interior design senior capstone : grand allusion hotel

Megan Miller Senior Capstone 2O13

GRAND ALLUSION HOTEL

A HG

Contents

Concept Design & Programming

Background Statement

Project Description

Client Profile

User Profiles

User Log

Theme and Aesthetics

Precedent Analysis

Planning and Design Background

Project Planning Issues

Space Approximations

Site Requirements and Analysis

The Ethical and Sustainable Environment

Early Design Studies

Building Zoning

Guestroom Design Exercise

Public Space Design Exercise

Public Space Design Development

Revised Building Zoning

Initial Lobby Design

Public Space Revision

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20,000 Leagues Design Development

Initial Guestroom Design

20,000 Leagues Guestroom Revision 1

Wonderland Suite Design Development

Initial Wonderland Suite Design

Wonderland Suite Revision 1


Final Design

Public Spaces

20,000 Leagues Standard Guestroom

Alice in Wonderland Suite

Supplemental Design Drawings

Full Building

Corridors

20,000 Leagues Standard Guestroom

Alice in Wonderland Suite

Appendix

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Concept Design and Project Programming

4

Step Into Another World

Thousands of books are published each year,

and while most will pass by unnoticed and unread,

once in awhile there comes a story that leaves its mark

not only on its readers, but society itself. These are the

books you stay up for hours reading, flipping through

the pages anxiously waiting to see what happens

next. The ones you pull from your bookshelf time and

time again, because they have taken you on fantastic

adventures, tugged at your heartstrings, and touched

your life forever. To quote author Stephen King, “Books

are uniquely portable magic.” This intangible, magical

quality is precisely what is captured through the Grand

Allusion Hotel.

We have journeyed with Alice though

Wonderland and watched Elizabeth Bennent capture Mr.

Darcy’s heart; Learned there was “no place like home”

alongside Dorothy and traveled Twenty Thousand

Leagues Under the Sea in the Nautilus. From dancing

at the ball with Cinderella to discovering inner beauty

in a “Beast,” classic tales capture the heart of readers

around the world and become constants that we turn to

for comfort. When we read we travel to new places, have

new adventures, and live new lives, all without leaving

the comfort of our own homes. But what happens when

we do decide to leave home and venture into the world?

With all the stress associated with traveling, what the

process really needs is a way to capture the same feelings

that come from reading – comforting, familiar, and just a

little magical.

The Grand Allusion Hotel fills that void and gives

visitors an escape from their everyday lives. Entering the

front doors of the hotel lobby is like entering a dream

“We’re all strangers connected by what we reveal, what we share, what we take

away - our stories. I guess that’s what I love about books - they are thin strands of

humanity that tether us to one another for a small bit of time, that make us feel less

alone or even more comfortable with our aloneness, if need be.”

- Libba Bray, Author

5

library. Shelves of leather-bound books, cozy seating

groups, and warm cups of coffee beckon guests to sit

down and stay awhile, creating a quiet escape from

the bustling city outside. This familiar, cozy setting,

however, is only the beginning. Everything changes as

soon as guests venture upstairs to their rooms.

The joy we receive through literary adventures is

captured in the hotel guestrooms and suites, each unique

and inspired by a different classic tale. Rather than being

replicas of scenes or of historic spaces, the rooms are

contemporary and luxurious takes on the stories they

represent. Guest in the “Emerald City” room will feel

like they are living in a glamorous jewel box glowing

in shades of green, while the artifact filled “Around the

World in 80 Days” room could have come directly from

the home of a great world traveler and adventurer. The

dark glamour of Edgar Allen Poe contrasts with the fun

vibrancy of Munchkinland, and billowing curtains and

dramatic contrasts recall the tragic love of Heathcliff

and Catherine. Any lover of books can find something

to relate to in the selection of guestrooms, but rather

than simply being a guest in a model of their favorite

tales, they will be surrounded by something much more

important: each room encompasses the emotions of a

story, engaging both the heart and the imagination.

The Grand Allusion Hotel will be an enchanting

addition to Cincinnati by creating a new attraction that

appeals to visitors and residents alike. A hospitality

option unlike any other in the area, the hotel is a place

where you can escape the everyday and enter the

world of fantasy. Each space will attempt to capture

the inexplicably glorious feeling that comes with being

engrossed a good book, and staying at the Grand Allusion

is a remarkable and memorable experience that rivals

even the greatest of stories.

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Cincinnati's Newest Chapter

The Grand Allusion is a small boutique hotel

with guestrooms inspired by pieces of classic literature.

Each guestroom has its own unique theme, providing a

variety of environments for guests to choose from. The

public areas act as a more neutral setting, with a cozy

and inviting library feel that encourages guests to relax,

chat, and read at their leisure. Additionally, the intimate

coffee and cocktail bar encourages people not staying at

the hotel to share a drink with friends or family and see

the lobby space for themselves.

The new hotel will provide Cincinnati with a

new unique hospitality option that gives visitors an

alternative to the traditional large-scale downtown

hotel. Trends in the hospitality industry show that the

experience having a personalized stay is a growing factor

in a traveler’s choice of hotel. Additionally, an increasing

number of travelers prefer to be positively “surprised”

with their accommodations. They seek properties that

are noticeably different in both look and feel from

corporate branded hotels1. The Grand Allusion Hotel

fulfills both these needs, providing the highest standards

in both service and design.

1 Lucienne Anhar, “The Definition of Boutique Hotels.” (Hospitality Net, 2001).

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The Grand Allusion Hotel will be the newest

addition to Marriott’s Autograph Collection hotel brand.

Created in 2010, the brand features upscale independent

hotels and resorts around the world with distinctive

personalities. Like the other hotels in the brand, The

Grand Allusion Hotel maintains its own brand name

and personality while still being considered part of

Marriott International. The hotels of the Autograph

Collection provide Marriott customers with unique guest

experiences and an expansive range of categories for

“distinct life experiences in dynamic destinations.”

Client Profile

8

Business professionals in their late 20s, Olivia

and Ben are no strangers to travel. While choosing a

hotel to stay at for a good friend’s wedding however,

the couple agreed they don’t want the typical Westin

or Hilton they are accustomed to on business trips.

Since hearing of Marriott’s new Autograph Collection,

Olivia had been dying to stay at one of the unique

and luxurious hotels. Luckily, The Grand Allusion

was the perfect solution. The small, whimsical hotel

provided the downtown setting they wanted as well

as the personalized customer service and luxurious

accommodations they expected. After being met at the

airport by a hotel staff member and greeted by name

by the concierge in the inviting and cozy lobby, Olivia

and Ben knew they made the right decision. They had

selected the “Around the World in Eighty Days” room

for the 5-day stay, and upon entering the magnificent

space were greeted with a personal note welcoming

them and tea set out on the table. Their trip had barely

begun, and it was already an amazing experience.

Character Profile

9

With a busy schedule teeming with work and

family obligations, there was no way mom Kathi would

be able to leave town for a vacation. When a friend

suggested the option of a “staycation” as an alternative,

she was hesitant. A lifelong resident of Cincinnati, she

was not sure it was worth it to pay to stay in a hotel

downtown when her home only 20 minutes away.

Upon hearing about the newly opened Grand Allusion

Hotel, however, the idea seemed much more appealing.

An English major and librarian with a love of reading,

the idea of a hotel inspired by classic literature seemed

like an amazing and worthwhile destination, no matter

where it was located. After discussing the option with

her daughter (home visiting from college), the two

decided to stay at the hotel and chose the Wizard of Oz

themed “Munchkinland” room. The fun, vibrant room

created the perfect setting for their 3-day stay, and the

hotel staff helped the pair create an itinerary of new and

exciting activities in their own city that could rival a

vacation anywhere in the world.

Character Profile

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Welcome to the Grand Allusion Hotel

“Here you leave today and enter the world of yesterday, tomorrow, and fantasy.”

- The Walt Disney Company

Airport Pickup (Optional): Guest is met at airport 1.

baggage claim by a member of the hotel staff who

greats them, collects their baggage and whisks them

to the hotel.

As guests arrive, the doorman directs them into the 2.

hotel, and their baggage is taken to the appropriate

guestroom by hotel staff. If guests have their own

cars with them, valets move them into nearby lots.

Upon entering the building, guests are greeted by 3.

name in the hotel lobby and checked in.

Next, a hotel staff member personally shows each 4.

guest to their room. Along the way, they give the

guests a tour of the hotel and provide a brief history

of the hotel’s location and design inspiration.

5. Guests are left to settle into their room. When they

arrive, there is a handwritten note of welcome

waiting for them, along with a snack or beverage

appropriate to each room theme.

6. Guests return to the lobby once they have finished

settling into their rooms. They then can meet with the

concierge to discuss reservations, activities, and ideas

to create a personalized and memorable stay.

7. Guests proceed out into the city for a day of

shopping, dining, and exploring.

8. Returning to the hotel for the evening, guests can

gather in the in lobby to enjoy a beverage and relax,

while chatting with friends, browsing the internet, or

reading from the vast selection of books available.

