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Down The Line | Bar & Club

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In Bars and Nightclubs bar stools are aligned Down the Line in a single row next to the edge of a bar. 

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Historical 19th and 20th century images provide evidence about the vernacular bar as a male-only environment in which men stood beside a bar, leaned against it, or stood with one foot on a rail. Standing at a bar was also standard practice in saloons,1 pubs,2 dive bars3 and gin palaces.  Accessories such as spittoons and/or ashtrays were provided for chewing tobacco and smoking. The bar itself dominated spatially as the strongest linear element. Spittoons, foot rails and lighting also reinforced this linearity.4

Back bars in historic vernacular settings featured millwork panels, often inset with mirrors. The source of illumination placed above the counter surface or on the wall of the back bar added to the atmosphere of the space. Historically, lighting fixtures varied in intensity, size, shape and design, but the vast majority of lighting produced a dim atmosphere that could be relieved by reflections from the mirrors. 

Based on photographic evidence of bars from the late 19th century, tiered rows of alcohol bottles were displayed as a Line Up5 on the back bar. This display strategy, the arrangement of a series of four or more items of the same type (liquor), but of different designs (bottles), were evenly spaced against a continuous background surface (mirrored back bar).

In 1889 illustrator Andre Varick depicted "frequenters" of Barney Flynn's Saloon in New York City's Bowery district. The scene was set by dimly lit gaslights attached to large mirrors in an elaborate back bar. Eight men stood at the bar, most wearing suits and hats, but one in a shirt with suspenders. The patron dressed in a turtle-neck sweater and a cap is identified as Chuck Conners. The bartender wore a light-colored shirt and a dark jacket. Two patrons had one foot on the rail; another person actually stood on the rail. One smoked a cigar; two had glass beer mugs in their hands. A memorial wreath with the name "Chuck" appears in the right hand side of the illustration, suggesting that the men gathered before or after a funeral of a friend. Liquor bottles were arranged in tiers on the back bar. Just to the left of the scene, and almost out of the picture, is a door-sized opening in which two women are shown. Barney Flynn's may have served alcoholic beverages to women in their own room, away from the men.6

Another historic photograph of an ordinary bar in Douglas, Wyoming depicted nine men including the bartender. Unlike the illustration of Barney Flynn's, the men in Douglas faced the camera with the bar behind them. Although all stood, two patrons leaned back against the bar; two leaned one arm against the bar. These men were dressed variously, from suits and ties to a cowboy with a vest and neckerchief. All but the bartender wore hats. Although none of the men held a drink in their hands, the photograph provides a comprehensive view of the interior. There is an elaborately patterned metal ceiling with gaslights. The back bar was a standard millwork item consisting of three bays divided by Ionic pilasters; each panel was mirrored. The reflection in the mirror showed a stenciled advertisement for a specific drink located on the wall parallel to the bar. Surprisingly, there are no liquor bottles displayed, but instead there is a Line Up of glass carafes and wine or cordial glasses. A large ornamented cash register was located in the center of the middle mirrored panel.7

The transition to seating accommodations in venues that served alcohol was related to the growing number of women partaking in what was once considered a man's activity.8 More women began publicly consuming alcohol after the Temperance movement lost momentum and the Prohibition laws (Volstead Act, 18th Amendment) were lifted. Previous evidence displayed women drinking in public venues during prohibition, part of the 1920s flapper culture. This change in society ushered in the use of stools at ordinary bars and triggered the transformation of standard bars to cocktail lounges. 

Effects

Theoretically arranging barstools Down the Line results in a "unifying trait characterized by patterned repetition of elements or motifs in a similar or modified form; the distinctive but subordinate elements can both accommodate variety and create visual interest."9

Bar stools provide seating opportunities at bars. The selection of the type of bar stool-with or without back, upholstered or non-upholstered-depends largely on the venue and the duration of time that a bar or club owner wants to encourage patrons to stay. The space between stools determines social distances and the amount of interaction a patron has with the person seated next to them.  

A backless stool is less comfortable than one with a back. Generally, they are lighter in weight than a stool with a back, making them easier to move forward or to the side. Bars or clubs that provide backless stools are more likely to provide standing room between them. Stools without backs may also encourage a quicker turnover of clientele than those with backs.

Barstools with backs are more physically comfortable than those without backs. Stools with backs encourage people to stay for a longer period of time than stools without backs. When patrons are seated in a stool with a back, they usually sit back, rather than lean forward. When the bar is located within a hotel or restaurant, seat backs tend to define the boundary between the bar and the circulation space behind the stools. 

Chronological Sequence

The Decade of 1930

The arrangement of stools in front of a bar was first documented in photographs in the 1930s, a date determined by the furnishings in the space, but the practice may have originated much earlier, as soon as bar owners provided seating. For example, the Bulls' Head Tavern, established in 1775, was known for its Tory meetings during the American Revolution. It stood on Victory Boulevard, on the corner with Richmond Avenue, in Staten Island. By the 20th century, it had acquired bar stools, as had the Black Hawk, another bar in Staten Island. Back bars for both these venues featured Art Deco and Moderne characteristics. 

The Decade of 1940

What is now recognized as a La Quinta Inn, the former Aberdeen Hotel (1941)  helped foster a growing entertainment and business district in Manhattan. There were a series of renovations, however in 1941, photographer Gottscho-Schleisner Inc. captured Francis Keally's alterations to the hotel lobby bar. The original molding and ceiling detail work were restored while a partition separated the preceding spaces from the present interior. The wooden bar was lined with ashtrays and leather upholstered bar stools. The alternation of contrast in the Harlequin10 flooring further emphasized the cadence of Down the Line. 

The development of Miami's skyline was impacted by several structures of L. Murray Dixon's architecture. The Raleigh Hotel (1941) was among his famous designs; others included the Atlantis, Tides, Marlin, Fairmont, Tudor, and Kent Hotels. Over the past seven decades, the Martini Bar at the Raleigh has served as an iconic location for high profile personalities and was ranked in the top ten hotel bars in the world by Details Magazine in 2010. The original space was photographed in 1941 by Gottscho-Schleisner and has been preserved since its initial construction. The mahogany bar posed as an appropriate backdrop for Down the Line. The stools appeared to be consistent in design style for this era with round cushions and metal bases. Mirrored walls behind the bar reflected the Billboard11 print that wrapped around the space as well as those seated at Down the Line. An updated photograph of the recent renovation displayed exposed built-in shelving units as a replacement for the mirrored surfaces while the initial bar structure was fronted with retro wood paneling.12

The trend in seating style continues in this decade as a basic but highly applicable choice in this practice type. The bar stools Joseph Caponetto chose for Hotel Delmonico's (1949)  cocktail lounge were nearly identical in structure to those in the Aberdeen Hotel with the exception of the color. The view of the space from this perspective was much longer which resulted in Down the Line appearing to be stretched, extending past the bar, and resuming in the chairs across from the banquette seating. The development through space was also assisted by the undulating wall of the back bar.

The Decade of 1950

Morris Lapidus executed a series of Down the Line instances within the Algiers Hotel (1950) bar in Miami, Florida. The bar was not located in the lobby but on what would have been considered a closed mezzanine above the front desk. Leading up the Showcase Stair,13 the half walls on either side were extended upward with evenly spaced decorative banisters. This technique revealed a preview of the exposed bar space as guests approached the top stair. A serpentine soffit above the bar housed five ceiling sconces that ran the length of the bar. The linear approach of the furnishings that surrounded this space reinforced the counter seating along the bar front for Down the Line. This Intype was also applied to the Caravan Room in the Algiers Hotel. Rather than becoming a purely linear element in the space, Down the Line followed the L-shape of the service bar.

The Biltmore Terrace (1953)  on Collins Avenue was another renowned Lapidus' project in Miami, and one of the first bars uncovered in the photographic archives that was not rectilinear. When the straight line was changed to an organic curve, it determined how all of the objects radiated outward from the bar and increased the dynamic nature of the space. Anticipation built as the guests were brought down a narrow corridor and then around the corner where the space opened up into the cocktail area. The exaggerated bend at the beginning of the bar was reflected in the soffit for Bottoms Up, and accompanied by Down the Line, further defining the circulation within the lounge. In what appeared to be a fairly monochromatic space, the lighter chairs punctuated the line, creating a steady movement around the counter.

Lapidus' hotels continued to claim prime real estate on the Collins Avenue oceanfront. The Fontainebleau Hotel (1955) was considered a part of Miami's now Historical Art Deco- Miami Modernist District and remains one of the favorite structures among the architectural community. Once the hotel opened, the Boom Boom Room was a catalyst to a large shift northward in Miami nightlife.14 The bar was in the back of the space where Down the Line appeared adjacent to a grouped Party of Four seating arrangement. The assembly of chairs trailed the bar front that curved along the edge of the room. This created a rhythmic sequence that also outlined the movement within the space. The remaining open area was dedicated to dancing and live music that played late into the night. 

The Essex House hotel (1956)  was originally designed by Frank Grad in an Art Deco style in the 1930s. The Central Park South location underwent a series of purchases and ownerships and, although the sign still remains, it is currently known as the Jumeirah. Post-renovation, Gottscho-Schleisner, Inc. documented the 1950s Raymond Lowey Associates design. The repetitive manner of Down the Line was executed with bar stools juxtaposed to the contrasting dark backdrop of the bar. Due to the materiality, the metal supports and foot rails became their own entity in the linear relationship with the bar. In the black and white photo, the pattern on the ceiling had similar tonality to the objects and surfaces found within the bar area. The visual weight had a hierarchy that consisted of primarily the bar, then the ceiling plane and lastly the symmetrical, middle portion of the space, which washed out some of the detailed woodworking. This could be considered a missed opportunity for Down the Line to occur with pendant lighting that would further define the bar space progression.

Farther upstate, Henry End designed the streamlined Queensbury Hotel (1959)15 bar in Glens Falls, New York. A simple yet effective design utilized Down the Line in both the chair arrangement and recessed down light fixtures over and behind the bar. Ashtrays were also staged to directly correlate with the housed lighting, alternating every other one. Soffits were aligned parallel to the seat cushions, guiding the eye to the back of the space. The grout on the brick wall that terminated the room was perpendicular to the bar counter and reinforced the regular orientation. The furniture selection at the bar lacked consistency within the rectilinear space but also focused the eye on the irregularity. Angles were introduced in the chair back's vertical vocabulary. This feature was emphasized because the horizontal lines of the planar surfaces engulfed the seating. The cadence along the circulation path was dictated by the erect nature of the seating in Down the Line.

