GENIUS LOCI: THE SPIRIT OF PLACE

by

Samantha Eufemia Morreale

A thesis in

Architecttu*e

Submitted to the architecture Faculty of the College of Architecture of Texas Tech University

in partial fulfillment for the degree of

BACHELOR OF ARCHITECTURE

Chairman of Committee t

Programming InstDOptbr (ARCH 4395) -- David Driskill

Design Critic (ARCH 4631) - Ben Shacklette

^,<^^l/^..A.'i/tu\f^^y^^^tA<

Accepted, Dean, College of Architecture

GENIUS LOCI: THE SPIRIT OF PLACE

Samantha Eufemia Morreale

ARCH 4395

December 9, 1992

GENIUS LOCI: THE SPIRIT OF PLACE

Samantha Eufemia Morreale

ARCH 4395

December 9, 1992

^ ,_^, ri TABLE OF CONTENTS

THESIS 1

Thesis Statement 2 Definition of genus loci or spirit of place 4 Elements that create genius loci 6 Defining a plan 8 Loss of genius lod 10 Genius loci vs. illusionism 14 Bibliography 16 Thesis case studies 17

CONTEXT ISSUES 21 Cultural context 22 Psychological context 32 Built context 35 Natural Context 43 Site 49 Context case studies 57

VEHICLE AND ACTIVITIES 60 Activity analysis 62

Backof the house 63 Hotel operations 64 Front of the house 74 Guest/public 55

Spatial square footages 94 Grand summary of spaces 99 Bibliography 100 Facility case studies 101

BIBLIOGRAPHY 113

APPENDIX 115

THESIS

THESIS STATEMENT

Architects must incorporate current and innovative technologies with the

traditions and style of an area to create an architecture which upholds and

reinforces the genius loci or spirit of the place.

^

DEFINITION OF GENIUS LOCI:

OR SPIRIT OF PLACE

Some places have a special, illusive quaUty which attracts people. This

attribute is called genius loci or spirit of place. There are many definitions for this

term, but there are three main components which provide a basis from which to

start:

1. Natural environment - landforms or topography vegetation, climate and presence of water,

2. Cultural expressions - bridges, forts, hilltop churches which are a relation to the landscape, social history, physical location or human activity, and the place as a cultural artifact,

3. Sensory experience - this is primarily visual and results from the interaction of the landscape and the culture of the area. (H.L.G.)

In other words, it is the collective reaction of a group of people to their

environment over time (M.H.) which in some way creates that special sense of

place.

This is not to say that only a very few places have this special quality. In

fact, every town will most likely have some special quality about it. There are a

variety of ideas regarding this intangible commodity. Some say that to understand

a place, one must begin with one's feelings (M.H.). While another defines the craft

of architecture as the ways in which space, form, color, texture, and line can be

combined to evoke emotion (B.C.B.). So, while it seems that there are three base

components which contribute to the spirit of a place, it is actually the emotions or

feelings about a place which are the key to imderstanding.

ELEMENTS THAT CREATE GENIUS LOCI

Once the sense of place has been felt, there are a number of ways to identify

exactly what has created it. The natural and cultural attributes which affect our

sense of a place identity are: 1) identity through landscape or physical features and

appearance, 2) observable activities and functions, 3) meanings and s)anbols

(H.L.G.). Beyond these three wide categories, specific characteristics can be

investigated/logged and organized so that one will have a better sense of what

creates this individuality. Some characteristics which should be observed include:

architectural style, climate (light, rainfall, temperature variations), unique natural

setting, memory and metaphor (what the place means to people who have

experienced it) use of local materials, craftsmanship, sensitivity in the siting of

important buildings and bridges, cultural diversity and history, peoples' values,

high quality public environments which are visible and accessible, and lastly,

town-wide activities both daily and seasonal (H.L.G.).

DEFINING A PLAN

8

Once all of this information has been recorded and catalogued it is necessary

to determine the best plan of growth for the town which will allow for change while

preserving the essence of place. When lajdng this plan one must reaUze that visual

integration and not necessarily stylistic homogeneity is important.

There are two general ways to go about defining visually the growth of a

town. The first is a less literal interpretation or connection with the context. This

includes using new forms which have the same visual effect as the old ones and

abstracting the original forms. The problem with this sort of loose interpretation is

that futtu"e designers may use the plans looseness as a loophole to get by with a

new architectural style which fights the old. On the other end of the spectrtun is a

closer, more literal connection with the context. This could include close copying or

the use of similar forms rearranged (B.C.B.). The problem with this t3T)e of plan is

that the end result may be stylistically homogeneous and; therefore, boring or

monotonous. It is the job of the planner to find and strike a balance between the

two opposing views which will create a visually harmonious, yet exciting place.

. ^

LOSS OF GENIUS LOCI

10

The problem with today's towns and cities is that this type of diagnosis and

plan has not been developed; therefore, towns are growing without a design and are

losing their hard built identities. There are many reasons for this loss of identity

including placelessness, the transitory state of society, architects' egos, and the

basic economics of society.

The idea of placelessness deals with many issues. First is the idea of unbuilt

space and how we handle it. We isolate buildings with it and then we disregard the

region and create whatever type of outdoor environment we desire around our

disengaged building. Second are social and perceptual issues which relate to the

economic forces that create strip and shopping malls. This, in turn, takes people

fi-om the streets and downtowns and puts them in their cars. The street becomes a

separator, not an integrator of people. And the third factor affecting placelessness is

energy and resources. People today see the city as an unlimited one-way energy

system. In the past we were dependent upon the streetcar which was not only more

efficient but it also linked us to the city. With the advent of the automobile, the

suburb became home and people became isolated (M.H.).

A second reason for this loss of identity is the transitory state of society

today. Highways ignore both the topography of the land and the natural flora of an

area creating a homogeneous stretch of asphalt which reaches from one coast to the

other. Another example of the travel corridor as a placeless landscape is the airport.

Almost all airports are the same with no distinctive characteristics which make

them special. This all leads to a sterihzation of the society in which we five (M.H.).

11

Third, it is the architect, and the ego, which have destroyed the town. It

seems that today's architecture student is taught to beheve that one must be

different to be good. This has created a hodge-podge of architectural styles which

have no foundation and do not harmonize with their surroundings. Genius and

originality should be replaced by excellence of execution with the given context.

This idea would not only help a town retain its integrity, it would also allow an

architect to be judged, not by style of vocabulary, but rather by the skill and

subtlety with which that style is used (B.C.B.).

Last and hardest to change are the basic economics of society today.

Industrialization is the most obvious and also the most necessary if some towns

want to remain alive. Other important and related factors include real estate

speculation, transportation expansion, urban growth, population shifts which follow

the industries), and organized tourism (H.L.G.).

Of these, organized tourism is the most destructive in a subtle way. Tourism

may be economically rewarding, but there are four main pitfalls. First is the

destruction of the regions scenery and native landscape which are main

contributors to the spirit of the place. Second is the added pollution which causes

the destruction of the ecology. Third is the change from a natural environment to a

man-made one. And last is that the brevity of a tourist's stay usually creates a lack

of commitment to that place. The phenomenon of tourism is odd, it is the character

of a place which intrigues the tourist, but the constant attention of that very same

tourist causes a place to lose that uniqueness (M.H.).

12

All of these ideas lead to the downfall of a society or a culture. Yet, it is

possible, that with a good comprehensive plan, growth can occur while retaining the

character of a town. If this t3T)e of plan is enacted, everyone benefits, the

townspeople, conmiercial and business concerns, and the city government and

public leaders. My project will exemplify the way in which new building growth can

occur while still preserving the character of the area. It will be an example of one

approach new growth may take.

13

<7

GENIUS LOCI VS. ILLUSIONISM

14

Genius loci deals with the combination of two very different elements, nature

and people. First it deals with nature, the natural processes or setting which has

been created. This spot is individual and unique unto itself Next are people, that

they have put on the site and how they are interacting with one another and that

site. It is the emotion created by the combination and integration of these two

disparate elements which creates a sense of spirit in a place.

A term very similar to this is the word vernacular. VemaculEo* is the form(s)

that grow out of the practical needs of the inhabitants of a place and the constraints

of site and climate (M.H.). The difference between these terms is that genius loci

deals with something intangible, a feeling or emotion, vernacular relates to a

tangible object, a form which has been created.

Contextualism is best understood in the post modernists words of Robert

Stem. Stem explains contextualism and illusionism as they relate to the post

modem movement. Contextualism is the possibility for the future expansion of a

given building and the desire to relate it to its immediate siuroundings. This idea

relates only to a given building in a given area, it is not the underlying

imderstanding which Stem is after but rather a surface approach as seen in the

post modem movement.

Illusionism references the history of architecture which somehow goes

beyond 'eclecticism' to a somewhat vague category called 'the relationship between

form and shape and the meaning that particular shapes have assumed over the

course of time.' This too relates to form and not to the feehng associated with a

place.

15

Annotated Bibliography

Bloomer, Kent C. and Charles W. Moore. Body, Memory and Architecture. New Haven: Yale University Press, 1977 This relates to architecture as an extension of ourselves as well as the idea of the familiar and the surprising within the realm of architectural design. It was also the springboard for two case studies (the Brown Palace, Denver and the Hyatt Regency, Atlanta by John Portman).

Bronlin, Brent C. Architecture in Context: Fitting New Buildings With Old. New York: Van Nostrand Reinhold Company, 1980. This relates to the idea that it is not the architectural style that is important but rather its execution which is. Also ways of adapting to previous styles and definitions of vernacular, illusionism-the importance of continuity.

Gamham, Harry L. Maintaining the Spirit of Place: A Process for the Preservation of Town Character. Mesa, Arizona: PDA Publishers Corporation, 1985. Definition of genius loci and what it encompasses, also the idea of a plan for future growth.

Hough, Michael. Out of Place: Restoring Identity to the Regional Landscape. New Haven: Yale University Press, 1990. The idea of feeling in architecture and some of the reasons for loss of genius loci, its definition and attributes.

16

C7

THESIS CASE STUDIES

17

INN-BY-THE-SRA

Architect: Teas, Feely and Hingston

Location: Cape Elizabeth, Maine

Program: To create a 43-room hotel which keeps in mind the previous hotel which

stood on the same spot and also stay in keeping with the environmental

sensibilities of the wealthy resort area.

Site: A low bluff, which looks south across the salt marshes and sand of Crescent

Beach State Park toward a picturesque bay.

Solution: A shingle style structure consisting of a lodge and cottages reminiscent of

homes and inns which once dotted the Main coast. The lodge is the center of the

design with its larger size, a flagpole, porches and boldly gridded gables. Extending

out from the lodge, some of the rooms are attached and are entered off a single

locked corridor on the second level. These rooms are duplex-like and consist of a

double height living room with views of the ocean. The cottages are detached from

the main lodge and are also duplex-like. They form duplexes which are connected

by one story covered walks.

18

Design: The idea of contextualism. This uses ideas similar to that of this project

with small individual units with pitched roofs and porches. Also the idea of a main

lodge with detached cottages. This type of room layout may possibly be used in the

suite design of this project.

This is contextualism used in new construction.

19

HYATT REGENCY. EMBARCADERO CENTER

Architect: John Portman and Associates

Location: San Francisco, California

Program: An 840 room hotel of 758,000 sq.ft. with a large lobby area

Site: The site is important because of its context and location. It is where Market

Street meets the water in front of the old Ferry Building.

Solution: This solution incorporated the idea of space and inside and outside

together. The designer opted for not having open space along Market and Drum

Streets; thereby, making Herman Plaza a more special place. This inside-outside

idea was reinforced by the fact that the user must interact with the Hotel before

discovering the Plaza.

Design: The hotel consists of 17 tiered levels which make up the guest room

corridors. At the top of the tiers a skylight 300 ft. long opens up the upper levels

and ends the upward flow of the tiers. The layout is geometric and the forms are

made up of sandblasted concrete which create a center point for the arena.

20

CONTEXT ISSUES

21

CULTURAL CONTEXT

22

Central City/Black Hawk - "The Richest Square Mile on Earth"

It all began on May 6, 1859 when John H. Gregory discovered gold along

Clear Creek. In the beginning the area was called Gregory point or the Gregory

Diggings and is actually located between the two towns. By July of 1859 the first

arrastrea, used to rush gold ore was built. Then, by September, the town built its

first steam mill. Soon there were so many ore mills that Black Hawk became known

as the City of Stamp Mills. By 1868 the first gold smelter was built.

The primary labor force for the mines of the Gilpin County mineral district

was Cornish hardrock miners. These people brought with them a love of music and

beauty which may still be seen in the stone work which remains as an important

architectural element of the area.

23

Black Hawk

Black Hawk dates back to 1864 and is the only town in Colorado not to have

been destroyed by fire. Originally most of the buildings were wooden structures or

tents with only important buildings made of stone.

