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Restaurant Design Concepts: Architecture guide

• Updated: March 7, 2024

The design concept of a restaurant is far more than mere decoration or architectural indulgence; it is the physical manifestation of a restaurant’s story, ethos, and culinary philosophy.

It encompasses the seamless integration of spatial organization, thematic coherence, sensory engagement, and operational functionality to create spaces that are both beautiful and practical.

A well-conceived concept serves as the foundation upon which memorable dining experiences are built, influencing customer perceptions and emotions, and ultimately, the restaurant’s identity and success in the highly competitive culinary world.

As we embark on this exploration of restaurant architecture design concept, we invite readers to consider how architecture and interior design are not merely backdrops to the act of dining but are integral elements that shape the narrative of each meal.

From the strategic use of space and light to the thoughtful selection of materials and colors, each design decision is a stanza in a poem, contributing to the overarching story that unfolds within the restaurant’s walls.

Understanding Restaurant Design concepts

A design concept serves as the backbone of any restaurant’s architectural and interior design plan.

It is the vision that guides the creation of spaces, the selection of materials, and the integration of the environment into a cohesive experience that aligns with the restaurant’s identity and goals.

But what exactly does this mean in the context of restaurant architecture, and why is it so pivotal?

At its core, a design concept in restaurant architecture is an overarching idea or theme that drives the entire design process.

It is a creative and strategic foundation that translates a restaurant’s mission, cuisine, and brand into physical space.

This concept not only dictates the aesthetic direction but also influences functional aspects of the design, such as the flow of movement within the space, the layout of dining and kitchen areas, and the incorporation of technology.

The role of a restaurants design concept goes beyond mere decoration. It is about creating a story that diners can experience and engage with.

This narrative is told through architectural elements , interior design, and even the minutiae of furniture and decor.

For instance, a restaurant focusing on farm-to-table dining might incorporate natural materials, open spaces, and greenery into its design to reflect its commitment to freshness and sustainability.

This thematic coherence helps in establishing a strong brand identity and sets the stage for the culinary journey that guests will embark upon.

Moreover, a well-defined approach aids in making practical decisions throughout the planning and construction phases.

It ensures that every element, from the layout to the lighting, works harmoniously to enhance the dining experience and operational efficiency. It also helps in identifying the target audience and tailoring the atmosphere to their preferences and expectations.

Aligning Design with Culinary Philosophy and Location

A successful restaurant design concept is one that is in harmony with its culinary philosophy and the context of its location.

The design should reflect the essence of the cuisine, whether it’s the rustic charm of traditional Italian dishes or the minimalistic elegance of Japanese sushi.

Similarly, the location’s history, culture, and environment can inspire and shape the design. A seaside restaurant, for example, might draw on nautical themes and materials, while an urban rooftop venue could embrace modernist elements and city views.

The integration of the restaurant’s culinary philosophy with its design not only enriches the dining experience but also strengthens the connection between the guests and the food. When the environment resonates with the menu, it enhances the authenticity and appeal of the culinary offerings.

Key Components of Restaurant Design

Designing a restaurant is a complex endeavor that requires careful consideration of several interrelated components. Each aspect plays a crucial role in creating an environment that is both functional and appealing to the target clientele.

Here, we delve into the key components, exploring how each contributes to the overall dining experience.

Space and Layout

The foundation of any successful restaurant design lies in its space planning . Effective layout planning ensures smooth operation, comfortable dining, and an inviting atmosphere. Key considerations include:

• Kitchen Size and Placement: The heart of the restaurant, where food is prepared, should be efficiently designed to accommodate the staff, equipment, and workflow without compromising on health and safety standards.
• Dining Area: This space should be carefully designed to balance ambiance and seating capacity. Adequate spacing between tables, thoughtful seating arrangements, and accessibility are vital for customer comfort and satisfaction.
• Restrooms and Entryways: These areas, often overlooked, significantly impact first impressions. They should be easily accessible, well-maintained, and consistent with the restaurant’s overall design theme.

Theme and Concept Integration

A restaurant’s theme or concept is its soul, guiding the aesthetic and functional aspects of its design. Whether drawing on cultural, historical, or contemporary influences, the design should:

• Reflect the restaurant’s identity and culinary philosophy, creating a cohesive experience.
• Be integrated into architectural elements, furnishings, and décor to immerse diners fully in the intended atmosphere.
• Be flexible enough to evolve while maintaining the core essence of the restaurant’s brand.

Lighting is a powerful tool in restaurant design, capable of transforming spaces and influencing mood. Considerations include:

• The use of natural light to enhance openness and connection with the outdoors during the day.
• Strategic placement of artificial lighting to create ambiance, highlight architectural features, and ensure functionality in areas like the kitchen and dining spaces.
• The interplay of light and shadow to sculpt the dining environment, making it cozy, intimate, or vibrant, depending on the desired effect.

Materials and Textures

The choice of materials and textures adds depth and character to a restaurant’s design. These elements should:

• Complement the theme, enhancing the sensory experience of the space through visual and tactile means.
• Be chosen for durability and ease of maintenance, considering the high-traffic nature of restaurants.
• Include sustainable and locally sourced materials where possible, reflecting a commitment to environmental responsibility.

Color Scheme

Colors significantly affect psychological responses and can influence diners’ perceptions and behaviors. When selecting a color scheme, consider:

• The psychological effects of colors—warm tones can stimulate appetite, while cool tones create a relaxed atmosphere.
• The theme and concept of the restaurant, ensuring the colors reinforce the desired mood and style.
• The interplay of colors with lighting and materials, creating a harmonious and visually appealing space.

By thoughtfully integrating these key components, architects and designers can create restaurant spaces that not only meet functional requirements but also enchant and engage diners, making each meal a memorable experience.

Here are nine innovative restaurant approaches:

1. Fast-Food Concept: Cozy and Chic

Fast-food eateries and cafés embrace cozy spaces with chic layouts, where design experts narrate a visual tale.

The strategic use of color contrast, such as pink and white, invokes images of milkshakes and doughnuts, engaging customers’ senses before a single bite is taken.

The ambiance is enhanced by natural lighting and colorful accent lights, creating a warm and inviting atmosphere. Spaces are optimized for communal dining, with long tables and high windowside seats offering both intimacy and a view, making every breakfast inviting.

2. Fast Casual

The fast casual design merges various rugged textures and materials to present a casual aesthetic with style.

Organized layouts and a harmonious color palette stimulate the appetite, while ambient lighting and accessible seating arrangements ensure comfort.

Design details, such as mixed types of seating subtly promote a casual environment, creating an setting that’s both inviting and functional for food lovers seeking a cozy spot.

3. Elegance and Sophistication

Fine dining establishments are the epitome of elegance, where design precision brings sophisticated aesthetics to the forefront.

The use of dazzling lights and modern furnishings creates a formal yet inviting ambiance, with lighting carefully balanced to enhance the dining experience without overwhelming guests.

The thoughtful arrangement of seating, décor, and lighting complements the high standards of service and cuisine, catering to those who appreciate refined dining in a sophisticated setting.

4. Engaging

Cafés and eateries serving light meals thrive on typography design concepts, appealing to a younger demographic with a penchant for street food and beverages.

Advanced graphic techniques establish a unique brand identity, making spaces not only places to eat but also to admire and interact with the environment.

The strategic use of fonts and witty messages fosters a connection with customers, enhancing brand recognition and recall.

5. Simplicity and Serenity

Minimalist designs stand out for their simplicity and elegance, offering a serene dining experience that calms the senses.

The use of monochromatic colors, natural lighting, and strategic mirror placements creates an illusion of space, embodying the minimalist ethos of eliminating the unnecessary while accentuating the essential.

This design concept appeals to those who value a tranquil and refined dining atmosphere.

6. Personalized and Rustic

Barbeque restaurants focus on creating personalized dining experiences within rustic and warm settings.

Features like central fire-pits and brick braziers not only amaze with their design but also facilitate social interaction, enhancing the communal dining experience.

Such thoughtful design elements contribute to building a strong brand identity, making these establishments memorable dining destinations.

7. Natural and Soothing

Garden restaurant designs leverage the natural beauty and scents of plants to create a refreshing dining environment. The strategic use of greenery and sunlight creates an organic ambiance that relaxes guests, embodying the essence of dining amid nature.

This concept appeals to diners seeking a connection with the outdoors, offering a tranquil retreat from the urban hustle.

