Chapter II

THEORETICAL AND CONCEPTUAL FRAMEWORK

Review of Related Literature and Studies

This chapter presents the related studies, theories and principles, synthesis, and a

conceptual framework that would be relevant on the topic associated with the research

problem. The theoretical framework explores the concept of preservation and its standards

in interior design. The review of related literature and research goes further into the

concept, the guidelines and considerations, the design style, and other academic sources –

both international and domestic – that are relevant to this study. The synthesis in this study

compares and contrasts linked foreign and local scholarly sources that shall develop and

guide the whole research. Furthermore, the conceptual framework describes the variables,

procedure, and outcome of the study.

Theoretical Framework

Design through Preservation is designing a built historic interior by

protecting its cultural identity and authenticity. Preservation as a theory and practice is

compounded from various concepts of interrelated variables (De la torre et al.,2000). This

theory aims to reconnect people from the past history and revitalize the community by

designing a space that enrich the historic character and functionality of a building. Heritage

and historical buildings are the sources and physical references of past cultures and

settlements, thereby representing the resources to learn about past history (Jokilehto,2017).

In the 19th century, Morris’ Theory of Preservation emphasized protection,

conservation, and maintenance of heritage buildings. They viewed preservation as a

scholarly application of documenting history. His preservation used scientific methodology

and respected all alterations and periods, despite varying degrees of historic significance.

The present Secretary of Interior’s Standards follow the sensitive preservation principles

of Ruskin and Morris, which will be adapted in this study.

Related Literature

These literatures dealt with topics - both foreign and local- related mainly to the

concepts of preservation in a heritage interior design, comparison of various theories of

preservation, and ways to achieve them through the use of standard and guidelines. The

approaches focus on enhancing the built interior spaces of a restaurant following the

standard space planning.

Foreign Literature

Preservation Theory

Preservation measures taken to ensure the survival and sustainability of a heritage

structure. This involves a.) physical actions, such as conservation, consolidation, and

reconstruction needed to ensure the integrity of the fabric, b) programs that articulate the

structure’s significance for society as a whole, and c) economic and political programs that

ensure the structure’s future.

The intersection and overlap of history and historic preservation occurs at several

points in the history of the movement, including earlier conservation accomplished in

France and England. The United States imported European ideas of history as well as

preservation theory during the nineteenth century. This philosophical precedent played a

fundamental role in the establishment of present historic preservation policy.

Ruskin’s Theory of Preservation

John Ruskin (1819 -1900) is the leader of preservation movement. He considered

regular maintenance and repair as a way of preservation of heritage buildings and proposed

that minimum level of alteration in features would make a heritage building practical. He

saw historic buildings as unique creations of the artists in a specific historic context. To

him, reproducing original styles in the form of restoration was an insult to the original

architect of a heritage building.

Ruskin put an emphasis on repair and preservation of heritage values rather than

restoration. He was thus against restoration, “It is impossible, as impossible as to raise the

dead, to restore anything that has ever been great or beautiful in architecture. . . .that spirit

which is given only by the hand and eye of the workman, never can be recalled. . . . And

as for direct and simple copying, it is palpably impossible.” Ruskin considered a heritage

building as a ‘corpse’ which could not be restored but could be maintained. Ruskin believed

every heritage building was a unique creation of an architect in a certain period of time,

which could not be imitated or restored, but could be conserved. It means the most total

destruction which a building can suffer: a destruction out of which no remnants can be

gathered: a destruction accompanied with false description of the thing destroyed... Do not

let us talk then of restoration. The thing is a lie from beginning to end. You may make a

model of a building as you may of a corpse, and your model may have the shell of the old

walls within it as your cast might have the skeleton, with what advantage I neither see nor

care: but the old building is destroyed, and that more totally and mercilessly than if it had

sunk into a heap of dust, or melted into a mass of clay: more has been gleaned out of

desolated Nineveh than ever will be out of rebuilt Milan.”

 Ruskin made a huge contribution to the preservation of historic buildings globally

and was titled a protector of heritage buildings. The present Secretary of Interior’s

Standards follow the sensitive conservation principles of Ruskin. He also upheld the

attitude of minimal intervention, emphasized proper maintenance for the protection of an

historic structure.

Historic Preservation Guidelines

Secretary of the Interiors Standards for the Treatment of Historic Buildings

Interior design relates to historic preservation regulations set by the Secretary of

the Interior through the requirement stating, “Designs must adhere to…regulatory

requirements.” The area of the definition stating designers must “research, analy[ze] and

integrat[e]… knowledge into the creative process” arises when working on an historic

interior preservation or rehabilitation project. In turn, historic preservation relates to this

definition by attempting to “enhance the quality of life and culture” of a community and

historic environment. The definition for interior design also relates to historic preservation

in its commitment in environmental sustainability. Historic preservation is inherently

environmentally sustainable and promotes the conservation of natural resources through

the preservation of the built environment. Below are the indicated Standards for

Preservation ;

1. A property will be used as it was historically or be given a new use that

maximizes the retention of distinctive materials, features, spaces and spatial

relationships. Where a treatment and use have not been identified, a property will

be protected and, if necessary, stabilized until additional work may be undertaken.

2. The historic character of a property will be retained and preserved. The

replacement of intact or repairable historic materials or alteration of features, spaces

and spatial relationships that characterize a property will be avoided.

3. Each property will be recognized as a physical record of its time, place and use.

Work needed to stabilize, consolidate and conserve existing historic materials and

features will be physically and visually compatible, identifiable upon close

inspection and properly documented for future research.

4. Changes to a property that have acquired historic significance in their own right

will be retained and preserved.

5. Distinctive materials, features, finishes and construction techniques or examples

of craftsmanship that characterize a property will be preserved.

6. The existing condition of historic features will be evaluated to determine the

appropriate level of intervention needed. Where the severity of deterioration

requires repair or limited replacement of a distinctive feature, the new material will

match the old in composition, design, color and texture.

7. Chemical or physical treatments, if appropriate, will be undertaken using the

gentlest means possible. Treatments that cause damage to historic materials will

not be used.

8. Archeological resources will be protected and preserved in place. If such

resources must be disturbed, mitigation measures will be undertaken.