The town got its name from an ore milling machine which originally came

from a Sauk Indian named Black Hawk.

Black Hawk City Hall • L. Fritz Collection

24

Central Citv

First known as Center City, Central City is centrally located between the

Gregory Diggings and the mines in Nevada Gulch. It is one of Colorado's oldest

surviving mountain towns and has even been designated a National Historic

Landmark. (This however, does not impact my site since it isn't a part of either

town.) The town was voted the county seat of Gilpin county in 1861 when the Pike's

Peak region was organized as the territory of Colorado.

In 1874 a fire destroyed most of the town but the townspeople began

rebuilding immediately and by 1874 the town was completely rebuilt.

25

Potential Response

One must keep in mind the history of the area when designing a new

building in the area. The idea that mining is the area's history is important in that

buildings were first built for protection, then later were built to show the

individual's and the town's wealth. It is also important to keep in mind that the

materials used were items found in the area or easily transported from Denver. The

history of the area is important because it is what gives this place its character so

therefore it must not be forgotten.

Another important design idea is that of the small town "mind set." This is

important because not only do the townspeople want to keep this atmosphere, but

also because visitors enjoy it. In designing this hotel the idea of community is

important. The hotel should feel like a community within the community with

rooms as homes and common spaces as the town. It is therefore important to design

a variety of types of rooms for the different types of visitors. This should include: a)

smaller, less luxurious rooms for short term, less expensive stays; b) a moderately

appointed and sized room with lockable connection between rooms for families on

budgets as individuals who desire to stay longer; c) larger, nicer rooms with

connections so they can be turned into suites for conventions or people with the

longer vacation in mind; d) the grand suites for the few "high rollers" who wish for a

different gambling town (a change from Las Vegas, for example).

26

It is also importeint to remember that while these rooms are the individuals'

private space, they should still be very accessible to the common areas to enhance

the feeling of community.

27

w

A BRIEF HISTORY

1859 - John Gregory discovers gold on May 6 in Gregory Gulch. Over 10 million

ounces of gold have been mined from The Richest Square Mile on Earth and

the oldest operating gold camp in the U.S. By June of 1859 the population

had reached 15,000.

1859 - St. James Methodist Church established.

1861 - First foimdry and machine shop is setup in Black Hawk, first stamp mill -

1859. Baby Doe lived in Black Hawk until her marriage to H. A. W. Tabor,

the silver king.

1872 - The Teller House is completed. Finest hotel between the Mississippi and San

Francisco.

1872 - Narrow gauge railroad arrives in Black Hawk, six years later it gets to

Central City,

1873 - Pres. Grant visits Central City. A path of silver ingots is laid for his

entrance. Gold in this thriving camp is "too common."

1874 - Fire destroys the greater part of the downtown area of Central. It is quickly

rebuilt of brick and stone with metal fronts.

1876 - Aug. 1 - Colorado becomes a state!! Central City misses becoming the capital

by one vote!

1878 - Central City Opera House is completed, built by popular subscription, it is

the first in Colorado,

28

1880 - RoIlinsville/ToUand Valley farms on the old stage road from Denver to

Middle Park, produce 7-8,000 bushels of potatoes, hundreds of tons of hay,

rye and oats 7 feet tall!

1927 - Moffat Tunnel completed. Cost of 18 million dollars, one of the largest rail

tunnels - 6.5 mi. The wagon route and old rail bed built in 1901 are

abandoned but left intact.

1932 - Opera House is restored to its former glory after many years of abuse.

Summer Opera Festival begins - one of the oldest in the U.S.

29

u

ENTERTAINMENT TODAY

Festivals and Events

June 2 to Sept. 8 - Gilpin Cty. Arts Annual

June 15 - Lou Bimch Day

July 6 to August 17 - C.C. Opera Festival

August 23-25 - Central City Jazz Festival

August 24-25 - Gilpin County Turkey Shoot

September-Aspen Trails Time

Sept, 14-15 - Weekend on Wheels

Sept, 21 - Gilpin Hist. Soc. "Cemetery Crawl"

Oct, 1 - Scheduled Opening ltd. Gaming

Nov. 22-24 - Wintershire Festival

Attractions

Colorado's oldest Art Gallery (Simimer)

Colorado's oldest Opera House (1878)

Face on the Barroom Floor

Lace House

Gilpin Historical Museum & Thomas House

Gold Mining Museimis & Tours

Historic Church Tour

Horse Drawn Carriage Rides

30

Authentic Narrow Gauge Train Ride

1872 Hotel - Once Colorado's Finest

Historic Cemeteries

Limited Stakes Gaming

Self-Guided Walking Tours

"Oh, My Gawd road" - Virginia Canyon

Shopping and Fine Dining

Outdoor Recreation

Camping-Hiking-Fishing-4WD Trails

Horseback Riding-Scenic Auto Drives

Cross Country Skiing - Ice Skating

Breathtaking Photography

Gold Panning

31

W7

PSYCHOLOGICAL CONTEXT

32

w

Today Black Hawk and Central City are a melting pot for the old and the

new. Both have a small, but well rooted permanent resident base which consists of

many generations of families. Many of these families have been in the area since its

first days of mining in the late 1850s.

Adding to this is the new, incoming population needed to staff the new

casinos. These are people coming in from the surrounding areas such as Golden,

Denver, and even Boulder. They represent the new working class of the area.

Last and most important are the tourists. This group is wide and varied. It

ranges from the day visitor from Denver to the out-of-state vacationer.

It is the combination of the old and the new in this area which makes it so

exciting. The history, old buildings and generations of families provide the base

upon which the new may be built. It is the history which makes this area more than

just a gambling town, it becomes a place to experience.

Potential Response

The psychological context of the area is that of the old, and the new

co-existing harmoniously. Ideas which are important to this project include: a) the

recalling of previous architectural styles of the area to provide a sense of continuity;

b) a high standard of building which creates a sense of security within the building

and reinforces this with regard to the town; c) a high standard of service which

makes the visitor feel special; d) while creating this atmosphere of a by-gone era, it

is also important to provide the guests with all of the modem conveniences of today

such as high quality telecommunications, televisions, music, modem bathroom

33

facilities (including toiletries). It is important that anything the guests need be

accessible to them.

Psychologically the most important aspect of this project is the high quality

with which it must be executed which will in turn make both visitors and employee

feel secure. This hotel should encourage the feeling of community discussed in the

Cultural Context potential response section. Beyond this it should provide a sense

of safety and security to its guests. This can be done physically through the use of

card keys which are used not only to access rooms but also to access elevators.

Lighting should be ample, especially in guest room corridors where guests may be

traveling alone late at night.

It is therefore important when building something new to remember these

ideas and to create a building which allows both influences to be expressed.

34

: : /

BUILT CONTEXT

35

^

The built context in his area is very important to its sense of place. For the

most part the buildings are Victorian in nature. Since Central City is a National

Historic Landmark one must help to preserve the areas' character when building

new structures. In keeping with this idea the towns have not only placed a 53'

height limit on all new structures, they also review all plans before construction

may begin.

In both towns all of the buildings are relatively small. The main streets are

composed of many buildings built in a row house idea sharing common side walls.

The facades of these buildings share common features such as height, window

spacing and ground level openings. The similarities between facades creates a

cohesiveness as one walks the main street of either town.

36

37

Building construction varies slightly between the two towns. Since Central

City was destroyed by fire early in its history, many of its buildings are constructed

of brick while Black Hawk is mainly wood frame. However, this is not to say that

either town is solely constructed out of either material. Beyond this typical

construction the main buildings of either town are constructed of stone. Such

examples of this are the Country Court and Opera Houses. There are also many

large mining buildings which are mainly wood construction and which used to be

house mining mills.

38

Behind these main streets are residential areas. Since the terrain of the area

is so hilly, many homes were built above and behind the main streets. Residential

buildings are mostly small wood frame construction. These houses are very

Victorian and consist of one or two levels with steeply pitched roofs and front entry

porch area.

39

40

41

Potential Response

The idea of the towns being separated into commercial main street areas and

residential areas is very important. The commercial area fronting the main street

must be used in the public - commercial part of the hotel while the more private -

residential area must also be used. These two ideas must be incorporated into the

resort since it also reflects the commercial (entry, lobby area) as well as the private

residential area (the rooms and other guest facilities).

This built context consists of two parts: a) a commercial main street area and,

b) a residential area.

In responding to the built context of the area, this project has a number of

options which include: a) mimicking its surroundings using similar building

materials and styles; b) recalling the area through metaphors while using modem

materials; c) using commonly used building materials of the area (such as wood

frame construction with clapboard siding, stone and mortar, or brick) with new or

skewed forms; d) new materials and new forms - this would be the least desirable

since it doesn't allude to the built environment of the area. For this project another

important issue with respect to the built context is the rhythm and styles of the

commercial versus the residential buildings.

42

^

NATURAL CONTEXT

43

The area is located in the Rocky Mountains of Colorado, one hour west of

Denver. Both towns are located in a valley surrounded by mountains and are

connected by Gregory Street.

Vegetation consists of evergreen trees, deciduous trees and scrub brush.

Much of the surrounding hillside is covered with evergreens interspersed with an

occasional deciduous tree while within the town's deciduous trees are more

common.

44

Climatically the area is that of a typical mountain region. Summers are mild

with temperatures ranging from the 90s down to the 60s. Winters are more harsh

with temperatures ranging from the teens up to the mid-30s.

Potential Response

The natural beauty of the site must be respected by the new structure. The

structure cannot overpower or overcome the site. Rock outcroppings as well as the

natural slope of the hill at the site must be used to incorporate the hotel with the

rest of the area. The flat area of the site is ideal for the commercial area of the

resort while both the front and back of the hill may be used for the more residential

private guest rooms.

It is also important that one realize the climactic condition of the area. Heavy

snowfall during winter months must be taken into account as well as the southern

exposure to the site. One design response to the heavy snowfall is pitched roof

whose drainage is out of the way of pedestrian travel, yet is steep enough to allow

snow to melt and fall off the roof. Another response is the flat roof, this allows snow

to build up which creates an insulating effect on the roof. If this is done the

structure must be strong enough to allow for sizable loads. In response to the

southern exposiu-e of the site, there is a possibility for solar technology to be

incorporated into the design. This could be done through the use of thrombi walls,

solar panels and glazing.

45

Snowfall is common and usually stays for the winter, not melting until

spring. Spring usually begins in April and consists of mainly rain showers with

occasional snowfall and lasts through May. Svunmer is June, July and August and

is the mildest time of the year. Temperatures are cooler than lower lying elevations

and days are usually sunny and clear. Fall is September and October (sometimes)

and temperatures average in the mid 70s. Days are usually clear and warm with

temperatures dropping in the evenings. This is the time when the leaves change

and the mountainsides are full of color.

46

TEHPERATURE °F: Normals

"Dd i 1V ha* i mum -Da t 1y Mini mom -Mofith I y

E» tremes -Record Highest -Year -Record Lowest -Year

NORMAL DEGREE DAYS: Heat ing (base b5°F1

Cooling (base b5°F1

X OF POSSIBLE SUNSHINE

HEAN SKY COVER 1 tenths 1 Sunr i se - Sunse t

MEAN NUMBER OF OATS: Sunrise to Sunset

-Clear -Partly Cloudy -Cloudy

Prec ipi tat ion .01 inches or more Snow,Ice pe11ets 1.0 inches or more

Thunders t orms Heavy Fog V.s ibl 1 i ty 1/4 mile or 1 ess Temperature F

-Hd"imum 90° and above 32° and below

-n i n i mum 32 and below 0° and below

AVG. STATION PRESS (mbl

RELATIVE HUMIDITY (XI Hour 05 Hour 11 ,. . y, Hour 17 "-°^a' f""«' Hour 23

PRECIPITATION (inches): Hater Equivalent

-Norma 1 -Ma»imum Monthly -Year -M.nlmoffi M o n t h 1 y -Year -Maximum in 24 hrs -^ear