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9. While the guests spend their evenings in either the

lobby or out of the hotel, housekeepers perform

turndown service in each guestroom.

10. As the evening comes to an end, the guests slowly

filter from the lobby into their rooms, where can curl

up in bed or on the sofa to watch movies or read

before they go to sleep.

11. Waking up the next morning, guests prepare for their

day before heading down to the lobby, where coffee,

tea, and selected local pastries are available.

12. After checking in with the concierge for event advice,

guests head out into the city for a day of adventure.

12. After the rooms have cleared out for the morning,

housekeeping proceeds to each room to empty trash

baskets, replace towels, make beds, etc.

14. Steps 7-13 are repeated; the number of repetitions

dependant on the length of each guest’s stay (3-6 day

average).

15. On the last day of their stay, guests can check out of

the hotel at the reception desk, but may store their

luggage if they leaving later in the day.

16. Upon their departure, the guests are bid farewell by

hotel staff and are either taken to the airport to catch

their flight, or helped into their cars by the valets.

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Hotel Theme and Esthetics

The goal of interior design should be to tell

a story and, above all, should strive to make people

happy. The designer is not just creating a simple room;

they are creating an experience for everyone who walks

through the front door. Of all building types, hospitality

has the greatest ability to create lasting experiences and

memories. People vacation for a break from their lives

and to escape the mundane and everyday. They travel

to see new destinations and have wondrous adventures.

Whether located in Paris or Punxsutawney, hotels set the

stage of the rest of a trip and can enhance or diminish the

memories that remain long after the trip has ended.

Theming has long been a way for businesses and

destinations to differentiate themselves from competitors

and attract customers. From the opulence of Versailles

to the worldwide locations of the Hard Rock Café,

theming has a history of creating successful and unique

experiences that can only hope to be duplicated. This

“Animation architecture” attempts to evoke emotions

that do not necessarily correspond to the content of a

building, it is the “extra” needed to conquer the public

and their emotions.1 The king of theming himself,

Walt Disney, described his plans for Disneyland as

“building a dream,” and his greatest wish was to make

people happy.2 This is the spirit captured within the

Grand Allusion’s design. Themes add personality and

excitement to a design, and theming the Grand Allusion

will set it apart from its competition to provide a

perfect setting to make exquisite and lasting memories.

1 Regina Dahmen-Ingenhoven, Animation: Form Follows Fun (Basel, 2004) 342. 2 Mark Gottdiener. The Theming of America: Dreams, Media Fantasies, and Themed Environments. (Boulder, CO: Westview, 2001).

“…but we also want magic. We want our visitors to feel that they have passed through a mirror, that they have left their own worlds and entered a new one,

different yet strangely familiar, where things are not done as in other parts of the inhabited plan, but as if in a rare dream.”

- Julian Barnes, England, England

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The phase “amazing vacations” conjures up

images of African safaris, white sand beaches, the English

countryside, and exotic jungles. For those of us not lucky

enough to be able to jump on a plane and jet off across

the world, reading provides those same feelings from the

comfort and safety of our homes. Just like travel, reading

gives us an escape from real life and the opportunity

to visit times and places otherwise impossible to reach.

Books have the ability to bring together people of all

ages and backgrounds, and they are a common thread

that connects the world. By using popular stories that

have stood the test of time as inspiration, the hotel

will celebrate this global connection and provide an

atmosphere that encourages and celebrates the love of

literature.

Despite the continued success of themed

environments, the concept has received a fair about

of backlash. Even with a goal of inspiring joy and plea-

sure for users, these spaces can also be a source of great

irritation to those who view the concept as “fake” and

“superficial.”3 It is vital this is kept in mind through the

design process in order to toe the line between “themed”

and “cheesy.” Rather than create replicas of scenes of

classic books, the guestroom design takes inspiration

from the source books and represents the essence of the

story in each space. The materials used in the hotel will

also be of the highest quality. Reclaimed wood, historic

tin ceilings, leather, metal, opulent fabrics and antique

furniture will fill the interior spaces through all seven

floors. Modern luxury and a contemporary touch will

ground the historic and fantasy aspects of the design to

create an approachable glamour that appeals to, rather

than repels, today’s sophisticated travelers. 3 Gottdiener.

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Public Space Concept

The public spaces of The Grand

Allusion Hotel make guests feel

like they have entered the library

of a dream. Antique furniture and

accessories mix with modern touches

to create an eclectic and welcoming

environment. Rather than the dark,

crowded, and silent rooms associated

with most historic libraries, the Grand

Allusion lobby will be a light, bright

and airy space that incorporates

aspects of the classic “library look”

in an unexpected and fun way. Just

as Belle could hardly believe her eyes

at the sight of the castle’s library in

Disney’s Beauty and the Beasts, guests

entering the hotel feel a similar

sensation. The casual and elegant

spaces encourages visitors to sit, relax

and enjoy a good book and cup of

coffee while they take a break from

their hectic schedules.

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Guestroom and Suite Concepts

Each guestroom in the Grand Allusion

takes guests into one of their favorite

stories and provides them with a fun,

imaginative, and unique vacation that

is beyond their wildest expectations.

The rooms and suites are all unique

and epitomize the essence of the

stories they represent. The themes of

the rooms are chosen to encompass

some of the most popular novels and

stories of all time, ranging from The

Wonderful Wizard of Oz and Alice’s

Adventures in Wonderland, to Wuthering

Heights and the works of Edgar Allen

Poe. Each exceptional space is the

guests “home away from home”

during their stay, and provides every

convince they could desire. No matter

what their plans are for the stay,

the guestrooms are undoubtedly a

highlight of each and every vacation.

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Brothers Grimm

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Beauty and the Beast

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Munchkinland

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Emerald City

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Pride and Prejudice

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Around the World in Eighty Days

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Twenty-Thousand Leagues Under the Sea

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Wuthering Heights

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One Thousand and One Nights

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Adventures in Wonderland

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Edgar Allen Poe

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The Great Gatsby

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Design Precedents . . .

21c Museum Hotel – Louisville, KY; Cincinnati, OH

Type Precedent

Opened in 2006/12; Designed by Deborah Berke

W Hotels – Worldwide

Type Precedent

Brand launched in 1998

Aria Hotel – Prague, Czech Republic

Type / Stylistic Precedent

Opened 2003; Designed by Rocco Magnoli

& Lorenzo Carmelini

Grand Bohemian Hotel – Asheville, NC

Type / Stylistic Precedent

Opened 2009

Walt Disney World Resorts – Lake Buena Vista, FL

Stylistic Precedent

Type Precedent:

The chosen type precedents represent existing

examples of successful boutique-style hotels

around the world. They include hotels that are

similarly themed, are in a similar market, and/or

are designed for a similar clientle.

Style Precedent:

The stylistic precedents are hotels that exemplify

the “look” that inspired the design and creation

of the Grand Allusion. These hotels include those

that mix history and themes with modern design,

as well as those that successfully incorporate

a theme down to the smallest detail with the

utmost attention and regard to authenticity.

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21c Museum HotelLouisville, KY / Cincinnati, OH

Type Precedent

Unlike most boutique hotels located in

major cities and vacation destinations,

21c proves that smaller luxury hotels

can flourish in any location. Originally

working with revitalization efforts

in Louisville, the owners converted a

series of warehouses into one of the

top hotels in the world. Combining an

art museum, a hotel, a restaurant, and

a cultural center, the hotel becomes a

destination in itself and is much more

than a place to simply spend the night.

With its initial success, the brand is

now expanding across the Midwest .

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Type Precedent

Owned by Starwood Hotels and

Resorts Worldwide, the W Hotels

brand was one of the first major efforts

by a hospitality corporation to move

into the boutique hotel market. Each

location is different, and the brand’s

common theme of modern, hip decor

aims to attract a younger clientele

wanting a different kind of hospitality

experience. Since launching in 1998,

the brand has grown to include over

50 hotels and resorts worldwide.

W HotelsLocated Worldwide

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Type/Stylistic Precedent

Each of the 51 rooms of the Aria Hotel

are dedicated to a specific style of

music or particular artist, with each of

the four floors devoted to a different

musical genre. From Beethoven, to

Billie Holiday, to the Beatles, each

room is furnished with custom pieces

made specifically for the Aria. Located

in a series of historic buildings that

once housed a theater, the hotel

incorporates the area’s history while

providing all the modern amenities

that today’s travelers expect.

Aria Hotel Prague, Czech Republic

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Type/Stylistic Precedent

The Grand Bohemian Hotel was one of

the original seven hotels that created

Marriott’s Autograph Collection.

Located in the quaint Biltmore Village

next door to the Biltmore Estate, the

hotel’s design highlights the old-

world rustic charm and Tudor style of

its surroundings. The interior design

successfully toes the line between

maintaining a strong theme and

remaining upscale and luxurious.

The Grand Bohemian Hotel Asheville Asheville, NC

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Stylistic Precedent

When it comes to theming, no one

does it better than Disney. While each

theme is taken to the extreme, great

care and thought goes into the design

and each detail is taken care of. The

result of that attention to detail is

the creation of signature spaces that

transport the guest out of the every

day into the extraordinary. Every

space tells a story, transforming each

hotel into a memorable destination

within the larger resort complex.

