Ideal Approach to Interior Restaurant Design - Essay Example

Interior Restaurant Design Introduction Modern business practices and economic environments have led to the inevitable changes in action and approaches in business activities, with the aim of ensuring competitiveness in the highly demanding modern market. According to Clark, Smith and Yamazaki (2006), the 21st century economy has become experience-oriented, where much focus is not put solely on the services and goods provided by the organization, but equally on the memorable events and experiences in which the customer is engaged. Experience is gained when a person is engaged in a physical, emotional, intellectual or spiritual manner, meaning that people have varying experiences, since experience is a personal internal reaction to the events in the surrounding. Among the modern businesses that have adopted the interior design and customer emotional connection approach are restaurants, which consider this more of business strategy as ideal in improving the customer experience and loyalty. This paper seeks to analyze the interior design in restaurants and to discover how they create an emotional attachment with customers. It investigates the key design factors such as lighting, materials, forms and objects in order to have a deeper understanding as to why people have an emotional attachment to restaurants. It presents an analysis of different theories as proposed by different authors, and compares each of such theories with the other. The analysis details are then used in the determination of the ideal approach to design in restaurants and what elements create an emotional attachment to the consumer. Background Customers visit restaurants in order to enjoy the food, as well as to have the experiences in business negotiations, communication, together with other ranges of social activities. Therefore, the restaurants offer integrated functions expected of a living room, dining room, courtyard, meeting room, or the playground, and this enhances place attachment for the customers. Place attachment is viewed as “a positive emotional attachment to a place indicated by individuals through excitement, belonging, satisfaction and dependency they have towards it” ( Maharani, p. 183). In this case, the customer must have a satisfactory experience of all the senses, including the smell, hearing, sight, as well as haptic. In the interior design practices, sight is seen to have a dominant role in the desired customer experience. Therefore, designs give much attention to material, color, illumination, and formation. On the other hand, other senses that include hearing, odor, and haptic are given minimal attention. Without the designs for non-visual senses, the interior restaurant space would be fairly uncomfortable. Despite the fact that sight is of the greatest importance in human perception of the environment, other senses are of great significance too. Rose (2007) indicates that non-visual sensation strengthens visual perception as well as facilitating the delivery of unique identity to the interior space. This observation is supported by Prabu, Haruo and Shinichi (2013), who believe that “people also need to judge an environment according to their perception and emotional response before, during and after they experience it” ( p.2).The interior design puts numerous aspects into consideration. For instance, it should aim at discovering the aspects, different from food, that make a restaurant attractive to the customers. Similarly, it should seek to understand the manner in which a restaurant can engender stronger customer impressions, as well as understanding how a restaurant can be remembered by the customers. Visual models/ maps The visual models and maps used in designing are determined by a wide range of factors, which must be taken into consideration by the restaurants in order to effectively capture the desired target customers for their products. The political factors affecting the restaurant modeling involve the environmental legislations which aim at reducing the use of environmentally-unfriendly materials in the design of the restaurant (Rose, 2007). The restaurant gains competitive advantage over the rest due to its ability to comply with the set regulations, while capturing the attention of its customers for future visits. However, the restaurant practices have to overcome other factors, including international trade restrictions, taxation policies and labor laws. Maharani (2013) emphasizes on the need for the designs and decorations used by the restaurants to reflect the cultural belief compliance of the population targeted by the business. The shift in technology affects the quality, cost, and the innovation within the company. Emotion and cognition The interaction between cognition and emotion from neurology constitutes an integral part of human experience and perception of the environment, and the cognition and emotion circuitry have a moderate overlap. The facts on this, based on anatomical aspects, can be demonstrated using the two-way interaction between cognition and affect, which is likely to take place within the complex mental processes. Clark, Smith and Yamazaki (2006) report that the affect of emotion on the Cognitive Process Flashbulb Memories Study indicated that emotions are important in enabling people in remembering events in a more accurate and detailed way. On the other hand, Clark, Smith and Yamazaki believe that the cognitive structures for the different emotions, referred to as the appraisal profiles, can be obtained through letting the subject rate a number of moods or emotions to the appraisal component number (p.49). This notion is supported by Skogland and Siguaw (2004), who propose that the daily experiences leaves an individual with little doubt that emotions have a significant influence on the decisions a person makes, the same way the decisions an individual makes can influence the emotions experienced. They also observe that