Invention within a style

In the book “Strategies for Additions to Historic Settings” of Steven W. Semes, this

strategy, while not replicating the original design, adds new elements in either the same or

a closely related style, sustaining a sense of continuity in architectural language. The

intention is to achieve a balance between differentiation and compatibility but weighted in

favor of the latter. This strategy also has a long history: In fact, it is what most architects

have always done. Leon Battista Alberti, in his 15th-century treatise, urged architects

adding to a preexisting building to work in the same style as the original builder and

complete the work in the same spirit. He followed this principle to complete the facade of

Santa Maria Novella in Florence, adding to its medieval first story in kind, then subtly

transforming the style into a Renaissance flourish at the top. Giacomo Barrozzi da Vignola

and other Renaissance designers followed Alberti’s lead in their competition designs for

the facade of San Petronio in Bologna, extrapolating the existing gothic language without

replication9. Back at the Louvre, two hundred years after Lemercier, Louis Visconti and

Hector Lefuel designed the monumental facades on the Cour Napoléon in conscious

imitation of his work.

Invention within a style-so long as it is an informed and fluent exercise—leads

naturally to new work that is both differentiated and compatible with respect to its pre-

existing context. Unfortunately, some preservation authorities continue to resist the very

approach most likely to yield the results called for by the Charters and Standards they are

charged with applying.

Dining Decision-making Factors

Walters P. (2002) maintains that the process, product, physical settings, self-image,

and dining occasion affect customers' experience at a fine dining establishment. He defines

the process as all service, which is conducted through the dining experience, (2) the product

as the food and beverage that are provided, (3) the physical settings as all elements of

interior and exterior design, (4) the self-image as the character that customers identify with

themselves, and (5) the dining occasion as the reason for dining out, such as a celebration,

business meeting, or similar event. The physical settings are focused on in this study,

despite Walters' research indicating that all five factors affect customers' decisions to dine

out and return to a restaurant.

• Physical Settings

The environmental cues (interior design, color, aroma, music, etc) influence

customers' behavior in a store and the store revenue. Customers behave certain ways

depending on the environmental components that customers perceive as store atmosphere.

Richardson, Jain, and Dick (1996) found that the customers, who receive negative feelings

from a store environment transfers the displeasure with the store's products. Richardson et

al. (1996) also noted that the business income was improved by design appeal.Walters

found that the color, lighting, and table setting in interior design function are "strongly"

counted by the respondents. The music played, artwork and ambiance, bathroom facilities

and overall setting performances resulted lower than the first three categories in their affect

on the customer. Parking and exterior appearance was perceived as the lowest ranking

physical components among the categories.

 The atmosphere in a dining area, which settles around decor, noise level,

temperature, cleanliness, odors, lighting, color, and music, creates an expectation of dining

experience even before the customer is served. Comfortable seating is another important

aspect of the physical setting that is determined by the condition of the furniture and the

arrangement of it. Customers' physical comfort directly influences their satisfaction of the

dining experience and the intention to return.

In a case where any of above elements irritates a customer in the space, he or she

will have a negative impression of the restaurant. Food and service are not the only factors

that determine a restaurant's success. Setting the appropriate stage is also crucial in creating

a dining experience that wins customer devotion (Virginia, 2003).

To encourage repeat visits, increase market share, and boost the bottom line,

restaurateurs should design a restaurant that appeals to their customers. Updating a

restaurant's aesthetic value is important for competitive advantage. Based on current trends

in the industry and experiences with restaurateurs, Gorodesky and Madigan (2004) suggest

that knowing the design trends is critical in creating appealing and profitable restaurant

operations. Some of the recent trends in restaurant design incorporate elements such as

creating an upscale but casual theme, creating an entertainment themed restaurant; and

creating a restaurant with a neighborhood feel.

Standard Restaurant Interior Spaces

A restaurant floor plan is a sketch of your restaurant space that includes your dining

area, kitchen, storage, bathrooms, and entrances. The best restaurant floor plans support

operational workflow and communicate your brand to customers. Depending on your

restaurant type, your specific restaurant layout will vary, but a 40/60 split between the

kitchen and dining room is industry standard.

There are several operational restaurant spaces that every restaurant needs. The size

of each will vary based on your restaurant’s style and whether customers eat on-site or take

food to go. The primary operational areas of the restaurant floor plan include:

Entry and waiting area: Your entry is the billboard for your restaurant. It should

communicate your concept and entice passersby to enter. Once inside, the greeting and

waiting areas depend on the type of establishment. For fine and casual dining, this area

needs serious consideration if you have wait times. For quick service and cafe concepts,

this space can be minimal, especially if you have a bar for counter service. The entryways

of all restaurants should comply with Americans with Disabilities Act (ADA) regulations.

Dining areas: Restaurant dining areas typically need 60% of the restaurant space to

provide adequate seating and traffic flow. Delivery-only restaurants or quick-service spots

may not need this much room, however. If you use a point of sale (POS) system, you’ll

need to consider where to place terminals throughout your dining room as well.

Kitchen: In most restaurant floor plans, the kitchen takes up about 40% of your space. This

might seem like a lot for a space that patrons never see, but it’s the heart of your business.

Kitchens also need gas lines, water lines, electrical wiring, floor drains, and ventilation

hoods.

Restrooms: If you can place restrooms near your kitchen area, you can save money by

tying into nearby plumbing and water lines. Depending on your space’s size, it’s a good
idea to add a staff-only restroom, too. Keep in mind that your restrooms need to be ADA

compliant as well.

Delivery entrances and loading docks: In most locations, you don’t receive supplies

through the same entrances that customers use. Large commercial buildings will already

have loading docks or back entrances for vendor deliveries. If your building does not have

one, it is a good idea to add a delivery entrance to your restaurant. You don’t want

customers walking around vegetable crates to get to a table!

Staff areas and back office: Most restaurants need a back office to hold sensitive business

information like personnel files, tax documents, computing equipment, and cash reserves.

Some cities also require employers to provide break areas for staff as well. If you have the

space, a staff locker room is an excellent addition so that your team can change from street

clothes into work clothes and securely stow their personal belongings while they work.