Walt Disney World Parks and ResortsLake Buena Vista, FL

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Planning and Design Considerations

Make no little plans, they have no magic to stir men’s blood and probably themselves will not be realized. Make big plans, aim high in hope and work remembering that a noble, logical diagram once recorded will never die, but

long after we are gone will be a living thing, asserting itself with ever-growing consistency. Remember that our sons and grandsons are going to do things that

would stagger us. Let your watchword be order and your beacon beauty.- Daniel H. Burnham, Architect

During the 20th century many new hotel types

began to emerge, one of the most prominent being the

“boutique hotel.” The information age resulted in a

new, widespread ability to access knowledge, and has

heightened people’s demand for environments that

allow their individuality to blossom. The boutique hotel

was the answer to the growing impersonality of the

hospitality industry and allowed clients to think, “the

hotel is unique, and I’m unique too.”1 Widely accepted

as one of the creators of the “boutique hotel,” developer

Ian Schrager described his vision for this new type of

hotel. Schranger explains, “Well, that is what we’re

trying to do, come up with something that hasn’t

1 Howard Watson, Hotel Revolution (Chichester: Wiley-Academy, 2005) 12.

been done before. Treat a hotel as more than just a place

to sleep – a place for somebody to have fun, a visual

feast. Walk inside and see something that you haven’t

seen before. Walk in the lobby and excite people, be able

to cut the electricity in the air. Something indefinable, the

same kinds of things that make you want to purchase a

car or buy a house or pick a mate. Those are the kinds

of things that we deal in and it was very personal to

us. These were the kind of hotels I wanted to stay in.

I wasn’t looking to do a hotel for a hundred million

people. I was looking to do a hotel that I would like and,

by chance, there would be other people out there who

also would like it.”2

2 Walter A. Rutes, Hotel Design, Planning, and Development (New York: W.W. Norton, 2001) 32.

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Though boutique hotels are usually small in

both size and room count, there are hotels considered

“boutique” with several hundred rooms. There are three

key features that are generally accepted to mark the

primary features of a boutique hotel – Architecture and

Design, Service, and Target Market. High style, warmth,

distinction, and intimacy are key design components of

boutique hotels, and the definition and expression of a

theme is often a crucial part of their success.

Additionally, superior service that emphasizes a

connection between guests and staff is vitally important,

and many hotels have their staff members learn the

names of each guest. This attention to detail allows

everyone who stays at the hotel to receive personalized

service during his or her stay. Finally, boutique hotels

generally have a specific target customer – people from

their early 20s to mid-50s with mid to upper incomes.3 3 Lucienne Anhar, “The Definition of Boutique Hotels.” (Hospitality Net, 2001).

Grand Bohemian Hotel Ashville

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“The boutique hotel should evoke a personal relationship

with the guest, offering him/her a unique and surprising

experience that cannot be exactly repeated in any other

environment.”4 Each of these key factors must be

considered in designing any new boutique hotel, the

Grand Allusion being no exception. The expression of the

design theme will be crucial in creating the warm and

inviting environment that guests will want to spend time

it. Additionally, by keeping the hotel small with a low

room count, the staff can provide personalized attention

and service to each guest. Acknowledging and exploring

these fundamentals are the first step in creating a hotel

that distinguishes itself from any other hospitality

experience.

When opening a new hotel, location is one

of the most important considerations of the initial

programming process. Location is still the number one

priority for guests when choosing a hotel, but along

with convenience, “trendiness” and “chic-ness” of the

neighborhood is an increasing concern.5 Inexpensive

or obsolete buildings in upcoming parts of the city are

some of the most popular sites for boutique hotels. The

addition of fashionable lodging, restaurants and stores

can explode the popularity of an area, and quickly make

it the newest, hippest part of town. With the increasing

popularity of the hotels, boutiques have expanded

4 Watson 12. 5 Anhar.

Viceroy Santa Monica

37

to more central and upscale metropolitan locations.6

These areas provide guests the opportunity to be in

the bustling heart of a city, surrounded by shopping,

museums, restaurants, and activities.

Even when a suitable location is found for the

hotel, site factors bring an entirely new set of problems to

the table. Though parking is not as large of a problem in

downtown areas, there will be guests who need to leave

their cars for several days. In a densely constructed city

like Cincinnati there will likely not be room for the hotel

to have its own parking area, so access to a nearby garage

will become a necessity. Finding existing buildings with

entrance courts and port cocheres are also a rarity in

urban settings, therefore the locations of bus stops, fire

hydrants, and other features that forbid parking must

be noted and taking into account as preventing the

creation of a passenger drop off area for the hotel. These

concerns also become important if an off-street loading

dock is needed. Not only is there the problem of finding

space, but the odors and noise associated with loading

docks and garbage-collecting areas should be kept as

far from the hotel entrance as possible. High-quality

sound resistant windows can help keep the problem

from affecting guestrooms located on lower floors, but

the grand entry must be as clean, neat, and attractive as

possible. With so much going on at

6 Rutes 15.

Boscolo Palace Roma

38

street level in a city, the hotel entrance must find a way

to stand out and make itself known. Without the option

of roadside signs to guide visitors, the building itself

must be relied upon for identification. A sign, canopy,

or marquee that can be read on the pedestrian level is

also an important design decision as the hotel develops.7

Once a site is chosen, the designer must deal

with the realities of using an existing building with little

room for major modifications. Suitable sites for new

construction are scarce and expensive, and designers are

challenged with adapting a variety of building types to

fit the needs of a hotel. Available spaces are usually of

unusual sizes, and hotel designers must abandon any

predisposed notion of how the plan is supposed to look

in order to create a creative and inventive new solution.

Smaller fixed sites provide many challenges of designing

and locating all aspects of the hotel – public spaces,

guestrooms, and back-of-house areas. Spaces that do not

require natural light and air like mechanical rooms and

many back of house spaces can usually be located below

ground in basement areas if building codes permit. 8

As often as possible, the valuable above-grade spaces

should be used solely for guest usage. The public space

and guestrooms are the most important part of the hotel,

and they must entice clients and suit their needs.

Lobbies are typically the first impression guests get from

7 Rutes 18-19. 8 Rutes 23.

The Raphael Hotel, Kansas City

39

the hotel and historically they are the grandest most

impressive part of the hotel. Within the dense setting of

a city, designers are challenged to get as much natural

light and air as possible into what is likely a tight,

street level space. This issue continues with the design

of the guestrooms. Oddly shaped downtown hotels

usually require creative planning of guestrooms, and

any opportunity to capture views, light, and air should

be seized. In these situations, room types are often far

greater in number than a suburban or airport hotel.

The space constraints result in a greater variety of room

shapes, but well designed boutique hotels can use this to

their advantage. A room’s shape instantly begins to give

it character, and the addition of themes can pull a room

design to the next level.

Over the past several years, there has been a

significant shift in what travelers expect from their

hospitality experience, especially in the case of luxury

hotels. The sophisticated, stylish travelers of today reject

the dreary uniformity of conventional hotel design in

favor of being “surprised” – positively, of course.9 They

seek properties that are noticeably different in look and

feel from branded hotels, and boutiques fit that need.

Guests want to have a story behind their stay, and the

importance of authenticity in a hotel and its building

materials has become a key part of luxury hospitality

9 Anhar.

Hotel ZaZa Dallas

40

clients. More and more designers are looking towards

options like green roofs and gardens to create outdoor

living spaces for downtown hotels.

“Green” design is becoming an important

part of the hospitality industry, and the movement

grows stronger as opportunities arise. Using solar

and geothermal energy, natural heating and cooling

methods, and energy management systems are becoming

common practices for designers.12 Additionally, the use

of sustainable building materials and organic landscape

management practice are becoming important design

considerations. Hotels and resorts were once thought

to be too large and complex to take on the “green

initiative”, but designers around the world are proving

that theory wrong and incorporating LEED principles

into their work. Options and technology involved with

sustainable design have improved immensely in the past

few years, and the hospitality industry is sure to take

advantage of new techniques as they evolve.

Along with environmental techniques and

considerations, improvements in technology have take

on an important role in the guest experience as well.

Technology in the form of lighting, music, etc. is used

to enhance the ambiance of the hotel and promote

emotional connections for guests during their stays.

12 Wolff.

design. Protecting the soul, character, and uniqueness

of a property is of the utmost importance, especially in

the adaptive re-use of buildings. Above all, this “New

Luxury” is about experiences, feelings, and memories. It

is about substance over flash, comfort over coolness, and

friendliness over pretentiousness.10 Guests are desiring

more truth to their environments, and designers are

encouraged to reflect the hotel’s locale by utilizing local

materials, local art, and locally produced finishes and

furnishings. This appreciation for cultural authenticity

provides a strong sense of place, and provides guests

direct opportunities to connect with the people and the

place where the property is located.