Snow,Ice pe M e t s - M a » 1 m<^tT Mo'^thl y -Tea--Ma«'mom If 24 hrs -Year

lai

39

39

39

39

39 39 39

39

3°

39

39

22 22

22 22

13

22 22 22 22

39

39

39

39

3^

JAN

35.7 15 2 25 5

bO 1971 -23 19b3

1225

0

bO

b 2

9 0 7.3 14.7

7.2

2.b

0.1

3,0

0 0 11 b

30 2 3 9

854 b

77 b5 b3 75

0 b4 2.4b 1957 I

19b1 0 b4 195b

33 7 1957 9 1

195 7

FEB

44 5 22 4 33 5

be 1981 -14 1951

882

0

b4

h.2

7.b 7.1

13.5

b 0

1 2

0.3

1 .9

0 0 2.4

25.4 O b

853 b

70 52 4b bb

0.54 1.5fc 1948 T

1972 0 55 1980

lb 4 1948 8 fa 1948

MAR

54 1 29.7 41.9

81 1971

5 1948

71b

0

b3

b 2

8.2 8 3 14.5

7 8

1 3

0 8

O b

0 0 0 2

17.1 0 0

848 8

b3 43 3b 5b

0.75 2.02 1979 0.02 1972 0.9b 1983

14 9 194fa fc 1 1948

APR

b5.2 38.2 51.7

85 19b9 11

1975

403

0

b9

5 8

8 5 9 1 12 4

b 3

0 3

1 9

0 1

0 0 0 0

7. 1 0 0

849.5

5b 34 28 4b

0 71 1.95 19b5 0 Ob 1958 1 .33 19b5

14 3 1975 8 9 1975

MAY

7b. 2 48.0 b2 1

95 195b

2b 1970

148

58

72

5.5

9.7 10 7 10.5

b 7

0 1

4.3

0.*

1.5 0.0

0.5 0.0

849 4

53 31 25 42

0.7b 1.79 1957 T 1970 1 13 1983

5 0 1979 5 0 1979

JUNE

87 9 5b. b 72 3

103 1961 34

197b

19

238

80

3 9

15.1 9.4 5.5

4 2

0 0

4 8

0 0

13.7 0 0

0.0 0 0

850 9

45 25 20 34

0 44 2 07 19b9 T 1980 1 57 19b9

J U L Y

94 0 b3 8 78 9

105 197b 4b

1982

0

431

76

4 2

13 7 11 9 5.4

5 0

0 0

7 b

0 0

25.2 0.0

0 0 0.0

853 2

49 29 22 37

0 47 1 92 1983 0 03 1972 1.42 1974

AUG

90 3 b1.5 75 9

103 19b9 43

19b8

0

338

7b

4, 3

14.0 11.1 5.9

b.5

0 0

7 b

0 0

20 4 0 0

0 0 0 0

853 4

50 31 23 39

0.91 3.48 1957 0 04 195b 1.21 1953

SEP

81 9 52.2 b7.1

98 1977 29

1978

b5

128

79

3 b

lb 5 8.0 5.4

5 7

0 »

5.1

0 0

4 5 0.0

0.2 0 0

853 3

52 33 2b 41

0.70 2.81 1982 T 1953 1 35 19b5

3 1 19b5 3 1 19b5

OCT

b8,7 41 . 1 54 9

88 19b3 18

1975

325

12

7?

4 2

14 q 7.9 8.2

5 5

0 2

' .5

0 1

0 0 0.0

3 1 0.0

654.0

58 39 34 51

0.87 3.45 1972 0.00 1952 1.24 1957

b 1 197"^ b 1 '9 75

NOV

51 0 28 2 39 b

75 1977 -2

197b

7b2

0

t3

5 4

10,8 ; 1

11 9

5.5

1 0

0 4

0,8

0 0 0 8

20,2 0,»

853 5

70 51 47 b5

0,b3 2 00 1983 0 04 197b 0 83 1983

12 1 19b4 8 4 19S4

DEC

38 7 17 9 28 3

t4 198G -12 1976

1138

0

bO

5 9

9,5 7,7 13 8

b 3

2 1

0 1

1 ,8

0 0 7 0

29 3 1 1

854 9

7b b2 bO 75

0 58 1 89 1951 0 01 197b 1 , lb 1951

19 0 1983 b 0 19b7

YEAR

b5 7 39 b 52 b

105 JUL 197b

-23 JAN 19b3

5b83

1205

70

5 1

137.b 105.7 121 .8

72 3

8 8

34 3

8 4

b5 3 22 0

133 1 5 b

852 4

bO 41 3b 52

8 00 3 48

AUG 1957 0 00

OCT 1952 1 57

JUN 19b9

33 7 JAN 1957

9 1 JAN 1957

i CLIMATICAL DATA CONT.

MIND: Me3n Speed • npii I P"-? .6 ! : no C rec t I en

through T9o3

Fastest OD', 1 M,n -Direct ..;,--Speed !Mrni -Yea-

Peak Gust -Oirec t i on -Speed ImphI -Date

I 3 ^

35 1982

NE 25

1985

b "

tSL

33 29

1961

SE 29

1985

6 4

[•it

26 35

1985

w 45

1985

~> b

fsE

29 4b

1985

S 78

1985

'-> fa

EbE

2b 41

1985

U

5b 1985

9 6

tst

2,' 5:-

1981

U 53

1980

T i

lA

, i 4

35 1985

S£ 59

1984

9 .0

ESf

J j 35

1985

s 74

1984

9 r

fS'l

35 1962

N 41

1985

" -^

E i i

3 i 199'

5 J

1

t b f

39 1982

49 1984

'. ')

lA

32 1982

SW 3b

1984

? 1

F\!

5 3 JUN 1981

S 78

APR 19P

SNOWFALL (inches)

4^ 00

S E A S O N

1 9 S b - 5 7 ' " ) S 7 - 5 8 I S 5 8 - 5 " ! 1 ^ 5 " ) - b 0 I S b O - f c l

l - J b l - t ? 1 ' i b ? - b 3 I S b 3 - b 4 l S f c « - b 5 I S b S - b b

H b b - b 7 1 S b 7 - b 8 ( • i b B - b " ) l - i b S - 70 1 S 7 0 - 7 1

l < ) 7 1 - 7 ? 1 S 7 2 - 7 3 1 S 7 3 - 7 4 t ' ) 7 4 - 7 5 1 " ) 7 5 - 7 b

1 9 7 b - 7 7 I ' } 7 7 - 7 8 1 9 7 e - 7 < » 1<)7<»-eO I S B O - B I

i s e i - e j i ' ) 8 ? - e 3 i < ) e 3 - e 4 1 9 8 4 - 8 5 1 S e 5 - 8 b

l ^ e r o r d * * •

J U L Y

0 0 0 0 0 0 0 0 0 0

0 0 0 0 0 0 0 0 0 0

0 0 0 0 0 0 0 0 0 0

0 0 0 0 0 0 0 0 0 0

0 0 0 0 0 0 0 0 0 0

0 0 0 0 0 0 0 0 0 0

0 0

AUG 0 0 0 0 0 0 0 0 0 0

0 0 0 0 0 0 0 0 0 0

0 0 0 0 0 0 0 0 0 0

0 0 0 0 0 0 0 0 0 0

0 0 0 0 0 0 0 0 0 0

0 0 0 0 0 0 0 0 0 0

0 0

SEP 0 0 0 0 0 0 0 0 0 0

0 0 0 0 0 0 0 0 3 1

0 0 0 0 0 0 0 0 0 0

0 0 0 0 0 0 0 0 0 0

0 0 0 0 0 0 0 0 0 0

0 0 0 0 0 0 0 0 0 0

0 1

OCT 1 8 0 0 0 0 0 0 0 0

I 0 0 0 0 0 0 0 0

1 t I

0 0 0 b 3 1

0 5 '. 7 0 0

T b 1

0 c I

0 0 0 0 0 0

0 ^ t

0 0 0 7 0 0

0 ?

NOV 2 3 3 S 3 2 0 3 2 2

1 1 3 3

I 12 1 2 e 4 2 0 5 0 2 0 5

T

3 "1 1 3 7 7 0 1 3 •)

I 3 3 2 <) 8 2

T

3 3 I

4 2 2 0 4 b

3 0

DEC b 4 4 b 1 8 b b 1 1

8 1 4 t 7 0 3 0 3 5

b 3 ' b 7

7 8 4 8 4 1

10 4 S 7 5 7 4 b 7 2

0 1 2 S

1 1 8 3 5 0 0

3 4 1 <)

1"? 0 2 7 4 . 4

5 5

JAN 33 7

b 2 4 S 2 3

I

4 b 17 7

4 8 5 9

11 0

2 8 3 7 3 4 5 2 3 2

4 0 12 8 17 0

7 S 1 . 7

4 2 12 0 18 7

2 2 3 S

3 4 b t 3 7 5 0

7 4

FEB 0 3 2 2 5 9

13 8 1 2

b 1 0 2 0 4 7 5 5 S

I 0 <i 3 8

T 1 5

I 1 . 2 S 5 4 4 4 0

I 2 5 1 b 0 5 0 8

4 0 3 1 0 b 2 7

4 0

MAR i 7 1 8 0 1 5 t 7 . 8

3 0 4 3 8 0 3 8 0 3

0 2 0 3 <) 5

12 4 0 2

0 0 1 3

I 8 8 b 8

2 3 0 b 3 4 7 3 1 2

0 8 1 5 b 1 5 b

4 1

APR 1 6

T T T

O b

1 7 0 . 2 0 8 0 2 0 8

C 4 0 b

I 1 2 1 1

I 2 0 1 2

14 3 0 2

1 7 T

1 1 0 2

I

t 2 2 2 S 0 1

1 1

MAY 6 0 0 0 0 0

T 0 0

0 0 0 0

T I T

I T I

0 0 T

0 0 I

0 0 1 3 0 0

0 0 1

5 0 0 0 0 0

0 0 I

0 0 0 0

0 2

JUNE 0 6 0 0 0 0 0 0 0 0

0 0 0 0 0 0 0 0 0 0

0 0 0 0 0 0 0 0 0 0

0 0 0 0 0 0 0 0 0 0

0 0 0 0 0 0 0 0 0 0

0 0 0 0 0 0 0 0

0 0

T O T A L 4 9 0 16 7 1 5 5 2 6 9 12 9

24 b 3 0 b 2 1 0 3 2 5 27 4

1 S 6 22 7 24 7 24 7 13 2

t 6 6 34 0 37 1 4 1 4 2 9 9

6 3 2 0 9 ^ 2 5 21 9

5 9

15 4 14 e 3b 5 16 6

2 5 9

w

SITE

49

The site I have chosen is on Gregory Street between Central City and Black

Hawk and is directly across from the Gregory Monument. It fronts on Gregory

Street and consists of a flat area along the street which is backed by a gently rising

concave hill.

oto»«o^ol

0<3

^ •^ lA\.-.]^>cMt<>K>*<OHtSf<M»3*¥oii*3i»fO^>otte3iiQtK3i<>itts**e3f<3tic3f»o*<3f:rr-rr^

The •. Gregory Monument » ' " ^ . ^ i '

OlOtlOtO

5

'^ h 5 6

6 ^ rX'...;:\.^.: .^.•v^^A^.l^; .•.•••. WW jwiv.' jvw.w.' . . j . . .M.-.I.'J;.'. . ••, „ . ^ . . . „ • • •/^^••^. v vw.w •

I :::j >>:y::: s:tVX--.: ::<>-: ->-xr:-fr.-i>:<Sax : x^^^ L-i:.:-lo»o<toii^»oi«ai*04vo)>oitoitot<o««oi>o:>oi»o>»oi»oi>oi«otiotoL^i:;i^ 5

Halfway between Black Hawk and Central City a monument was erected to honor John Gregory. On May 6. 1859 he discovered one of the first gold mines in Colorado. His first pan contained VA of an ounce of gold, the lode produced nearly one million ounces of gold. The bronze plaque reads:

This Discovery Inaugurated the Permanent Development of Colorado.

The District Has Produced 585,000,000 in Gold. On this ground, later known as Gregory Diggins

John H. Gregory of Georgia Discovered the First Lode Gold in Colorado

on May 6, 1859. Erected by

The State Historical Society of Colorado. From

The Mrs. J.N. Hall Foundation and by State Civil Service Employees of Colorado.

1932.

KARS

50

f

On the East side of the site a large rock outcropping exists. This provides a

buffer between the site and the Casinos of Black Hawk.

51

[/

To the west open area separates the site from Central City located

approximately one-half a mile away. Across Gregory Street is the Gregory

monument and the Red Doll Casino backed by a steep hill covered with evergreen

trees.

This site is ideal for a non-gambling resort hotel because of its central

location to either town.

52

53

CENTRAL CITY r4 Not evary t t re* ! may ba namad on map. 5kj(^Qrapfia

E_6thJit_-l-5

' 3 )"<*nca 8t o'w

V s s r ^ i — * —

e Sf 0?-'

M

8 • >

-<NEVADAVJLLE POINTS OF INTEREST

1 Q%>ki County Courlhouse 2 Q i ^ County Historical Muaeun 3 TeNer Opart Houaa

JDAHO SPRINGS

BLACK HAWK J ^ Not avary atraal may ba namad on map. . SfefTBCropriCS

NEDERLAND BOULDER

INSET

GOLDEN. DENVER >

(SEE INSET)

54

r

Gilpin County Colorado

CO

•~ ..•.••<%- /::\i

l\\\iR£.SID£NTIAL Unni COMMEK-CIAL/

PAPLlClMCh

Q PUDLIC 1 lOPE^ 5PAGE-H S UPPER. UJATE.K.

