3/8/11

Assignment 4: Grace Lynis

Commercial Vernacular


In the essay The Role of Consumerism in American Architecture, John Chase proposes that the stylistic embrace of eclecticism in commercial vernacular architecture is founded on the belief that memories of other eras and places can legitimately be represented, rather than ironically deconstructed.


Commercial vernacular architecture shows evidence of four formal traits: packaging, style, special features and brand names, all of which can be manipulated to establish an identifiable position for a product within the marketplace, while offering the consumer the illusion of ownership. Consumption becomes associated with personal identity. Once an object has been purchased or a theme oriented restaurant visited, memories of the participation reinforce and validate ownership.


This is especially true when fast food dining combines the precincts of play, as is done when restaurants began to include play areas within building design in the 1980s.


This design is intended to communicate a hearth like setting, that reinforced family values via the inclusion of child friendly play environments. By positioning the playground prominently in a floor to ceiling window, drivers and children alike are able to identify these buildings as safe havens of comfort.



Restaurant designs before 1990 included play areas that were frequently found outside the building.




Changes in the design and placement of playground began to appear in restaurants built after the 1990s. At this time playgrounds are moved inside and glass partitions separate the main dining room from the children play area.


Although the primary offering is food, what these restaurants aim to suggest is the promise of a clean environment that offers a brief respite from the relentless demands of the modern lifestyle. Stylistically packaged and economically priced to appeal to wholesome family values and convenience. These fast food chains seek to provide much need familial time and nourishment to the masses of two parent working household families.






1 comment:

  1. And what about the contemporary—post-milennium—aesthetic?

    ReplyDelete