Professional Documents
Culture Documents
COMPAÑERO
COMPAÑERO
A Research Study
Submitted to the Department of Interior Design
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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
SM City North Edsa – Interior Zone
November 06 ,2015 - Toon Classics Vignette
Exhibitor
SM City North Edsa – Interior Zone
December 05, 2015 - Learning and Sharing of Knowledge:
Material Specification
PUP – Student League of Interior Designers
AVR, 4th floor, PUP – CEA, Sta. Mesa, Manila
December 05, 2015 - Learning and Sharing of Knowledge:
Thesis Preparation
PUP – Student League of Interior Designers
AVR, 4th floor, PUP – CEA, Sta. Mesa, Manila
December 05, 2015 - Learning and Sharing of Knowledge:
Rendering Workshop
PUP – Student League of Interior Designers
AVR, 4th floor, PUP – CEA, Sta. Mesa, Manila
December 05, 2015 - Learning and Sharing of Knowledge:
Furniture Design
PUP – Student League of Interior Designers
AVR, 4th floor, PUP – CEA, Sta. Mesa, Manila
December 05, 2015 - Matimco Wood Science Lecture
PUP – Student League of Interior Designers
AVR, 4th floor, PUP – CEA, Sta. Mesa, Manila
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,
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
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.
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
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
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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
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DEDICATION
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
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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
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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
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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
Table 23. The graph above shows the level of satisfaction of the respondents in terms of the condition of
the space planning. .......................................................................................................................................78
Table 24. The graph above shows the level of satisfaction of the respondents in terms of the condition of
the furniture. .................................................................................................................................................79
Table 25. The graph above shows the level of satisfaction of the respondents in terms of the condition of
the ventilation. ..............................................................................................................................................79
Table 26. The graph above shows the level of satisfaction of the respondents in terms of the condition of
the lighting. ...................................................................................................................................................80
Table 27. The graph above shows the level of satisfaction of the respondents in terms of the condition of
the noise control. ...........................................................................................................................................80
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LIST OF FIGURES
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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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Page |1
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
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.
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
This study intends to propose an Interior Design for a Mixed-use space, Treat
and improve a sense of well-being. The proposed design deals with human’s basic senses
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.
Page |2
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
restaurant).
3) How can all the senses be integrated through interior design to establish
a. Visual Comfort
Page |3
c. Aroma
d. Sound Movement
e. Touch Experience
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.
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
sensory based design would bring positive vibes and aesthetic design
solution.
enhance interaction.
Page |4
brought through the incorporation of sensory based design solutions. Hence, this
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
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
the customer’s social being. This will also help enhance the concept of dining to
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
For the Interior Design Community, this research study can introduce
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
an interior environment, the designer must consider and employ all of one’s 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
4. Restaurant Kitchen
5. Garden Alfresco
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
Interviews with the key personnel and the owner were conducted by the
instrument to determine the type of environment that they dine in, and if the chosen
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
DEFINITION OF TERMS
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
auditory information
an outer influence such as other individuals, groups, things or entities. But the
Front of the House – The front of house is the area where diners sit
Haptic Memory – form of sensory memory that refers to the recollection of data
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
Indoor plants – are plants that are grown indoors in places such as residences
and offices. Houseplants are commonly grown for decorative purposes, positive
through the senses/ the way you notice or understand something using one of your
senses
learned
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
perceptions of a product
Sensory Experience – is the result of the reaction of the senses to the different
elements.
Sensory Slider – a tool proposed by Joy Monice Malnar and Frank Vodvarka to
Sight – the physical sense by which light stimuli received by the eye are interpreted
Smell – to perceive the odor or scent of through the nose by means of the olfactory
response
Way-finding – enabling a person to find his or her way to a given destination using
effective signage
A. Theoretical Framework
STIMULI
SENSATION
PERCEPTION
EMOTION COGNITION
• ATTITUDE
• LEARNING
/MEMORY
• BEHAVIOR
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.