The altered geometry of the space was similar to the accommodations in Paul Palmer's design for Mammoth Mountain Inn's (1959)16 cozy bar and lounge. The physical structure was detached from the two walls flanking the bar, which created an opportunity for Down the Line to continue around either corner of the service counter. The widths of other Nordic materials in the space appeared to be thicker than the slender legs that extended from the seat's base. The dark flooring crept up the side of the bar to the foot rail where the light material of the legs broke through the datum along the bottom. The coloration or lack there of, created a high contrast between the sequence of the chair seats and the backdrop of the wood-fronted bar that led the eye further into the space.

Unlike the alpine décor at the Mammoth Mountain Inn, the Butterfield Country Club (1959) bar in Hinsdale, Illinois, was styled in a tropical form by Edna Alcorn. Stools upholstered with white leather displayed Down the Line in front of the sleek black bar while the lounge seating behind the bar incorporated Party of Four.17 The black and white photo accentuated the Black White18 materiality within the space, and further emphasized the rhythmic distinction created from the alternation of chairs in front of the bar.19

In 1959, Gottscho-Schleisner Inc photographed the Tamarack Lodge and Nightclub. This Catskill retreat in Greenfield Park, NY was known as a popular summer escape destination for many members of the Jewish community residing in the city. The original building existed as a Tudor style boarding house, completed in 1927 and transformed into a resort with the recreational addition twenty years later. This extension was a large octagonal dome that housed a nightclub that consisted of different seating levels focused in the direction of the stage and dance floor. The bar was located at the back of the space with a curved central storage area. Both the seating and light fixtures can be defined as Down the Line. Even with the bump in the middle of the straight serving counter, stools were along the same path. The long pendants hanging over the bar followed the horizontal shape of the bar as well as the vertical roofline. Although it was one of the first hotels to lead the domino effect on the other hospitality businesses in the Borscht Belt to collapsing, there has been an initiative to recover, renew and remodel these locations to serve as Native American gaming casinos.20

The Decade of 1960

Nearly 130 years after the term Gin Palace had been coined (OED, 1834), R. David Brukoff & Associates envisioned an equally gaudy design for the Gaslight Club (1960) in Chicago. The authenticity of the neo-baroque atmosphere was achieved by detailed reproduction of antiques. Each featured item was captured in black and white and assisted by a caption that helped decipher a true view of the colored image. The walnut bar dripped with embellished millwork in addition to the inset yellow sienna marble counter top. Lighting was provided through stained glass windows, crystal chandeliers and gilded sconces. A red and gold-flocked pattern was applied to walls while the chairs that exhibited Party of Four behind the bar were tufted with sanguine velvet. The archaic wooden chairs that were placed in front of the counter for Down the Line seemed to be the only pieces in the space that did not receive an extravagant treatment. Brukoff noted that the rest of the barroom served as a backdrop for the original antiques, thus the chairs provided visual relief from the ornate details carried out in the club.21

A more contemporary approach was taken at the Top of the First (1961) bar in San Juan, Puerto Rico. On the 15th floor of the Federal Savings Building, Raymond Lowey and William Snaith applied the "infinity effect" by placing mirrors at both ends of the bar. This technique made it seem as if Down the Line traveled deeper into the implicit space. A mirrored column in the middle of the bar separated the beginning and the end of the thirty-foot long counter. A strong horizontal relationship between the chairs and bar elements such as the patterned light box above the back bar and dropped soffit, added depth to the narrow bar area. Similar in color, the chairs at the bar produced a boundary between those in the circulation behind the bar and those being served by the bartenders. However, this seating option was placed on a swivel support that allowed the users to change their orientation and interact with each other easily.22 

Further north, The Rib Room (1961) in New Orleans, LA existed as an exclusive, male-only establishment, styled by an increasingly desired designer, Henry End. The physical counter created an U-shape bar that allowed people to interact by holding conversations at the corners. The mixing station that posed as the back bar was centered within the remaining space. Although the photograph lacks color, the caption stated that the walls terminating the bar were covered in red wool-suede. The chairs that maintain the sequence around the bar for Down the Line had been upholstered in a crimson Naugahyde. These moments of red punctuated the line that mimicked the bar edge. There was a similar bar outside of this lounge space for more temporary service or casual meetings that allowed for standing room only, which if captured at the peak of the lunch hour, would have been another interpretation of Down the Line as human figures.23 

Popular designers were often given the opportunity to explore themes in some of their hospitality and entertainment projects. Morris Lapidus, who generally focused on bringing drama to a space, was chosen to fit out the surprisingly subtle Gaucho Bar & Carioca Lounge (1961) in Manhattan's Summit Hotel. This was the first color photograph of this Intype documented in Interior Design. Lapidus displayed authentic cowhides and raw woods to reference South American Gaucho culture. Earthy tones of striped green, yellow and brown created a restrained backdrop for the deep red seating throughout the venue, specifically the bar area. Down the Line popped as a result of the absence of color when the white surface was applied to the bar front. The shaded light fixtures also reproduced the contour of the bar on the ceiling plane. The directionality of the bands on the floor, chairs along the bar and suspended luminaires, all aided in the movement through the space.24

Unlike Lapidus and End, The Denver Athletic Club (1965) was one of Claus E. Heppner's early hospitality projects. It had been featured in a collection of Colorado Springs ASID member's portfolios for Interior Design as another exclusive men's tavern published in this practice type. Heppner's use of the dark woods that furnished the space appeared to be inspired by planking found in masculine Pubs. Although this woodwork detailing was simple compared to Pubs of the past, it posed as a refined take on the concept. The bar edge and seating that lined the counter were covered in light brown leather upholstery, studded in gold. The shades of brown complemented each other and drew attention to the light center of the dimly lit space, specifically the chairs for Down the Line. Repetition was exhibited not only in the Intype but also in the supports at the back bar that assisted progression into the barroom.25

Rather than keeping it simple, owners of the Tin Lizzie Restaurant (1967), Dick Sheresky and Shelly Fireman selected Peter Max to create a nostalgic space, filled with decorative elements from the early 1900s. Max managed to develop the theme into a more stylized, highly creative design for the New York City eatery. Memorabilia such as old post cards, banners and flags had been placed throughout the space and behind the bar in a Wunderkammer26 manner. In front of the bar, Down the Line was composed of typical stools that were found in Third Avenue bars during the 1890s, and updated by applying a white lacquered coating. Originally the owners sought out Peter Max for graphic elements in the space-one of his main pieces was the large portrait of the reclining nude woman behind the bar (Billboard). Max also utilized what he called panopticon in order to create a kaleidoscope effect of a "montage of forms repeated over and over again." If the picture of the bar space were to be replicated, rotated and reflected, the chairs would be the element that seemed kaleidoscopic.27 

Across the coast, California's Newport Beach was home of the Stuft Shirt Restaurant (1968) styled by Paul Bennet. The wide, lofty archways added height to the room while the formal burgundy Persian carpet and wall patterns grounded the space with texture inspired by the Roaring Twenties. The contrast between the airy ceiling plane and dark surfaces below the cut line drew attention to the metallic bases of the bar stools. Down the Line reinforced the circulation path of the space toward the lounge. Additionally, the tall luminaires wrapped with a claret colored band were sequentially spaced with bursts of light throughout the softly lit area.28

The Decade of 1970

Tom Lee used Down the Line with a chameleon affect in the lobby bar for the Park Lane Hotel (1971) in New York City. Heavy luxury throughout the intimate club-like room set the tone for the proportional use of furnishings in the design. The first third of vertical space had alcoves for seating that demanded a low focus, which left the other two-thirds open, thus enhancing the elevation of the space. The dark wood that framed the bar stools helped differentiate the deep red velvet seating from the red, opulent wool carpeting that covered the floor surface. Backs of the bar chairs delineated the spaces on each side of the room; the bar side for drinking and the lounge side for conversation. This one-point perspective of the space, lead the eye to the voluminous drapery on the back wall then back out toward the foreground along the central axis or edge of the bar for Down the Line.29

A few blocks over, the prototype for John B. Maurer's design for Michael's Pub (1972) had been typical eighteenth century English pub that was placed in a twentieth century skyscraper, the 3rd Avenue Tishman building.30 This instance of Down the Line had the opposite affect. While the interior shell of the space was camouflaged in deep simulated wood vinyl with additional touches of detailing, the bar stool seats were covered in a bright kelly-green leather that served as a dominating expression of color in the space. The bar itself was an original antique from Lancashire, England and the glass shades that hung over the bar were from Austria. The selection of pieces from bars of yester year along with the materiality added authenticity to this space.31

Instead of a literal interpretation of the Irish Pub, the collaboration between Paul Sapounakis and Carlton Klein, resulted in inspired Byzantine touches in Casino Russe bar (1972) on 54th Street. Sapounakis made it clear that restaurant design in NYC is ‘more than just food and drink; patrons were also in search of fantasy, of escape from the city and time in which we live.' He believed that ethnic themes were the best vehicles for escape and people yearned for a return to a more romantic and elegant time. The overall footprint had been altered to a series of levels for the different dining and lounge spaces (Drop Space). In order to reference their muse for a lavish Russian atmosphere, the designers embellished the bar with polished marble and an extensive use of brass throughout the back bar. To achieve that additional sense of fantasy, the seat of the bar stools were placed atop clear, bent acrylic bases to resemble a floating, patterned velvet cushion. The contrast between the decorative Down the Line and marble on the bar front and floor solidified the rhythmic sequence terminated by the column at the end of the bar.32

Ellen McCluskey Associates applied the opposite spatial technique in her layout for Top of the Park (1972) on the 34th floor of the Gulf & Western Building.33 She explained that "because of the small footprint for the bar and restaurant, changing levels or adding dividers in the space would not facilitate the illusion of a larger space," to compliment the Borrowed View34 of the New York City skyline, Central Park and Hudson River. McCluskey focused the eye to different designated areas by using solid primary colors as a foundation for the scheme, instead of materials that demanded attention. The minimal, complementary pattern used in the carpeting added dimension to the floor plane and prevented the space from seeming cluttered. The ceiling had been painted out blue and, like the carpeting, was continued into the dining area. Within the bar and lounge, contrast of the navy façade of the bar gave the scarlet Down the Line bar stools more presence in the space. The stool's color relationship with the carpeting, and the bar's with ceiling, caused the user's eye to be pulled to the center of the space. In this view of Down the Line, the black bases of the bar stools created a rhythmic irregularity on the carpeting while the seats aided in a solid span of progression into the lounge.35 

The alternation in levels was not produced by the physical elevations of space but a row of softly padded rouge chairs at the Tango Restaurant (1975) bar in Chicago's Belmont Hotel. Unlike the half walls and low lounge seating for Shuffle,36 Down the Line had an uninterrupted linear approach-the physical seat back and stool's proximity to one another formed a barrier between the bar and lounge space. The seat backs themselves determined directionality of the imbiber's drinker's attention, eliminating the option of rotating in their seat toward the lounge area. All of the forms in the lounge had a strict, rectilinear quality so this view supported regularity with the lines of the bar.37

Welton Becket & Associates hatched Golden Eagle Restaurant (1976) and Architectural Record highlighted the Eagle's Nest Bar as a special feature. Eero Saarinen's Tulip Chair (1957) inspired the selection for the bar stools arranged in Down the Line at the bar and chairs opposite the banquettes. The smooth lines of modernism down to the circular metallic base added an organic quality over what was considered a primarily linear space. The straight bar and striped carpet appeared to be dominant features but the eye was drawn to the bar chairs. The repetition was most consistent in the seat shape and where the contrasting round base met the floor plane.38

The Ithaca train station (1897) for the Lehigh Valley Railroad line was used in an adaptive use project and converted into a restaurant and taproom, now known as the Lehigh Valley House (1966). This photograph was uncovered in the archives for Historical American Building Survey (HABS) and listed on the National Register of Historic Places in 1974. The structure of the space was not physically altered and all of the necessary bar accouterments were present. The ticket counter had been transformed into the bar and drink preparation area where a vertical partition that had once separated travelers from ticket sales still remained. For Down the Line, the chairs were staged with a side orientation that ran the length of the bar; this gave the seating a dynamic appearance. As previously stated, when chairs face the bar, it gives the impression that limited interaction is desired. By turning them in this manner, one's back was not turned to the rest of the space and they could interact with bartenders and those in the lounge.

