I.

DESIGN PROBLEM

A MOTOWN RESTO-BAR IN OKADA CASINO RESORT

Background and Scope of the Project

Motown is actually an American Record Company. Motown refers to a specialized in

a type of soul music it referred to with the trademark "The Motown Sound". Crafted with
an ear towards pop appeal, the Motown Sound typically used tambourines to accent
the back beat, prominent and often melodic electric bass-guitar lines, distinctive
melodic and chord structures, and a call-and-response singing style that originated in
gospel music. It is founded on January 12, 1958 and still launching up until now.

Since Motown started in the years of 1960s and existing up to now, the fans or those
who appreciated Motown have the ages ranging from 60s-30s and may be 20s. They
had experiences back then, the delight and musical expression brought by the Motown
music.

Casino Hotels like Okada Manila are mainly for adults, where mature enough persons
are gathered and enjoying playing or any kind of leisure and after it, dining and resto
areas take part. Basically, casino goers who are fanatic or are appreciating Motown
should get a complete package of experience and atmosphere, the reminisce of good
old days effect, from the overall design and concept of the resto-bar. From the very minor
details and plans up to the fixture and furniture must be accordingly to a Motown accent.

Bringing back the soul of a Motown to a resto-bar resembles the preservation of the
history and also reminiscing the impact and its significance to the world of music and
expression. For those, it is not just the greatest pop music hit factory but, an institution, a
state of mind, a way of life, a style; It is also a reflection of dedicated individuals
overcoming incredible obstacles to achieve great success. Motown made the world
united especially in a racially divided country in all ages as other say, it is such an
enormous influence on the both style and substance of popular music and culture.

Overall, the design concept that will be applied to the resto-bar should respectively
provide the feel of home, quality of the warm ambience to soulful people who aspired
Motown from different towns that through the years gave them dreams and admirations.
Thus, when they took a single step to the entrance of the resto-bar, it seems Motown
doesnt appear and sound fifty years old but new, high-end and still preserving its
significant contribution to the world.
 II. STATEMENT OF THE FACTS

a. EVERYTHING ABOUT MOTOWN

Motown had a massive influence in the music industry in being that is was a successful
black owned record label during the height of racial inequality. Music from Motown
broke down racial barriers in the black & white communities in America and throughout
the world igniting cultural change in the music industry. The music of Motown was labeled
as the Sound of Young America. Music released from Motown catapulted the issues of
social change in the music industry, especially amongst young people of all races. The
young people were brought together even during the racial turbulence of the 50s and
60s.

The Motown is a style of soul music with distinctive characteristics, including the
use of tambourine along with drums, bass instrumentation, a distinctive melodically and
chord structure, and a "call and response" singing style originating in gospel music.

Among the most important architects of The Motown Sound were the members of
Motown's in-house team of songwriters and record producers, including Motown founder
Berry Gordy, William "Smokey" Robinson. Also instrumental to the sound was the work of
Motown's in-house band, The Funk Brothers, who performed the instrumentation on nearly
every Motown hit from 1959 to 1971.

The Motown producers and the Funk Brothers band used a number of innovative
techniques to develop the Motown Sound. Many tracks featured two drummers instead
of one, either overdubbed or playing in unison, and three or four guitar lines as well.

The Motown Sound was also defined by the use of orchestration, string sections, charted
horn sections, carefully arranged harmonies and other more refined pop music
production techniques. It was also one of the first styles of pop music of that era wherein
girl groups--including The Supremes, Martha & the Vandellas and The Marvelettes --were
showcased as an act, as opposed to individual female artists.

It was called the sound of young America, but it became the soundtrack of the lives of
generations around the world for more than 50 years. The Motown catalog includes some
of the most enduring songs in popular music, with the most universal appeal of any
musical form. Motown music has such strong musical hooks that it has repeatedly been
used in everything from movie sound tracks to commercials for the last 50 years, providing
some of the most recognizable songs in music history.

The Motown Experience is an all-star lineup of world class vocalists drawn from the ranks
of the legendary groups that made many of these hits timeless classics. This dynamic
vocal group is assembled from members of The Capitols (Cool Jerk), The Miracles (Rock
& Roll Hall of Fame and Hollywood Walk of Fame Inductees) and from former members
of The Temptations.

