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Billboard | Theme Dining

application

Billboard is a form of storytelling for theme dining spaces. Art, photography, or super graphics can fill entire planes with the purpose of broadening a thematic interpretation in space.

research

In theme dining settings, Billboard emphasizes brand recognition; it may also facilitate the dissemination of popular culture emblems and themes. Billboard is a strategy that expands the entertainment experience, in conjunction with exotic food, and fantasy-driven interiors, for theme dining. Billboards are a bold statement of a theme; it can be expressed in a classical artistic manner or through modern graphic printing. Billboard may use murals, graffiti, screen-printing, and image projection to convey its message and meaning. The impact and success of Billboard as a strategy stems from its scale; most Billboards spread through entire wall planes. The exaggerated scales propel Billboard's dominating feature in spaces that aim to capture guests' attention and extend the business model's success. 

Chronological Sequence

The Decade of 1940 

At the iconic Clifton's in Los Angeles, a large example of Billboard was painted on the wall to replicate a Polynesian landscape. Two adjacent walls reveal a beautiful coastal perspective that made the interior of the restaurant seem more realistic. The combination the two-dimensional mural receding in the background, and the superposed palm tree replicas, huts, and artifacts from Polynesia resulted in a dramatic and realistic look. In this instance, designers utilized Billboard as a tool to recreate an Inscape, an exterior landscape inside1 and it gave the guests the feeling that they were eating by the sea.

The Decade of 1960 

During this period, the exponents of Billboard continued to be art works painted directly on planar surfaces. Such is the case of the Scottish countryside-themed restaurant, The Heather House. It boasts a beautiful mural of Edinburgh, by A.R. Gordon,2 occupying one entire wall in the main dining room. The mural expands across the length and width of a curved wall, thus creating a sensation of continuity and motion. Although the mural does not attempt to recreate a realistic outdoor environment, it references autochthonous Scottish landscapes and architecture. The overall effect of the mural in the space is one of elegance and sophistication. The mural captures patrons' attention and becomes the focus of the dining experience by transporting the diners to the rolling hills of Scotland.

An advertisement for Dellinger Carpet displays the Wolferman Restaurant.3 This concept revolves around Spanish bullfights. Designers execute the theme using extensive color throughout the space. A colorful and bold striped carpet sets the tone for the vibrant restaurant, along with country-style chairs painted in black, yellow, and red. The color palette for the restaurant borrows from the mural painted across several walls in the restaurant. The mural depicts the story of bullfighters against beasts, displaying a series of tricks and maneuvers proper of this form of art and entertainment. This Billboard unifies the theme; without it, the multicolored interior would not have a reason to exist. This Billboard also activates the space by creating an aura of excitement for all the diners to enjoy.

In 1966, the execution of Billboard evolved; such is the case of a coffee shop. in the lobby of Burke Lakefront Airport in Cleveland, Ohio. The designer sought to integrate the coffee shop equipment with a "colored concrete wall mural by Don Drumm who combines metal objects and welded forms into an abstract sculpture. The wall was extended to include part of the ceiling to give illusion of spaciousness and to conceal lighting and air-conditioning ducts."4 The billboard in this space is part sculpture, part painting, and part object display,5 a dramatic change in the technique utilized for the Billboard samples examined thus far. 

Circus Circus Casino distinguished itself from the other casinos in Las Vegas for being the only casino without a hotel and focusing only on gambling and entertainment. "Outside, the casino is shaped like a huge tent. Inside, the atmosphere of the 'big top' is carried throughout the dining rooms, cocktail lounges, gambling and entertainment areas." This hyper-themed space was the work of Bert Franklin, who used striking vivid colors and Art Nouveau motifs to help create the circus atmosphere. The Wiener Wagon deserves special attention; it was one of the most popular and colorful spots in the casino. Specialized in serving hot dogs, "the Wiener Wagon decor was inspired by turn-of-the-century circus wagons as depicted in the large circular windows of Tiffany style glass recreated in plastic."6 The Billboard found at the Wiener Wagon is one of the first to exhibit graphic printing. It is also not an original work of art but a replica. Overall, this Billboard specimen is playful and injects the theme into this vibrant Red Room,7 a whimsical, yet refined space.