The Decade of 1980

Denver's Oxford Hotel housed the legendary Cruise Room Martini Bar (1933), renovated in 1984 by J. Kattman Associates. The downtown bar was modeled after one of the bars on the Queen Mary and opened its doors the day after Prohibition was repealed. Over the years, the Cruise Room has been through a series of renovations yet nothing was replaced; only renewed. Etched homosote panels on the perimeter walls that depicted toasts from around the world were up-lit by a Halo39 of pink neon light. On the ceiling, 1930s Art Deco style plaster detailing ran down the center with intervallic round glass light fixtures. The bar stools then follow suit for Down the Line along the core axis. This Intype created a steady succession as one continued toward the back of the space.40

The Hampshire House (Ogden Codman, Architect, 1911) also had a history of renovations and remodeling. Unlike the Cruise Room, which had only been renewed due to aging of materials, this location changed practice types and styles. Originally built as an Edwardian-style townhouse in Boston for a wealthy banker in 1911, it was under a series of ownerships until the current owners bought it and turned the space into a disco-bar in the late 1960s. As preferences changed among the public and clients who had used the space in the past, it was restored to resemble its original aesthetic. When the Hampshire House received the IBD Adaptive Reuse Award in 1984, the firm of DiLeonardo International had renovated the space as a restaurant and bar. Codman's original design had emphasized circulation space for a sense of being connected to the outdoors and then gradually moving inward to more intimate spaces throughout the house. The Baker Library Bar (1984) was located on the second floor, where the bar served as a central architectural element in the space that presented Bottoms Up; therefore Down the Line exists on all four sides of the bar. From any viewpoint within the barroom, the circulation path was focused around the serving counter and the stools created a consistent procession around the bar.41

In order to achieve a similar depth in their space planning, James D'Auria Associates were responsible for the architectural restructuring for organization and atmosphere of the Woods Gramercy restaurant and bar (1985). This space capitalized on the monochromatic shades of natural wood that covered the floor and bar. The light warm tones contrast with the dark covering on the bar stool seats. The spread of the recessed light fixtures had a strong beam that appeared on the counter top as a Follow Me lighting Intype.42 A pitched ceiling directly in front of the bar housed large gold hanging bowls of illumination that set the basic overhead pattern throughout. Both the lighting fixtures and furniture acted as a linear reinforcement for the direction of Down the Line.43 

In 1985, Ian Schrager and Steve Rubell contributed to an adaptive reuse of the 1926 (Thomas Lamb, Architect) Academy of Music Building, transforming the venue into a nightclub with hopes of making Palladium number two in epic clubbing history. Arata Isozaki & Associates executed the conversion of the space to an ‘outré entertainment complex.' Schrager believed that nightclubs were about "capturing the moment, and should be nothing short of spectacular," while Isozaki's vision of nightlife was a "fantasy of dream-like evening entertainment." Both ideals were realized when they combined their philosophies and created Palladium. Their goal was to transform the static architecture into a kinetic experience. Isozaki and Schrager understood that the music played and liquor served were the same as in other establishments, thus it truly was about the magic of the space that offered a full experience for the body. The modern club area exists within the original shell of the theater space while the VIP barroom upstairs was dubbed the "Michael Todd Room".44

Architectural Record featured a full, two-page spread of this space in their September 1985 issue. Inspired by Beauty and the Beast, the aesthetic was purposely dated with peeled paint, rusted trusses and crumbed plaster to achieve the effect of gorgeous decay. Airy white fabric was draped over the ductwork and on cocktail tables opposite the bar. The white lounge area had been staged with lit candelabras and broken mirrors in gold frames so club goers could fully indulge in the whimsical fantasy. The Billboard type paintings by Jean Michel-Basquait on opposing walls of this space added drama with saturated color. All of the furniture including the stools for Down the Line in front of the mahogany bar were custom, French-inspired designs by Andree Putman. In this instance, although Down the Line was composed of regular stools, the multitude of pieces defined the edge for the bar area. The standing space between the bar and lounge area was open with mottled colored flooring. The magazine binding separated the bar area from lounge space.45 

Rubell and Schrager created a theatrical performance experience in Palladium where the heart of the club produced a four-scene show through time on the dance floor from 60s go-go girls to Keith Haring light shows. Jeffrey G. Beers, designer of Midtown's China Grill (1988) restaurant and bar, went for a more subtle approach, realizing that people also desired to see and be seen. A completely custom dining experience set the tone on the ground floor of Eero Saarinen's CBS building, or Black Rock. The stage-like quality was achieved through level changes that created better sight lines (Drop Space) in the two large dining spaces that flanked the bar, or center stage. This photo was taken from the entrance with a focus on the bar and open kitchen. The majority of the movement or action took place at the bar, so as people passed through from either side of the static dining areas, their eyes were engaged in the space. For Down the Line, bamboo barstools were placed along the bar front while custom lighting fixtures above dark lines of inset text flush with the floor material assisted with advancement through the restaurant.46

A year later and a couple city blocks away, Jane's Bar and Grill (1989) was Bob Patino's first independent commercial project. He suggested that he was more concerned that "people had a good experience, because of the design, not the design itself." Patino did, however, spend a lot of his time and budget on the finite details of the space. The fairly simple layout of the narrow footprint in its entirety, allowed the details to bring the design to life. Red silk fringe was applied to the lampshades over the bar and every brass stud that outlined the chairs for Down the Line was polished before being placed at the counter. The linear sequence of the chairs leads the eye to what Patino called the throne, a crimson damask upholstered, tufted arm chair with gold tassels, reserved for guests celebrating special occasions.47

The Decade of 1990

Caroline's (1994) comedy club not only exhibited Down the Line at the bar, but was the first published project to reference the detached, individual cocktail tables used as a "standing bar" for overflow from the true bar. Light cast from recessed cans above the surface of the tables creates consistent shadows that strengthen the Down the Line strategy. At the main bar, the colorful harlequin pattern that presented itself Repeat Repeat48 throughout the venue appeared on the fascia and became a backdrop for the Down the Line of custom "barfly" stools.49 

Rather than having a pattern on the bar as a feature element, Ian Waisbrod's creation for Republic (1996) chose a single, bright punch of red at the bar. The Asian noodle house in Union Square was primarily neutral in the palette choices-ash wood, metal accents and slightly tinted concrete flooring. As one entered the space, the sweeping firey bar was on the left connected to an open kitchen, accompanied by a Down the Line of vinyl seating of the same hue for thirty drinkers. The front of the metal bar was blacked out and the bases of the stools were treated in a similar manner. Like previous examples, this unification of background elements and addition of color to the seat surface and soffit, demanded attention in the bar area.50

Afuture Company crafted the homey but contemporary atmosphere for Savannah Restaurant, while they served up southern comfort food in Miami. Interior Design featured a full-page spread of Down the Line at the beginning of the article in the June 1997 issue that called out its architecturally significant furniture and fixtures. The teak bar was covered with a sheet of glass, which created a reflection of a single row of Artichoke chandeliers (1950s) by Paul Henningsen (Double Vision).51 Alvar Alto's Webbed barstools (1930s) were turned at a 45° angle along the forty-foot long bar. This was an instance where the staged chairs altered the involuntary directionality of those seated. The angle made each seat more approachable and maintained a visual connection with the bartender and inhabitants of the restaurant space.52

Thomas Leeser designed another intimate bar experience as New York City's suburban escape tucked away in Chelsea at Bottino's (1998). He was inspired by the suburban case study homes of the 1950s and chose to keep the interior fairly simple because of its location in the art district. The white walls provided visual relief from the stimulation of the galleries. Originally a hardware store, the dark, rustic planks of wood survived the remodel grounded the space and supported Eames' plywood chairs behind Down the Line in front of the mosaic tiled bar. This Intype also appeared in the Eames chairs across from the banquettes, further defining the circulation path. In this narrow space, there was a close proximity between the lounge seating and bar, so one could easily entertain the idea of interaction with the people directly behind them.53

In Vegas, Down the Line was situated around the most innovative architectural bar feature Architectural Record had published. Adam Tihany designed the 42-foot wine cellar that towered over the bar in Aureole (1999) at the Mandalay Bay Hotel and Casino. The design goal had been to abstract the Las Vegas design philosophy of "feeling like you're somewhere else," by creating an upscale, somber space with spectacle and subtle details one would want to inhabit. The two-story space encased the wine tower structure grounded by the bar. The majority of the venue was kept light and airy for visual relief from the busy casino floor and to complement the aerialist who propelled up and down the tower to retrieve some of the 9,000 bottles stored at the perfect temperature. The ground plane was covered in creamy limestone while the bar façade had a mocha suede topped with a chocolate granite counter. Down the Line occurred when the sequence of bar chairs alternated between maroon and plum around the L-shaped bar.54