5LRV1CE. Z<9ME. • " • AKJEJ^AL ^TREJIT — - CC?LLE.CTOl ^ T R i E T < 3 a peM0T£6 CONVEYANCE OF T0UR,I5T5

SCAL£i VmUXf

or ( w r » a r . ^ a ^

/

, ..;•/;.' • •> I • i . . v ' V

• ( • . • • . •Or i^ . V.'

DEVELOPMENT PLAM W&P cuMTO^AiL erirv, eoiLoi AisxO) 1

^

CONTEXT CASE STUDIES

57

THE TESUQUE HOUSE

Architect: Antoine Predock, FALA

Location: Tesuque, New Mexico

Program: To create a southwestern style home in which the transition from public

to private seems unforced.

Site: A long open ridge with views of Los Alamos £md the Sangre de Cristo

mountains.

Structure: Concrete block and cement plaster

Cost: Unavailable

Solution: The architect wanted to create a home with the character of the place, not

a duplicate. This was done with a combination of such disparate ideas as regional

items, space technology and Hollywood B movies. At a glance, this does look very

much like an adobe home but it is the subtleties which give it its originality. For

example, Predock leaves the interior courtyard and includes a pitched roof and

metal smokestack, and combines both the traditional smaller windows with large

58

expanses of glass. Predock takes the idea of the pueblo style house and abstracts

and extrudes it. He explodes the tradition parti. Another example is the kitchen

which recalls an ancient ceremonial kiva yet contains all of the modem amenities

one would expect. It is just this type of contradiction which not only emphasizes

the regional qualities which are so special but goes beyond this to create a new and

complementary kind of architecture.

59

r

VEHICLE AND ACTIVITIES

60

^

"Meant for the transient individual, hotels are expected to combine fantasy with convenience, to cater to the travelers' needs and to provide amenities that exceed those found at home and at the office. No other structure is expected to provide such diversity and comfort concurrently."

(F&C)

61

ACTIVITY ANALYSIS FOR 250 ROOM HOTEL: Activities and Participants

A hotel consists of three main components, the service operations component, the

public spaces, and the guest rooms. This is broken down into front and back of the

house. The front of the house consists of anything relating to the pubUc, including

all public access areas and guest rooms. The back of the house relates to the

operations which make the hotel run smoothly. All components are interrelated yet

guests see only the front of the house while employees must travel between front

and back regularly. The goal of good hotel design is to give the guests a pleasant

stay while creating an efficiently planned design.

62

r

BACK OF THE HOUSE

63

Hotel Operations - Control and efficiency of staff and supplies is the main idea which needs to

be addressed when designing this part of the hotel

Receiving • loading dock • receiving area • receiving office • records storage

Employees • men's lockers and toilets • women's lockers and toilets • employee cafeteria • sleeping area

Laundry • soiled linen storage • wash/dry area • supervisor's office • seamstress • clean linen pick up

Housekeeping • chief housekeeping • large storage area • miiform room • service area on each floor

Food and Beverage Service • main kitchen • food preparation • rough food cooking • finished food cooking • serving/delivering • dry food storage • cold food storage • self service area • employee toilets • chefs office • ticket checker • room service and banquet storage

64

Food and Beverage (continued)

• room service operator • china/flatware storage • pot scrubbing • dishwashing

Mechanical Spaces • main mechanical room • engineer's office • repair shop • carpentry, upholstery, locksmith • storage • electrical room • telephone room

65

Receiving:

Activities: • receiving of shipments • receiving anything entering hotel • sending received items to their destination • point of removal for anjrthing leaving hotel (garbage, mail, etc.)

Participants: • steward/receiving manager • assistant

Adjacencies: • loading dock and scale • personnel entry and locker area • timekeeper • trash chutes • mail room • laimdry • housekeeping • food and beverage storage

Separation: • guest activity

Spaces needed: • loading dock covered

- 300 s.f. • receiving area

- 300 s.f. • receiving office

- 100 s.f. • records storage

- 100 s.f.

66

Employees

Activities: • changing • showering • restrooms • clothing/personal item storage • napping

Participants: • all employees

Adjacencies: • personnel entry • uniform issuance • timekeeper

Separations: • supply movement path and storage • guest activity • trash chute for collection

Spaces needed: • men's lockers and toilets

- 500 s.f. • women's lockers and toilets

- 700 s.f. • employee cafeteria

- 800 s.f. • sleeping area

- 200 s.f.

67

Laundry

Activities: • washing • drying • ironing • dry cleaning • mending

Participants: • laundry manager • seamstress • valet

Adjacencies: • employee locker • linen chute • receiving area • service elevators • housekeeping

Separations: • employee entrance • guest activities

Spaces needed: • soiled linen

- 100 s.f. • washer/dryer area

- 2,000 s.f. • supervisor's office

- 100 s.f. • seamstress

- 100 s.f. • clean linen pick up

- 50 s.f.

68

Housekeeping

Activities • store linen, soap, facial tissue, toilet paper, matches, room service menus

and other necessities for rooms • supply service areas with above supphes • supply guest needs (irons, safety pins, anything) • clean rooms and other spaces • minor maintenance

Participants: • chief housekeeper • assistant floor housekeepers • maids • porters • maintenance personnel

Adjacencies: • laundry • receiving • storage • service elevators

Separations: • employee entrance • employee lockers • guest activities

Spaces needed: • chief housekeeper's office

-150 s.f. • large storage area with inventory

- 400 s.f. • linen storage

- 800 s.f. • phone access to guests • service areas on each floor for maid cleaning carts and guest supplies

- 200 s.f. each • uniform room

- 300 s.f. Imp. Miscellaneous

• Figure 12-15 rooms per day per maid • one porter per maid • one night maid for every 2 day maids

69

Food and Beverage Service

Activities: • food storage, liquor storage, cold holding rooms, dry storage • menu planning • purchasing of food inventory • rough food cooking • finished cooking • baking • dishwashing • ticket checking • cleaning

Participants: • food and beverage manager • one assistant for food • head chef • assistant chefs • baker • dishwasher • pot scrubber • wait people • garde manager • bartender • room service (phones and delivery)

Adjacencies: general • storage • dining • service elevators • locker rooms • employee entrance • guest activities

Adjacencies within activity: • storage-food preparation - rough cooking • finished cooking • exit • waiters self serve area • bartender • ticket checker • room service • service elevators • rolling table storage • room service operator

70

Separations within activity: • food preparation and cooking • dishwashing • bakery • dining dishwashing

Spaces needed: • dry food storage

- 500 s.f. • cold and frozen food storage

- 300 s.f. • food preparation area • rough food cooking • finished food cooking • serving - delivering

- 4,000 s.f. • bake shop

- 500 s.f. • waitperson self serve area

- 100 s.f. • employee toilets

- 70 s.f. • chefs office

- 150 s.f. • ticket checker

- 50 s.f. • room service tray and banquet storage

- 200 s.f. • room service operator

- 100 s.f. • china/flatware storage

- 300 s.f. • pot scrubbing

- 200 s.f. • dishwashing

- 200 s.f.

71

^

Food and beverage service diagrams

SALAD a •

IE MANOER

KEY

REeTAURANT

(CHECKER SERVICE BAR

HOT a COLD STOfi MJf CAfilS 1

lllJUillL {,

VWMW«M«AMA^^

BANQUET ROOMS

PERSONEL FOOD FLOW COOKED FOOD SERVICE TO 8 FROM RESTAURANT SERVICE TO a FROM BANQUET ROOMS ROOM SERVICE GARBAGE

LCMOMO DOCK

ENTRANCE I FOOD CHECKER

TIME KEEPER

L ! ,

^ IStRV rlUt HOUeEKEEPER

ELEVATOR

Flow diagram of sarvica araas.

1 . 0 A 0 I N 4

D O C K

fOR TRAOC 01 SPLAT ACCESS

FOOD

S T O R A G E

MEAT FRCeZER

WE AT

RCFRIGCNATOII

T

L ERATION I BOX

1 Main kJtchan. P«r«l'»« '»'•'"'• " •***" ' " *

—jviASHINQ * " " " 5 ~

COLD FOOO COFTCE i T M t l t

HOT POOO Tmicx

ict a wrcR

t A N Q U C T H O O M t

SCA.( « 1 E ^

72

f

Mechanical Spaces

Activities: • maintenance and repair of mechanical systems • key/lock repair • major building repairs and upkeep

Participants: • house engineer • locksmith • assistants

Adjacencies: • none

Separations: • guest activity

Spaces needed: • main boiler/mechanical room

- 2,000 s.f. • boiler or mechanical room on each floor

• engineer's office - 200 s.f.

• mechanic repair shop - 250 s.f.

• carpentry, upholstery, locksmith - 250 s.f.

• storage - 5,000 s.f.

• electrical room - 400 s.f.

• telephone room - 250 s.f.

73

<7

FRONT OF THE HOUSE

74

Guest/Public - This needs to be a pleasant, satisfying place to stay for the guest. It must incorporate the ideas

of community and security for the guest.

Guest entry/exit • covered drive • exterior transition • entry • interior foyer

Guest Registration • registration desk • mail and key area • message area

Advance Reservation • office • mail and key storage

Cashier/Bookkeeping • cashier's desk • vault room • private room • accounting office

Administrative Area • manager's office • assistant manager's office • food and beverage manager's office • convention and banquet manager's office • marketing/sales representative's office • secretary areas

Restaurant Facilities • two specialty restaurants • cafe • bar/loimge

Lobby Areas • open/flow space • seating area • retail area • retail • bellmen station • restrooms

75

Guest Rooms • suites • king rooms • double queen rooms • double double rooms • disabilities accessible • studio rooms

Meeting and Banquet Facilities • three convention rooms seating approximately 150 people per room • pre-convention space • board rooms

Recreation • two outdoor pools (one children; one adult) • outdoor bar • restrooms • indoor adult pool • sauna and steam rooms • hot tub • tennis court • aerobic room

weight room running track

•

•

76

Guest entry-exterior to interior

Activities: • taxi drop-off of guest • car parking (own and valet) • luggage transfer to bell boy

Participants: • hotel guests • visitors • valet • bell boy • doorman

Adjacencies: • hotel entry • parking • guest registration and checkout

Separations: • receiving/loading dock • employee entry • elevators

Spaces needed: • covered drive thru

- 3,000 s.f. • exterior transition

- 1,000 s.f. • entry/exit transition - main entry • interior foyer

- 1,000 s.f. • face of building

77

w^

Guest Registration

Activitiefj;: • guest greeting • guest check-in • guest gets key • famiharization of guest with hotel

Participants; • guests • visitors • bell boys • registration clerks

Adjacencies: • hotel entry • elevators • advance registration • key and mail area • cashier • administration • restaurant • lobby • guest rooms

Separations: • hotel operations • check out

Spaces needed: • registration desk

- 100 s.f. • mail and key area

- 25 s.f. • message area

- 25 s.f. • bell boy - luggage - wait area

REGISTRATION ICASHI

^ SAFE DEPOSIT I 0 ? P EXAM ROOMI

78 SCALE m FEET

if. 4 Th* Churchili Hotel. London.

Advance reservations

Activities: • guests and travel agent phone • calls for reservations • scheduling of rooms for advance reservations

Participants: • reservation clerks • registration clerks • guests and travel agents (by phone)

Adjacencies: • hotel registration desk • administration • hotel operations

Separations: • guest view and access

Spaces needed: • office with phone

- 200 s.f. • access and furniture • reservation list access

79

w

Mail and keys

Activities: ^ mail sorting and handling • key drop-off

Participants: • guests getting mail or keys • clerks putting mail or keys in individual spots

Adjacencies: • mail room • registration desk

Separations: • public access

Spaces needed: • individual room breakdown to put keys and mail in for easy access

80

Cashier/Bookkeeping

Activities: • guest drop-off and holding of valuables in safe or safety deposit box • guest pajnnent • cash and receipts from other sources (restaurant, cafe, bar, etc.) • entries and bookkeeping

Participants: • st£iff accoiuitant • central cashier • guests

Adjacencies: • registration desk • private room • accountant's office • vault room • lobby • other cash sources

Separations: • public access to back

Spaces needed: • vault room

- 100 s.f. • cashier's desk

- 100 s.f. • private room (for transferring valuables)

- 60 s.f. • accoiuiting office

- 200 s.f.

81

Administrative Area

Activities: Hotel Administration • bill pa3dng • incoming/outgoing hotel related mail • marketing • convention booking

Participants: • manager • assistant manager • food and beverage manager • convention/bsmquet manager • marketing • secretaries

Adjacencies: • other hotel operations managers • public access • lobby

Separations: • general hotel operations (excluding loading dock or employee locker room)

Spaces needed: • manager

- 200 s.f. • assistant manager

- 150 s.f. • food and beverage manager

- 150 s.f. • convention and banquet manager

- 150 s.f. • marketing/sales

- 150 s.f. • foiu- secretaries

- 300 s.f.