Standards and Guidelines in Maintaining Historic Sites and Structures

A document proposed by the National Historical Commission of the Philippines (NHCP)

in the year 2010. The objective of this document is to provide owners and technical persons

the general idea of what maintenance of historic sites and structures is all about, and what

should and should not be done. The following are considered maintenance works:

1. Inspection and documentation. Observe (Once every 6 months or eveiyyear, and

undertaken duringthe day season)

a. Check electrical and mechanical systems

b. Check roof structure and ceiling for leaks, pests and decay (May also be undertaken

during the rainy season)

c. Check beams, girders, posts and columns

d. Check floor planks, floor frames, floor slabs, floor tiles, vaulted structures, stairs and

railings

e. Check walls, sidings and partitions

f. Check doors and windows and hardware

g. Check storm drainage system

h. Check site drainage

i. Check water supply, water tank, pump, pressure tank, pipelines

j. Undertake photo-documentation and inspection report

2. Cleaning and housekeeping jobs (Daily)

a. Cleaning and Dusting

b. Floor waxing and polishing

3. Repair and replacement (As the need arises)

4. Removal of vegetal and woody growths (As need arises)

a. Mechanical cleaning

b. Chemical cleaning

5. Repointing (Undertaken when joint mortar has either pulverized or has been lost)
6. Replastering (When existing protective plastering has become inadequate to protect the

underlying stone surface)

7. Repainting/refinishing works (Every 2 or 3 years, but can be extended to 5 years

depending on the quality of surface preparation made and paint coating materials during

the last application)

8. Preservative treatment (Every 2 or 3 years)

a. Application of wood preservative treatment

b. Rust conversion and refmishing of metal components

9. Pest control treatment (Preferably right after the instance of noticing the infestation or

any sign of infestation)

The preservation of cultural heritage in times of conflict

Theft, war, civil disorder, terrorism, neglect and vandalism are human factors in the

accidental or wilful destruction of our heritage (Teijgeler, 2001). Of these threats, armed

conflict remains particularly intractable and disturbing. Regrettably, of late we have

experienced more than once how shocking the effects of a violent struggle can be on the

heritage of countries. Undoubtedly, the final decade of the 20th century was marked by

destruction of heritage on a symbolic scale that has been unrivalled for the past several

centuries. Disasters need to be managed in order to control them, or at least to mitigate the

effects. Disaster Management Cycle should address issues relevant to all phases of the

disaster cycle: preparedness, response, recovery, rebuilding, prevention and mitigation.

Yet, it should be realised that each collection, each building and each situation is unique

and that every institution has to prepare for disasters with its own unique plan.

Modern Concern about Preserving Built Heritage

The definition of objects and structures of the past as consisting of heritage, and the

policies related to their protection have evolved together with modernity, thus this is

considered to be an essential need and responsibility of modern society. Since the

eighteenth century, the goal of this protection has been defined as the cultural heritage of

humanity, and gradually this has included not only ancient monuments and past work of

art, but even entire theories for a variety of new values generated in recent decades. For

instance, in its medium term programme of 1989, UNESCO defined the full scope of such

heritage “The cultural heritage may be defined as entire corpus of material signs - either

artistic or symbolic - handed on by the past to each culture and therefore to the whole of

humankind. As a constituent past of the affirmation and enrichment of cultural identities

as a legacy belonging to all humankind, the cultural heritage gives each particular place its

recognizable features and is the storehouse of human experience. The presentation and the

preservation of the cultural heritage are therefore a cornerstone of any cultural policy.” The

built heritage is continuously subject to various types of deterioration, including the

weather, the aging process and consumption by use. Buildings can also be modified, due

to changes in function or changes in taste or fashion. Other than that, many historic

buildings and works of art in many places risk damage due to natural risk-phenomenon.

Besides many heritage buildings are at risk due to armed conflicts, willful damage and

demolition caused by humankind (Aziz, 2005).

Local Literature

Bahay na Bato

The bahay na bato is a Filipino structure developed during the Spanish colonial era,

adapted from the local bahay kubo as evidenced by its skeletal structure being a house on

stilts. Proving that the bahay na bato is Filipino was a step forward in reclaiming our

independent existence as a people—one with rich culture, tradition, and heritage long

before our islands were colonized. The new Filipino nation that emerged after three

centuries of Spanish rule is not immune from outside influences (Arguson, 2021).

The typical Bahay na Bato used the ground floor for storage, office space or horse

stables. Whereas the second floor contained the main living area. The grandest staircase

the family could afford was built that ascended to the main floor. These colonial houses

were established to introduce the Western concept of permanence which stated that a house

must last forever. Expansive scale and its grandeur appearance characterized the Bahay na

Bato; with its vernacular style that incorporated real or pastiche arched decorations on its

façade, windows or carved doors, cirlicued grillework on windows and the grand staircase

are watered-down derivatives. After all, the rich illustrados lived in such homes.

Adobe Stone Walls

In the study of Cornestones Community (2006), moisture is the number one cause

of structural failure in adobe walls. In massive adobe walls it is important to know the

moisture content of the interior of the wall. Moisture content in walls can be monitored to

determine their present condition and how to approach repairs. The presence, if not the

amount, of moisture is simple to detect by touch and sight. Signs of moisture include
deterioration or staining of plasters and paints; structural cracks that have been caused by

settling; rotten wood members; or the smell of dampness/mildew. These conditions should

be documented with photographs and the sources of moisture analyzed. Improperly

maintained adobe walls will suffer from a variety of deterioration problems. Among the

most common are wind and rain erosion leading to moisture problems in the walls

Cornestones Community (2006) stated the root cause of the moisture of adobe

walls, many historic earthen structures in the Southwest are built without footings or are

built on footings of river cobbles or ledge stone set in mud mortar. Whenever an earthen

wall is in contact with wet ground, wicking or capillary action draws moisture into the wall.

Long-term moisture entrapment causes adobes to lose their structural integrity. The wall

will slump and may eventually collapse. Broken gutters and downspouts, broken and leaky

plumbing, a high water table, invasive vegetation, improper drainage and man-made ponds

will also lead to deterioration in earthen walls. Other possible causes of drainage problems

are the addition of concrete sidewalks and roads or pavement near the structure. These new

infrastructures change the way the land naturally drains and thus cause erosion at the base

of earthen walls.

National Cultural Heritage Act of 2009 (RA No. 10066)

This law created by Philippine Registry of Cultural Property (PRECUP) aims to

protect, preserve, conserve and promote the nation’s cultural heritage, its property and

histories, and the ethnicity of local communities. It also aims to establish and strengthen

cultural institutions and protect cultural workers and ensure their professional development

and well-being.
 Through this law, the State endeavors to create a balanced atmosphere where the

historic past co-exists in harmony with modern society, and to administer the heritage

resources in a spirit of stewardship for the inspiration and benefit of the present and future

generations.