This movement of shifting from conspicuous

consumption to a more “conscientious consumption”11

spans to environmental concerns as well. Where hotels

once were filled with polished brass and marble, these

materials are now being pulled in favor of natural

stone and reclaimed woods. Travelers are increasingly

aware of the need to preserve the world’s spectacular

natural environments, and they expect their hotels to

share the same values and views. Especially in urban

environments, the ability to have plenty of natural light,

operable windows with fresh, flowing air, and some sort

of outdoor space to enjoy are very attractive to potential

10 Howard J. Wolff, “Luxe in Flux: High-End Hospitality Design Trends,” (Hospitalitydesign, 2011). 11 Wolff.

41

In addition, it represents the tools of convenience that

travelers expect from their lodging. Luxury hotels are

now expected to have flat screen television sets, DVD/

Blu-Ray players, high-speed wireless internet, and iPod

compatible alarm clocks.13 Living in the information age

with the world at our fingertips, it is vital for top hotels

13 Wolff.

to keep guests connected to the digital world

surrounding them. The ultimate goal of the Grand

Allusion Hotel is to provide a memorable themed

experience for guests. To accomplish this goal, however,

it is vital to incorporate every modern luxury and

convenience guests could want or need.

Ace Hotel, Portland

42

Lobby and Public Spaces

Lounge Seating

Reception Area

Concierge

Coffee/Pastry Bar

Small Kitchen

Public Restrooms

Guestrooms

Sitting Area

Bedroom

Bathroom

Back of House

Manager’s Office

Employee Break Room

Employee Restroom

Luggage Storage

Concierge/Reception Storage

Housekeeping Storage

Laundry Room

Mechanical Room

Hotel Planning and Space Approximations

Many planning issues become important when

designing a successful hotel. A main consideration is

the flow of spaces. By putting the hotel in an existing

historical building, it does not allow much leeway to

change the shell. The rooms need to be planned to

flow together in a way that brings the guests through

the public areas without creating circulation issues in

different areas of activity. The lobby in particular has

many different activities happening at once, and though

the space must be intimate and cozy, it should also

remain open. The challenge is to create different “zones”

that all function together. In the guestrooms, the existing

shell configuration also creates problems for the plans.

Working within a specific structural layout restricts

the sizes and shapes of what can be used as guestroom

spaces, and creativity in space planning becomes crucial.

There is also an issue of making the hotel function

properly while still maintaining the desired aesthetic.

Though the guests will only be seeing certain parts of the

property, there are still many important spaces that must

be included in the design. Ensuring the plan functions

for both guests and employees is a vital issue to be

considered though the design process.

43

Ceiling Heights:

Lobby: 14’-0” + 2’-0” = 16’-0”

Drink/Snack Area: 9’-0” + 2’-0” = 11’-0”

Public Restrooms: 8’-6” + 2’-0” = 10’-6”

Suites: 12’-0” + 2’-0” = 14’-0”

Regular: 12’-0” + 2’-0” = 14’-0”

Offices: 8’-6” + 2’-0” = 10’-6”

Employee Break Room: 8’-0” + 2’-0” = 10’-0”

Employee Restroom: 8’-0” + 2’-0” = 10’-0”

Luggage Storage: 9’-0” + 2’-0” = 11’-0”

Reception Storage: 8’-0” + 2’-0” = 10’-0”

Housekeeping Storage: 8’-0” + 2’-0” = 10’-0”

Laundry Room: 8’-0” + 2’-0” = 10’-0”

Mechanical Room: 10’-0” + 2’-0” = 12’-0”

Estimated Floor Area:

Lobby: 1000 sq ft

Coffee Pastry Bar: 200 sq. ft

Public Restrooms: 250 sq. feet total

Guestrooms: 300-450 sq. ft

Guest Suites: 500-650 sq. ft

Offices: 100 sq. ft

Employee Break Room: 100 sq. ft

Employee Restroom: 150 sq. ft

Luggage Storage: 150 sq. ft

Concierge/Reception Storage: 150 sq. ft

Housekeeping Storage: 200 sq. ft

Laundry Room: 300 sq. ft

Mechanical Room: 150 sq. ft

Net Area: 8,500 sq. ft

Gross Ratio - Estimate 65% Efficiency

Net Area + Grossing Increment = Gross Area

8,500 sq. ft + 3000 sq. ft = 11,500 sq. feet

Gross Area= 11,500 sq. feet

Hotel Planning and Space Approximations

44

Potential Site Requirements

The site must be located in a busy, lively part 1.

of the city.

The site should be located within walking 2.

distance of public transportation for guests to

utilize during their stay.

The site should be accessible for cars and taxis 3.

to stop and drop off guests without seriously

disrupting traffic or creating a dangerous

situation for guests.

The site must be within a short walking 4.

distance of restaurants, shopping, and other

desirable amenities.

The site must be located in a safe area that 5.

guests will feel comfortable in.

The site should have some sort of nearby 6.

parking that may be used for valet parking.

The site should be in an active part of the city, 7.

though not too busy or noisy .

The site should be near other hotel, to allow 8.

for competition between the various brands.

The building must be large enough to house 1.

all the facilities of a hotel, including lobby,

coffee area, guest rooms, and back of house

spaces.

The building should be multiple stories, 2.

to allow guestrooms to be brought off the

ground and noisy street level.

The building could house other shops or 3.

restaurants on street level, provided there is

still space for a large lobby.

The building must be able to contain an 4.

elevator, whether it exists or must be added.

The building cannot be shaped in a way that 5.

will result in predominantly awkwardly

shaped rooms with unusable space.

The shell should have enough space between 6.

floors to allow for at least 10-foot ceilings in

guest rooms.

The shell must be able to be modified to have 7.

emergency egress exits.

Location Building Properties

45

The building exterior should have a historic 1.

quality that lends itself to a historic literary

theme.

The façade of the building will preferably 2.

need very little to no alterations, being able to

keep existing windows and ornament.

The building interior should have historic 3.

structural character that can be utilized for the

new hotel design

(Example: exposed brick, original wood

flooring, wood beams, etc.)

The shell should have windows to allow 1.

natural light in all public and guest room

spaces.

The shell should have views that overlook the 2.

street and city, and preferably do not look into

the windows next door.

The structural grid of the building should 3.

allow for flexibility of creating smaller,

intimate spaces, without breaking up the

building too much.

The structure might have available space to 4.

create some sort of outdoor patio space.

Building Properties, Continued Building Character

46

Site Analysis

VINE STREET

VINE STREET

RACE STREET

WALNUT STREET

WALNUT STREET

RACE STREET

W 5TH STREET

E 4TH STREET

E 5TH STREET

E 6TH STREET

W 6TH STREET

E 6TH STREET

E 5TH STREET

E 4TH STREET

W 6TH STREET

W 5TH STREET

Via Vite

Fountain Square

The Westin

McCormick & Schmick’sCarew Tower

Hilton CincinnatiNetherland Plaza

Saks Fifth Avenue

GRAND ALLUSION HOTEL

Tiffany & Co.

Graeter’s

NadaContemporary Arts Center

Macy’s

The Cincinatian

Off Map:

Arnoff Center21c Museum HotelMetropoleDuke Energy CenterFreedom CenterPaul Brown StadiumGreat American BallparkTaft Art Museum

47

Located on Vine Street in the heart of Cincinnati, the

hotel’s is housed in two connected buildings that

currently houses condos, a restaurant and retail space.

The Grand Allusion’s lobby is located at 417 Vine Street, a

century old building that recently had its facade restored

to its original appearance. With its whimsical and

authentic exterior, the hotel will only need to add minor

alterations to mark its location and brand. Just minutes

from Fountain Square, the site puts guests within a

short walking distance of the best shopping, dining, and

cultural activities that downtown Cincinnati has to offer.

48

The Ethical and Sustainable Environment

During the design process, it is important to keep

in mind how the hotel fits into the environmental context

of its location, as well as how that affects the client and

user. The location of the project is an important jumping

point in these considerations. The Grand Allusion is to be

located in existing buildings with historic value, and the

site is a part of a continued effort to revitalize downtown

Cincinnati. After years of urban development spiraling

outwards with the theme of newer and bigger is better,

the revitalization of cities is a strong movement that

can be greatly helped by designers working creatively

to bring business back to existing and abandoned

structures. Adding a new hotel with a strong presence

and personality can help bring people into the city that

may otherwise have stayed in the suburbs, while the

locals running the hotel can provide guests insight into

the area. The improvement in life and increased diversity

of experience that this movement creates can only be

beneficial to the users experience, and the client can

benefit as more people flock to the area and hotel.

Just as the hotel itself can bring value to a

customer’s life, how the building is designed can do the

same. As the designer, it is vital that we keep in mind

what would be best for the users when it comes to the

chosen materials. It is their duty to create environments

that perform just as beautifully as they look. Using low

VOC materials, locally produced high quality products,

and environmentally friendly technology can not only

help the environment, but the health of those spending

a lot of time in the space as well. The final goal of the

project is to create a design that improves the life of

everything it touches – the clients, the users, and the

environment itself.

