Masters Thesis Book

THE PASSENGER Hotel & Residences

ELYSE KAMPS Master of Arts in Interior Design Harrington College of Design

THE PASSENGER Hotel & Residences

ELYSE KAMPS Master of Arts in Interior Design Harrington College of Design, May 2016

CERTIFICATION

This document certifies that the written portion of the thesis prepared by Elyse Kamps, titled “The Passenger,� has been approved by her committee and meets the requirements to complete the degree of Master of Arts in Interior Design at Harrington College of Design.

Completion Date: May 13, 2016

Approved:

Date:

Constantine Vasilios, Thesis Committee Chair

Jaime Sandoval, Thesis Committee Reader

Erin Morgan, Outside Committee Member

x.

CONTENTS

CERTIFICATION ............ 5

DESIGN PROCESS ............ 82

CONTENTS ............ 6

PROGRAMS AND MASSING ............ 86

ACKNOWLEDGEMENTS ............ 9

L.E.E.D. ............ 88

KEY TERMS ............ 10

DESIGN PRINCIPLES ............ 90

ABSTRACT ............ 13

LOOK AND FEEL ............ 94

RESEARCHER BACKGROUND ............ 15

DESIGN CONTENT ............ 96

INTRODUCTION ............ 16

CONCLUSION ............ 150

THESIS STATEMENT ............ 35

APPENDIX: FULL TEXT OF THESIS ............ 152

THEORETICAL FRAMEWORK ............ 36

BIBLIOGRAPHY ............ 222

CASE STUDIES ............ 54 ANALYSIS OF DATA ............ 60 DESIGN SITE AND LOCATION ............ 70

CONTENTS 7

ACKNOWLEDGEMENTS

My sincere gratitude is extended as follows: To my grandparents, Frank and Doris, for their generous support and understanding starting the moment I mentioned this career change into Interior Design, and for their active role as grandparents which has enriched my life more than they know over the past 27 years.

To my mother, Mary, for her unyielding support and unconditional love.

To my partner, Ted, for being on my team every day, no matter what.

To my father, Mark, and step-mother, Angela, for their genuine interest and love.

And to my committee: Constantine, Jaime, and Erin, for their time, patience, intellect, and high expectations which guided me all the way to the finish line of graduate school.

ACKNOWLEDGEMENTS 9

KEY TERMS

ADAPTIVE REUSE: The process of reusing an old site or building for a purpose other than which it was built or designed for. Along with brownfield reclamation, adaptive reuse is seen by many as a key factor in land conservation and the reduction of urban sprawl.

HUMAN-CENTERED DESIGN: A creative approach to problem solving, the process of which begins with building a deep empathy with the people one is designing for and ending with new solutions tailor-made to suit their needs.

- Merriam-Webster

- IDEO

FACADISM: A dirty word among Preservationists; the growing, controversial practice of architects and developers retaining only the existing facade of a historic building and demolishing the rest of the structure.

INTERIOR DESIGN: The art or process of designing the interior of a room or building; a scope of services performed by a professional design practitioner, qualified by means of education, experience and examination, to protect and enhance the health, life safety and welfare of the public.

- An Architecture

FAST HOME: Like fast food, a standardized, mass produced commodity designed to attract attention, ignite desire, and give the illusion of value more than it has been designed as a good place to live. The lack of attention to the fundamentals of good design makes a fast home difficult to live in and hard on the environment.

- NCIDQ

SLOW HOME: A residence designed to be more personally satisfying, environmentally responsible, and economically reasonable. Simple to live in and light on the environment.

- Slow Home Movement

- Slow Home Movement

HISTORIC PRESERVATION: The practice of protecting and preserving sites, structures or districts which reflect elements of local or national cultural, social, economic, political, archaeological or architectural history. Benefits include the strengthening of local economies, stabilization of property values, the fostering of civic beauty and community pride, and the appreciation of local and national history.

- Whole Building Design Guide

KEY TERMS 11

ABSTRACT

The world’s major cities have always been dense centers of culture representing the unique people, architecture, commercial activity, and technological advancements of a wider region. As globalization continues to increase the speed of connection between formerly-distant cultures and merge financial markets into a global, digital world market, cities have become increasingly similar in look and feel. Companies and material productions that once represented an isolated culture and market - for instance, steel, Starbucks, and Sheraton Hotels - now have the potential for global reach. As such, for the first time in human history, we can witness the corporate presence in nearly every culture and almost every country around the world.

This has changed the global travel experience as cities offer fewer connections to the unique site and culture which once inspired people to journey to them in the first place. Cities of the globalizing world can look to their past architectural forms and site-specific design languages to preserve authenticity of cultural offerings and quality of modern living. This thesis examines the potential of Interior Design to generate a source of such preservation and regeneration through articulate adaptive reuse of historic properties.

ABSTRACT 13

RESEARCHER BACKGROUND Elyse is an emerging Interior Designer. She was once a politico on Capitol Hill, but now is exploring a lifelong passion for interior environments which have the potential to serve the greater good of humanity in far more immediate ways. Elyse works with one eye on history and the other on the future, and in the democratic spirit of good design for all. Through her travels and work experience, she has found fascinating connections between interior design and universal human needs, which led her to this thesis on improved city living and societal advancement.

Cusco, 2012 RESEARCHER BACKGROUND 15

WHAT MAKES some buildings come to be loved?

The Pantheon, Rome - A.D. 118

That which makes them human.

INTRODUCTION 17

INTRODUCTION

The Passenger is a capstone work, but it was not an isolated project. It is the culmination of life-long experiences.

I grew up in the small, college town of Iowa City, Iowa, home of The University of Iowa. The university attracted people from every corner of the globe, creating a microcosm of the diversity found in more metropolitan areas. Iowa City is an oasis in the heartland where one could grow up believing in the beauty of cultural differences.

The University of Iowa campus, Iowa City

INTRODUCTION 19

My own grandparents had immigrated to Iowa City from Cairo, Egypt. They traveled the world together and brought home a poster from every new city, which they hung in their basement back in Iowa. I examined the posters in awe. The richness of their travels and their multi-lingual household instilled a deep desire to travel myself.

iowa city CAIRO

INTRODUCTION 21

The influential international poster collection in the Abboud’s Iowa City home.

INTRODUCTION 23

I took particular interest in France from a very young age and connected with the Classical aesthetic, even more so after my first trip there at age 11. I was dazzled by the intact history of the place. During a mass at Notre Dame, I was floored to learn that the enormous Gothic column within arms’ reach was constructed around the year 1180. I had never encountered anything that old, and as a young person, I had been naive to the fact that humans were capable of such construction for many hundreds of years before my time. I was deeply fascinated by the history.

Paris, 2000

From that moment, I learned there was no substitute INTRODUCTION for the very human experience of travel.

25

The urge to travel pushes us into uncomfortable places, like a return trip to France to live with a family and a college study abroad in Tamil Nadu, India. Touching the ancient Roman walls in Slovenia, stepping on the dwelling rocks at Machu Picchu, and dining in Diocletian’s Palace in Croatia were all direct experiences with past cultures and people I could not have had without traveling to the site, without making myself a passenger again and again, across space and time.

Sites the researcher has visited as of May 2016.

INTRODUCTION 27

Travelers are drawn to these experiences like pilgrims to a stone, because to read about or see pictures is not enough. These are the things forged into memory. They keep our stories alive and make us want to return - or not.

In his book, “Chambers for a Memory Palace,” architect Donlyn Lyndon writes about architectural memory as a force of association that can “remind us of other places, other cultures, or more simply, the presence of other people.”

This is the intent of The Passenger, a place that fuses past and present experiences, with the potential to etch positive memories into the mind of the traveler.

LIKE PILGRIMS TO A STONE...

INTRODUCTION 29

“rEMIND US OF OTHER PLACES,

OTHER CULTURES,

THE PRESENCE OF OTHER PEOPLE.” -Donlyn Lyndon-

INTRODUCTION 31

As globalization continues, the built environments of the world’s historical city centers are morphing into ordered forms of linear glass and steel grids.

Connections to historic sites in particular have become harder to find.

INTRODUCTION 33

THESIS STATEMENT

Part of the solution can be adaptive reuse of historic properties.

Modern cities across the globe are looking increasingly similar as globalization fueled fast growth in construction and the emergence of new financial capitals. This has resulted in homogenized forms of sky-high steel and glass grids and threatens the unique identity of cities as they lose their architectural links to the past.

Through articulate adaptive reuse projects, interior designers have the potential to capture and honor the richness of changing meaning of a site by designing tangible interactions with past times and people. The honesty and authenticity of an adaptive reuse project can legitimize a space in users’ minds, fortify memories, improve the contemporary hotel experience, and enrich the lives of the buildings’ residents.

THESIS STATEMENT 35

It may be surprising that each of these buildings are found in far-flung locations from Japan to South America. Each of these cities started out with starkly different cultures yet today they look eerily similar. Many of the rich symbols and meaning humans rely on for identity and connection to a site have been lost to complications in corporate development, resulting often in facades of tedious regularity.

