retirement, decided to put up a business in their garage that later
became the popular Treat Haus restaurant today and is well-liked for their menu. It has
been a place for celebration for the locals of Sariaya, Quezon since malls are quite a
distant and there are very few restaurants in the area.
Restaurant is a place where food savors to the public of all types of generations.
Each generation of individuals expects others to know their needs and respect them.
Restaurant can be a place to resolve a cognitive gap between generations because it is a
place very profound of many social interactions. Generally, it discloses the function of a
dining room, meeting room or even a living room. We create many fond memories in
places we feel the company of the most important people in our lives. Commercial
establishment, like restaurant, is like a substation in that kind of social familiarity.
This study intends to propose an Interior Design for a Mixed-use space, Treat
House Restaurant and two residential spaces to develop an intergenerational relationship
and improve a sense of well-being. The proposed design deals with human’s basic senses
as environmental stimuli that will create a sensorial experience.
Sensory Design, a revolutionary approach to the built environment that embraces
all human senses as stimuli and modes of understanding that will influence our
experiences and shape our attitude, learning/memory, and behavior. With this approach,
the effect of design can be used as a sensory seduction for a successful and emotional
branding.
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Different generations have different perceptions about things, the proponent aims
to breakdown the gap through perceiving a space by the means of sensorial experience
of the physical environment. Different strategies are employed to orchestrate a rich and
sensorial narrative throughout the interior space.
A. Statement of the Problem
General Statement of the Problem
How will sensory design theory develop an intergenerational relationship in
Treat Haus Restaurant and Emralino’s Residence.
Specific Statement of the Problem
Specifically, the study will seek on this feature:
1) What are the design and spatial problems of a mixed-use space,
residential (Emralino’s Residence) and commercial space (Treat Haus
restaurant).
a) What are the problems considered by the employees.
b) What are the problems considered by the customers.
c) What are the problems considered by the owner.
d) What are the problems considered by the proponent.
2) What specific feature of sensory design could be included as a design
strategy to enhance the total restaurant dining and sensorial experience
of the customers to create a brand identity that is distinct.
3) How can all the senses be integrated through interior design to establish
a good design strategy in terms of:
a. Visual Comfort
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b. Ventilation and Air Movement
c. Aroma
d. Sound Movement
e. Touch Experience
B. Objectives of the Study
General Objective of the Study
To develop an intergenerational social interaction through the basis of
sensory design and provide a life-enhance quality of built environment for the
owner/s to live in, which can be applied in this study through Interior Design.
Specific Objective of the Study
To further understand the proposed study, the following are the specific
objectives:
1) The study aims to improve the work environment for the employees and
enhance the dining experience for the customers of Treat Haus, and
provide a sense of well-being for the owner, where the application of
sensory based design would bring positive vibes and aesthetic design
solution.
2) To be able to present a method that stimulate the knowledge of sensorial
experiences into physical form and present the importance of considering
sensory based design for a restaurant and a residential space.
3) To be able to know the ways to formulate a proper seduction of senses to
make a successful branding for restaurant establishments and positively
stimulate sensory capacities generating experiences that support and
enhance interaction.
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C. Significance of the Study
This research study focuses on the life-enhance environment that will be
brought through the incorporation of sensory based design solutions. Hence, this
study will be of significant use to the following people:
For the Owner, this study will serve as a guide, not only to increase sales,
but also to create a new atmosphere that will establish a brand that customers will
most likely to remember. It will help to decide precisely what they’re offering
because it defines that unique sense of place and how the customer experiences
it, thus branding.
For the Customer, this is a study that can contribute to the social and
cultural awareness of the place, thus to show that dining out involves many kinds
of people at a time and to be aware of an intergenerational based design to improve
the customer’s social being. This will also help enhance the concept of dining to
be a memorable experience. A good source of word-of-mouth that will result to
efficient marketing method.
For the Researchers, this research study will help broaden the scope of
the future researchers for further advance study and a great help to collect more
insights and knowledge about sensory design application on interior spaces
particularly in restaurant design and residential design.
For the Interior Design Community, this research study can introduce
new points on designing beyond visual perceptions like aesthetics and
incorporating a wide knowledge about physical interaction with the design. And to
show interior finishes and materials that can be used as a good input for a sensorial
experience through environment. It will provide a sense of place that provides a
whole range of sensory impression specifically for hospitality design. To enhance

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an interior environment, the designer must consider and employ all of one’s senses
throughout the design process.
D. Scope and Delimitations of the Study
The study will focus on incorporating the major topic to be undertaken
which is Stimulus-Response of a human through his four major human senses;
Visual, Smell, Hearing and Touch and its application to the current condition of the
Treat Haus and Emralino’s Residence, particularly the seven (7) major areas are
as follows:
1. Restaurant Facade
2. Restaurant Reception Area
3. Restaurant Dining Area
4. Restaurant Kitchen
5. Garden Alfresco
6. Mrs. Ofelia Emralino’s Residence
7. Mr. Rey Emralino’s Residence
Since, taste would be difficult to interpret to design of the built environment,
it will not be included. The proponent has chosen this theory as his guide in
undertaking this study to further understand how things around our environment
was perceived through our senses and how we react to it and to point out the use
of other senses in design because the visual context was always given the primary
attention. As our senses seem intangible, it is our physicality that is in the world
that creates a sensation, so other senses should be considered in providing the
design solutions. Factors of this theory is the seduction of senses to create a
successful branding through memory.

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Interviews with the key personnel and the owner were conducted by the
proponent. Survey questionnaires are distributed to the random customers as an
instrument to determine the type of environment that they dine in, and if the chosen
theory can be useful to the everyday lives of the customers.
This study is limited and conducted only at Treat Haus and Emralino’s
Residence located at 2095 Mabini St. Sariaya, Quezon during the year 2017, to
the application of art in the spaces and most importantly, the lifestyle of the locals
on how they are connected.

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DEFINITION OF TERMS
Air movement – the act or process of the movement of the air
Back of the House – The back of house is the staff area, where cooks and other
support staff work. The area in which food is stored and prepared
Cognition – the act, power or faculty of apprehending, knowing or perceiving
Decibels – a degree of loudness
Echoic Memory – a component of sensory memory that is specific to retaining
auditory information
Emotional Response – the reaction of the body to a situation primarily given by
an outer influence such as other individuals, groups, things or entities. But the
Emotional Response is only one variant of this spectra of emotions
Front of the House – The front of house is the area where diners sit
Haptic – sense of touch (Tactioception)
Haptic Memory – form of sensory memory that refers to the recollection of data
acquired by touch after a stimulus has been presented
Hearing – the ability to perceive sound by detecting vibrations, changes in the
pressure of the surrounding medium through time, through an organ such as the
ear
Iconic Memory – visual sensory memory register pertaining to the visual domain
and a fast-decaying store of visual information
Indoor plants – are plants that are grown indoors in places such as residences
and offices. Houseplants are commonly grown for decorative purposes, positive
psychological effects, or health reasons such as indoor air purification.
Intergenerational Interaction – something where multiple generations of people
intermingle or come together
Kinesthesia – information derived from muscle movement

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Mixed-use – Two or more land use comprises in one building
Olfaction – the act of smelling an odor
Perception – the state of being or process of becoming aware of something
through the senses/ the way you notice or understand something using one of your
senses
- involves giving meaning to a sensation based on what we have experienced or
learned
Sensation – the ability to feel things through your physical sense
- an awareness and localization of a stimulus (a change in the internal or external
environment that evokes a response)
Sense – any of the faculties, as sight, hearing, smell, taste, or touch, by which
humans and animals perceive stimuli originating from outside or inside the body
Sensory Branding – a type of marketing that appeals to all the senses in relation
to the brand. It uses the senses to relate with customers on an emotional level
Sensory Design – aims to establish an overall diagnosis of the sensory
perceptions of a product
Sensory Experience – is the result of the reaction of the senses to the different
elements.
Sensory Marketing – Marketing techniques that aim to seduce the consumer by
using his senses to influence his feelings and behavior
Sensory Memory – the shortest-term element of memory. The ability to retain
impressions of sensory information after the original stimuli have ended
Sensory Slider – a tool proposed by Joy Monice Malnar and Frank Vodvarka to
measure the “sensory nature” of a structure

Page |9
Sight – the physical sense by which light stimuli received by the eye are interpreted
by the brain and constructed into a representation of the position, shape,
brightness, and usually color of objects in space
Smell – to perceive the odor or scent of through the nose by means of the olfactory
nerves; inhale the odor of
Social Interaction – relationship with two or more individual
Spatial Extension – extension of touch beyond one’s physical limits
Stimulus – a change in the internal and external environment that leads to a
response
Stimulus-Response – the key mechanism within the animal which permits it to
adapt as perfectly as possible to its environment
Touch – come so close to (an object) as to be or encounter it
Visual – sense of vision/ sight
Ventilation – circulation of air in a specific room
Way-finding – enabling a person to find his or her way to a given destination using
effective signage
Well-being – a condition of happiness or prosperity; welfare

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CHAPTER II: REVIEW OF RELATED LITERATURE
A. Theoretical Framework
SENSORY DESIGN THEORY
STIMULI
SENSATION
PERCEPTION
EMOTION COGNITION
• ATTITUDE
• LEARNING
/MEMORY
• BEHAVIOR
Figure 1. Framework of Sensory Design Theory according to Aradhna Krishna
Stimuli are the human’s basic senses; sight, smell, hearing, touch and
taste. Through these senses we experience the world that is called sensation.
Sensation is when the stimulus imposes upon the receptor cells of a sensory
organ. Then we perceive these stimuli, that is how we can be aware and
understand different sensory information. It affects our emotion and cognition that
evokes a response that helps on developing our attitude, learning/memory and our
behavior.
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B. Review of Related Literature
I. Literature on Mixed Use Building
A mixed-use building is a type of a commercial property that includes both
commercial and residential space. (Frishberg, 2016) According to the first industry-
wide conference on Mixed-Use Development, which was hosted by International
Council of Shopping Centers, Inc (ICSC), the National Association of Industrial and
Office Properties (NAIOP), the Building Owners and Managers Association
International (BOMA), the American Resort Development Association (ARDA) and
the National Multi-Housing Council (NMHC) that focused on the challenges and
opportunities related to developing, designing, financing, leasing, managing, and
marketing defined Mixed-Use Development as:
A mixed-use development is a real state project with planned
integration of some combination of retail, office, residential, hotel,
recreation or other functions. It is pedestrian-oriented and contains
elements of a live-work-play environment. It maximizes space usage,
has amenities and architectural expression and tends to mitigate traffic
and sprawl” (Niemira, 2007, p. 53)
Another definition espoused by Urban Land Institute (ULI) is probably the
most prevalent definition of the term. In 1976, ULI was the first organization to
address the concept in-depth with the publication of their first book on the topic
entitled Mixed-Use Developments: New Ways of Land Use, and while the concept
has evolved over the years, their original definition has essentially remained intact.
Currently, the second edition of their Mixed-Use Development Handbook
characterizes mixed-use development as consisting of:

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• three or more significant revenue-producing uses (such as
retail/entertainment, office, residential, hotel, and/or
civic/cultural/recreation) that in well planned projects are mutually
supporting
• significant physical and functional integration of project components
(and thus a relatively close-knit and intensive use of land), including
uninterrupted pedestrian connections; and
• development in conformance with a coherent plan (that frequently
stipulates the type and scale of uses, permitted densities, and related
items) (Schwanke, Philips, & Flynn, 2003)
III. Literature on Sensory Design Theory
There are five (5) basic human senses that helps our body to perceive
things around our environment namely sight, smell, sound, touch and taste. In fact,
we do not experience our environment and the events taking place within our
bodies directly. Instead, we experience them by our sense organs that send
information to the brain through receptor cells. (Light, 2009, p. 10) Senses is our
connection to the outside world through which we can build a store of memories to
help us predict and control future. (Gains, 2014, p. 28)
SENSATION VS. PERCEPTION

Sensation is when the stimulus impinges upon the receptor cells of a
sensory organ – it is biochemical and neurological in nature. Perception is the
awareness or understanding of sensory information. The process whereby sensory
stimulation is translated into organized experience.

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SIGHT
According to Juhani Pallasmaa, a brilliant architect of phenomenological
insight, the eye is the organ of distance and separation. It also surveys, controls
and investigates the environment. (Pallasmaa, 2005, p. 30)
Visual Perception begins as soon as the eye focuses light onto the retina,
where it is absorbed by a layer of photoreceptor cells. It takes place in the cerebral
cortex and the electrochemical signal travels through the optic nerve and via the
thalamus (another area of the brain) to the cerebral cortex.
Sight is ascendant compared to other senses when it comes to interior
design practice. Often, design elements and design principles are generally focus
on the visual manifestation. Plato regarded vision as humanity’s greatest gift, and
he insisted that ethical universals must be accessible to the mind’s eye. Aristotle,
likewise, considered sight as the most noble of the senses because it approximates
the intellect most closely by the relative immateriality of its knowing. Sight not only
influences human based on physical and psychological, it has a point of solid
connection to other senses.
While designing for seniors, it is crucial to recognize the difficulties an
aging eye experience with adjusting to low color and light contrast, low luminance
and glare. These should be major considerations in material and finish selection
process.
Color
Color has a vast psychological influence. It conveys ambiance and
attitude and provides an ideal backdrop for culinary offerings.
1. Stimulants (Red, Orange, Yellow)
Warm colors like red, orange and yellow.