82

Restaurant Facilities/Specialty and Cafe

Activities: • dining • conference/dining • table waiting and food serving • table clearing • relaxing/talking

Participants: • diners - guests and visitors • wait people • bus people • maitre-de (specialty only) • chef ( specialty only)

Adjacencies: • food and beverage service • hotel entry/lobby • convention areas • bar/lounges • rooms

Separations: • dishwashing • food prep

Spaces needed: • two specialty restaurants

- 2,000 s.f. each which need to include: waiting/entry area restrooms

• one cafe - 2,500 s.f.

• one bar/lounge - 2,000 s.f.

83

Lobbies

Activities: • guest congregation/meeting spot (guest-guest; guest-visitor;

group-individual) • public entry to building • hotel orientation (where am I? where do I go?)

Participants: • guests • visitors • bellhops • bell captains' station

Adjacencies: • hotel entry • registration desk • checkout desk • elevators • entry to administration • restaurants and bars • cashier

Separations: • hotel operations

Spaces needed: • large open space upon entry

- 2,000 s.f. flow space - 250 s.f. seating - 800 s.f. retail - 700 s.f. bellmen station, telephone, restrooms

• possible smaller ones located where needed • storage for bell captain (large for luggage and small for parcels)

- 200 s.f.

84

Elevators

Activities: • movement of people from lobby to upper floors • waiting for elevators • waiting for other people • vertical circulation for guests and services

Participants (public): • guests • visitors • bellhops

Adjacencies (public): • hotel lobby • registration desk • rooms

Separations (public): • hotel entry • hotel operations • guest rooms

Spaces needed (public): • central location • lobbies for waiting and separation from rooms with bench, full length

mirror and ash tray Participants (services):

• housekeeping (room and cleaning supplies) (maids, porters, maintenance) • room service • mechanical

Adjacencies (services): • housekeeping storage • food preparation/kitchens • receiving • mechanical storage

Separations (services): • guests • public access • not hotel employed

Spaces needed (services): • waiting area for people with carts • location close to all hotel operation services

85

Guest Floor Corridors

Activities: • guests walking to and firom rooms • services gaining access to rooms • horizontal circulation between rooms, to vending machines and elevators • transition between pubhc and private space

Participants: • guests • visitors • hotel operations services

Adjacencies: • elevator lobbies (public and services) • rooms

Separations: • N/A

Spaces needed: • not over 100 feet in length • nominal six feet width • pair, light and recess guest room doors

86

Guest Room

Activities: • sleeping • eating • dressing • lounging • resting • television watching • working • socialize • cleaning (services)

Participants: • guest(s) • visitor • maids

Adjacencies: • corridor • bathroom • closet • suite/living space (possibly)

Separations: • elevators • public spaces • mechanical rooms • maid service rooms

Spaces needed: • 25 suites

- 600 s.f. each • 50 king rooms

- 450 s.f. • 25 - 2x queen rooms

- 400 s.f. • 125 - 2x double rooms

- 350 s.f. • 5 disability accessible rooms

- 500 s.f. • 20 studio rooms

- 250 s.f.

87

r

Guest Bathrooms

Activities: • showering • using the restroom • applying makeup • drying hair • shaving • washing face • brushing teeth

Participants: • guest • visitor

Adjacencies: • room

Separations: • seating area

Spaces needed: • minimal: tub/shower, lavatory, watercloset • may have 2 lavatories, a bidet, • tub size 6' • ledge for lavatories

Guest Room closet • must be able to store luggage out of sight, have hanging space, a shoe rack,

and a shelf for miscellaneous

Imp. Misc.: • twin beds with one night table between them • bed sizes (all 7 feet long - full - 4'6"; queen 5'; king 6') • nominal room width 12'6" (includes bed and dresser); nominal length

(includes bath) 25' long • consider soimd transmission when planning wall construction • suites may have living area • living area should have a restroom and possibly a bar

•See appendix.

88

QUEST ROOM PROTOTYPE FURNISHING PLAN

«0OM PLAN

Guest Floor Service Space

Activities: • linen storage • maids' carts stored • cleaning supphes stored • room service carts temporarily stored

Participants: • maids • porters

Adjacencies: • service elevator • guest corridor

Separations: • guest elevators • guest rooms

Spaces needed: • storage space

- 200 s.f. per floor

91

Meeting and Banqueting Facilities:

Activities: • meeting for 10 to 1000 people • seated dining

Participants: • guests • visitors • wait people • furniture movers

Adjacencies: • hotel lobby • kitchens • bar • dining facilities

Separations: • loud noises

Spaces needed: • smaller rooms which have moveable walls that may be opened to create a

larger room to accommodate seating 150 people - 1,200 s.f. for each three spaces

• pre-convention space with bar - 400 s.f. for three spaces

• two board rooms - 300 s.f. each

Imp. Misc.: • person standing takes up 5 square feet • person seated for seminar takes up 8 square feet • pre-convention is 1/3 of meeting space area

92

R e c r e a t i o n - to provide an athletic, as well as, relaxing environment for the guest

• pool - 1 adult, 1 child, outdoor - 4,000 s.f. (includes deck)

• pool - 1 adult, indoor - 3,000 s.f.

• sauna, steam room and hot tub - 900 s.f.

• tennis courts - 2,400 s.f.

• aerobic activity - 1,200 s.f.

• weight room - 1,000 s.f.

• running track Activities:

• swimming • relaxing • sunning • tennis • aerobics • weightiifting • running

Participants: • guests • visitors • maintenance • lifeguards

Adjacencies: • guest rooms • changing rooms • one

Separations: • public • hotel services

93

r

Spatial Square Footages

94

Back of the House

Space Netx 1.3 = Usable x 1.2 = Gross Page

Receiving and storage 66 loading dock 300 receiving area 300 receiving office 100 trash 200 refrigerated garbage 100 compactor 200 general storage 900

Total 2,200 2,860 3,432

Emplovee areas 67 Personnel:

timekeeper/seciuity 120 personnel manager 120 assistant 100 files 90

Facilities: men's lockers/toilets 500 women's lockers/toilets 700 employee cafeteria 800 sleep area 200

Total 2,600 3,380 4,056

Laundry 68 soiled linen 100 washer/dryer 2,000 supervisor's office 100 seamstress 100 clean linen pickup 5Ii

Total 2,350 3,055 3,666

Housekeeping 69 chief housekeeper's office 150 storage 400 linen storage 800 uniform room 300

Total 1,650 2,145 2,574

95

r Space Netx 1.3 = Usable X 1.2 = Gross Page

Food preparation main kitchen 4,000 banquet pantry 1,500 bake shop 500 room service calls 100 room service storage 200 chefs office 150 dry food storage 500 cold food storage 300 wait person area 100 toilets 70 ticket checker 50 china/flatware storage 300 pot scrubbing 200 dishwashing 200

Total 8,170

70

10,621 12,746

Mechanical Spaces mechanical plant/room 2,000 engineer's office 200 repair shop 500 storage 5,000 electrical room 400 telephone room 250

Total 8,350

73

10,855 13,026

96

w

Front of the House

Space

Guest entrv covered drive exterior transition interior transition

Total

Guest registration registration desk message area

Total

Advance reservations

Cashier/bookkeeping cashier's desk private room vault room accountant's office

Total

Administration manager's office assist£uit food and beverage mgr. c & b mgr marketing four secretaries

Total

Restaurants two specialty @ 2,000 cafe bar

Total

Lobbv large area bell captain storage

Total

Netx 1.3

3,000 1,000 1,000 5,000

125 25

150

200

100 60

100 200 460

200 150 150 150 150 300

1,100

4,000 2,500 2,000 8,500

3,050 50

200 3,300

= Usable X 1.2 =

6,500

195

260

598

1,430

11,050

4,290

Gross

7,800

234

312

718

1,716

13,260

5,148

Page

77

78

79

81

82

83

84

97

f

Space Netx 1.3 = Usable X 1.2 = Gross Page

Guest rooms 87 suites (25 @ 600) kings (50 @ 450) 2x queens (25 @ 400) 2x doubles (125 @ 350) disabled (5 @ 400) studio (20 @ 250)

Total

15,000 22,500 10,000 43,750

2,000 5.000

98,250

Function areas (including preconvention) banquet 3 @ 1,200 meeting 2 @ 1,200 boardroom 2 @ 300

Total

Recreation pool 2 @ 2,000 (outdoor - includes deck) pool 1 (indoor - includes deck) sauna steam hot tub tennis aerobics weights

Total

3,600 2,400

600 6,660

4,000

3,000

300 300 300

2,400 1,200 1.000

12,500

127,725 153,270

92

8,580 10,296

93

98

f

GRAND SUMMARY OF SPACES

net. usable gross s.f. s.f s.f

Hotel operations/service areas 27,080 35,209 42,245 Support facilities/common areas 29,450 38,285 45,942 Rentable space/rooms 104.850 136.305 163.566

TOTAL 161,380 209,794 251,753

99

J

BIBLIOGRAPHY

Abraben, E. "Resort Hotels: Planning and Management." Reinhold Publishing Corporation. N.Y. 1965.

DeChiara, Joseph and John Callender. Time Saver Standards for Building Types, 3rd edition.

"Principles of Hotel Design." The Architects Journal. Architectural Press. London. 1975.

Rutes, Walter A. and Richard H. Penner. "Hotel Planning and Design." Whitney Library of Design. Watson-GuptiU Publishing. N.Y. 1985.

100

u

FACILITY CASE STUDIES

101

w

THE INN AT SPANISH BAY

Architect: Bull Volkmann Stockwell

Location: Just outside Monterey, CA

Program: To build a 270 room luxury hotel which fits in with its context.

Site: A ridge along Pebble Beach bordered by the ocean on one side and a stand of

pine and cypress on the other.

Solution: A quasi-Mediterranean, elongated mansion style hotel reminiscent of the

California missions. It uses a regional vocabulary of adobe-like walls, heavy arcades

and sweeping hip roofs. There is a 35 foot height limit which the architect takes

into accoiuit. Since the structure is on a ridge, the water side uses four stories while

the entrance is only two stories. This allows the viewer to see only the lower, more

domestic side which keep the surrounding style of the area. Because of the height

limit the hotel is elongated which creates long corridors. The architect provides a

respite through the use of furnished alcoves with stunning views. Guest rooms are

30% larger than the standard luxury hotel and contain a fireplace and deck or

terrace. This provides a warm comforting atmosphere that is inviting to the guest.

102

Design: This architect respects the built context while creating a new and pleasing

environment for visitors. By using a more elongated form the structure creates a

smaller scale while respecting the 35 foot height limit. Breaking up this long feeling

are alcoves (alcoves and indoor/outdoor walks). Also the larger rooms with pleasing

amenities make guests feel more comfortable.

Ballroom pavil ion

, -e

East j v i ng -gues t rooms

L ^- , Lobby lounge pavil ion

J 1

— South wing A - g u e s t rooms

South wing B —guest rcc~-

First level

103

y

PEACHTRRE CENTER

Architect: John Portman

Location: Atlanta, GA

Program: An 800-room hotel within Peachtree Center played around a giant

atrium.

Solution: 37 rooms off a single loaded corridor around a gigantic atrium. The atrium

is 140 by 223 feet in area and consists of a bubble skylight and clerestory rimming

the top. this leads to an indoor-outdoor feeling which is accentuated by trees,

fountains, outdoor cafes and enclosed interiors. Spaces within spaces, exterioirs

within interiors, up and down action, and multi-level circulation create excitement

within the atrium space.

Design: This hotel is based around an atrium with rooms around it. This idea of

inside-outside and rooms around an atrium could possibly be employed in this hotel

design. Creating an atrium within the mountain on the site would expend the

number of rooms available while creating a dynamic interior space.

104

THE AVENTINE

Architect: Michael Graves

Location: La JoUa, CA

Program: To create an exciting mixed-use complex in an ordinary suburb, including

a 16-story, 400 room Hyatt Regency Hotel

Site: 11.7 acres overlooking the San Diego Freeway

Solution: This solution consists of a mega-scale composition which is elegant, bold

and clear which can be seen down to the smallest detail. The hotel's entry lobby is

smaller due to budget reasons yet Graves says it prepares the visitor for the

expansive volume of the restaurant. Architectonically the design was based on

Italian style which relates to its name.

Design: The design of the hotel is fairly straight-forward so Graves takes the ideas

associated with the Italiante style. In this project it is the composition of squares,

circles, and oblongs hnked by pergolas, fountains, pools and courtyards. The key

elements in my project are small scale (three-story maximum) pitched roofs,

squares and rectangles. These structures are small scale and are scattered on the

105

w/

hillside and are linked by walkways and stairs which lead to the front, commercial

area.

Another concept which stands out is the idea of the classical base for the design

which is then played with through the use of color and scale. This is a good exampl.

of manipulated forms evoking the idea upon which the design is based.