The Decade of 1970 

"My aim was to capture the warmth, glow, and cordiality of the Old World Pubs," said designer David Laurence Roth about creating the small restaurant chain of Cooky's Steak Pubs. The themes used for the restaurants were Elizabethan, Arthurian, and Scottish, and included a major collection of antiques. For the New Rochelle, New York location the designer used murals to infuse the dining rooms with the chosen theme. In this instance, "Scottish bagpipers march on a mural juxtaposed against plaid carpeting on adjacent walls and floor,"8 to create a formal and mystifying impression in the space. At a different location, in Yonkers, New York, the wall treatment is similar, a depiction of Prince of Wales Feather completed in Trompe l'oeil. For this dining room, the Billboard is more colorful and aimed to mimic the tapestries hung on the walls. Certainly, in both locations the murals were the main impetus for the theme, although the lack of engagement of the ceiling plane, the plain furniture and decor, took away what could have been a more powerful and fun environment. The Billboards found at Cooky's Steak Pub are indicative of the transition in techniques deployed to create visually activated wall surfaces, such as a back-and-forth use of painting versus screen-printing as mediums. 

The Ibis, a Middle Eastern-style nightclub in New York, inspired by Egypt's bird of wisdom, was designed to recreate the "elegance of the Nile," using sand and sepia shades of carpeting and brown canvas on the banquettes. Sparkle provided by the chandelier and other lighting focuses on metallic palm trees. Egyptian-theme murals were painted by Philip Read, who also stenciled Ibis border designs.9 The murals are framed with beautiful drapes, and flanked by gold palm trees, giving the painted scene depth and realism. The Billboard in this venue not only attempts to transport the guests to the Middle East by recreating a scene from Egypt, but also anchors a banquette and a string of tables, giving the patrons the possibility of dining in an intimate and special location. 

The Decade of 1980 

Joe Rigatoni's, a restaurant near Atlanta, offered their clientele an Italian buffet in a casual and friendly space, with touches of Southern hospitality and Italian flare. The restaurant was "located in a free-standing building outside Atlanta [that] was gutted, restructured, designed, and installed in a record 90 days." Inside there were three dining areas, each with its own character. Some areas of the restaurant were more elegant than the others, and alluded to a sense of privacy. Some were designed to give patrons the ability to see and be seen, and were open and informal in their layout. Spiros Zakas, the designer, "used mirrors, plants, whirring fans, and a smoky burgundy/green color palette"10 to create a Southern design experience. Some of the dining areas display handsome photographic murals of street vendors and markets displaying fresh produce. These black and white photographic murals made the ambiance of the interior playful and whimsical, and framed important areas within the restaurant, such as the spaghetti bar. The strategic placement of the Billboards create focal points in the space, and serve as a means of distraction for the customers by creating contrasting style in the interior of the restaurant.  

Mount Olympus was the habitat of the Greek gods, "from which the deities ruled over the earthlings." Olimpo, by contrast, was "a subterranean complex situated deep in the heart of Rome: a combined discotheque and piano bar. The site, on which Olimpo stands in the days of Imperial Rome, was a complex of Roman baths." Pino Piantanida, the designer and architect for this project, created "a dream-like atmosphere: one in which the gods and goddesses appear amid the evanescent clouds of a sky that is sometimes blue, sometimes flame-colored-an effect he has achieved through lighting and mirrors." One of the most striking features of this bar/club is the extensive use of Billboard throughout the 3.800 square foot space. For example, "in the first room the head of Laocoon floats in clouds above the dancers; on another wall Diana fixes a victim with her arrow,"11 and above the bar Bacchus hovers. The murals make powerful statements of the theme in space, delivering the Olimpo and its deities to the guests. 