The show is jam-packed with impeccable harmonies, dazzling choreography, and those
timeless Motown grooves that everyone knows and loves. You can choose to dance,
sing along, or just sit back (if you can) and watch the show as they perform all of the
greatest hits from the likes of The Temptations, The Miracles, The Four Tops, Marvin Gaye,
and Stevie Wonder. Every performance contains that unmistakable Motown stamp,
including flashy suits, great singing and dancing, and a polished show that has set the
bar for every vocal artist since the late 1950s. This show is an unforgettable celebration
for audiences from 8 to 80.

b. FOUNDER

Berry Gordy Jr. (born November 28, 1929) is an American record producer and songwriter.
He is best known as the founder of the Motown record label and its subsidiaries, which
was the highest-earning African-American business for decades.

Gordy reinvested the profits from his songwriting success into producing. In 1957, he
discovered the Miracles (originally known as the Matadors) and began building a
portfolio of successful artists. In 1959, with the encouragement of Miracles leader Smokey
Robinson, Gordy borrowed $800 from his family to create an R&B record company.
Originally, Gordy wanted to name the new label Tammy Records, after the song
recorded by Debbie Reynolds. However, that name was taken, and he chose the name
Tamla Records. The company began operating on January 21, 1959. "Come to Me" by
Marv Johnson was issued as Tamla 101. United Artists Records picked up "Come to Me"
for national distribution, as well as Johnson's more successful follow-up records such as
"You Got What It Takes", co-produced and co-written by Gordy. His next release was the
only 45 ever issued on his Rayber label, featuring Wade Jones with an unnamed female
backup group. The record did not sell well and is now one of the rarest issues from the
Motown stable. Berry's third release was "Bad Girl" by the Miracles, the first release on the
Motown record label. "Bad Girl" was a solid hit in 1959 after Chess Records picked it up.
Barrett Strong's "Money (That's What I Want)" initially appeared on Tamla and then
charted on Gordy's sister's label, Anna Records, in February 1960.

The Tamla and Motown labels were then merged into a new company, Motown Record
Corporation, incorporated on April 14, 1960. In 1960, Gordy signed an unknown singer,
Mary Wells, who became the fledgling label's first star, with Smokey Robinson penning her
hits "You Beat Me to the Punch", "Two Lovers", and "My Guy". The Miracles' hit "Shop
Around" peaked at No. 1 on the national R&B charts in late 1960 and at No. 2 on the
Billboard pop charts on January 16, 1961 (No. 1 pop, Cash Box), which established
Motown as an independent company worthy of notice. Later in 1961, the Marvelettes'
"Please Mr. Postman" made it to the top of both charts. Berry Gordy House, known as the
Motown mansion, in Detroit's Boston-Edison Historic District

Gordy's gift for identifying and bringing together musical talent, along with the careful
management of his artists' public image, made Motown initially a major national and
then international success. Over the next decade, he signed such artists as the Supremes,
Marvin Gaye, the Temptations, Jimmy Ruffin, the Contours, the Four Tops, Gladys Knight
& the Pips, the Commodores, the Velvelettes, Martha and the Vandellas, Stevie Wonder
and the Jackson 5. Though he also signed various white acts on the label, he largely
promoted African-American artists but carefully controlled their public image, dress,
manners and choreography for across-the-board appeal.

c. HISTORY

West Grand Boulevard

Also in 1959, Gordy purchased the property that would become Motown's Hitsville U.S.A.
studio. The photography studio located in the back of the property was modified into a
small recording studio, and the Gordys moved into the second-floor living quarters. Within
seven years, Motown would occupy seven additional neighboring houses:

Hitsville U.S.A., 1959 (ground floor) administrative office, tape library, control
room, Studio A; (upper floor) Gordy living quarter (195962), artists and repertoire
(196272)
Jobete Publishing office, 1961 sales, billing, collections, shipping, and public
relations
Berry Gordy Jr. Enterprise, 1962 offices for Berry Gordy Jr. and Esther Gordy
Edwards
Finance department, 1965 royalties and payroll
Artist personal development, 1966 Harvey Fuqua (head of artist development
and producer of stage performances), Maxine Powell (instructor in grooming,
poise, and social graces for Motown artists), Maurice King (vocal coach, musical
director and arranger), Cholly Atkins (house choreography), and rehearsal studios
Two houses for administrative offices, 1966 sales and marketing, traveling and
traffic, and mixing and mastering
ITMI (International Talent Management Inc.) office, 1966 management

Motown had hired over 450 employees and had a gross income of $20 million by the end
of 1966.
Detroit: 19591972

Early Tamla/Motown artists included Mable John, Eddie Holland and Mary Wells. "Shop
Around", the Miracles' first number 1 R&B hit, peaked at number two on the Billboard Hot
100 in 1960. It was Tamla's first million-selling record. On April 14, 1960, Motown and Tamla
Records merged into a new company called Motown Record Corporation. A year later,
the Marvelettes scored Tamla's first US number-one pop hit, "Please Mr. Postman". By the
mid-1960s, the company, with the help of songwriters and producers such as Robinson,
A&R chief William "Mickey" Stevenson, Brian Holland, Lamont Dozier, and Norman
Whitfield, had become a major force in the music industry.

From 1961 to 1971, Motown had 110 top 10 hits. Top artists on the Motown label during
that period included the Supremes (initially including Diana Ross), the Four Tops, and the
Jackson 5, while Stevie Wonder, Marvin Gaye, the Marvelettes, and the Miracles had hits
on the Tamla label. The company operated several labels in addition to the Tamla and
Motown imprints. A third label, which Gordy named after himself (though it was originally
called "Miracle") featured the Temptations, the Contours, and Martha and the Vandellas.
A fourth, V.I.P., released recordings by the Velvelettes, the Spinners, the Monitors, and
Chris Clark.

A fifth label, Soul, featured Jr. Walker & the All Stars, Jimmy Ruffin, Shorty Long, the
Originals, and Gladys Knight & the Pips (who had found success before joining Motown,
as "The Pips" on Vee-Jay). Many more Motown-owned labels released recordings in other
genres, including Workshop Jazz (jazz), Mel-o-dy (country, although it was originally an
R&B label), and Rare Earth (rock), which featured the band Rare Earth themselves. Under
the slogan "The Sound of Young America", Motown's acts were enjoying widespread
popularity among black and white audiences alike.

Smokey Robinson said of Motown's cultural impact:

Into the '60s, I was still not of a frame of mind that we were not only making music, we
were making history. But I did recognize the impact because acts were going all over the
world at that time. I recognized the bridges that we crossed, the racial problems and the
barriers that we broke down with music. I recognized that because I lived it. I would come
to the South in the early days of Motown and the audiences would be segregated. Then
they started to get the Motown music and we would go back and the audiences were
integrated and the kids were dancing together and holding hands.

Berry Gordy House, known as Motown Mansion in Detroit's Boston-Edison Historic District

In 1967 Berry Gordy purchased what is now known as Motown Mansion in Detroit's Boston-
Edison Historic District as his home, leaving his previous home to his sister Anna and then
husband Marvin Gaye (where photos for the cover of his album What's Going On were
taken). In 1968, Gordy purchased the Donovan building on the corner of Woodward
Avenue and Interstate 75, and moved Motown's Detroit offices there (the Donovan
building was demolished in January 2006 to provide parking spaces for Super Bowl XL). In
the same year Gordy purchased Golden World Records, and its recording studio
became "Studio B" to Hitsville's "Studio A".

In the United Kingdom, Motown's records were released on various labels: at first London
(only the Miracles' "Shop Around"/"Who's Lovin' You" and "Ain't It Baby"), then Fontana
("Please Mr. Postman" by the Marvelettes was one of four) and then Oriole American
("Fingertips" by Little Stevie Wonder was one of many). In 1963, Motown signed with EMI's
Stateside label ("Where Did Our Love Go" by the Supremes and "My Guy" by Mary Wells
were Motown's first British top-20 hits). Eventually EMI created the Tamla Motown label
("Stop! In the Name of Love" by the Supremes was the first Tamla Motown release in March
1965).