P a g e | 11
commercial and residential space. (Frishberg, 2016) According to the first industry-
Council of Shopping Centers, Inc (ICSC), the National Association of Industrial and
the National Multi-Housing Council (NMHC) that focused on the challenges and
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.
supporting
stipulates the type and scale of uses, permitted densities, and related
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
SIGHT
According to Juhani Pallasmaa, a brilliant architect of phenomenological
insight, the eye is the organ of distance and separation. It also surveys, controls
Visual Perception begins as soon as the eye focuses light onto the retina,
cortex and the electrochemical signal travels through the optic nerve and via the
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
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
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
food which is eggplant, red onions and purple cabbage. Lastly, Blue calms
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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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
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 – 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)
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
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.
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
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.
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
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
Music
Music is much more broad and complex than speech in frequency and
with no intelligence content, and broadband sound depending on the listener and
the situation.
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
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.
P a g e | 18
ambient noise levels of guests and kitchen clatter and to add to the desired
Noise
In controlling noise, we need first to be aware that it has two basic
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
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
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
“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 &
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
olfactory bulb which is the brain’s area of smell. There the information is combined
Although we are very poor smell detectors compared with many other animals, the
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
(unlike taste).
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
Fragrance
Fragrance is a kind of pleasant odor which has psychological functions
peppermint can reinforce alertness and energy; lavender and cedar can reduce
spatial judgement.
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
pain, pressure, and kinesthesia, which refers to the body sensation and muscle
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 &
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
rely on touch if we lose other senses, but not the other way around. (Gains, 2014,
p. 41)
touch, applying different textures using wood, wicker, fabric, fur leather and other
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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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.
sometimes for as little as a fraction of a second, as it makes its way into our
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
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
Haptic Memory
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
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
physical environment and human behavior for several decades. Mehrabian and
stimuli (S) lead to an emotional reaction (O) that, in turn, drives consumers’
concept. The model assumes that customers have three emotional states in
arousal and dominance are three dimensions of emotions that under-lie any
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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.
and raised around the same place. People in this “birth cohort” exhibit similar
Births Births
Generation Name Characteristics
Start End
The Interbellum
1901 1913
Generation
• 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”
• 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
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
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
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
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.
successful restaurant concepts are about more than just “good food, good service
and atmosphere. (Allen, 2009) As said, brand personality is very essential because
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
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
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
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
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
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
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
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.
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)
temperature with that of the surrounding environment. The body gives off heat in
convection is when air moves over a person’s skin. The movement creates a
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
referred to by experts as the comfort zone. (Katsigris & Thomas, 2009, p. 243)
functional needs and create visual pleasure is the main task in the conception of
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
space allocated for an entryway will be a large portion of the whole facility, because
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.
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 &
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 &
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
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
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.
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)
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
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
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
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
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
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
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
Preparation Areas
The fabrication area is where raw foods begin their journey to their final
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,
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,
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
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
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
assembled on plates or put onto trays. Any individual stations can have their own
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
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
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,
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
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.
Floor
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
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
bits of glass or chemical from flying out in case of breakage.” (Katsigris & Thomas,
2009, p. 229)
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
doors. A satin finish instead of a shiny one will reduce the glare considerably.
garnishing areas, where the food gets a close look before being served. Kitchen
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.
candle of brightness for a period of 90 minutes; and it must have its own power
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
are, knowing your destination, knowing and following the best route (or at least a
upon arrival, and reversing the process to find your way back out (Carpman &
hierarchical series of decisions people make as they go about finding their way.
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
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
Administrators – Administrators want to care for the customers they already have
while attracting new customers and avoiding wayfinding problems. (Carpant &
X. Literature on Accessibility
Access is required:
a. From the street to either the main entrance or a clearly marked alternate
entrance.
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
Type of Disabilities
guidelines for barrier free built environment are broadly classified under four
categories
chairs.
arthritics, spastics & those with pulmonary & cardiac ills may be semi-
ambulatory.