106

- A A > . ^ ^ . . . . L ^ ^ . . ^ : ^ . ^ n . , . ,

V

WALT DISNEY WORLD SWAN HOTEL

Architect: Michael Graves

Location: Lake Buena Vista, Florida

Program: 758 guest rooms and suites, convention center, health club, game room,

swimming pool, retail space, restaurants, snack bar, ground bar and lounges,

700,000 sq.ft. total.

Site: 50 acres of lagoons next to EPCOT Center

Structure: Hotel tower is reinforced concrete and the low rise buildings are steel

super structure.

Cost: $120 million

Solution: This is based on entertainment, architecture and should be easily

understood by the user. These criteria are addressed by Graves through his use of

color, iconography, scale and form. The hotel is based on an axial plan and is

architecturally straightforward. It is Graves' use of decoration that makes this

building visually exciting. His decorative strategy is carried into the guest room

areas through the use of beach scene walls and cabana guest room doors. Even the

107

carpet caries through with these ideas, imitating such playful ideas as lily pads and

quarry tile. The individual rooms break away from this grand idea and become

smaller more individual. Graves felt the small size of the rooms help fight the big

hotel feeling one normally gets in a hotel of this size.

108

DOLPHIN HOTEL

Architect: Michael Graves

Location: Lake Buena Vista, Florida

Program: 1,511 guest rooms, 5 full service restaurants, 3 snack bars, 2 lounges,

health club, retail spaces, 1,350,000 sq. ft.

Site: 150 acres adjacent to EPCOT Center

Structure: Hotel tower is reinforced concrete, low-rise buildings are steel super

structure

Cost: $220 milhon

Solution: The architect's solution to this program resulted in a highly whimsical

building. It consists of a 27-story tower which is used to, as Walt Disney puts it,

beckon the user inside. There is more happening in this hotel than there is in its

sister, the Swan. This isn't as conventional a hotel as the Swan is. Instead the

Dolphin employs gently rising "wings" which is less "building hke." Here the

architect plays tricks with colossal sculpture, a several story waterfall and odd

architectural combinations. It has, on the interior, the scale and aspirations of the

109

building don't meet the construction technology employed, gypsum board looks

cheaper and expansion joints and air vents are more obvious. One pleasing

architectural aspect of this hotel is its rotunda lobby. This is a grand space which,

while being pleasant, isn't overwhelming. The use of an octagon ensures people will

pause to experience the space. While this is important, this unique shape is also the

cause of much confusion when users are looking for their rooms or elevators. This,

as well as the Swan, are both examples of illusionism, the idea of fantasy.

110

KkaoBnuaBfl

BILTMORE HOTEL

Architect: Original building by Schultze and Weaver, renovation by PhylHs

Lambert and Gene Summers

Location: Downtown Los Angeles, California

Program: Renovate a 55 year old hotel with 772 guest rooms, 27 banquet and

meeting rooms, 90,000 sq.ft. office space, 16,000 sq.ft. restaurants, 40,000 sq.ft.

retail shops

Site: Near Pershing Square in downtown Los Angeles

Structure: Existing steel frame under masonry walls

Cost: $30 million

Solution: The renovation of this hotel led not only to its revitalization but also to

the rebirth of Pershing Square. It was named an historic landmark in 1969 by the

Los Angeles Cultural Heritage Board. Originally it was the largest hotel between

San Francisco and the Mississippi and was designed in the classic Spanish-Italian

Renaissance revival style.

I l l

The importance of this is its renovation and how the program was accomplished.

This included the preservation of important aspect of the building while

incorporating contemporary elements into certain areas such as the office and

commercial spaces. This led to a renovation hierarchy with the least impact

occurring on historically important spaces such as the suites and guest rooms. In

the guest rooms the client wanted to create a sense of special experience. This was

achieved through the use of color. Each room was assigned one of these colors: red,

orange, yellow, blue, green, and violet, £md was done in shades of that color. In the

larger suites, neutral tones created a less visual space but it was felt that the space

itself was more important there. (Greenhouse)

In the more contemporary retail and office space, greenhouse skylights were placed

to accentuate the view of the original building.

Beyond architectonics, the client chose to play old and new off one another then the

use of contemporary art and objects juxtaposed with the traditionally ornamented

hotel.

112

BIBLIOGRAPHY

113

Abraben, E. "Resort Hotels: Planning and Management." Reinhold Publishing Corporation. N.Y. 1965.

Beer, David W. Every Hotel Needs Fantasy and Convenience. Architectural Record. New York. McGraw Hill Books. June 1984.

Bloomer, Kent C. and Charles W. Moore. Body, Memory and Architecture. New Haven: Yale University Press, 1977

Bronlin, Brent C. Architecture in Context: Fitting New Buildings With Old. New York: Van Nostrand Reinhold Company, 1980.

Campbell, Robert. Firmly Rooted in New England Tradition. Architecture. July, 1988.

Canty, Donald. Very Large Hotel Respectful to Nature and Its Neighbors. Architecture. July 1988.

DeChiara, Joseph and John Callender. TYme Saver Standards for Building Types, 3rd edition.

End, Henry. Quotes Interiors Book of Hotels and Motor Hotels. Whitney Library of Design. New York. 1963.

Gamham, Harry L. Maintaining the Spirit of Place: A Process for the Preservation of Town Character. Mesa, Arizona: PDA Publishers Corporation, 1985.

Hough, Michael. Out of Place: Restoring Identity to the Regional Landscape. New Haven: Yale University Press, 1990.

Lapidus, Allen H. Planning the Successful Resort Hotel. Architectural Record. Jiily, 1968.

Mayes, Vernon. P/A Inquiry Inside the Hotel Guest Room. Progressive Architecture. June 1988.

Portman, John C. Metropolizing Atianta. Interiors. November, 1968.

"Principles of Hotel Design." The Architects Journal. Architectural Press. London. 1975.

Rutes, Walter A. and Richard H. Penner. "Hotel Planning and Design." Whitney Library of Design. Watson-GuptiU Pubhshing. N.Y. 1985.

Whiteson, Leon. Grand Illusion. Architecture. August, 1990.

114

w

Appendix

115

Guestroom Dotign

FURNISHINGS

The definition of the marltet determines not only the mo»t appropriate bed combinations but also all the other furnishings for a particular hotel. Generally, hotels include a mixture of rooms with two beds (generally double beds), one oversized bed (either a queen or king), and suites of various types. The more common alternatives are listed in Table 2. While it is uncommon in the United States to have hotel guestrooms furnished with single, twin, or only one double bed, some hotels recently have introduced oversized twin beds in place of two double beds, primarily in convention hotels, in order to provide a more residential atmo­sphere and to allow more room for other furnish­ings.

The selection of a proper room mix is important because it influences the hotel's ability to rent 100 percent of its rooms and to generate the max­imum revenue. For this reason, rooms with greet flexibility, king-size bed plus e convertible sofa, for example, ere increasingly popular. Typical room mix percentages for different types of hotel are provided in Table 3.

The full list of furnishings cen be determined by analyzing the guestroom functions—sleeping, relaxing, working, enterteining, dressing—and their space requirements. The typical double-dou­ble room has severel zones: The bathroom and areas for dressing and clothes storege are grouped next to the corridor entrance: the sleep­ing aree is in the center of the guestroom module: end the seeting and work areas are located near the window. New leyouts combine the several functions in different ways or find techniques for separating them more fully. For example, suite characteristics are provided in a standard room by adding a screen to separate the sleeping and sitting portions of the space. Or a compartmental­ized bethroom is created by isolating the beth end toilet aree from the sink and dressing function. Such guestroom zones are shown in the illustra­tion on p. 999.

With the continuing increase in construction end furnishing costs, it becomes more important to find new solutions to the guestroom layout, that is, designs which combine function and com­fort within realistic budgets. One basic approach is to use fewer individuel pieces of furniture or to scsle them slightly smaller so as to give the per­ception of a larger or more luxurious room. The designer might include the following:

D Queen or 72-inch (1.8-meter) king-size bed: Beds smaller than the 78-inch (2-meter) king create mors open space.

ED Convertible sofa or wall-bed: These provide more open space and flexibility, either as the second bed with a double, queen, or king, or as the only bed in a parlor.

CD Adequate luggege/clothe* space: Sufficient drawers, luggage rack, and closet space reduce the clutter of clothes throughout the room.

LD Armoire: Combining drawer space with e television cabinet and possibly a pullout writing ledge in a single unit eliminates the need for tvro or three separate pieces.

D Lounge/desk chairs: Lounge chairs designed to be used at the work surface eliminate the straight desk chair.

CD Mirrors: They enlarge the space visually. Q Wall-mounted bedside tamps: These permit a

smaller night table. CD Bathroom: Designs should expand the

countertop, mirror, and lighting as much as possible and compartmentalize the tub end/or toilet.

TABLE 1 Hotel Guest Characteristics*

Guest characteristics Purpose for travel Guestroom design factors

Business

Group Single or double occupancy; 2-4 night stay; 75% men, 25% women (rising); somewhat price

insensitive.

Individual Single occupancy; 1-2 night stay; 85% men, 15% women; very price insensitive.

Conventions, conferences; professional associations; sales and training meetings.

Corporate business; sales; conventions, conferences.

King, twin, double-double; bath with dressing area; lounge seating with good work area

King; standard bath with shower; lounge area with exceptional work area.

Pleasure

Family Double-plus occupancy (Includes children); 1-4 night stay, longer in resort areas; budget or

midprlce.

Couples Double occupancy; 1-7 night stay; midprice to

upscale.

Singles Single occupancy; young professionals; midprice

to upscale.

Family vacations: sightseeing; sports, family activity.

Tours, clubs, associations; sightseeing; theater, sports; weekend packages; shopping, vacation.

Tours, clubs, associations; culture, arts, theater; shopping.

Double-double, king sofa, or adjoining rooms; lounge area and television; generous, compartmentalized bath; balcony, deck, outside access.

King; dining, work surface; moderate storage; compartmentalized bath.

Queen; dining, work surface; standard bath.

'GuMtroom dstign muti rtftoct the nmdi of the hidg*'. Commercial hotsh, for aumple, have a high rate of tingle occupancy and, t^«r<lora. need lew rooim with two double beds For the same reasoni. they do need better designed

and Ivger work surfaces for the businesspenon and hill hotel servicet. The table klentlfies the prineipsi hotel gueit markets, their characteniucs. and thetr influence on the room design.

<Kk:dQ(a^^

f

Guestroom Design

Several details in the room arrangement and furnishing do not have any "best" solution. For example, many operators insist that the tele­phone should be located next to the beds, wherees others prefer thet it be placed at the work area. Similarly, some prefer that the drapes be laminated and combined in a single unit to re­duce the number of drapery trecks, whereas oth­ers insist on seperate sheer, blackout, and over-drape to ellow eesy cleaning and maintenance. Throughout the room, the designer must balance the conflicting needs of function, safety, mainte­nance, comfort, and budget and, at the seme time, must consider the varying requirements of the severel different markets that a single hotel tries to attract.

DIMENSIONS

The guestroom design decision which most in­fluences the rest of the hotel plan is the selection of the room's net width. This establishes the structural module throughout the building, includ­ing the public end service areas on the lower floors. The most common dimension is 12 feet (3,7 meters), initially used in the mid 1950s by the Holiday Inn chain as a standard for all their prop­erties. It was designed to eccommodate the furni­ture needed in the roadside motor inn: two double beds against one wall and a desk/luggage rack/ TV stand against the opposite wall, with ade­quate aisle space between. While the room hes undergone some minor changes in the last quar­ter-century, the industry's standard room today is

essentially the seme one pioneered by founder Kemmon Wilson's Holidey Inns and immediately adopted by Howard Johnson and other compe-nies.

Until then, even the newest and best conven­tion hotels built in the post-World War II period included e variety of room sizes, including e lerge percentege that were narrower than this 12-foot standard. These hotels, msny of them still operet-ing and competing with properties 30 years newer, ere greetly limited by the smallness of their guestrooms. In the United Stetes and Can­ada, no first class or chein-effiliated hotels (ex­cept for the budget Inns) are built today with rooms less than 12 feet wide, unless, es in the case of renovations of older hotels, the size of e few rooms is limited by unavoidable architectural constraints.

In the past few years guestroom dimensions have become fairly wall standardized for different quality levels within the industry (see teble below). While e few hotel operetors have tried to provide noticeably larger rooms than their direct competitors, guestroom size, quelity, and room rate remain closely linked because of the overrid­ing influence of construction end furnishing costs.