Chicago

new york

medellĂŹn

osaka

santiago

melbourne

THEORETICAL FRAMEWORK 37

Adaptive reuse refers to the process of reusing an old site or building for a purpose other than which it was built or designed for. It is seen by many as a key factor in land conservation and the reduction of urban sprawl. It helps sustain cities and sites and reverse the effects of global climate change. The U.S. Green Building Council identifies adaptive reuse as an inherently green building practice. It is city-centric and at the forefront of urban regeneration.

ADAPTIVE REUSE

THEORETICAL FRAMEWORK 39

THE VALUE OF OLD BUILDINGS

Stewart Brand, a major thought leader in preservation, published “How Buildings Learn: What Happens After They’re Built,” a book central to the research into the psychological values of historical adaptive reuse. In it he says, “history gives us distance from the present...in the spirit of contemplation it releases us from the prison of the present to examine the axioms of our time. Old buildings give us that experience directly, not through words...the most admired buildings are time-drenched.”

Stewart Brand

THEORETICAL FRAMEWORK 41

“HISTORY GIVES US DISTANCE FROM THE PRESENT...

...THE MOST ADMIRED BUILDINGS ARE

TIMEDRENCHED.” -Stewart Brand-

THEORETICAL FRAMEWORK 43

“ANYWHERE ESTATES”

The issue of newer construction replacing cultural links to the past goes beyond downtowns. So-called “anywhere estates,” common in suburban rings of nearly every city in the United States and Great Britain, are master-planned communities manufactured with low-cost materials for expediency.

Divided, over-scaled interiors

“Anywhere estates” stifle tasteful, locally-sensitive development and are referred to as “fast homes.” Similar to fast food, these homes and high-rises have been designed to attract our attention, ignite our desire, and give the illusion of value as much if not more than they have been designed as good places to live.

Out-of-place “Neoclassical” architecture

Builder-grade finishes

THEORETICAL FRAMEWORK 45

Fast development dishonors the culture’s history and natural environment, relegating residents to an existence as uninspiring as the cookie-cutter neighborhoods in which they live.

THEORETICAL FRAMEWORK 47

ONE CULTURE

Our cities -- where over half the world’s population lives in 2016 -- with their open financial markets and increased speed of communication, have allowed corporations to make their presence felt. For the first time in human history, one can witness the corporate presence in nearly every culture and almost every country around the world.

Starbucks has cups in the hands of Malaysians and South Africans, and Levi’s has jeans on us all.

Chicago

Paris

New York

THEORETICAL FRAMEWORK 49

HOTELS

As one example of a corporate hotel, the power of Marriott branding means their hotel rooms feel strangely similar in Chicago or Shanghai. The resulting standardization has affected the global travel experience. Despite all the positive benefits of globalization, homogenization and standardization have made our cities more similar and offering fewer connections to the unique site and culture humans travel for and make them wish to send a postcard.

JW Marriott Chicago

Shanghai Marriott Hotel City Centre

THEORETICAL FRAMEWORK 51

Stay with the Locals

Price

Location

TODAY’S GLOBAL TRAVELERS SEEK MORE. Evidenced by the rise in Airbnb and boutique hotel customers, most travelers under age 60 seek to “stay like the locals.” They are hungry for authenticity of experience, along with a well-connected location and reasonable price. Marketing surveys show emotional attachment to the hospitality site as a leading brand strategy across all major hotels as well.

Authenticity

Emotional Attachment Airbnb home in Paris

Freehand Miami bar

Wythe boutique hotel

THEORETICAL FRAMEWORK 53

The Waterhouse Hotel

AN ARMY HEADQUARTERSTURNED-HOTEL

CASE STUDIES 55

THE WATERHOUSE HOTEL

The Waterhouse Hotel at South Bund in Shanghai is a four-story, 19-room boutique hotel built into an existing three-story Japanese Army headquarters building from the 1930s. Neri & Hu Design and Research re-designed the architecture and interiors in 2010. By executing a strong design concept tied to the building’s history that also honors its newfound contemporary use, the interior designers communicated a narrative that is elegant, inspirational, and enriching.

CASE STUDIES 57

MUSÉE D’ORSAY

CHICAGO ATHLETIC ASSOCIATION

Located in the center of Paris on the banks of the Seine, Musée d’Orsay is a world-renowned museum installed in the former Orsay railway station built for the Universal Exhibition of 1900. The building itself is a work of art and a top tourist destination in Paris for its famous art, architecture, and story in connection with Paris and the history of her industry. The unusual adaptive reuse makes no effort to hide its past, embracing the railway architecture and fixtures, and creating a flow between the old and newfound uses. Its large light well makes the space feel as if it could still be a train station, adding to the memorable museum experience.

The Chicago Athletic Association Hotel is located just west of Lake Michigan on Chicago’s Magnificent Mile. The 1893 Venetian Gothic building was adapted and re-opened in 2015 after an extended period of dormancy. The new hotel interiors were designed by the New York firm Roman & Williams in close coordination with historic preservationists. The interior design tells the story of the club’s more than 100-year history with “a touch of disorder” according to the designers. A rooftop bar, Cindy’s, attracts locals and tourists to enjoy city, park, and lake views and “take in the story of Chicago” with a cocktail.

CASE STUDIES 59

PRESERVATION

The case studies bring reason to support and preserve memorable buildings.

The movement for preservation began in the 1830s when medieval cathedrals in France were restored. The idea of saving and reviving buildings because of their worth entered public discourse. It has generally been understood that the older the building, the more significant the site.

ANALYSIS OF DATA 61

buildings

“worth” saving

Temple of Hera, Olympia - 590 B.C.

ANALYSIS OF DATA 63

A SINGLE OAK COLUMN

Time-tested materials and architectural forms ignite mysterious human values which can be best experienced in the flesh. The Greek geographer Pausanias, upon visiting the Temple of Hera at Olympia in the 2nd century, remarked that one of the original oak columns remained, the rest of which had been replaced by more durable limestone in the 700 years since the original oak construction. Presumably that single oak column had been allowed to remain as a visual symbol of the antiquity of the temple on this site alone.

Contact with the 700-year-old column was a direct connection to a deeper time, place, and people no longer around. The site had value because of its meaning and by the many passing years of use; thus, it was memorable to Pausanias.

ANALYSIS OF DATA 65

Older buildings often work in modern cities because their design language is lost.

They exist as surprising rather than bland. They excite the eye and spirit.

New York

Toronto

London

ANALYSIS OF DATA 67

THE PASSENGER

The Passenger Hotel and Residences is a site-specific adaptive reuse project of the Railway Exchange Building in the Chicago Loop. The Passenger surfaced as an interior design concept after a long research journey.

THE PASSENGER Hotel & Residences

ANALYSIS OF DATA 69

LOCATION SELECTION

Site selection was an important practical consideration through firsthand observation of several historic properties.

The Chicago Loop is one of the most important central business districts on the globe. It is a tourist’s ideal location for the connection to an incredible concentration of cultural institutions, Michelin-rated restaurants, two large parks, and world-class shopping, as well as accessibility to every branch of the El train and direct links to O’Hare International Airport. It is walkable for urban exploration.

N

Chicago Loop detail and (top to bottom) the landmark Chicago Theatre on State Street, Cloud Gate in Millennium Park, and the elevated train on Wabash Avenue.

DESIGN SITE AND LOCATION 71

THE LOOP Project Location Factors

pop. 16,000 1.5 sq. miles transient Âť retain

The Loop houses 16,000 people within its 1.5 square miles. It is relatively dense, but was made denser through the stacked residences designed in an effort to help sustain the city with more permanent residents. The Loop is a transient area where people often do not live for more than a few years before they move to a suburb.

This project intends to attract and retain those demographics through their life stages.

DESIGN SITE AND LOCATION 73

LOOP DEVELOPMENT

The majority of the Loop’s 324 hotels have more than 1,000 franchises across the United States, and many are globally recognizable brands. It is the center of major investments in development and as such, the location where many valuable historic properties have been demolished.

x 1,000

The Garrick Theatre Built: 1891 Demolished: 1961 Replaced with a parking structure.

Louis Sullivan and Dankmar Adler’s Garrick Theatre, seen demolished in 1961.

Chicago Federal Building Built: 1898 Demolished: 1965 Henry Ives Cobb

DESIGN SITE AND LOCATION 75

SITE SELECTION Michigan Ave.

The Railway Exchange Building

Jackson Blvd.

Of the remaining historic properties, the Railway Exchange Building at 224 S. Michigan Avenue, standing at the crossroads of Michigan Avenue and Jackson Boulevard, was selected as a prime site for a hospitality and residential adaptive reuse project.

224 S. Michigan Ave. Train or bus stop

The building is across the street from top tourist and local destinations Millennium Park and the Art Institute, and walking distance to everything else the Loop offers.

