Colorado Series:
Design for Reading

During our trip to Colorado Springs, we had the pleasure of actually staying in the house that we were hired to redesign.  After the first day and a half of preparing for and taking interior photographs, we then got a chance to slow down and relax.  After slipping on my Uggs and pulling out my latest Baldacci book, I was sitting in the living room and realized something.  Before this moment, I couldn’t figure out why this classic modern home with a true wood ceiling, heavy timber beams, concrete columns, eight foot tall glass windows and real concrete tile felt like such a warm, inviting space.  And then it hit me.  The space made you want to read a book.  All of those components; the oversized fireplace, the classic modern furniture, the wonderful scenery seen through the expanse of clear glass, were simply designed to encourage one to read.  And I realized that using the act of reading as a benchmark for design, forces us as architects and interior designers to create spaces that are proportioned, appropriately sized and finished in a way that provides comfort and satisfaction.

Restaurant Design in Vacation Areas

When designing a restaurant in areas where tourists vacation, consider the following ideas:

  • Tourists like to buy stuff. Design retail for display between 2’-5’ above the floor.
  • Tourists are typically families, so flexibility for large parties and the ability to put multiple tables together is important.
  • When booths are back to back, extend the back a little higher to keep those rambunctious kids from bothering the adjacent table.
  • Maintenance-free washable fabric is a must.
  • Locals like familiarity, especially when they are surrounded by tourists. Use local materials and if a renovation, relate the design back to its original in a new, fresher way.
  • Maximize the location, which is exactly why both tourists and locals visit. If on the beach, make sure the water is always visible when dining. On a mountain, use lots of glass.

There’s nothing like eating in a great restaurant with great food in a great location. What makes it truly special is a great interior and atmosphere.

~Barron Schimberg, AIA, LEED AP

Sandbar Restaurant, Anna Maria, FL – A Schimberg Group renovation

Chairs Are Not Easy

Just sit on it!

Selecting chairs for a restaurant can be daunting and a little hard to sit through.  There really are questions to answer right from the start:  Do you want a solid back or open?  Do you want to easily wipe crumbs off?  Do you want wood, metal – upholstery?  Do you want to spend $50 or is this a $450 investment per chair?  Do you want a specialty custom fabric or is standard from the manufacturer acceptable?  Do you want the chair to handle a 250lb capacity standard, or more?

So…just sit on it.  Get a sample delivered or even buy one and return it if it doesn’t meet your standards.  Don’t always depend on the picture in the catalogue.  This is one of the most subjective of all room choices, particularly if you don’t stand for standing…

And after all, if the bottom is happy, the rest is usually doing okay!

Sketches: Matt Choto

SF&S (Shipping, Freight and Storage. It’s official!)

You’ve heard of FF&E (furniture, fixtures and equipment).

I am officially terming the acronym SF&S (shipping, freight and storage.)

Whether commercial or residential, these 3 items are often forgotten about when budgeting dollars towards FF&E.  And if you have FF&E and you forget about SF&S you could get a HA&H. (heart attack and heartburn)

Typically SF&S are costs passed on by the designer without mark up and direct from the vendor.  They typically range in the 5-10% of the total FF&E costs.

Freight costs are from the vendor providing the FF&E and shipping and storage costs are often costs associated with the designer’s warehouse.

Storage should only be a cost if there is a substantial period of time between the arrival of the furniture at the warehouse and delivery to the site.

Hopefully, your designer brings to your attention the SF&S costs before ordering FF&E.  If not, ask for an estimate for budgeting purposes.


Restaurant Possible

Hire a kitchen consultant.  Don’t try to design it on your own just because you’re a chef or you own or manage the restaurant.  Codes, equipment options and coordination with other vendors as well as engineers impact the final design.  A kitchen consultant will help you to avoid the pitfalls associated with designing a commercial kitchen.

Commercial kitchens are about efficiency.  Determine the menu first.  That will help select equipment and location of the equipment.

Try to locate beer and wine storage near the bar if possible.  Provide egress in and out of the kitchen to allow for a circular traffic pattern.  Allow for a minimum of 10’ clear to bottom of structure for proper hood installation and ventilation.  Do not use wood when supporting a hood to the ceiling.  Fire codes prohibit this and all too often we see this occurring.  Use a non-skid, rough surface on the floor.  MMA’s (resin) or a rough, quarry tile are good flooring options.