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2. Mild Stimulants
Mild stimulants are green and turquoise. Green brings in a feeling of healthy
diet and abundance and turquoise is associated with being happy and
carefree.
3. Suppressants
Appetite suppressants are gray, black, brown, purple, and blue. Gray repels
one from the thought of food. Black causes the appetite to diminish. Brown
reminds of burnt or overdone food. Purple is associated with not so popular
food which is eggplant, red onions and purple cabbage. Lastly, Blue calms
the body, thus inducing sleep.
Common Associations and Human Responses to Colors
Color Degree of Nature Common Association and

Warmth Symbol Human Responses to Color
Red Warm Earth High energy and passion; can
excite, stimulate, and increase
arousal and blood pressure
Orange Warmest Sunset Emotions, expressions, and
warmth. Increases mental activity
Green Cool Grass and Nurturing, healing and
Trees unconditional love
Blue Coolest Sky and Relaxation, serenity and loyalty
Ocean
Table 1. Common Associations and Human Responses to Colors
Lighting
Good lighting can totally transform a space by energizing as well as
illuminating it. The lighting should enhance the architectural style of a room, helping
to create a specific ambience and enabling the mood to be changed at the flick of
a switch. (Gibbs, 2010 pg. 89) Lighting, how it hits the walls, the tables and the
floor, is the most important design element. Lighting affects behavior in several
ways.
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There are three primary sections of planning restaurant lighting: Ambient
Lighting, task lighting, and accent lighting. Ambient lighting provides a good, even
level of light – a “blanket wash.” It also sets the mood and impression. Task Lighting
provides enough light to be able to walk through a corridor safely. Accent Lighting
is used to highlight pictures and collections, accentuate architectural features, and
add drama or create mood
Lighting Techniques in Interior
Lighting plays vital role in our everyday life. In restaurant 10% of energy
consumption was recorded for fine dining while in fast food, 25%. Meaning fast
food restaurant uses more lighting fixtures. It provides four basic purposes for both
residential and restaurant, it sets the mood of the user, it brings out the aesthetic
of the food, it allows the user to perform their work and lastly provide security and
safety. There are factors to consider in selecting proper lighting in an area namely,
time, size, safety and security (Mill, 1998, p. 167)
Time – consider the length of time where users enjoy their meal and how
long they took to choose from the menu. While high levels of lighting help provide
user an atmosphere that encourages people to leave. Low lighting brings intimacy
to whomever uses the space, thereby increase of seating capacity (Mill, 1998, p.
168)
Size – choosing light can affect people’s perception of physical facility. If
the low ceiling was brightly lit, it appears higher. While the high ceiling, dimly lit
appears lower. Bright light gives a feeling of speed, therefore turnover rate will
increase (Mill, 1998, p. 169).

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Contrast – it is perceived between the detail of an object and its
background (Mill, 1998, p. 169). You can use direct or indirect lighting. Indirect
lighting is softer while direct lighting catches the attention of people on one space.
Brightness—there are 2 major type of light to choose in residential or
restaurant, Incandescent light/LED or Fluorescent. IL and LED enhances the red
pigment and easier to control. On the other hand, FL captures more color spectrum
that gives the skin look pasty and food to look gray. Unlike the IL and LED, brings
flattering to both food and people. In the increase of the number of people, as well
as the noise, and duration of stay, you must increase the level of light. As the light
level increases, it will give customer somehow discomforting feeling and amount
the of time people duration of stay. (Mill, 1998, p. 172)
HEARING
Sound
Sound is a physical wave, or a mechanical vibration, or simply a series of
pressure variations, in an elastic form. Sound impacts our perception through the
loudness and timbre of the sound through the air and the vibration of our bones.
(Gains, 2014, p. 37) Our ears forewarn us to different circumstances in the
environment, and they ascertain that special human form of communication,
speech. It enables us to share information, build relationships, and recall
memories.
It is always assumed that the hearer has a pair of healthy young ears with
a detection range of 20 to 20,000 Hz. With these givens, it is probably best to view
sound as a series of pressure variations. The auditory sensation produced by
sound waves will be called sound sensation. (Salvan, 1989, pg )

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According to (Pocock, 1989), “Sound not only surrounds but can
penetrate to the very core of the sentiment. This primitive power, which bypasses
the cerebral and directly addresses the heart, elicits an emotional response. Sound
is significant for human to participate, experience, and remember places. Without
sound, an environment is lifeless and unreal, without flow or rhythm, and
frightening.” (Pocock, 1989)
Music
Music is much more broad and complex than speech in frequency and
dynamic range. “Reception” of music is a combination of physiological and
psychological phenomena. Noise is variously defined as unwanted sound, sound
with no intelligence content, and broadband sound depending on the listener and
the situation.
“Music is one of the very first atmospheric elements that attracted
researchers’ interest and has been shown to impact consumer behaviors.” Music
can affect the way food taste. High-pitched music has been shown to make toffees
taste sweeter. Sweetness is often linked to high notes, whereas savory tastes are
often linked to brassy notes.” (Gains, 2014, p. 37)
Research has shown that classical music increases sales of expensive
wines and overall spending in posh eateries, while French and German music
increases sales of French and German wines, respectively (the diners are unaware
of these influences). Slow music, and the scent of lavender, makes people spend
longer in restaurants and pop music at 70-90dB will up the consumption of soft
drinks. Psychology suggest that the faster the music, the faster people chew.
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According to Katsigris and Thomas, music can be used to muffle the
ambient noise levels of guests and kitchen clatter and to add to the desired
ambience of the place. (Katsigris & Thomas, 2009, p. 240)
Noise
In controlling noise, we need first to be aware that it has two basic
characteristics: intensity and frequency. Intensity, or loudness, is measured in
decibels (abbreviated dB). The lowest noise an average person can hear close to
his or her ear is assigned the level of 1 decibel, while a 150-decibel level would
cause pain to the average ear. A “noisy” restaurant averages 70 to 80 decibels.
Frequency is the number of times per second that a sound vibration occurs. One
vibration per second is a hertz (abbreviated Hz). Humans hear vibrations that
range all the way from 20 per second (low frequency) to 20,000 per second (high
frequency). In a restaurant setting, a high-frequency sound is more objectionable
than a low-frequency sound. Even sounds that are low intensity may be
objectionable to guests if they are also high frequency. Sound travels from the
source to the listener and back again in very speedy fashion—about 1100 feet per
second. Inside a building, sound can be either absorbed or reflected by all the other
things in that space: walls, ceilings, floors, furniture, or equipment. If it reflects or
“bounces off” of surfaces (called reverberant sound), the area can build up a
sound level that is much higher than if the space was not enclosed. (Katsigris &
Thomas, 2009, p. 240)
SMELL
Smell is the oldest of the human senses, originating in the chemical
detection systems found in our earliest ancestors. It is the only sense with a straight
line to our emotions, as the olfactory bulb is directly connected to the limbic system
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(the center of our brain’s emotions). It is the most direct sense there is essential
no transformation of the signal – the scent – it goes directly to glomeruli in the
olfactory bulb which is the brain’s area of smell. There the information is combined
by different receptors to form a pattern that is characteristic of a specific scent. It
is therefore hard to distort a smell experience, because it influences without the
possibility of correction or transformation. (Hulten, Broweus, & Dijk, 2009, p. 43)
Although we are very poor smell detectors compared with many other animals, the
system is still sophisticated enough to detect between 10–20,000 different odors
using an estimated 12 million olfactory receptor cells. (Gains, 2014, p. 30)
As Helen Keller once said, “Smell is a potent wizard that transports you
across thousands of miles and all the years to our sense of smell, and our
acceptance or rejection of different smells is usually cultural rather than innate
(unlike taste).
Smell is closely linked to the emotional parts of our brain, and so
sometimes smell can trigger emotions more quickly than other senses. (Dunn,
2008, p. 29) The most persistent memory of any space is often its smell.
(Pallasmaa, 2005, pg. 15) A smell can trigger human’s retinal memory because
the nostrils render the eyes to retain a forgotten image.
Fragrance
Fragrance is a kind of pleasant odor which has psychological functions
in addition to bringing pleasure and relaxation. The function are as follows:
1. “Increase alertness and performance of vigilance and cognitive tasks.
2. Facilitate recall of pleasant memories.
3. Reduce reported preferences for resolving interpersonal conflicts through
relatively ineffective means.” (Malnar and Vodvarka, 2004)

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Specific fragrances perform precise functions. For example, lemon and
peppermint can reinforce alertness and energy; lavender and cedar can reduce
tension. (Iwahashi, 1992, 212-14) Fragrance can also be a primary determinant of
spatial judgement.
Aromatherapy: The Effects of Fragrance on People

Fragrance Aromatherapy Aromatherapy Traditional Potential
Class Use Psychological
Impact on
People
Orange Citrus Calming Soothing Calming and
agent, relaxing people
astringent especially for
nervous people
Lavender Herbaceous Calming, Muscle Relaxing and
Balancing, Relaxant, calming, helps
Soothing Soothing create a homey
agent and comfortable
feel
Jasmine Floral Uplifting, Emollient Helps make

Balancing soothing people feel
agent refreshed, joyful,
comfortable
Peppermint Minty Energizing, Skin Increase attention
Stimulating Cleanser level and boosts
energy
Table 2. Aromatherapy: The Effects of Fragrance to People
TOUCH
“The skin reads the texture, weight, density and temperature of matter.
The tactile sense connects us with time and tradition; through marks of touch we
shake the hands with of countless generations.” (Pallasmaa, 2005 pg. 20) Like
sight, the haptic sensory system plays a significant role in perceiving the world.
Aristotle claimed that tactile perception was the most critical and fundamental
sense. (Aristotle, 1986) The haptic system includes perception of temperature,
pain, pressure, and kinesthesia, which refers to the body sensation and muscle
movement. It is a system by which a people literally contact the physical
environment. (Gibson)
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According to Joy Monice Malnar and Frank Vodvarka, the haptic system
includes three branches: touch, temperature and humidity, kinesthesia. (Malnar &
Vodvarka, 2004, p. 57)
We associate touch with bonding and relationships so it is a very powerful
sensory input. The touch receptors are in our skin. Some of them are close to the
surface of our skin, and other receptors are deep in our skin. (Dunn, 2008 pg.24)
Touch improves integration of sensory inputs with personal thoughts and feelings,
making a brand more tangible and increasing the customer’s feeling of ownership.
(Peck and Shu, 2009) Touch is in many ways different from other senses as it is
really ‘us’. Eyes, ears, tongue and nose are all specific organs with specific
functions, but touch encompasses our whole body. Physical contact is always
more powerful than verbal or even emotional communication, and it is possible to
rely on touch if we lose other senses, but not the other way around. (Gains, 2014,
p. 41)
Designers may pay more attention to surfaces which customers regularly
touch, applying different textures using wood, wicker, fabric, fur leather and other
materials to achieve warm, smooth and other touch perceptions.
In handrails, A change of material at corners is appreciated, as it
communicates end of wall, turn, obstacle.
II. Literature on Sensory Memory
People develop individualized memories because of personal differences
in needing and responding to sensory input. Memories enable people to
understand their lives in a personal and unique way: the memories are based on
sensation. (Dunn, 2008, p. 20) Sight, sound and smell can all evoke emotionally
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charged memories through an experience. Experience is a cover-all term for the
various modes through which a person knows and constructs reality.
According to the Atkins-Shiffrin theory, memory involves three distinct but
related processes: sensory memory, short-term memory and long-term memory.
Together, these processes provide the avenue for environmental information to be
received by the senses and either use, stored for later use or ignored altogether.
Most people associate memory processes exclusively with the brain, and for
the most part, that is accurate. Sensory Memory is responsible for getting the
information from the senses. Our senses are directly linked to our central nervous
system, which is comprised of our spinal cord and brain. The process of getting
information from our senses to our brain happens very quickly. In fact, it happens so
quickly that we are not always consciously aware of everything that is being picked up
by our senses.
Sensory memory allows environmental information to be retained,
sometimes for as little as a fraction of a second, as it makes its way into our
consciousness. Our sensory systems are constantly receiving and processing an
incredible amount of information at any given moment. As we go through our day,
it is virtually impossible to consciously recognize all this information. Sensory
memory absorbs a tremendous amount of environmental information.
Iconic Memory
Sensory input to the visual system goes into iconic memory, so named
because the mental representations of visual stimuli are referred to as icons. Iconic
memory has a duration of about 100 milliseconds. One of the times that iconic
memory is noticeable is when we see "light trails." This is the phenomenon when
bright lights move rapidly at night and you perceive them as forming a trail.
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Echoic Memory
Echoic memory is the branch of sensory memory used by the auditory
system. Echoic memory can hold a large amount of auditory information, but only
for 3–4 seconds. This echoic sound is replayed in the mind for this brief amount of
time immediately after the presentation of the auditory stimulus.
Haptic Memory
Haptic memory is the branch of sensory memory used by the sense of
touch. Sensory receptors all over the body detect sensations like pressure, itching,
and pain, which are briefly held in haptic memory before vanishing or being
transported to short-term memory. This type of memory seems to be used when
assessing the necessary forces for gripping and interacting with familiar objects.
Haptic memory seems to decay after about two seconds. Evidence of haptic
memory has only recently been identified and not as much is known about its
characteristics compared to iconic memory.
II. Literature on Mehrabian-Russell Stimulus-Response Model
Environmental psychologists have studied the relationship between
physical environment and human behavior for several decades. Mehrabian and
Russell presented a valuable theoretical model to demonstrate the effect of
physical environment on human behavior. They suggest that environmental
stimuli (S) lead to an emotional reaction (O) that, in turn, drives consumers’
behavioral response (R) based on the stimulus-organism-response (S-O-R)
concept. The model assumes that customers have three emotional states in
response to environmental stimuli: pleasure; arousal and dominance. Pleasure,
arousal and dominance are three dimensions of emotions that under-lie any
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emotional responses to environmental stimuli (Mehrabian & Russell, 1974).
Pleasure refers to the affective state of feeling good, pleased, happy or joyful.
Arousal is the extent to which an individual feel stimulated, alert, excited or active.
Dominance is the degree to which an individual feels influential, important or in
control. These emotional responses result in two different behaviors: either
approach or avoidance. More specifically, in the M-R model, approach–avoidance
behaviors are considered to have four aspects:

APPROACH AVOIDANCE
A desire to stay in the environment A desire to get out the environment
A desire or willingness to look around A tendency to avoid moving through or
and explore the environment interacting with the environment
A desire or willingness to communicate A tendency to avoid interacting with
with others in the environment others or to ignore communication
attempts from others
The degree of enhancement Hindrance of performance and
satisfaction with the environment
Table 3: Approach/Avoidance Aspects
II. Literature on Different Generations
A generation is a group of people born around the same time
and raised around the same place. People in this “birth cohort” exhibit similar
characteristics, preferences, and values over their lifetimes.
Births Births
Generation Name Characteristics
Start End
The Lost Generation -

1890 1915
The Generation of 1914
The Interbellum
1901 1913
Generation
The Greatest Generation 1910 1924
• Team players
The Silent Generation
1925 1945 • Communicate indirectly
(Traditionalist) • Respect authority, seniority and age
• Believe in duty before pleasure
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• Natural leaders
• Optimists
• Possess a messianic outlook
• Team-oriented
Baby Boomer
1946 1964 • Seek personal growth
Generation
• Value health and wellness
• Seek personal gratification
• “live to work”
• First to grow up in schedules/to-do

lists
• First to witness the birth of
information age
• High-rate of mixed-culture
Generation X (Baby • Independent, resilient and adaptable
1965 1979
Bust) • “work to live”
• Goal-oriented
• Thinks globally
• Likes to do a lot of work and the
freedom to do it their way
• Self-reliant
• Technology savvy
• Questions everything
• Opinionated
Generation Y -
• Sociable
The Millennial - 1980 1995
• Has heroic spirit
Gen Next
• Lacks the skills for dealing with
difficult people
• Likes multi-tasking
Generation Z 1996 2010
Gen Alpha 2011 2025
Table 4. shows the different types of generations and their characteristics+
The millennials
This group is your 32 and under crowd. Millennials eat out mostly in lunch.
68% will ask a friend for recommendations before selecting a restaurant. This
group is largely tech-savvy, growing up on the web and with mobile devices. They
like to embark on dining outings to socialize and catch up with friends, and are up
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for communal dining and mixing with other patrons. They also like to explore what’s
new and will look for innovative and trendy menu items. (Fields, 2014)
Gen X
The Generation Xers fall between the age range of 33-49. The Gen X
demographic knows what they want, and they want it when they want it. Also, they
think about being healthy when selecting their dining venue of choice. The most
important feature for this group is convenience. They like highlight efficient and
easy dining experience that can please the entire family. (Fields, 2014)
Boomers
Boomers fall into the category of 50-68. Boomers are selective in the type
of setting they dine in, and they want variety. And, they’re looking to catch up with
social networking. Service style of a venue is a motivating factor for them. They
were late to a digital revolution, but are trying the bridge the gap. They want variety
of choices while maintaining affordability. When marketing to this demographic,
design a menu in a way that highlights the variety of food offerings. (Fields, 2014)
Silent/Traditionalists
The Silent type fills the category of diners 69-87. These consumers have
lived their lives, know what they want, and want to enjoy each day their way. Eat
out and aren’t afraid to spend a lot. Look for convenience and seek value. Don’t
want the stress of urgency while dining out. Are well-traveled and enjoy trying new
things. (Fields, 2014) The main characteristic of this generation type is the fact that
they have a simple, old-fashioned mindset.