Residents are assured a car-less commute with buses and trains nearby. It is ideal for tourists and live-able for residents.

DESIGN SITE AND LOCATION 77

SITE SELECTION

The Railway Exchange Building

The Railway Exchange Building was designed by Chicago’s famous architecture firm, D.H. Burnham and Co. in 1904 as the administrative offices for Chicago’s expanding population of railroad employees, primarily the Santa Fe Railroad. The building is 17 stories of steel-frame construction, with an 18th floor annex that Daniel Burnham converted into his personal office. From there, he designed the 1909 Plan of Chicago. It is easy to see just how perfect his vision of his beloved city was from this angle.

18th Floor Annex

1904

1912

1914

1980

A rendering from Burnham’s 1909 Plan of Chicago.

DESIGN SITE AND LOCATION 79

SITE SELECTION

The Railway Exchange Building

The building is a mix of the Chicago and Beaux-Arts languages. Burnham himself insisted upon the Classical language in Chicago 11 years earlier at the World’s Columbian Exposition. His firm went to great lengths to bring light and air inside before electricity and modern heating. The entire building wraps around a central light well like a square donut, with a glass atrium capping the grand 2-story lobby.

What visitors see today is largely Burnham’s original version, as a connection to the past.

The historic property has gone through a number of changing occupancies and uses but retains the “lure” of a lasting monument. Landmark status ensures the original design intent of the structure will not be altered.

The 2-story lobby in 1904.

Post-1980 renovation showing floors 15-17. The offices here had faced an exterior courtyard before the second glass atrium was added.

DESIGN SITE AND LOCATION 81

DESIGN PROCESS

The Passenger concept was applied to each stage of the design process to enhance the user’s experience of their journey, instill positive memories upon returning home, and to enrich the lives of urban dwellers who experience the building on a daily basis.

Starting with bubble diagrams:

Sketches:

DESIGN PROCESS 83

...And space planning:

Several iterations were conducted to understand how to adapt the large, old, square donut-shaped floor plan that was originally planned for offices. The focus is on incorporating abstract interior design solutions. The concept is that of the classic European city plazas offering public amenities on the street level and more private realms beyond.

DESIGN PROCESS 85

PROGRAMS TOTAL: 346,000 FT² 6,000 FT²

The design incorporated the following programs at right:

20,000 FT²

18: POINT B LOUNGE 17: THE LINE AT THE LAKE FINE DINING

140,000 FT²

10 - 16: RESIDENCES

8: POOL AND GYM 6 - 9: SPA

140,000 FT²

3D AutoCAD Stacking

3D Revit shell

3 - 9: GUEST SUITES

20,000 FT²

2: REGISTRATION, VENUES, BAR

20,000 FT²

1: NEOCLASS CAFÉ, RETAIL, MUSEUM, MARKETPLACE-CAFÉ

PROGRAMS AND MASSING 87

LEEDÂŽCERTIFICATION LEED v4 for Building Design and Construction: New Construction and Major Renovation

The adaptive reuse advantage makes The Passenger a strong candidate for LEED (Leadership in Energy and Environmental Design) certification. Sustainable approaches in space planning including bike storage for staff, access to healthy food in the marketplace, a green roof, and the light well for enhanced indoor air quality were program considerations.

location and transportation

Sensitive Land Protection - 2 Surrounding Density and Diverse Uses - 5 Access to Quality Transit - 5 Bicycle Facilities - 1 Reduced Parking Footprint - 1

sustainable sites

Prereq. - Construction Activity Pollution Prevention Site Assessment - 1 Site Development - Protect or Restore Habitat - 2 Rainwater Management - 3 Heat Island Reduction - 2 Light Pollution Reduction - 1

water efficiency

Prereq. - Outdoor Water Use Reduction Prereq. - Indoor Water Use Reduction Prereq. - Building-Level Water Metering Indoor Water Use Reduction - 6 Water Metering - 1

energy and atmosphere

Prereq. - Fundamental Commissioning Prereq. - Minimum Energy Performance Prereq. - Building-Level Energy Metering Prereq. - Fundamental Refrigerant Management Enhanced Commissioning - 6 Optimize Energy Performance - 18 Enhanced Refrigerant Management - 1

INNOVATION

Innovation - 5 LEED Accredited Professional - 1

regional priority High Priority Site - 2 Advanced Energy Metering - 1 Rainwater Management - 3

materials and resources

integrative process

indoor environmental quality

TOTAL: 86 Points Platinum Level Anticipated (70+ points)

Prereq. - Storage and Collection of Recyclables Prereq. - Construction and Demolition Waste Management Building Life-Cycle Impact Reduction - 5 Construction and Demolition Waste Management - 2 Prereq. - Minimum Indoor Air Quality Performance Prereq. - Environmental Tobacco Smoke Control Enhanced Indoor Air Quality Strategies - 2 Low-Emitting Materials - 3 Interior Lighting - 2 Daylight - 3 Quality Views - 1

Integrative Process - 1

L.E.E.D. 89

DESIGN PRINCIPLES

The following design principles were incorporated into the floor plans, furniture, fixtures, and finishes:

TIME:

The direct experience the old building gives us and capturing that through connections between its old and newfound uses.

MEMORY:

Celebrating the build date materials, and creating hotel rooms that are amnesiac spaces – blank slates, and homes that are repositories of memories.

BALANCE AND TENSION: Between old and new, native and foreign, and smoothing the incompatibilities through transparent materials like glass.

LIGHT AND TRANSPARENCY: Optimized natural light as a dramatic level of spectacle and enhanced indoor air quality, and seamlessness between old and new elements.

TIME

MEMORY

BALANCE AND TENSION

LIGHT ELEGANCE AND TRANSPARENCY

DELIGHT AND FUN

ELEGANCE: The use of clean lines in relation to the ornate historical details, primarily through minimalist Mid-Century Modern furniture.

DELIGHT AND FUN:

Because interior design should be.

DESIGN PRINCIPLES 91

DESIGN PRINCIPLES 93

LOOK AND FEEL

The design of the public areas, hotel and residences were conceived to dramatically enhance the user experience primarily through contrasting elements of old and new. The authentic historic elements of the building are meant to seamlessly integrate with the new finishes and fixtures, not stand out like museum pieces.

The dynamic spaces reflect a contemporary hotel feel through clean lines, meticulous space-planning to include sought-after amenities, and high-quality materials of visual and tactile value. The contemporary elements intermingle with the richness of warmth and texture brought out through historic materials like tin and velvet, as well as classic materials like wood and marble. Surprising color contrasts like orange and red in the historic spaces are softened by neutrals of olive greens and grays. Each room strikes a balance between grandiose and comfort.

HISTORIC

CLASSIC

CONTEMPORARY

LOOK AND FEEL 95

PLAN LEVEL 1

Entrance into the first floor can be on Michigan Avenue to the east or Jackson Boulevard on the south, with loading docks at the alley. Residents have separate elevator banks from hotel guests, and the two share a mail and information desk.

There is a bellboy counter with his own elevator to the second floor storage room or any level of guest suites. Administrative offices face the well-lit interior courtyard, and bike storage and showers are convenient for staff and residents. A marketplace with coffee counter was added to the area for residents and locals to grab a coffee before work or healthy meal ingredients on the way home. A museum honoring four of Chicago’s architectural greats is at street-level where tours of the city can begin, and a high-end gift store is adjacent. Neoclass Café opens onto Michigan Avenue for Parisian-style dining. The main central lobby, flooded with light all year round, is a place for patrons to dine, lounge, and work.

1

2

3

7

6

1 STAFF: ADMIN OFFICES 2 BIKE STORAGE & SHOWERS 3 MARKET-CAFÉ 4 CAFÉ COFFEE COUNTER

4

5

5 MUSEUM 6 NEOCLASS CAFÉ 7 MAIN LOBBY DESIGN 97

MAIN LOBBY

The grand atrium receives guests and invites them on a journey to the past.

Classical dentils, balusters, columns, and capitals are original and could not be altered because of Landmark status, but create an elegant balance and tension with the new materials.

DESIGN 99

MAIN LOBBY

The journey continues as passengers leave their troubles at the door and wheel their suitcases past plush velvet furniture and ceiling fixtures connecting with 1904 timelines. Excitement escalates as they pass locals enjoying the sun. With a grand two-story view to the reception desk, travelers are led upstairs to check in, choosing to take the marble staircase or the elevators that are reminiscent of old-fashioned ticket booths.

DESIGN 101

PLAN LEVEL 2 3 2

Exiting the elevators on level 2, guests face the registration and concierge desks.

Luggage storage and a small business center, as well as four meeting rooms offer guests needed amenities. A central lounge leads one around the atrium to enjoy prized views of Lake Michigan and the small bar connecting to one of the rentable venue spaces. Two other venue spaces, a kitchen, and a Pullman train car style dining space intermingle without mixing service and leisure.