Paul Guillaume, owner of P.R.I.D.E., a successful kitchen consulting firm says, “If you take some time, prior to making commitments, and discuss your concept with a consultant, it could save you time and money in the overall project.  So many of my clients come to me after they have already signed a lease and ask me to help them get open quickly, because now they are paying rent!!  They usually don’t understand how long the real design build process can take to get open.  With code changes and requirements, as mentioned above, it may cost more to improve some locations, more than others. With so many unrealistic reality shows changing restaurants in two days for $10.00, many clients don’t know how to gauge how big or small their project will be. This is a true interpretation of the saying, “time is money”. A little bit of time could save you thousands of dollars.”

No Need To Look Far

‘From farm to table’ is phrase used widely in the local food movement of the restaurant world.  It represents a process that food can take before it hits your plate.  It represents freshness and, possibly most importantly, local vendors.

When designing a space, whether commercial or residential, whether expansive, just a lobby or a bedroom, we have found that local vendors provide wonderful opportunities.

With the internet allowing such accessibility to almost anyone in the world, it does take a bit of diligence to go local.  For example, in a lobby, there may need to be a sofa or chairs.  Rather than buying one online or at a large corporate store, consider buying a chair at a thrift shop and recovering it with contemporary fabric using a local upholsterer.

Supporting the local arts is always an easy local vendor opportunity.  Local artists are always interested in getting their work in public places, wouldn’t you?

For restaurants, build the booths with a local furniture maker.

The stigma behind local vendors is that they are often too expensive or not the same quality.  We encourage owners and designers to do research and give the opportunity to the vendor down the street.  They may just surprise you.

Build a Better Bar Top

By Barron Schimberg, AIA LEED AP

During a restaurant redesign, the importance of choosing the right bar top can’t be overstated. The surface should combine form, fashion, and function in a way that reflects the spirit of the establishment.

Bar tops can be made from dozens of different materials, including wood, laminates, granite, steel, clear or frosted glass, or resin. Two of the most memorable bar tops we have designed include an onyx bar top which was lit from below and a terrazzo bar top that was crafted to our specifications and sealed for durability.

Here are a few things to keep in mind, when designing a bar top:

Aesthetics. Think about the overall look you are trying to create for the space. Consider the bar top as an opportunity to make a visual statement.

Maintainabiity. The bar must be easy to clean and resistant to stains and scratching. Try to think of everything the bar top might be exposed to: water rings, alcohol, coffee, food, wine, salad dressings, etc. The softer the material, the more maintenance it will require.

Drink Rail. Find out if the bartenders have any preferences with regards to the drink rail. The drink rail is a lowered trough that can be added to the inside edge of the bar top to contain spills while drinks are being mixed. A rubber mat or stainless steel grate in the drink rail keeps glasses from sliding on a wet bar top. Don’t forget drains spaced about every 3‐4’‐0” for cleaning purposes.

Extra Support. At some point, bar patrons or employees may feel the urge to stand on the bar. In theory, a bar shouldn’t have to be designed to support the weight of people. But experienced restaurant owners know that in the real world, it’s necessary.

For the bar area in The Sandbar Restaurant on Anna Maria Island, we worked with Ben Nettles of Ben Nettles Concrete Design in Sarasota  to create a custom‐mixed terrazzo bar top. We selected the base color of the concrete as well as the exact color and the sizes of the crushed glass mixed with the concrete. Before the final bar top was poured, cured, and sealed, we had samples made, then tested them by pouring wine, oil, and mustard on them. The key to a successful terrazzo bar top is allowing the correct amount of curing and sealing time. This process can take anywhere from one to four weeks depending on the thickness of the bar top and the type of sealant used. (Photo: Dara Townsend Caudill)

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Choosing the Right Flooring for Restaurants

Barron SchimbergBy Barron Schimberg, AIA, LEED AP

One of the most important interior design decisions in building design or renovation projects is flooring. When planning your budget, don’t scrimp on flooring. It affects the feel and functionality of a space, and can be difficult to change out if you want to replace it.

Choosing the right flooring is particularly important in restaurant dining rooms. The right choice sets the stage for the overall ambiance of a dining room.

The wrong choice can make the room excessively noisy or cost time and money if it’s difficult to keep clean. Flooring for a large area can look too flat or linear if not selected properly.

Five Factors to Consider

The five main factors to consider when choosing restaurant flooring are:

  • acoustics
  • ease of maintenance
  • aethestics
  • comfort for the servers and kitchen staff
  • ease of moving chairs and tables

Each restaurant has different requirements. For example, understanding traffic patterns is very important. When clients come to me with restaurant design projects, one of the first flooring-related questions I ask has to do with how guests and servers will move throughout the restaurant.