The following cultural properties are considered Important Cultural Property for

purposes of protecting them against exportation, modification or demolition, unless

declared otherwise by the pertinent cultural agency:

1. Works by a Manlilikhang Bayan;

2. Works by a National Artist;

3. Archaeological and traditional ethnographic materials;

4. Works of national heroes;

5. Marked structure;

6. Structures dating at least fifty (50) years old; and

7. Archival material/document dating at least fifty (50) years old.

All cultural properties declared as Important Cultural Property may receive government

funding for its protection, conservation, and restoration. An official Heritage Marker shall

likewise be placed on an immovable cultural property to identify the same as important

cultural property.

The cultural properties may also be declared as National Cultural Treasures and

national historical landmarks which shall be entitled to certain privileges. Cultural

properties may be declared, or de-listed as National Cultural Treasures or Important

Cultural Property. This law provides for its procedure. The registration and conservation
of cultural property is an important feature if this act. For this purpose, the establishment

of Philippine Registry of Cultural Property (PRECUP) is required. The local government

units, through their cultural offices, are tasked to maintain inventories of cultural properties

under their jurisdiction. To conserve the cultural property, it is required that all intervention

works and measures on conservation of cultural properties must strictly adhere to the

accepted international standards of conservation.

Intangible Cultural Heritage

According to the speaker Lagod (2014), an important factor in maintaining cultural

diversity in the face of growing globalization. An understanding of the intangible cultural

heritage of different communities helps with intercultural dialogue and encourages mutual

respect for other ways of life. There is a risk that certain elements of intangible cultural

heritage could die out or disappear without help, but how can we safeguard and manage a

heritage that is constantly changing and part of ‘living culture’ without freezing or

trivializing it? Safeguarding them is about the transferring of knowledge, skills and

meaning. In other words, safeguarding focuses on the processes involved in transmitting,

or communicating intangible cultural heritage from generation to generation, rather than

on the production of its concrete manifestations, such as a dance performance, a song, a

music instrument or a craft. There is a risk that certain elements of intangible cultural

heritage could die out or disappear without help, but how can we safeguard and manage a

heritage that is constantly changing and part of ‘living culture’ without freezing or

trivialising it? Safeguarding them is about the transferring of knowledge, skills and

meaning. In other words, safeguarding focuses on the processes involved in transmitting,

or communicating intangible cultural heritage from generation to generation, rather than

on the production of its concrete manifestations, such as a dance performance, a song, a

music instrument or a craft.

The Importance of Heritage Conservation

The conservation of heritage sites presents immense significance to a country no

wonder almost every country around the world are laying down strategies to accomplish

such an enormous task. Firstly, heritage sites reflect the anthropological, historical, and

cultural values of a people (De la Torre 2013). Such reflections include human behaviour,

beliefs, art, as well as relations. Therefore, it is vital to conserve heritage sites and

properties as a platform of teaching or learning the past way of life of s given group of

people (Embaby, 2014). Furthermore, some of these sites serve as a significant reminder

of the origin or occurrence of a given phenomenon.

Secondly, the rich historical social delineations associated with a given heritage site

or property plays a significant role in reminding members of the society of the social values

that governed the ancestors of a particular group of people in the past (Jones, 2017). This

way, it is possible to comprehend and even gain from the social values of such people for

the betterment of the society. Furthermore, the cultural identities associated with certain

heritages helps to enhance a sense of belonging to a particular group or clan of people

(Shinbira, 2012).

Thirdly, with proper conservation, it is possible that a particular heritage property

or site can become a tourist attraction possible due to of its architectural beauty as well as

its historical significance (García-Hernández et al., 2017). In such a manner the heritage

can provide economic benefits not only to the government but also the community living
within the vicinity of such a heritage. Furthermore, the conservation of built heritages has

the capability to contribute to sustainable development both in the present and in the future

(Nocaa, 2017).

Related Studies

These studies dealt with topics - both foreign and local- related mainly to the

concepts of preservation in a heritage interior design, comparison of various theories of

preservation, and ways to achieve them through the use of standard and guidelines. The

approaches focus on enhancing the built interior spaces of a restaurant following the

standard space planning.

Foreign Studies

Circa'21 Dinner Playhouse in Rock Island, Illinois

Circa '21 is housed in the historic Fort Armstrong Theater. The theatre was

originally a vaudeville and silent movie house, which was established in 1921 by Walter

Rosenfield and Joseph Hopp. It was one of the most popular and unique theaters of its day.

(Figure 1). In August of 1976, the Fort Theater was purchased by Dennis Hitchcock for

its present use as a dinner theatre. The interior was remodeled from a movie theater with a

1,566-seat auditorium, into dinner theater seating with tiers and tables; it currently seats

334 on the main floor. After extensive remodeling, Circa '21 Dinner Playhouse opened in

June of 1977. (Figure 2)

The Circa dinner theater's idea was one that worked right from the beginning and

maintained its momentum through the recession in the early 1980s. Add to that the fact that

between 1982 and 1985, one-third of all theaters in the country went bankrupt, yet Circa'21
survived and thrived." One of the reasons it works, Hitchcock said, is because everything

is in one location. Customers can have a drink, dinner, dessert, and watch a show without

leaving their seats. He also explained that his theater could maintain profitability because

of several factors. First, the show is for entertainment's sake, appealing to everybody rather

than serious and educational play. Secondly, Circa '21 has attempted to diversify from the

beginning. In 1987, the first national tour started, and currently the eighth national tour,

"Cowgirls," is in the works.

Figure 1. The view of lobby and auditorium, the Fort Theater in early

Figure 2. Circa'21 Dinner Playhouse after the remodeling

Preservation of Cultural Heritage

According to Partners and Tourism Strategies, there are several strategies to support

the success of cultural heritage tourism: 1) Collaborate: working together with all
stakeholders. 2) Find the fit: meet the needs of residents and visitors so cultural heritage

tourist could benefits everyone. 3) Focus on quality and authenticity: the importance of

storytelling of an area or objects that potentially add value and attract visitors/tourists. 4)

Preserve and protect: the historical, cultural and natural resources of a community are very

valuable and frequently incapable to be replaced (T. Lussetyowati, 2015). Related to the

importance of preserving tradition by telling local stories, folklore is one of the inheritances

of culture and local wisdom, which can be used as a unique inspired narration in interior,

furniture and interior accessories design implementation. The application of folklore theme

can be integrated into design plan, such as furniture, colours, floor patterns, walls, ceilings,

and in other interior accessories design and details that can strengthen the atmosphere of a

distinctive local ambiance space. The implementation of local folklore is expected to

increase the emotional experience and deliver special memories for visitors.