3. Sight – Total blindness or impairments affecting sight to the extent that the
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
b. Signage
Color. The symbolized figure shall always face to the right. Provide 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.
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
symbols shall be incorporated in signs indicating public places and safety routes.
856), no sanitary permit shall be issued for any premises to be used for the
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.
iii. Floor drains shall be provided. Floors which are water flushed for cleaning
shall be graded to drain. (Presidential Decree No. 856, 1975, pp. 12-13)
P a g e | 44
b) WALLS
iii. The internal walls shall be painted in light colors or treated with such other
iv. Light fixtures, decorative materials and other similar equipment and
c) CEILINGS
i. All ceilings or, if no ceiling is provided, the entire under-surface of the roof
ii. The ceiling or undersurface of the roof of rooms in which food is prepared
1975, pg. 8)
d) LIGHTING
iii. All lighting shall be reasonably free from glare and distributed to avoid
shadows;
e) VENTILATION
ii. The ventilation shall be adequate to prevent the air from becoming
airflow from a clean area, and discharging in such a manner as not to create
exhaust ventilation by which the air in such rooms is changed not less than
iv. Canopies, air ducts, fans or other appliances shall be provided as required
f) OVERCROWDING
thereon to carry out his duties efficiently and to permit easy access for
g) CHANGEROOMS
There shall be provided adequate and suitable lockers or other facilities for
more of either sex, there shall be provided separate changing rooms for each
The following are the important sanitary facilities requirements for food establishments:
h) WASH-HAND BASINS
practicable to where the person for whose use they are provided are
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Provided, that the wash-hand basins specified in this Code need not be
surface to each user from a continuous roller towel dispenser or other hand
ii. The wash-hand basin and all hand washing facilities shall, at all times, be
iii. All wash-hand basins shall, at all times, while the premises are being used,
i) TOILET FACILITIES
Adequate and clean toilet facilities for male, female and disabled customers
toilet room.
P a g e | 48
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.
i. Refuse cans may be used in preparation areas for immediate use only. All
constructed of impervious materials which are leak proof and do not absorb
liquids.
k) VERMIN CONTROL
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
ii. All opening which connects spaces to the outer air shall be effectively
p. 27)
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
iv. A three-compartment sink shall be provided and used for manual wahing
shall be provided and used for washing kitchenware and equipment which
shall be allotted at the ends to permit removal of dust and debris. The
pp. 26-27)
a) They shall be stored in a clean and dry place adequately protected against
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,
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
used for more than one occupancy, the whole building shall be subject to the
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
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.
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Mezzanine floors shall have a clear ceiling height not less than 1.80 meters
Section 808. Window Openings. Every room intended for any use, not
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)
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
meters. Exit door shall be openable from the inside without the use of a key or
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
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of risers and the width of treads in any one flight shall be 5mm. (Presidentaial
minimum width of run is not less than 250 millimeters. All treads in any one
placed not less than 800mm nor more than 900mm above the nosing of treads
safety terminals. Stairway having less than four risers need not have handrails.
SIGHT SMELL
HEARING TOUCH
CONCEPT:
AYURVEDA
(NATURE’S ELEMENTS)
RESTAURANT:
COMMERCIAL: RESIDENTIAL:
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.
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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
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
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
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
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
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
2. Ocular Observation
The proponent observed the physical characteristics and environment of
the space. This enabled the researcher to improve and conduct the appropriate
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
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
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.
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Figure 3. shows the existing floor plan of Treat Haus Restaurant and Emralino's Residence
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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.
For over the years, Treat Haus has been a restaurant for all. They are offering a
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
Owner: Restaurant (Treat Haus) and Residential space privately owned by Ms.
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 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
5. Restaurant Kitchen
A. Restaurant Facade
Figure 6. shows the Existing Floor Plan with furniture layout of the Restaurant facade. It has a total of 18.51 sqm.
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.