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VIII. Literature on Restaurant Design
Meal time is not just a time for obtaining nourishment. It is also a time for
interacting with others. (Dunn, 2008) pg. 130 People go to restaurants not only for
food but also for entertainment, to surprise themselves, to be out of their normal
working environment and their residence.
According to Kotler (1983) the field of Marketing Research identified the
importance of design and atmosphere in restaurants. The meaning of the "total
product" gained importance, meaning the Restaurant and everything that comes
with it. The tangible product, meaning the food and beverage aspect of the
restaurant play a minimal role in the buying decision of the customer. Kotler even
claims that in some cases the atmosphere alone influences the buying decision
the most.
According to Aaron Allen on his article about Restaurant Design, today’s
successful restaurant concepts are about more than just “good food, good service
and atmosphere. (Allen, 2009) As said, brand personality is very essential because
brands, like people, have personalities. Creating a brand as identical as an identity.
The key to good dining space design is to find the right balance between
comfort, security, and the guests’ tolerance for stimulation, and also the target
market is the key. The best pleasures involve all our senses, we develop our
memories through our senses that is bona fide in humans and good restaurants
aim to do the same. What we generalize as ambience, they distill to minute
specifics.
Sign Design
“Sign design of the restaurant emphasizes the simple plane composition
to express the restaurant’s style and business philosophy. Form, color, texture
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and lighting are the main factors in the entrance’s sign, while the design should
be unified with the image of façade.” (Gao, 2012, p. 97)
Menu
Great design begins with the menu. It is important to know the satisfaction
of a good menu, it serves as the root for the design identity and the restaurant as
well. Customers perceived it first-hand through the sense of touch in dining at a
restaurant. As per Aaron Allen, it is the most important piece of marketing collateral
for a restaurant. It dictates everything: equipment, décor, traffic flow. It’s the heart
of the business. And the brain, directing through sight and touch, the experience
that awaits.
Mezzanine
Paula Robinson suggests that rooms with high ceilings can feel vast and
impersonal. A mezzanine is an ideal solution, making a space appear more inviting
and also creating valuable additional floor space. (Robinson, (Allen, 2009) 2006).
Soundproofing is needed if the mezzanine and the floor below are to be used
simultaneously. They added that the edge of the mezzanine must be enclosed with
a structurally sound balustrade that gives a feeling of security and comfort for
anyone leaning over it to look down on the floor below.
Lighting
“Lighting is a single most important, environmental consideration in
foodservice, but lighting rules are probably the most difficult to define. Correct
lighting enhances the mood of a dining area, the appeal of the food, and the
efficiency of the kitchen. An entry way, waiting room, and dining area each require
separate treatment. This may require lighting transition zones, the technical term
for shifting people comfortably between two different types of lighting, giving their
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eyesight a moment to adjust to the change. Light sources and levels of intensity
should cause both the guest and the food to look good. Indirect lighting washes
a space with light instead of aiming the light at a specific spot, it minimizes the
shadows and is considered flattering in most cases. Wall sconce is one example
of indirect lighting. Direct lighting aims a certain light at a certain place, to accent
an area such as tabletop. When that area is directly beneath the lighting fixture, it
is referred as downlighting.” (Katsigris & Thomas, 2009, p. 227)
Color
In the dining room, the lighting system and color scheme must work
together to enhance the environment. Colors depend on their light source because,
as you know, the same color can look completely different when seen under
different types or intensities of light. Color and light together can also be used to
make space seem larger or smaller and more intimate. Color can be used to
convey a theme, a style, a geographic region, a way of life, or even a climate.
HVAC System
Heating, ventilation, and air conditioning, commonly known as HVAC, are
used to maintain a level of comfort for both guests and employees. Many
restaurant owners are concerned about making their guest comfortable. A good
temperature and a humidity control. The key environmental comfort factors at work
are: Indoor temperature, Humidity, Air movement, Room surface temperature, Air
quality.
To modify and control the factors listed previously, these types of
equipment are part of most HVAC systems: Furnaces (to produce hot air), Boilers
(to produce hot air), Air conditioners (to produce cold air), Chillers (to produce cold
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air), Fans (to circulate and remove air), Ductwork (to move air), Filters (to clean
air)
Individual comfort is a simple matter of balancing a person’s body
temperature with that of the surrounding environment. The body gives off heat in
three ways: convection, evaporation, and radiation. An example of heat loss by
convection is when air moves over a person’s skin. The movement creates a
temperature difference between skin and air. An example of heat loss by
evaporation is perspiration, when heat causes liquid to turn to vapor. Heat loss by
radiation happens when two surfaces of differing temperatures are placed right
next to each other, like being seated by a window on a cold day. The right
combination of temperature and relative humidity to make people comfortable is
referred to by experts as the comfort zone. (Katsigris & Thomas, 2009, p. 243)
VII. Restaurant Space Planning Considerations (Front of the House)
As an element in space, especially for the open space, the seating
distribution is not isolated; instead, changes in the vertical direction should be
considered, to maintain an appropriate proportion and scale. To meet the
functional needs and create visual pleasure is the main task in the conception of
restaurant layout design. (Gao, 2012, p. 115)
Entrance/ Entry Area

According to Gao on his book 100 Restaurant Design Principles, design
of the entrance needs to express the characteristic of the restaurant and what’s
more to attract more diners into the space, which are both the results of the visual
experience. (Gao, 2012, p. 69) He added that the design of the entrance directly
represents the style of a restaurant, to use the composition of point, line, surface
or ionic symbols in the entrance could attract the diner’s attention. It’s like a buffer
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zone that will bring diners into completely new environment, from which they could
gradually get an estimation of the dining environment. In a fast-food facility, the
space allocated for an entryway will be a large portion of the whole facility, because
it is where the guest’s line-up, place and pay orders.
In terms of environmental psychology, the entryway should be designed
to show guests exactly what they are in for when they arrive. Remember that not
everyone who enters the space has already committed to eating there, so the entry
way is where they will decide whether they are comfortable enough to stay.
(Katsigris & Thomas, 2009, p. 61)
Dining Area
According to Katsigris and Thomas, in a table service restaurant,
customers spent up to 25 percent of their time just waiting. They wait to order, wait
for the food to arrive, and so on. They don’t feel comfortable if the space is too
crowded, and they don’t feel comfortable if the space is too empty. (Katsigris &
Thomas, 2009, p. 104) In terms of environmental psychology, most people would
rather sit with some type of architectural fixture on at least one side of them – a
wall or a window or column – which helps them define their space. (Katsigris &
Thomas, 2009, p. 43)
Planning Considerations are place setting for small children requires .08
sq. meters for certain types of service compared to adults that need 1.2 square
meters for comfort. A banquet seating allowance can be small as 0.92 sq. m. per
seat. Diner’s comfort should be given allowance. Remember that crowding is
distasteful to many people especially the adults. Although crowding is acceptable
to low cost quick service units, it is not to those offering leisurely dining. Both young
and adults enjoy having sufficient elbow-room and enough space for their food and
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beverages. Place setting for adults provide 600 mm and 450 to 500 mm for
children. Service entrance maybe estimated in the proportion of: One small
entrance for every 20 sets and a large central door for every 50 to 60 seats.
Tables
Table size gives the patron feeling of comfort and efficient utilization of
the space. Four trays with a dimension of 350 to 400 mm. fit better on a 1,200mm
square table than on 900mm or 1,060mm square table. Small tables measuring
600 or 900 sq.mm are economical for seating, but not comfortable for large people.
They are only suitable in crowded areas for fast turn over and light meals. Tables
with common height and width, offers flexibility in seating arrangement. The table,
from floor to tabletop, should be 750 – 762 mm in height. Space usually dictates
how many tables you will need, and, in most cases, you can get more square tables
than round ones in the same square meters. Research shows square tables also
seem to produce faster turnover, while round ones’ prompt guest to linger a bit
longer. A table should have a waterproof top, and its base should be placed to give
the customers a comfortable amount of legroom beneath. Attention to aesthetics
may require the blending of both square and round tables in the dining area,
arranging them at different angles to avoid that military mess. (Fajardo, 2002)
Seating
A 15-degree angle for the chair back is recommended. The depth of the
seat, from edge to chair back, should be 400mm. The height of the chair, from the
floor to the top of the chair back, should be no more than 860mm. Anything higher
impedes the servers. The standard distance from the seat to the floor should be
450mm. The distance between the seat and the tabletop should be 300mm. Allow
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60mm to 66mm of space for each chair at a table, 71mm if they are armchairs.
Consider how chairs or stools work when empty too.
In general, it is best to design a dining area with a mixture of seat and
table styles for maximum flexibility. Think about the ability to accommodate both
large and small groups at a moment’s notice. Seating also must be arranged with
clearly defined aisles and tables not too far from the kitchen, as these factors
impact safety as well as speed of service. (Katsigris & Thomas, 2009, p. 72)
Banquette
Banquette is an upholstered couch fixed to the wall, with a table placed in
front of it. Banquettes are hybrid of booth and table - more adaptable than a booth,
but they must still hug the wall. Banquettes happen to be very fashionable at the
moment. Not only can they be upholstered in any number of stylish fabrics, but
they maximize seating by filling up corners and allowing more guests to be seated
than would fit at individual chairs. (Katsigris & Thomas, 2009, p. 72)
Lunch Counter and Aisles

Lunch counter minimum width is 400mm. Maximum width with seat is 600
to 750mm. The maximum area best served by one waitress is 4,800mm counter.
This will allow 8 to 10 seats. The U-shaped counter maximizes the use of space
and reduces travel. Space with 2,600 to 3,300mm depth will be required for every
linear foot of counter. This will provide 90 to 1200mm public aisles. Where
employees must pass a width of 1,350mm is ideal. A minimum passage area is
400mm between chairs excluding chair area. Table should be space at 1,200 to
1,500mm apart. Diagonal arrangement of square table utilizes space better than
the square arrangement. Lanes that passes between back of chairs are usually
blocked when someone arise or seated. (Fajardo, 2002)

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VIII. Literature on Kitchen Design (Back of the House)

Overview
The kitchen is the heart of any foodservice business. Like any human
heart, its job is to pump and circulate life-giving blood throughout the rest of the
operation. Therefore, kitchen placement will affect the quality of the food, the
number of guests who can dine at any particular time of day, the roles and workload
of the servers as well as kitchen employees, utility costs, and even the atmosphere
of the dining area. (Katsigris & Thomas, 2009, p. 71) Kitchen are organized into
work sections, and each work section is composed of work centers where certain
tasks are performed
Product flow is the movement of all food items, from their arrival at the
receiving area, through the kitchen, to the guests. It is the movement of employees
through the building as they go about their duties. There should be sufficient space
for the staff to perform their required task. Simply stated, if work centers are
adjacent to each other, without being cramped, you saved time and energy; and if
people who work in than one area have handy, unobstructed paths between those
areas, they can work more efficiently.
The back of the house is a separate and distinct entity from the rest of the
business, with its own peculiar problems and unique solutions. Correct flow
planning sometimes means breaking each kitchen function down into a
department, of sorts, and then deciding how those departments should interact
with each other. They must also interact with the other external department of the
facility: the dining area, bar cashier, and so on.
Service Area
The service area is the busy zone between the kitchen and the guests, in
which the food production staff and the wait staff use the most efficient means to
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get food out of the kitchen and to the customers. Many eateries hire people called
expenditers to stand on either side of the pass window and facilitate ordering and
order delivery. An expenditer may organize incoming and outgoing orders for
speed, check each tray for completeness and accuracy of the order before it is
delivered, and even do a last-minute garnishing as plates are finished. The wait
station typically has no inherent “eye appeal,” and yet it is an necessary component
of an efficient service system and must be stocked with everything the wait staff
uses regularly. A likely list will include: serving paraphernalia, assorted garnishes,
dishes and flatware, water pitchers and glasses, linen napkins and tablecloths, tray
holders and so forth.
Preparation Areas
The fabrication area is where raw foods begin their journey to their final
destination: the guest’s plate. Sometimes referred to as pre-prep. In the
preparation area, foods are sorted further into individual or batch servings. In the
production area, usually it is divided into hot-food preparation known as hot line
and cold-food preparation known as pantry. Production is the heart of the kitchen,
and all other areas are meant to support it.
Production Areas
In much greater detail, on the hot line, determine placement of equipment
based on the cooking methods. There are two major ways to cook food: dry-heat
methods (sauté, broil, roast, fry and bake) and moist-heat methods (braise, boil,
steam). The difference is the use of liquid in the cooking process.
A kitchen that is well laid out may position its volume cooking at the back
and its to-order cooking at the front. In smaller kitchens, fryers, broilers open-
burner ranges and steam equipment are grouped together. Here are some of the
stations or sections of a typical hot line;