8. Nostalgic and Timeless

Classic restaurant designs transport diners back in time, using vintage themes, retro graphics, and a muted color palette to evoke nostalgia. The goal is to create an atmosphere that reminisces about a bygone era, making diners feel part of the restaurant’s story.

This concept appeals to those who cherish old-school elegance and the charm of dining experiences from the past.

Pop-up restaurants are all about creating temporary, stylish spaces that resonate with straightforward menu offerings. These establishments thrive on simplicity and flexibility, often operating in unique or makeshift locations to attract attention and spread brand awareness.

The use of graphics, typography, and minimalist design elements ensures a memorable dining experience that captivates and entertains.

Each of these design concepts showcases the power of architecture and design in creating spaces that not only serve food but also create immersive dining experiences.

By understanding and implementing these concepts, restaurateurs can ensure their establishments resonate deeply with customers, standing out in a competitive culinary landscape.

Innovative Trends in Restaurant Architecture

Restaurant architecture is ever-evolving, with new trends constantly emerging as architects and designers strive to create spaces that not only stand out but also provide memorable dining experiences.

These trends often reflect broader societal shifts, including sustainability concerns, technological advancements, and changing consumer preferences.

Sustainability

One of the most significant trends in restaurant architecture today is the emphasis on sustainability.

Architects are increasingly incorporating eco-friendly materials and technologies to minimize environmental impact. This includes the use of reclaimed wood, recycled materials, and energy-efficient lighting and HVAC systems.

Green roofs and living walls are also becoming popular, serving both an aesthetic and functional purpose by improving air quality and insulation.

These sustainable practices not only contribute to a healthier planet but also resonate with environmentally conscious consumers.

Technology integration is transforming the dining experience, with architects designing spaces that accommodate the latest digital trends.

From interactive menus projected onto tables to online reservation systems that influence the layout and size of waiting areas, technology is at the forefront of restaurant design.

Some restaurants are even experimenting with robotics and automation in food preparation and delivery, requiring innovative spatial solutions to seamlessly integrate these technologies into the dining area.

Adaptive Reuse of Spaces

Another trend gaining momentum is the adaptive reuse of existing buildings and spaces for new restaurants.

This approach not only preserves historical and cultural landmarks but also offers unique architectural features that can become a key part of the restaurant’s identity.

Converting old warehouses, churches, or even train stations into dining spaces provides a distinct ambiance that new constructions might lack.

This trend reflects a broader appreciation for storytelling through space, where the history and original elements of the building contribute to the dining experience.

Open and Flexible Layouts

The traditional dining room layout is being reimagined to accommodate changing diner preferences for more casual and social dining experiences.

Open and flexible layouts that allow for easy reconfiguration are becoming popular, facilitating everything from intimate dinners to large social gatherings.

This flexibility extends to outdoor dining areas, which have gained prominence, especially in response to health and safety considerations.

Architects are finding creative ways to integrate indoor and outdoor spaces, using retractable roofs, glass walls, and landscaped terraces to create fluid, adaptable dining environments.

Experiential Design Elements

Finally, there is a growing emphasis on creating immersive and experiential dining environments. This involves using architecture and design to tell a story or evoke a specific atmosphere, transporting diners to another place or time.

Thematic designs, interactive installations, and even scent and soundscapes are being used to enhance the dining experience beyond the food itself.

This trend reflects the desire for dining out to be an event, an escape, or an adventure, with the physical space playing a crucial role in that experience.

These innovative trends in restaurant architecture reflect the industry’s dynamic nature and its constant striving for creativity, sustainability, and technological integration.

As architects and designers continue to explore new ideas and concepts , the future of restaurant design promises even more exciting and immersive dining experiences.

Design Challenges

Designing a restaurant involves a complex set of challenges that architects and interior designers must navigate to create spaces that are not only aesthetically pleasing but also functional and compliant with various regulations.

These challenges can significantly influence the overall design process and the success of the restaurant.

Space Constraints

One of the primary challenges in restaurant design is the efficient use of available space. Urban restaurants, in particular, may have limited square footage, requiring architects to optimize every inch for dining, kitchen areas, storage, and restrooms.

Solution: Innovative space planning and multi-functional furniture can help maximize useable areas without compromising comfort or design aesthetics. For example, retractable or foldable tables and seating can adjust to accommodate varying crowd sizes.

Budget Limitations

Budget constraints can significantly limit design choices, from materials to custom features.

Solution: Effective budget management involves prioritizing essential elements and finding cost-effective alternatives that do not compromise the design concept.

Utilizing local materials, standard-sized elements, and focusing on impactful areas (like the entrance or main dining area) can help control costs while still creating a visually stunning environment.

Regulatory Compliance

Restaurants must adhere to a range of regulations, including health and safety codes, accessibility standards, and building codes. Navigating these requirements can be challenging, especially in historic buildings or urban settings.

Solution: Early consultation with regulatory bodies and incorporating compliance into the design process from the outset can prevent costly revisions. Hiring experienced contractors familiar with local codes can also streamline the approval process.

Acoustic Management

Managing noise levels in restaurants is crucial to ensuring a comfortable dining experience. Hard surfaces, which are often favored for their aesthetic appeal, can exacerbate noise problems.

Solution: Incorporating acoustic solutions that blend with the restaurant’s design theme can mitigate noise issues. This may include acoustic ceiling tiles, fabric wall panels, or strategically placed soft furnishings that absorb sound.

Creating the right lighting atmosphere can be challenging, as it needs to be functional, adaptable to different times of the day, and conducive to creating the right mood.

Solution: A combination of natural lighting, adjustable artificial lighting, and accent lighting can provide both versatility and ambiance. Using dimmable lights and incorporating different lighting zones allows for adjustments based on the time of day and specific events.

Creating a Unique Identity

In a competitive market, establishing a distinct architectural and interior design identity for a restaurant is vital but challenging.

Solution: Focusing on a unique design concept that tells a story or offers a novel experience can set a restaurant apart. This might involve thematic designs, immersive environments, or interactive elements that engage diners in a memorable way.

Addressing these challenges requires a blend of creativity, strategic planning, and practical problem-solving.

Successful restaurant designs are those that not only overcome these obstacles but do so in a way that enhances the dining experience, ensuring that both form and function coexist harmoniously.

Through innovative design solutions, architects and designers can transform constraints into defining features that contribute to a restaurant’s identity and appeal.

To Sum Up…

In conclusion, the architecture and design of a restaurant transcend mere aesthetics, playing a crucial role in defining the dining experience, shaping customer perceptions, and contributing to the brand’s identity.

A well-conceived design concept not only addresses functional aspects like space utilization and customer flow but also weaves in elements of theme, ambiance, and emotion, creating a holistic environment that resonates with patrons.

As we’ve explored, the integration of innovative trends, thoughtful consideration of materials, lighting, and color schemes, alongside the challenges of space and budget constraints, all contribute to the complex tapestry of restaurant design.

Moreover, the evolving landscape of restaurant architecture—marked by a push towards sustainability, technological integration, and adaptive reuse—highlights the industry’s adaptability and its constant pursuit of delivering unique dining experiences.

These trends not only reflect the changing preferences of diners but also underscore the importance of design in the competitive culinary world.

Ultimately, the success of a restaurant is significantly influenced by how well its architecture and design concept align with its culinary philosophy and target audience.

As evidenced by numerous case studies, establishments that prioritize cohesive, innovative, and experiential design concepts tend to thrive, attracting customers not just for the food but for the memorable experiences they offer.

This underscores the pivotal role of architectural design in the restaurant industry, where every detail contributes to the story a restaurant wishes to tell and the legacy it aims to build.

As such, restaurant architecture is not just about creating spaces but about crafting experiences that linger in the minds of patrons long after they’ve left, cementing its place as an essential ingredient in the recipe for culinary success.

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AJ Specification

Case study: Duke of York Restaurant by Nex Architecture

17 August 2020 · By AJ Contributor

The curved plate glass window units of Nex’s Chelsea café retract into a basement trench. Photography by James Brittain

Nex Architecture was commissioned by Cadogan following an international design competition that sought a distinctive restaurant which could be a focal point for Duke of York Square, London SW3. We looked to add further value by creating a dynamic building that respects and enhances its surroundings, while incorporating new public space and greenery.

The spiral form is defined by a slender, off-white, concrete wall that curls upwards from the square, giving both a sense of movement and pleasing views from all sides. Large openings housing the main restaurant space enhance the building’s welcoming presence and allow the restaurant to spill out onto the square in fine weather.