We also have to visualize how the diners will be dressed and how they will behave. For example, a fine dining restaurant attracts patrons wearing nicer shoes and stiletto heels. At a seaside restaurant, such as The Sandbar on Anna Maria Island, many people come in from the beach with sand-covered feet and flip-flops. They may be wearing damp bathing suits and carrying beach towels dripping saltwater.

In all types of restaurants, drinks or food will get spilled on a regular basis. The flooring must be easy to clean on a daily basis and provide a certain degree of resistance to stains and falls.

It’s important to know how often the staff plans to clean the floor, and whether they prefer to mop or vacuum.

How We Chose the Floor for The Sandbar

For the reconstruction of the historic Sandbar restaurant on Anna Maria Island, we spent a lot of time evaluating different flooring options. The flooring had to be durable enough to stand up to the high volume of traffic from patrons and staff.

In addition to being easy to clean, the flooring also needed to be resistant to potential flooding (although nothing except sand or concrete is totally flood resistant). Plus, the flooring (coupled with the ceiling treatment) had to enhance the acoustics of the room, so diners could talk to one another in a reasonable fashion.

We ended up recommending 24 x 24 inch iron-colored Plynyl Tiles from Chilewich. The Kono pattern we chose gave us the look of woven Sisal, which we felt was applicable to the beach and the environment. It also looks very nice with the chair and booth fabrics.

To avoid creating a flat look in the large dining room, we asked the construction team to install the tiles in a checkerboard pattern (above). Rather than rotating every other tile 90 degrees, we designed a larger checkerboard pattern by rotating every four squares 90 degrees. This larger pattern is a better fit for the scale of the space.

To test the durability of the tiles, we attached four large carpet tiles to a piece of plywood. We then placed the plywood in the most highly trafficked area of the restaurant. As mustard, ketchup, oil and dirt were dropped on the tiles, we asked the staff not to clean them up immediately. Rather, we allowed the spills to be wiped into the tiles and left for awhile. It was impressive to see how easily the stains were removed from the Chilewich tiles, even after they were left untreated for awhile.

 

Today, the installed tiles look great and should last for at least 15 years. If one or two tiles start showing excessive wear and tear before then, they can easily be replaced without redoing the entire floor.

Tips for Restaurant Owners

Here are a few points to keep in mind, the next time you tackle a renovation project:

  • Do your due diligence when it comes to flooring. Try to anticipate all of the hazards that might affect the durability and look of the floor over the long term.
  • Test different options with your staff under real-life conditions, particularly in high-traffic areas.
  • Take acoustic considerations into account, particular for larger spaces. If you choose flooring that supports good acoustics, it will give you more flexibility in designing the ceiling and walls.
  • Trust the aesthetic recommendations of experienced design professionals. We have specified many different types of floors for a wide range of requirements. We have seen what works and what doesn’t.

Of course ultimately, the decision will be yours. Take your time to get it right.

 

Taking the Fear Out of Buying Original Artwork

By Patty Morrison Schimberg

Patty Morrison SchimbergOne of the most gratifying parts of my job as an interior designer is playing matchmaker between clients and artists. It gives me great pleasure to see clients discover the joy of owning original art.  Finding good homes for talented artists’ works—at sites where the art can be seen and appreciated outside of the artist’s studio—is also incredibly satisfying.

As an art consultant to clients, my intention is not to supersede the role of a gallery. If you want to become a serious collector of art, a reputable gallery may be an invaluable resource.  Galleries offer expertise, bios, and established pricing track records for the artists they represent.  Their presence provides exposure for artists, which can transform an artist’s career.  Their guidance to clientele can captivate the interest of a novice buyer and over time, shape true art collections.

But there are alternatives to galleries in New York, Chicago, Miami, Los Angeles or other urban centers to find talented artists. Every community has an abundance of gifted painters, sculptors and craftsmen who are producing beautiful work.  Many of these artists may never have the opportunity to be represented by a gallery.

So, purchasing artwork that can add something powerfully special to an interior is a win-win-win for the interior designer, client and artist.  Clients are often amazed by the lasting joy they find in the artwork they bring into their homes or business environment.

Where to Look for Original Art

Many interior designers have established working relationships with artists who are open to working with individuals or businesses that have a decorative need for art.  This type of commissioned artwork, when the artist is responsive to a designer’s input regarding dimensions and coloring, is not for all artists.  However, some artists welcome the opportunity.