Figure 8. shows the Existing Floor Plan with Furniture Layout of the Restaurant Dining Area
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D. Garden Alfresco
Figure 9. shows the Existing Floor Plan with Furniture Layout of the Garden Alfresco
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Figure 10. shows the existing floor plan with furniture lay-out. of the restaurant kitchen
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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.
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Figure 12. shows the existing floor plan with furniture lay-out of other residential space, particularly the Living Area,
Dining Area and Kitchen.
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1. Interview
Based on the interview conducted, the owner Mrs. Emralino as the
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:
weekends, the restaurant is busy during lunch time. So they need a place for a
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.
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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
Besides food, do you consider the visual look of the place before dining in?
YES NO
Generation
GEN Z 10 0
(7 – 21 years old)
MILLENIAL 10 0
(22 – 37 years old)
GEN X 10 0
(38 – 52 years old)
BABY BOOMER 10 0
(53 – 71 years old)
TRADITIONALISTS 10 0
(72 – 90 years old)
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
(7 – 21 years old)
MILLENIAL 10 0
(22 – 37 years old)
GEN X 6 4
(38 – 52 years old)
BABY BOOMER 5 5
(53 – 71 years old)
TRADITIONALISTS 8 2
(72 – 90 years old)
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
(7 – 21 years old)
MILLENIAL 6 9 6 4 2
(22 – 37 years old)
GEN X 6 10 10 9 8
(38 – 52 years old)
BABY BOOMER 6 10 7 8 2
(53 – 71 years old)
TRADITIONALISTS 8 2 5 10 3
(72 – 90 years old)
Table 15. shows the factors a certain generation consider when choosing a restaurant
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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.
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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
.
Table 22. The graph above shows the level of satisfaction of the respondents in terms of the condition of the
space planning.
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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
Table 23. The graph above shows the level of satisfaction of the respondents in terms of the condition of the
furniture.
VENTILATION
30
RESPONDENTS
NUMBER OF
25
20
15
10
0
ARTIFICIAL NATURAL
VENTILATION VENTILATION
EXCELLENT 0 0
VERY SATISFACTORY 2 0
SATISFACTORY 17 15
FAIR 8 10
POOR 3 5
Table 24. The graph above shows the level of satisfaction of the respondents in terms of the condition of the
ventilation.
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LIGHTING
30
25
NUMBER OF RESPONDENTS
20
15
10
0
ARTIFICIAL NATURAL
LIGHTING LIGHTING
EXCELLENT 0 1
VERY SATISFACTORY 1 2
SATISFACTORY 12 17
FAIR 14 8
POOR 3 2
Table 25. The graph above shows the level of satisfaction of the respondents in terms of the condition of the
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
Table 26. The graph above shows the level of satisfaction of the respondents in terms of the condition of the
noise control.
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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.
1. Restaurant Façade
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
II. Ceiling
Moss on the bare Small roof on top of
concrete wall The main gate
Open ceiling
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
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.
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
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.
2. Restaurant Reception
I. Space Planning
Figure 16. shows the Existing Floor Plan with Furniture Layout of the Restaurant reception. It has a total of
27.90 sqm.
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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
III. Walls
Also seen on figures 16, 17 and 18, The wall is finished with semie-gloss
Two arcs
Some scratches
and patches on
wall paint
Polished red
cement floor
IV. Flooring
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
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.
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I. Space Planning
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,
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
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
Figure 23. shows that masking tapes are used to post signages
IV. Flooring
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
Chairs stacked up in
the side of the dining
area
Figure 24. shows the existing condition of the chairs on the restaurant dining area
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VI. Lighting
Industrial fans as an
Artificial ventilation
Figure 25. shows the lighting and ventilation the restaurant dining area
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
I. Space Planning
Figure 26. shows the Existing Floor Plan with Furniture Layout of the Restaurant Kitchen. It has a
total of 53.32 sqm.
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
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.
Kitchen condiments
And ingredients
are not organized
IV. Flooring
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
VI. Lighting
During the day, they don’t use any artificial lighting because of the safety
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.