Los Angeles: 19721998

After the songwriting trio HollandDozierHolland left the label in 1967 over royalty-
payment disputes, Norman Whitfield became the company's top producer, turning out
hits for The Temptations, Marvin Gaye, Gladys Knight & the Pips and Rare Earth. In the
meantime, Berry Gordy established Motown Productions, a television subsidiary which
produced TV specials for the Motown artists, including TCB, with Diana Ross & the
Supremes and the Temptations, Diana! with Diana Ross, and Goin' Back to Indiana with
the Jackson 5. The company loosened its production rules, allowing some of its longtime
artists the opportunity to write and produce more of their own material. This resulted in
the recordings of successful and critically acclaimed albums such as Marvin Gaye's
What's Going On (1971) and Let's Get It On (1973), and Stevie Wonder's Music of My Mind
(1972), Talking Book (1972), and Innervisions (1973).

Motown had established branch offices in both New York City and Los Angeles during
the mid-1960s, and by 1969 had begun gradually moving more of its operations to Los
Angeles. The company moved all of its operations to Los Angeles in June 1972, with a
number of artists, among them Martha Reeves, the Four Tops, Gladys Knight & the Pips,
and Motown's Funk Brothers studio band, either staying behind in Detroit or leaving the
company for other reasons. By re-locating, Motown aimed chiefly to branch out into the
motion-picture industry, and Motown Productions got its start in film by turning out two
hit-vehicles for Diana Ross: The Billie Holiday biographical film Lady Sings the Blues (1972),
and Mahogany (1975). Other Motown films would include Scott Joplin (1977), Thank God
It's Friday (1978), The Wiz (1978) and The Last Dragon (1985). Ewart Abner, who had been
associated with Motown since the 1960s, became its president in 1973.

Despite losing HollandDozierHolland, Norman Whitfield, and some of its other hit makers
by 1975, Motown still had a number of successful artists during the 1970s and 1980s,
including Lionel Richie and the Commodores, Rick James, Teena Marie, the Dazz Band
and DeBarge. By the mid-1980s Motown had started losing money, and Berry Gordy sold
his ownership in Motown to MCA Records and Boston Ventures in June 1988 for $61 million.
In 1989, Gordy sold the Motown Productions TV/film operations to Motown executive
Suzanne de Passe, who renamed the company de Passe Entertainment and continues
to run it as of 2012.

During the 1990s Motown was home to successful recording artists such as Boyz II Men
and Johnny Gill, although the company itself remained in a state of turmoil. MCA
appointed a revolving door of executives to run the company, beginning with Berry
Gordy's immediate successor, Jheryl Busby. Busby quarreled with MCA, alleging that the
company did not give Motown's product adequate attention or promotion. In 1991,
Motown sued MCA to have its distribution deal with the company terminated, and
began releasing its product through PolyGram. PolyGram purchased Motown from
Boston Ventures three years later.

In 1994, Busby was replaced by Andre Harrell, the entrepreneur behind Uptown Records.
Harrell served as Motown's CEO for just under two years, leaving the company after
receiving bad publicity for being inefficient. Danny Goldberg, who ran PolyGram's
Mercury Records group, assumed control of Motown, and George Jackson served as
president.

Final years of the Motown label: 19992005

By 1998, Motown had added stars such as 702, Brian McKnight, and Erykah Badu to its
roster. In December 1998, PolyGram was acquired by Seagram, and Motown was
absorbed into the Universal Music Group. Seagram had purchased Motown's former
parent MCA in 1995, and Motown was in effect reunited with many of its MCA corporate
siblings (Seagram had hoped to build a media empire around Universal, and started by
purchasing PolyGram). Universal briefly considered shuttering the label, but instead
decided to restructure it. Kedar Massenburg, a producer for Erykah Badu, became the
head of the label, and oversaw successful recordings from Badu, McKnight, Michael
McDonald, and new Motown artist India.Arie.