A curving staircase in the outermost limb of the spiral leads to a roof garden, which is open to the public and accessed independently from the square. This is a generous ‘gift’ to the neighbourhood where people can spend time among the canopy of the surrounding trees.

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Inside, the sculptural arches and large, retractable windows emphasise the restaurant’s spaciousness. Ash ceiling slats are carefully arranged to celebrate the building’s spiral form and to contrast with the tougher surfaces elsewhere.

Alongside a private dining space, the basement contains the restaurant kitchen, WCs and plant – including trenches for the glazing mechanism, where its large, steel counterweights are housed.

Alan Dempsey, director, Nex Architecture

Project data

Start on site June 2017 Completion September 2019 Gross internal floor area 640m² Construction cost £5.2 million Construction cost per m² £8,125 Architect Nex Architecture Client Cadogan Structural engineer AKT II M&E consultant E+M Tecnica Quantity surveyor Equals (pre-tender), TTTP (construction) Project manager Capital and Provincial CDM co-ordinator Shore Engineering Approved building inspector Royal Borough of Kensington and Chelsea Main contractor Westgreen Landscape architects Bradley-Hole Schoenaich Landscape Lighting design DHA Design Glazing installation Kollegger Metallbau CAD software used Revit, Rhino Annual CO 2 emissions 55.9 kgCO 2 /m²

Architect’s choices

In creating a restaurant for all seasons we sought a dynamic relationship between the interior of the restaurant and Duke of York Square. It is the windows that give the restaurant this sense of performance: three large, curved panels, 3.2m high and 9.5m wide, glide into the basement on a counterweight, like a sash window.

Our materials selection balanced a desire for refined transparency with structural requirements and stringent environmental standards. A perimeter frame for the glazing is powder-coated mild steel section, which can withstand the high stresses induced by the large moving units.

Intermediate mullions are solid stainless steel flat bars, finished with a soft mirror polish to reflect their surroundings. The toughened and laminated structural glass units are low-iron to increase transparency.

The remaining materials palette is limited and elemental: etched and polished white precast concrete with dolomite stone for the structural ribbon wall; black polished granite terrazzo flooring; and ash wood for the ceilings and roof terrace deck.

Specification

The sweeping curves of the large plate glass windows within the colonnade mirror the modernist façade of the nearby Grade II*-listed Peter Jones department store, while pioneering technology continues that spirit of glazing experimentation. The bespoke steel frame averted the need for horizontal mullions, thus preserving the purity of the building’s design. Moreover, the panels within the three wider openings are retractable, completely opening up the ground-floor space during fine weather and allowing the restaurant to spill onto the surrounding Duke of York Square, while the roof continues to provide shade.

Although similar retraction systems have been installed outside the UK, all have used straight panels. This makes the restaurant the world’s first example of a retractable curved glass system, while celebrating a mechanism that is as strikingly simple as a weighted sash window, sliding down gracefully into a basement trench.

Despite its relatively small scale, the restaurant is the result of an extraordinarily thoughtful design process. The glazing system alone amounted to about 2,500 hours of research and development by Nex and manufacturers and experts across Europe, while the design for the precast concrete wall segments was tested many times to ensure its slender 150mm profile could carry the building’s loads.

Selected products

Engineered oak boards Havwoods Zuna, Rustic , HW9504 Zuna, Rustic Café, lounge, meeting space, reception, counselling room www.havwoods.co.uk

Glazing system Hirt Metallbau Bespoke curved system External glazing www.hirtmetallbau.ch

Curved glass Wenna Glas Bespoke curved glazing External glazing www.wennaglas.com

Structural glazing gaskets Raico Structural glazing gaskets External glazing www.raico.de

Polished precast concrete Evans Concrete White precast concrete with dolomite and quartz aggregate Building shell www.evansconcrete.co.uk

Internal timber ceiling Hunter Douglas Ceilings Solid ash wood grill system Ground floor ceiling www.hunterdouglasarchitectural.eu

Black polished granite terrazzo flooring Ardex Pandomo Terazzo Plus Ground floor www.ardex.co.uk

External timber decking QTD Thermowood Ash Roof garden www.qtdgroup.com

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Good to see that there will be lots of cross ventilation in this building. You wouldn’t want anyone sweating in there…….

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• Case Study: Vardo Restaurant on the Kings Road, London

Alan Dempsey

Negotiating growing visitor numbers with heritage and community needs, Nex designed a landmark building to reinvigorate a thriving London square.

Responding to Growing Needs

In the layered fabric of London, we are well-acquainted with spaces that combine the character of new and old. The challenge facing the new is finding a dialogue with all that came before to transform a place for the better – precisely the case when building in the Grade II listed site of Duke of York Square. As a new public space was created on a car park site in 2006, the square needed a new expanded restaurant building that could keep up with demand and reinvigorate this landmark destination.

Succeeding amongst 147 competitors in an international design competition to win the project, Nex grasped the complexity of context and many user groups when approaching the brief. Any central building in the square’s focal point would encounter challenges from every direction. A new addition to a thriving public square needed to feel at once open and accessible, while providing intimate spaces for gathering. 

Public Engagement: A Recipe for Success

Our design process began with rigorous research through site visits and consulting with locals, market stall-holders, and the client for wider strategic insight into the complex brief. This investigation provided an essential basis for the team to hone a vision that went above and beyond the client’s initial needs. Inspired by the adjacent curved boundary wall of the Grade II Saatchi Gallery, we introduced the unifying concept of a wrapping spiral wall, or colonnade, to create a porous central space and a stair that allows public access to the roof. This new public space won strong support from local stakeholders, and following extensive public consultations, the project secured planning consent with no objections,  almost unheard of in the borough of Kensington and Chelsea. 

Creating a new public garden on the roof of the building was also instrumental in making the scheme viable, increasing capacity for the restaurant below while creating a new amenity for the local community. By simply elevating the view, it provides a peaceful promenade away from the bustle of the King’s Road from which to enjoy the square from all angles. The carefully designed planting was designed to create intimate spaces and complement the canopies of the mature plane trees circling the parade ground when viewed from King’s Road.

A Circle in the Square

A key priority of the design is its absence of a ‘front’ façade. Using a curved form, the building faces every square side simultaneously, disrupting the ordinary hierarchy of a shop’s front and back door. This allows the building to maintain a dialogue with the Saatchi Gallery to the south and King’s Road to the north while inviting visitors from all square corners. Realising the concept of the curved ribbon wall required extensive research into innovative construction techniques and structural modelling to achieve an exceptionally slender 150mm thickness.  

All service areas are below ground, maximising the ground floor for customers and preserving the 360 ‘face’ of the restaurant. Subsequent design development was guided by programme, material, and technology decisions, resulting in a final design faithful to the original concept.

The wall elements were constructed from bespoke precast white concrete panels with marble aggregates allowing for wide-span arches and a refined material finish. The concrete takes on the quality of classical stone, a contemporary nod to the surrounding buildings. Once manufactured, the panels were shipped to the site and rapidly assembled.

Building Innovation to create a Dynamic Space

Far from seeing the building in isolation, the scheme always kept its wider potential in clear view. Designed with a focus on adaptability, the restaurant space can transform in response to the changeable British weather. By lowering the curved glass panels below the ground, the façade can dematerialise and allow the restaurant to spill into the square.

Pushing beyond existing glazing technologies, our team envisioned a system of curved glass panels that could disappear below ground, with their weight balanced by a counterweight system akin to a traditional sash window. Delivering this disappearing act of three curved ten-metre windows was a world-first innovation and required close collaboration with specialists across Europe.

When the glass is lowered, not only is there a transformation of the restaurant interior, but the slenderness of the concrete itself is fully revealed. Through the careful design of the concrete panels and maintaining a level threshold, the arches land with a light touch that allows the square to flow uninterrupted beneath them.

A Breath of Fresh Air for the Future 

Through carefully selecting materials and designing the envelope to achieve high levels of thermal insulation and air-tightness, the finished project achieved a BREEAM Excellent rating. A rooftop air-source heat pump further reduces operational energy demand, while extensive planting enhances biodiversity.

Internal public spaces are naturally ventilated via the dynamic façade. Not only increasing the restaurant’s seating capacity, this ensures the building achieves harmony with its surroundings while adding an attractive new presence to the square. This was especially evident during the pandemic, when the building’s natural ventilation and adaptability allowed the restaurant to continue operating, and the public square thrived.

If you find yourself in London, we invite you to experience this space for yourself. Click here to read more about this project or here for more about our work in leisure and the public realm .