emotions give a biological remedy to particular transition problems between the internal plans of a system and the multiple goals (p.222). Their roles include accomplishment and maintenance of these transitions in order to communicate them to other individuals. For instance, in planning, transition takes place at crucial junctures when there is a change in evaluation of plan success. Skogland and Siguaw also find out that “emotions are regarded to have undergone evolution in their adaptive value towards dealing with life-task fundamentals” (p.224). Therefore, each emotion exhibits different features, including the physiology, signal, and the antecedent events. Importance of emotion in design Emotions and design have received great interest in the design practice and research in recent years. Therefore, the role played by emotions towards the development, generation, purchase, production, and the end use of the products within human surrounding cannot be overlooked. Desmet and Hekkert (2007) observe that on the basis of philosophic aesthetic as well as through the reason and emotion-based analysis of design, it has been demonstrated by that emotion constitutes the original impetus of art, whereas reason forms the requisite for generation of images. This notion is supported by Rose (2007), who suggests that human behavior is partly based invariably on particular philosophic aesthetics. Rose demonstrates that emotions impact on the people’s feelings towards urban environment, as determined by environmental diversity. She identifies that a greater attention has been devoted towards the emotional experience and response, which can be brought about by products as opposed to their functionality emotionally (p. 85). Skogland and Siguaw (2004) observe that the points of distinction between the product’s two perspectives is the user and the designer, both of which often exhibit a significant mismatch, yet matches and mismatches between them form a significant source of affective reactions exhibited by people towards products together with their interactions with them. This perspective from which Skogland and Siguaw consider internal design differ from that taken by Rose (2007), and Skogland and Siguaw (2004). According to Skogland and Siguaw, These reactions are of a wide range and are inclusive of the short-term emotions and long-term reactions like preferences, moods, and attitudes. Product designs that offer aesthetic pleasure, appeal, and satisfaction can have a great influence on the product’s success. Similarly, the design can exert great emotional influence as well as mediating particular interaction aspects prior to, during, and following the use of a product (Kimes and Robson, 2004). The affective states often impact the manner in which a user explores and manipulates a user interface for the purpose of supporting the desired cognitive state. It is evident that any design is bound to elicit the user’s emotions, or convey some emotions from the designer, with or without the intention of the designer to cause such emotions. Therefore, Desmet and Hekkert (2007) explain that interfaces could be designed with a neutral intention, yet end up not having the intended neutral sensation to the observers. Explain that human beings relate their environment emotionally. Despite the fact that design theory occasionally fails to recognize the variance and complexity within the human experience, for each person interested in design, cultivation of the listening, recognizing, and responding ability to the feelings and experiences of different individuals is of great importance (Desmet and Hekkert, 2007). Ornament and Scale Pullman and Gross (2004) believe that an ornament is not mere redundant decoration, but it demonstrates the status as well as displaying wealth. Therefore, the scale does not necessarily have to be decided by the function, but equally shows the status. In the interior design, Pullman and Gross (2004) puts much emphasis on the use of many details and large scale by guests and owners, while the service areas have smaller scales and fewer details. Similarly, the intricate details are considered instrumental in increasing the stay of visitors. This idea is in compliance with the observation made by Clark, Smith and Yamazaki (2006) that people have a greater memory for simple details compared to the complex ones. People get more fascinated by the ornamental details since the memory of these details cannot be held for long, hence, it is always new and interesting making people more willing to have their attention for information seeking for it. Similarly, people stay longer in places with more details compared to spaces with fewer details, and this approach could be employed in designs for the purpose of controlling movements (Skogland and Siguaw, 2004). A good example for this is the Paris Opera interior, where the main stairs have been designed using this approach. Inside this building, considerations have been made in relation to the entry, socializing, circulation, as well as the arrival to the auditorium, which are regarded to exhibit physical and psychological experiences (Pullman and Gross, 2004). In this case, the plan gives a reflection of processional and functional circulation activities. Elaborate details are put in the commodious spaces, and when quicker movements are needed, the ornaments are entirely eliminated. According to Clark, Smith and Yamazaki (2006), as opposed to concealing redundancies or deficiency, ornaments deliver an important function, since it accurately identifies spaces, together with their cultural and social function, and facilitates the transmission of that identity to the audience. Sunlight Apart from the visual functions, sunlight impacts on the people’s psychology as well as influencing their health. Xue (2009) has much preference for natural light, which they believe provides illumination and also offers physical and psychological benefits. For instance, he says, “Dim lighting is