II. Ceiling
III. Walls
It has bare walls from left and right side that has molds in it because of
IV. Flooring
grow her plants. And there’s also a concrete path as a walkway while watering
the plants.
V. Lighting
VI. Ventilation
Figure 32. shows the garden located at the back of Mr. Rey Emralino's Residence
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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
III. Walls
Wood laminated
wall panels which is
still aesthetically
pleasing to the eyes
Artificial plant as
display that only
accumulates dust
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
V. Finishes
VI. Lighting
There are some fluorescent lights that are not working. And a CFL bulb
VII. Ventilation
There is also a skylight which makes it hot during the day, but it provides
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
III. Walls
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.
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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Stacked furniture
Figure 42. shows the furniture clutter in Mr. Rey Emralino's residence
B. Survey Analysis
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,
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
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,
price, service, extra entertainment, food and quality and the environment
6. As seen on table 16, mostly all types of generation prefer dining in with
music.
music so the proponent will find a consider all types for a more convenient
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.
10. As seen, on table 20, mostly all generations think that the signage or logo
1. Restaurant Façade
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
2. Restaurant Reception
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
4. Garden Alfresco
5. Restaurant Kitchen
the things are not properly organized and just makes a clutter
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
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
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
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,
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
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
sensory design theory. Solutions corresponding in each sense are listed below:
1. Visual Perception
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
3. Auditory Perception
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
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
space. Moreover, instead of totally flat floor, proposed design integrates various
3. Apply ambient lighting to make the customers feel comfortable while dining in.
Residential Space
1. Interior plants like Yucca can be bold and striking with straight angular edges, it
2. Touch of earth tones can be used to give off the nature and calming feeling
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
4. An installation of humidifier and diffusers that can disperse scents to make the air
I. Space Planning
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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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.
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.
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
V. Perspective
Figure 54. shows the proposed design perspective of the restaurant façade
2. Restaurant Reception
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
wide space.
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Wall – The accent wall in the waiting area replicates the shape of a
Floor – The flooring is made of smooth floor cement as the main flooring
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
I. Space Planning
Figure 60. shows the proposed plan with furniture layout of restaurant dining area
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
floor that will cater to students and children where thre is wide variety of
Wall – The walls will be painted with semi-gloss finish. And a wood paneling
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
transition of general traffic to the dining area. Instead of totally flat floor,
Proposed design integrates various floor levels which produce ascent and
design uses a centralize air condition to also help diffuse scents that will
V. Perspective
Figure 61. shows the proposed design perspective of the restaurant dining area
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
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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feeling and a certain connection with the nature. There is also planters that
will hold different kinds of houseplants that will clean the air.
the feet of the customers that is very relaxing. And there is also concrete
IV. Perspective
Figure 64. shows the proposed design perspective of the garden alfresco
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V. Swatch Board
5. Restaurant Kitchen
I. Space Planning
Figure 66.shows the proposed plan with furniture layout of restaurant kitchen
way for easy traffic and proper organization and distribution of task.
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.
clean.
clean. There is also rectangular floor drain for cleaning the floor and drain
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
I. Space Planning
Figure 70. shows the proposed plan with furniture layout of Ofelia Emralino's residence
the owner because she wants a chair where she can relax after managing
application of oil wood stain finish are the option to give a more clean and
aesthetic feel.
Floor – The proponent also decided to maintain the flooring because it still
tropical ambience.
V. Perspective
Figure 71. shows the proposed design perspective of the Ofelia Emralino's Residence
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Figure 72. shows the swatch board for Ofelia Emralino's Residence
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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
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.
interior.
V. Perspective
Figure 74. shows the proposed design perspective of Rey Emralino's Residence
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Figure 75. shows the swatch board for Rey Emralino's Residence
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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
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
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
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
2. The use of materials that can stimulate our memory can also help develop a good
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
APPENDICES
PLANS AND BOARDS
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