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Adipoli, a Kerala cuisine restaurant at Kalyan, Mumbai, by Kevin Mathew Architects

• March 29, 2018

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The brief was to design a fine dine Kerala cuisine restaurant. The clients being a Malayali aspired for a very Kerala home ambience and feel. Working closely with the clients we listed down the common aspects of what Kerala homes are all about i.e. the landscape,materials,design,spaces ,ambience ,colours,etc.

The interiors is like a warm and heritage feel.Materials like colourful cement tiles on the floors, teak wood furnitures and antique lamps makes the space very pleasing and live and adds to the design vocabulary. With a semi transparent kitchen wall the space gets a visual connection between the dining space and kitchen. The space was required to respond climatically and aesthetically to its context and at the same time sustainable.

Project details : Name of project – ADIPOLI Project type – Kerala restaurant (Hospitality ) Project Architect – KEVIN MATHEW ARCHITECTS Location – Kalyan ,Mumbai. Name of Client – LOAF & FISH HOSPITALITY Albin Antony Cheyaden & Rohit Cheyaden Area Statement – Site area – 5200 sq.ft Built up area – 2100 sq.ft Year of completion – January 2018 ————————————————————————————————————————————– List of materials used for each project : Walls – Laterite walls Exterior flooring – Terracotta Floor Tiles Interior flooring – Heritage design Cement tiles Furnitures – Teak wood and veneers Windows – Toughened glass and teak wood jaalis

Kevin Mathew

• Hospitality , Interior Design , Kevin Mathew Architects , mumbai

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can i get the no

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A Resto Bar Underlining The Inside-Outside Concept | ID+AS Architects

The project brief was to design a Resto bar with a spacious outlook and to accommodate a capacity of more than 200 people with sufficient space for car parking for the convenience of the visitors. The challenge was to design a structure that could be dismantled and completely reused. The idea of using MS fabrication in the entire structure solved the given constraint. Later, the design started framing around that.

Visit: ID+AS Architects

One of the most appealing characteristics of the restaurant is the combination of modern and industrial outlook giving its veterans a unique experience in the Dine-in world along with the green landscape around.

The zoning is done in such a way that it comprehends the typical planning concept of green Bangalore by providing ample open space in the front yard. The Restaurant is designed around its central axis which provides an uninterrupted view on all sides. The south-Western part of the structure opens up to a green space underlining the Inside-Outside concept.

The material palette includes Black painted MS fabrication, IPS flooring, Brick, and glass. Louvers are used on the façade which helps with cross ventilation and keeps the ambience in the Restaurant nonchalant. The combination of Glass and Louvers in the Elevation creates an Industrial look and the interior feels spacious and well-lit.

One enters the site from the main door with ample parking in front. The main entrance to the restaurant is placed right in the center of the front elevation. As we enter, we experience a massive double-height space that is the first dining layout, which has a central walking space that is laid with beautiful blue tiles merging with the IPS grey flooring.

The bar area is aligned right in the line of an entrance which becomes an interesting focal point of the whole restaurant. Considering that, the design on the bar counter has been made alluring with the contemporary perforated geometric shapes in which the light emits from within.

Alongside is a water body placed with a backdrop of a brick wall in a contemporary fashion. The section layout splits automatically with the central wall space and experiences a double-height with majestic views inside-out.

To have better access to the kitchen from all points, it is placed at one side of the L-shaped form which is the structure planning of the restaurant. The right side of the restaurant has a very pleasant seating experience after the double-height approach at the entrance. The inner dining layout further connects to the staircase which is designed in the axis of the bar counter and the water body. The straight flight staircase is designed with exposed concrete and MS, along with the use of reinforced bars as vertical railing.

The Mezzanine floor is designed towards the rare part of the restaurant, emphasizing the double-height space. However, the mezzanine floor has very long spacious seating with an appealing ambience.

Architecture Firm: ID+AS Architects

Clients: Xochi Restaurants

Project location: Bengaluru

Completion Year: October 2019

Gross Built Area: 603 sqmt

Design Team: Asad khan, Omkar, Priyanka, Umair & Aishwarya

Lead Architects: Asad khan

Photo credits: lazerlenz

Website : http://www.idasarchitects.com/

Instagram: https://www.instagram.com/idas.architects/

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This restaurant in Kerala merges nature’s bounty with architectural beauty 

By Kriti Saraswat-Satpathy

Photography by Justin Sebastian

Spread over a 10,000-square-foot plot in the midst of Thrissur, Thomson’s Casa is unlike any other eatery you’ll spot in the city. And that was the exact intent of the owner, Thomson Group. They wanted to create a visually-stimulating, nature-inspired space that offered more than just a delicious meal. They approached Caletal Developers for the job of bringing their vision to life and making this structure a landmark in the city. 

At first glance, it is the sheer opulence of the space that catches one’s attention—the towering concrete slabs, the columns running through the verandas, the soothing greens in the form of vertical gardens and the shimmering lights during the evening. Designed in contemporary style, Thomson’s Casa is an interplay of scale and volume.

Supertree Grove of Singapore was one of the design inspirations for the project Thomson’s Casa.

This architectural magnificence follows a contemporary style of design, with a simplistic structure that plays with dynamic volumes.

Material Palette

An amalgamation of wood, glass, concrete, Shahabad stone, granite, terracotta, Moroccan tiles and Fibre Reinforced Plastic (FRP) spheres defines the material palette of this project. “The idea was to construct the whole space in an organic manner. In fact, the construction is a part of the entire material palette rather than other finishes or cladding work. We used exposed concrete, rubble, stonework and so on to keep it rustic and minimalistic,” says principal architect Akash Anand. 

The team planned the entire project considering the terrain and the flora on the site. “The idea was to save maximum trees, plants and natural resources that already existed here. The site itself was accessed from two roads which had a level difference of about 3-metre. Hence, the building was planned across two levels with a ramp connecting these two roads. The slope also accommodates a quick drive-through now. These contours which posed a challenge have now turned into an easy access to the al-fresco seating at the lower level,” adds architect Mariya Francis from the design team.

By Arshia Dhar

By Chandni Sehgal

By Divya Guha

The handrails are detailed with steel rods and pattas.

The al-fresco area features flooring by Kajaria, lighting by Starco LED solutions and Landscape design and plants from Green Planet.

Luxury through the subtleness and inclusivity of nature was part of the design brief.

A Pleasing Façade

Even with an imposing form, the façade speaks a subtle design language. The vertical gardens create a presence of natural greens over the concrete walls, which breaks the neutral monotony. The floor-length glass windows with sleek wooden frames give visitors a peek into what’s inside while keeping them connected to nature. “This interplay of a robust form with the concrete walls along with glimpses of greens holistically creates a tranquil atmosphere for patrons,” says Anand.

The large wall installation can be seen through the glass windows from outside the restaurant as well.  

Upholstery from D’Decor Fabrics with a hint of blue breaks the monotony of grey and wood. The patterned tiles are from Kajaria and the ceiling lights are by Elements.  

Design Details 

The seating space is divided into four zones including indoor, outdoor and semi-outdoor spaces. As one enters inside, the 10-metre-long wall installation steals the show. Created by an artist named Srikanth, it is made with 256 individual units that were hooked to the wall, and depicts life in the ocean. From the sleek dining tables to the upholstered chairs and the glass and wood partitions, everything was crafted in-house by the design team. The patterns on the Moroccan floor tiles are mimicked on the ceiling with the use of star-shaped décor. The indoor space is littered with black-and-white photographs showcasing Thomson Group’s journey. 

The semi-outdoor seating area is enhanced with the use of granite and terracotta flooring, surrounding greens and hanging light bulbs. The FRP spheres placed close to the edges act as safety barriers in an aesthetic fashion. As one steps down to the lower level, they reach the open-air section, perfect for evening get-togethers and dinners. A voluminous 6-metre-tall and 50-metre-wide green wall takes centre-stage, bringing in a sense of privacy to the outdoors. “We built statues with rubble stone and placed them in this section to create a harmonious backdrop, aligning with the earthy material palette. This lush green space along with soothing sounds of flowing water is sure to create a calming oasis for patrons,” reveals Francis.

The reception area overlooks the verdant greens outside, giving visitors a view as they wait for their table.  

The indoor section is partitioned by aesthetically pleasing, semi-open divides and has a visual connection to the outdoors.  