appropriate for aisles, which contrast tabletops and increases focus. Bright spaces with high ceilings breed sense of energy and vitality, and dim spaces lighted by wall sconces or lamps convey a cozier feel” (p. 21). Based on the study conducted by Mass, Kleiber, and Jayson, in which lighting is used in approximation of natural light’s spectral quality, there is improved acuity and minimal perceptual fatigue for people using natural light. In addition, Fritz Hollwich analyzed the impact of the high-intensity artificial light that resulted in stressful reactions and enhanced metabolic activities. It was discovered that humans have a better adaptation to a high level and intense sunlight outdoor with no difficulties. This idea is supported by Rose (2007), who believes that interior designing could possibly adopt sunlight in order to avoid the use of artificial light with high intensity. This means that the windows must be located strategically to enable the illumination of the restaurant, while the artificial lighting should exhibit less intensity. Picture of a Lighting system display (Rose, 2007) Studies indicate that deficiency of sunlight results in slow efficiency for work and potential illness. Kuller and Lindsten conducted a study on schoolchildren, in which they discovered that working within a room that lacks daylight potentially upsets the basic pattern of hormones, which could eventually influence the individual’s ability to cooperate or concentrate (Desmet and Hekkert, 2007). In this case, therefore, it is advisable that the interior design considers the application of sunlight to spaces that are most popular and where people spend longer times. Picture showing different forms of monochromatic color lighting (Prabu, Haruo and Shinichi, 2013) Complexity Complexity is the intricacy of the elements put in space. There is a high positive correlation between preferences and complexity; hence, it is important to incorporate high complexity in the restaurant design. Studies by Skogland and Siguaw (2004) indicate that a high complexity score is associated with irregular-shaped spaces that are sub-divided by a variety of architectural elements, plants, and furnishings. The complexity geometry of the space is enhanced by the multiple direction and vertical orientation emphasized visually. In order to increase the complexity of the restaurant spaces, Skogland and Siguaw (2004) propose that furnishing, plants, together with other elements of architecture are needed. Additionally, the interior pace must avoid the box-like geometrical shapes since irregular shapes are more preferred. The space could be divided using booths, curtains, furnishings, plants, together with other forms of material that make the interior space exhibit a variety of visual loci together with enhanced complexity. Picture showing irregular floor texture (Xue, 2009) Picture of a bird view of design showing internal partitioning (Skogland and Siguaw, 2004) Apart from the spatial geometry, complexity also involves the pattern and composition of the elements within the scene. Therefore, the floor plan must be complex, meaning an intricate element pattern is preferred. In addition, the arrangement of chairs and tables should exhibit variations in order to create a variety of dining space that gives the customers multiple choices as well as engendering a relatively complex space for customer preference. Xue (2009) discusses the need for uneven floor for restaurants. He believes that people are more used to even floors over time and fail to pay attention to the texture while walking. He states that “variations in the level, and position of the path, compel people to pay attention as walking on it” (p.28). Mystery This refers to the level at which individuals get attracted to seek more information by moving further into the scene. A relatively high positive correlation is seen between preference and mystery. In this case, it is important to design the space of a restaurant with a high degree of mystery. Based on Rose’s (2007) report, certain approaches are essential toward the achievement of mystery. First, there should be a shorter view distance to the first interest point. In the case of a restaurant design, the entrance region should have interest points that provoke customers to walk further. Additionally, there should be accessibility to large environment by use of paths, especially the ones that are wider, shorter and have a turn out view. Rose’s (2007) is also keen on the cultural aspect of design. For instance, she observes that “designers also have begun to understand the role of design in culture and to develop the method and process such as ethnography, user-observation, scenario-based design, and the like for applying cultural factors on design” (p. 80). An ideal interior design should also have a space that is not enclosed and small or wide open. Additionally, there should be architectural furnishing, features, or plants that can simultaneously allow a level of visual access to the other spaces, but prohibit absolute understanding of the settings (Skogland and Siguaw, 2004). The furnishings, architectural features, and plants give a multiple visual focus as well as screening the space and prohibiting clarity of the entire space at a glance. The space should equally display dramatic contrast of brightness between the restaurant foreground and the areas in the scene, since light contrast stresses visual emphasis as well as enhancing the mystery scene. The association between the immediate location and the promised information impacts on different preference and mystery levels. According to Pullman and Gross (2004), when the immediate location provokes desire and the promised information bears similarities, there are high preference and mystery. On the other hand, when the promised information has more attractiveness than the immediate location, there is enhancement of preference and mystery. Therefore, the value of attraction for the promise information