Adam Tihany, one of the premier restaurant/hospitality designers in the country, was the creative designer behind Cafe Beaux Arts, located within the Omni Georgetown Hotel in Washington, D.C. Tihany wanted to create a restaurant that appealed to "an artsy crowd" from the neighborhood as well as the hotel's clientele. Cafe Beaux Arts created an appeal to both segments of this pre-existing customer base. In fact, development of the theme took some of its cues from these patrons." Tihany wanted to create an environment "to recognize the art world, but in a whimsical way-not as an obvious art bar." Tihany had long being "enchanted with the works of [Wassily Kandinsky] the Russian abstract painter," and as a result he created "a tightly related visual package where all-custom furnishings work together to evoke the requisite imagery."12 The designer placed particular emphasis in the murals of French artist Paulin Paris, which deliver a tribute to Kandinsky all over the walls of the restaurant. Without the Billboards as murals, the theme would have been practically non-existent, but with their presence, it activates the space and effectively conveys a reiteration of the art of Kandinsky.

In 1989, Massimo Iosa-Ghini designed Bolido, a Manhattan club/restaurant, which theme was "futuristic (as in things to come), Futuristic (as in the early 20th-century art movement), or tongue-in-cheek "retro" (as in homage to the '60s television show The Jetsons)." Presumably, Bolido seemed to be an "amalgam of all three." The murals deserve particular attention "with their flight-of-fancy metropolis."13 These murals, together with the curvaceous furnishings, sleek and chromed finishes, brought an aura of futuristic innovation to the interior, effectively conveying the theme. The murals were painted on the walls adjacent to dining/drinking spaces, and some of them were as tall as two-stories high. The size and bold colors attempt to captivate customers' attention and make them feel energized, most likely to retain the guests for longer time and encourage them to consume more in a remarkable venue. 

The Decade of 1990 

At the beginning of the decade, designer Adam Tihany embarked on another design and business venture by designing and co-owning Remi, an Italian trattoria on Sixth Avenue and 53rd Street in New York City.  Together with partner/chef Francesco Antonucci, Tihany "detailed a floor plan characterized by an amorphous anteroom giving onto a long narrow dining sector, 120 ft. in length with an unlikely ceiling height of 27 ft." For Remi, Tihany created a  "banquette seating with its navy blue and white striped upholstery fabric, the designer's "Wassily Off The Wall" sconces of Venetian glass, the cream-painted planked wainscoting and Tihany's delicate line drawings of Venetian glassware." Above the beautiful banquette, Tihany commissioned, "an enchanting mural glowing with the vibrant tones characteristic of restored Renaissance paintings draws visitors into a fantasized view of Venice, inspirational site of the restaurant. The work of Parisian Paulin Paris, a frequent Tihany collaborator, the painting with its Byzantine and Oriental imagery is 18 ft. tall and runs the length of the dining room on a slightly canted wall above the banquette. And so views of Venice not be denied to those on the banquette line, the entire mural is reflected in a mirror along the facing elevation. Never mind that the mural helps to alleviate a potentially overwhelming scale; its effect, in a word, is magical."14 

At Remi, the majestic Billboard carried all the grandeur of the Venetian theme restaurant, but beyond its pleasing aesthetic, it also made the height of the ceiling more comfortable for the customers. For Tihany, the mural "remarks that the progression into the restaurant alludes to arrival in Venice." For example, he states that "At the entry, you see the beginning of the mural. Then you come around the grappa table and see the whole mural. It's like coming to Venice; you leave the train station for a motoscafo [motorized boat] and suddenly the whole of the Grand Canal opens up."15

The Doral Park Avenue Hotel in New York City's garment district is the home of the Saturnia dining room, a "sunny-bright restaurant where scenic murals allude to idyllic gardens." The interior of the restaurant is themed to resemble Italian gardens of the Renaissance period.  A series of murals painted by Harold Goodwin and Barbara Eckhardt-Goodwin, are " interspersed with mirrors that optically intensify the volume of pictured planting." To intensify the "botanical bounty," small trees are placed strategically throughout the dining room, reinforcing the park/garden theme. In order to recreate the effects of a real sunny day, "two large ceiling coves tinted sky-blue add to the aura of alfresco brightness. The murals, in the style of Impressionist stippling, convey a feeling of misty haze, further enhancing the sense of enchantment."16 For the Saturnia, the murals give the space credibility as a themed dining venue, and these Billboards (murals) enhance the dining experience by creating depth and a sense of expansion on the wall planes. 