Easy on the Pocket

Despite the grandeur, the owners wanted to offer visitors affordable luxury, which is why meals are priced economically and one can savour Indian, Chinese and Arabian delicacies for under INR 500. “They wanted to create an experience that left patrons wanting to come back to Thomson’s Casa for its soothing greenery, rustic exteriors, artistic interiors and good food,” concludes Anand. 

By Arman Khan

By Deepali Singh

By Pallavi Mehra

By Avni Raut

Photography by Whiteplatestories

Highway Restaurant By Ahmad Saleem Z

The well-maintained highway has led to a greater increase in the number of users preferring to travel by road. This project of highway restaurant proposes a high-quality refreshment place to the travellers.

Project Name: Highway Restaurant Project Location: Trichy – Tanjore Highway, Tamil Nadu Completed at: October 2016, National Institute of Technology, Trichy Concept The motion of a wheel, evoking a sense of speed.

Ahmad Saleem Z

Ahmad Saleem Z is an undergraduate student of Architecture from the National Institute of Technology, Trichy. He is passionate about architecture and stresses heavily the process and development of the special design. He is keen on developing innovative concepts and also believes that one should strongly express through architectural design.  He led his team to win 1 citation and a special-mention for the HUDCO trophy in NASA 2016 & 17 respectively. He is the president of the Association of Architecture Students of his University during the period 2018-2019 and believes in knowledge sharing and skill development for all.

Rethinking The Future (RTF) is a Global Platform for Architecture and Design. RTF through more than 100 countries around the world provides an interactive platform of highest standard acknowledging the projects among creative and influential industry professionals.

Revitalize Project by Emily Scott

REMINISCENCE By Enzo Sessini, Manon Lhomme, Isis Montanaro

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These buildings define Texas architecture

“I am large, I contain multitudes,” wrote Walt Whitman. He was talking about himself, but the words apply equally to the architecture of Texas. I have a substantial library on the subject — monographs, guidebooks, essay collections, scholarly studies, photographic compilations — and not one of those books might be considered definitive. Home, Heat, Money, God: Texas and Modern Architecture (University of Texas Press, $45) gets about as close as any. A chunky, colorful pleasure, it is the work of historian Kathryn E. O’Rourke, who provides the text, and the architect and critic Ben Koush, who supplies the photographs.

Like the state it chronicles, it is sprawling and somewhat unwieldy. The authors describe it as a “partial survey,” which seems about right. It is less a comprehensive history than a critical narrative, one that isolates the various forces that have shaped the state’s architecture from the 1920s to the present. The focus is on those suggested by its wonderful title: the meanings of home, the challenges of climate and the pressures of money and religion. But these are hardly its only themes; an alternate title might have been “Hubris, Highways, Segregation and Demolition.”

“Relentless ambition, a forward-looking attitude, and a strong sense of place combined to make Texans particularly receptive to modern architecture’s implication of newness, its future-oriented image, and its capacity to reinterpret historical forms in novel ways,” O’Rourke writes. “Modern buildings were used repeatedly as signs and symbols of cosmopolitanism and of Texan readiness to take a starring role in any number of dramas.”

O’Rourke’s text, which is thorough and clear-eyed if a bit dry, is buoyed throughout by Koush’s photographs, which balance the clinical perfectionism of a trained architect with a rich sense of humanity.

From Amarillo to Wharton, the authors have traveled across the state, documenting works of all scales and typologies, from grand civic projects to humble roadside attractions.

The book includes more than 20 projects in Dallas, ranging from the moderne icons of Fair Park to the golden neo-modernism of the Campbell Centre. Many of the projects examined here will be familiar, but what makes the book so enjoyable (and an essential component of its argument) are those that are less so. Koush and O’Rourke have an admirable taste not just for the state’s conventionally “important” architecture but also for the vernacular and idiosyncratic.

A few samples follow.

Rosenwald School, West Columbia, 1921

The book begins with the juxtaposition of two schools from the inter-war period; the sprawling Lamar High School, in Houston’s upscale and then race-restricted River Oaks, and this rural Rosenwald School, one of more than 5,000 schools for Black children built in the South and funded in large part by the Jewish philanthropist Julius Rosenwald. “Seen together,” O’Rourke writes, the two schools “lay bare the ways architecture operates within, as well as reflects and often sustains, social and economic structures.”

Kraigher House, Brownsville, 1937

Among the state’s earliest modern houses, and among the first designed by a name-brand European-born modern architect, the Kraigher House was built by Richard Neutra in Brownsville, not normally considered a hotbed of avant-garde design. With its unadorned planar geometry, it is a rare example of the International Style in Texas.

Tee Pee Motel, Wharton, 1947

The authors’ interest in vernacular building is illustrated by this roadside icon of 11 concrete structures modeled on American Indian shelters. The Tee Pee Motel, O’Rourke writes, “typified romantic fascination with indigenous culture on the part of white entrepreneurs.”

The Tap Lounge and Restaurant, El Paso, 1956

“A case study in the power of neon” this El Paso dive is a joyful exemplar of mid-century Texas commercial architecture.

Cigarroa Medical Building, Laredo, 1960

In the midcentury, Texas architects developed all manner of sun screens, or brises-soleil , as a means of heat mitigation. This distinctive example, with purple tiles on an undulating wall of parabolic arches, was designed by McAllen-based architect Max E. Burkhart Jr.

Zion Lutheran Church, Abilene, 1963

Triangular forms became a staple of ecclesiastical Texas architecture in the 1960s. Outside, the bold geometry commanded attention; inside, the angled shapes suggested the heaven-pointing architecture of Gothic cathedrals. This example, now the Galilee Baptist Church, is a dramatic telescoping A-frame.

Dallas Trade Mart, 1959

Banal on the outside, from within the Dallas Trade Mart is a sky-lit wonder of catwalks and open-air arcades and courts. Built as a wholesale marketing center for developer Trammell Crow by the architects Harwell Hamilton Harris and Harold A. Berry, it “anticipated the new generation of air-conditioned shopping malls just being introduced in Texan suburbs in the early 1960s.”

Martin Luther King Jr. Humanities Center, Houston, 1969

The King Humanities Center at Texas Southern University, defined by its swooping, semi-circular front portico, was the work of John S. Chase, the first African American man to receive an architectural degree from the University of Texas and the first to become a registered architect in the state.

Carnegie Branch Library, Houston, 1982

This elegant and technically sophisticated high-modern library, designed by Ray Bailey Architects, features glazed walls and an exposed structural truss system, recalling earlier Houston works by Ludwig Mies van der Rohe and Philip Johnson.

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AI case study: Sketching with diffusion models

Andrew Kudless of Matsys believes that AI’s ability to enable visualization to run in parallel with the design process is beneficial. Pictured: Dripping Springs House by Matsys, 2023.

Image: Matsys

Founded in 2004 by Andrew Kudless, Matsys is a US-based design studio that explores the emergent relationships between architecture, engineering, biology and computation. Kudless is also a professor at the University of Houston’s Hines College of Architecture and Design.

Roland Snooks and Gwyllim Jahn (guest editors): How have diffusion models evolved and what impact has this had on the style or characteristics of architectural image making?

Andrew Kudless: I see the images made with diffusion models as a new form of visualisation that is more like sketching than digital rendering. If you think about the properties of AI image-making versus rendering, you notice that the processes are polar opposites. Renderings require a 3D model to be constructed, lit and textured; AI images are made without any geometry. Renderings require a high level of expertise; AI images can be made by anyone. Everything from sunlight angle to material reflectivity can be controlled in a rendering; the AI designer mostly leaves lighting and visual qualities to chance. Renderings are often produced at the tail end of the design process with dedicated high-end tools; GAI images can be created at any time on a mobile phone.

As designers, we need to accept these differences. Images made with GAI will not allow the same level of control as traditional renderings, but this lack of control is actually a good thing: we can start to visualize our ideas much earlier in the design process. Rather than visualization following design, the two can run in parallel.

Dripping Springs House, draped, by Matsys.

Guest editors: How do you think diffusion models will continue to evolve?

AK: Models will continue to become more capable with expanded training data, refinements, and integrations with traditional design media. However, the biggest change will be how we perceive the models and their usefulness in architecture. I am old enough to have experienced my own professors arguing with me over digital modelling and rendering not being useful to architects – there was the perception that architecture was the art of 2D orthographic drawing, and anything outside of that wasn’t architecture.

Obviously, the entire discipline is now on a model-based paradigm, and things will continue to evolve. AI isn’t the end of architecture in the same way that Rhino models weren’t the end. Architects will continue to find new tools to address design problems, and AI tools are simply the latest addition. As the design community learns more about AI’s opportunities and challenges, it will fine-tune these tools for architectural workflows.