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Broiler station. A single or double-deck broiler is located here.
Griddle station. The width of the griddle determines its capacity. It can be either
a floor standing model or a tabletop griddle that sits atop a counter. The tabletop
model is a smart use of the space below it.
Sauté station. There are three types of ranges in these station: flat-top sectional
range, with individual heat controls for each section; the ring-top range, with rings
of various sizes that can be removed to bring flames into direct contact with the
sauté pan; and the open-top range, also sectional, with two burners per section.
Ovens can be placed tabletop in this area or they can be installed below the range.
Above the range is often a mini-broiler known as salamander, used for quick duties
like melting butter or as a holding area.
Holding Station. An area designated for holding finished food before it is
assembled on plates or put onto trays. Any individual stations can have their own
holding areas, or there can be one central area.
Pantry. The pantry is where the cold foods are prepared for serving. For sandwich
making, the pantry needs slicers and other types of cutting machines as well as
mixers for making dressing.
In planning, a 600 to 750mm table width is ideal if no dishes or food
containers rest at the back of the table. A 900-mm. square table is preferred when
the back of the area is used for storage. When two workers are working together
opposite each other, A 1100mm wide table is recommended. A 1200 to 1800mm
work area is within the convenient reach of the average person. A 2400 to 3000
mm long table is used for two persons working side by side. Working table height
is normally from 800 to 850mm. Aisles space should allow free easy movement of
essential traffic. The minimum width of a lane between equipment where one
person is working alone is 900mm. Where more than one is working, another
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worker passes each other in the progress of the work, 1050mm space is required.
Where mobile equipment is used, 1200 to 1350mm aisle is sufficient. For main
traffic lane where workers regularly pass each other with mobile equipment,
provide 1800mm passageway. Door opening must accommodate large piece of
equipment like roasting pans, baking sheets and stockpots. The main passageway
should not pass through work centers. The work center should be near the main
traffic lanes for accessibility. Efficient work centers are those at right angles with
the traffic lanes. A good plan allocate less than 30% of total space for equipment
and 70% for work areas, traffic lanes, and space around equipment for easy
operation and cleaning.
Ware washing Station

Ware washing is the term for collecting soiled dishes, glasses, flatware,
pots and pans and scraping, rinsing and drying them. It’s a messy area with high
temperatures, high humidity, and slippery floors that require constant caution. A
smooth, short flow pattern from dining room to dish area will keep breakage to
minimum and lower labor costs. Acoustical tile for walls and ceilings is important
in this area, to keep dish noise from spilling into the dining area
Kitchen door
A kitchen door should be lightweight. It should open easily, since it will be
opened often by people who have their hands full, carrying trays of food, bus tubs,
and other heavy items. Prolong every door’s useful life by making sure it has a
metal kickplate or scuff plate over the bottom area or both sides - the spot most
likely to be kicked open by scurrying feet. Doors should always contain eye-level
windows, so employees don’t barrel through and hit each other accidentally.
(Katsigris & Thomas, 2009, p. 91)

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Floor
Floor and wall materials should be damage resistant, with easy-to-clean
surfaces. Ceramic glazed tile on walls will withstand both heat and grease. For
floors, quarry tile that contains carborundum chips is an excellent option that
provides natural slip resistance. There should be a floor drain in front of every sink
in the preparation area and a floor drain for every six linear feet of the hot line. One
smart alternative to individual drains is to cut a 4-inch-deep through along the hot
line floor containing several drains, covered by a metal grate. (Katsigris & Thomas,
2009, p. 93)
Kitchen Lighting
“Kitchen lighting is another thing altogether than dining area lighting. For
employee’s safety and comfort, and allow them proper attention to details as they
work, kitchen lighting must be bright and long-lasting, and should be selected to
give off the least possible amount of heat. The most popular all-purpose kitchen
lighting is still fluorescent lamps – inexpensive, durable and bright. The trick in
lighting a kitchen is to make things bright without causing unnecessary glare (and
the resulting eyestrain). Recommendations from the Illuminating Engineers’
Society of North America (IESNA) include matte or brushed finishes on
countertops and careful lighting around highly reflective surfaces, such as mirrors
and glazed walls. In addition, kitchen light fixtures and lamps must be able to
withstand the rigors of professional cooking and cleaning. Lamps that can
withstand humidity for areas like dish rooms and walk-in refrigerators are called
damp-labeled luminaries. Both the U.S. Food and Drug Administration and
Occupational Safety and Health Administration (OSHA) now require shatterproof
lamps.This so-called protective lighting usually includes a coating to prevent any

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bits of glass or chemical from flying out in case of breakage.” (Katsigris & Thomas,
2009, p. 229)
Fluorescent fixtures may be placed parallel to workers’ lines of sight, as
this results in less glare. In storage areas, light fixtures should be located over the
centers of the aisles for maximum safety. And we must also counteract the
reflective properties of stainless steel surfaces, such as worktables and refrigerator
doors. A satin finish instead of a shiny one will reduce the glare considerably.
(Katsigris & Thomas, 2009, p. 237) The Illuminating Engineering Society
recommends a light intensity of at least 30 footcandles throughout the restaurant,
and 70 foot-candles at so-called points of inspection, such as pass windows and
garnishing areas, where the food gets a close look before being served. Kitchen
lights require considerable maintenance, because grease can build up on the
fixtures and shields, so choose them for easy cleaning. In addition, fixtures that are
labeled vapor proof (moisture resistant) must be used in exhaust hoods and
dishwashing areas.
An emergency lighting system must be able to provide at least 1 foot-
candle of brightness for a period of 90 minutes; and it must have its own power
source, independent of the main power system, in case of an electrical failure.
Color
Light, cool colors are probably the best choices. Using one lighter color
and a darker version of the same hue is an option that creates a mild contrast that
is easier on the eye. Because white is highly reflective, it should be avoided for
kitchen walls; however, an off-white for kitchen ceilings can be a smart choice. Its
natural brightness helps boost your light levels. The use of colors to signal special
equipment and areas is also recommended. Danger is usually red, marked with
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paint or reflective tape on moving parts of equipment, swinging doors, and so on.
Yellow is used to mark the edges of steps and landings. Green is used to identify
first-aid kits or areas. \
VI. Literature on Wayfinding
Wayfinding is behavior – how living organisms make their way from an
origin to a destination and back – is an issue in which environment and behavior
are indisputably intertwined. Successful wayfinding involves knowing where you
are, knowing your destination, knowing and following the best route (or at least a
serviceable route) to your destination, being able to recognize your destination
upon arrival, and reversing the process to find your way back out (Carpman &
Grant, 1993). Other definitions, such as Passini’s (1984), describe wayfinding a
hierarchical series of decisions people make as they go about finding their way.
Three groups deal directly with the wayfinding outcomes in facilities:
Users/Customers – Unfamiliar users of facilities, those who are most likely to
have trouble finding their way around and it is obvious that wayfinding is very
important to them. Users need specific directions; including the best route. They
expect the legible signs, accurate answers to their directional questions, and
environmental features that differentiate one location from another.
Staff – Wayfinding is also a concern for those who work in those facilities. Not only
do they need to find their own way around, they are also expected to assist and
direct unfamiliar users.
Administrators – Administrators want to care for the customers they already have
while attracting new customers and avoiding wayfinding problems. (Carpant &
Grant, 1997) pg. 428

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X. Literature on Accessibility
Access is required:
a. From the street to either the main entrance or a clearly marked alternate
entrance.
b. To all areas where work functions can reasonably be expected to be
performed by persons with disabilities.
c. To all public areas and facilities available to the public (ie, bank tellers and
hairdressing sinks).
d. To counters serving the public and intended as a work surface for extended
business transactions with a knee space (minimum 760 mm (30”) wide by
865 mm (34”) high)
e. To an “accessible” toilet room.
f. To an exit at grade or onto a ramp that leads to grade.
Type of Disabilities
Various, disabilities which have been considered while preparing the
guidelines for barrier free built environment are broadly classified under four
categories
1. Non-Ambulatory – Impairments that, regardless of cause or
manifestation, for all practical purposes, confine individuals to wheel &
chairs.
2. Semi-Ambulatory – Impairments that cause individuals to walk with
difficulty or insecurity. Individual using braces or crutches, amputees,
arthritics, spastics & those with pulmonary & cardiac ills may be semi-
ambulatory.
3. Sight – Total blindness or impairments affecting sight to the extent that the
individual functioning in public areas is insecure or exposed to danger.

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4. Hearing – Deafness or hearing handicaps that might make an individual
insecure in public areas because he is unable to communicate.
According to B.P. 344 Implementing Rules and Regulations, listed below
are the minimum requirements for accessibility;
a. Ramp
The changes in level shall require a ramp except when served by a dropped
sidewalk, curb ramp, or other mechanical device. Accessible ramps shall have the
following facilities and features; Minimum clear width of 1,200 mm and a ramp
gradient not steeper than 1:12. The handrails on both sides of the ramp at 700 mm
and 900 mm from the floor of the ramp. The curbs on both sides of the ramp with
a minimum height of 100 mm. Slip resistant materials shall have a coefficient of
friction of 0.6 for level surfaces and 0.8 for sloping surfaces (ASTM). The handrails
and grab bars that require full grip should have an outside diameter of 38 mm
(minimum) to 45 mm (maximum). Handrails attached to walls should have a
minimum clear distance of 50 mm from the wall.
b. Signage
The International Symbol of Access shall be composed of a white
symbolized figure of a person in a wheelchair with a square background in UN Blue
Color. The symbolized figure shall always face to the right. Provide directional
arrows when the space/area/function being referred to is facing left. Directional
and information (Audio, Visual, and Tactile) signages shall be located at points that
can be conveniently seen, heard, and felt by all persons with disabilities.
Signage should be kept simple and easy to understand. It should be made
of contrasting colors and contrasting gray value to make detection and reading
easy. Tactile maps shall be provided to guide persons with visual impairment.
Signs (graphics, text, and Braille) on walls and doors should be installed at a
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maximum height of 1,500 mm from the finish floor to the center of the sign. Signs
and labels for public rooms, areas, and places should have tactile symbols, letters
or numbers that should be embossed with a minimum height of 1 mm; Braille
symbols shall be incorporated in signs indicating public places and safety routes.
Tactile warning indicators should have a 50% contrasting gray value
from adjacent floor finishes.
XI. Code on Sanitation of the Philippines
According to the Implementing Rules and Regulations of Chapter III,
Section 3 of the Code on Sanitation of the Philippines (Presidential Decree No.
856), no sanitary permit shall be issued for any premises to be used for the
preparation, handling and sale of food unless it is constructed in accordance with
the following structural requirements:
a) FLOORS - The Floors shall be
i. Constructed of concrete or other impervious or easily cleaned material that
is resistant to wear and corrosion and shall be adequately graded and
drained; all angles between the floors and walls shall be rounded off to a
height of not less than 3 inches (7.62 cm.) from the floor; or
ii. The walking and driving surfaces when food is served such as sidewalk
cafes, patio service and similar establishments, shall be kept clean and free
of debris and shall be properly drained so that water does not accumulate.
Such areas shall be surfaced with concrete, asphalt or similar materials to
facilitate cleaning ang to minimize dust.
iii. Floor drains shall be provided. Floors which are water flushed for cleaning
or which receive discharge of water or other fluid waste from equipment
shall be graded to drain. (Presidential Decree No. 856, 1975, pp. 12-13)
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b) WALLS
i. The internal surface of walls shall have a smooth, even, non-absorbent
surface capable of being readily cleaned without damage to the surface
and constructed of dust-proof materials;
ii. The walls, where subject to wetting or splashing, shall be constructed of
impervious, non-absorbent materials to a height of not less than 79 inches
(2 meters) from the floor;
iii. The internal walls shall be painted in light colors or treated with such other
wall finish as the health authority may prescribe
iv. Light fixtures, decorative materials and other similar equipment and
material attached to walls or ceilings shall be kept clean. (Presidential
Decree No. 856, 1975, p. 13)
c) CEILINGS
i. All ceilings or, if no ceiling is provided, the entire under-surface of the roof
shall be dust-proof and washable.
ii. The ceiling or undersurface of the roof of rooms in which food is prepared
or packed or in which utensils or hands are washed shall be smooth, non-
absorbent and light (PRESIDENTIAL DECREE No. 856 December 23,
1975, pg. 8)
d) LIGHTING
i. The general standards of illumination provided shall permit effective
inspection and cleaning and shall be of sufficient intensity appropriate to
the purpose for which any room or place is used;
ii. In rooms where food is prepared or packed or in which utensils or hands
are washed there shall be a minimum illumination intensity of 20 foot-
candles; in premises where food is consumed, there shall be a minimum

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illumination intensity of 5 foot-candles. Intensities of illumination shall be
measured at a point 30 inches (76.20 cm.) above the floor;
iii. All lighting shall be reasonably free from glare and distributed to avoid
shadows;
iv. At other areas or working surfaces, the illumination shall be of such
intensity as may be required by the health authority. (Presidential Decree
No. 856, 1975, pp. 14-15)
e) VENTILATION
i. Ventilation shall be provided which shall be effective and suitable to
maintain comfortable condition;
ii. The ventilation shall be adequate to prevent the air from becoming
excessively heated, prevent condensation and the formation of excess
moisture on walls, ceilings and for the removal of objectionable odors,
fumes and impurities;
iii. In the absence of effective natural ventilation, mechanical ventilation with
airflow from a clean area, and discharging in such a manner as not to create
a nuisance, shall be provided; Toilets shall be provided with mechanical
exhaust ventilation by which the air in such rooms is changed not less than
six times per hour.
iv. Canopies, air ducts, fans or other appliances shall be provided as required
by the health authority circumstances;
v. All exhaust systems shall discharged to the outside atmosphere, provided
however that air may be recirculated if it is passed through a suitable
cleaning device and is safe when reused.
vi. Ventilation hoods and devices shall be designed to prevent grease or
condensate from dripping into food or into food preparation surfaces.