1

4

6

4

5

4

4 6

1 HOTEL REGISTRATION DESK 2 CONCIERGE DESK 3 LUGGAGE & BUSINESS CENTER 4 MEETING ROOMS 5 HOTEL LOUNGE

6

7

6 VENUE SPACES 7 TRAIN CAR SEATING DESIGN 103

HOTEL REGISTRATION

Guests are greeted from behind the contemporary mirrored desk, which contrasts the backdrop of the ornate, white lobby and Classical coffers overhead. Surprising contemporary elements such as the orange marbled rug, and classic hotel sounds from the grand piano lure the passenger into a space of comfort visibly steeped in history. The departure of the journey is evident.

DESIGN 105

TRAIN CAR LOUNGE

The train car lounge has overtones of the Santa Fe line’s famous Pullman dining car.

The Pullman cars represented a luxurious, low-stress travel experience. This lobby bar attracts locals seeking an experience different from the sports bars in the area, and offers exciting views of bustling Jackson Boulevard, carrying visitors on a more literal modern train journey. Soft leathers and modern colors aim to create connections to the past and avoid the feeling of a museum.

DESIGN 107

PLAN LEVEL 8

3

Continuing the journey on, Level 8 is a hotel guest suite floor with the addition of the pool, gym, and spa registration. Seating areas in the atrium provide places to wait for someone getting ready with an impressive view. All rooms have king size or double queen accommodations. Some are adjoined for traveling groups, while the corners occupy two story deluxe suites with kitchenettes.

1 POOL

2

1

2 GYM 3 SPA REGISTRATION

DESIGN 109

PULLMAN KING ROOM

This is a view of the Pullman Room, a standard King size space that is ideal for two.

It includes a glass-enclosed shower and bright red claw-foot tub. Classic parquet floors with an ashy tone add contemporary notions, and simple white crown molding connects the space to the lobby below.

DESIGN 111

PULLMAN KING ROOM

A bay window seat offers a comfortable opportunity to view Millennium Park and the Lake beyond. The headboard represents constructions of old-fashioned suitcase straps and is padded for business travelers to be able to work from bed. Specific books were selected for every room so guests can enjoy a new reading experience each time they return.

DESIGN 113

PULLMAN KING ROOM

Memorable touches embody the significance of the site, while expected modern amenities for hotel guests are offered at every turn. The bedside tables, clean-lined modern bed, and light fixtures incorporate comfort and functionality.

DESIGN 115

PULLMAN KING ROOM

The intimacy of the room welcomes guests home after a day of urban exploration, inviting them into a quieter time and space. The work of Vivian Maier, a famed Chicago photographer, hangs on the wall. It is a couple sharing an intimate embrace while riding on a train. The idea of a journey is reinforced.

DESIGN 117

POOL ROOM

Down the hall and around the atrium, the passenger continues to discover in the two-level pool room. Light floods the space, enhancing the textured materials of the tin ceiling and original Chicago brick interior. Sleek glass windows and patina-ed beams stretching across an exposed light well were added.

DESIGN 119

POOL ROOM

Here, passengers can take a moment to relax, slow down, and reflect on their journey while having fun with the hotel inner tubes.

DESIGN 121

NEOCLASS CAFÉ

Meanwhile on the first floor, business travelers have the chance to meet in a casual environment from day to night, as the Neoclass Café’s casual dining room is open 24 hours. Weekend brunch-goers and tourists meander in from the sidewalk, attracted by the comfortable and elegant interior they see through the large windows. Locals stream in after work and before and after the symphony orchestra.

Classical elements reflect the adjacent lobby and modern reflective materials add visual tension.

DESIGN 123

NEOCLASS CAFÉ BAR

The Neoclass CafĂŠ bar is made of an attractively active Carrara marble. Customers visit for a cup of coffee. The barista counter is an opportunity to enjoy a drink in a unique local Chicago venue. From acrylic barstools, one is allowed views of the classic interior finishes melding with new.

DESIGN 125

NEOCLASS CAFÉ

The circular olive green velvet booths offer more intimate dining opportunities. Large, uneven mirrors create a tension between past and present in the jarred reflection.

DESIGN 127

PLAN LEVEL 12 2

In the residential realm of The Passenger, Level 12 represents a floor plan consisting of 6 one-bedroom and 5 2-bedroom apartment units, each one unique and appropriately scaled for density and relative affordability of city-center living.

1 2

2

2

1

1

1

1

1 2

1 ONE-BEDROOM UNITS 2 TWO-BEDROOM UNITS

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RESIDENCE

Natural wood tones of quarter sawn oak and a Statuary marble island are minimally invasive touches in an otherwise classical backdrop. The black marble fireplace warmly welcomes the residents to the open-space design of their home.

DESIGN 131

RESIDENCE

Original brick and molding enhance the tension with the contemporary lighting, layout, and marriage of spaces. Appliances and cabinetry appear seamless on a single plane. Ample storage was designed in the large pantry closet and cabinetry.

The residents, travelers themselves, can seamlessly enjoy their souvenirs from foreign places on display.

DESIGN 133

RESIDENCE

A single flooring material flows throughout into the adjacent living room, while the wall creates a divide which elevates the old-fashioned status of the dining room as the heart of the home.

DESIGN 135

RESIDENCE

Clean lines and contemporary urban art reflect the residents’ modern city lives but offer them a warm place of their own.

DESIGN 137

PLAN LEVEL 17

Going up to the 17th floor, residents, locals and tourists can enjoy a site-specific dining experience at The Line at the Lake Restaurant. The space is large and flexible for brunch and lunch in one area, and evening dining in another, as well as two long bars and adjacent lounge seating. Five private dining rooms encased in reeded glass can open to become one large party room for engagements, rehearsal dinners, or company parties.

1 4

2

1 LUNCH SEATING 2 EVENING SEATING 3 PRIVATE DINING

3

3

3

3

3

4 KITCHEN DESIGN 139

THE LINE AT THE LAKE

Lounge seating overlooks the dramatic 15-story light well atrium, made more intimate by the seating arrangements and greenery. The glass ceiling floods in the twilight sun as the day wanes, creating a dramatic line right next to the lake. The restaurant represents the line of parks along Lake Michigan with Chicago’s four seasons on display.

DESIGN 141

THE LINE AT THE LAKE

This seating area is for drinks and appetizers and overlooks Lake Michigan through characteristic porthole windows. Diners get to experience a defining moment at The Passenger overlooking the horizon line of the lake.

DESIGN 143

1

PLAN LEVEL 18

2 4

On the top level 18, Daniel Burnham’s Plan of Chicago is immortalized through map references in Point B Lounge and bar. The annex was Burnham’s personal office and connects visitors to the Chicago of 1909 that Burnham sought to re-invision. One service elevator for staff to bring food from the kitchen, and one guest elevator were allotted. Guests are led to the buzzing lounge via an elevator that does not stop on hotel or residence floors. An outline of Burnham’s original office is blueprinted on the floor, and a roof deck provides outdoor experiences to overlook Michigan Avenue, the Lake, and a sweeping view of the skyline to the North. The added green roof increases the solar reflectance index (SRI) of the rooftop, reducing the building’s energy consumption and contribution to global warming. Adequate space was allotted for rooftop mechanical systems and maintenance rooms.

4

3

3

1 BURNHAM’S OFFICE OUTLINE 2 ROOF DECK 3 GREEN ROOF 4 MECHANICAL DESIGN 145

POINT B LOUNGE

Burnham’s office can be experienced directly in the space at left where visitors can stand where he stood and see what he saw in the sprawling city below.

Unparalleled views from the roof deck remind visitors of the importance of this site, and of this city.

DESIGN 147

THE PASSENGER Hotel & Residences

DESIGN 149

CONCLUSION

This thesis project was a visualized look into the adaptive reuse potential of our cities looking to the future. Globalization and subsequent standardization of the built environment will continue, but a stronger emphasis on interior design practices that strengthen human connections to their living site will serve our growing city populations in positive and exciting ways.

The look and feel of a more meaningful city design will be a dramatic departure from profit-driven practices of the past three decades. That future city will be designed from the inside out in ways that incorporate all of its stakeholders residents of all income levels and ages, tourists, and future residents. Interior designers should consider adaptive reuse and its timely principles in future projects to instill meaning for human users and thus, value. Ultimately, the success of a city in our global world will depend on the strength of its meaning.