Like Tihany's display for propelling sommeliers, designer John Friedman was also well aware that "clubs are all about seeing and being seen." In 1999, he collaborated on Club Sugar [1999] with Alice Kimm in Santa Monica, CA. Instead of taking a subtle approach with spectacle, they used modern materials and lighting juxtaposed with classic components that created a place people would talk about and remember. As one proceeded through the space, distorted glimpses of the bar were seen through a series of partitions. Supported by black concrete floors, honeycomb sheeting emitted a blue neon light from the bar under a 2-inch piece of clear acrylic. Down the Line consisted of retro bar seating dressed with a white, glossy vinyl while the back bar was composed of drapery and exposed brick walls. With the combination of design styles from different eras, Club Sugar achieved the sense of escape club goers considered to be like "partying in a time machine."55

Soho's Canteen [1999] was a more focused vision that reflected one moment in the space and defined the next. Marc Newson chose to use a 21st-century modern approach to achieve the same "unique and memorable" experience that previous venues tried to offer. With lighting design for FLOS, furniture for Cappellini, and accessories for Alessi already under his belt, Newson used Canteen as an outlet for his own contemporary aesthetic with a futuristic, retro twist. The grounded color palettes of deep browns were accented with electric green tables and bright orange seating. The stools at the bar were a highlighted feature in the space with their space-age, mod base and tangerine cushions.  Down the Line paired with Double Vision when the line of custom stools were reflected in the mirrored bar front.56

The Decade of 2000

In 2000, the legendary combination of Stark and Schrager launched the first of three new boutique hospitality projects in Europe with their design for The St. Martins Lane Hotel in London. Each window of the renovated 1960s building was illuminated with a color not only as a method of wayfinding and personalization but also so that its inhabitants were immersed in light, embodying that color. This concept was carried through each space, particularly in the Light Bar (2000). Twenty-five foot vertical cavities that exhibit Color Flood57 filled each volume with highly saturated pigmented light. Down the Line presented itself around Stark's signature communal drinking tables. Seamless white stools navigated their way deep into the space from the lobby. This rhythmic progression in and out of the narrow barroom contributed to the simple yet effective design.58

Rockwell Group designed a transformative interior for Pod (2001) that was also filled with colored light on the ground level of a Sansom Street space in Philadelphia. The restaurant gave its users a range of options for their dining environment. Evolving lights glowed on the white high-gloss walls of enclosed lounges, formal, informal and private dining spaces. Windows on the exterior provided a view to the back wall of the narrow space where both the bar and sushi counter displayed Down the Line. Sleek stools had a white lacquered surface at the bar and a few steps down, black, low leather seats with backs lined the sushi bar. This was an example of how the type of seating predicted the amount of time spent in the space. Stools were chosen for quick drinks and chairs for those eating or waiting for their food to come around on the conveyer belt.59

As a study of cinematic voyeurism and fantasy, Jean Nouvel's design for The Hotel (2001) in Lucerne, Switzerland exploited the "classic me-watching you-watching them-watching me post-modern scenario." A basement bar offered a view through Bottoms Up60 into the kitchen, with strokes of Chinese calligraphy and Down the Line against the edge. The stools Nouvel chose were streamlined metal with deceivingly small seats that resembled champagne buckets; reflected on the polished floor they created Double Vision). This seating selection did not appear to have a cushion thus only fostered a short visit at the bar, where patrons ordered and picked up drinks to go into the lounge rather than lingering in one place.61

Thomas Leeser also manipulated voyeurism in his design for Glass Bar (2001) in Chelsea. Leeser abstracted the everyday routine by approaching the interior and exterior experience as a streamlined and space-age design. The typical back of house functions such as the restrooms moved to the forefront. Rather than having a glass façade that looked into the bar, glowing frosted glass panels served as an entrance that flanked the bathroom's two-way mirror. Those who checked the mirror became a dynamic display element for the people outside the venue, interrupting the expected fascia. Down the Line was utilized in the narrow curved plastic pod in front of the bar, adjacent to the lounge.62

The patrons need for a see-and-be-seen status continued with the Eppstadt Design project for YYZ Restaurant and Wine Bar (2002) in Toronto's upscale downtown scene. A take on a slightly nostalgic but modernist airport inspired the interior for this space. Large glass windows resembled those that looked out onto a runway and into the bar and lounge space. The airplane-like interior was white and gray, relatively neutral with pops of bright green dividing the bar from the dining area. A Down the Line formation appeared with the barstools in front of the bar; Tom Dixon's Pendant Jack Lights, reflected in the slick surface of the glass laminate ceiling, created Double Vision.

Bar Jer-ne (2002) at the Marina del Rey Ritz-Carlton in California, was a nautical vision overlooking the Pacific Ocean, brought to life by Barry Design Associates. For this location, the traditional but luxurious brand identity was rooted within the seaside journey design concept. A full spread of the 25-seat, black granite bar was featured in the March 2002 issue of Interior Design. Down the Line with red leather bar chairs intersected the alternating pinstripes of walnut and honey wood on the floor. Although the bold lines on the floor had a horizontal weight, the verticality of the millwork behind the bar, details in the counter and the chairs themselves reinforced the progression into the space.63

Up the coastline in Santa Monica, Kelly Wearstler's boutique renovation for the Viceroy Hotel (2002) (originally Pacific Shores Hotel, 1969) indulged in a play on color and scale to define the upbeat, modernized British-colonial look. The cocktail lounge was considered the hub of social and design activity, preceded by the French Riviera style Down the Line of chaise lounges that faced one another. At the bar, the white chairs that contributed to the Down the Line practice, blended into the marble bar while the emblem on the back of two fighting lions created repetition in this elevated view. The pattern on the carpet was replicated for the apertures holding bottles on the back bar wall, reflected by the mirrored ceiling.64 Another Wearstler bar was added to Estrella (2003) in Palm Springs. Similar to the Viercoy, the mirrored bar back had silkscreen appliqués around the bottles. Down the Line presented itself in front of the white 18-foot Corian clad bar with wire stools. Although these stools had backs, a swivel base made conversation with those adjacent to the user more accessible.65 

Designer, Noe Duchaufour-Lawrance and architect, Gabhan O'Keefe, converted what had been a 1779 London townhouse by James Wyatt, into the Moroccan-themed Momo complex (2003). The 13,000 square-foot space held two restaurants, Gallery and Sketch, an art gallery, a patisserie and two bars. The neoclassical features of the building such as dome skylights and intricate plasterwork were preserved while objects that filled the space contrasted with modern touches. The East Bar for Sketch, was within a white, plaster ovular shaped room, also known as the Egg, snug between two dramatic curving Showcase Stairs. The West Bar, for Gallery, was more traditional in layout complemented by a strong punch of red, asymmetrical cut-outs and Eero Saarinen's vintage Tulip bar chairs for Down the Line that gave it a contemporary edge. The majority of seating choice of the bar was upholstered in black fabric but was interrupted by a few chairs in a graphic black and white pattern. This technique slowed down the advancement of the eye into the space, broke up the solids and created points of rest along the path.66 

Suzy Hoodless harnessed the creative, mismatched energy of The Hospital Club, in the Bellini Bar (2005) in order to "transport the media center clients as far away from work as possible." The lively third-floor-space included two bars, a restaurant, private dining and adjoining lounges throughout. Hoodless collaborated with several artists to enhance the unique quality of each space. The monkey mural painted by Annie Millar adorned the front of the main bar as a backdrop for the Jasper Morrison Atlas stools that displayed Down the Line.  A bright green wall surrounded the space, but the absence of color in the chairs focused the eye downward to where the base met the walnut floors. The white lampshades that dropped down from the exposed ceiling also served as another interpretation of this Intype.67

The regularity in the placement of these seating elements continued in several international venues, which proved Down the Line to be an effective strategy in this practice type. In Las Vegas, GRAFT wanted to design a space that would stand apart from the other food and beverage areas as well as beaming storefronts inside the Bellagio Resort and Casino. For FIX 2005), the ceiling provoked the user from the exterior to move toward the back of the restaurant. Several Padouk wooden slats curved in a wave-like motion on the ceiling were assisted by Down the Line on the floor plane to maintain steady succession from the entry to the dining area. The maximum height of the ceiling was reduced over the bar, directing guests to the epicenter of activity within the interior. Down the Line occurred on one of the main axes in the restaurant where wooden stools were topped with an ivory cushion along the bar's straight path. The combination of these techniques gave the bar hierarchy over the remaining restaurant spaces.68 

Stockholm's Operakallaren (2006) was opened within the Royal Opera House as a dining environment in 1787 and rebuilt in 1895 with neo-baroque embellishments. In 2004, Claesson Koivisto Rune (CKR) restored the space with a concept inspired by the "casual simplicity of a crisp white unbuttoned shirt combined with the elegance of a pinstripe jacket, worn by Kevin Spacey." CKR was responsible for the addition of a bar adjacent to the glassed-in veranda that had been added by architect Peter Celsing in 1961. The veranda played a key role during the summer months serving as an airy escape, or the white shirt. A "no-color palette" differentiated the veranda from the restaurant's bold blue and gold dining area. The long, mirror-faced bar was topped with Carrara marble and reflected Down the Line. Duplicated seating in the mirror might have cluttered the appearance of the space but also reinforced the line of chairs that lead to the outdoor views. The chandelier above the bar was composed of rows of milky white Murano glass tubes. A wide-striped sheet-metal canopy from the 1961 interior that had been salvaged and reinstalled over the entire lounge area bordered the fixture over the bar. This design decision helped to achieve a Bottoms Up effect in defining the bar area.69 

Philippe Starck was challenged to break the stereotype associated with the Parisian public and international tourist. In collaboration with architect Roland Castro, a boutique hotel was erected in the Village of Satin Blaire in 2008. Mama Shelter offered guests several opportunities to explore and discover the countryside as a local, which broke the stigma of stingy French culture. In the hotel's pizzeria, Starck's signature communal tables doubled as a service bar and provided the long extended surface for Down the Line to occur. Several wooden bar chairs were placed in a row along the narrow space. The backs of theses chairs further delineated the circulation path from where the function of eating and drinking took place.70 

Chris Bardt and Kyna Leski of 3SIX0 Architecture devised a transformative scheme for Stix Restaurant (2008) in Boston. A series of zig-zagged parallelograms were the foundation for the restaurant's layout, terminating at the bar. Panels on the ceiling created oak tables that folded down from the walls, lined up with the patterned floors for dining, and retracted for entertaining nighttime patrons. The floor's shapes continued up the surface of the bar front as a backdrop for Down the Line. The series of chairs were the only consistent straight line in the space. This brought regularity to the angled coil that wrapped the interior.71

Unlike Stix, straight lines dictated the lay out of Blueprint Restaurant (2008) with the exception of the bar. The Chicago office of VOA Associates received an AIA Award of Excellence in Interior Architecture for this design in 2008. A drastic change in materials down the middle of the space separated the two functions. Along this axis, the service counter of the bar cut away from the dinning area on a diagonal path. A Down the Line formation of bar chairs appeared in an angled row against the bar façade. The contrast between the bar material and sequentially spaced black chairs, led the user's eye into the lounge space.72

