Showing the "industrial" character of Baby Doe's architecture, atop "Goat Hill" in Dallas, 2002 Over there is a copy of the incorporation papers for one of Horace's will-o-the-wisp ventures. There's a picture of Baby and Horace's Denver home. While the "authenticity" of such themed restaurants often ends there: not so, the Baby Doe's restaurants. Each went an astonishing step further by hanging its interior walls with facsimiles of actual Tabor memorabilia: stock certificates from Tabor's companies, letters, family photos and portraits. The author's sister Nancy Moses at the entrance to Baby Doe's in Dallas, 2002
#WHAT HAPPENED TO BABYDOW WINDOWS#
The basic layout included an entrance made to look like a mineshaft, flanked by various mining-related artifacts such as tipple cars on narrow gauge rails and rusting hoist machinery. Inside, "down the mineshaft" as it were, one of two paths led down to the bar, while the other ascended to a dining room. Both rooms were heavily clad in the dark, rough-hewn timbering resonant of the interior of a mine, while, at the same time being furnished in high Victorian chintz and carpeting. And, as if to provide further cognitive disonance, both public spaces enjoyed un-underworld-like floor-to-ceiling glass windows facing "the view." Looking northeast toward Baby Doe's Matchless Mine restaurant from Interstate 35E in Dallas, 2002 Cushman for Specialty Restaurants of Long Beach, California. All were built according to a similar architectural model and designed by Ted J. All were situated to allow diners a "view" of some sort: a limestone quarry lake in suburban Columbus, a panorama of downtown in Birmingham, Dallas and Denver, etc. At one time back in the 70s and 80s there were Baby Doe's Matchless Mine restaurants in Columbus, Kansas City, Birmingham, Atlanta, Denver, Dallas and Los Angeles.
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