CONCLUSION 151

The Passenger Hotel and Residences: An Interior Design Case for Adaptive Reuse in the Globalized City

Elyse Kamps

in partial fulfillment of a Master of Arts in Interior Design May 2016 at Harrington College of Design 600 S. Michigan Ave. Ste. 719 Chicago, IL 60605

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CONTENTS

I. Introduction II. Thesis Statement III. City Culture

A. Cultural Adaptation

B. The Appearance of Cities IV. Human-Centered Interior Design V. Experience and Memory A. Hotels B. Residences VI. Adaptive Reuse

A. Preservation Philosophy

B. Chicago Preservation and Adaptive Reuse

C. Sustainability VII. Research Framework A. Sources B. Methodologies VIII. Case Studies

A. The Waterhouse at South Bund

B. Chicago Athletic Association

C. Musée d’Orsay

D. Skogaholm Manor IX. Design Concepts X. Design Site XI. Preliminary Design Test and Design Challenges XII. Design Project A. Programs

B. Design Response XIII. Conclusion XIV. Bibliography

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INTRODUCTION

As globalization continues to homogenize the built environments of the world’s historical city centers, many of the rich symbols humans rely on for identity and connection to a site have been lost to corporate development. Historic buildings in Chicago that mark chapters of the city’s history, including many built in the immediate aftermath of the Great Chicago Fire of 1871, have been demolished for parking garages and commercial offices with facades of tedious regularity in the forms of linear glass and steel grids. These contemporary, stringently ordered forms remind us of the monotone aspects of our lives and provoke feelings of lassitude rather than contemplation, of emptiness rather than a sense of connection to another time, place or person. They are forgettable forms which bring little comfort to the human condition or the urban dweller.

Stewart Brand, a writer, entrepreneur, and leading preservation philosopher who authored How Buildings Learn: What Happens After they’re Built, was a major influence on the direction of this research and resulting design project. He explains in How Buildings Learn that the “most admired” buildings are “time-drenched” and that a city full of such built forms represents in our minds “a kaleidoscope of periods and cultural styles all patched together,”1 much unlike the predominant Modernist and Bauhaus ideals of totality of design. Those Modernist ideals rapidly infiltrated modern cities beginning in the 1940s post-war era and continued to be adapted into the globalized one from the outside forces of global trade and communication to the interior environments where people live out their complicated, dramatic, three-dimensional lives. Our dwellings represent too great an emotional and financial investment and represent too significant of an environmental footprint for such institutionalized bad design to continue unchecked.

I will argue that in the face of expediently constructed homes, offices, and community centers of the globalized world, interior designers have the potential to impact urban sustainability – of history and the natural environment – by designing site-specific spaces which cultivate memory, history, and beauty with modern function and future purpose. By executing a strong design concept tied to the building’s history that also honors its newfound use, interior designers can communicate a narrative more elegant, inspirational, and enriching than a standardized hotel chain or corporate developer.

The embodied energy of a historic site is a fascinating starting point for any interior design challenge and can be embraced for LEED (Leadership in Energy and Environmental Design) projects falling under a variety of rating systems. This thesis aims to provide an alternative to the unsustainable and dissatisfying building trends of the increasingly globalized world by linking the energy and dynamic opportunity of a historically significant site with the promise of a more vibrant future for city dwellers and travelers. The intent of the design project is to support the claims made based on literature and observational research into the value of adaptive reuse on the human experience with a focus on the built interior hospitality and residential environments.

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THESIS STATEMENT

The design component is intended to be a statement on the merits of historic connections through the built interior environment as a path to greater comprehension of the value of a distinctive, considered interior environment with purpose. By extension, I predict that those who use the space and others like it in the future will begin to live their lives more simply and with greater clarity, to interpret their own place in humankind through reflection, to care more about their city, and to contribute to the greater good of it and their fellow citizens.

This thesis combines tangible links to the past with modern interior design methods in a Chicago-based hospitality, residential, and community project. By designing a uniquely modern and authentic experience fusing past, present and future in the fast-paced, globalized city of Chicago, tourists and locals will have the opportunity to slow down and connect more deeply with a city through its interiors.

Modern cities across the globe are looking increasingly similar as globalization fueled fast growth in construction and the emergence of new financial capitals. This has resulted in homogenized urban forms of sky-high steel and glass grids and threatens the unique identity of cities as they lose their architectural links to the past.

Through articulate adaptive reuse projects, interior designers have the potential to capture and honor the richness of changing meaning of a site by designing tangible interactions with past times and people. The honesty and authenticity of an adaptive reuse project can legitimize a space in users’ minds, fortify memories, improve the contemporary hotel experience, and enrich the lives of the building’s residents.

Because of the reasons outlined, the intent of this thesis is to testify to the ability for interior design to make the world a better place to live now and in the future.

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CITY CULTURE

This thesis project intentionally focuses on urban environments because they have always fascinated the author as centers of the earliest civilizations. In America, most of the largest cities of the present day represent the country’s first settlements. Cities have deep roots. As such, they inherit a natural building-up of cultures and styles over time which cannot be designed by any one architect or urban planner. Rather, cities are living, melting-pot constructs full of meaning that is as varied as the people who walk their streets. Many urban planners and interior designers believe cities should reflect that variety in its aesthetic qualities. Today however, cities have become more homogenous than ever.

Interior designers have the potential to change that.

A.

Cultural Adaptation

In every era of human history, a unique “capacity for culture” is what makes humans stand 2 alone amongst all other animals. It is the intellectual capacity to pick up where others have left off, not having to re-learn cultural knowledge each generation like chimpanzees whose cultures do not cumulatively adapt. Mark Pagel, an evolutionary biology professor at the University of Reading, says humans are “wired for further and further cultural sophistication.”3 This has taken the form of dense civilizations in cities the world over.

Cultural adaptation and sophistication propelled modern humans out of their native African environment in small tribal groups 60,000 years ago and, cumulatively, enabled humans to acquire and share knowledge, design technologies to suit different living conditions, and eventually inhabit nearly every 4 corner of the earth. Each of these tribes would develop distinct sets of beliefs, customs, language, art and religion to be valued and adapted by successive generations for thousands of years. These cultural adaptations which humans uniquely possess allowed for the gene pool to diversify. Still relevant to today’s modern collections of humans in cities, Pagel says, “the importance of the tribe in human evolutionary history has meant that natural selection has favored in humans a suite of psychological dispositions for making cultures work and for defending them against competitors.”5 These traits include collaboration, forging relationships and alliances, and tendencies to coordinate activity, trade, and exchange goods and services. This, at its root, could explain the organization of a modern city with its politics and growth linked to its own survival and flourishing. “The success of cooperation as a strategy has seen the species for at least the last 10,000 years on a long evolutionary trajectory towards living in larger and larger social groupings that bring together people from different tribal origins.”6 In recent years, we have seen an acceleration in the melding of people from different origins, which is a major social and evolutionary benefit of globalization. However, despite the increased sophistication of living arrangements thanks to cultural adaptation of the species, globalization has produced an unprecedented fast rate of “cultural knowledge” sharing. This represents, like the homogenization of urban forms, one downside of globalization. For example, for the first time in human history, one can see or feel the presence of nearly every culture in almost every country around the world. Today, one can buy a pair of Levi’s jeans in

APPENDIX 161

Chicago or Paris, sip a Starbucks latte that will taste exactly the same in Shanghai or Cape Town, recognize a Toyota logo in every city, and sleep in an expertly-branded Marriott hotel room that feels strangely similar in Cartagena or Chattanooga.

Sharon Zukin of Trinity College argues that trade routes and travelers have always carried new ideas and materials across great distances and among many cultures,7 underscoring the fact that no culture is static. However, today there is a faster, more automated circulation of that which we could consider cultural tradition.8 Importantly, city dwellers today are much less likely to associate a material 9 production like steel or a luxurious textile to the source of their own authentic, cultural identity. As cities are losing their visible cultural traditions and individuals are losing their identities to cities through globalized markets for material production, cultural creativity has emerged as the new symbol of a city’s competitive status. The idea that cultural creativity can renew a city’s distinction in light of an obsolete material market is seen in the concentration of new cultural and commercial development projects in city centers.10These emerging metropolitan markets are visibly detached from the suburban and rural forms which represented the bases of a now antiquated economy. Factories, mills, and other indicators of past development trends are now eyesores from a bygone era pushed outside city centers. High-rise, high status corporate office towers are intended to be symbols of economic modernization in a global race for financial investment.11

The problem is, from Gary to Sao Paulo, they make all cities look increasingly similar. “Regardless of how spectacular or creative the desired effect, the net result of a mobile tourist or observer who can sample cultures around the world is an unintended standardization.”12Any frequent traveler can sense this and seeks more.

13

While urban centers are diversifying at the rate of one million new residents each week, they are simultaneously becoming less distinct due to the frenetic pace of corporate development and the copied 14 and pasted attempts to become the next “cultural capital of the world.”

B.

The Appearance of Cities

Over the course of human history, advancements in social order and cultural adaptation have coincided with and required spatial order. From the Renaissance emerged urban planning to improve upon chaotic medieval cities. From the Enlightenment, interior design as a discipline emerged as the rise in comfort in civilizations afforded individuals more leisure time and more time indoors and out of the fields.

Interior design is one answer to the human struggle to survive and face problems such as how to live more comfortably and be safe from danger.15Although modern advancements have vastly altered the course of the species in positive ways, the limits of such order are fundamentally overlooked in the face of the overwhelming expediency and thrift wrought by global capitalism.