In 1993, Hugh Boyd designed The Salad Bowl, a 3,900-sq.-ft. takeout and self-service cafe in the heart of Times Square using an Alice in Wonderland reference for the design. Although the restaurant was not modeled directly after the book, the bold use of color, whimsical shapes, funky Billboards, and oversized objects dominated the interior. The Salad Bowl competed with national chain establishments nearby, so the designer's strategy had "to express a combination of fun and excitement, along with an appealing display of food items, if it is going to entice the passerby." Boyd devised a way to display the most amount of food in the most attractive way possible. "A perforated, back-lit, serpentine-shaped shroud above the open kitchen added a certain visual zest to the view through the storefront." Boyd used shape and color to highlight the product being sold and for it to be read from a distance. Murals and color were used throughout the restaurant [work by Susan Roberts], these Billboards with "oversized crockery shapes detailed with Matisse-like still life images" were a strategy to advertise the products sold and to attract customers inside. In contrast with the bright bold Billboards, the furnishings are very simple, to "brighten and create a sense of spaciousness within a very deep, narrow and windowless space."17

The Decade of 2000 

The Hospital, a formerly working infirmary, is a private recording club outside London. Designer Suzy Hoodless created "recording studios on its top fifth floor; staff offices on the fourth floor; and a sound stage, screening room, and TV- and video production areas in the basement. A restaurant and art gallery open to the public occupy the first level." With the intention to transport the "media center's clients as far from work as possible," the designer transforms the third floor into two bars, adjoining lounges, a restaurant, and a separate private dining room. The private dining room features "360-degree views of photographer Tom Mannion's blown-up image of forests outside Paris. Hoodless had the image laser-printed on canvas and applied as a wall covering." This remarkable Billboard transports the guests to a magical space where dining outdoors while seating on comfortable chairs and having linens on the table is possible. On the same floor, in the Bellini Bar, Julie Verhoeven "embellished traditional blue paisley wallpaper with her own collage of shredded marbled paper and illustrations of butterflies, foliage, and 1940s pinups."18 Two large logs were placed on the perimeter of the bar to serve as benches, and smaller black-painted tree trunk segments worked as stools. Evidently, the use of Billboards in combination with unexpected furniture, transformed the restaurant and bar of this club into themed spaces full of color, magic, and surprise.

In Hong Kong, local fast food chain, MX, displays a wonderful blend of the best of Eastern and Western cultures. Dim Sum and tea are served in a slick, super-clean, dynamic 2,700-square-foot space, full of vibrant color and graphics. "The MX exploding-hearts logo is the dominant motif, repeated on ceramic wall tiles and molded into the backs of the groovy contoured fiberglass chairs and benches." In order to take the heart idea a step further, the designers Steve Leung and Alan Chan, "commissioned artwork from emerging talents in Asia, Australia, and Canada and blew up the results to line the sidewalls." The Billboards become the omnipresent element in this theme restaurant, by filling the walls with super graphics, color, and brand identity. The designers tie the space together, in this major international city, where the use of "technology is omnipresent, too." LCD screens were installed atop of two tables, showing "financial and entertainment reports as well as music videos. And news tickers alerted customers when their meals are ready."19 These Billboards balance the minimalist and modern furnishings, effectively creating a venue where the vision for the restaurant is effectively conveyed, the union of East meets West. 

The Decade of 2010 

In 2010, The Collective, a restaurant-lounge filled with repurposed materials, objects, and furniture opened in the Meatpacking district of New York City as "a place where people could meet up easily, have a drink or a snack, and be comfortable. No door policy. No bottle service." The venue includes assorted items "from plastic medicine bottles to claw-foot bathtubs and a cabinet for a sewing machine, [which represent] metaphors for a reinvented neighborhood."20  Using imagination and humor, the thematic concept of The Collective comes alive when the space is filled with unexpected graphics and objects. Such is the case of a set of old subway doors that stand in front of the open doorway to the kitchen. The doors are covered in graffiti and painted with cartoonish faces of commuters crowding the interior of the subway wagon. This Billboard creates an optical illusion; when one approaches the subway doors, they give the distinct impression that they will open. The Billboard used in The Collective is unique, because it is not painted directly on a wall or a canvas surface. Instead, designers utilize a large object as the medium, and it creates an optical illusion by making customers believe they could be board the subway and be transported elsewhere. 