Antonito Pavilion by Matsys.

Guest editors: Do you see GAI as a coherent design tool or a way of imagining and speculating on architectural form and aesthetics?

AK: I would argue that it is an incoherent design tool – and that is its advantage. Our role as designers is to take an incoherent mess of contradictory design criteria and somehow resolve it into architecture. In the designer’s mind, incoherence is ever-present, and creativity is inherently incoherent. Sketches don’t have to make sense to be useful; they are a way of suspending certain aspects of reality in favour of others. When we sketch, dimensions can be wildly off, materials can be non-existent, and the rules of perspective can be suspended because coherence isn’t necessary to think through an idea.

Guest editors: How long have you been using AI?

AK: I am definitely one of the newer users to these AI tools. Although I’ve followed the development from the sidelines for the past decade, there was a paradigm shift with the release of more accessible platforms like DALL-E, Midjourney and Stable Diffusion. These large language models have a far greater range of training than previous tools, making them much more useful for designers.

Like many people, I started using these new tools in the summer of 2022. After about six months of near-daily use, I have engaged less and become more critical of how and when to integrate these tools into my design process. I use generative AI as I would my sketchbook. Like sketches, the geometry won’t be perfect, but that is not the point of a sketch; its objective is to capture an idea in flux, just as a render captures a fixed idea.

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Real estate developments in residential architecture: a case study of Jeddah

• Original Article
• Open access
• Published: 08 May 2024

Cite this article

You have full access to this open access article

• Alaa M. Shatwan   ORCID: orcid.org/0000-0002-6887-341X 1  

Home should be a place for social activities that satisfy both physical and social needs. Real estate developers in Jeddah currently show little consideration for cultural and social patterns of users in residential interior layouts. Therefore, this study aims to investigate apartments released by real estate developers in Jeddah from users’ perspectives. Qualitative and quantitative approaches are applied through in-depth interviews with 21 participants. The interviews investigate participants’ satisfaction, desire to make changes, reasons for making changes, and reasons for not making changes. This study finds that the majority of participants want to make changes to the layout of their homes owing to social activities. The SPSS analysis shows that most participants are less satisfied with the home layouts of RED than homes that are self-built, with a statistical significance of P = 0.002. This study recommends that RED companies should consider open spaces when designing apartments for sale so as to allow users to divide the interior layouts of reception and living zones according to their needs. In order to achieve this by RED, the study recommends more study by electrical engineer for electricity switches location, architects for window location, and construction engineers for column arrangement.

Article Highlights

This study investigates satisfaction with apartments bought in Jeddah, Saudi Arabia.

The study discusses finding in comparison between self-builder and Real estate- developer.

The study conducts 21 interviews with residents and applies a mixed qualitative– quantitative approach for the analysis.

The study discussed privacy, safety and room size or layout as factors for making changes.

In this study a self-builder refers to an owner who deals with a contractor to build a home on their land.

RED refers to Real estate developers

Avoid common mistakes on your manuscript.

1 Introduction

Home is the most important place for all people, as it is where they perform most of their activities, such as sleeping, eating, relaxing, cooking, and working. In the Middle East, major, economic and social changes have occurred over the last 10 years, with major shifts in the cities of most countries [ 1 ]. As a result, noticeable changes in economy and culture have occurred, reflecting people’s behaviors and lifestyles, including those related to housing [ 2 ]. Based on these changes, the Saudi 2030 vision aims to increase the number of Saudis who own homes, a common dream in Saudi Arabia [ 3 ].

Many studies have discussed the provision of affordable housing design. They have highlighted insufficient housing as a major issue in many countries [ 4 , 5 ]. For instance, Mulliner and Algrnas [ 6 ] investigated whether housing design fulfill residents’ need and results in housing satisfaction. Ali [ 7 ] argued that home design quality requires further investigation. Other studies, stated that professionals do not focus on thermal comfort or sustainability as much as they care about finishing, building quality, internal layout, and design [ 4 , 8 ]. Meanwhile, many studies have asserted that internal layout and residents’ needs at home are not considered in current design in different countries [ 4 , 5 , 9 , 10 , 11 , 12 ]. In Saudi Arabia, public-private partnership is established to increase the involvement of private sector in order to help in financing and providing affordable house [ 13 ].

2 Factors influencing home purchases

Al-Nahdi, Nyakwende [ 11 ] studied the factors that influence the purchase of homes in Saudi Arabia. He asserts that attitude, subjective norms, perceived behavioral control, and finance are the major factors guiding Saudi consumers to purchase real estate. Many studies agree that attitude is a major factor influencing people ’s home [ 11 , 14 , 15 ]. Attitude is defined as a person favoring or disfavoring an action [ 16 ]. It is also defined as the way in which a person reacts to an object [ 17 ]. Therefore, customers compare the available service with what they expect; if they feel that the provided service does not meet their expectations, it would dissatisfy them. However, if customers meet their expectations and feel satisfied, they purchase from a service provider [ 18 ]. This is in line with [ 19 ], who asserted that purchasers’ feelings are a factor affecting those who buy prefabricated houses. This indicates that the psychological mechanisms underpinning human needs must be considered in home design to fulfill essential human needs [ 20 ]. Meanwhile, many studies have discussed how cultural values and changes in social lifestyles affect people’s preferences for home [ 21 , 22 ] as home reflects social changes [ 2 ].

2.1 Society and culture

Some studies have claimed that a residence is an image that shows the connection between the built environment and cultural values. Therefore, the residence is a window that shows the relationship between culture and the built environment according, create community identity[ 23 ].

This does not end as a building face; it also continues to the interior layout as culture can be recognized from the home layout [ 24 ]. The interior Layout of a residence is a major indicator of its culture and lifestyle [ 22 , 25 ]. Shehab and Kandar [ 21 ] found a strong relationship between home layouts and social changes in Jordan. According to Yazdanfar and Naserdoost [ 26 ] homes are places where people perform their social activities, but there is a noticeable ignorance of the behavioral, cultural, and residential patterns of users in the contemporary design construction industry. Many studies have discussed the relationship between the home and sociocultural values that affect user activities. These factors vary from social norms, cultural values, lifestyles, social status, social network, hospitality, gender segregation, safety, and privacy [2, 9, 21, 22, 24, 25].

The governments of some countries, such as Nigeria, have started to encourage optimal housing design to accommodate user preferences, leading to the production of homes that consider the sociocultural attributes of residence [ 27 ]. According to Mnea and Zairul [ 4 ] architectural design that fulfills social needs in Saudi Arabia is called “ socially based design, ” as many studies have confirmed the importance of home, health, and social factors that reflect home design housing [ 4 , 28 ]. Abed, Obeidat [ 12 ] found that sociocultural factors play a major role in residents’ satisfaction and unit layout transformation. The author asserts that sociocultural factors lead people to change their home layouts. The four main reasons for layout transformation are gender segregation, privacy, social networking, and safety. The quantitative and qualitative analyses in this study revealed that privacy is a major social factor in the internal layout.

The issue of privacy has been addressed in many studies, as it plays a major role in spatial design. It is one of the reasons why residents change their interior layout after renting or buying a home [ 2 , 9 ]. Although privacy is important to all humans, it is highly connected to religion and culture in the Middle East [ 29 , 30 , 31 ].

2.2 Layout transformation

Layout transformation differs from rearrangement. rearrangement changes the color of walls or furniture. Meanwhile, structural transformations, such as breaking or adding walls, result in home layout transformation, which can occur over time in a series of processes [ 32 ] . Others have defined residential layout changes as the process of expanding or modifying interior or exterior layout arrangements. These changes can occur in small or large parts of a home, leading to structural changes. This is done for various reasons such as social, growth, and self-expression [ 33 ]. Similarly, Makachia [ 34 ], van Griethuijsen [ 35 ] concurred that this transformation is a result of the physical, behavioral, and cultural needs of residents. Therefore, understanding residents’ social and physical needs helps create relationships between the motivational factors for users and the housing layout. According to Abed, Obeidat [ 12 ] layout transformation is a common phenomenon that require s” identification in terms of cause and effect ”.