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Peter Marcuse and Ronald van Kempen argue that a new urban spatial order has emerged as a manifestation of the new world order of global capitalism, and they question the merits of globalization’s visible effect on the generalizable urban form associated with globalizing cities.16For example, in Chicago, modern glass curtain wall buildings have an exacting grid which can impose itself on the human spirit. A driving aesthetic force behind the “generalizing” urban form associated with globalization is the corporate saturation of hospitality and residential markets worldwide. This is a primary reason this thesis addresses a more authentic hospitality experience.

In suburban areas, the same effect is manufactured in subdivisions and master planned communities with low-cost, builder-grade composite homes through boilerplate regulations which stifle tasteful development, renovation, and renewal, dishonoring the culture’s history and environment and relegating residents to an existence as uninspiring as the cookie cutter neighborhood in which they live. These “anywhere estates” could look and feel exactly the same in suburban Oregon or England, drawing little inspiration from the natural landscape, culture, or practical functional needs of its modern users. The emotional and financial connections to one’s home are too significant for residences to be planned by consultants rather than designed by professionals. It is also important to address the more global effect of these individual structures. While at one point they may have represented great progress, their deeper implications on the lives of those who inhabit them and on the cities operating around them are highly nuanced.

Unfortunately, urban and suburban development is dictated by corporate investment and politics, which by necessity are short-sighted reactionary measures intended to immediately please board members and voters. Fast development pleases both, but history will tell a different story.

Since the 1980s, the expansion of financial credit for property development has driven corporate headquarters to more cities, inevitably bringing with them an onslaught of logos and brands now “affixed to architectural trophies”17in downtowns the world over. Zukin argues that homogenization has accompanied strategic visions of urban growth via corporate investment and that it has been a vision shared by elites who have the economic and political power to impose them on urban public spaces.18 Material productions that used to connect a cities’ financial activity and its history have been replaced by shows of public imagery recognizable the world over. For example, Chicago’s Trump Tower, Times Square, and Hilton hotels represent visible corporate statements imposed upon cities. To distinguish themselves and attract global tourists, many cities have resorted to attention-grabbing creative cultural installations like the red “I Amsterdam” letters or the Chicago Cow Parade. These city symbols are crafted to engage wealthy and trendy consumers in a global game they have to play. But for so many developing cities large and small, the pursuit of cultural distinction only ends in homogenization as more cities find ways to create Instagram moments worthy of a tourists’ pride.

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All of these examples amount to dynamic implications for the 3.6 billion people who live in 19 cities. Cities represent top travel destinations and are likely to be for years to come, so on a daily basis, their cultures and built forms are experienced by many more people than their actual residents.

With homogenizing cultural developments and a more affluent, well-traveled global citizenry, today’s avid traveler has a discerning “global eye” which instantly recognizes corporate zones and associates them with more kitschy cultural offerings.20 Designers and city planners must strive to appeal to these people and to attract skilled, diverse residents in commercial centers replete with shiny, modern high-rises that also come with a proportionally steep cost of living and a common lack of character.

Residents are understandably lured away from city centers by cheaper living, local commercial offerings, and a sense of belonging and safety attainable in suburban areas.

I argue that cultural adaptation of the species, compounded by and accelerated in recent years by globalization, urbanization, and digital communication, has ironically led humans to a point in history when it may be beneficial to look to the diversity of past cultures and forms for a more authentic human experience within the built environment rather than around us, where so much of what we see and experience has been coordinated to cue unsatisfying allusions to higher social status through corporate branding in homogenous, expedient city forms.

The Slow Home Movement, started in Calgary in 2008, is one example of the backlash against “fast” or profit-driven construction practices in neighborhoods across the modern world. They aim to reverse poor building practices epitomized by “anywhere estates” and other so-called “fast houses” of the 1980s and 90s development boom. Fast city development is seen in imitative glass curtain wall buildings copied the world over. They are often cheap, of-the-moment trendy, and easy to reproduce quickly. Like fast food, these homes and high-rises are standardized, mass-produced commodities that have been designed to attract our attention, ignite our desire, and give the illusion of value as much if not more than they have been designed as good places to live.21

Standing in contrast to the fast development trends which began in the post-war era, the much younger “slow” practice of design and city planning is gaining traction among those fed up with unsustainable, unsuitable, and inauthentic development. In Chicago, a neighborhood-centered hotel boom 22 is underway in response to the rise in popularity among travelers who want to “stay like a local.” Residents and travelers of the modern day can see right through the now-transparent corporate and political attempts to develop open land or bulldoze city sites for more expensive and less authentic high-rise structures. They resist moving into poorly-adapted old buildings where all character has been demolished on Day 1 of the flip. These are places in Wicker Park, Lincoln Park, Pilsen and every place in between where it is clear a developer cut corners at Home Depot just to charge at three-bedroom rates when that third bedroom is occupying a small square section in a formerly gracious, gorgeous old living room. These modern city

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HUMAN-CENTERED INTERIOR DESIGN

dwellers and travelers are hungry for authenticity and modern function, because today one can have both in any city center.

By adapting historic buildings for modern functions with design solutions that are sustainable and timeless, interior designers can protect sites of historical significance to a city, present a viable alternative to fast new construction, and encourage slower living.

This interior design thesis intends to reverse the current, unprecedented fast urban development trends outlined above in favor of a human-centered approach. By learning from architectural giants like Le Corbusier and Mies van der Rohe who seemingly forgot about human nature as they pushed for an ideal modern aesthetic, interior designers have a responsibility to remember it. Interior design has that capacity because it is the sophisticated and developed expression of primitive and fundamental indicators of human nature, of the primal simplicity of the human desire to make a better and more comfortable world for human beings.23 The interior designer aims to take a holistic view of spatial organization in relation to users and broader site context. At the root of this goal is to make a more comfortable world for humans with the understanding that ill-conceived or unconsidered design can produce harmful effects on human safety and well-being.

The United Nations Millennium Development goals underscore a related and relevant set of goals important for the modern designer to interpret through their human-centered work. U.N. Secretary-General Ban Ki-moon’s report on the goals is aptly-worded and articulates this connection with the role of the 24 designer: “A Life of Dignity for All.� With this humanistic goal in mind, designers of the twenty-first century and beyond can feel equipped to address and solve issues dealing with the dignity of those they design for, something of paramount importance to any variety of design program or site.

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In connection with the general humanistic message of the Millennium Development goals, this thesis project is an attempt to design personally dignifying spaces which are timeless and bridge old with new through spatial interactions which excite, comfort, and clarify the human experience for all, regardless of social status or wealth. This project is purposefully non-luxurious in order to be inclusive of a wide variety of tourists, middle-income travelers, and residents.

By embedding the more promising human attributes we share as a species into our buildings and interiors, designers move away from stark urban development trends. Alain de Botton writes about the intrinsic human qualities – both good and bad – of all built forms from skyscrapers to abstract sculptures in The Architecture of Happiness. In the humanistic book, he says that “the objects we describe as beautiful are versions of the people we love.”25Every bit of material, every wall, every line and curve, communicates to humans by prompting associations. “We seem incapable of looking at buildings or pieces of furniture without tying them to the historical and personal circumstances of our viewing; as a result, architectural and decorative styles become, for us, emotional souvenirs of the moments and settings in which we came across them.”26He says the tradition of equating furniture and buildings with living beings can be traced back to the Roman author Vitruvius, who matched each of the principal classical orders with a human archetype from Greek mythology.27Once we really begin to look around us, there is no shortage of human representations in built form. “A line is eloquent 28 enough.”

One argument for the validity of adaptive reuse of a historic structure in ensuring human appreciation is that time has removed the negative and disturbing aspects of associations. “The remove of a few generations or more allows us to regard objects or buildings without the biases which entrammel almost every era.”29The built forms and interiors that we admire, he says, are ultimately those that “extol values we think worthwhile…through their materials, shapes, or colours, to such legendarily positive qualities as friendliness, kindness, subtlety, strength and intelligence.”30An older building communicates these human values less obviously and more profoundly than new construction which carries intrinsic associations with modern-day concerns.

This thesis is an attempt to prompt positive associations with the ideal human qualities which equate to meaning in the subconscious or unconscious mind. Order, balance, ideals of home, and constructs of inoffensive virtuousness provide the qualities humans need to prosper in the built environment. Positive associations, especially those linked to the ideal of the self, add value to the hospitality and residential experience. Intrinsic human values like a sense of belonging and identity are crucial to a hospitality space of significance.

It is also crucial to communicate across time and human cultures in today’s globalized world. Louis Kahn exemplified a poetic approach to create timelessness in his designs which know no place in history.

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EXPERIENCE AND MEMORY

In the Yale Center for British Art, for example, Kahn melded the past and present ideals of British life through incompatible but story-telling materials of oak and concrete, both of which richly connote Englishness. He demonstrated the capacity of interior design to speak to an ideal contemporary human 31 state, that being a British one.