The love of reading is a common thread that

stretches across the world, and the Grand Allusion Hotel

celebrates that connection. Just as books encourage

people to stretch their imagination and explore different

environments and locations, the designs of the various

rooms do the same. Themes chosen to inspire the

guestrooms encompass stories that are published and

popular all over the world. Additionally, the love of

reading is a common thread that stretches across the

world, and that shared connection can bring together

people that may otherwise have nothing in common.

Visitors of the hotel, no matter where they are from, will

find a connection to at least one of the stories. In each

49

The Ethical and Sustainable Environment room that involves a global theme, great care is taken

that pieces are authentic and showcase the culture of

the highlighted location. Every measure is taken to

remain respectful and conscious of not only the cultures

represented in the rooms, but to those of the visitors.

Through the design of the project, there are four

key principles of environmentally sustainable design that

shall be utilized in the hotel:

1. The first principle is utilizing low impact materials

whose production processes use as little energy as

possible. This includes the using of non-toxic materials,

using re-used and recycled materials, minimizing the

amount of restructuring to the building, and using local

manufacturers rather than importing.

2. The quality and durability of products used in the hotel

will also be a focus. Though more expensive, better-

made products will need to be replaced less often, which

reduces the impact of producing replacements.

3. Energy efficient products will also be a key point to

be considered during the design process. With all the

new technology that is created to be better for the

environment, it is important to take advantage of these

options.

4. Finally, despite being focused on the interior design of

the project, the outdoor environment will be utilized to the

building’s advantage. Ideas such as green roofs at patios,

rainwater collection, and solar energy can all be worked

into the technical details of the hotel design.

50

Implementing Sustainable Design Principles

Using low VOC paints, sealants, adhesives, •

carpets, wood products, etc.

Using reclaimed lumber in flooring, •

casegoods, etc.

Keeping existing brick in the building rather •

than covering it all with drywall

Incorporating fabrics, wallcoverings, and •

paper products with recycled content

Keeping and working within the existing •

structure rather than taking it apart and

changing everything

Using local manufactures and materials •

and products that are produced within a

reasonable radius of the final building site

Low Impact Materials

Utilizing the Outdoor Environment

Incorporating a Recycled and Green Roof into •

the outdoor patio renovations

Rainwater collection for re-use•

Utilizing solar energy panels to help power •

aspects of the project

51

Implementing Sustainable Design Principles

Specifying furniture made with higher quality •

materials and techniques that will last for a

longer period in a commercial environment

Utilizing more durable materials, including •

choosing more durable fabrics and higher

weight carpeting and wall covering

Quality and Durability

Energy Efficient Products

Using EnergyStar compliant products – •

heating/cooling, lighting, etc.

Using Energy Recovery Ventilators on the roof •

to siphon and reuse heat

Choosing low flow faucets, toilets, and •

showerheads

53

Early Design Studies

54

General Building Zoning

55

The concept of grouping and stacking the main building

components became the primary generator of the hotel’s

overall spacial programming. Partly existing structure, a

primary circulation core consisting of elevators and fire

stairwells supported the movement of guests and staff

to all points throughout the building, as well as marked

the point where the two buildings connect. From there,

the guestrooms were placed around the perimeter of

the hotel structure with the circulation corridors located

centrally where the buildings join.

Central Circulation Core

Public Spaces

Guestrooms

56

Zoning By Floor

58

During a two-day design exercise, concept guestroom

design provided a early opportunity to understand and

develop the aesthetic of the hotel. This early Emerald

City Suite was the fi rst attempt to work within the

allocated square footage for one of the larger guestrooms

to decide if the building would need to be re-zoned for a

larger or smaller room size. Though the restrained style

of the room was not the direction hotel would ultimately

go, the overall space planning established a reference

point of necessary spatial requirements for further

guestroom development.

Guestroom Design Exercise

59

Reclaimed Wood Flooring

Antique Mirror Tiles

Glass Mosaic Tiles

60

Early in the design process, the library

inspired lobby was intended to be

light and airy, with sun streaming into

the space through large windows.

Similarly to the guestroom design

exercise, this early lobby scheme

provided a strong base for the spatial

zoning and layout of the final lobby

design. Though the design aesthetic

would move towards a darker and

grander look, the location of the main

zones in the lobby would ultimately

remain very close to this first design.

Lobby Design Exercise

63

Public Space

Design Development

64

202: Pride and Prejudice203: Shakespeare204: Great Expectations205: Wuthering Heights

301: Beauty and the Beast302: Snow White303: Little Mermaid304: Hansel and Gretel305: The Snow Queen306: Cinderella

401: Gone With the Wind402: The Great Gatsby403: Anne of Green Gables404: Little Women405: Edgar Allen Poe406: Tom Sawyer

501: Around the World in 80 Days502: Arabian Nights503: Harry Potter504: Robin Hood505: 20,000 Leagues Under the Sea506: The Lord of the Rings

601: Wonderland602: Munchkinland603: Narnia604: The Emerald City Level 1: Library Level 2: English Literature Level 3: Fairy Tales

Bar

Library

Library

GuestLounge

ExistingRestaurant

202

203

204

205

302

303

304

305

306

301

Revised Zoning and Guestroom Allocation

65

Level 4: American Literature Level 5: Adventure Level 6: Fantasy Level 7: Roof Terrace

Outdoor Terrace

Event / Meeting

SpaceRoof

Terrace & Garden

402

403

404

405

206

401 502

503

504

505

506

501 602

603

604a

601

604b

66

Building upon the earlier exercise, the lobby was

examined more closely in this version of the design. The

furniture plans and spatial zoning remained very close

to the previous iteration, while the finish and furniture

selections were explored though this revision. This

exploration led to the decision to move the space away

from the airy loft feel towards a more stately library look.

0 1 5 10 15 25 35 55

Scale (in feet)

Initial Lobby Design

67

0 5 10 15 25 35 55

Scale (in feet)

Floor 1

Floor 2

68

In its most drastic change of the

design process, the lobby became a

dark and warm space reminiscent of

a historic library. The rows of shelves

stacked to the ceiling help draw the

eye up through the two story space

and set the stage for a dramatic hotel

experience. The oversized fireplace

and chandelier add to the drama by

creating an imposing and impressive

first impression for visitors to the

hotel. As guests move deeper into the

lobby, they reach the cafe/bar that

provides pastries, coffee, and evening

cocktails to hotel guests and visitors.

Public Space Revision

69

0 5 10 15 25 35 55

Scale (in feet)

70

0 5 10 15 25 35 55

Scale (in feet)

Floor 1

Floor 2

71

0 1 5 10 15 25 35

Scale (in feet)

73

2O,OOO Leagues Guestroom Design Development

74

Initial 2O,OOO Leagues Room Design

75

0 1 5 10 15 25

Scale (in feet)

20,000 Leagues Under the SeaStandard King Room

The room themed to Jules Verne’s

Twenty Thousand Leagues Under the

Sea brings guests into the world

of the Nautilus. The design was

to combine a classic submarine

aesthetic with the plush luxury of a

Victorian sitting room.

76

In this design revision, the contrast

between a submarine aesthetic and

Victorian style was explored through

the contrast of the main room and the

entry corridor and bathroom. Braces

were added to further the industrial

and mechanical look of a submarine

and exaggerated the length of the

room and diminish the width.

In regards to the furniture and

accessories, the room began to

incorporate a Steampunk aesthetic

that emphasized the “alternative

industrial” and “retro-futuristic”

concepts prevalent in science fiction

during the Victorian era.

2O,OOO Leagues Room Design Revision 1

0 1 5 10 15 25

Scale (in feet)

2O,OOO Leagues Room Design Revision 1

77

81

Wonderland Suite

Design Development

82

0 1 5 10 15 25 35

Scale (in feet)

Initial Wonderland Suite Design

83

0 1 5 10 15 25 35

Scale (in feet)

Alice in WonderlandOne Bedroom Suite

A contrast of scales was the initial

inspiration for the Wonderland

Suite. Guests are meant to feel as

if they are growing and shrinking

as they move through the rooms,

just like the title character in Lewis

Carroll’s classic novel.

The main sitting room and dining

room reference the classic “Mad

Tea Party’ scene with a classic

Victorian feel aesthetic. In contrast,

the oversized scale of the bedroom

shrink visitors as they enter the

kingdom of the Queen of Hearts.

84

In drastic contrast to the previous design, this iteration

of the suite emphasizes the fun and whimsical nature of

Alice’s Adventures in Wonderland and Through the Looking

Glass. The design retained the base ideas of contrasting

scales and the distinction between the Mad Tea Party and

Queen of Hearts, but pushed the “crazy” much further.

Additionally, the revision included the first “layering of

allusions” to the source story within the suite’s design.

0 1 5 10 15 25

Scale (in feet)


85

0 1 5 10 15 25

Scale (in feet)

86

0 1 5 10 15 25 35

Scale (in feet)

The second revision to the Wonderland Suite retained

much of the previous design, but began the exploration

of furniture and materials. The furniture needed to

reflect the kooky feeling of the space, and pieces would

be custom designed and built to unique to the space.