Other studies have discussed cultural changes and home layouts in the Western and Eastern regions [ 2 , 12 , 24 , 31 ]. Additionally, Rapoport [ 36 ] states that home layouts can be supportive or disruptive of residents’ social and cultural needs. Therefore, changes in culture

should be considered in housing design, as it is an important determinant of residents’ satisfaction [ 22 ]. Coming along with Farhat and Alaeddine [ 37 ] claimed that respect for users’ needs should be considered in many aspects, including psychological and economic aspects. Privacy is considered a major psychological and physical aspect affecting residents’ comfort. Privacy is either visual or physical and is a major part of cultural and religious beliefs [ 2 , 30 , 31 ]. This is in line with other studies that have found that ignoring cultural needs, such as privacy, leads to residents’ dissatisfaction and making changes in their home layout [ 2 , 12 ]. Privacy requires gender segregation between the same family or between the family and guests [ 2 , 12 , 31 , 38 ]. Tomah, Ismail [ 29 ] assessed home layouts in Amman to discover how new domestic designs affect users’ privacy in their homes. He analyzed different home layouts in terms of privacy and functional zones. This study found that the number of zones and privacy increased in the homes. He asserted that there is a real need to study different space layouts to achieve a high level of privacy, which will result in an increase in the quality of life.

Avogo [ 39 ] highlighted that transforming the layout of public homes is an essential part of human life. In the same context, a study by Obeidat, Abed [ 9 ] highlighted the importance of creating levels of flexibility in public residential layouts. He asserted that if architects consider residents' satisfaction and spatial flexibility in their design, they can help stakeholders understand these points during the planning and design stages. Minami [ 10 ] investigated layout changes in different types of apartments in Japan and found that the room layout changed in most cases to increase the size of living rooms or private rooms. He also found that most layout changes occur after children become older and leave home. They moved the partitioning wall to separate the two rooms to adapt to the changing needs of the residents. Similarly, Agyefi-Mensah S [ 40 ] asserted that most residents modified their home layout after moving home to fulfill their needs.

The concept of flexibility in home design involves creating movable parts or open plans [ 41 ]. For example, in traditional Malay housing, social and religious values are reflected through the application of spatial flexibility. Flexibility refers to an open plan with fewer walls and boundaries to create open spaces [ 42 ]. Flexible domestic practices provide an opportunity for users to participate in their home design, such as arranging their living areas according to their needs and life changes. This indicates that flexible housing helps users develop a sense of belonging to their living space, as they can adapt it according to their different demands [ 41 ].

Studies have investigated the concept of layout transformation from a historical perspective, such as [ 2 ] or from socioeconomic, cost, and price policies [ 3 ]. Other studies in Japan, Jordon investigated the phenomena of home layout transformation according to their culture needs [ 9 , 10 , 24 ]. Despite the importance of such studies, little attention has been paid to home layout transformations in Saudi Arabia. Mohanna [ 43 ]studies housing preferences across Saudi Arabia in Dammam. The study found that of the three types of homes–villas, detached duplexes, and semi-detached duplexes–detached duplexes are most preferred for nuclear families. However, the statistics show that apartments are the most purchased type of residence in Jeddah. Therefore, this study focuses on home layout transformation, particularly in Jeddah City, which is the second most important city in the Kingdom of Saudi Arabia. In addition, the

city has faced a boom in apartments designed by real-estate developers over the last 10 years. The high cost of houses in Jeddah has led people to buy apartments.

2.3 Domestics in Jeddah

Jeddah City is located on the west coast of Saudi Arabia and experiences hot and humid weather [ 44 ]. It is the second largest urban area and an important commercial center in the Kingdom [ 45 ]. The Population in Jeddah has grown rapidly over the last 10 years, reaching an estimated 3,712,917 million. The number of people who owned apartments in Jeddah was 109, 870, and 39,464, respectively. Meanwhile, the number of people who own a house is 65,184 and 24, 426 rent a house [ 46 ]. This shows that Apartment is more preferred by people in Jeddah even if they dream of owning a house due to high cost of living [ 47 ]. This made the release of apartments a trend in Jeddah City, as finance is a major factor affecting customers’ decisions when purchasing housing. Similarly, Paço [ 48 ] claims that finance is sometimes the most influential purchaser decision when buying a home. In Saudi Arabia, most reports assert high demand in the real estate market for real estate units, especially residences, write the number of home needs [ 49 ]. To help Saudis own their homes by providing funds. This fund is called the Real Estate Development Fund (REDF). It reached 500, 000 SR with no interest. The condition for this fund, which takes a maximum of 25 years to return, is to be above 21 years old and did not receive the fund before, so it was once per life. However, people seek homes that fulfill their needs; therefore, it is important to investigate the factors guiding people to buy a home in the Saudi market [ 11 ]. Therefore, this study aims to investigate satisfaction with apartments bought in Jeddah from users’ perception in relation to type of builder either self-builder and Real estate-developer as little studies have been conducted to discuss this subject. In order to fulfill this gap in Knowledge, the study conducted 21 interviews with residents and apply a mixed qualitative– quantitative approach to analyze reasons for making changes in home is such as privacy, safety, and room size or layout, and obstacles for not making changes.

3 Methodology

This study applied a mixed-method qualitative and quantitative approach to investigate participants’ satisfaction with their purchased apartments. It also discusses participants’ desire to make changes and reasons for making changes or for not being able to make them. Face-to-face, in-depth, semi-structured interviews were conducted with space owners (only females). Spatial architecture plans of the participants' apartments were discussed through interviews to help them discuss the issues in the apartment plan; however, most plans could not be displayed here, as most participants requested.

3.1 Interviews

The research explained study objectives, aim, and role of participants in the study. A verbal consent upon starting interview was obtained from all participants. The researcher conducted in- depth semi-structured interviews with 21 residents who owned apartments in Jeddah to collect the data required for the study. The interview questions were presented in Arabic because most

participants spoke Arabic only. All Interviews were conducted face-to-face, and the participants brought a printed copy of the apartment floor plan. The interviews lasted 30–45 min. The aim of these interviews was to understand why residents changed the layout of their apartments either before or after they lived in it. NVivi 12 software was used to analyze the data and identify the main points from the participants’ discussions. Interviews were conducted after obtaining permission from participants. the following axes are addressed:

First axis: Demographic questions, gender, age, family members, and type of home.

Second axes: years living in the apartments, type of builder.

Third axes: satisfaction with the apartments.

Fourth axis: The three major factors for layout transformation are privacy, safety, room size, and flat layout.

Fifth axes: obstacle that stops them from making the change.

A previous study discussed the reasons for layout changes, such as privacy, safety, hospitality, and social values, as shown in Table 1 . The reasons discussed in this study are safety, privacy, room size, and flat layout.

3.2 Study sample

A total of 21 female were interviewed to represent the study sample. Table 2 organizes participants according to their demographic information, age, family members, and type of home.

3.3 Data analysis

Analysis of the interview transcript theme organization was performed using NVivo 12. NVivo helps the researcher to categorize, count, and organize the number of participants who discussed certain themes or gave similar answers. The analysis was performed in five steps as shown in Fig. 1 . First, participants were asked whether they were self-builders or real estate developers. It discussed the participants’ desire to make changes (whether they did or did not). Subsequently, the changes made by the participants and the reasons for these changes were analyzed. Subsequently, we discuss the reasons for these changes. It is important to highlight whether these changes were related to the type of builder used. Also, the author’s observation of current floor plans for RED that is for sale is analyzed.

Source: Author (2024)

Steps of data analysis.

3.4 Statistical analysis

To support the interview findings, a statistical analysis of the 21 participants was performed to determine whether the type of builder or years of living in the flat created any significant differences in terms of the need for layout transformation or participants’ satisfaction. SPSS software was used to perform statistical analysis (version 27). A chi-square test was used to examine the participants’ satisfaction and type of builder or years of living in the flat, which resulted in any significant differences needed for layout transformation. The data presented in the results are frequencies. Statistical significance was set at be statistically significant.

4 Results and discussion

4.1 type of builder.

Table 3 illustrates that the majority of participants (6%) had bought their homes in the last 5 years through a real estate development company. Only 47% of participants had self-built. It is important to note that 28% participant out of 47% owned a home 10 years previously. This indicates that real estate developers were more likely to be major sellers in the last 5 years. It was also found that the most common age for buying a home was 40 years and older. This could be because time was needed to save money, as participants mentioned. It is also found that 13 out of 21 own home in east and south zone of Jeddah. This is because homes in these zones are less expensive than those in the northern or western zones of the city. This is in line with the two most influential factors affecting buyer decisions to own a house: location and price (Nowilaty and Saci [ 50 ]). Finance is a strong factor affecting home purchases in Saudi Arabia [ 11 ].

