Restaurant Design - Concept, Color, Lighting and Acoustics - Essay Example

? Restaurant Design – Concept, Color, Lighting and Acoustics Problems addressed New restaurants need to stand out from the crowd – so they need aspecific identity and theme for marketing purposes, and to show potential customers the how they are different from all the other restaurants out there. 2. The color scheme is very important to the ambience of the restaurant, and for the theme that the restaurant chooses. Therefore, the problem is that the restaurant needs to be able to choose the right color scheme. 3. Lighting is very important for the above reasons. The problem is in choosing the right kind of lighting. 4. Acoustics can make or break a restaurant. If the restaurant is too loud, then people will not want to eat there, unless the theme is that the restaurant is fun and vibrant. The right acoustics is essential to the success of the restaurant. Concept One of the most important aspects of design of the dining room is what concept is the restaurant going for? The concept is important because all the other aspects of the dining room would play off of this (Walker, 2005). Walker (2005) describes what a restaurant concept is, and how designs might change according to the concept that is conceived by the restaurant designer. He describes concept as “the matrix of ideas that constitutes what will be perceived as the restaurant’s image” (Walker, 2005, p. 51). A restaurant should aim for a concept that is different than other competing restaurants, while also being better than these other restaurants. The elements of concept are atmosphere, menu, location, marketing, image and management. Examples of concepts include family restaurants, romantic restaurants, fun restaurants, formal restaurants, and, within each of these broad categories are sub-categories that help further define the restaurant. The concept should be clear-cut, in that the symbols, furnishings, service and everything else about the restaurant should be integrated into the proper image that is conveyed to the patrons about the restaurant. In other words, the restaurant should have some kind of theme, character or purpose (Walker, 2005). Walker (2005) lists some of the concept restaurants that have been successful, such as Planet Hollywood restaurants, Lettuce Entertain You restaurants, and different restaurants that are owned by celebrities. He also states that one of the most successful restaurant chain concepts is that of the Hard Rock Cafe. This was a chain that was founded in London in 1971, and each of the restaurants boasts rock ‘n’ roll memorabilia and a generally loud and boisterous atmosphere. Therefore, when beginning with the different dining room elements, one must first begin with what kind of concept the restaurant has. This will dictate the three elements that will be explored further in this essay – color schemes, lighting and acoustics. Obviously, a restaurant that has a concept as a family restaurant would have different lighting, color schemes and acoustics than would a restaurant that is being marketed as formal, or a restaurant that is marketed as fun - such as a Hard Rock Cafe or Planet Hollywood. Color Color schemes is the first element that must be considered. According to Piotrowski and Rogers (1999), color schemes need to reflect the overall concept and type of restaurant, as well as take into consideration the current color trends. The color scheme may be unexpected or traditional – for instance, in a Chinese restaurant, the traditional color scheme is red and gold. Unexpected colors might be mauve and walnut. This can work two ways – on the one hand, unexpected color schemes set the restaurant apart from other Chinese restaurants who stick with the more traditional schemes. On the other hand, this kind of color scheme might turn off the patrons who have come to expect the more traditional color scheme. Piotrowski and Rogers (1999) recommend studying color psychology before deciding upon the restaurant color scheme – certain colors stimulate appetite, other colors are soothing, and other colors bring pleasure. Backus (1978) emphasizes that color can be used strategically, in that each of the dining areas can be distinctive from one another, having a different identity, according to each dining area’s color schemes. For instance, a bar area might have a warm and inviting color scheme, while the dining room may have a color scheme that provides a relief and counterpoint to the color scheme at the bar. An example of how color can be used to strong effect is the Opus 251 in Philadelphia, Pennsylvania (Casamassima, 1998). This restaurant is situated in a former museum, and the decor is formal, yet fun. The walls of some of the dining rooms is dark brown, and, in other dining rooms, the walls are a saturated red. The upper portion of the dining area is framed by an 80-year-old Asian mural. What is striking about this restaurant is the way that it alternates the more formal colors with the more fun colors, and how the integration of these colors throughout the restaurant brings life into the interior. The color scheme and overall whimsical-yet-serious concept of this restaurant is not just highlighted by the colors of the restaurant, but also by the decor – the wall sconces are funky and unusual, yet there are also formal chandeliers hanging from above. The table decor is formal, with white table cloths and wine glasses on every table, yet, in the middle of the table are unusual centerpieces that resemble something that might be found in a Dr. Seuss cartoon (Casamassima, 1998). The overall effect of the color schemes, combined with the other elements of the restaurant is of a restaurant that is formal and expensive, yet doesn’t take itself too seriously. Le Cirque restaurant in New York City (Casamassima, 1998) combines the elements of the formal and the whimsical in an even more blatant way than Opus 251, and the color scheme of this restaurant has much to do with this integration of concepts. The restaurant is at once extremely formal and funky. The structure of the restaurant is that of a historic Villard house in an elegant time period, with the architecture of this historic house being replicated to its original splendor – the restaurant’s structure consists of tan marble walls with enormous arches and high ceilings, with stained-glass windows and formal crown molding throughout. Other parts of the enormous restaurant feature walnut walls with ornate crown