Figure 1 Akosiak Bedroom set of furnishings (doc: IKKON Siak 2018)

In the study, the creative potential design was integrated by involving several

creative economic sub- sectors, including architecture, interior design, product design,

fashion, crafts, and performing arts. Interior design plays a role in applying elements of
local culture to support a room that has a unique local ambiance. By applying interior

elements which come from local folklore inspiration, will be experienced by the tourists or

visitors once entering the rooms.

The aimed of the interior design plan, is also to preserve the local cultural values

and local wisdom, that contained in folklores meaning, while also providing added value

and contributing to preserve the environment and the sustainability of UMKM (micro,

small and medium enterprises) in the creative sector and tourism sector development in

Indonesia.

Local Wisdom Elements Implementation

Siak (2018) study explores several local folklores in Siak, illustrated a strong

identity that is meaningful for design inspirations. The example of inspirations is including

the authentic Malay culture with Islamic spirituality and the existence of Siak Palace as an

iconic architectural heritage and place where the safecabinet is located and the use of river

as one of important ways for public transportation. The design inspirations are important

aspects in design that can provide a memorable local uniqueness experience for visitors

and tourists and potential in strengthen the identity for local tourism.

Figure 1. Akosiak Royal dining set of furniture and table runner

 The unique essence of the story is implemented in interior design, including a set

of dining table and chairs for local home and a stage design for traditional dance

performance. The folklore exploration in furniture design and interior accessories are

implemented based on the strength of local folklore related to rivers, sultanates and Malay

nuances. In this study, the furniture design is inspired by the form of furniture inside the

Siak Palace and combining “the palace style” with the peculiar shape of the winding and

undulating river. The typical form of the river is applied to the armrests and backrests.

While the colors of the seat cover and dining table cover use fabrics with distinctive Malay

colors that contain elements of red, yellow and green.

Modernization and adaptation of historical interiors

J. B kowski & J. Poplatek (2015) study the adaptation and modernization of an

interior, as opposed to purely preservation actions, often requires intervention in the very

basic fabric of the construction of the building, its modification or, in extreme cases, its

transformation. He mentioned that modernization of the historical building’s interior

entails the need to take many decisions, often conflicting. Operational requirements,

protection of the architectural heritage, fire-safety recommendations, construction

regulations. He used method adopted to solve design problems rely on restoring the original

technical solutions, based on an analysis of constructional elements of the original

structure. In his study, He convert the heritage building for a sports hall purposes, with

several accompanying utility rooms. Figures below is the output of the study.
 Figure 1. Bouldering gym, interior. Photo by J. Bakowski

Restoration of the Shaughnessy House in Canada

The restoration of the Shaughnessy House required specialized knowledge of

restoration, since the intervention included the adaptation of new and elaborated functions.

Thus, it required structural work, such as the reinforcement of structure to carry office

loads, the addition of skylights and installation of new kitchens. It should be noted that

major restoration work is artisanal, rather than industrial. The mahagony paneling, the

banisters, paneled doors, wooden shutter and other decorative motifs were transported to

Deschambault for refinishing, strengthening and replacement of parts as needed.

Figure 1. Interiors of Shaughnessy House in Canada

According to Canadian Centre for Architecture building, with the new structure

embracing the historic Shaughnessy House, reflects the influence of the Shaughnessy
House in every part of its design. At the same time, it represents the traditions of Montreal

in contemporary architecture. This is an example of how the new can enhance the old,

especially when the old is authentic, persists with all its integrity and serves the requirement

of contemporary needs with continuity. A reflection of the Shaughnessy House is also

found in its layouts of structure and the organization of its spaces. This is a work that was

inspired by the history and traditions of the city, starting with what exists and picking up

clues from the city and its buildings.

St. Mary's Goods Warehouse in Derby, United Kingdom

This case is an example of utilizing the advantage that commercial and industrial

interiors offer. Office, workshop, or studio spaces, need minimal alteration to be applied to

maintain the existing character of buildings. Commercial and industrial users require very

basic accommodations in terms of the "shell and core," unlike specialty designs, such as

hospitals, which need to pass special code and regulations, or hospitality environments, in

which more complicated circulation, space planning, and interior decoration are required.

The old warehouse was built to house trains transporting barrels of beer and crates of

whisky. The Derwent business center conserves the essential values of an old warehouse,

while adapting it for a small business accommodation. Removal of bricks from closed

windows and repair of steel frames to the original cast iron pattern, and reshaping and

glazing the openings on the first floor to create an entrance fa9ade for easier access and

more natural lighting were the major changes for exterior renovation.

These major changes involved using a loading alley to create an internal street along

the entire length of the building, where offices and studios are located. The conservation

of the railway created the upper level of the internal street. This upper level provided a
feeling of depth looking down the street. The main architectural structure is reserved after

an introduction of the new spatial elements and functions.

Rockingham Canal House in Bellows Falls, Vermont

The Rockingham Canal House is an example of the historic building renovation

that shows usage change from the hotel to the housing and retail space. This old building,

built in 188343, is located in the historic central business district of the village of Bellow

Falls, Vermont. The hotel was once a center of the community and a hub of town activity,

and its architectural significance was an attraction for residents and tourists. Residents in

Bellows Falls decided to preserve their historic heritage to revitalize the town's economy.

The exterior details have minimal change, but they either save or repair the original

shape and re-open the closed up existing openings. (Figure 6) The interiors were not

salvaged because most details were lost after a serious fire in 1960, and the building had

been vacant since then. An arcade, which is preserved with the original arched opening

fac;ade, shields the retail space on the first floor, and forty-two units of housing for older

residents are rebuilt on the upper three stories. Public space in the atrium between the

Rockingham Canal House and a neighboring building and an elevator are newly added as

updated functions.

Preservation of Ottawa Carleton Centre Heritage Building in Canada

The Heritage Building (former Ottawa Teachers’ College) is a national historic

building, with the building itself being an artifact. In this case, saving the building’s

documentary value is important, as the material value is one important issue needed to be

considered for conservation. Its restoration is required that the building be returned to good
health and full use while maintaining as much of the existing fabric as possible, so, as to

preserve its sense of age and authenticity. Preserving authenticity also implies respecting

the design values of the past and maintaining the distinction between the contributions of

different generations. Another challenge has been the establishment of contemporary uses

for the building and to make the building fit for that contemporary use. That has been done

successfully by the design scheme and the use of contemporary material for the office

interior of the 20th century, which is respectful to the heritage character and does not have

any impact over the integrity of the building. At the same time, the architectural planning

of interior spaces has taken the positive strengths of the building as its original use pattern

is reflected in the contemporary use pattern.