Conclusion

Since the decade of 1940, Billboards have been used as a design strategy for themed venues. Although there are numerous reiterations, Billboards for theme dining typically were made using painted murals, graphics on canvas, or screen-printing. In an effort to engage diners, Billboards fills entire walls in a deliberate attempt to capture the attention of the diners and create a particular spatial experience. For their high impact visuals and capturing the attention of theme diners, Billboards will continue to be used extensively in the theme dining industry.21 

end notes

  1. 1) Inscape is the practice of utilizing elements from the outdoors as a strategy to recreate exterior landscapes inside. Inscape may be subject to thematic design strategies.  Jimena Roses-Sierra, "Theory Studies: Archetypical Theme Dining Practices in Contemporary Interior Design" (M.A. Thesis, Cornell University, 2013), 125.
  2. 2) Heather House Restaurant [1961] Hal Lorey for Carson, Pirie, Scott, and Co., design;  Chicago, IL, in Anonymous, "Restaurants," Interior Design 32, no. 4 (Apr.  1961): 149; PhotoCrd: Idaka.
  3. 3) Wolferman Restaurant, Dellinger Carpet Advertisement [1964] Jack M. Rees, design;  Kansas City, MO, Interior Design  35, no. 6 (Jun.  1964); PhotoCrd: Anonymous.
  4. 4) Coffee Shop, Burke Lakefront Airport [1966] John P. Mazzola, design; Cleveland, OH, in Anonymous, "Airport Coffee Shop," Interior Design 37, no. 4 (Apr. 1966): 192-93;  PhotoCrd: Anonymous.
  5. 5) 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 that cover entire interior planes of related or disparate objects. Jasmin Cho, " Theory Studies: Archetypical Practices of Contemporary Restaurant Design" (M.A. Thesis, Cornell University, 2009), 65-75; The Interior Archetypes Research and Teaching Project, Cornell University, http://intypes.cornell.edu/intypesub.cfm?inTypeID=51 (accessed Jun. 6, 2012).
  6. 6) Wiener Wagon [1969] Bert Franklin, design; Las Vegas, NV, in Anonymous, "Circus Circus," Interior Design  40, no. 3 (Mar. 1969): 96-101; PhotoCrd: Anonymous.
  7. 7) The Intype Red Room is one of the oldest European archetypes, is a room in which all walls are rendered in a monochromatic red, a technique often used to create contrast and autonomy between one room and another. Jasmin Cho, " Theory Studies: Archetypical Practices of Contemporary Restaurant Design" (M.A. Thesis, Cornell University, 2009), 65-75; The Interior Archetypes Research and Teaching Project, Cornell University, http://intypes.cornell.edu/expanded.cfm?erID=36 (accessed Jun. 7, 2012).
  8. 8) Cooky's Steak Pub [1971] David Laurence Roth, design; Yonkers, NY and New Rochelle, NY, in Anonymous, "Cooky's Steak Pubs," Interior Design  42, no. 4 (Apr. 1971): 130-33; PhotoCrd: Norman McGrath.
  9. 9) Ibis [1976] Carleton Varney, design; New York City in Anonymous, "The Ibis," Interior Design 47, no. 4 (Apr. 1976): 144-46; PhotoCrd: Richard Champion.
  10. 10) Joe Rigatoni's [1980] Spiros Zakas, design; Atlanta, Georgia in Edie Cohen, "Joe Rigatoni's," Interior Design 51, no. 4 (Apr.1980): 238-41; PhotoCrd: Martin Helfer.