This iteration provided the first look into the bedroom, a

sophisticated reflection of the Queen of Hearts and Red

Queen. The space is noticeably more reserved than the

sitting room to respond to its function as a place to relax

and sleep peacefully with few distractions to the guest.


87

0 1 5 10 15 15 35

Scale (in feet)

88

Living and Dining Rooms

89

Bedroom

Final Hotel Design

91

93

Public Spaces : Lobby and Corridors

94

The final lobby design recalls a grand

and historic library with towering

bookcases and cozy seating areas.

Warm, dark woods and antique

accents highlight the space and radiate

out from the lobby into the rest of

the hotel. The public spaces remain

simple and reserved to contrast and

highlight the experience of entering

the guestrooms, but each floor hints

at what is to come. The unique

wallcovering at each elevator lobby

is a subtle reflection of the floor’s

theme, and the artwork along the

corridors are book illustrations from

the guestrooms’ source material.

Additionally, each of the floors have a

library nook along the corridor filled

with books fitting the theme of the

floor that guests can borrow at their

leisure.

0 5 10 15 25 35 55

Scale (in feet)

EXISTING RESTAURANT

ROOF TERRACE

95

0 5 10 15 25 35 55

Scale (in feet)

Floor 1

Floor 2

EXISTING RESTAURANT

96

0 5 10 15 25 35 55

Scale (in feet)

EXISTING

RESTAURANT

ROOF TERRACE

GUEST PATIO

97

Guestroom Themes Floor 2: English Literature Pride and Prejudice Shakespeare Great Expectations Wuthering Heights Floor 3: Fantasy Wonderland Munchkinland Narnia The Emerald City Neverland Camelot Floor 4: American Literature Gone With the Wind The Great Gatsby Anne of Green Gables Little Women Edgar Allen Poe Tom Sawyer Floor 5: Adventure Around the World in 80 Days Arabian Nights Harry Potter Robin Hood 20,000 Leagues Under the Sea The Lord of the Rings

Floor 6: Fairy Tales Beauty and the Beast Grimm Brothers Tales Cinderella

Sample Floor Room Type Allocation

STANDARD KING

2 BEDROOM - KQQ

2 BEDROOM - KQQ1 BEDROOM - QQ

STANDARD

KING

STANDARD

KING

98

0 5 10 15 25 35

Scale (in feet)

0 5 10 15 25 35 55

Scale (in feet)

101

2O,OOO Leagues Guestroom

102

The final design of the 20,000 Leagues

guestroom took the submarine

influence and pushed it more towards

a fantasy-futuristic aesthetic. Rather

than reflect a historic submarine, the

room embraces the mysterious fantasy

world in which the Nautilus inhabits.

With this change, the Steampunk

influence can more easily be expressed

through the choice of materials,

furniture, and finishes.

Scale (in feet)

0 1 5 10 15

103Scale (in feet)

0 1 5 10 15

107

Wonderland Suite

108

0 1 5 10 15 25 35

Scale (in feet)

The final design of the Wonderland Suite reflected

a layering of references to the source stories as well

as a more refined interpretation of the room’s kooky

inspiration material. The balancing of color and pattern

in the sitting room was the most difficult part of the

design, as there is a fine line between “just crazy

enough” and “just plain crazy.”

109

0 1 5 10 15 15 35

Scale (in feet)

110

Living and Dining Rooms

112

Bedroom

Select Technical Drawings

115

116

Full Building

118

Corridors

124

2o,ooo Leagues Guestroom

128

Wonderland Suite

Appendix

137

i

Project Learning Goals

1. I want to demonstrate though my hotel

design that the theming of spaces can be

done in a modern and elegant way, and that

it doe not have to cross the line to “cheesy”.

2. I want to strengthen my ability to quickly and

efficiently pull FF&E schemes that perform to the

needed hospitality requirements as well

as capture the desired feel of the space. This

includes choosing fabrics of different patterns,

scales, and textures that all work together, as

well as furniture pieces that fit the desired feel.

While retaining personality and fitting in

differently themed spaces, everything must

also fit cohesively into the hotel as a whole.

3. I want to strengthen my presentation skills,

particularly in layout design. I would like to

improve on balancing the issues of getting

information across to the viewer/reader

without overwhelming them or the page.

P R O P O S E D R E N O V A T I O N F O R H A M P T O N I N N L A K E W O O D , C O L O R A D O 0 8 . 1 3 . 1 0

PG 505.04.12

25188.000

+ PROPOSED RENOVATION FOR HOMEWOOD SUITES WALLINGFORD, CONNECTICUT

drapery fabric and wood blinds

fabrics at dining chair b back and seat

dining chair b

sofa side table

overall wallcovering and breakfast area accent wallcovering

wing chair at fireplace

lodge / lobby carpet

community table inspiration

pendant over community table

fabric at barstool back and seat

lodge furniture and finishes

barstool

exisiting tables and dining chair a

fabric at wing chair and pillow

fabric at sofa and pillow

fabric at lounge chair c

wood look floor tile

side table

lounge chair c

existing coffee console

exisiting sconce

ii

Interviews

Elizabeth Price and Rachael Leson

Interior Designers, FRCH Design Worldwide

When initially zoning areas for a hotel, are there any 1.

specific spaces that are often overlooked but found to

be quite necessary?

RL: I think you can say any back of house spaces are

often overlooked, specifically offices and admin space.

Something you might focus on in your design is the

bar, and a lot of designers forget how much space you

need behind the bar for storage and equipment space.

EP: Back of house areas - Laundry facilities, kitchen,

employee break area, employee offices, employee

restrooms, housekeeping storage, pool storage (if there

is a pool), If there is a ballroom (higher end properties)

ensure there is a route from the kitchen / prep area that

is discrete.

iii

2. Have you found that any areas in particular seem to require more or less square footage in actuality than initially

planned?

RL: Like I said, I think the bar usually requires more space. Essentially any service area that’s placed in a public space requires

more space than you think. A lot of designers don’t want to take up seating and dining space with service space, but you

need to think about the people who will be there ALL the time (rather than just for a week or weekend) and how they use the

space. The front desk usually needs to be bigger than you think it does because they need printers, monitors, filing space etc.

EP: It seems like the front desk often takes more than I think it will (when starting form scratch). You kind of sketch something

in, and then you realize you need your 5’ radius behind (or leave it open on both ends) for employees, you realize you overall

depth – usually deeper than what you first sketch, and your cuing space. . . it just eats up more space than you think.

3. Is there a particular problem that you have often encountered when working on spatial planning for hotels?

RL: I can’t think of anything off the top of my head, usually it’s making a design work with the existing architecture and trying

to fit in all the ‘need to haves’ along with all the ‘wants’ to make your hotel special.

EP: Allowing for the required number of seats for breakfast in the confined spaces, and still having the 36” clear path to meet

ADAAG requirements. . .For instance, Homewood requires one seat for every other room – 116 rooms = 58 seats – in the

area given – a pain in the rear. Accessibility in general can be extremely challenging, but extremely important. In a Double

Tree that I worked on in Silver Spring, MD, we had to either add a MASSIVE ramp (that we explored incorporating a

stairwell into the ramp which was very cool) or a lift. Unfortunately, the owner preferred the lift. It was a about a 3’

Elevation change. If you run into something like this, use the challenge as an opportunity for an awesome designed piece, be

it lift or ramp. If you have awkward “leftover spaces” make them interesting / functional so that they are not lost space. For

instance, had a large reno that we looked for Garfield Tower downtown. Talk about a nightmare of a building. . .) One plan

the we looked at, you walked in on center with the front desk. 90% of the lobby was to the right. There was an weir space to

the left, that needed to be well designed so it didn’t feel forgotten.

iv

4. Are there any general rules of thumb to remember when organizing a spatial sequence or either lobbies or

guestrooms?

RL: For lobbies, I think different types of seating is important. Thinking about a single guest, a group of two, business

associates and large groups. A party of one is going to want to sit/lounge/eat in a different space that a group of two than

a large group. You need to think about accommodating all those people. Also, think about how the space is used, obviously

when entering there needs to be a sort of ‘decompression space’ where there’s plenty of room for luggage and checking in,

there needs to be a lounge/meeting place because no owner wants an empty lobby and there needs to be dining (bar and/or

restaurant) because the hotel wants to generate revenue.

RL: For guestrooms, I think there’s a standard way of designing them, but usually we just think of what we miss when we’re

in a guestroom, what we use all the time and what we don’t touch. It’s also important to think about what kind of hotel you

want to be. Will your guestroom just be a landing pad for tourists, will they stay there most of the weekend, will they need a

place to make food, will they want to lounge and watch TV. This is the place where it’s most ‘guest-centric’.

EP: Guestrooms – Think about what you do – I walk in with all my crap – computer bag, suitcase, purse, key card, cell phone

– what do I do with all of it??? Another thing I ALWAYS do when I walk into a room, is check for bedbugs. . . where does

my stuff go then? Next I like to look at my view, then I have to check out the bathroom. Think of your demographic, and

how they will use the room. Sell your design, based on the end users needs, but remember you are selling to your client –

Starwoods, Apple, Hilton, some made up boutique ownership company.