The Decade of 2010

After the 2009 revival of the interiors, Susan Jaques of Highgate Hotels designed the additional bar for the Paramount Hotel in 2011. The 1986 purchase of the boutique hotel by Ian Schrager and a stylish 1988 avant-garde renovation by Philippe Starck, increased the hotel's popularity as a young, hot spot in Times Square. Images of New York City icons that had appeared in the hotel since it's construction by Thomas W. Lamb in 1928, now graced the walls of the vintage hotel bar.73 The glamorous interior exhibited a Black Out74 with pops of red velvet for the plush lounge seating. Down the Line posed at the bar as a row of black bar stools and shaded pendant lamps. The back of the bar chair established a boundary between the lounge space while the lamps reinforced directionality of circulation within the bar.75

Down the eastern coast on Collins Ave in Miami, most of the new LORDS hotel (2011) was within a historically preserved building, thus the designers wanted the interior to differ vastly from the original exterior. Dan Mazzanni, of BH+DM, recalled "designing for a primarily gay audience definitely put more pressure on creating a space that is special, unique," and reflective of their expressive culture. Inspired by South Beach colors and Art Deco geometric patterns, the designers incorporated a humorous flare for Cha Cha Rooster. Several resident-drag-queens on rotation provided entertainment in the cabaret space while stools and low chairs partake in Down the Line at the bar. LORDS remained true to their tagline of "an appropriately oriented hotel," for the bar space design. Dainty silver stools were distorted in the metallic-gold micro-brick tile that had been applied to the bar front as well as the walls. The mirrored backdrop for the bar posed as a display for a centered Down the Line of bottles, as well as flanking bottle-shaped Specimen76 for additional storage. A series of Tom Dixon Beat lights were hung low over the bar to better establish the edge of the drinking area. The narrow curving space also utilized this Intype for the lounge seating as a row of low, studded leather chairs with faux bullhorn feet aligned along the edge of a golden leather banquette. Each set of this Down the Line determined the boundary between the bar and lounge space with circulation along the center.77

Conclusion

The evidence for Down the Line in bars and clubs includes over sixty60 published examples that spanning a seventy-year period. Down the Line is standard practice in terms of furniture arrangement and human behavior in s of interior design within the Bar and Nightclub practice type. almMost all bars.  exhibit this standard of furniture arrangement, however, Eeven when without stools are removed from a space people stand by the bar in a line.  

The Down the Line applications in bars and clubs and spa applications are polar opposites. In spa applications Down the Line consists of the chaise lounge arrangements discourage conversation. In bars and nightclubs, however, the Down the Line arrangement of stools by a bar emphasizes social interaction, because the stools are close together. To have a conversation at a bar, one must lean closer to another person to talk.78