Diana Ross, Smokey Robinson, Stevie Wonder, and the Temptations had remained with
the label since its early days, although all except Wonder recorded for other labels for
several years. Ross left Motown for RCA Records from 1981 to 1988, but returned in 1989
and stayed until 2002. Robinson left the label in the early 1990s, and the Temptations left
a second time in 2004. Wonder is, today, the only artist from Motown's early period still on
the label.

Universal Motown: 20052011

In 2005, Massenburg was replaced by Sylvia Rhone, former CEO of Elektra Records.
Motown was merged with Universal Records to create the Universal Motown Records and
placed under the newly created umbrella division of Universal Motown Republic Group.
Motown began celebrating its fiftieth anniversary (January 12, 2009) in late 2008,
including the release of a The Complete No. 1's box set containing Motown number-one
hits from Billboards pop, R&B, and disco charts, reissues of classic-era Motown albums on
CD, and other planned events, which were released in collaboration with Universal Music
Group's catalog division Universal Music Enterprises.

Relaunch: 2011present

As of summer of 2011, Universal Motown has been separated from Universal Motown
Republic Group, has reverted to the original Motown brand, has hired Ethiopia
Habtemariam as its Senior Vice President, and is now operated under The Island Def Jam
Music Group. Artists from Universal Motown have been transferred to the newly revitalized
Motown label. On January 25, 2012, it was announced that Ne-Yo would join the Motown
label both as an artist as well as the new Senior Vice President of A&R. On April 1, 2014, it
was announced that Island Def Jam will no longer be running following the resignation
of CEO Barry Weiss. In a press release sent out by Universal Music Group, the label will now
be reorganizing Def Jam Recordings, Island Records and Motown Records all as separate
entities. Motown would then begin serving as a subsidiary of Capitol Records.