EP: Public Space – Check in should be easy to find – it doesn’t have to smack you in the face, but it should be easy. For

instance, at the Embassy Suites in Denver, you enter on the 1st floor, but check in was on the 4th. There is someone sitting

at desk on the first to direct you where to go. Allow for a decent amount of cuing that the front desk. A good rule of thumb

is 2 check in stations up to 100 rooms. An extra station to be added for every 50 rooms after that. You should think about

how you want the lobby to be used. Socially, meal oriented, etc.

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5. In all your experiences working on hotel renovations, what is the number 1 spatial design problem that you wish

you would never see again? (Essentially, what is the one thing someone designing a hotel should NEVER do)

RL: I’ve seen a lot of ‘gross’ design, like bad colors and poor quality, but there hasn’t been a ton of TERRIBLE space planning.

I think moving forward what we try to do is avoid the ‘sea of tables’. It looks bad and it’s not good design. What we’ve

tried to do is create many different experiences in one lobby and make it usable throughout the day. With Perfect Mix

we have dining tables but they’re all at different heights, and the sofa-style banquettes are good for lounging after a long

meeting. I don’t think with these renovations anyone didn’t anything terribly wrong (other than picking out moldy looking

wallcovering etc) but what I would say we would NEVER want to do going forward is slap a few sofas and dining tables

wherever because it looks good. We want to create an experience that make guests connect with your hotel.

6. In your experience, how much attention does the client pay to the back of house design? Would they rather have a

more functional public space layout at the sacrifice of BOH?

RL: Well, it depends on the client. Some clients come from an operations background and therefore it’s really important to them.

I can safely say, no owner wants to spend their money in the back where they won’t generate any revenue, but it still needs

to be planned well. However, they would rather have more functional public space because, as I said, it generates more

future revenue. That being said, no one wants to design a hotel where their employees are miserable.

EP: Many times, in new build / full blow out reno, BOH is handled by consultants. Especially the kitchen. Anything that

is visible to the end consumer should be important to you. In working on Chennai (granted we are talking about a whole

other culture here) BOH was EXTREMELY important. Food prep was a big deal for cultural reasons. The kitchen was

as big as the restaurant. They had BOH facilities for the employees to shower...you’d VERY rarely, if ever find that in

the states. Domestically, I would say, the finer you intend your food offering to be, the more space you need to allow for a

kitchen. Do you want people coming to this hotel to have dinner / lunch / breakfast even if they are not staying here? Think

of Ingredients at the Westin, and how many people they feed at lunch. If you plan to offer entertainment, you BOH should

reflect that was well.

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7. In your experience, what is the first thing a client looks for when reviewing a schematic design?

RL: In the lobby- seat count. They want to fit as many people in the dining area and lobby as humanly possible. Because

sometimes that’s the difference between big groups coming back. They also tend to look at the progression guests take

through the space and how that impacts their experience. A lot of the work we’ve done with Hilton is about the guests

experience and how we can improve that experience

EP: Color and materials – The overall feeling of the space. Then they go straight to the renderings – (Unless the client is

Apple). Other clients that have no design background, tend to find it more difficult to create a 3d visualization of the project

from flat plans, and flat elevation. To sell the design, the renderings really do it! Rendered plans and elevations help the

understand more realistic proportions as well. We all know that we can cheat things in a 3d rendering (moving a chair

where it really wouldn’t be, hiding an undersigned element with a person) but elevations help us understand what we are

doing and help clients understand proportions transitions better.

8. What do you believe are the major differences to keep in mind when zoning and programming for a boutique hotel

vs. a larger limited service hotel?

RL: A boutique hotel has less requirements service-wise. In a larger hotel, you’ll accommodate large meeting rooms, a kitchen, a

boardroom etc and because you have more keys (guestrooms) you’ll require a lot more service space. With a smaller boutique

hotel, you can make it a little more what you want it to be. You don’t need a large meeting room (if you don’t want to), if

you only want a bar that serves small hors d’ourves you can do that and your kitchen will be a lot smaller than if you needed

to accommodate the ‘restaurant’ at a hotel like Hilton Garden Inn.

EP: I think that when you are working on a Boutique Hotel, the spaces need to feel more intimate, and dynamic. Your target

consumer is not going to be JUST the business traveler anymore. You are going to want to appeal to weekend travelers as

well. What are they going to want to do? If they are visiting the city, how do you get them to spend money in your hotel

out of want, as opposed to necessity? Most travelers in limited and focused service eat their meals there because it is cheap,

easy and convenient. How do you make them buy something in your hotel as opposed to Walgreens down the street? More

often than not, consumers of a boutique hotel are looking for something unique, which is why they came to you hotel in the

first place. Remember that!

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Site Evaluation Form

Location

The site must be located in a busy, lively part of the city1.

The site should be located near within walking distance of public 2. transportation for guests to utilize during their stay

The site should be accessible for cars and taxis to stop and drop off 3. guests without seriously disrupting traffic or creating a dangerous situation for guests

The site must be within a short walking distance of restaurants, 4. shopping, and other amenities

The site must be located in a safe area that guests will feel 5. comfortable in

The site should have some sort of parking available nearby that can 6. be used for valet parking

The site should be in an active part of the city, though not too busy or 7. noisy

The site should be somewhat near other hotels, allowing it to be 8. competition for existing hotels

Building Character:

The building exterior should have a historic quality that lends itself to a 1. historic literary theme

The façade of the building will preferably need very little to no 2. alterations, being able to keep existing windows and ornament

The building interior would preferably have historic structural character 3. that can be kept for the hotel (Example: exposed brick, original wood flooring, wood beams, etc.)

Criteria Site Rating

Not a great drop off area currently

Near multiple restaurants, stores, and right off Fountain Square

1 2 3 4 5

1 2 3 4 5

1 2 3 4 5

1 2 3 4 5 1 2 3 4 5

1 2 3 4 5

1 2 3 4 5

1 2 3 4 5

1 2 3 4 5

1 2 3 4 5

1 2 3 4 5

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1 2 3 4 5

1 2 3 4 5

1 2 3 4 5

1 2 3 4 5 1 2 3 4 5

1 2 3 4 5

1 2 3 4 51 2 3 4 5

1 2 3 4 5

1 2 3 4 5

1 2 3 4 5

Building Properties:

The building must be large enough to house all the facilities of a hotel, 1. including lobby, coffee area, guest rooms, and back of house

The building should be multiple stories, to allow guest rooms to be 2. brought off the ground

The building could house other shops or restaurants on street level, 3. provided there is still space for a large lobby

The building must be able to contain an elevator, whether it exists or 4. must be added

The building cannot be shaped in a way that will result in awkwardly 5. shaped rooms

The shell should have enough space between floors to allow for at 6. least 10-foot ceilings in guest rooms

The shell must be able to be modified to have emergency egress exits7.

The shell should have windows to allow natural light in all public and 8. guest room spaces

The shell should have views that overlook the street and city, and 9. preferably do not look into the windows next door

The structural grid of the building should allow for flexibility of creating 10. smaller, intimate spaces, without breaking up the building too much

The structure may have available space to create some sort of 11. outdoor patio space

Varies between the two buildings

limited views

Criteria Site Rating

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Anhar, Lucienne. “The Definition of Boutique Hotels.” Hospitality Net. N.p., 13 Dec. 2001. Web. 23 May 2012. <http://www.hospitalitynet.org/news/4010409.search?query=lucienne+anhar+ boutique+hotel>.

The article looks at the evolution of boutique hotels, from origination of the “type” to the evolution of design and marketing.

Lea, Kristen. “The Boutique Hotel : Fad or Phenomenon?” Locum Destination Review (n.d.): 34-39. Web. <http://www.locumconsulting.com/pdf/LDR7BoutiqueHotels.pdf>.

The article analyzes the rise of the boutique hotel. It questions and examines how the future looks for the “trend”, and looks to the past for how it has evolved.

History of Boutique Hotels

Literature Search

“Hospitality Style.” HOSP: Hospitalitystyle.com. N.p., n.d. Web. 22 May 2012. <http://hospitalitystyle.com/>.

This online database has hundreds of articles showcasing the latest and greatest in hospitality design.

Watson, Howard. Hotel Revolution. Chichester: Wiley-Academy, 2005. Print.

The book highlights the latest trends and movements in hotel design.

Wolff, Howard J. “Luxe in Flux: High-End Hospitality Design Trends.” Hospitalitydesign. N.p., Jan. 2011. Web. 23 May 2012. <http://www.hospitalitydesign.com/hospitalitydesign/projects/ Luxe-in-Flux-High-E-1597.shtml>.

The article looks at the change in high-end hospitality design as the market recovers after a period of economic downturn.

Trends in Hospitality Design

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Hospitality Design and PlanningFRCH Design Worldwide, comp. Hilton Garden Inn Prototype - Version 7.1 Grow. 10 May 2012. PDF Prototype Package 7.1 Grow.

