Restaurant Development & Design

MAY-JUN 2017

restaurant development + design is a user-driven resource for restaurant professionals charged with building new locations and remodeling existing units.

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5 2 • r e s t a u r a n t d e v e l o p m e n t + d e s i g n • M A Y / J U N E 2 0 1 7 EBERLY A 40-foot-long display kitchen sits along the far wall between these two primary spaces. It helps to separate the two areas and adds visual energy. To cre- ate more intimacy and interest, the team also added a 675-square-foot English conservatory-style study between the dining room and bar. And they removed ceiling panels from a section of what had been interior space along the building's front wall to create a new 800-square- foot outdoor patio. Separated by a glass wall from the study, it sits between the front entrance to the dining room on the left and the separate exterior entrance to the Cedar Tavern on the right. Addi- tional space directly behind the bar was converted to a 900-square-foot private dining and event room. A 3,100-square- foot rooftop terrace, expected to open soon, completes the operation. "The idea was to transform the building into what would feel a little like the public areas of a hotel," Spencer says. "It was designed to allow guests to transition throughout the day and choose their experience. Each space is its own moment, but all are visually tied together and have sightlines to the bar. Even if you're in the back private-party room, you can see into the tavern through a big two-way mirror that we installed in the back bar. You can have a private party in the study or the back room, but visual energy flows between the spaces." Something Old, Something New From the construction end, Dickson be- gan with what was almost a clean slate. "Outside of demo required to put in the plumbing, mechanicals, HVAC, etc., we didn't have to do much to the exist- ing structure," Dickson says. "It was a vacant concrete shell — concrete floors, walls, even ceilings — and we were able to refurbish and use the existing win- dows and add just a few new ones. Our goal was to use as much of the existing structure as possible. It was more about finding the right layout and creatively defining spaces than about tearing down and building up walls." The team's goal of using as much as possible of the existing structure created an interesting design challenge: how to honor the building's midcentury bones while playing up the original Cedar Tavern bar's Victorian sensibilities. Spencer embraced the challenge. "I liked the idea of mixing the modern and the old. That's what shaped the overall design vision," she says. "Everything started with the old bar. We wanted to respect the time period that it's from but present it in a fresh way that would give it a new life here in Austin. But it also had to make sense in this Post-War building, so I ended up crossing a lot of borders between Victorian, art nouveau and midcentury modern. The idea was to stay true to older materials and aesthet- ics but to throw in some modern twists. The more I started looking at midcentury stuff, the more threads I found to art nouveau and late 1800s design inspira- tions, so it felt natural." Examples of period mixing can be seen throughout Eberly, from flooring to wall coverings to furnishing and lighting. The Cedar Tavern bar itself — construct- ed of intricately carved mahogany, brass and stained glass — set the tone for materials and color selections, including mahogany, rich saturated blue and brass. Millwork and furniture designs in the dining room were inspired by midcentury modern furniture designer Kent Coffey's work with a hint of art nouveau for soft- ness. The glass-enclosed study, classi- cally Victorian in style, takes a modern turn thanks to nouveau-style steel beam framing and concrete ceiling beams. Custom tile flooring in the Cedar Tavern was inspired by photos of mosaics in buildings built in the 1800s. "The sunburst pattern is similar to something I saw in one of the old photos, but I gave it larger scale and a more modern look," Spencer says. "I used that same ap- proach for much of the lighting as well. Many of the brass fixtures were salvaged from old Navy ships, but they were rebuilt to be different and more modern from what they originally were." Utilizing as much as possible of the existing building also meant embracing concrete in the design palette: It's used creatively and prominently throughout. Says Spencer, "I used to live in Barce- lona and love Gaudí. He used concrete in very elegant art nouveau ways, so again, To break up the space and create intimacy, the designers added an English conservatory-style study that sits between, and has sightlines through, the dining room and bar. Classically Victorian, it takes a modern turn thanks to nouveau-style steel framing and concrete ceiling beams.

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