d. ARTISTS

1950s & 1960s

A D I
The Andantes Debbie Dean (Motown The Isley Brothers (Tamla
B Records) Records)
Rob Bauer (Gordy E J
Records) Billy Eckstine (Motown Chuck Jackson (V. I. P.
J. J. Barnes (Ric-Tic Records) Records)
Records) The Elgins (V. I. P. Records) Mable John (Tamla
Blinky (Motown Records) F Records)
Dorsey Burnette (Mel-o-dy Four Tops (Motown Marv Johnson (Tamla
Records) Records) Records)
C The Fantastic Four (Ric-Tic K
Choker Campbell & His 16- and Soul Records) Gladys Knight & the
Piece Band (Motown G Pips (Soul Records)
Records) Marvin Gaye (Tamla L
Chris Clark (V. I. P Records) Records) Lovesmith
The Chi-Lites H Michael Lovesmith
The Contours (Gordy Eddie Holland (Motown Shorty Long (Soul Records)
Records) Records)
Caroline Brenda Holloway (Tamla M
Crawford (Motown Records) Martha and the
Records) Patrice Holloway (V. I. P. Vandellas (a.k.a. Martha
Records)
Reeves & the Vandellas) The Velvelettes (V. I. P. Dennis Edwards (Gordy
(Gordy Records) Records) Records)
The Marvelettes (Tamla W H
Records) Jr. Walker & the All Hearts of Stone (V. I. P.
Barbara McNair (Motown Stars (Soul Records) Records)
Records) Mary Wells (Motown High Inergy (Gordy
The Miracles (a.k.a. Records) Records)
Smokey Robinson & the Kim Weston (Gordy Thelma Houston (Tamla
Miracles) (Tamla Records) Records) Records)
The Monitors (V. I. P. Stevie Wonder (a.k.a. Little Howl the Good (Rare Earth
Records) Stevie Wonder) Records)
O (Tamla/Motown Records) Willie Hutch (Motown
The Originals (Soul Syreeta Wright (a.k.a. Rita Records)
Records) Wright; Syreeta) (Motown Reuben Howell (Motown
R Records) Records)
Barbara Randolph (Soul 1970s I
Records) Impact of Brass (Rare Earth
David Ruffin (Motown A Records)
Records) Gerald Alston (Motown J
Jimmy Ruffin (Soul Records) Jermaine
Records) The Allens (Motown Jackson (Motown Records)
S Records) (Special Note - Michael Jackson (Motown
Baker Sanusi (Motown First All Caucasian Band to Records)
Records) sign with Motown The Jackson 5 (Motown
San Remo Golden September 1974) Records)
Strings (Gordy Records) B K
Edwin Starr (Soul Records) Brass Monkey (Rare Earth Eddie Kendricks (Tamla
Barrett Strong (Tamla Records) Records)
Records) C L
The Supremes (a.k.a. G. C. Cameron (Motown The Lost Nation (Rare Earth
Diana Ross & the Records) Records)
Supremes) (Motown The Cats (Rare Earth Love Sculpture (Rare Earth
Records) Records Records)
T Tom Clay (MoWest M
Bobby Taylor & the Records) Magic (Rare Earth
Vancouvers (Gordy The Commodores (Mo- Records)
Records) West and Motown Matrix (Rare Earth Records)
R. Dean Taylor (V. I. P. Records) The Messengers (Rare
Records) Crystal Mansion (Rare Earth Records)
The Temptations (Gordy Earth Records) P
Records) D Bonnie Pointer (Motown
Tammi Terrell (Gordy Bobby Darin (Motown Records)
Records) Records) Poor Boys (Rare Earth
The Ones (Motown Kiki Dee (Tamla Records) Records)
Records) The Dynamic Power of Zeus (Rare Earth
V Superiors (Motown Records)
The Valadiers (Miracle Records) Billy Preston (Motown
Records) E Records)
Earl Van Dyke (and the The Easybeats (Rare Earth The Pretty Things (Rare
Soul Brothers) (Motown Records) Earth Records)
Records) Duane Eddy (Motown R
Records)
Rare Earth (Rare Earth Another Bad Michael McDonald
Records) Creation (Motown Misa (Motown Records)
Smokey Robinson (Tamla Records) Debelah Morgan (Motown
Records) B Records)
Diana Ross (Motown Erykah Badu (Motown P
Records) Records) Pal (Motown Records)
S Bobby M (Gordy Records) The Pointer Sisters (Motown
Valerie Simpson (Tamla Phil Burton (Motown Records)
Records) Records) Q
Sounds Nice (Rare Earth The Boys (Motown Queen Latifah (Motown
Records) Records) Records)
The Spinners (a.k.a. the Boyz II Men (Motown R
Original Detroit Spinners) Records) Lionel Richie (Motown
(V. I. P. Records) C Records)
Sunday Funnies (Rare Earth Charlene (Motown Rockwell (Motown
Records) Records) Records)
The Supremes (Motown Angela Clemmons S
Records) (Motown Records) Phyllis St. James (Motown
Switch (Gordy Records) D Records)
T Dazz Band (Motown Shanice (Motown Records)
TaTa Vega (Tamla Records) Sparkle
Records) DeBarge (Gordy Records) The Stone City
Toe Fat (Rare Earth Bunny DeBarge (Motown Band (Gordy Records)
Records) Records) T
Teena Marie (Gordy Chico DeBarge (Motown Felicia Taylor (Motown
Records) Records) Records)
U El DeBarge (Gordy Andrew Tierney (Motown
UFO (Rare Earth Records) Records) Records)
The Undisputed G Michael Tierney Motown
Truth (Gordy Records) Siedah Garrett (Gordy Records)
V Records) Today (Motown Records)
Frankie Valli & the Four Valerie George (Motown Tony! Toni! Ton! (Motown
Seasons (MoWest/Motown Records) Records)
Records) Johnny Gill (Motown V
W Records) Val Young (Gordy
Leon Ware (Motown The Good Girls (Motown Records)
Records) Records) Vanity (Motown Records)
Mary Wilson (Motown Guinn (Motown Records) W
Records) H Jason Weaver (Motown
Wolfe (Rare Earth Records) Sam Harris (Motown Records)
X Records) Bruce Willis (Motown
XIT (Rare Earth Records) K Records)
1980s & 1990s Kreuz (Motown Records) Y
98 Degrees (Motown L Lovesmith Michael Val Young (Gordy
Records) Lovesmith Records)
702 (Motown Records) M Yours Truly (Motown
A Carrie McDowell (Motown Records)
Georgio Allentini (Motown Records) Z
Records) Brian McKnight (Motown Zhan (Illtown/Motown
Toby Allen (Motown Records) Records)
Records) MC Trouble (Motown
Records)
 III. ANALYZATION

DESIGN OBJECTIVES

To design a resto-bar that will provide maximum experience of a Motown

atmosphere among all of the resto-goers and that will promote high-end settings
for every spaces.