end notes

  1. 1) Saloon: a public room or building used for a specified purpose for recreational games and drinking  (1728, Oxford English Dictionary) During the early 18th century in rural, Western America, saloons became the regional rendition of a pub. It's interior is extremely simplified and stripped down to the basic elements and wood materiality that make up a drinking establishment.
  2. 2) Pub: abbreviation for a public house that had been established to for the sale of beer. (1800, Oxford English Dictionary) The usage of the term in Britain and Ireland is traced back to the turn-of-the-19th century. Pubs were licensed to strictly sell beer (larger or ale). Collective drinking often originated in the home or basement of the brewer. A pub house or public house for drinking, interior included somewhat detailed millwork and dim gas lighting. Gin Palaces were more concerned with selling a product to the lower classes than creating an experience for the user. There was a more decorative nature for the interiors. 
  3. 3) Bar: Understood to be a "barrier or counter over which food or drink is served". When present in a room it was also known as taproom or barroom; (1592, physical structure; 1834 actual location, Oxford English Dictionary) A drinking establishment cannot exist without a bar. However a bar can exist without all of the amenities included in other drinking venues. Stand-alone bars can be found in hotel lobbies and separate sections within restaurants. 
  4. 4) Historic Bars of Downtown Douglas, http://www.cityofdouglaswy.com/index.asp?Type=B_BASIC&SEC={4AC09743-38E8-473A-BA91-FC5723D99B5B}&DE={268EFBF3-EE18-4208-8605-EB166EE51C4F} (accessed: Oct. 15, 2010).
  5. 5) The Intype Line Up is the display practice of arranging a series of four or more items of the same type, such as chairs, but of different designs, that are arranged evenly spaced against a continuous background surface, allowing the differences between the displayed objects to be more easily discerned by the customer. Courtney Courtney Cheng, "Theory Studies: Archetypical Showroom Practices in Contemporary Interior Design," (M.A. Thesis, Cornell University, 2012): 137-59; The Interior Archetypes Research and Teaching Project, Cornell University, www.intypes.cornell.edu, (accessed Nov. 20, 2011).
  6. 6) Barney Flynn's Bar [1899] New York City in New York Public Library Digital Gallery (Subject: Bars): ImageID: 809476; PhotoCrd: Andrew Varick Stout, Illustrator.
  7. 7) Men Standing by a Bar [Date Unknown] Douglas, WY; PhotoCrd: City Of Douglas, WY, Historic Bars of Douglas, http://www.cityofdouglaswy.com/index.asp?Type=B_BASIC&SEC=%7B4AC09743-38E8-473A-BA91-FC5723D99B5B%7D&DE=%7B268EFBF3-EE18-4208-8605-EB166EE51C4F%7D (accessed Oct . 19, 2010). 
  8. 8) Beth Ryder, Bar and Club Design, (New York: Abbeville Press, 2002.): 15. 
  9. 9) Francis D.K. Ching, Architecture: Form, Space and Order (New York: John Wiley & Sons, Inc., 1996), 339.
  10. 10) The Harlequin Intype refers to a checkered pattern (alternating colored squares) oriented in a 90° or a 45° angle typically made of marble, wood, or clay tiles. Mendez, Marta. "Theory Studies: Archetypical Practices of Contemporary House Design." M.A. Thesis, Cornell University, 2008, 76-87. The Interior Archetypes Research and Teaching Project, Cornell University, www.intypes.cornell.edu (accessed Nov. 2, 2011).
  11. 11) The Intype Billboard describes a treatment for an entire planar surface as a blank canvas for art, text, graffiti or photography. In some cases Billboard encompasses more than one plane.  Mijin Juliet Yang, "Theory Studies: Contemporary Boutique Hotel Design," (M.A. Thesis, Cornell University, 2005): 59-71. The Interior Archetypes Research and Teaching Project, Cornell University, www.intypes.cornell.edu (accessed Aug. 2, 2011).
  12. 12) Raleigh Hotel, bar renovation [2004] Mark Cunningham, Designer; Miami, FL; PhotoCrd: Courtesy of Raleigh Hotel, http://www.raleighhotel.com/about_history/, (Accessed: Aug. 20, 2011).
  13. 13) The Intype Showcase Stair is an extravagantly designed architectural feature in which the stair itself becomes a prominent display element. Leah Scolere, "Theory Studies: Contemporary Retail Design," (M.A. Thesis, Cornell University, 2004): 68-72. The Interior Archetypes Research and Teaching Project, Cornell University, www.intypes.cornell.edu (accessed Nov. 2, 2011).
  14. 14) Fontainebleau Hotel [1955] Morris Lapidus, architect; Miami, FL, , http://www.southbeach-usa.com/news/nightlife/fontainebleau-nightlife.htm (accessed: Aug. 20, 2011); PhotoCrd.: Anonymous.
  15. 15) Queensbury Hotel Bar [1959] Henry End, Designer; Glens Falls, NY in Anonymous, "Hotels" Interior Design 30, no. 4 (Apr. 1959): 125; PhotoCrd: Louis Reens.
  16. 16) Mammoth Mountain Inn [1959] Paul Palmer, Western Design Associates; Mammoth Lake, CA in Anonymous "Hotels" Interior Design 30, no. 4 (Apr. 1959): 128 << it was only one page; PhotoCrd: Anonymous.
  17. 17) The Intype Party of Four is an archetypical furniture configuration using four club chairs arranged around a low table as the location for drinks in bars and clubs. Carla Wells, "Theory Studies: Archetypical Practices of Contemporary Bar and Nightclub Design." (M.A. Thesis, Cornell University, 2011): 139-92. The Interior Archetypes Research and Teaching Project, Cornell University, www.intypes.cornell.edu (accessed Nov. 2, 2011).
  18. 18) The Intype Black White describes an interior space that is limited to a black white palette for the floor, wall, ceiling planes and for furnishings. Jasmin Cho, "Theory Studies: Archetypical Practices of Contemporary Restaurant Design," (MA Thesis, Cornell University, 2009): 18-26. The Interior Archetypes Research and Teaching Project, Cornell University, www.intypes.cornell.edu (accessed Nov. 2, 2011).
  19. 19) Butterfield Country Club Bar [1959] Edna N. Alcorn, Pond's Interiors; Hinsdale, IL in Anonymous "Clubs" Interior Design 30, no. 10 (Oct. 1959): 207; PhotoCrd: Anonymous.
  20. 20) Tamarak Hotel Bar & Nightclub [1959] Anonymous Designer; Greenfield Park, NY; Source: American Memory (Library of Congress) Image Number: LC-G613- 74591, LC-G613- 74594; PhotoCrd: Gottscho-Schleisner, Inc. 
  21. 21) The Gaslight Club [1960] R. Davis Brukoff & Associates; Chicago IL in Anonymous in "Clubs," Interior Design 31, no. 10 (Oct. 1960): 163-65; PhotoCrd: Lee Balterman. 
  22. 22) Top of the First [1961] Raymond Loewy, William Snaith Inc; San Juan, Puerto Rico; Source: American Memory (Library of Congress) Image Numbers:  LC-G613- 76588, LC-G613- 76589; PhotoCrd: Samuel Gottscho.
  23. 23) Rib Room [1961] Henry End, Designer; New Orleans, LA in Anonymous "The Royal Orleans" Interior Design 32, no. 1 (Jan. 1961): 95-98; PhotoCrd: Ezra Stoller.
  24. 24) Summit Hotel, Gaucho Bar [1961] Morris Lapidus, Harle & Liebman, Designers; New York City in Anonymous, "Hotels," Interior Design 32, no. 10 (Oct. 1961): 141; PhotoCrd: Gottoscho-Schleisner Inc.
  25. 25) Denver Athletic Club [1965] Claus E. Heppner, Designer; Denver, CO in "Colorado Springs Portfolio," Interior Design 36, no. 8. (Aug.1965): 95; Photo: Anonymous. 
  26. 26) The Intype Wunderkammer describes an historic exhibition aesthetic in which entire walls or ceilings were covered by a multitude of artifacts arranged by taxonomy. Contemporarily, the term refers to assemblages of related or disparate objects that cover entire interior planes of related or disparate objects. Joori Suh, "Theory Studies: Contemporary Museum and Exhibition Spaces," (M.A. Thesis, Cornell University, 2003): 117-120. The Interior Archetypes Research and Teaching Project, Cornell University, www.intypes.cornell.edu (accessed Nov. 2, 2011).
  27. 27) Tin Lizzie Restaurant [1967] Peter Max, Designer; New York City in Anonymous "The Kaleidoscopic World of Peter Max," Interior Design 38, no. 6 (Jun. 1967): 119-21; PhotoCrd: Anonymous.
  28. 28) Stuft Shirt Restaurant [1968] Paul Bennet, Designer; Newport Beach, CA in Anonymous, "Portfolio Work of LA Chapter," Interior Design 39, no. 8 (Aug. 1968): 197; PhotoCrd: Virginia McIntire.
  29. 29) Lobby Bar, Park Lane Hotel [1971] Tom Lee, Emery Roth & Sons, Designers; New York City in Anonymous, "Park Lane Hotel," Interior Design 42, no. 10 (Oct. 1971): 128; PhotoCrd: Anonymous.
  30. 30) Third Avenue Tishman Building [1957] Robert A.M. Stern, Thomas Mellins, David Fishman; Carson & Lundin, construction in in 1957. Notorious for its 666 Fifth Avenue address; Robert A.M. Stern, Thomas Mellins, David Fishman, "New York 1960: Architecture and Urbanism Between the Second World War and the Bicentennial (New York, NY: Monacelli Press, 1995): 378.
  31. 31) Michael's Pub [1972] John B, Maurer, Designer; New York City in Anonymous, "Michaels Pub" Interior Design 43, no. 4 (Apr. 1972): 152-53; PhotoCrd: Paulus Lesser.
  32. 32) Casino Russe Bar [1972] Paul Sapounakis, Carlton Klein, Alexei Vergun, Designers; New York City in Anonymous, "Casino Russe," Interior Design 43, no. 4 (Apr. 1972): 146-148; PhotoCrd: Alexandre Georges. 
  33. 33) Gulf & Western Building [1970] Thomas E. Stanley, architect; Columbus Circle, New York City.
  34. 34) The Intype Borrowed View originates from a traditional Japanese practice of visually incorporating an extraordinary adjacent or distant exterior view into the interior. Najung Kim, "Theory Studies: Archetypical Practices of Contemporary Luxury Apartment Design," (M.A. Thesis, Cornell University, 2009): 119-27; The Interior Archetypes Research and Teaching Project, Cornell University, www.intypes.cornell.edu (accessed Nov. 2, 2011). 
  35. 35) Park Restaurant, Gulf & Western Building [1972] Ellen Lehman McCluskey; New York City in Anonymous, "Top of the Park," Interior Design 43, no. 4 (Apr. 1972): 144-46; PhotoCrd: Henry S. Fullerton III.
  36. 36) The Intype Shuffle is an informal seating group composed of lightweight backless seat-furniture that can be rearranged easily to produce a random order. Shuffle accommodates a variety of group sizes and spatial configurations and implies mobility, flexibility and open authorship of a space for temporary seating purposes. Carla Wells, "Theory Studies: Archetypical Practices of Contemporary Bar and Nightclub Design." (M.A. Thesis, Cornell University, 2011), 194-241.
  37. 37) Tango Restaurant, Chicago Belmont Hotel [1975] Tony and Karen Barone, Designers; Chicago, IL in Anonymous, "Rest and Relaxation," Interior Design 46, no. 11 (Nov. 1975): 92-93; PhotoCrd: Alexandre Georges.
  38. 38) Eagles Nest Bar, Golden Eagle Restaurant [1976] Welton Becket & Associates; Phoenix, AZ in Anonymous, "Eagles Nest," Architectural Record 159, no. 1 (Jan. 1976): 106-08; PhotoCrd: Marvin Rand.
  39. 39) The Intype Halo exists when an object is visually separated from a background plane through a concealed light. Illumination occurs on the background plane behind the majority of the perimeter of the object, thus throwing the object into relief. Joanne Kwan, "Theory Studies: Archetypical Artificial Lighting Practices in Contemporary Interior Design," (M.A. Thesis, Cornell University, 2009): 167-82. The Interior Archetypes Research and Teaching Project, Cornell University, www.intypes.cornell.edu (accessed Nov. 2, 2011).