The authenticity of the building is complimented by the positive use of the

building’s original circulation pattern, and hierarchy of spaces, which makes it fit the

contemporary office use. Ottawa Teachers’ College is a work of art and glorious evidence

of the past, which is still undergoing this transformation and will survive and serve

generation after generation. Pictures below are the present interiors of Ottawa Carleton

Centre Heritage Building.

Renovation of the E.E. Warren Opera House in Greenfield, Iowa

Lee J. (2005) study explore the application of two frameworks, historic preservation

and experiential strategies, to a practical interior design project. The underlying promise is

that, when coupled with effective marketing practices such as those contained in aesthetic

experience theory, historic preservation can become a powerful tool to bring old buildings

back to revitalize their communities. This study presents the practical direction of interior

design for a dinner theater and · an accommodation space in the historical environment of
the E.E. Warren Opera House in the Public Square, Greenfield, Iowa. The study provides

an interior design concept adhering to historic preservation theory as one part of a whole

renovation project of the old opera house building. To apply appropriate interior design,

the significant historical values are studied and maintained. Revitalization of the old opera

house building could contribute to the development of new cultural and historical

connections in the community as well as contribute to the revival of regional economics,

by providing new tourist attractions and new job opportunities.

Lee J. (2005) also observed that the E.E. Warren Opera House in Greenfield, Iowa

suffers from the lack of understanding on value of the historic heritage and failing to

provide places for entertainment. The author, through observations, learned that both

dinner theater and lodging facilities would have positive impact on the development and

social interaction of the community. Literature reviews address design for food service

environment and dinner theater, and reuse of old buildings. This thesis, therefore, was

achieved by combining a hospitality design and revitalizing historic site to enhance social

interaction for Greenfield's tourism and reawakening of the people's attention to the newly

designed experience.

Local Studies

Cultural Heritage Tourism in Vigan City

The case of Vigan, Ilocus Sur is a demonstration of such development. The city

capitalized on its rich history and culture, embarking on cultural heritage conservation and

through heritage tourism the city was able to developed from being a 2nd class municipality

to a 1st class municipality in 1995 (Medina, 2009). In 2012, the town of Vigan was
recognized by the UNESCO World Heritage Center citing it for best conservation

management of world heritage properties. These were just few of the indications that

establish the link between cultural heritage conservation and economic development. Such

culture-led development has been supported by the UNESCO underscoring the sector’s

contribution to the economy through cultural and creative industries, sustainable cultural

tourism, and cultural infrastructure taking advantage of the country’s rich cultural heritage

and substantial labor force (Ruoss and Alfarè, 2013)

The story of Vigan’s best conservation management of world heritage properties

has proven that cultural heritage can contribute to development. What made the story Vigan

inspiring is they started with cultural apathy from rags to riches, from nothing to something,

and now they have everything. More than that, active stakeholder participation was the key

in the success of the city of Vigan and for the sustainability of any heritage conservation

program. Efforts initiated by various organizations were complimented with workable

government action plans resulting to tremendous economic benefits.

Barbara’s Heritage Restaurant in Cavite

The things from the past were valued enough today or at present to preserve the

future generations. For all of us, the word heritage gives us or thinks of old structures, old

churches, old houses, including culture, traditions, and even the food that we eat from

previous generations (Anaca et al., 2021). They believed everywhere has a heritage.

According to Nichol D. (2015), he said our modern lives are a continuation of our heritage.

In the Philippines, according to Barbara Gordon-De los Reyes, owner of Barbara's Heritage

Restaurant, heritage restaurant has been entertaining local and foreign guests for more than

twenty years now. In addition, when Filipinos especially elders eat in heritage restaurant
they order traditional foods, such as pork or chicken adobo, kare-kare, pork or beef sinigang

and sinigang na sugpo are among favorite food. These top of the mind Filipino dishes are

now also exhibit in other countries, which means it implies good food in different cultures.

Figure 1 Barbara's Heritage Restaurant Interiors (Photo by:

Keeping the Filipino culture alive through these heritage restaurants is a challenge

as longevity in the restaurant industry especially at this time of pandemic. Maintaining

the heritage restaurant is quite difficult because they need effective marketing strategy

amid pandemics. Some heritage restaurants' owners admitted that they find technology

quite intimidating, but it does not bother them too much because after all, tourists, and

locals alike to go to heritage restaurant to experience and taste of Filipino food and

culture. A heritage’s meaning is not only limited in preserving old things, gaining years

of memories and history. Rather, a heritage gives people experience of time traveling

towards to the establishment, view or food presented (Anaca et al., 2021)

Rehabilitation of the Luneta Hotel

The study of Fernandez J. (2001) used rehabilitation and adaptive reuse as a

strategy in renovation project of Luneta hotel. Built in the French renaissance

architecture, it is considered as the only building in the Philippines with such an

architectural type. The building has operated as a hotel since its opening and continued to

do so until the late 70‟s. Unfortunately, due to some financial constraint the hotel has

closed and was left to decay. Identified by the National Historical Institute as a heritage

building, the owners of the Luneta Hotel‟s intentions to demolish the building was

prevented. Presently, the building is slowing deteriorating due to neglect of the owner,

probably due to its lack of economical viability.

His study aim that a conservation plan could be formulated for the Luneta Hotel,

identifying the procedures to be used to restore the building, identifying significant, less

significant and obtrusive additions to the building, which could be retained or removed.

He used conservation and maintenance, consolidation, replication and rehabilitation for

the intervention process of the interiors. In closing a quotation from Bernald Fielden ,

“The best way of preserving buildings as opposed to objects, is to keep them in use –a

practice which may involve what the French call „mise en valeur‟, or modernization with

or without adaptive alteration.

Adaptive Reuse Design Proposal for the Buño House in Taal, Batangas

The study of Agoncillo (2016) aims to transform the “Buño House”, an ancestral

house located in Balisong, Taal Batangas, into a Film Viewing Theater with the concept

“Roots” that features Taal’s historical mores, traditional products and tourist spots.The

“Buño House” has been existing for over 137 years since it was built in the year 1880.