To design a kitchen that will promote and feature Motown designs in fixtures and
in finishes to complete the atmosphere up to the working area.

To design the bar counters, and tables arrangement which will encourage/
engage social interactions, as well as to function accordingly to what a Motown
atmosphere has.

To design spaces that will give maximum comfortability and safety for the users/
resto-bar goers.

To design a Motown resto-bar that will somehow appeal to the overall motif or
theme of the Okada Casino.

To design the entrance way that will serve as a transition and that will make the
Motown fanatics anticipate the excitement as they enter the resto-bar.

IV. CONCLUSION

The main of goal of the design of the resto-bar is to instantly reflect the legacy of
Motown and replenish it to the minds and spirit of the guests, that are mature and
capable enough of appreciating music and ambience and who are already
experienced a true Motown atmosphere and enjoyment. By the help of the design
objectives, this goal will be achieved. More than a high-end Motown Resto-bar suits
casino but a Motown itself is a music and a way of life that can be experienced and
appreciated by anybody.

The Principle Design Concept of the Resto-bar is a Golden Motown since Motown
is already more than 50 years of providing and releasing distinctive, upbeat, and uplifting
music in every part of the world, in all ages and races. The golden color can be used as
general theme and motif for the resto bar. Lightings from different accents are can also
be in gold or yellowish, as well as the furniture and fixture. Shades of gold can be used
for the finishes and other materials.

The Form Concept in the interior designs of the Motown Resto-bar will be inspired from
a Vinyl Record Plate since it was widely used for recording in the Motown years like in the
1960s and above. Decorations involving classical Motown design and record displays are also
displayed but with a touch of high-end setting to achieve the objectives for the design.
 FLOOR PLAN

LONGITUDINAL SECTION

CROSS SECTION
INTERIOR

PERSPECTIVES
V. RECOMMENDATIONS

a. Space Requirements for a Motown-themed Resto-bar

Administration/ Office Area Gallery space

Bar Counters Juke Box Area/ Karaoke Booths
Comfort Rooms Kitchen
Dance floor Leisure Area
Dining Area Lounge Area
Entrance/ Vestibule Reception Area
Stage

b. Space Interrelationship Network Diagram

Administration Area
Bar Counters
Dance Floor
Dining Area
LEGEND:
Entrance/Vestibule
ESSENTIAL
Stage
Gallery Space DESIRABLE

Juke Box Area NOT NEEDED

Kitchen
Leisure and Lounge
Area
Comfort Rooms
Reception Area
 c. Bubble Diagram

Administration
Area Comfort Room
Kitchen

Bar Counters Juke Box/

Dance Floor
Reception Karaoke
Area Booths

Dining Area Gallery

Entrance Lounge and Stage
Space
Leisure

LEGEND:

MOTOWN RESTO-BAR GUESTS FLOW

MOTOWN RESTO-BAR PERSONNELS FLOW

d. Aid of Motown Color Scheme (major color scheme: Gold)

 e. Implementation of the design concepts and achieving design objectives
guided by the project considerations.

VI. CONSIDERATIONS

BERDE for NEW CONSTRUCTION

Building for Ecologically Responsive Design Excellence
Commercial Buildings

CITY OF PARANAQUE ORDINANCE NO. 31

Series of 2011

TECHNICAL STANDARDS FOR THE PRACTICE OF INTERIOR DESIGN

A Referral Code of the National Building Code of the Philippines
(P.D. 1096)
Mapua Institute of Technology
School of AR-ID-BE
Intramuros, Manila

Plate 100
RE: Proposed Motown Resto-Bar

Submitted by
Blancaflor, John Michael B.
AR143S/AR3

Submitted to
Arch. Aristeo Garcia