  40. 40) Cruise Room Bar, The Oxford Hotel [1984] J. Kattman Associates; Denver, CO in Anonymous, "Preservation, Restoration, Renovation," Interior Design 55, no. 10 (Oct. 1984): 218-23; PhotoCrd:  Gifford Ewing. 
  41. 41) Hampshire House [1984] Adaptive Use [1911] Ogden Codman, architect; Robert J. DiLeonardo Int'l, Designers; Boston, MA in Anonymous, "IBD, Interior Design Awards: Adaptive Reuse," Interior Design 55, no. 11(Nov. 1984): 224-27; PhotoCrd: Warren Jager.
  42. 42) The Intype Follow Me describes sequenced pools of light on the floor that are in contrast with the surrounding space, defining a circulation path. Joanne Kwan, "Theory Studies: Archetypical Artificial Lighting Practices in Contemporary Interior Design." (M.A. Thesis, Cornell University, 2009): 52-66. The Interior Archetypes Research and Teaching Project, Cornell University, www.intypes.cornell.edu (accessed Nov. 2, 2011).
  43. 43) Bar, Woods Gramercy [1985] James D'Auria Associates; New York City in Anonymous, "Restaurant Design, Prepared to Order," Interior Design 56, no. 1 (Jan. 1985): 262-63; PhotoCrd: Norman McGrath.
  44. 44) Palladium Nightclub [1985] Arata Isozaki & Associates; New York City in Anonymous, "Heaven's Gate, Record Interiors," Architectural Record 173, no. 11 (Mid-Sep. 1985): 129-37; PhotoCrd: Timothy Hursley.
  45. 45) Palladium Nightclub [1985] Arata Isozaki & Associates; New York City in Anonymous, "Heaven's Gate, Record Interiors," Architectural Record 173, no. 11 (Mid-Sep. 1985): 129-37; PhotoCrd: Timothy Hursley.
  46. 46) Bar, China Grill [1988] Jeffrey G. Beers; New York City in Anonymous, "Design in New York," Interior Design 59, no. 9 (Sep. 1988): 256-58; PhotoCrd: Paul Warchol.
  47. 47) Jane's Bar & Grill [1989] Bob Patino designer; New York City in Anonymous, "Hospitality Design," Interior Design 60, no. 6 (Jun. 1989): 220-25; PhotoCrd: Peter Vitale.
  48. 48) The Intype Repeat Repeat Juliana Daily, "Theory Studies: Archetypical Environmental Graphics in Contemporary Interior Design," (M.A. Thesis, Cornell University, 2011): 23-43. The Interior Archetypes Research and Teaching Project, Cornell University, www.intypes.cornell.edu  (accessed Nov. 2, 2011). 
  49. 49) Caroline's Comedy Club [1993] Haigh Architects; New York City in Anonymous, "Haigh Architects," Interior Design 64, no. 2 (Feb. 1994): 136-41; PhotoCrd: Elliott Kaufman.
  50. 50) Republic [1996] Studio Gaia, Ian Waisbrod, Designers; New York City in Anonymous, "Studio Gaia," Interior Design 67, no. 6 (Jun. 1996): 96-97; PhotoCrd: Nagamitsu Endo.
  51. 51) The Intype Double Vision describes the effect of a mirrored or flipped object or space produced by the interaction of light with reflective surfaces. Marta Mendez, "Theory Studies: Archetypical Practices of Contemporary House Design." M.A. Thesis, Cornell University, 2008, 88-97; The Interior Archetypes Research and Teaching Project, Cornell University, www.intypes.cornell.edu (accessed Nov. 2, 2011).
  52. 52) Savannah [1997] Afuture Company, Guisi Mastro, Designers; Miami, FL in Anonymous, "Southern Comfort," Interior Design 68, no. 6 (Jun. 1997): 96-99; PhotoCrd: Paul Warchol.
  53. 53) Bottino [1998] Thomas Lesser; New York City in Anonymous, "Art World Eats," Interior Design 69, no. 10 (Oct. 1998): 107-71; PhotoCrd: David M. Joseph.
  54. 54) Aureole [1999] Adam D. Tihany International, Ltd.; Las Vegas, NV in David Hay, "Amid Las Vegas' Hype and Glitz: Adam Tihany's Aureole Restaurant Strives to Marry Good Taste and Spectacular Feats," Architectural Record 187, no. 9 (Sep. 1999): 141-43; PhotoCrd: Steinkamp/Ballogg.
  55. 55) Club Sugar [1999] John Friedman, Alice Kimm, Designers; Santa Monica, CA in Clifford A. Pearson, "At the Hot New Club Sugar in Santa Monica, John Friedman and Alice Kimm Choreograph a Dance for Scrims, Screens, Lights and Bodies," Architectural Record 187, no. 9 (Sep. 1999): 144-49; PhotoCrd: Benny Chan/Fotoworks.
  56. 56) Canteen [1999] Marc Newson; New York City In Julia Lewis, "Tangerine Dream," Interior Design 70, no. 11 (Nov. 1999): 99-100; PhotoCrd: David Joseph.
  57. 57) The Intype Color Flood describes the practice of filling a volume of space with highly saturated colored light. The space, planes, furnishings and occupants become imbued with the hue of light. Joanne Kwan, "Theory Studies: Archetypical Artificial Lighting Practices in Contemporary Interior Design." M.A. Thesis, Cornell University, 2009, 87-109. The Interior Archetypes Research and Teaching Project, Cornell University, www.intypes.cornell.edu (accessed Nov. 2, 2011).
  58. 58) Light Bar, St. Martin's Lane [2000] Ian Schrager, Philippe Starck, Anda Andrei, Designers; London, England in Melissa Barrett Rhodes, "Room with a Hue," Interior Design 71, no. 1 (Jan. 2000): 123-31; PhotoCrd: Todd Eberle.
  59. 59) Pod Restaurant [2001] Rockwell Group; Philadelphia, PA in Monica Geran, "Mod Pod," Interior Design 72, no. 3 (Mar. 2001): 174-79; PhotoCrd: Paul Warchol.
  60. 60) The Intype Bottoms Up (Top Down) is an architectural element comprised of a significant cornice above, and a corresponding counter below, that frame a spatial void for service function activities between them. Carla Wells "Theory Studies: Archetypical Practices of Contemporary Bar and Nightclub Design." (M.A. Thesis, Cornell University, 2011): 244-86. The Interior Archetypes Research and Teaching Project, Cornell University, www.intypes.cornell.edu (accessed Nov. 2, 2011).
  61. 61) The Hotel [2001] Jean Nouvel; Lucerene, Switzerland in Aric Chen, "Image Maker," Interior Design 72, no. 10 (Oct. 2001): 266-71; PhotoCrd: Vincent Kapp.
  62. 62) Glass Bar [2001] Thomas Leeser; New York City in Cynthia Davidson, "Glass, Bot and Pod," Architectural Record Web Exclusive Archives (Sep. 2001); http://archrecord.construction.com/projects/interiors/archives/0109Leeser.asp; http://www.leeser.com/work/commercial/gb/; PhotoCrd: Matthu Placek; (accessed: Sep. 3, 2011).
  63. 63) Bar Jer-ne, Rtiz Carlton [2002] Barry Design Associates; Marina del Ray, CA in Sheila Kim, "Shipshape," Interior Design 73, no. 3 (Mar. 2002): S36-38; PhotoCrd: Barbara Kraft.
  64. 64) Bar, Viceroy Hotel [2002] Adaptive Use, Pacific Shores Hotel [1969] Kelly Wearstler, KWID; Santa Monica, CA in Edie Cohen, "Wearstler Rules," Interior Design 73, no. 10 (Oct. 2002): 222-28; PhotoCrd: Grey Crawford.
  65. 65) Bar, Estrella Hotel [2003] Kelly Wearstler, KWID; Palms Springs, CA in Edie Cohen, "Made in the Shade," Interior Design 74, no. 3 (Mar. 2003): 214-21; PhotoCrd: Grey Crawford.
  66. 66) West Bar, Gallery, Momo Complex [2003] Noe Duchaufour Lawrence with Mourand Mazouz, Designer; London, England in Susan Welsch, "The New Xanadu," Interior Design 74, no. 2 (Feb. 2003): 114-21; PhotoCrd: Andrew Lamb.
  67. 67) Bellini Bar, Hospital Club [2005] Suzy Hoodless, Designer; London, England in Ian Phillips, "Walk Through: Award Wins," Interior Design 76, no. 7 (Jul. 2005): 72-76; PhotoCrd: Tom Mannion. 
  68. 68) Fix Restaurant & Bar, Bellagio [2005] GRAFT; Las Vegas, NV in Anonymous, "Curvy Ceiling Captivates Casino-Goers," Architectural Record Web Exclusive Archives (Nov. 2005); http://archrecord.construction.com/projects/bts/archives/hotels/05_fix/overview.asp (accessed: Sep. 10, 2011); PhotoCrd: Ricardo Ridecos.
  69. 69) Bar, Operakallaren [2006] Claesson Koivisto Rune; Stockholm in David Sokol, "Opening Night," Interior Design 77, no. 6 (Jun. 2006): 144-51; PhotoCrd: Ake E:son Lindman.
  70. 70) Mama Shelter [2008] Philippe Starck, Roland Castro; Paris, France in Laurel Petriello, "Mama Shelter," Interior Design Web Archives (Oct. 2008); http://www.interiordesign.net/article/474479-Philippe_Starck_designs_Paris_hotel_launched_by_Club_Med_President.php?intref=sr (accessed: Sept. 10, 2011); PhotoCrd: Interior Design, Courtesy of Mama Shelter.
  71. 71) Stix Restaurant [2008] Chris Bardt and Kyna Leski, 3SIX0 Architecture and Design; Boston, MA in Clifford A Pearson, "Boston's Back Bay Transformed," Architectural Record Web Exclusive Archives (Sept. 2008); http://www.interiordesign.net/article/484478-Jordan_Mozer_and_Associates.php?intref=sr (accessed: Sept. 10, 2011);  PhotoCrd: John Horner.
  72. 72) Blueprint Restaurant  [2008] VOA Associates; Chicago, IL in Laurel Petriello, "AIA Chicago Awards 2008" Interior Design Web Archives (Nov. 2008); http://www.interiordesign.net/article/483251-AIA_Chicago_Awards_for_Excellence_in_Interior_Architecture.php?intref=sr (accessed: Sep. 10, 2011); PhotoCrd: Nick Merrick, Hedrich-Blessing.
  73. 73) Paramount Bar, Paramount Hotel, Times Square [2011] Susan Jaques, Highgate Hotels; New York City in Katie Tandy, "Viva La Glam: Paramount Bar, New York," Hotel Design, (May 2011): 18-19; PhotoCrd: Katie Tandy and Courtesy of Paramount Hotel; Walter A. Rutes, Richard H. Penner, Lawrence Adams, Hotel Design: Planning, and Development, (W.W. Norton & Co., 2001): 28.
  74. 74) The Intype Black Out is an interior space or room entirely consisting of black shades for walls, floors, ceilings and furnishings. Najung Kim, "Theory Studies: Archetypical Practices of Contemporary Luxury Apartment Design," (M.A. Thesis, Cornell University, 2009), 26-33. The Interior Archetypes Research and Teaching Project, Cornell University, www.intypes.cornell.edu (accessed Nov. 2, 2011).
  75. 75) Randall Gabrielan, "Times Square and 42nd Street in Vintage Postcards," (Arcadia Publishing, 2000): 57.
  76. 76) The Intype Specimen describes a display strategy in which items are arranged in a taxonomic array. Courtney Cheng, "Theory Studies: Archetypical Showroom Practices in Contemporary Interior Design." M.A. Thesis, Cornell University, 2012, 160-85. The Interior Archetypes Research and Teaching Project, Cornell University, www.intypes.cornell.edu (accessed Nov. 2, 2011).
  77. 77) Cha Cha Rooster, LORD Hotel [2011] Dan Mazzanni, BH+DM; Miami, FL in Katie Tandy, "Lords South Beach," Hotel Design, (Mar./Apr. 2011): 28-29; PhotoCrd: Courtesy of LORDS.