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Where airducts are used they shall be designed and maintained so as to
prevent the entrance of dust, dirt, vermin or other contaminating materials.
Effective provision shall be made for securing and maintaining a
reasonable temperature. Ideal temperature in all work areas is 26.67°C
(Presidential Decree No. 856, 1975, pp. 15-16)
f) OVERCROWDING
There shall be sufficient floor space to enable every person working
thereon to carry out his duties efficiently and to permit easy access for
cleaning. Working spaces, aisles or passageways and areas to which
customers have access shall be unobstructed and sufficient to permit
movement of employees and customers without contamination of food by
clothing or personal contact (PRESIDENTIAL DECREE No. 856 December
23, 1975, pg. 9)
g) CHANGEROOMS
There shall be provided adequate and suitable lockers or other facilities for
the orderly storage of clothing and personal belongings of employees or
persons engaged or employed in the premises. Such facilities shall be so
situated and arranged so that there is no contamination of food by contact with
clothing, and where the number of persons engaged or employed is four or
more of either sex, there shall be provided separate changing rooms for each
sex (PRESIDENTIAL DECREE No. 856 December 23, 1975, pg. 9)
The following are the important sanitary facilities requirements for food establishments:
h) WASH-HAND BASINS
i. Wash-hand basins shall be installed in convenient places and as near as
practicable to where the person for whose use they are provided are
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working while handling food for sale or in such locations as may be
otherwise prescribed in any particular case (PRESIDENTIAL DECREE No.
856 December 23, 1975, pg. 9)
ii. If required in writing by the local health authority an additional wash-hand
basin shall be installed as near as practicable to the toilet facilities:
Provided, that the wash-hand basins specified in this Code need not be
installed in premises where only food in sealed containers is sold: and,
Provided, further, that wash-hand basins specified in this regulation shall
be installed under specifications of the National Plumbing Code of the
Philippines (PRESIDENTIAL DECREE No. 856 December 23, 1975, pg. 9)
WASH-HAND BASIN MAINTENANCE
i. An adequate supply of soap, clean towels, roller towels presenting a clean
surface to each user from a continuous roller towel dispenser or other hand
drying services approved by health authorities.
ii. The wash-hand basin and all hand washing facilities shall, at all times, be
maintained in good repair and in a clean condition.
iii. All wash-hand basins shall, at all times, while the premises are being used,
be supplied with hot and cold or tempered running water at a minimum
temperature of 100°F (37.8°C) (Presidential Decree No. 856, 1975, p. 18)
i) TOILET FACILITIES
Adequate and clean toilet facilities for male, female and disabled customers
and personnel shall be provided in properly located areas.
i. They shall be easily accessible to the customers and employees.
ii. Adequate hand-washing facilities shall be provided within or adjacent to the
toilet room.
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iii. Toilets shall not be open directly into paces where food is prepared, stored
or served.
iv. Toilet rooms shall be completely enclosed, properly lighted and ventilated.
(Presidential Decree No. 856, 1975, p. 19)
j) REFUSE COLLECTION, SEPERATION, STORAGE AND DISPOSAL
i. Refuse cans may be used in preparation areas for immediate use only. All
garbage and rubbish containing food waste shall be kept in containers,
constructed of impervious materials which are leak proof and do not absorb
liquids.
ii. All containers shall be provided with tight-fitting lids or covers, so
constructed and maintained as to be vermin-proofed and easily cleaned.
(Presidential Decree No. 856, 1975, pp. 22-23)
k) VERMIN CONTROL
Vermin - A group of insects or small animals such as flies, mosquitoes,
cockroaches, fleas, lice, bedbugs, mice, and rats which are vectors of diseases.
i. Spaces where food and drinks are stored, prepared and served shall be so
constructed and maintained as to exclude vermin.
ii. All opening which connects spaces to the outer air shall be effectively
protected with screen of non-corrosive wire 16-mesh or finer. Door screens
shall be tight-fitting and self-closing. (Presidential Decree No. 856, 1975,
p. 27)
l) EQUIPMENT AND UTENSILS
i. They shall be so designed, fabricated and installed so that cleaning is easy
and they do not pose health hazards.
ii. Lead-soldered containers and cadmium-lined piping and fixtures shall not
be used.
P a g e | 49
iii. Surfaces that come into contact with food or drinks shall be constructed of
materials that are impervious, corrosion-resistant, non-toxic, easily
cleanable, durable and resistant to chipping.
iv. A three-compartment sink shall be provided and used for manual wahing
and sanitizing of equipment and utensils. At least two-compartment sink
shall be provided and used for washing kitchenware and equipment which
do not require sanitizing and for washing vegetables.
v. Sliding doors on cabinets shall be easily cleanable and removable. Runners
shall be allotted at the ends to permit removal of dust and debris. The
bottom shelves of open-based fixtures shall be removable to facilitate
inspection, cleaning and maintenance. (Presidential Decree No. 856, 1975,
pp. 26-27)
Storage of Washed Utensils
a) They shall be stored in a clean and dry place adequately protected against
vermin and other sources of contamination.
b) Cups, bowls, and glasses, shall be inverted for storage.
c) When not stored in closed cupboards or lockers, utensils and containers
shall be covered or inverted whenever practicable. Utensils shall not be
stored on the bottom shelves of open cabinets below the working top level.
d) Racks, trays and shelves shall be made of materials that are impervious,
corrosion-resistant, non-toxic, smooth, durable and resistant to chipping.
e) Drawers shall be made of the same materials and kept clean. Felt-line
drawers are not acceptable, but the use of clean and removable towels for
lining drawers is acceptable. (Presidential Decree No. 856, 1975, p. 28)

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XII. National Building Code of the Philippines
Section 703. Mixed Occupancy. When a building is of mixed occupancy or
used for more than one occupancy, the whole building shall be subject to the
most restrictive requirement pertaining to any of the type of occupancy found
therein except in the following:
1) When a one-storey building houses more than one occupancy, each
portion of the building shall conform to the requirement of the
occupancy housed therein and;
2) Where minor accessory uses do not occupy more than ten percent of
the area of any floor or a building, nor more than ten percent of the
basic area permitted in the occupancy requirements, in which case,
the major use of the building determine the occupancy classification.
(Presidentaial Decree No. 1096, 1977)
Forms of Occupancy Separation
Occupancy separations shall be vertical or horizontal or both, or when
necessary, of such other forms as may be required to afford a complete
separation between the various occupancy divisions in the building.
Types of Occupancy Separation
Occupancy separation shall be classified as "One-Hour Fire-Resistive",
"Two-Hour Fire Resistive", "Three-Hour Fire- Resistive" and "Four-Hour Fire-
Resistive (Presidentaial Decree No. 1096, 1977)
Section 805. Ceiling Heights
Habitable rooms provided with artificial ventilation have ceiling heights
not less than 2.40 meters measured from the floor to the ceiling. Rooms with
a natural ventilation shall have ceiling height not less than 2.70 meters.
P a g e | 51
Mezzanine floors shall have a clear ceiling height not less than 1.80 meters
above and below it. (Presidentaial Decree No. 1096, 1977)
Section 808. Window Openings. Every room intended for any use, not
provided with artificial ventilation system shall be provided with a window or
windows with a total free area of openings equal to at least ten percent of the
floor area of room, and such window shall open directly to a court, yard, public
street or alley, or open water courses. (Presidentaial Decree No. 1096, 1977)
Section 811. Artificial Ventilation. Rooms or spaces housing industrial or
heating equipment shall be provided with artificial means of ventilation to
prevent excessive accumulation of hot and/or polluted; For rooms entirely
above grade and used as bakeries, hotel or restaurant kitchens, laundries
other than accessory to dwellings, and boiler rooms not less than ten changes
of air per hour shall be provided. (Presidentaial Decree No. 1096, 1977)
Section 1207
Exits. Every building or usable portion thereof shall have at least one exit.
Each mezzanine floor used for other than storage purposes, if greater in area
than 185 square meters or more than 18.00 meters in any dimension, shall
have at least than two stairways to an adjacent floor. (Presidentaial Decree
No. 1096, 1977)
Distance to Exits. In a building equipped with a complete automatic fire
extinguishing system the distance from exits may be increased to 60.00
meters. Exit door shall be openable from the inside without the use of a key or
any special knowledge or effort. (Presidentaial Decree No. 1096, 1977)
Stairways. The rise of every step in a stairway shall not exceed 200mm and
the run shall not be less than 250mm. The maximum variations in the height
P a g e | 52
of risers and the width of treads in any one flight shall be 5mm. (Presidentaial
Decree No. 1096, 1977)
Circular Stairways. Circular stairs may be used as an exit provided the
minimum width of run is not less than 250 millimeters. All treads in any one
flight between landings shall have identical dimensions within a 5 millimeter
tolerance. (Presidentaial Decree No. 1096, 1977)
Handrails. Stairways shall have handrails on each side. Handrails shall be
placed not less than 800mm nor more than 900mm above the nosing of treads
and ends of handrails shall be returned or shall terminate in newel posts or
safety terminals. Stairway having less than four risers need not have handrails.

P a g e | 53
CHAPTER III: CONCEPTUAL FRAMEWORK

Research Paradigm
TREAT HAUS RESIDENTIAL

MIXED-USE SPACE
RESTAURANT SPACE
HOW CAN THE

FUNCTION AND
RESTAURANT BE
COMFORT
REMEMBERED?
THEORY:
SENSORY
DESIGN
SIGHT SMELL
HEARING TOUCH
CONCEPT:
AYURVEDA
(NATURE’S ELEMENTS)
RESTAURANT:
COMMERCIAL: RESIDENTIAL:
BRAND IDENTITY ENHANCE SENSE

OF WELL-BEING
INTERGENERATIONAL
RELATIONSHIPS
Figure 2. Conceptual Framework (Flow of design proposal)
This conceptual framework shows the design process the proponent would follow
to manifest the seduction of senses and create a successful brand to be applied to the
restaurant space that will promote to customers. And for the Residential space to enhance
P a g e | 54
the sense of well-being of the owners. The focus of this study is to create intergenerational
relationship between the owner to customers and employees, and within customers.
The elements of sensory design will be interpreted trough the realms of interior
design together with the design concept which is Ayurveda, nature’s elements. Each
human sense has a counterpart to nature’s elements as follows: Sight – Fire, Air – Smell,
Hearing – Ether, Touch – Air. Through this the design will be able to produce a memory
for the consumers and develop a place attachment and induce them to come back to the
place, not specifically because of the food, but because of the ambience.
P a g e | 55
CHAPTER IV: METHODOLGY
A. RESEARCH DESIGN
The descriptive method of research was used in the case study. Descriptive
method seeks to provide information about one or more variables. A purposive process of
gathering, analyzing, classifying and tabulating data about prevailing conditions, practices,
beliefs, processes, trends, and cause-effect relationships and then making adequate and
accurate interpretation about such data without the aid of statistical method.
The purpose of this study is to create a distinctive restaurant brand and develop a
intergenerational relationships through interior spaces by designing it with the elements of
Sensory Design Theory and organizing it with the basic principles of interior design. It will
provide a systematic study and application processes to achieve the goal of modifying the
interior space to be more efficient, aesthetically pleasing and a place to comeback to. This
also includes interviews, surveys and observation to gather all the data and information
the proponent needs.
B. SAMPLING DESIGN
The proponent wants to know the concern of the owner, customers, employees
and the public to commercial establishment like restaurants on which factors affects
certain brand. A general survey was conducted and interviews were made to inquire
results regarding the perceptions of certain generations to a dining experience in a
restaurant. And another set of survey was conducted to the locals of Sariaya, Quezon that
was present dining in to Treat Haus during the ocular observation of the proponent. Also,
an interview to the employees was also conducted. This data will be the basis of the
researcher in formulating a design space that considers a sensorial experience and
intergenerational interaction of the well-beings.

P a g e | 56
C. PROCEDURES OF DATA GATHERING
The proponent used qualitative data; therefore, the methods of the collection of
data shall consist of interviews, observation and photo documentation. Ocular observation
around Treat Haus was necessary to note the existing physical conditions of the interior
and facilities. This method is deemed appropriate for this study because it records data
immediately. The proponent took photographs of the existing conditions and at the same
time, a written document about these conditions was accompanied. Conditions about
noise control, lighting, physical characteristics of the structure, ventilation, ambiance and
physical environment were the priority topics that were observed on the space.
D. INSTRUMENTS
Relevant opinions and responses for the benefit of the study were gathered using
the following devices. Research instrument such as interview, observation and photo
documentation are the subject for this study to supplement the study with regards to the
efficiency and effectiveness of this study.
These are the following instruments:
1. Interview
This determined the specific problems to be asked, some existing
conditions that need to be clarified to the user in relation to the spaces’ physical
environment and conditions. The information gathered is needed and will address
basic solutions and practical approach to the problem. An interview with the owner
and restaurant employees was carried out to produce a reliable source that will be
used in the research.
2. Ocular Observation
The proponent observed the physical characteristics and environment of
the space. This enabled the researcher to improve and conduct the appropriate
design principles to be applied.

P a g e | 57
3. Photo Documentation
The proponent took photos of the interior of the facilities that will be
designed, for analyzing the physical condition of the space and to complement
information on the data gathering.
4. Survey
The proponent takes on a market analysis on how customers usually
experience when dining in a restaurant. And a survey on Treat Haus about the
experiences in dining there as well as to point out the problems.
5. Sensory Analysis
The proponent performed a sensory analysis based on the existing
sensorial properties present in the space. The use of Sensory Slider by Joy Monice
Malnar and Frank Vodvarka was the same slide the proponent uses as an
instrument.
P a g e | 58
CHAPTER V: PRESENTATION OF DATA GATHERED
EXISTING MASTER KEY PLAN
Figure 3. shows the existing floor plan of Treat Haus Restaurant and Emralino's Residence
P a g e | 59
A. Presentation of Facts and Data
This information had been the foundation of the researcher to come up with
the abstract and the arrangement of the strategies to analyze and create the
proposed interior design for the Treat Haus, in for the benefit of the owner and the
customer.
1. Treat Haus Profile:
Figure 4. Treat Haus Restaurant and Emralino's Residence
Figure 5. Location of Treat Haus and Emralino's Residence

P a g e | 60
For over the years, Treat Haus has been a restaurant for all. They are offering a
wide variety of Filipino dishes. It is neighbored by a local private hospital, in addition it is
nearby the town’s municipal hall, church, catholic high school and the town’s leisure
area/playground.
Residential House:
The residential space was inherited by Mrs. Emralino from her parents. It
was estimated to be 50 years old.
Location: 2095 Mabini St. Brgy. Poblacion 6, Sariaya, Quezon, Philippines
Owner: Restaurant (Treat Haus) and Residential space privately owned by Ms.
Ofelia Emralino and by her son Rey Emralino.
Facilities: Restaurant and Two (2) Residential Spaces
Lot Area: Approximately 1,000 sqm
Residential Occupants:
HOUSE 1
• Ofelia Emralino
Owner
• Grace Emralino
Daughter of Owner
HOUSE 2
• Rey Emralino
Son of the Owner
Restaurant Employees:
• 1 Cashier
• 2 Waiters
• 1 Helper
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• Main Cook,
• 2 Assistant Cook
Existing Number of Chairs/Customer: 74
Existing number of table: 16(Sixteen) four-seater table and 5(Five) two-seater table
The seven (7) major areas of the Treat Haus and Emralino’s Residence approved
spaces that reach the required minimum area of 500 sqm. are the following spaces:
1. Restaurant Façade
2. Restaurant Reception
4. Garden Alfresco
6. Ofelia Emralino’s Residence
7. Rey Emralino’s Residence

P a g e | 62
A. Restaurant Facade
EXISTING FLOOR PLAN WITH FURNITURE LAYOUT
Figure 6. shows the Existing Floor Plan with furniture layout of the Restaurant facade. It has a total of 18.51 sqm.
Table of Interior Space Elements
ELEMENTS QUANTITY DIMENS MATERIALS COLOR FINISH