Presently, the owner has been uncertain of what to do with the structure given that she and

her family are now residing abroad and refuses to occupy the house in situations where

they visit the Philippines once every five to seven years.

 In the study, Agoncillo (2016) formulates a viable solution to the issue of ambiguity

with regards to the future purpose of the space. Moreover, the proposal can uplift cultural

and historical appreciation, awareness and identity through its exhibition of Taal’s rich

culture and historical background and foster a meaningful experience and entertainment

not only to the Batangueños but also to the people who aspires to visit the place. Through

consideration of perception and ambience, sense of curiosity, acoustics, treatment, and

historical culture are the factors considered in the study of Agoncillo (2016) for the success

of adaptive reuse in Buño House.

Interior Renovation of Selected Spaces of Taal Lake Conservation Center

Medina J.A. (2019) study about preserving eco-cultural interests through a

proposed filipino craftsman style for the interior renovation in taal lake conservation center.

He also examined the improvement of the work and learning of the users of the areas. His

study intended to provide an advanced approach in implementing design applications that

will result to a sustainable eco-cultural conservation center and sought to improve the

facilities of Taal Lake Conservation Center such as, the office, conservation room and Its

Training Center, promote the ecological and cultural aspects of Taal Lake, to help the local

community to take power over their environment in a conscious and caring manner, and

promote the Taal Lake Conservation Center’s advocacy in bringing back the natural beauty

and habitat of the Lake. The proponent chose four areas namely; the exhibit area, office 1

and 2, loft, and multi-purpose area that will confer the emblematic description of Bangka

as its design concept that focuses on its theoretical and visual display. In his study, he used

one-on-one interview and ethnographic research to further understand and attend all the

necessary needs of the TLCC. As per the result, the proponent came up with the design
analysis by providing adequate storage, better ventilation, usage of standard materials, and

proposing a plan that would give better accommodation for the staffs, volunteers, and

guests. He focused on giving a more sustainable design through the use of bamboo

throughout the design proposal for the selected areas.

The design stage of his study, he provided efficient ventilation for the area, a

qualifiable flooring materials, stairs that meets the standard safety and security

requirements, and bedding that are sufficient for the guests that will spend the night at the

site. The stair railings are made of rattan in Davies diamante single component

polyurethane wood varnish, adjacent to it is a 2-seater bamboo sofa, a luggage rack,

charging and laptop table, and a built-in console table. He proposed five bamboo bed that

can accommodate the guests that will spend the night at the site. The elements, principles,

and considerations included in the study are: balance, form, color, emphasis, proportion,

rhythm, harmony, texture, and the theoretical and display aspect of Bangka.

Reviving Calle Hidalgo through cultural preservation and adaptive reuse

The study of Dimalanta et al., (2006) focuses on the promotion of heritage

conservation and preservation through adaptive reuse. It will catalyze change in the City's

ideas and policies of urban development by promoting the culture of Manila through

valuing its old heritages in sustainable practices, from local tourism to responsible business

or commercial practices.

Quiapo – Calle Hidalgo, one of many pueblos established by the Spanish during

their colonial rule. Quiapo serves as a commercial hub for Filipinos, Chinese, Spanish, and

other foreign nationals. Calle Hidalgo is known for its camera and photography suppliers,

and most people considered this place as home. But many do not know that Calle Hidalgo
hosts the 4 heritage residential and religious architecture that became an important epoch

of the history of Manila. Their study provides an overview of one of Manila’s oldest district

– Calle Hidalgo, in terms of its characteristics and components, environment and

challenges that the district is currently facing. Moreover, the preservation measure that the

government implements these cultural heritages were discussed and assessed.

The enforcement of cultural heritage conservation is found inadequate resulting in

vandalism and permanent damage to Manila’s old heritage. In Conclusion, they elaborated

on a viable conceptualization for the Quiapo – Calle Hidalgo in promoting preservation

and utilization of these cultural heritages that can be maximized with government-

community participation in achieved socio-economic sustainability. The redevelopment

plan of Calle Hidalgo will be a novel and innovative tourist attraction which may be

showcased as a site of sustainable cultural heritage tourism.

Heritage Conservation of Capitol Building of Lingayen, Pangasinan

Mata R. (2009) focuses on conservation and restoration of Capitol Building of

Lingayen, retaining its heritage value without compromising its continued function as the

prime administrative center of Pangasinan. He analyses the treatment of materials (wood,

bricks, etc) and utilities (the storm drainage; the plumbing and electrical wiring; the fire

alarm systems). The restoration of the Capitol Building of Lingayen that would show

conservation to preserve heritage as symbols of national Identity need not be limited to

religious buildings or to any time period, whether colonial or not. It also debunks the

premise that conserved buildings have no practical use, but that their restoration should in

all cases try to retain their integrity as an integral part of architectural programming. The

programming however differs from ordinary architectural planning in the sense that
authenticity must always be paramount. The original intent of the builders should take

precedence over any design interpretations of the facilitating stakeholders or architect;

rather, a complementary use must be made to enhance its original significance.

The Capitol Building of Lingayen, Pangasinan (1918), an outstanding example of

Philippine state architecture in the American Colonial Period, will be the test case. The

building is also embodied in the official provincial seal and is of historical value, and thus

is of great heritage value to the people of Pangasinan as a symbol of their ethnic- and self-

identity.

The Ruin at Silay, Bacolod City

A well known as City of Smiles because of the famous Ati-atihan festival. The

people of Bacolod preserve not only their culture but also all the ancient buildings in their

province. Wealthy sugar baron Don Mariano Ledesma Lacson built the mansion in1900’s

for Maria Braga, his Portuguese wife. The Mansion’s structure resembles that of an

Italian architecture with neoclassical columns. The facades of the mansion are

comparable to the ones in Carnegie Hall. The belvedere facing west enables one to view

the beautiful sunset through the bay window. Imported lilies filled the garden of the

mansion and around the fountain. Don Mariano’s daughter Angelina tendered the garden

of the mansion. It was believed that the Mansion was burned during World War II to

prevent Japanese Soldiers from utilizing it as their headquarters to invade the Philippines.