molding, and some of the dining areas feature ceiling murals and marble doric columns. If not for the decor, the effect would be of dining inside a museum. Yet the color in this restaurant is astounding. Some of the dining room chairs are emerald green, with pillows which are red, black and yellow. Other dining room benches are red and yellow checked, and some of the dining room chairs are red with yellow buttons and yellow arm rests. Still other dining room chairs are deep purple with orange, yellow and dark purple buttons on the back of the chair. The carpets are multiple colored with geometric patterns running throughout. The barstools are purpose and red, and the curtains in one of the more formal dining rooms are purple and green plaid. The look of this restaurant is therefore the utmost in contrasts – the extreme formality of the museum-like structure, with the marble walls, high muraled ceilings, and arches, combined with the absolute whimsy of a carnival (Casamassima, 1998). Lighting The other element that will be examined, along with color, is that of lighting. Interior lighting is as important as color, and can complement color to add to the restaurant’s overall ambience (Piotrowski, 1999). Piotrowski (1999) states that lighting can be the most important aspect of a restaurant’s overall design. She recommends that the restauranteur hire somebody who is specifically trained in the application of lighting of interiors and exteriors. Lighting plays a significant part in the comfort level of the guests and enhances (or detracts) the patrons’ visual impressions of the overall restaurant decor. The lighting must be sufficient for the patrons to read the menu, yet not so garish that it is a turnoff. Piotrowski (1999) states that lighting can be ambient, accent or sparkle. Indirect ambient lighting provides a way for the restaurant to have overall lighting levels for comfortable movement and functioning. Accent lighting may be provided in wall sconces and spotlights. Sparkle lighting is lighting that creates special effects such as general mood settings. Returning to the other restaurants listed above, the Opus 251 and the Le Cirque 2000, the lighting is what enhances the overall decor and the colors of these restaurants, to fit in with the concept of the restaurants. As noted above, the Opus 251 combines whimsical with formal throughout the restaurant, and this is reflected in the choice of lighting. The sconces are cone-shaped, yet irregular, which makes them seem modern an funky. The chandeliers are formal and made of crystal. The lights are strategically placed to give effect to the overall colors of the dining area and the ambience throughout. Le Cirque 2000 is similar- the decor of the furniture is all carnival and whimsical, but everything else is extremely formal, and this includes the light fixtures. The light fixtures are mainly traditional formal, with enormous chandeliers, formal sconces and hanging lanterns. Yet there are other light fixtures which reflect the whimsical nature of the furniture – in some of the dining rooms there are cone-shaped light fixtures that come out of the wall, and the cones are colored in blues, yellows and reds. Acoustics The last element that is explored is that of acoustics. This, too, is an important part of a restaurant concept. Piotrowski (1999) states that acoustics are important to a restaurant, as they play an important part in the overall success or failure of a restaurant. The acoustics of a busy restaurant may be controlled by the use of fabric wallcoverings, acoustic panels and baffles and high quality acoustical ceiling treatments and low volume sound systems. Other ways of reducing the noise include breaking up the dining area into smaller rooms or area, which breaks up the noise. For this to be effective, the dividers must go to the ceiling. High partitioned booths represent another way to reduce the acoustic level of the restaurant. Upholstery used for seats, instead of hard surfaces, and the use of tablecloths are other ways of acoustical reduction. That said, the acoustics can also play a part in the overall concept of the restaurant. A restaurant that has more of a formal concept – with soft lighting, soft colors, and fine dining decor – would have an interest in ensuring that the acoustics are such that the diners can enjoy dining in a quiet atmosphere, regardless of how crowded the restaurant is. Such a restaurant would need to have as many acoustic reducing strategies in place as possible - from lined walls, ceilings which block sound, etc. However, if the restaurant is one that has more of a fun atmosphere, such as Hard Rock Cafe, or Planet Hollywood, the noise level is considered to be a part of the overall experience. In that case, as with the Hard Rock Cafes, the restaurant can be open with a lot of hard surfaces, which means that the restaurant will be loud, and the patrons will be heard. This is what the diners come to expect from a such a place, and, in fact, probably enjoy their experience more because the noise level might make the place seem more lively. Conclusion When designing a restaurant’s dining area, there are many considerations that will come into play. Each of these considerations enhance the overall concept of the restaurant, and, with a good eye for design , each of these elements will help the restaurant stand out and make its concept known. If the restaurant is a “fun” restaurant, the decor might include bright colors that are contrasting, funky lighting fixtures and loud acoustics. A more formal restaurant might use somber colors that are still bright, such as muted yellows, formal light fixtures such as chandeliers, and strategies that reduce the overall acoustics. Nautical-themed restaurants might use blues and whites in the dining room and lighting that harkens to nautical themes, and the acoustics might be medium – not loud, but not overally soft, either. Etc. What is important for the designer is to envision a concept and cater the colors, lighting and acoustics to suit this concept. In this way, the restaurant is sure to stand out in the crowd. References Backus, H. (1977) Designing Restaurant Interiors. New York: Lebhar-Friedman Books. Casamassima, C. (1998) Restaurant 2000:Dining Design III. New York: St. Martin’s Press. Piotrowski, C. & Rogers, E. (1999) Designing Commercial Interiors. New York: John Wiley & Sons, Inc. Walker, J. & Lundberg, D. (2005) The Restaurant: From Concept to Operation. Hoboken, NJ: John Wiley & Sons, Inc. Read More