ION
FLOORING
Floor Cement Standard Rough
WALL
Concrete Wall none
then open to
Garfen
LIGHTING
Flourescent One (1) 900mm Standard T8 Daylight Standard
Lighting Flourescent
Lamp
TOTAL AREA 18.51 SQM
Table 5. shows the existing interior elements present in the reception facade
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B. Restaurant Reception
Figure 7. shows the Existing Floor Plan with Furniture Layout of the Restaurant Reception Area. It has a total of 27.90
sqm.
ELEMENTS QUANTITY DIMENSION MATERIALS COLOR FINISH

CEILING
Flat Ceiling Marine White Flat Finish
Plywood
FLOORING
Polished Floor 1000 mm x Cement Red Semi-gloss
1000 mm wax
WALL
Concrete White Semi-gloss
Wall finish
LIGHTING
Lighting Flourescent
Lamp
One (1) 600mm Standard T8 Daylight Standard
Flourescent
Lamp
Table 6. shows the existing interior elements present in the reception area.
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C. Restaurant Dining Area
Figure 8. shows the Existing Floor Plan with Furniture Layout of the Restaurant Dining Area
P a g e | 65

CEILING
Plywood
FLOORING
Finished Floor 1000 mm x Cement Red Semi-gloss
1000 mm wax
WALL
Wall finish
FURNITURE
4 seater Twelve (12) 1170 mm x Wood White Table Semi-gloss
Dining Table 790 mm Top and finish
Metal Legs
2 seater Five (5) 600 mm x Wood White Table Semi-gloss
Dining table 600 mm Top and finish
Metal Legs
Monobloc Fifty-eight Standard Plastic White
(58)
Booth Seating Eight (8) 990 mm x Wood White Table Semi-gloss
430 mm Top and finish
Metal Legs
Booth Table Four (4) 935 mm x Wood White Table Semi-gloss
655 mm Top and finish
Metal Legs
Bench One (2) 1000 mm x Metal Dark Green Semi-Gloss
500 Finish
APPLIANCE
Refrigerator (One 1) 700 mm x
800 mm
Refrigerator (One 1) 800 mm x
1000 mm
LIGHTING
Flourescent Three (3) 1200 mm Standard T8 Daylight Standard
Lighting lamp
VENTILATION
Orbit Fan One (1) Standard Standard White Standard
Wall Fan Two (2) Standard Standard White Standard
TOTAL AREA 176.27
sqm
Table 7. shows the existing interior elements present in the dining area.
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D. Garden Alfresco
Figure 9. shows the Existing Floor Plan with Furniture Layout of the Garden Alfresco
P a g e | 67
E. Restaurant Kitchen Area
Figure 10. shows the existing floor plan with furniture lay-out. of the restaurant kitchen
P a g e | 68

CEILING
Plywood
FLOORING
Polished Floor 1000 mm x Cement Red Semi-gloss
1000 mm wax
WALL
Wall finish
FURNITURE
Dining Table One (1) Wood White Semi-gloss
Table Top finish
and Dark
Green
Legs
Monobloc Six (6) Standard Plastic White
LIGHTING
Flourescent Two (2) 1200mm StandardT8 Daylight Standard
Lighting Lamp
APPLIANCES
Deep Freezer One (1)
Microwave Two (2) Standard 2-
Oven burner
Stand Fan One (1) Standard Plastic White
2-burner stove Three (3) Standard Stainless
Steel
Single burner One (1) Standard Stainless
stove Steel
Oven Toaster One (1) Standard Blue
Rice Cooker Two (2) White
Portable Radio One (1) Blue
Oven One (1) Green
Table 8. shows the existing interior elements present in the restaurant kitchen area.
P a g e | 69
F. Ofelia Emralino’s Residence
Figure 11. shows the existing floor plan with furniture lay-out of the residential space, particularly the Dining Area,
Living Area, Entertainment Area and Veranda.
P a g e | 70

CEILING
Marine White Flat Finish
Plywood
FLOORING
Polished 200mmx800mm Wood Red
wood flooring
WALL
Concrete White Semi-
Wall gloss
finish
FURNITURE
Keyboard One (1) 1200 mm x Wood Brown Varnish
400mm
Piano Chair One (1) 400mm x Cushion
400mm
3-seater Sofa One (1) 2000mm x Fabric Dark Fabric
850mm Blue
Chair Two (2) 600mm x Fabric Dark Fabric
550mm Blue
Center Table One (1) 1300mm x Wood Dark Semi-
560mm Brown gloss
finish
TV Console One (1) 1500mm x Wood Dark Semi-
500mm Brown gloss
finish
Cabinet One (1) 1000mm x Wood Dark Semi-
500mm Brown gloss
finish
Cabinet Two (2) 400mm x Wood Dark Semi-
400mm Brown gloss
finish
Console Table One (1) 12000mmx Wood Dark Semi-
400mm Brown gloss
finish
LIGHTING
Double Pin Four (4) 50 mm dia. Standard Daylight Standard
Pinlight
Lighting lamp
Flourescent Three (3) Standard
circle lamp
VENTILATION
Stand Fan One (3) Standard Standard Standard Standard
TOTAL AREA 71.72 sqm
Table 9. shows the existing interior elements present in Ms. Ofelia Residence.
P a g e | 71
G. Rey Emralino’s Residence
Figure 12. shows the existing floor plan with furniture lay-out of other residential space, particularly the Living Area,
Dining Area and Kitchen.
P a g e | 72

CEILING
Marine White Flat Finish
Plywood
FLOORING
400mm x Ceramic Earth
400mm Tiles Tone
WALL
Wall paint finish
FURNITURE
LIVING AREA
Sofa One (1) 2350mm x Fabric Floral
850mm Blue and
White
Side Table Two (2) 600mm dia. Wood
Coffee Table One (1) 1000mm dia. Wood
Rocking Chair 1000mm x Wood
800mm
Chair One (1) 800mm x Fabric Floral
800mm Blue and
White
TV Console One (1) 1000mm dia. Wood
Chair Four (4) 350mm x Wood
350mm
Bench One (1) 836mm x 350 Wood
DINING AREA
Dining Table One (1) 1200mm x
1200mm
Dining Chair Six (6)
Console One (1) 1500mm x
450mm
Side Chair Two (2) 590mm x
540mm
KITCHEN
Dining Table 1712mm x
900mm
Dining Chair 590mm x
540mm
LIGHTING
Pinlight Six (6) 80 mm dia. Standard Daylight Standard
Chandelier One (1) Daylight Standard
Flourescent Two (2) Standard
circle lamp
APPLIANCES
Television One (1)
Refrigerator One (1) Standard White Standard
P a g e | 73
Water One (1) Standard White Standard

Dispenser
VENTILATION
Stand Fan One (3) Standard Standard Standard Standard
Table 10. shows the existing interior elements in Rey Emralino's Residence.
B. Results of Procedure of Data Gathering
1. Interview
Based on the interview conducted, the owner Mrs. Emralino as the
representative, and with questions focused on customers range, marketing status,
existing problems, and suggestions. The following is selected information
mentioned by the owner:
Customers Range:
The main customers are the locals. Specifically, the students from St. Joseph, a
nearby catholic school, people from the neighbored private hospital, the middle-
aged, with age range approximately from 15-40 and the oldies with ange range
from 50-80.
Marketing Status:
On Weekdays, during the afternoon approximately 50 percent seats are full. On
weekends, the restaurant is busy during lunch time. So they need a place for a
waiting area so the customers is not cluttered.
Suggestions:
Ms. Ofelia wants to build a storage room so that her restaurant’s utilities were not
cluttered at the back of her house. As per her house she wants to improve the
ventilation so that during afternoons they will not feel as much heat inside.
P a g e | 74
2. Survey for General Market

The survey results from Forty (40) random population that was conducted
to know the restaurant trend today based on different generations. The questions
were purely about how customers feel when they dine out in a restaurant. This part
of the chapter will show table of results in the survey on how they favor or unfavor
to the following dining experience. The respondents were categorized to five
brackets (10 respondents per bracket) of different generation. It is essential to
know the needs of different markets to formulate a coherent design solution
reflected to public that will develop a good intergenerational relationship.
How often do you eat in a Restaurant?

Time Once a Twice a Once a
Generation Week Week Month
GEN Z 3 4 3
(7 – 21 years old)
MILLENIAL 4 3 3
GEN X 5 2 3
BABY BOOMER 4 0 6
TRADITIONALISTS 0 0 10
Table 11. Results that show how often a certain generation dine in a restaurant
Normally, how long would you spend inside a restaurant?

Time Less than 1-2 3 or more
Generation 1 hr. hrs. hrs.
GEN Z 2 6 4
MILLENIAL 1 8 1
GEN X 2 4 4
BABY BOOMER 3 5 2
TRADITIONALISTS 4 6 0
Table 12. Results that show how long a certain generation dine in a restaurant
P a g e | 75
Besides food, do you consider the visual look of the place before dining in?
YES NO
Generation
GEN Z 10 0
MILLENIAL 10 0
GEN X 10 0
BABY BOOMER 10 0
TRADITIONALISTS 10 0
Table 13. Results that show how a certain generation considers the visual look when dining in a restaurant
Would you prepare to spend more money, simply because of the ambience?
YES NO
Generation
GEN Z 7 3
MILLENIAL 10 0
GEN X 6 4
BABY BOOMER 5 5
TRADITIONALISTS 8 2
Table 14. Results that show the difference on certain generation if they spend more for the ambience of a
restaurant
Which factors do you think are the most significant when choosing a Restaurant?
PRICE SERVICE EXTRA FOOD ENVIRONMENT
ENTERTAINMENT AND AND INTERIOR
QUALITY DESIGN
Generation
GEN Z 9 10 10 10 10
MILLENIAL 6 9 6 4 2
GEN X 6 10 10 9 8
BABY BOOMER 6 10 7 8 2
TRADITIONALISTS 8 2 5 10 3
Table 15. shows the factors a certain generation consider when choosing a restaurant
P a g e | 76
Do you dine in with music?

YES NO
Generation
GEN Z 8 2
MILLENIAL 8 2
GEN X 7 3
BABY BOOMER 6 4
TRADITIONALISTS 8 2
Table 16. Results show if a certain generation dine in with music
If yes, what kind of music do you expect in the restaurant?

LIVE JAZZ POP CLASSICAL NONE
SOFT AND MUSIC AT ALL
MUSIC LOUNGE
Generation
GEN Z 4 0 5 0 1
MILLENIAL 1 3 4 1 2
GEN X 2 4 0 0 2
BABY BOOMER 1 2 1 2 4
TRADITIONALISTS 2 0 1 3 4
Table 17. shows the music preference of a certain generation when dining in a restaurant
In what way do you prefer to order?

On a Menu
Generation counter Book
GEN Z 2 8
MILLENIAL 2 8
GEN X 4 6
BABY BOOMER 1 9
TRADITIONALISTS 2 8
Table 18. shows the how a certain generation place their orders
P a g e | 77
As a customer, do you think the room's aroma can serve as a unique

signature in a dining experience?
YES NO
Generation
GEN Z 8 2
MILLENIAL 9 1
GEN X 6 4
BABY BOOMER 9 1
TRADITIONALISTS 7 3
Table 19. shows if a certain generation consider a room's aroma when dining in
Do you consider the signage/logo in choosing a restaurant?

YES NO
Generation
GEN Z 7 3
MILLENIAL 9 1
GEN X 4 6
BABY BOOMER 9 1
TRADITIONALISTS 8 2
Table 20. shows if a certain generation consider the restaurant's signage/logo before dining in
3. Survey in Treat Haus

The researcher needs to know the existing problems on the space and the other
physical requirements that restaurant should have. The survey sheet composing of
questions regarding the following elements of the interior, the comfort of the furniture
(Touch), the noise pollution (Hearing), the effects of colors, materials present, flooring,
ventilation and the lighting (Sight) and Room’s Aroma. This part of the chapter will show
table of results in the survey on how they favor to the following dining experience.
P a g e | 78
FLOOR, WALL AND CEILING

30
25
RESPONDENTS
NUMBER OF
20
15
10
0
FLOOR WALL CEILING
EXCELLENT 0 0 0
VERY SATISFACTORY 0 0 0
SATISFACTORY 3 2 2
FAIR 14 16 13
POOR 13 12 15
Table 21. The graph above shows the level of satisfaction of the respondents in terms of the condition of the
ceiling, wall and flooring
SPACE PLANNING
30
RESPONDENTS
25
NUMBER OF
20
15
10
0
SPACE PLANNING
EXCELLENT 0
VERY SATISFACTORY 0
SATISFACTORY 11
FAIR 14
POOR 5
.
space planning.
P a g e | 79
FURNITURE
30
25
RESPONDENTS
NUMBER OF
20
15
10
0
CHAIRS TABLE
EXCELLENT 0 0
VERY SATISFACTORY 0 0
SATISFACTORY 17 9
FAIR 13 18
POOR 5 3
furniture.
VENTILATION
30
RESPONDENTS
NUMBER OF
25
20
15
10
0
ARTIFICIAL NATURAL
VENTILATION VENTILATION
EXCELLENT 0 0
SATISFACTORY 17 15
FAIR 8 10
POOR 3 5
ventilation.
P a g e | 80
LIGHTING
30
25
NUMBER OF RESPONDENTS
20
15
10
0
ARTIFICIAL NATURAL
LIGHTING LIGHTING
EXCELLENT 0 1
SATISFACTORY 12 17
FAIR 14 8
POOR 3 2
lighting.
NOISE CONTROL
30
NUMBER OF RESPONDENTS
25
20
15
10
0
NOISE LEVEL
EXCELLENT 0
VERY SATISFACTORY 0
SATISFACTORY 11
FAIR 12
POOR 7
noise control.
P a g e | 81
Chapter VI: ANALYSIS
A. Ocular Analysis
An ocular observation within the vicinity of the Treat Haus Restaurant covered by
the study was made. The following discussion is about the problem that is exposed
through this study, in line with the existing conditions of the spaces.
I. Space Planning
Different variety of
house plants
Open area
Figure 13. shows the Existing Floor Plan with Furniture Layout of the Restaurant façade. It has a total of 18.51
sqm.
There is no furniture on the restaurant façade, that makes just a plain space ready
to take on large number of people that may come in the restaurant. There are different
plants planted side by side and hanging plants on the walls.