is very important to affect level of mystery. Achieving high mystery involves avoiding exposure of all elements at first glance, although it should offer promise information with high attraction level. Sitting style The ideal internal design should have varied dining spaces amongst which are loges, exposed sitting, and booths. Different sitting styles fit different requirements. For instance, cozy spaces with couches are best suited for intimate ambience. On the other hand, long communal tables are good for accommodation of group customers. Varied seating spaces are ideal for multiple customer choices, hence attracting more customers. Rose states that, “ Besides, people also need to judge an environment according to their perception and emotional response before, during and after they experience it” (Rose, 2007, p. 83). Discharge fragrance Fragrance is a spartial judgment element that is used for among other purposes, detection of fragrance function. A low-level fragrance room is considered as being cleaner, brighter, and fresher. Therefore, release of light fragrance into the restaurant could make the space appear favorable and pleasant to the customers. Eliminate noise There is nothing as hectic as the acoustic noise within the restaurant space. Customers visit restaurants for the purpose of relaxing, but a noisy restaurant could lead to nervousness and fatigue. Therefore, it is important to provide the desirable sound in the environment, and this could be achieved through an effective use of materials that absorb sound, which include carpets, draperies, as well as the acoustical ceiling tiles, since all these are ideal in the elimination of unwanted effects of sound (Kimes and Robson, 2004). Similarly, applying shapes and texture is also seen as a feasible means of conducting pleasurable sound space. Background music A soundless environment, according to Pullman and Gross (2004), is considered unreal and lifeless, without rhythm or flow, and could be highly frightening. Sufficient background music is an appropriate means of eliminating or reducing frightening and lifeless elements. In addition, it makes space become more favorable through the conveying of relaxing atmosphere. Surface texture Surface materials perform a protective role as well as offering favorable visual image. Similarly, the materials are expected to engage the touch sense during the process of eating. People get a touch sense of the floor by their feet, chairs, tables, flatware, dishware, and menus among other table accessories (Skogland and Siguaw, 2004). The material texture within the dining place has to make the customer feel pleased and comfortable in order to make them stay longer and enhance their consumption. Attractive odor at entrance A favorable smell improves the sense of taste. In order to attract more customers, the food smell should be transmitted to the entrance of the restaurant using the ventilation systems, or by direct movement of the cooking facility towards the entrance region (Skogland and Siguaw, 2004). On the other hand, the interior designer could introduce particular elements that remind the pleasant odor memories. Therefore, there is a need to bring in elements in the intimate spaces, which include a fireplace in the restaurant area in order to make customers remember the pleasant odor. Conclusion  People have no any compulsion of eating in a restaurant, since they can eat at their homes, carry their lunch to work, make orders for food, as well as ordering for food in other ready-to-eat food offering outlets. Therefore, it is not the hunger motivation that makes people opt to dine out at a restaurant. With the wide range of alternatives available for the people to have their meals, it is imperative that the restaurant designers think of other reasons that make the people desire to come to that restaurant for meals as opposed to going for the same in other places, which are majorly the need to socialize and relax. Psychological needs influence the behaviors of the consumers, which are thought to be the push factor for self-reward, need for stimulation of intellectual, self-expression, and social connection. An effective design of a restaurant translates the desired needs into the programmatic requirements. For instance, the social connection need is especially strong within the restaurant settings, where no person prefers eating in an empty dining room. In this respect, therefore, the designs that promote eye contact, which could include lots of seatings made diagonally or a U-shaped bar, could promote a positive experience in a restaurant, where the target population is the young people. On the other hand, when targeting the older crowd, it would be important to have the dining space broken up with partitions or any other visual barriers. References Clark, K. A., Smith, R. A. and Yamazaki, K., 2006. Experience design that drives consideration. Design Management Review, 17(1), pp. 47-56. Desmet, P. and Hekkert, P., 2007. Framework of product experience. International Journal of Design, 1(1), pp. 57-66. Kimes, S. and Robson, S., 2004. The Impact of Restaurant Table Characteristics on Meal Duration and Spending. Cornell Hotel and Restaurant Administration Quarterly, 45(4), pp. 333-346. Maharani, Y., 2013.creating place attachment to restaurants with ethnic ambience in attempt to support local values in bandung. The International Journal of Social Sciences, 7(1), pp. 181-187 Pullman, M. E. and Gross, M. A., 2004. Ability of experience design elements to elicit emotions and loyalty behaviors. Decision Sciences, 35(3), pp. 551-578. Rose, G., 2007. Visual methodologies: An introduction to the interpretation of visual materials. London: Thousand Oaks, Calif.: Sage. Skogland, I. and Siguaw, J. A., 2004. Are your satisfied customers loyal? Cornell Hotel and Restaurant Administration Quarterly, 45(3), pp. 221-234. Xue,Y., 2009. Sensory study in restaurant interior design. 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