  11. 11) Olimpo [1987] Pino Piantanida, design; Rome, Italy in Helen Barnes, "Olimpo," Interior Design 58, no. 6 (Apr. 1987): 264-67; PhotoCrd: Giovanna Piemonti.
  12. 12) Cafe Beaux Arts [1988] Adam Tihany, design; Washington, D.C. in Edie Lee Cohen, "Cafe Beaux Arts," Interior Design 59, no. 3 (Feb. 1988): 300-03; PhotoCrd: Karl Francetic.
  13. 13) Club Bolido [1989] Massimo Iosa-Ghini, design; New York City in Edie Lee Cohen, "Bolido," Interior Design  60, no. 9 (Jun. 1989): 232-35; PhotoCrd: Peter Mauss/Esto.
  14. 14) Remi [1990] Adam Tihany, designer; New York City, in Edie Lee Cohen, "Remi Redux," Interior Design  61, no.12 (Sep.1990): 182-85 PhotoCrd: Peter Paige.
  15. 15) Remi [1990] Adam Tihany, design; New York City in Edie Lee Cohen, "Remi Redux," Interior Design 61, no. 12 (Sep.1990): 182-85; PhotoCrd: Peter Paige.
  16. 16) Saturnia Dining Room [1991] Sarah Tomerlin Lee, design; New York City in Monica Geran, "Doral Park Avenue Hotel," Interior Design 62, no. 14(Oct. 1991): 130-37; PhotoCrd: Jaime Ardiles-Arce.
  17. 17) The Salad Bowl [1993] Hugh Boyd, design; New York City in Judith Nasatir, "Boyd Associates," Interior Design 64, no. 11 (Nov. 1993): 128-31; PhotoCrd: Dub Rogers.
  18. 18) The Hospital [2005] Suzy Hoodless, design; London, England in Ian Phillips, "A Ward Wins," Interior Design 76, no. 9 (Jul.  2005): 128-31; PhotoCrd: Tom Mannion.
  19. 19) MX [2008] Steve Leung and Alan Chan, design; Hong Kong in Maria Shollenbarger, "Mix It Up," Interior Design 79, no. 7 (May. 2008): 214-16; PhotoCrd: Ulso Tsang.
  20. 20) The Collective [2010] ICrave, design; New York City in Annie Block, "No Velvet Rope," Interior Design 81 no. 11 (Sep.  2010): 260-67; PhotoCrd: Eric Laignel.
  21. 21) Evidence for the archetypical use and the chronological sequence of Billboard in theme restaurant design was developed from the following sources: 1940 Postcard, Clifton's "Pacific Seas" [1947] Anonymous Designer; Los Angeles, California; Anonymous Postcard Manufacturer; PhotoCrd: Anonymous; Private Collection: Jan Jennings / 1960  Heather House Restaurant [1961] Hal Lorey for Carson, Pirie, Scott, and Co., design;  Chicago, IL, in Anonymous, "Restaurants," Interior Design 32, no. 4 (Apr.1961):149  PhotoCrd: Idaka; Wolferman Restaurant, Dellinger Carpet Advertisement [1964] Jack M. Rees, design;  Kansas City, MO, Interior Design  35, no. 6 (Jun.1964); PhotoCrd: Anonymous; Coffee Shop, Burke Lakefront Airport [1966] John P. Mazzola, design; Cleveland, OH, in Anonymous, "Airport Coffee Shop," Interior Design  37, no. 4 (Apr.  1966): 192-93; PhotoCrd: Anonymous; Wiener Wagon [1969] Rissman and Rissman Associates, design; Las Vegas, NV in Anonymous, "Circus Circus," Interior Design 40, no. 3 (Mar. 1969): 97; PhotoCrd: Anonymous / 1970  Cooky's Steak Pub [1971] David Laurence Roth, design; Yonkers, NY in Anonymous, "Cooky's Steak Pubs," Interior Design 42, no. 4 (Apr. 1971): 133; PhotoCrd: Norman McGrath; Cooky's Steak Pub [1971] David