The foundations and walls of the mansion remain strong and intact in spite of

being heavily scorched. Now, locals and foreign visitors visit the skeletal structure

because of its intricate design. The mansion has been converted to a café and its beauty
has been enhanced through landscaping of the surroundings. A lightweight tarpaulin was

placed on ground floor level to protect visitors in summer and rainy season. Nevertheless

no major conservation work was done as the original fabric of the building the concrete is

still strong and stand the test of time. 10 10The Timeless beauty of The Ruins, Talisay

City, the structure is similar to the San Ignacio ruined; the walls were the only distinctive

design elements that have remained. It is learnt that regular maintenance and stabilization

of ruined which conforms to conservation plan maintain the long term survival and

continuation of cultural heritage building.

Inside the Fight to Preserve Heritage Architecture in Manila

The Manila Jai Alai Building in Ermita, Philippines, was and still is often described

as an architectural masterpiece. Built in 1940, the four-story structure was considered one

of the finest Art Deco buildings in Asia during its time, and hosted jai alai games and other

pastimes of the rich and famous. It survived both the Japanese and American bombings of

Manila, with its restaurants, theaters, and rooftop gardens later converted to air raid

shelters, makeshift hospitals, and morgues—a testament to the strength of its construction.

In 2000, the building was razed by order of the Manila government to make room

for the city’s new Hall of Justice. But those plans were abandoned and the Hall of Justice

was never built. Now in the Jai Alai Building’s place is an empty lot fenced by rusting

aluminum sheets.

The demolition of the Manila Jai Alai Building may have not given way to a Hall

of Justice, but according to heritage architect Gerard Lico, it galvanized the heritage

conservation movement in the country.“This demolition was met with controversy and
intense backlash from the community, culminating in the passage of the National Cultural

Heritage Act in 2009,” said Lico.

Republic Act 10066, or the National Cultural Heritage Act, requires cities to

document and identify cultural heritage properties, including both built or immovable

heritage, like buildings, and movable heritage, like books and art. But having the law down

on paper does not mean it’s implemented on-ground. And the law, on its own, is ultimately

not enough to encourage the preservation of heritage structures.

Effects of Interior Environment on the Dining Experience at Restaurants

Batia A. (2003) dealt with identifying factors related to the interior environment of

a restaurant, which enhance the dining experience. The aim was to identify the effects of

various attributes of an interior and their effects on the human psyche and behavior. The

major aspects that were studied were color and light and their effects on human emotions

as well as perception of the interior environment. Several studies reported factors that

influence preferences in interior environments and reinforced the need for studies in the

field in order to create more meaningful environments that are comfortable and relaxing.

Other factors also emerged and literature with suggestions on design and development of

environments conducive to positive attitudes, behavior and emotions was documented.

Knowledge of these attributes formed the basis for the design of a prototype for a

seafood restaurant in Tallahassee – Coral Reef. Both the functional and ambient

requirements were laid out to guide the design and the site was chosen on the outskirts of

Tallahassee. The basic concept behind the design evolved from the client’s need for a

highly sophisticated atmosphere and also from the client’s background as a naval officer.
References to marine life were kept subtle and the major element of the restaurant was

designed as a channel of water that meanders through the entire spaces and ties it all

together.

The focal points of the design are the water channel and the wine display. The water

channel serves the purpose of providing relief from heat generated within the restaurant or

transmitted from the southwest wall. The sound of water is pleasing to the human

subconscious mind and will also serve to compensate for the noise generated from the

bamboo flooring. It is a major feature of the design and serves to tie the entire restaurant

together while also segregating the main dining area, the bar lounge and the display kitchen

dining. The wine display and the desert bar are the central feature of the dining area and

serve to unite the first and second floor. The design was based on the idea of transforming

the space into an experience that would give the visitor relief and comfort away from the

routine busy life.

Synthesis

This study focuses on interior design enhancement of a cultural heritage- Mustiola’s

Restaurant through the concept of preservation, using its guidelines and standard

principles.

In related literature of preservation theory, Ruskin (1900) stated that regular

maintenance and repair is a way of preserving a heritage building. He proposed that a

minimum level of alteration in features would make a heritage building practical. It played

a fundamental role in the development of the “Secretary of the Interiors Standards for the
Treatment of Historic Buildings: Preservation” which will be analyzed and adapted in the

study.

Furthermore, Ruskin (1900) stated that reproducing original styles in the form of

restoration was an insult to the original architect of a heritage building. That’s why literal

replication will be avoided in the study to respect the original creator of the building.

However, in order to sustain the historic identity of the interior, the book of Semes (2010),

proposed a strategy on adding elements in a historic setting which is the “Invention within

a style”. This strategy, while not replicating the original design, adds new elements in either

the same or a closely related style, sustaining a sense of continuity in historic setting. This

strategy will be applicable to the study as it respects the pre-existing context but enhance

the historic interiors at the same time.

Walters P. (2002) put an emphasis on physical settings; all the elements of interior

and exterior, as it affects the dining experience of customers. Customers' physical comfort

directly influences their satisfaction of the dining experience and the intention to return.

Updating a restaurant's aesthetic value is important for competitive advantage. Also the

space planning, a 40/60 split between the kitchen and dining room is industry standard.

These will serve as a design consideration throughout the study to create a meaningful

experience in the interiors of Mustiola’s restaurant.

(Teijgeler, 2001) stated that disaster cycles are some reasons that caused minimal

to severe destruction of a heritage building. It is a phenomenon that a building cannot

prevent that’s why it undergoes repair and maintenance in order to survive. While (Aziz,

2005) stated that besides many heritage buildings are at risk due to armed conflicts, willful

damage and demolition caused by humankind. In the present study it is considered that
each building and each situation is unique and must come up for an efficient design

planning of preservation, of which can minimize the effect of disaster and stabilize the

building.

Arguson, (2021) features the bahay na bato as a Filipino’s step forward in

reclaiming our independent existence as a people—one with rich culture, tradition, and

heritage long before our islands were colonized. Most of bahay na bato are built with adobe

stones, and problems in preservation of the stones were stated in the study of Cornestones

Community (2006). Moisture is the first main problem, and it is important to know the

moisture content of the interior of the wall to properly maintain. These can be helpful for

the present study since the interior walls and beams of Mustiola’s Restaurant were made

of adobe stones, and the owner stated this problem of maintaining those features.

Lagod (2014) stated that intangible cultural heritage can disappear in in the face of

growing globalization. Safeguarding them is an important factor in transferring of

knowledge, skills and meaning of past culture. This factor could help the study to create

awareness and knowledge of the past history in the town, thus creating meaningful

experience for the customers.