The guestroom layouts on pages 1001-1002 II-lustrste the standard room design alternatives as well es a number of more innovative solutions. The budget cheins have slightly reduced the 12' X 18' (3.7 X S.5 m) motor inn room to lower con­struction costs, shortening it to between 14 end 16 feet (4.3 to 4.9 meters), which is sufficient to eccommodate two double beds. On the other hand, operators who are selling a more luxurious

room have experimented with larger guestroom speces, including more sumptuous bethrooms. In-creesing the width of the room module to 13 or 13.5 feet (4 to 4.1 meters) permiu one mejor chenge in the room leyout: two twin beds, or a queen or king-size bed cen be positioned egainst the bathroom wall instead of the side wall, per. mitting many other arrangements of the furnish­ings. For example, several designers hsve placed the bed diagonally instead of against a full wall.

Generelly, there is little advantage to increes-ing the guestroom width beyond 13.5 feet. Even this slightly larger space does not provide im­proved errangements, and construction costs are increesed dramatically by the increased circula­tion space and exterior well area. However, at a room width of 16 feet or more a new set of design alternatives arises: the bed or beds cen be posi-tioned against one side wall and the lounge and work area against the opposite wall. Also, the greater width permits unusually luxurious bath­room arrengements, often with four or five fix­tures, as ^ell as larger entry vestibules.

The wedge-shsped rooms cherecteristic of cir­cular towers present their own design problem in the layout of the guest bethroom. The smeller towers have a corridor frontage of only 6 to 8 feet (1.8 to 2.4 metera), the larger plena a more reason­able 10' feet (3 meters). Although many of these room plans sho^ such positive features as com­partmentalized bathrooms (out of necessity), min­imum foyer spsce, a large lounge aree, end expen­sive window wall, today's increasing competition in room size and upscale furnishings has made the smeller cylindrical towers virtually obsolete.

TABLE 4 Guestroom Dimensions

Budget

Midprice

First class

Luxury

Living area'

Dimensions, feet (meters)

I T S ' X 15' (3.5 X 4.5)

12' X 18' (3.6 X 5.5)

13'6' X 19' (4.1 X 5.8)

15' X 20' (4.5 X 6.1)

Area

172 (16)

216 (20.1)

256 (23.8)

300 (27.9)

Bathroom

Dimensions, feet (meters)

5 ' x 5' (1.5 X 1.5)

5' X 7'6" (1.5 X 2.3)

56- X 8'6-(1.7 X 2.6)

7'6' X 9' (2.3 X 2.7)

Area

25t (2.3)

37 (3.4)

47 (4.4)

71 (6.6)

Total guestroom

Dimensions, feet (meters)

i r 6 - X 20'6-(3.5 X 6.2)

12' X 26' (3 6 X 6.6)

13'6- X 28'6' (4.1 X 8.6)

15' X 30' (4.5 . 9.1)

Area

236 (21.9)

312 (29)

378 (35.2)

450 (41.8)

'Living area doM not include the bathroom, ckiset or entry-

tBathroom of budget guestroom includes tub/shower and toilet sink it part of dressing area.

BmoKi

Guestroom Design

TABLE 2 Guestroom Bed Typest

Type Size

Twin 'Double-double Queen 'King California king Oversized twin Queen-queen Double-studio Queen-studio 'King-studio •Parlor Wall bed (Sico room)

2 twin beds 39 x 80in. (1 x 2 m) 2 double beds 54 x 80 in. (1.35 x 2 m) 1 queen bed 60 ^ 80 in. (1.5 x 2 m) 1 king bed 78 x 80 in (2 < 2 m) 1 king bed 72 x 80 m. (1.8 x 2 m) 2 twin beds 45 x 80 in. (1.5 x 2 m) 2 queen beds 1 double bed and convertible sofa 1 queen bed and convertible sofa 1 king bed and convertible sofa 1 convertible sofa 1 wall bed

^Ginstnom bedtyiies: Bedrooms come in i great vanely of arrangements, generally defined by the type of beds and by the number of room bays. The table provides a comprehensive listing of hotel guestroom types (the more common being identified with an') and standard bed sues

Guestroom Activity Zones. The hotel guestroom ac­commodates one to lour or more people, sometimes with several activities occurring at one time (tor example, bathing and dressing or sleeping and Mtchmg TV) The designer needs to be alert to techniques tor separating some while combining others, m both cases increasing the tiexibility and adaptability ol the room to diltereni users The plan illustrates live guestroom zones

TABLE 3 Guestroom Mix for Different Hotel Types*

Type of hotel

Budget Inn Motor Inn Conference center All-suite Super-luxury Commercial Resort/family Resort/couples Convention Mega-hotel Casino hotel

Double-double

100 60 40 10 20 20 80 20 55 55 40

Percent of total guestrooms

King

0 28 40 90 70 60 8

70 35 35 50

King-studio

0 10 15 0 0

10 10 5 5 5 0

Parlor

0 2 5

100 10 10 2 5 5 5

10

Comments

Trend away from all double-double Single occupancy, except needs couples' weekend business All rooms connect with a parlor Double-double replaced with oversize twins Limited double occupancy Provide room for cots

Trend toward replacing double<louble with oversize twin Double^Jouble provides greatest flexibility for family/group business markets Depends on strength of tour markets

'GiMtnoni ma Ibr difffftit haul Ifptt: Hotel operators have established guidelines for himishing guestrooms based on the history of the types of guests who stay at a pellicular type of hotel or resoa Ttus table establishes Itie room mu

obtectnes for particular types and classes of hotels.

Guestroom Desigt

r Guestroom Design

Guestroom Plans. The room layouts illustrate a variety ol solutions to accommodating the lamily and business markets in hotels, ranging Irom budget to convention and luxury types The larger rooms generally provide better lounge and work areas and oversized bathrooms A. Budget inn double-double (Day's Inn): Small room layout with outside rather than corridor access: limited seating (AC unit used lor end table), sink and hanging clothesrod in dressing area B. Typical double-double: Standard motor inn and hotel room: beds take up 70 percent ol living area: limited seating space C. Typical double-double—electrical/mechanical plan. Identity all electrical outlets, TV, phone, HVAC units: outlets and cable connections should be planned around proposed turnishings. D. Typical double-double—tinishes plan: Vinyl wallcover­ing (VWC), paint (P), carpet (C), ceramic tile (CT) identilied and keyed to legend. f , King-studio (Holiday Inn): Standard layout with armoire unit and large lounge area including a convertible sola F. Parlor (Holiday Inn): Convertible sola and small conlerence area and adioining typical king and double-double rooms. G. King room—diagonal bed placement (Sheraton Plaza, Palm Springs): Resort layout, larger room size, with bed splayed to reduce institutionai look H. Luxury room (Four Seasons, Montreal, Canada): Room with wider window dimension than depth including luxurious lounge group and oversized lour-lixture bath. I. Reversed layout (Sheraton, Washington, DC): Unusual room wilh bed placed in front ol window and lounge area near bathroom. J. Luxury king room (Sheraton Grande, Los Angeles): Oversized room with shell/ledge in place ol headboard, large desk surlace and lounge area: lour-lixture bathroom

i r r - r r r r i II ^•'^ •<•- titSMH^Bk

Guestroom Design

SUITES

One principel way that a hotel cen provide diffe­rent qualities of eccommodations is to include e number of guestroom suites in the room mix. A suite is defined simply as a living room connected to one or more bedrooms. Larger hotels frequently provide e hierarchy of suites, from single-bay liv­ing rooms with a sleeping alcove to multiple-bey living rooms with perhaps six adjoining rooms, including dining/conference rooms and several bedrooms. A typical suite breakdown is shown in Table 6.

Hotel suites, which meke up about 10 percent of the total guestrooms, ere usually poaitioned on the upper floora of the tower, but they may be stacked vertically where unusual conditions occur. For example, suites may be used to fill lerger structural bays of the typical floor, with mini-suites tucked behind steirs or elevators and others located where the building form provides uniquely sheped rooms.

Over the last 10 years, severel new amenities have been edded to hotel suites. One of these is the inclusion of express checkin end concierge services on the upper floors. In some hotels, these services occur in a single room near the elevetor lobby, where the staff serves light hors d'oeuvres, sells beverages, and makes newspapers availa­ble. In other hotels, this service has been ex­pended so thet guests on the club floors or towers section bypass the busy lobby registration area and check in at the club floor. The more extensive of these tower club lounges may extend over sev­erel bays and contain space for the concierge/ registration aervice, an office, e smell seating/tel­evision lounge, a conference room, and a large lounge used for continental breakfast, afternoon tea, and cocktails.

TABLE 5 Different Types of Suites

Suite type Living room Bedrooms Keys Bays Percent

Mini-suite Conference suite Junior suite Executive suite Deluxe suite

One bay One bay One bay

Two bays Three bays

Alcove 1 2 2 2

1.5 2 3 4 5

2-3 4

1 0 5

'Percentage of total rooms, that it, two mini-suites per 100 rooms.

Suite Plans. Hotel suites combine separate living and sleeping areas and are generally lurnished with upgraded fabrics and casepieces. The largest suites may extend lor 10 or more structural bays and combine numerous bedrooms and living areas A range of suites includes: (A) The mini-suite, containing a single bay living room plus a king bed alcove—created by adjacent stairs or elevators The divider between the two rooms houses the TV and a built-in dressing table

(B) The junior suite (Wesllake Plaza, Wesllake, CA) is equal to the area ol two typical rooms. The living area, on an area rug over parquet lloors. includes seating and dining areas, while the bedroom teatures a luxurious compartmentalized bathroom.

(C) Hospitality suites are intended for large groups, such as at conventions where they are the locus ol corporate entertaining The suites show two distinct lounge areas in addition to the conference/dining area with its own pantry, one or more bedrooms generally interconnect.

F

.J

k Q" no'^

^

\ 7

r" ^^>xjua^ y o

o_J

a-0' s'-C

Fig. 10 Motel (oomi - exterior entitnce.

I I Mocel itwmi-interior coiridoe

I4'.6'

- « - ~ - > - - ^ i ^ . ' •MMM*

F

— l l - . e u-r

DOUBLE - WITH RALCONY DQUBil

n-e'

^ ^' • I.

a-y * •>•••

SINr.Lg-WITH aAlCQNY

if. 7 Typlcil rooms, QualitY Courts Motel prototvoe.

ilHfilE

• — » . — . x j ^ j t f t ' y *

T

L

(t)

25'0-

l2'-6- IZ-i'

-.- •

m ^

1. S (eontl (k) Chicopea Motor Inn, Chicopee, Mauachusatts. (I) and (m) Thomas Circle Motor Hotel, Washington, X. (•) Rlverview Motor Hotel, Naw Yorii.

(n)

- 1 I

.-15' >

(h) (i) (|)

S lB»t I (.) T . » . . International Inn. Tampa, Florida. (I) Indies Houta, Duck Key, Florida, (g) Americana I tSVJa!, Ftorida (hi P««'li»« '»'•»" Hotel. Paradise Island. Bahama., (i) Americana of Puerto R.co. il room layout.' (i) Maisana Motor Inn, Maisena, M.Y.

I l ' - y 5 •• 0 "

l g - Z '

If - *'A'

(d)

. 5 (a) Uris Brothers Hotel. Naw York, (b) Americana Hotel. Naw York, typical tower room, (c) Loews N.Y, Motel, cal room. |d) Causeway Inn, Tampa, Ftorida.

\4'- A'/Z'

Fig, I Tampa International Inn, Tampa, Florida. Fig. 9 Arawak Hotel, Jamaica, B.W.I.

mw^r>mm^uBa^t^BLL.LMMBjm

Guestroom Floor

TOWER PLANS

A. PINWHEEL PLAN (Berkshire Common, Pittstield, MA): Plan illustrates simple arrangement of 16 rooms in 4 equivalent blocks: the core is extremely ellicient with scissor stair, but corridors extended to corners are excessive B. SQUARE PLAN, H CORRIDOR (Noble Inn. Tampa. FL): Design teatures extremely economical circulation and core: all bathrooms back to back: unusual yet easily lurnished corner rooms C. CROSS-SHAPED PLAN (Holiday Inn, Ontario, Can­ada): Layout exemplilies economical corridor plan but increased building perimeter D. CIRCULAR TOWER (Westin, Seattle, WA): Arrange­ment shows ellicient plan with very compact core and well-laid-out guest bathrooms. E. TRIANGULAR TOWER (New Otani. Los Angeles, CA): Design illustrates well-organized and well-configured core with good access to the ends ol the tower

r I II I ' ^

1

_ _ s

/".

ffeaCg^ri

aC-TOD-TlT]

Guestroom Floor

SLAB CONFIGURATIONS

A. SINGLE-LOADED PLAN (Alameda Plaza Hotel Kansas Ciiy. MO) Pian represents typical single-loaded design with elevators and stairs unrelated to guestroom structure B. DOUBLE-LOADED PLAN (Sheraton Hartlord Harttord. CT) Layout illustrates economical eievatoi core with service area betimd the public elevators C. DOUBLE-LOADED PLAN (Hyatt Regency Flint flint Mi) Design features elevators pulled out ot me tower stairs m bathioom zone at suite D. DOUBLE-LOADED OFFSET SLAB (Weslin Hotel Tulsa. OK) The core equivalent ol three guestrooms is positioned in center ot otiset stairs accommodated by extending end rooms E. DOUBLE-LOADED L SLAB (Boston Mainotl Hotel Copley Place Boston MA) Layout includes elevators buried at comer ol L shape creating economies similar to ottset arrangement

mi. niTiTLTniTiiiTiii: ] ±TL ±-^1. llTlIlTlIlTllr- •

.