4.2 Layout transformation

Previous studies have revealed that the lack of sociocultural considerations in designing houses’ internal layouts limits residents’ satisfaction [ 2 , 22 , 30 ]. Users change their residential interior layout in public housing because of a lack of flexibility [ 51 ]. Other studies have revealed that gender segregation and privacy are two major factors for layout transformations in residence [ 9 , 12 ]. Previous studies have discussed reasons for layout changes, including privacy, safety, hospitality, and social values [ 9 , 12 ]. Safety affects housing layout, as it makes residents cover balconies and add new entrances [ 12 ].

In this study, Fig. 2 shows compares the desire to make changes in relation to years of residence and type of builder. The majority of participants (50%) who bought homes from real estate developers wanted to make up to four changes within less than 5 years of living. Meanwhile, only 20% participants who had built their own homes wanted to make changes. Fig. 3 Privacy was the main reason, with 63% citing this as the reason for changes, followed by apartment layout and room size (44%) and safety (40%). Participants discussed that the room size is much larger if it is built by a self-builder, especially before 10 years. Regarding safety, Fig. 4 illustrates that 45% of participants claimed that in real estate developer apartments, windows had no safety iron on the outside to protect children, as in the past for self-built homes. Furthermore, an open kitchen was an issue for 31% of participants, as they found that it was not safe for children. In addition to safety, Fig. 5 shows that,18% of participants found that open kitchens were not private if there were guests.

Reasons for making changes.

Number of changes participants want to make at their home in relation to years of residence and type of builder.

Safety issues in participants home design.

Privacy issues with participants’ home design.

In the last 5 years, flat layout and room size have decreased. This is in line with Minami [ 10 ], who found that in Japan, residents change their home layout to increase the size of living rooms or private rooms. In align with Minami, observation in this study indicates that breaking walls to make one large room from two rooms was a common change among the participants. Participants made this change in the reception and dining rooms. Table 4 shows the observation of architectural and constructional Issues at participants' floor plan. It highlights that distance between two columns is small, which will not help if residence want to open two rooms to become one big room. It also shows that the number of doors can be an issue when arranging furniture. Additionally, big façade window with no safe balcony for cleaning needs more study by architects. One of the most important observations that roof apartments do not have big window for view, which is also recommended by residences. Hence, the internal design does not provide enough space for domestic Worker room, storage spaces for machines such as Vacuum, and laundry room. Bedroom must have enough space for closet to store clothes. Therefore, Specialists in designing interior spaces must intervene in the design, meaning that the plans can be presented as competitions in architecture colleges in the Kingdom of Saudi Arabia to come up with the best design that is compatible with the needs of the Saudi family.

The SPSS analysis in Table 5 shows the main causes of the changes in houses. Among safety, privacy, and number of rooms, only privacy was statistically significant (P=0.02). For individuals who made changes in their houses, privacy scored the lowest at 2.8± 1.6 whereas for individuals who did not apply changes, privacy scored higher at 4.2±1.1.

4.3 Data presented as mean and stander division

Table 6 presents the relationships between satisfaction, years of living, and type of builder. General satisfaction was not related to years of living or the type of builder. A statistical significant correlation was observed between satisfaction with distribution and type of builder, where individuals who bought their homes from real estate developers had a lower satisfaction score of 1.8± 1.2 compared with self-builders, who scored 3.9± 1.3 (P=0.002).

4.4 Reasons for not making changes

As Al-Nahdi, Nyakwende [ 11 ], Paço [ 48 ], Abd Rahman, Sulong [ 52 ] showed, finance is the main reason users buy houses or flats. This study found that financial reasons were a major reason for not making changes in the participants’ homes after purchasing, as shown in Fig. 6 . This indicates that 59% of participants claimed that they could not make changes because of financial reasons. Then, 50% cited building rules for making external changes, such as making a balcony because a window was large and could not be cleaned from the outside, necessitating a small balcony. Time and leaving home were cited least often as the reasons at 27% and 13%, respectively.

Reasons for not making changes.

The SPSS analysis in Table 7 represents the barriers to not making changes to the house. Although there were no statistically significant differences between individuals who made changes and those who did not (P>0.05), the financial barriers for not making changes scored highest at 4.2±1.4, followed by building rules 4±1.6, going out 3±1.6, and time 2.6±1.5.

5 Conclusion

The Saudi 2030 vision aims to increase the number of Saudis who own home, a common dream in Saudi Arabia [ 3 ]. This makes home ownership an important investment for Saudi families, as most people spend a considerable amount of time at home. Thus, home design should consider residents’ needs [ 12 ]. Mulliner and Algrnas [ 6 ] investigated whether housing design fulfills residents’ needs and results in housing satisfaction. Ali [ 7 ] argued that home design quality requires further investigation. Meanwhile, many studies have asserted that internal layout and residents’ needs at home are not considered in the current design of homes in different countries [ 4 , 5 , 9 , 10 , 11 , 12 ]. In aligned with the above studies, this study revealed that participants; needs should be considered by real estate developers in Jeddah. This study discussed participants’ need for layout transformation in their own apartments in Jeddah. A qualitative approach was employed to conduct interviews with 21 female residents. The study found that the majority of participants wanted to make changes to their homes owing to considerations of privacy, safety, and room size or layout. However, this is another expense on top of the high cost of buying a home. The study found that financial reasons were the main reasons constraining the study participants from making changes to their homes. Residents were not fully satisfied with the layout of most apartments designed for sale in Jeddah. The were differences in satisfaction of house distribution between homes bought from real estate developers and self-built homes, where self-builders were more satisfied than those who bought from real estate developers.

In Conclusion, it is important to highlight that this study is only limited to on city, which is Jeddah. Further studies need to be conducted in different cities of Saudi Arabia. Also, the study recommends that real estate development companies should consider open spaces in the design of apartments for sale to allow users to divide the interior layouts of reception and living zones according to their needs.

6 Recommendations

This study also recommends Stakeholders more survey about open space sale apartments.

Further research by construction engineers to study column arrangement, as this is one of the obstacles to making changes.

Study by electrical engineers is recommended as switches location for open space is important.

Availability of data and materials

Data are available upon reasonable request from corresponding author.

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Shatwan, A.M. Real estate developments in residential architecture: a case study of Jeddah. J. Umm Al-Qura Univ. Eng.Archit. (2024). https://doi.org/10.1007/s43995-024-00059-z

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Sunrise Garden Restaurant / M9 Design Studio

• Curated by María Francisca González
• Architects: M9 Design Studio
• Area Area of this architecture project Area:  730 m²
• Year Completion year of this architecture project Year:  2018
• Photographs Photographs: Shamanth Patil Photography
• Manufacturers Brands with products used in this architecture project Manufacturers:   Hindalco , Jindal Steel , Rubberband products , Ultratech
• Lead Architects: Nischal Abhaykumar and Jesal Pathak
• Client:  Parmesh Gowda
• Team:  Stuti M Mohapatra, Pavan MG
• City:  Bangalore
• Country:  India
• Did you collaborate on this project?

Text description provided by the architects. Sunrise is located in the industrial suburb of Bangalore . This project was conceived using affordable materials and parts of an existing building to keep project costs down. We wanted to create a cozy environment for this family-owned business. To achieve this, we chose to use simple, muted materials such as wood and concrete, and added plenty of vegetation.

The restaurant comprises of an open-plan dining area with a garden extension featuring raw materials and an assortment of plants. It accommodates indoor and outdoor dining for lunch and dinner. Tables and chairs are arranged around a small court filled with plants, which is positioned next to a staircase. The stairs ascend to upper floor providing additional seating that overlooks the court. The upper floor of the cafe provides a view of the sky and is partly covered by mushroom like umbrella structures to protect from direct sunlight. On this level, guests can also choose to sit outside on a covered terrace lined with bamboo-filled planters or the indoor dining area.

Inside, the walls are covered in custom made aluminum paneling to add texture with material palette of grey paint, wood and patterned tiles creates a neutral backdrop for the variety of greenery. To compensate for the lack of natural light towards the back of the space, we also added a grid of LED lights across the ceiling. Most of the furniture is custom design and handmade at site by local carpenters except the chairs.  The building is separated from the pavement outside by a low concrete wall. Planters built into the walls create a more welcoming entrance that synchronizes with the verdant interior.

Project gallery

Project location

Address: bangalore, karnataka, india.

Materials and Tags

• Sustainability

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日出花园餐厅 / M9 Design Studio

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