Donlyn Lyndon and Charles Moore also poetically reflect upon the impact of time on human spatial perceptions. In Chambers for a Memory Palace, Lyndon writes about memory as a force of association that can “remind us of other places, other cultures, or, more simply, the presence of other people.”32Being reminded of other people is a deep social link to our ancestors through time, he says, which aids human survival and reinforces the sense of self. This thesis aims to connect users to other places and remind them of the presence of other people through direct contact and indirect associations. Especially at a time when individuals are pulled away from social contact into their cell phones, an effort to design social interaction to combat loneliness and isolation is a concern addressed in the design of this thesis.

Direct human contact takes the form of direct human experience in the built environment. On the value of age and adaptive reuse, “history gives us distance from the present, as if it were the future of the past. In the spirit of contemplation it releases us from the prison of the present to examine the 33 axioms of our time. Old buildings give us that experience directly, not through words.”

A. Hotels

Human values of timelessness and attachment to memory are drivers of design which interior designers can translate for an improved user experience in the hospitality environment. It can be especially beneficial to understand the implications of time and memory in what users want depending on the specific function of the building or space within it. Travelers want vague symbols or references to home for comfort, but they also seek something out of the ordinary that is worth paying for in its distinction from their own home. The hotel room is an amnesiac space. “We would be troubled if it bore any sign of a previous occupant. We expect a hotel room to be cleaned as thoroughly as if a corpse had just been hauled from the bed.”34White sheets and vacuum lines are one way hotels visibly make this link for guests. These standards are not likely to decline any time soon with rising concerns over hotel sanitation due to bed bug infestations and highly influential online reviews on sites like hotels.com, TripAdvisor.com, and Yelp. In many senses, hotel guests can get a rather complete picture of what they will get from a hotel experience before they even set foot in it. Online photos and regularly updated reviews make the experience feel more shared and less unique too. “It’s becoming harder and harder to surprise and delight people,”35says Kit Kemp, a designer for the Firmdale Hotel Group which has the Soho, Haymarket, and Crosby Street hotels under its umbrella. “You have to be increasingly inventive. It’s a kind of design arms race. Hotels conjure exquisite spaces and adorn them with delicious objects. Visitors then reproduce these spaces in their own homes… the hotels respond by refurbishing with even more curated environments or quietly accept the loss of their fashionable status.” 36

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This back and forth between hotels and residences demonstrates how important it is in the bespoke world of hospitality and residential design to keep the two ideas merged in the minds of visitors, yet still remain resolutely committed to the highest standards of purity. Adaptive reuse can help a hotel gain the crucial edge in attracting and retaining guests in a saturated hotel market like Chicago’s. “The bond between old buildings and tourists is absolute and venerable.”37For one, repurposed buildings, with all other variable aside, inherently offer more than the standard corporate chain hotel like Marriott and Hilton can. Adapted hotels are often retrofitted with a greater variety of room styles, they are likely to be older, and they embody a “repository of memories” which adds to the one-of-a-kind experience linked to site and brand. This thesis will test that theory and provide historical context for guests to enjoy and from which to experience Chicago. Far from being a blank slate from which to explore the city, the adaptively reused hotel provides contextual information for the tourist, helping him or her feel at home when done right. When designed comfortably and cleanly, the design has the potential to put the guest at ease and earn their excitement in historical details and subtle defining moments which can attach themselves in the guest’s memory and forever be linked to the site and positive brand experience, increasing the chance of a repeat stay.

Translating themes of history must be done carefully and not too overtly or risk becoming quickly outdated. “History is a fluid concept – what is modern today will be antiquated soon enough,” says Andrew Boddington, director of Collingwood. “A designer can reference historical significance

through materials, furniture selection, upholsteries and textures. Layering different elements from different eras can also create a way of acknowledging history, albeit with strong contemporary focus.”38 B. Residences

De Botton writes that our homes provide not only physical but psychological sanctuaries and guard our identities. Unlike the amnesiac hotel space, the domestic interior embodies the opposite idea: it is a repository of memories.39 The story of its inhabitants are there in the photos on the mantel, the pictures and art on the walls, the books on the shelves, the scents in the air. Hotels must strive to design a unique experience for guests to engage with their brand and remain a “home away from home,” whereas residential design is meant to be a statement on the values of the individual inhabitants and be imbued with a sense of privacy and security. The home is the place where people most want to feel at ease, where they share their most intimate moments and truest versions of themselves. De Botton says that the balance we appreciate in architecture and which we anoint with the word ‘beautiful’ alludes to a psychological state 40 of mental health or happiness which is most importantly expressed in the home. We wish for our homes to represent the ideal versions of ourselves, whether we are able to articulate those or not. The role of the designer is to interpret those at least generally in a way that puts the residence at ease to live out their life in the space with the design only aiding the attainment and maintenance of that healthy mental state. This design of the adaptively reused residential spaces will be enhanced by the age and graceful style of the

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ADAPTIVE REUSE

of the building’s period. Adapting the residences for modern suitability will be done through materials, colors, and textures which balance the dignified and proud historic expressions bestowed upon the home over 100 years ago by people who are long gone. The balance struck between the time and residents’ experience within the space where they may tangibly connect with another period of history, enhances the sense of ideal balance they seek within themselves.

In this section, adaptive reuse and historic preservation will be treated as two different fields with aligned goals which are related to the aims of this thesis. Practitioners from both fields are interested in preserving some or all of the original integrity of a building. Both fields involve earning public support, navigating a web of tax credits, tax abatements, loans, historic district zoning laws, development rights, and other incentives worked into local, state, and federal policy since the movement for preservation began in the 1850s. Adaptive reuse in practice has been around for much longer than that of course, but more recent high-profile projects and a tightened environmental agenda have made it popular and garnered significant public enthusiasm at the highest levels of urban planning. James Marston Finch, founder of the first academic historic preservation program in the United States at Columbia University in 1964, said that “preservation is at the forefront of urban regeneration, often accomplishing what the urban-renewal 41 programs of [the 1960s and 70s] so dismally failed to do. Vincent Scully of Yale describes the movement towards preservation as a time when people suddenly liked old buildings, a time that “seemingly…reversed everything that had been done to the built environment of the 1950s and 1960s…Modernist architecture, urban renewal, go-go real estate – all were suddenly treated as the enemies of civilization and beaten back.”42And Stewart Brand underscores why this movement came about so quickly and stuck. “Retro worked; preservation paid off,” and preservationist professionals had “pragmatic interests in the long-term effects of time on buildings. Preservationists have a philosophy of time and responsibility that includes the future. They are passionately interested in the question, ‘What makes some buildings come to be loved?’”

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This thesis explores that mission through the lens of interior design in an adaptive reuse project translating a historic building for modern needs and for the “love” of its modern-day users.

owing merit to the fact that site matters has always mattered when it comes to preservation and adaptations of significant built forms.

A.

1839: French archaeologist A.N. Didron makes a proclamation which guides preservationists to this day, saying, “it is better to preserve than to repair, better to repair than to restore, better to restore than to reconstruct.”46

Preservation Philosophy

“Durability counts for more and more as our decades grow hastier.”44This quote connected with the intent of the thesis, as it embodies the essence of preservationist and adaptive reuse and underscores its validity in the modern day. It took thousands of years of civic development for preservation to take its current form with such high public approval and in-place legislative incentives.

However, the spirit of preservation seems to be a part of human nature, as many cultures have preserved buildings for reasons which are not pragmatic. Below is a timeline covering major events in the evolution of the historic preservation and adaptive reuse movements, including findings, recommendations, and eventually, legislation: 2nd Century A.D.: The traveler Pausanias visits the Temple of Hera at Olympia and remarks that only one of the original oak columns remained, the rest of which had been replaced by limestone versions for durability. In the 700 years since, Brand says that, “presumably this single oak column had been allowed to remain out of piety, as a visible symbol of the antiquity of the temple on this site,”45

1830s: French architect Eugène Viollet-le-Duc restores several medieval works including the Nôtre-Dame cathedral in Paris, “simultaneously devising the theoretical foundations of functionalist Modernism,” an affiliation of the 47 passionate and the pragmatic buildings worth reviving.

1848: Architect John Ruskin comes into open warfare with the English Victorian class which favored the Gothic Revival style and had the confidence and wealth to restore “everything dark and stony to an Early 13th century Gothic look regardless of the actual age and tradition of the building.”48Ruskin, “the romantic’s romantic,”49detested this sort of unstudied alteration and rebelled against restoration of all kinds in his 1848 book, The Seven Lamps of Architecture.

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1877: Inspired by Ruskin, William Morris founds the Society for the Protection of Ancient Buildings (SPAB), working against the “restoration tragedy”50Ruskin defined and effectively starting the preservation movement in England.

Late 1870s: The Arts and Crafts Movement begins in England from the same origins as the SPAB, working to “medievalize” new construction and artifacts with “a sophisticated simplicity, craftsmanship, and 51 warmth still imitated” today.