. 1 M 11

__

1 1 II 1 1

tf/Vf, 1.1. JAA'.JAAJA.fXtlfKtMlhStf

f Guestroom Floor

Guestroom floor analysis

TOWER CONFIGURATION ROOMS/FLOOR

Single-loaded slab

JZL

Vanes 12-30 •t•

DIMEN• SIONS, FT(M)

32 X any length (10)

GUESTROOM CORRIDOR,

SQ FT (SQM)

PERIMETER X ROOM WIDTH COMMENTS

65 80 (7 5)

2 2-2 4 Some economy ;n mat vertical core can be ab­solute minimum—not attecied by room bays

Double-loaded slab Vanes 16-40 +

Rectangular tower 16-24

60 X any length (18)

70

1 ^ — , — 1 — ^

^ p Offset slab Vanes

-1. . . . . 1 : 1 ' ' 'L

>

24-40 + 80 t any

length (24)

n o > 110 (34 X 34)

72

45 (4 2)

1 6-1 8

50 (4 6)

65 60 (5 6)

1 4-1 6

1 5-1 7

200 It (61 m) plus dead­end corridor tor two Stair scheme can be turned mio L or T

Core IS buried creating lower perimeter factor higher corridor because ot elevator lobby also other shapes

Planning problems focus on access lo cor­ner rooms lewer rooms floor make It difticun lo plan core

Circular tower 16-24

Triangular tower 24-30

90-130 diameter (27-40)

Varies

67 45-65 (4 2-6)

64 65-85

1 05

1 4 - 1 8

Smaller diameter lor 16 rooms per floor larger tor 24 rooms comdor area vanes tremen­dously perimeter of 16-19 ft 14 9 - 5 8 m)

Central core inefficient because of inanguiar shape corner rooms easier to plan than with square shape

Atrium 24-

r 1

—h

— •

1

90 + (27)

62 95 (8 8)

1 6 - 1 8 Open volume creates spectacular space open corridor balconies opportunity for glass el­evators requires careful engineering tor HVAC especially smoke evacuation can be shaped into irregular configurations

Each guestroom tloor conliguration has certain characteristics which allect its potential planning elticiency The table shows the basic building dimensions, the usual percentage ot tloor area devoted to guestrooms, the amount ot area per room needed lor corridors, and a "perimeter tactor.' a multiple ol the room width required lor the exterior wall For example, the table shows that double-loaded slabs (and the "ottset slab" moditicalion) are the most ellicient in terms ot guestroom area percentage and that the atnum plans are Ihe least economical m providing guestroom space

WM—ggMBiliWW-gJ^

ears ago Atlanta was a booming city ibly proud of its cultural alertness, nic expertise, and physical chartns. consisted of both urban and sui)ur-

jsidential neighborhoods delightfully d and situated on the land. But it 3t a city that a person used to great would admire. It lacked the kind of ivhich regales both inhabitant and wilh the concentration of amenities,

anial spaces, and diversions that the gathering of great numbers of an e.xciting pastime l as well as a

iseful one) . ay .Atlanta is well on its way to be-2 that kind of city—to be mentioned same breath as San Francisco. Paris, n. Rome. Montreal. The change is tirel\ due to the addition of specific such as the new Memorial (Cultural

encompassing museums and thea-r the performing arts, new molds and (notably the Regency Hyatl Flouse

ented in the July 1967 INTKIIIORS).

uinerous com'mercial buildings in-: the -Atlanta Merchandise Mart and Hium. The significant new j>hcnom-in Atlanta is the emerging urban 'eachtree Center, the compoii(;nt5 of are in the plan at right, as follows: 0-room Regency Hyatt Housr Hotel laris Cocktail Lounge of the I\rgency 0-room addition to the Regtnt-y ture 70-story office apartment tower, s Light office tower 'ice tower za over Midnight Sun restaurant ichtree Center office building anta Merchandise Mart itinental TraUways Bus Terminal-'king Garage. 1 the first building in the complex id in 1962—it - - ' ••'" ' ?^ - '*"" ' ^^ t Conti

ee Center program weaves intimate

human amenities into a major urban core

John C. Portman. .4.1..4.. deieloper/buildcr and partner in the firm of Edwards and Portman. .4rchitects and Engineers

o e a c n i r e e s t r e e t

eft ee©e-o et

spring stre«t

?;B:

Added to the guest-room-leiel plan of the Regency Hyatl Hotel is the plan of a typi­cal floor in the round tower (the circle above) which Portman is building over the ballroom to add 200 rooms to the hotel. Site plan below relates hotel (I), Polaris Lounge (2) and new tower (3) to site plan on opposite page.

1

C"

l A A A ^ i A A A

imiiiri jiiiii

iiiiiii

South elevation of Regency shows new guest tower, Polaris Lounge (rear). (Continued from page 122) Merchandise Mart (April 1965 INTERIORS)

—it was welcomed merely as a handsome and capacious business building, and the significance of the developer's grand de­sign was not yet manifest. By the time the Peachtree Center office building. Gas Light office tower, and Regency Hyatt House Ho­tel began to emerge, however, this grand design showed its effect: It had become pos­sible for people in the central core to at­tend offices, visit showrooms, find hotel space, congregate for relaxation, and enjoy a choice of good eating facilities of many types and in many price ranges without going further than an easy stroll, without using their cars, and without exposing themselves to the weather, should it be inclement—though light, view, and indeed fresh air were always available.

These buildings not only contain the necessary variety of facilities, but are so connected—at, below, and above ground level—that the pedestrian can reach them without crossing motor traffic. (Anyone who has been caught in Peachtree Street traffic knows what a boon that is) .

In addition to the availability of facili­ties, and freedom of movement, the Peach-tree Center complex offers great and excit­ing spaces—interior and exterior—of which thf!_most stupendous is the huge lobb}' of the Regency Hyatt HoiJS£__Hoteh_

It is. as our readers know, a huge space full of luxuries, and it swings and glitters i

que opportunities for people

Metropolitanizing Atlanta

IIIIIIIISH iii""iiiiiiifii, iiii'iUKiiiinr iiiiiiiiiniiir liiiniiiimniii

Ljinnnirinniii ii!]iiiiiirrn[iniiifi ^iiiiiirifirmiii

viiiirrriinirni ^iiiiiifininiini

On these two pages are photographs of the Peachtree Center complex, inside and out, and below is a plan of the Regency Hotel at Terrace Level, including the base of the new guest tower (3 elevators in the circle). Indoor/outdoor pedestrian circulation is possible at street, basement, terrace level, and on the 22nd floor.

iKKSBKKeeau^aas^

Metropolitanizing Atlanta

Peachtree sculptures include 40-foot gas-burning candelabra by the brothers Van De Bovenkamp (near the Gas Company Tower, preceding pages) and 13-foot aluminum by Willi Gutmann that rises from the center of the tiered restaurant fountain to the plaza above.

i

of this atrium. More importaiit are its s( —24 stories high, 140 by 223 feet in a —and that it feels like an atrium, i.e., of doors, thanks to a large transpai bubble skylight and a clerestory rimm the top. The ^fferfjs^ accentuated bytr a fountain, 'outdoor" cafes, and by closed interiors below the atrium and w

Jn i t j^ for example, Le Parasol cocli lounge, a kind of giant saucer lifted o concrete pillar and lidded by a steel-a Plexiglas. parasol suspended on a a from the roof. Occupants peer out at atrium from between the dish and its co

Spacgis within .sBacgs, exteriors wil interiors, lots_aL_up-and-down action muTti-lex* ! circulation are thematic to work of Jijlin^ P«^rtman of~Portmair"Sr

'I l'"rtman's work in INTERIORS reveals no 'ix'iile form or material in architecture. ""I .1 changing emphasis in furnishings '' •• in his own home—April 1965 issue

2 less playful, less Scandinavian, for ^' 'I'le. than those in the Midnight Sun '"I'liirant). Portman's signature lies in the ''""a. coherence, purposefulness, move-'"'"'• and interrelationship of his spaces. ""' 24 hollow and skylit columns of his ""I residence provide lacunae of intimacy ""' protection in a huge, almost unparti-''' I space which the occupant subcon-

IV perceives in its entirety. The same '" "ination of safety and sweeping view. ' I'rivacy without being shut in, are pro-i'l,.,| by the Parasol and sky-high Polaris '"'iL'Ps of the Resencv.

Midniclit

latest restaurant to open at Peachtree Cen-teer. It is Danish-inspired, serves superb Danish food prepared by a Danish chef. Its decor is fascinating, but cannot be fully understood without considering the role of its spaces as part of the circulation-and-facilities labyrinth of the Peachtree Com­plex, which is one reason why Portman wanted to do both the interiors and archi­tecture, as he did.

Portman's desire for total control of the environment he plans is hardly unique, but his power to achieve this desire prob­ably is. Early in his career, realizing that clients and real estate people wield actual design control, he went into building and real estate as he proceeded into architec­ture, eventually forming a partnership with

("row .if Dallas "known to our

live Center, Merchandise Mart, and parel Mart ) . Together Portman and are doing such major developments a S200 million San Francisco Embarca essentially a megastructure (like Mont Place Bonaventure. October 1967 and 1968 INTERIORS). Portman is also d< ing urban core complexes for Dallas, cago, Montreal. Los Angeles, and I delphia.

Meantime Portman is president o Atlanta Trade Show Corporation Peachtree-Harris Corporation (real tate) ; and of Jamestown shopping c«

The condition of these enterpris glowitjg. The .Atlanta Merchandise the nation's second largest buildin< voted to permanent wholesale showrr has recenllv been dtnil l«'il in -ize to '1

DOCUMENTATION

•BonnaogEP^^ennK

V .-- y

--l IM

v /

.'. '

\

/ '/

W^'

^ J -

:'.s ^ I V ,

. 0^ '-'

'4-—:;v

_ I

i<5'

\ .

ti

i/ w

I \

^ r:::::: .

i » > # i > H i i i i i i » i i m i i i i i i i i i i

MWMIflW

•1 r:z-^_i

*

17' I. '>• .. /. >

;l

i

ZI^ ..-1. A..

1 - — • y " ' " ' / • i n . ' ' 1 1 ~=^— -^ -- / . . / - —'• >•• I n . ' ' 11

- I-

II I I I Hill IIMIlH iHIIIIIHlllllllllll

/" ' /

o i A - -""ci-

f /

Oi^ J- •e^-

r^ f Or)

^

r ^Z>rj\

- c ^

t S

5 \-^^

yU

.J w ( c

< ^ _ „ ,

^ O K

w .>r'^

I .

-i

M i y <' Vj^ij • '•t^t**

r «(_iv-» + ' -, - • y- J f~ ^

r

• f - . .

X • \ ,

• ^

-1

• K W — milIIIII I

-?r C -^' S"

.A ^

'CC^j^\ A-i/r-.'^

f V

>.U-EY

' / '

%

1 ,C^^-h. ^J.-"-^

, ^ ^

^ ' - • ^ ' '

LI

! I

i

i

I i

; P^

J ! i \

1 1

I

• •

/ I

-4__i r

7-ri

I : i I

1

^

c'-

lil

.0 f dC'^'"

T = 4

. ^

V i

t--- • p

n / ^K

&

L*.:\^,-...::.~i

.

\ K

^-Xli--v. - \

X /

/ -

~7\. a-^ —*

I , I ^ ^

^ - i j , '= p v -

/ \

-i^r-^-Z VP

/ '

\

\ . i -^ 0 /

\ ^ -> r:

/

/ . /

-\2--<^ "C

t-\^'^-

i \"

.- r

A J v - - - c . ..- ^ 4..,i

x^ -iS.:!

! N' .r>V.

\

\ /

^ J

,•&-

r

v> S-=¥«^

/ >\

W -1 *

^^m^\ J>^r-ilJ

1. —

/r

7

I- I

t

• 1

li

''\i

fa '' .id,-,l '•' -' •• '^

\Ji\ i '1 -

1 1 - -

^ -:^ - f~.

, : > - - " . - i - -•

'li^ i J i' ' - '" ' '•

r-. '.

, ' •

,?/r

r 4 r-;--""£l--fflM2E ^ ^ , i

7-^s / 77 ; \ /:

•WM

^ H «»"- I i

<ziio

. < • ' •

-Samantha E. Morreale Tliesis Spring 1993