It is also common for architects to participate in the selection of artwork—particularly large-scale pieces or works for public spaces. Again, many artists enjoy the challenge of creating site-specific work, including interior elements such as an artistic staircase or a custom light fixture that merges form with function.

Other sources to discover extraordinary art include regional art and design schools, community-based exhibit spaces, and independent studios that offer art classes.

Art and design schools provide an extraordinary opportunity to purchase original artwork by budding artistic geniuses.   Exhibits are usually open to the public; and both students and schools are extremely encouraged by the sale of their work.

Studios that offer art classes also love to show off their students’ work. Some of the “students” may be older adults who have retired from a first career to pursue their passion for art full-time.

Community-based exhibit spaces that are affiliated with a university, museum, or fine-arts organizations host ongoing exhibits of local artists.  At these local art shows, the exhibit organizers will gladly share biographical and contact information about the artists.

Tips for Choosing Original Art

Buy original art that you love—and don’t ever “match” the sofa.  Art that you love will bring you peace or make you smile. It’s OK to buy artwork for the sole purpose of decoration, but only if it complements or enhances your surroundings. Nothing detracts more from the beauty of original artwork than an overly coordinated “match” to the adjacent textile or general surroundings. When you choose art solely because it repeats the theme, patterns, or coloring in your interiors, the originality of the art is lost. Then, instead of enhancing your space, the art looks more like something from a furniture store vignette.

Take time to learn about the artist. Ask to visit their studio and understand more about how it was created and the thought process behind it. The more you know about the “story” behind your original art, the happier you will be with your purchase. As a “collector” of that artist’s work, you will become part of that artist’s story. Plus, buying artwork from a local artist is a way of contributing to the cultural strength of your community.

For commercial spaces, think about the type of message you want the art to convey. Integrating the work of a local artist into your décor can be a powerful public-relations tool. For example, the art can express support of the community’s diversity.  Or, the art can imply that “this is a cutting-edge company.” As an interior designer, we help business owners find artwork that fulfills three criteria: (1) the design needs of the space; (2) the company’s overall style; and (3) the underlying business “message” that the business hopes their art work conveys.

So, one shouldn’t be intimidated by the process of buying art. Finding original art that you are proud to own and brings joy or provokes thought, can be an exciting hunt.  This mindset relieves the pressure to purchase art primarily as an investment or works that simply blend in with the rest of the decor.  Let art be it’s own special moment in the interior space.

The Right Lighting Adds Aesthetic Appeal While Reducing Energy Costs

By Barron Schimberg, AIA LEED AP

Architectural success is impacted by choices in lighting, both for the interior and exteriors of spaces and buildings.  Lighting affects how we perceive the building itself, as well as the people and objects within it.  Lighting can be used to define zones within a space, change the mood, and influence how we feel as we work or shop within the space.

With today’s more sustainable and energy-efficient options for lighting, we can alter the look of a space while lowering the building’s energy cost.

By replacing incandescent light bulbs with LEDs (light-emitting diodes) or compact fluorescent lights (CFLs), we can apply warm or cool colors to spaces while considerably reducing energy usage and the amount of time between replacements.

For example, an LED has an average lifespan of 50,000 hours, compared to 8,000 hours for a CFL, and 1,200 hours for an incandescent bulb.  A space that uses 30 incandescent bulbs would use about 3285 kilowatt-hours per year, compared to 329 KWh/yr for LED lights and 767 KWh/yr. for CFLs.

Considering some of the substantial savings that can be achieved, it’s not surprising that so many owners of commercial and office buildings are retrofitting their buildings to use more LED lights. Retailers and restaurant owners are discovering that LED lighting can be extremely versatile in showcasing merchandise or creating the right ambience.

In contrast, LED bulbs are exponentially more expensive, so the upfront, out-of-pocket expense is greater.  For example, a 60W incandescent bulb costs  approx. $0.50, a comparable CFL may cost $1.25 and an LED bulb could cost $20.

We have used LED bulbs successfully in a multitude of projects.  We have incorporated them into retail displays in storefronts. They are used throughout food-display cases in the Whole Foods Markets we design.

On a lobby renovation project, we utilized LED bulbs in a unique fashion. LED bulbs were installed at the top of a long acrylic tube, allowing the light to illuminate through the tube, into the space, while not overheating the material or the wood dowels around it.

If you want some specific ideas on how lighting can enhance the look and efficiency of your office or retail space, give us a call at 941-894-6888 or email us at info@tsg-fl.com.

MORE INFORMATION

Comparison Chart LED Lights vs. Incandescent Light Bulbs vs. CFLs