  78. 78) Evidence for the use and the chronological sequence of Down the Line as a bar and nightclub archetype was developed from site visits to several bars including Caroline's Comedy Club and China Grill, in addition to the following sources for published projects:[1890] Barney Flynn's Bar [1899] New York City in New York Public Library Digital Gallery (Subject: Bars): ImageID: 809476; PhotoCrd: Andrew Varick Stout, Illustrator / Men Standing by a Bar [Date Unknown] Douglas, WY; PhotoCrd: City Of Douglas, WY / / Bull's Head Inn & Tavern [Date UnknownUnknown] Anonymous Designer; Staten Island, New York,City in New York Public Library Digital Gallery (Staten Island in Vintage Postcards): Image ID: 104931; PhotoCrd: Anonymous, Date of photo unknown / Black Hawk Café, Stapleton [Date Unknown] Anonymous Designer; Staten Island, New York City in New York Public Library Digital Gallery (Staten Island in Vintage Postcards) Image ID: 104947; PhotoCrd: Anonymous / 1940 Aberdeen Hotel [1941] Francis Keally, designer; New York City in American Memory (Library of Congress): LC-G612- 39162; PhotoCrd: Gottscho-Schleisner, Inc / Raleigh Hotel, Martini Bar [1941] L. Murray Dixon, architect; Miami, FL in American Memory (Library of Congress): LC-G612- 39553; PhotoCrd: Gottscho-Schleisner, Inc / Hotel Delmonico, Cocktail Lounge [1949] Designer:Joseph Caponetto. New York City in American Memory (Library of Congress) LC-G612- 56197; PhotoCrd: Gottscho-Schleisner, Inc. / 1950 Algiers Hotel, Aladdin Bar (left), [1953] Morris Lapidus, architect; Miami, FL in American Memory (Library of Congress) LC-G613- 62762,; PhotoCrd: Gottscho-Schleisner, Inc. / Algiers Hotel, Caravan Room (right) [1953] Morris Lapidus, architect; Miami, FL in American Memory (Library of Congress) Image ID: LC-G613- 62824; PhotoCrd: Gottscho-Schleisner, Inc. / Biltmore Terrace [1953] Morris Lapidus, architect; Miami, FL in American Memory (Library of Congress) Image ID: LC-G613- 62828; PhotoCrd: Gottscho-Schleisner, Inc. / Fontainebleau Hotel, Boom Boom Room [1955] Morris Lapidus, architect; Miami, FL in American Memory (Library of Congress) Image ID: LC-G613- 67006; PhotoCrd: Gottscho-Schleisner, Inc. / Essex House, Bombay Bar [1956] Raymond Loewy & Associates, designer; New York City in American Memory (Library of Congress)  Image ID: LC-G613- 79408; PhotoCrd: Gottscho-Schleisner, Inc. / Queensbury Hotel Bar [1959] Henry End, Designer; Glens Falls, NY in Anonymous, "Hotels" Interior Design 30, no. 4 (Apr. 1959): 125; PhotoCrd: Louis Reens / Mammoth Mountain Inn [1959] Paul Palmer, Western Design Associates; Mammoth Lake, CA in Anonymous "Hotels" Interior Design 30, no. 4 (Apr. 1959): 128; PhotoCrd: Anonymous / Butterfield Country Club Bar [1959] Edna N. Alcorn, Pond's Interiors; Hinsdale, IL in Anonymous "Clubs," Interior Design 30, no. 10 (Oct. 1959): 207; PhotoCrd: Anonymous / Tamarak Hotel Bar & Nightclub [1959] Anonymous Designer; Greenfield Park, NY; Source: American Memory, (Library of Congress) Image ID: LC-G613- 74591, LC-G613- 74594; PhotoCrd: Gottscho-Schleisner, Inc. / 1960 The Gaslight Club [1960] R. Davis Brukoff & Associates; Chicago IL in Anonymous in "Clubs," Interior Design 31, no. 10 (Oct. 1960): 164; PhotoCrd: Lee Balterman / Top of the First [1961] Raymond Loewy, William Snaith Inc; San Juan, Puerto Rico; in American Memory (Library of Congress) ImageID: LC-G613- 76588, LC-G613- 76589; PhotoCrd: Samuel Gottscho /  Rib Room [1961] Henry End, Designer; New Orleans, LA in Anonymous "The Royal Orleans," Interior Design 32, no. 1 (Jan. 1961): 95; PhotoCrd: Ezra Stoller / Summit Hotel, Gaucho Bar [1961] Morris Lapidus, architect, Harle & Liebman, designers; New York City in Anonymous, "Hotels," Interior Design 32, no. 10 (Oct. 1961): 141; PhotoCrd: Gottoscho-Schleisner Inc. / Denver Athletic Club [1965] Claus E. Heppner, Designer; Denver, CO in Anonymous, "Colorado Springs Portfolio," Interior Design 36, no. 8. (Aug.1965): 95; Photo: Anonymous / Tin Lizzie Restaurant [1967] Peter Max, Designer; New York City in Anonymous "The Kaleidoscopic World of Peter Max," Interior Design 38, no. 6 (Jun. 1967): 120; PhotoCrd: Anonymous / Stuft Shirt Restaurant [1968] Paul Bennet, Designer; Newport Beach, CA in Anonymous, "Portfolio Work of LA Chapter," Interior Design 39, no. 8 (Aug. 1968): 197; PhotoCrd: Virginia McIntire / 1970 Park Lane Hotel, Lobby Bar [1971] Tom Lee, Emery Roth & Sons, Designers; New York City in Anonymous, "Park Lane Hotel," Interior Design 42, no. 10 (Oct. 1971): 128; PhotoCrd: Anonymous / Michael's Pub [1972] John B, Maurer, Designer; New York City in Anonymous, "Michaels Pub," Interior Design 43, no. 4 (Apr. 1972): 153; PhotoCrd: Paulus Lesser / Casino Russe Bar [1972] Paul Sapounakis, Carlton Klein, Alexei Vergun, Designers; New York City in Anonymous, "Casino Russe," Interior Design 43, no. 4 (Apr. 1972): 147; PhotoCrd: Alexandre Georges / Park Restaurant, Gulf & Western Building [1972] Ellen Lehman McCluskey; New York City in Anonymous, "Top of the Park," Interior Design 43, no. 4 (Apr. 1972): 145; PhotoCrd: Henry S. Fullerton III / Tango Restaurant, Chicago Belmont Hotel [1975] Tony and Karen Barone, Designers; Chicago, IL in Anonymous, "Rest and Relaxation," Interior Design 46, no. 11 (Nov. 1975): 93; PhotoCrd: Alexandre Georges / Eagles Nest Bar, Golden Eagle Restaurant [1976] Welton Becket & Associates; Phoenix, AZ in Anonymous, "Eagles Nest," Architectural Record 159, no. 1 (Jan. 1976): 108; PhotoCrd: Marvin Rand / Bar, Ithaca Railroad, Lehigh Valley Station [1897] Anonymous Designer; Taughannock Blvd & West Buffalo Street, Ithaca, NY in Historical American Building Society (Built in America, Library of Congress): HABS NY 55-ITH,6, Survey number HABS NY-5630; PhotoCrd: C. Hadley Smith (1975) / 1980 Cruise Room Bar, The Oxford Hotel [1984] J. Kattman Associates; Denver, CO in Anonymous, "Preservation, Restoration, Renovation," Interior Design 55, no. 10 (Oct. 1984): 220; PhotoCrd: Gifford Ewing / Hampshire House [1984] Adaptive Use [1911] Ogden Codman, architect; Robert J. DiLeonardo Int'l, Designers; Boston, MA in Anonymous, "IBD, Interior Design Awards: Adaptive Reuse," Interior Design 55, no. 11 (Nov. 1984): 227; PhotoCrd: Warren Jager / Bar, Woods Gramercy [1985] James D'Auria Associates; New York City in Anonymous, "Restaurant Design, "Prepared to Order," Interior Design 56, no. 1 (Jan. 1985): 263; PhotoCrd: Norman McGrath / Palladium Nightclub [1985] Arata Isozaki & Associates; New York City in Anonymous, "Heaven's Gate, Record Interiors," Architectural Record 173, no. 11 (Mid-Sep. 1985): 136-37; PhotoCrd: Timothy Hursley / Bar, China Grill [1988] Jeffrey G. Beers; New York City in Anonymous, "Design in New York," Interior Design 59, no. 9 (Sept. 1988): 257; PhotoCrd: Paul Warchol / Jane's Bar & Grill [1989] Bob Patino; New York City in Anonymous, "Hospitality Design," Interior Design 60, no. 6 (Jun. 1989): 221; PhotoCrd: Peter Vitale / 1990 Caroline's Comedy Club [1993] Haigh Architects; New York City in Anonymous, "Haigh Architects," Interior Design 64, no. 2 (Feb. 1994): 136, 141; PhotoCrd: Elliott Kaufman / Republic [1996] Studio Gaia, Ian Waisbrod, designers; New York City in Anonymous, "Studio Gaia," Interior Design 67, no. 6 (Jun. 1996): 96; PhotoCrd: Nagamitsu Endo /  Savannah [1997] Afuture Company, Guisi Mastro, Designers; Miami, FL in Anonymous, "Southern Comfort," Interior Design 68, no. 6 (Jun. 1997): 96; PhotoCrd: Paul Warchol / Bottino [1998] Thomas Lesser; New York City in Anonymous, "Art World Eats," Interior Design 69, no. 10 (Oct. 1998): 171; PhotoCrd: David M. Joseph / Aureole [1999] Adam D. Tihany International, Ltd.; Las Vegas, NV in David Hay, "Amid Las Vegas' Hype and Glitz: Adam Tihany's Aureole Restaurant Strives to Marry Good Taste and Spectacular Feats," Architectural Record 187, no. 9 (Sep. 1999): 142; PhotoCrd: Steinkamp/Ballogg / Club Sugar [1999] John Friedman, Alice Kimm, Designers; Santa Monica, CA in Clifford A. Pearson, "At the Hot New Club Sugar in Santa Monica, John Friedman and Alice Kimm Choreograph a Dance for Scrims, Screens, Lights and Bodies," Architectural Record 187, no. 9 (Sep. 1999): 148; PhotoCrd: Benny Chan/Fotoworks / Canteen [1999] Marc Newson; New York City In Julia Lewis, "Tangerine Dream," Interior Design 70, no. 11 (Nov. 1999): 100; PhotoCrd: David Joseph / 2000 Light Bar, St. Martins Lane [2000] Ian Schrager, Philippe Starck, Anda Andrei, Designers; London, England in Melissa Barrett Rhodes, "Room with a Hue," Interior Design 71, no. 1 (Jan. 2000): 125; PhotoCrd: Todd Eberle / Pod Restaurant [2001] Rockwell Group; Philadelphia, PA in Monica Geran, "Mod Pod," Interior Design 72, no. 3 (Mar. 2001): 176, 179; PhotoCrd: Paul Warchol / Bar, The Hotel [2001] Jean Nouvel; Lucerene, Switzerland in Aric Chen, "Image Maker," Interior Design 72, no. 10 (Oct. 2001): 269; PhotoCrd: Vincent Kapp / Glass Bar [2001] Thomas Leeser; New York City in Cynthia Davidson, "Glass, Bot and Pod," Architectural Record Web Exclusive Archives (Sep. 2001); PhotoCrd: Matthu Placek; Courtesy of Thomas Leeser / YYZ Restaurant & Wine Bar [2002] Eppstadt Design; Toronto, Canada in Beth Kapusta, "Sleek Lines Characterize this Modernist Restaurant," Architectural Record Web Exclusive Archives (Nov. 2002); (accessed: Sept. 3, 2011); PhotoCrd: David Whittaker / Bar Jer-ne, Rtiz Carlton [2002] Barry Design Associates; Marina del Ray, CA in Sheila Kim, "Shipshape," Interior Design 73, no. 3 (Mar. 2002): S36; PhotoCrd: Barbara Kraft / Bar, Viceroy Hotel [2002] Adaptive Use, Pacific Shores Hotel [1969] Kelly Wearstler, KWID; Santa Monica, CA in Edie Cohen, "Wearstler Rules," Interior Design 73, no. 10 (Oct. 2002): 224, 228; PhotoCrd: Grey Crawford / Bar, Estrella Hotel [2003] Kelly Wearstler, KWID; Palms Springs, CA in Edie Cohen, "Made in the Shade," Interior Design 74, no. 3 (Mar. 2003): 221; PhotoCrd: Grey Crawford / West Bar, Gallery, Momo Complex [2003] Noe Duchaufour Lawrence with Mourand Mazouz, Designer; London, England in Susan Welsch, "The New Xanadu," Interior Design 74, no. 2 (Feb. 2003): 118; PhotoCrd: Andrew Lamb / Bellini Bar, Hospital Club [2005] Suzy Hoodless, Designer; London, England in Ian Phillips, "Walk Through: Award Wins," Interior Design 76, no. 7 (Jul. 2005): 76; PhotoCrd: Tom Mannion / Fix Restaurant & Bar, Bellagio [2005] GRAFT; Las Vegas, NV in Anonymous, "Curvy ceiling Captivates Casino-Goers," Architectural Record Web Exclusive Archives (Nov. 2005); (accessed: Sept. 10, 2011); PhotoCrd: Ricardo Ridecos / Bar, Operakallaren [2006] Claesson Koivisto Rune; Stockholm, Sweden in David Sokol, "Opening Night," Interior Design 77, no. 6 (Jun. 2006): 151; PhotoCrd: Ake E:son Lindman / Mama Shelter [2008] Philippe Starck, Roland Castro; Paris, France in Laurel Petriello, "Mama Shelter," Interior Design Web Archives (Oct. 2008); PhotoCrd: Interior Design, Courtesy of Mama Shelter / Stix Restaurant [2008] Chris Bardt and Kyna Leski, 3SIX0 Architecture and Design; Boston, MA in Clifford A Pearson, "Boston's Back Bay Transformed," Architectural Record Web Exclusive Archives (Sept. 2008); (accessed: Sept. 10, 2011); PhotoCrd: John Horner / Blueprint Restaurant  [2008] VOA Associates; Chicago, IL in Laurel Petriello, "AIA Chicago Awards 2008," Interior Design Web Archives (Nov. 2008); (accessed: Sept. 10, 2011); PhotoCrd: Nick Merrick, Hedrich-Blessing / 2010 Paramount Bar, Paramount Hotel, Times Square [2011] Susan Jaques, Highgate Hotels; New York City in Katie Tandy, "Viva La Glam: Paramount Bar, New York," Hotel Design, (May 2011): 19; PhotoCrd: Katie Tandy, Courtesy of Paramount Hotel / Cha Cha Rooster, LORDS Hotel [2011] Dan Mazzanni, BH+DM; Miami, FL in Katie Tandy, "Lords South Beach," Hotel Design, (Mar./Apr. 2011): 29; PhotoCrd: Courtesy of LORDS.

bibliographic citations

1) The Interior Archetypes Research and Teaching Project, Cornell University, www.intypes.cornell.edu (accessed month & date, year).

2) Wells, Carla. "Theory Studies: Archetypical Bar and Nightclub Practices in Contemporary Interior Design." M.A. Thesis, Cornell University, 2012, 70-137.