P a g e | 82
II. Ceiling
Moss on the bare Small roof on top of
concrete wall The main gate
Dry leaves on the roof

eaves
Open ceiling
Figure 14. shows the ceiling of the restaurant facade.
As seen on the figure 13, The roof was on top of the gate which makes
the rest of the ceiling open. And on the roof eaves the dry leaves from the
adjacent tree that can clog the drainage.
III. Walls
Also seen on figure 13, the wall on the left side form molds because of
the rain water and when the hanging plants were being watered.
IV. Flooring
There is no termination
between two different
floor finishes (polished
cement and bare
cement floor.
Figure 15. shows the floor finish at restaurant facade

P a g e | 83
V. Finishes
The floor is finished with bare cement. Signages were painted on the
walls.
VI. Lighting
There is only one T8 fluorescent on the façade roof and one lamp on the
top of a small column in the entrance.
VII. Ventilation
It has a natural ventilation pultruding inside the restaurant dining area. But
because it is open pollutants from the outside can easily pass through and it
has the possibility of getting on the foods served because it was in front of a
main road.
I. Space Planning
Two benches for

customers waiting
Low column and is

not load-bearing
Figure 16. shows the Existing Floor Plan with Furniture Layout of the Restaurant reception. It has a total of
27.90 sqm.
P a g e | 84
There is two metal benches for those customers waiting for their take out
order, in front of these benches is the main entrance to Ms. Ofelia Emralino’s
Residence.
II. Ceiling
The ceiling was designed in flat with flat white paint finish. There are two
arcs from wall towards the ceiling.
III. Walls
Also seen on figures 16, 17 and 18, The wall is finished with semie-gloss
paint in white color. They are some scratches and patches.
Two arcs
Figure 17. shows the two arcs
The main entrance

of the Ms. Ofelia
Emralino’s house
Is right beside the
restaurant’s dining
area. And ironically,
they keep these
closed so they have
to enter on the back
of her house which
you’ll have to pass
through where their
customer dines in.
Figure 18. The main entrance to Ms. Ofelia Emralino's Residence

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Became the parking area for

Advertisements are
motorcycles.
not aesthetically
installed
Some scratches
and patches on
wall paint
Polished red
cement floor
Figure 19. shows the wall with paint scratches
IV. Flooring
As seen on figure 18, the floor is polished in red cement.
V. Finishes
Semi-gloss paint is the finish on the walls and polished red cement are on
the floor. The ceiling was also finished with flat white paint.
VI. Lighting
There is only one T8 fluorescent on the reception.
VII. Ventilation
main road.
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I. Space Planning
Stairs going down to the

restrooms, it is not accessible
to persons with disability
Figure 20. shows the Existing Floor Plan with Furniture Layout of the Restaurant dining area. It has a
total of 176.27 sqm
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As shown on figure 20, you have to go down four steps down to the stairs
to go to the restrooms which is not accessible for persons with disability. Mostly,
they used monobloc chairs.
Booth seating depth

is only 350mm that
is uncomfortable
when dining in
Figure 21. shows the space planning of the dining area
II. Ceiling
The ceiling was designed in flat with flat white paint finish.
III. Walls
Walls have holes which is an architectural design, it is a fire wall and the the
neighbor block the air passage that makes it to accumulate dirt instead of the
latter purpose for ventilation.
Too much Natural Still in need of fluorescent

reflection Ventilation light during daytime
Decorative holes
for ventilation
Low columns
that are not
load-bearing
Another motorcycle
parked inside the
restaurant
Polished red
cement floor
Figure 22. shows the analysis of interior elements of the restaurant dimming area
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Exposed pipes
Signages are posted

by a masking tape
Figure 23. shows that masking tapes are used to post signages
IV. Flooring
As seen on figure 22, the floor is polished in red cement.
V. Finishes
Semi-gloss paint was the finish on the walls and polished red cement are
on the floor. The ceiling was also finished with semi-gloss white paint that is
too reflective and is pain in the eyes.
Chairs stacked up in
the side of the dining
area
Polished red cement

floor
Figure 24. shows the existing condition of the chairs on the restaurant dining area
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VI. Lighting
Too dark when the

Lights are turn off
Industrial fans as an
Artificial ventilation
Figure 25. shows the lighting and ventilation the restaurant dining area
VII. Ventilation
main road. Also, industrial fans are used as an artificial ventilation.

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4. Restaurant Kitchen Area
I. Space Planning
Long table but not

enough chairs
Figure 26. shows the Existing Floor Plan with Furniture Layout of the Restaurant Kitchen. It has a
total of 53.32 sqm.
There is a long table for food preparation where all foods to be
delivered to the dining area is being prepared. The cook line was placed in the corner
that makes it hard perform task because the clearances was too small and the
preparation area was crowded with unnecessary ingredients that is meant to store
in the shelves.
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II. Ceiling
The ceiling was designed with flat ceiling with flat white paint finish. The
paint was not even due long period it was exposed to heat and humidity thus
accumulated some dirt.
Paint in the ceiling

was stain because
of the moist from
cooking
Screen for vermin

control and to have
natural ventilation
but it accumulates
dust
Figure 27. show the ceiling of the restaurant kitchen
III. Walls
There is safety screen on the walls for vermin control and as a natural
ventilation. But in time, it just accumulates dust that can spoil the food
preparation.
White wall paint
Kitchen condiments
And ingredients
are not organized
Figure 28. shows the washing area in the restaurant kitchen

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IV. Flooring
They used cartons on

the flooring to prevent
the oil from cooking
stain the floor
Figure 29. shows the floor finish in the restaurant kitchen
V. Finishes
The floor is finished with red cement that is not very clean because the
kitchen has high traffic flow and the users are always busy going around to
complete orders. And the walls are painted in white.
VI. Lighting
During the day, they don’t use any artificial lighting because of the safety
screens where the natural light pass through.
Screen for vermin

control and to have
natural ventilation
but it accumulates
dust
Figure 30. shows the safety screen installed in the restaurant kitchen
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VII. Ventilation
It has a natural ventilation because of the safety screen and has a very
high ceiling.
5. Garden Alfresco
I. Space Planning
Figure 31. shows the Existing Floor Plan of the Garden Alfresco. It has 123 sqm.
There Garden Alfresco is filled many kinds of houseplants.
II. Ceiling
It has an open ceiling.
III. Walls
It has bare walls from left and right side that has molds in it because of
the rain water and the moist.

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IV. Flooring
The floor is in grass because it is originally a garden where Ms. Ofelia
grow her plants. And there’s also a concrete path as a walkway while watering
the plants.
V. Lighting
It has a very nice natural light.
VI. Ventilation
It also has a natural ventilation and open air.
Concrete walkways for

watering the plants
Figure 32. shows the garden located at the back of Mr. Rey Emralino's Residence
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6. Ms. Ofelia Emralino’s Residence
I. Space Planning
No furniture in
the middle
Figure 33. shows the Existing Floor Plan with Furniture Layout of the Restaurant façade. It has a total of 18.51
sqm.
II. Ceiling
One CFL light was not
aesthetically installed
in the ceiling
Antique furniture
Figure 34. shows the ceiling on the entertainment's area

The ceiling in the entertainment area was coffered that makes it look
stylish, the same as the dining area.

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III. Walls
Wood laminated
wall panels which is
still aesthetically
pleasing to the eyes
Artificial plant as
display that only
accumulates dust
Niche for flower

vase display
Figure 35. shows the wall finishes
Wall finishes range from plain white paint from the veranda, entertainment
area and dining area to wall panels in wood laminate which still is in good
condition amidst time, so the proponent will maintain the woo finishes because
it is still aesthetically pleasing to the eyes and it gives depth and character in
the interior
IV. Flooring
Exposes wiring
path of the light
switch
Wood flooring
which is still in
good condition
Figure 36. shows the wood flooring

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V. Finishes
Exposed wiring path

of light switches
Figure 37. shows the dining area
VI. Lighting
There are some fluorescent lights that are not working. And a CFL bulb
was not aesthetically installed in the ceiling.
VII. Ventilation
There is also a skylight which makes it hot during the day, but it provides
natural light to pass through the living area.

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7. Mr. Rey Emralino’s Residence

I. Space Planning
The space
planning is looks
like it is not
ready to receive
a guest because
the two chairs
are facing the
television
Figure 38. shows the Existing Floor Plan with Furniture Lay out of Mr. Rey Emralino's Residence. It
has 66.43 sqm.
II. Ceiling
A chandelier
Skylight for
natural light
Figure 39. shows the ceiling of the house

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III. Walls
The walls are painted in semi-gloss white paint.
IV. Flooring
Two different
types of chair
and it does not
complement
each other
Ceramic tile
as flooring
Figure 40. shows the floor finish of Mr. Rey Emralino's residence
V. Finishes
The floor is finished with bare cement. Signages were painted on the
walls.
Storage box that

makes a clutter
Figure 41. shows the kitchen area
VI. Ventilation
They used industrial fans to ventilate the area. Sometimes they make the
doors open for natural air to come in.
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Storage box that

makes a clutter and
gardening tools
Stacked furniture
Figure 42. shows the furniture clutter in Mr. Rey Emralino's residence
B. Survey Analysis
1. As seen in Table 11, Gen Z and Millennials often go to restaurants and
traditionalists go at least once a month. 50% of the Gen X go once a week
and 20% twice a week and 30% of them go once a month. 40% percent of
baby boomers go once a week and 60% go once a month. Through this,
the proponent will know how often a certain demographics go dine in a
restaurant.
2. As seen on table 12, most of the Gen Z and millennials spend their time
dining in at least 1-2 hours. 40% of the Gen X spend 3 or more hrs. and
another 40% 1-2 hrs., there is 20% who spend their time less than an hour.
Mostly baby boomers also spend 1-2 hrs. And the 60 % of traditionalists
spend 1-2 hrs. and the 40% spend less than an hour.
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3. As seen on table 13, all types of generation consider the visual look of the
restaurant before dining. It shows that the visual centric design still plays a
big role in a commercial establishment like the restaurant.
4. As seen on table 14, 70% of the Gen X consider the ambience in spending
more money. And generally, millennials consider it 100%. Half of the Gen
X and Baby boomers consider it while the other half did not. And mostly,
traditionalists consider it before dining in.
5. As seen on table 15, different generation have different preferences to the
price, service, extra entertainment, food and quality and the environment
and interior design of the restaurant.
6. As seen on table 16, mostly all types of generation prefer dining in with
music.
7. As seen on table 18, different types of generation prefer different types of
music so the proponent will find a consider all types for a more convenient
dining experience for all.
8. As seen on table 18, majority of the generations prefer holding a menu book
when ordering their food. It only shows that customers prefer a physical
contact in ordering.
9. As seen, on table 19, mostly all generations think that a signature
scent/aroma can enhance their dining dining experience because it can
improve their mood.
10. As seen, on table 20, mostly all generations think that the signage or logo
design of the restaurant is very important as a deciding factor if they wilol
dine in a particular restaurant or not.

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C. Sensory Slider Analysis

These sensory analyses were purely based on the proponent’s
experienced during her observation on site. This is to analyze if a certain sensory
cue is an overload or a deprivation. Overload means it can lead to pollution and
deprivation means there is not enough stimulation.
Figure 43. Sensory analysis of restaurant facade
From a visual perspective, it is good because of the foliage and greenery
present as you enter the restaurant. It gives the feeling of nature and is very
pleasing to the eyes. But you can hear the vehicles passing by that makes it
bad in noise control.
Figure 44. Sensory analysis of restaurant reception

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As shown on the figure 45, there is not enough visual, sound and odor stimulation
because the space is too plain and there are not much sensory cues.
Figure 45. shows the sensory analysis on the restaurant dining area
As shown on the figure 46, there is a deprivation on the visual
because there is not much color and visual displays on the dining area.
There is a sound overload because the customer hears the noise from the
outside because the entrance is too open.
4. Garden Alfresco
Figure 46. shows the sensory analysis on the garden alfresco

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Figure 47. Sensory analysis of restaurant kitchen
As shown on the figure 47, there is a deprivation on visual because
the things are not properly organized and just makes a clutter
6. Ofelia Emralino;s Residence
Figure 48. shows the sensory analysis on Ofelia Emralino's Residence

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7. Rey Emralino;s Residence
Figure 49. shows the sensory analysis on Rey Emralino's Residence

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Chapter VII: SYNTHESIS

THEORY
The design of the built environment can have a profound impact on perception,
place identity and place experience. Sensory Design theory, is designing things by
considering the total experience related to the human senses of vision, hearing, taste,
smell and touch. The idea of considering the senses of an interior occupant has extended
the proponent’s thinking into how these senses can improve an interior landscape, as well
as the psychological interactions with the stimuli it provides and create a response that
will develop intergenerational interactions. Interior Design deals not only in materials and
form but also with different kinds of people, their emotions, environment, space, and
relationships between them. This makes rich tapestry of stimuli which touch the human
body and mind.
CONCEPT
The subsequent discussion is about the design concept and solutions proposed to
Treat Haus and Ms. Ofelia’s Residence spaces covered by the study geared towards
solving and improving the problems in the existing condition of the spaces. It has been
seen that the facilities are too plain, the lighting is too poor for daytime dining, and lack of
storage rooms. The qualities of the environment together with the people within it affect
human physical and mental performance, and these qualities should always be given high
priority. This is what might be considered as an invisible impact and together with the
visual impact these make up a total aesthetic.
Since the goal of the study is to provide an interior space that will consider the
major human senses and nature, the proponent has come up with the concept that will
support the theory of the study and that is the four classical elements of nature.
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Figure 50. shows the concept board with the title "Ayurveda"
The concept is “AYURVEDA”, Ayurveda is a science of life, Ayur means life and
Veda means science or knowledge. To know about life is Ayurveda. It offers a body of
wisdom designed to help people stay vibrant and healthy while realizing their full human
potential. The phrase “living in tune with nature” has a precise meaning in Ayurveda,
having healthy desires that match what you need. As nature made you, what you need
and what you want shouldn’t be in conflict.
The Renaissance system of the senses was related with the image of the cosmic
body; vision was correlated to fire and light, hearing to air, smell to vapor, taste to water,
and touch to earth.