The PDF document contains the standard prototype construction documents for new Hilton Garden Inns, providing a real life reference for hotel design.

Hilton Worldwide, comp. Double Tree by Hilton : Brand Standards. July 2011. Design & Construction Standards.

The PDF document provides the design and construction standards for all Double Tree by Hilton Hotels

Hilton Worldwide. Homewood Suites by Hilton Standards. 2010.

The PDF document provides a documented list of standards for the design, construction, running, etc. of Homewood Suites hotels.

Rutes, Walter A., Richard H. Penner, Lawrence Adams, and Walter A. Rutes. Hotel Design, Planning, and Development. New York: W.W. Norton, 2001. Print.

The book is a comprehensive reference for hospitality design. Included is the history of various hotel types and guides to planning and designing all spaces of a hotel.

Yee, Roger. Hospitality & Restaurant Design, No. 3. New York: Visual Reference Publications, 2004. Print.

The book contains photos and background information for dozens of the most luxurious and high end hotels in the world.

xi

Dahmen-Ingenhoven, Regina, and Kristin Feireiss. Animation: Form Follows Fun. Basel [Switzerland: Birkhäuser, 2004. Print. This book investigates the trend of “animation” in contemporary architecture, and how it influences designs and the design process. With examples ranging from Ancient Greece to Disneyland, the evolution of the concept is explored and examined.

Gottdiener, Mark. The Theming of America: Dreams, Media Fantasies, and Themed Environments. 2nd ed. Boulder, CO: Westview, 2001. Print.

The book explores how society has changed since the 1960s as reflected in the theming of America. From Graceland, to the Mall of America, to Disneyland, to Los Vegas, the author links the rise in theming to the evolving values in society.

Stylus. “Future Classic: Contemporary Restoration.” Stylus.com. N.p., 21 Oct. 2011. Web.

The article is a fresh take on the restoration of historical spaces. Rather than the traditional, historically accurate restorations of the past, the new trend is to add modern and futuristic touches.

Themed Environments

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“CitiLog : The Leader In Upcycled and Repurposed Wood and Building Products.” CitiLog. CitiLog, 2009. Web. 20 May 2012. <http://www.citilogs.com/>.

CitiLog is a source of upcycled and repurposed lumber and wood products located in the MidAtlantic region of the US. The company strives to save and repurpose trees that have fallen or been removed for construction, as well as wood from demolished buildings. The company is FSC certified and all their products conform to LEED standards and apply for LEED accredited points.

“EERE: Energy Savers Home Page.” EERE: Energy Savers Home Page. N.p., n.d. Web. 15 May 2012. <http://www.energysavers.gov/>.

Created by the US Department of Energy, the Energy Savers is filled with information that can be used from everyone from designers to homeowners. Eight categories list different ways energy saving can be introduced into a building, and they range from something as simple as turning off lights, to adding solar panels and water heaters.

“ENERGY STAR.” ENERGY STAR. U.S. Environmental Protection Agency ; U.S. Department of Energy, n.d. Web. 19 May 2012. <http://www.energystar.gov/>.

Energy Star is a joint program of two US Agencies working to help protect the environment through energy efficient products and practices. Using the listings of Energy Star qualified products are an easy way to help people choose products that are environmentally conscious. ¬¬

“Low-VOC Building Materials.” Clean Air Counts. Clean Air Counts, n.d. Web. 19 May 2012. <http:// www.cleanaircounts.org/lowvocbuildingmaterials.aspx>.

The “Clean Air Counts” website discusses types of low VOC building materials and how their use can improve air quality.

Sustainability Resources

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“Market at Fifth :Historic, Hip, Chic, Green.” Pittsburgh History & Landmarks Foundation. Pittsburgh History & Landmarks Foundation, n.d. Web. 19 May 2012. <http://www.phlf.org/marketatfifth/>.

The Market at Fifth project is an excellent example of how sustainable design can be incorporated in renovated historic buildings. The website explains how the History and Landmark Foundation incorporated “green” building techniques into the process and how it reached its LEED Gold certification.

“Roofing For Your Lifestyle.” EcoStar. EcoStar LLC., 2012. Web. 20 May 2012. <http://www.ecostar.carlisle.com/index.aspx>.

EcoStar is the leading manufacturer of sustainable, environmentally friendly roofing products. The company uses recycled rubber and plastics to create environmentally friendly roofing solutions.

“USGBC: LEED.” US Green Building Council. USGBC, n.d. Web. 20 May 2012. <http://www.usgbc. org/DisplayPage.aspx?CategoryID=19>.

“Leadership in Energy and Environmental Design (LEED) is the national standard for the development of high-performance sustainable buildings. The USGBC website provides information on how the LEED program functions, as well as lists points that can be used for LEED accreditation. Explanations of programs, rating systems, lists, and guides can call be found through the site.

“Valley Forge Fabrics: Fabric, Upholstery Fabric, Drapery.” Valley Forge Fabrics. Valley Forge Fabrics Inc., n.d. Web. 20 May 2012. <http://www.valleyforge.com/>.

The Valley Forge Fabric Company is a major contract fabric distributors pushing to incorporate more sustainable products and production into their company. The fabrics in their FRESH line are made from 100% recycled content, are recyclable, and are made at a low impact manufacturing platform. Because of these qualities, using the products can contribute to LEED accreditation.

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Austen, Jane. Pride and Prejudice. Leamington Spa: Scholastic, 2007. Print.

Baum, L. Frank. The Wonderful Wizard of Oz. Chicago: G.M. Hill, 1900. Print.

Brontë, Emily. Wuthering Heights. New York: Random House, 1943. Print.

Burton, Richard Francis. The Arabian Nights. New York: Modern Library, 1932. Print.

Carroll, Lewis. Alice’s Adventures in Wonderland and Through the Looking-Glass. N.p.: Barnes & Noble, 2004. Print.

Fitzgerald, F. Scott, and Matthew J. Bruccoli. The Great Gatsby. New York: Scribner, 1996. Print.

Grimm, Jacob, and Wilhelm Grimm. Grimms’ Fairy Tales. New York: Book Craft Guild, 1886. Print.

Le Prince De Beaumont, Jeanne Marie, Percy H. Muir, and Edy Legrand. Beauty and the Beast. New York: Ltd. Editions Club, 1949. Print.

Poe, Edgar Allan, Charles F. Richardson, and Frederick Simpson Coburn. The Complete Works of Edgar Allen Poe. New York: G.P. Putnam’s Sons, 1902. Print.

Verne, Jules. Around the World in Eighty Days. London: Puffin, 1990. Print.

Verne, Jules. Twenty Thousand Leagues Under the Sea. Cleveland: World Pub., 1946. Print.

Classic Literature - Guestroom Inspiration

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Page 51: - http://www.energystar.gov/ - http://www.kravetcontract.com/fabrics.htm

Page 59: - http://www.designersbestpicks.com/2010/07/logs- end-reclaimed-wood-flooring.html - http://tiletramp.com/2011/10/24/guest-post-mir rored-tiles/ - http://christapirl.blogspot.com/2011/11/bathrooms- are-fun.html

Page 60: - http://1lawreview.com/tag/reading/ - http://trendland.com/trendhome-marie-olsson-ny landers-home/marie-olsson-nylander-interior-de sign-12 - http://simplyhomedesigns.blogspot.com/2012/04/ bookcases-in-bedrooms.html - http://www.beautiful-libraries.com/1000-1.html - http://www.etsy.com/listing/89153994/coral-pretty- things-clever-words-print - http://www.etsy.com/listing/81311052/vintage- industrial-factory-ceiling-light Page 68: - http://belleatelier.tumblr.com/post/32263397928/ library-ladder (http://architectuul.com/architecture/ shiba-ryotaro-memorial-museum - http://www.restorationhardware.com/catalog/cat egory/products.jsp?categoryId=cat550006 - http://indulgy.com/post/j6pMz0dP1/for-the-love-of- books - http://faerlyn.tumblr.com/post/38047871032/the- miraculous-staircase-loretto-chapel-santa

Page 71: - www.habermanfabrics.com

- http://www.annsacks.com/home.jsp - https://svpply.com/elmwoodreclaimedtimber.com - www.flickr.com, user luzer

Page 86: - http://vandm.com/ - http://www.homeportfolio.com/catalog/Product. jhtml?prodId=224907 - http://www.hickoryfurniture.com/Century-Furni ture-Marlborough-Chair/LR18232-547/ItemInforma tion.aspx - http://pinterest.com/pin/47147127321122655/ - http://www.arteriorscontract.com/shop.aspx - http://www.etsy.com/listing/46348048/complete-set- 10x15-rock-star-scientist - http://s545.photobucket.com/user/Handai-Tolan/ media/PetakunoDunia.jpg.html

Appendix i:FRCH Design Worldwidehttp://www.hotelzaza.com/#houston

Appendix ii:FRCH Design Worldwide

interior design senior capstone : grand allusion hotel

Documents

final design public

leagues guestroom revision

wonderland suiteappendix

world thousands of books

hotel lobby

new adventures

shelves of leatherbound

project programming4step