Laurence Roth, design; New Rochelle, NY in Anonymous, "Cooky's Steak Pubs," Interior Design 42, no. 4 (Apr. 1971): 133; PhotoCrd: Norman McGrath; Ibis [1976] Carleton Varney, design; New York City in Anonymous, "The Ibis," Interior Design 47, no. 4 (Apr. 1976): 145; PhotoCrd: Richard Champion / 1980  Joe Rigatoni's [1980] Spiros Zakas, design; Atlanta, Georgia in Edie Cohen, "Joe Rigatoni's," Interior Design 51, no. 4 (Apr. 1980): 241; PhotoCrd: Martin Helfer; Olimpo [1987] Pino Piantanida, design; Rome, Italy in Helen Barnes, "Olimpo," Interior Design 58, no. 6 (Apr. 1987): 264; PhotoCrd: Giovanna Piemonti; Olimpo [1987] Pino Piantanida, design; Rome, Italy in Helen Barnes, "Olimpo," Interior Design 58, no .6 (Apr. 1987): 266; PhotoCrd: Giovanna Piemonti; Cafe Beaux Arts [1988] Adam Tihany, design; Washington, D.C. in Edie Lee Cohen, "Cafe Beaux Arts," Interior Design 59, no. 3 (Feb. 1988): 301; PhotoCrd: Karl Francetic; Club Bolido [1989] Massimo Iosa-Ghini, design; New York City in Edie Lee Cohen, "Bolido," Interior Design 60, no. 9 (Jun. 1989): 235; PhotoCrd: Peter Mauss/Esto / 1990  Remi [1990] Adam Tihany, design; New York City in Edie Lee Cohen, "Remi Redux," Interior Design 61, no. 12 (Sep. 1990): 183; PhotoCrd: Peter Paige; Remi [1990] Adam Tihany, design; New York City in Edie Lee Cohen, "Remi Redux," Interior Design 61, no. 12 (Sep. 1990): 185; PhotoCrd: Peter Paige; Saturnia Dining Room [1991] Sarah Tomerlin Lee, design; New York City in Monica Geran, "Doral Park Avenue Hotel," Interior Design 62, no. 14(Oct. 1991): 137; PhotoCrd: Jaime Ardiles-Arce; The Salad Bowl [1993] Hugh Boyd, design; New York City in Judith Nasatir, "Boyd Associates," Interior Design 64, no. 11 (Nov. 1993): 130; PhotoCrd: Dub Rogers; The Salad Bowl [1993] Hugh Boyd, design; New York City in Judith Nasatir, "Boyd Associates," Interior Design 64, no. 11 (Nov. 1993): 128; PhotoCrd: Dub Rogers; The Salad Bowl [1993] Hugh Boyd, design; New York City in Judith Nasatir, "Boyd Associates," Interior Design 64, no. 11 (Nov. 1993): 131; PhotoCrd: Dub Rogers / 2000  The Hospital [2005] Suzy Hoodless, design; London, England in Ian Phillips, "A Ward Wins," Interior Design 76, no.9 (Jul. 2005): 74; PhotoCrd: Tom Mannion; The Hospital [2005] Suzy Hoodless, design; London, England in Ian Phillips, "A Ward Wins," Interior Design 76, no. 9 (Jul. 2005): 72; PhotoCrd: Tom Mannion; MX [2008] Steve Leung and Alan Chan, design; Hong Kong in Maria Shollenbarger, "Mix It Up," Interior Design 79, no. 7 (May. 2008): 216; PhotoCrd: Ulso Tsang; MX [2008] Steve Leung and Alan Chan, designer; Hong Kong in Maria Shollenbarger, "Mix It Up," Interior Design 79, no. 7 (May. 2008): 214; PhotoCrd: Ulso Tsang / 2010   The Collective [2010] ICrave, design; New York City in Annie Block, "No Velvet Rope," Interior Design 81 no. 11 (Sep. 2010): 267; PhotoCrd: Eric Laignel.

bibliographic citations

1) Roses-Sierra, Jimena. "Theory Studies:  Archetypical Theme Dining, Practices in Contemporary Interior Design." M.A. Thesis, Cornell University, 2012, 60-94.