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DESIGN CYCLE
SENSORY
DESIGN
Figure 51. The Design Cycle explains shows the certain use of specific classical element of nature and its purpose that
effects on how customers perceived it through senses
RATIONALE
The commercial space in the proponent’s study is a restaurant where different
types of demographics dine in. To establish an intergenerational interaction among the
users of the space, it will be guided by the sensorial experience the built environment
offers. It also provides a new focus for the restaurant owners because they will improve
the way their restaurant works and that is by giving a brand that makes their consumers
attached not only in the food but by the interior design that captures their emotions.
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Sensory Solution
To create a sensory based interior design, it needs to follow the principles of
sensory design theory. Solutions corresponding in each sense are listed below:
1. Visual Perception
The proponent utilizes the principles of design which is balance, emphasis,
pattern, movement, proportion and scale, unity and repetition to achieve an
orchestrated visual perception. It also includes the visually appealing textures and
finishes, accent lightings, make use of both artificial and natural lighting to create
a sense of warmth brought by the sun which appeals to the fire element.
2. Tactile Perception
Transition in textures like smooth to rough, gloss to matte, wood and stone
are employed to achieve a tactile experience. And the use of fabric that can
stimulate a tactile memory.
3. Auditory Perception
Different genres of music will be played inside the commercial space to
create a perfect ambience to different times of the day to different generations who
are currently dining in, as well as providing acoustical solutions. Providing a space
where different generations can have the chance to mingle through music like by
putting a guitar on the waiting area. It can serve as a bridge to people and a good
communication starter.
4. Olfactory perception
The use of diffuser will smear scents to the atmosphere that will create a
sensory memory. Also, the presence of different kinds of foliage will make the air
clean.
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General Solution
Commercial Space (Restaurant)
1. Landscape elements, such a house plants are applied and a planter installation as
partition in the dining area to block noise and disturbance from other customers.
2. In addition to typical sitting style, high chairs, banquette, long tables and sand bags
are employed to produce the illusion of an interactive space as well as private
space. Moreover, instead of totally flat floor, proposed design integrates various
floor levels which produce ascent and descent.
3. Apply ambient lighting to make the customers feel comfortable while dining in.
4. Disperse lemon scent in the common restrooms at the restaurant to promote a
feeling of cleanliness and freshness.
5. The application of different floor texture to enhance customer’s awareness of the
surface, and therefore reinforces touch perception.
Residential Space
1. Interior plants like Yucca can be bold and striking with straight angular edges, it
looks very fitting in modern tropical home, because it radiates character.
2. Touch of earth tones can be used to give off the nature and calming feeling
together with a touch of green hues to make an accent.
3. A personal space like entertainment area can be the heart of the space, because
it is where they stay all the time thus making this space comfortable is a very large
factor to make the client more relax.
4. An installation of humidifier and diffusers that can disperse scents to make the air
more clean and relaxing.

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PROPOSED MASTER KEY PLAN
Figure 52. shows the Proposed Master Key Plan

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Specific Solution per Area

I. Space Planning
The area will serve as a waiting area of the nearby hospital
establishment as well as for people who loves to eat outdoors. Plants like
golden pothos or devil’s ivy are on the vertical planter, it can help eliminate
voc’s that is present in paints that is harmful to human health and it can
also purify the air because the façade is located just in front of the main
road.
Figure 53. shows the proposed plan with furniture layout of restaurant facade
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II. Furniture and Fixture
Tolix chair is used to the outside dining. It is made of metal and
treated in solid black powder coat finish that is weather proof that can resist
different kinds of atmosphere, from heat to rain. The table is made of unisan
wood that is a reclaimed wood from the deep ocean that is from sunken
ships.
III. Materials and Finishes
Ceiling – a customized sunscreen based on the hand railings of an old art
deco ancestral house in Sariaya, Quezon. It will cast shadows throughout
the façade. And a proposed roof aligns to the main entrance door so that
when it rains customers will be safe from rain when entering the
establishment.
Wall – marble stone cladding was used to create an elegant texture
Floor – Standard red bricks in herringbone pattern was arranged all
throughout the façade to create a warmth and earth tone.
IV. Lighting and Ventilation
Natural Lighting during the day and Edison style LED bulbs was
stringed to the sunscreen as artificial lighting during the night that will create
a lively atmosphere that accents the store front. A lightbox signage was
also present for the customers to easily find the place and it creates the
identity of the restaurant.

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V. Perspective
Figure 54. shows the proposed design perspective of the restaurant façade
VI. Swatch Board
Figure 55. shows the swatch board for restaurant facade

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I. Space Planning
Figure 56. shows the proposed plan with furniture layout of restaurant reception
Bar stool and high boy tables are used to provide to people who have short
orders located near the glass with the overlooking view of the outside. It
has corresponding lamps per table to provide an ambient lighting.
Ceiling – Trellis made of marine plywood is used to create an illusion of a
wide space.
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Wall – The accent wall in the waiting area replicates the shape of a
mountain and depicts a characteristic of an art deco style which is linear
Floor – The flooring is made of smooth floor cement as the main flooring
finish and variations of machuca tiles to create an accent as well as to
create a transition of general traffic to the dining area.
There is a drop light that can be a conversation starter and
downlights that creates the ambience in the waiting area as well as accents
the mural.
V. Perspective
Figure 57. shows the proposed design perspective of the restaurant cashier area
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Figure 58. shows the proposed design perspective of the restaurant waiting area
VI. Swatch Board
Figure 59. shows the swatch board for restaurant reception

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I. Space Planning
Figure 60. shows the proposed plan with furniture layout of restaurant dining area
In addition to typical sitting style, loges and banquette are employed to
produce the illusion of a more private space and provide different options
for the customers. Some landscape elements are applied, plant box as
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partition can create a barrier between tables to block noise and disturbance
from other customers, which makes seating area more comfortable.
Ceiling – To maximize the high ceiling the proponent proosed a mezzanine
floor that will cater to students and children where thre is wide variety of
board games and a collection of books.
Wall – The walls will be painted with semi-gloss finish. And a wood paneling
to protect from dents and scratches from the furniture.
Floor – The flooring is made of smooth floor cement as the main flooring
finish because it is easy to maintain and is perfect for a heavy traffic and
variations of machuca tiles to create an accent as well as to create a
transition of general traffic to the dining area. Instead of totally flat floor,
Proposed design integrates various floor levels which produce ascent and
descent. While walking on it, the uneven surface enhances customer’s
awareness of surface texture, and therefore reinforces touch perception.
Every tabletop is illuminated with its own lamp. The proposed
design uses a centralize air condition to also help diffuse scents that will
help create a brand memory. To fight with smell fatigue, fragrance is
discharged in restrooms intermittently. A fragrance, like lemon, is
discharged, which promotes feelings of freshness and cleanliness.

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V. Perspective
Figure 61. shows the proposed design perspective of the restaurant dining area
VI. Swatch Board
Figure 62. shows the swatch board for restaurant dining area
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4. Garden Alfresco
I. Space Planning
Figure 63. shows the proposed plan with furniture layout of garden alfresco
Tolix chair is used to the outside dining. It is made of metal and
treated in powder coat finish that is weather proof and can resist different
kinds of atmosphere, from heat to rain. The table is made of unisan wood
that is a reclaimed wood from the deep ocean that is from sunken ships.
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Ceiling – Open ceiling to provide the alfresco feeling.
Wall – The proposed wall is made up of wood planks inserted to a channel
that is connected to a gabion post with gravel inside. It creates an earth
feeling and a certain connection with the nature. There is also planters that
will hold different kinds of houseplants that will clean the air.
Floor – The flooring is of carabao grass which gives of a smooth feeling to
the feet of the customers that is very relaxing. And there is also concrete
steps, in case it will rain.
IV. Perspective
Figure 64. shows the proposed design perspective of the garden alfresco
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V. Swatch Board
Figure 65. shows the swatch board for garden alfresco

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I. Space Planning
Figure 66.shows the proposed plan with furniture layout of restaurant kitchen
The appliances and furniture is arranged according to the typical
work flow in a commercial kitchen. The arrangement is the most effective
way for easy traffic and proper organization and distribution of task.
Majority of the material used is polished stainless steel because it is easy
to clean and maintain. A center island with sink is provided for easy access.
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Ceiling – A moisture resistant gypsum board is used with plain flat paint
finish that can resist moisture and molds is the perfect material to make it
lasts long.
Wall – Ceramic tile is used on walls because it is easy to maintain and
clean.
Floor – Ceramic tile is used on walls because it is easy to maintain and
clean. There is also rectangular floor drain for cleaning the floor and drain
the water splash from the dishwashing area.
Troffer light is used to generate a more bright atmosphere in the
kitchen. It is covered with frosted glass so that if accidents happen the
broken fluorescent will not scatter on the food while preparation.
V. Perspective
Figure 67. shows the proposed design perspective of the restaurant kitchen
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Figure 68. shows the proposed design perspective of the restaurant kitchen
VI. Swatch Board
Figure 69. shows the swatch board for restaurant kitchen

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6. Ms. Ofelia Emralino’s Residence
I. Space Planning
Figure 70. shows the proposed plan with furniture layout of Ofelia Emralino's residence
The use of butaca chair in the entertainment area is the request of
the owner because she wants a chair where she can relax after managing
her restaurant. Mainly, the material used in furniture is wood to create a
warmth and a tropical feel.

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Ceiling – The proponent decided to maintain the existing ceiling because
it creates a sense of sentimental value of the space. A re-paint and the
application of oil wood stain finish are the option to give a more clean and
aesthetic feel.
Wall – Walls are painted in semi-gloss finish.
Floor – The proponent also decided to maintain the flooring because it still
aesthetically pleasing and will create an earth tone.
Chandeliers are present to provide an accent the space and creates a
tropical ambience.
V. Perspective
Figure 71. shows the proposed design perspective of the Ofelia Emralino's Residence
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VI. Swatch Board
Figure 72. shows the swatch board for Ofelia Emralino's Residence
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7. Ms. Rey Emralino’s Residence
I. Space Planning
Figure 73. shows the proposed plan with furniture layout of Rey Emralino's Residence
The used of manly furniture with neutral finish like black leatherette,
wood and stainless steel gives of an industrial feel. A proposed mini bas is
located near the entrance of the house to welcome guests and an area to
perfect to start a conversation amongst bachelors.

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Ceiling – A dropped ceiling with cove lighting is used to create a depth to
the high ceiling accented with wood panels that creates a story
Wall – Walls are painted in semi-gloss paint for easy maintenance. And a
wallpaper to create an accent in the dining area. While in the kitchen area,
the use of graphiccote glass on wall can also help the user for easy cleanup
and maintenance.
Floor – Wood planks is used to compliment the warmth feel of the
interior.
Ambient lighting and natural light will be present to achieve the
clean and calming look.
V. Perspective
Figure 74. shows the proposed design perspective of Rey Emralino's Residence
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VI. Swatch Board
Figure 75. shows the swatch board for Rey Emralino's Residence
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CHAPTER VIII: CONCLUSIONS AND RECOMMENDATIONS
The researcher therefore concludes that the goal of the design concept and the
design theory was applied successfully to Treat Haus Restaurant and two residential
spaces. It reaches the desired effect of the study to provide an interior that maximizes the
function of the spaces through sensory design to improve customer satisfaction but most
of all, to develop a brand attachment that will last and will encourage them to comeback.
Studies suggest that doing this will give more efficient result in restaurant branding,
marketing and develop intergenerational relationships among the users of the mixed-use
space.
The following are the conclusions and recommendations regarding the results of
the research and the study of Treat Haus Restaurant and Emralino’s Residence.
A. Conclusions
1. Proper utilization of the basic human senses in designing a space can play a vital
role in enhancing and creating a space that can stimulate sensorial experiences.
2. Different sensory cues through elements and principles of design can develop a
memory that will lasts long for the users.
3. Socialization involves different generations, so the proponent designs a space that
will cater to different age brackets as well as create an intergenerational space that
embraces all kinds of people and provide a universal design that also serve to
person’s with disability like providing a ramp and tactile cues.
4. We all share the desire to create a memorable space and meaningful memories, by
doing so, designers should base their design through the lenses of our own senses
to build a connection with our built environment.

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B. Recommendations
1. The proponent suggests considering a sensorial based design that can be applied
to different fields of interior design like institutions, retail, hospitality, and corporate
facilities to create a sensorial experience for everyone.
2. The use of materials that can stimulate our memory can also help develop a good
sensory based design, like the use of scents and fabrics.
3. Always consider the people who will use the space in creating an intergenerational
space, know what they want and what they need. It is important to observe the way
they interact and socialize with other people.

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APPENDICES
PLANS AND BOARDS
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A PROPOSED INTERIOR DESIGN FOR TREAT HAUS RESTAURANT

AND EMRALINO’S RESIDENCE TO DEVELOP AN INTERGENERATIONAL

RELATIONSHIP UTILIZING SENSORY DESIGN

JEAN CLAUDINE GUTIERREZ COMPAÑERO

Polytechnic University of the Philippines

College of Architecture and Fine Arts

hearing and touch as environmental stimuli is studied. It is applied to a mixed-use space,

used, and the output when the theory is practiced.

Lastly, Chapter 8 presents the recommendations of the researcher to its subject

especially to my family who supported me financially, emotionally, spiritually and generally

all my role model.

“Strive not to be of success, but rather to be of value.”

want to be of value so I never stop on learning.

Figure 1. Framework of Sensory Design Theory according to Aradhna Krishna ............................................10

distant and there are very few restaurants in the area.

Restaurant can be a place to resolve a cognitive gap between generations because it is a

establishment, like restaurant, is like a substation in that kind of social familiarity.

House Restaurant and two residential spaces to develop an intergenerational relationship

as environmental stimuli that will create a sensorial experience.

Sensory Design, a revolutionary approach to the built environment that embraces

sensorial narrative throughout the interior space.

A. Statement of the Problem

General Statement of the Problem

How will sensory design theory develop an intergenerational relationship in

Treat Haus Restaurant and Emralino’s Residence.

Specific Statement of the Problem

Specifically, the study will seek on this feature:

1) What are the design and spatial problems of a mixed-use space,

residential (Emralino’s Residence) and commercial space (Treat Haus

a) What are the problems considered by the employees.

b) What are the problems considered by the customers.

c) What are the problems considered by the owner.

d) What are the problems considered by the proponent.

2) What specific feature of sensory design could be included as a design

strategy to enhance the total restaurant dining and sensorial experience

of the customers to create a brand identity that is distinct.

a good design strategy in terms of:

b. Ventilation and Air Movement

B. Objectives of the Study

General Objective of the Study

To develop an intergenerational social interaction through the basis of

Specific Objective of the Study

provide a sense of well-being for the owner, where the application of

2) To be able to present a method that stimulate the knowledge of sensorial

experiences into physical form and present the importance of considering

sensory based design for a restaurant and a residential space.

3) To be able to know the ways to formulate a proper seduction of senses to

make a successful branding for restaurant establishments and positively

stimulate sensory capacities generating experiences that support and

C. Significance of the Study

This research study focuses on the life-enhance environment that will be

study will be of significant use to the following people:

it, thus branding.

of people at a time and to be aware of an intergenerational based design to improve

be a memorable experience. A good source of word-of-mouth that will result to

efficient marketing method.

insights and knowledge about sensory design application on interior spaces

particularly in restaurant design and residential design.

new points on designing beyond visual perceptions like aesthetics and

experience through environment. It will provide a sense of place that provides a

whole range of sensory impression specifically for hospitality design. To enhance

throughout the design process.

D. Scope and Delimitations of the Study