1894: The British National Trust is founded as the largest private landowner in the country, administering care of over 350 British properties, including Stonehenge, for the first time. It also sets up categories of protection by level of historic significance from “listed” to “exceptional” interest.52 As a result, Brand says that “the cumulative effect of such widespread preservation activities – amateur, professional, and governmental – is a country that feels solidly rooted in its own history, culture, and place. Everywhere tourists prowl in southern England, ‘are buildings that still work for a living, richly textured, expert at being exactly where they are and what they are, visibly cherished.” 53

1853: 54 The American preservation movement begins “born of patriotism” to save George Washington’s home at Mount Vernon. The Mount Vernon Ladies’ Association fundraisers organizes itself around the cause of saving Washington’s decaying plantation, gathering members from every state in the union. The group was able to purchase the estate by 1858 and still runs it to this day. “A pattern had been set. In matters of preservation, organizations of volunteers would take the lead.” 55 1910: The Society for the Preservation of New England Antiquities is set up to emulate William Morris’s British SPAB in America.

1931: The first American historic district is zoned in downtown Charleston, South Carolina. A declaration 56 is made in light of a flurry of gas stations replacing “beloved old buildings” claiming special protections for all buildings within the district. Today there are hundreds of such districts.57

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1949: The National Trust for Historic Preservation is established from an official charter from the U.S. Congress. In the beginning, the organization would collect grand country homes in the style of the British National Trust, but eventually took on a more universal role.

1964: In reaction to the Modernist and Universal design attempts made in the United States and Europe, the first historic preservation program is founded at Columbia University by James Marston Finch. Finch wishes to teach against the “shoddy, ephemeral, crass, over-specialized…recent buildings which 58 display a global look especially unwelcome in tradition-enriched environs.” Preservationists of this time also understood and wished to inform the public of the opportunities to improve real estate values.

1964: Ghirardelli Square in San Francisco opens as the first large-scale adaptive reuse project for the public to enjoy. Its popularity and widespread use facilitated the adaptive reuse movement to take off as “the mainstream of preservationist activity.” 59

1966: The National Historic Preservation Act is signed into law, joining with the National Park Service and the National Trust for Historic Preservation. This new system would develop and protect a national registry of historic buildings in the United States, and would set up tax benefits to aid approved rehabilitation through federal funding. “Suddenly America, with very little history to preserve, had a preservation policy and apparatus as effective as any in the world.”60 1981: A federal tax law is passed that allows developers a 25% tax credit on the cost of rehabilitating certified historic buildings and 20% on any building more than 30 years old.

1992: The National Trust for Historic Preservation receives over $30 million in private money and federal grants, demonstrating a wide base of support among wealthy American donors. Many in the U.S. and Britain are surprised. “Who could have foreseen that the most fashionable dwelling houses of today would be those 61 once occupied by animals or their food?” said one such bemused British socialite.

The Secretary of the Interior releases Standards for Rehabilitation that would be used for several years as a guide for the building business to cash in on the new and largely unfamiliar tax benefits of preservation and adaptive reuse. 62

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1990s: Preservationists across America came up with a variety of tax strategies in the face of a forceful real 63 estate market, “arbitrariness of city planners,” and trendy architects. Easements, transferable development rights, tax increment financing, conservative design review boards, and down zoning were a few of their legislative victories. Their reach still remained limited to the oldest buildings and communities.

When older downtowns across the country started emptying due to new shopping malls on the cheaper land at the edge of town, preservationists reacted with a movement to reactivate Main Streets across America, teaching local merchants how to imitate the mall organization and “lure business 64 back.” Many merchants would celebrate historic themes of their shops as a marketing strategy.

2013: The Global Report on Heritage and Resilience is released as a means of organizing the protection of buildings after before and after natural and manmade disasters. It has been recognized as important for society and resilience in the face of global terrorism and climate change bringing about extreme weather.

B.

Chicago Preservation and Adaptive Reuse

Throughout the City of Chicago’s history is a tension between preservation and Modernism, something still visibly reflected in the city’s skyline today. One theme which led to a design concept of this thesis was uncovered in research of Chicago’s preservation history in Daniel Bluestone’s book, Buildings, Landscapes, and Memory. That theme is “Remember and Build,” a tune which would lend itself well to summation in the synthesis of this research. Bluestone describes the tension between preservationists and 65 Modernists in Chicago beginning around 1960 over the Garrick Theater. Modernists called for a rebuilding of the city at the time, whereas preservationists wished to define and preserve a sense of place based on historic buildings and embodied by the Garrick Theater. Bluestone implies that Chicago is incapable of both rebuilding and preservation, but adaptive reuse projects that would come post-1970 would prove this wrong.

Bluestone said that the “aging, stagnant, cluttered” downtown ran in opposition to Modernist planning which called for opened-up plazas and taller, more modern buildings than the earliest ten-storyor-less “skyscrapers” for which Chicago was known. Modernists of the era wanted to “let the sun into the 66 Loop.” The city would get both new and old, with bold, modern structures defining an urban realm of the future and many successful adaptations adding “classical charm” along the way, providing cultural 67 narratives and valuable amenities for growing neighborhoods.

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Into the 1960s, a popular appreciation for America’s architectural history that was sweeping the country would work in favor of Chicago preservationists hoping to preserve non-Chicago School architecture for which the city was renowned this point. However, Chicago preservationists still had to work to craft a new narrative. Arguments for preservation of neo-Classical buildings constructed after the Chicago World’s Fair of 1893, for example, were harder to win. The Chicago-centric style had a local base and local pride, but older civic structures which seemed old-fashioned would need deeper appeals to circumvent demolition. For example, the neo-classical 1897 Chicago Public Library was ultimately saved when the argument was made for its preservation “for future generations to enjoy.” 68 This argument sounds boilerplate today, but it marked a striking shift in preservation philosophy and justification in 1960s America.

In 1965, Jane Addam’s 1889 Hull House settlement on Chicago’s northwest side would 69 become the first building in the city to be designated as a U.S. National Landmark. U.S. Senator Paul Douglas (D-IL) had appealed to Congress for preservation funding for Chicago, saying, “symbols and the embodiment of the noble past help to call forth the best in men and women, and they need to be cherished and not ruthlessly destroyed.” He called for a remembrance and preservation of values to represent the state, city, and its neighborhoods, not necessarily just the works of architectural giants.

This marked a turning point in preservation, from what Bluestone calls “aesthetic preservation” to 70 “associational preservation.” Where preservation of the Garrick Theater began as an aesthetic

preservation of the Chicago School, the Hull House’s association with Jane Addam’s legacy of service was to be embodied in the preserved building to represent her life and work.

What came to light in the Chicago preservation field was a challenge to older buildings without esteemed aesthetic or associational preservation narratives to stand alone and “prove their usefulness in a 71 changing environment.” What buildings would come to represent in history would be entirely dependent 72 upon the historical narratives preservationists would articulate for them. Bluestone says, “today, as in the 73 1950s, preservation is only as useful as the narratives it tells through the historic landscape.” Like anything in history, Chicago required associations and proof of modern purpose that could be sold to policy makers and land developers in order to be preserved. Preservationists were able to attach a fixed historical meaning, whereas architectural historians observed the times with a studied detachment. The reality of the preservation movement was that preserved buildings and adaptive reuse projects in Chicago allowed history to continue and for cultural contextual changes to leave their marks on a building like stratum across rock. To “remember and build” seemed the destiny of Chicago, a city with rich architectural history being half-preserved and half-demolished that concurrently attracted the biggest architectural talent.

Generations of Chicagoans have dealt with the problem of what would happen if landmarks disappeared, to be replaced by modern city development. Bluestone says that, “as a center of civilization,” Chicago has a responsibility to “transcend narrow concerns and cultivate memory, history, and beauty,”

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much like Daniel Burnham’s 1909 Plan for Chicago sought to do. Historical associations to site were some of Chicago’s earliest suggestions of spatial significance following the Great Chicago Fire of 74 1871. The fire that destroyed over half of the city’s buildings meant that only memories of the city remained. So many original bridges, hotels, churches, taverns, and houses were destroyed, forcing Chicago to become a “storied landscape that lacked any physical traces of the history being recalled.”75But from this destroyed landscape came a pride in a narrative among Chicagoans and a 76 necessary capacity to imagine the possibilities of a storied future. Rapid re-building began in the spirit of a better, more durable city on the horizon. Once again in history, Chicago represents a theme of remembering and building.

In summation, through all of Chicago’s ups and downs through grand plans and widespread destruction, through times of hope and disappointment, Chicago retains a historic mission to bring about renewal. The post-1871 renewal brought about a historic preservation of burned-down sites existing in memories and commemorated in the form of bronze plaques.77After World War II, the architectural aesthetics of the Chicago School would be preserved in the face of overwhelming Modernist development. And after 1960, a rift between Modernists and preservationists would continue to grow until the present day, when both are considered in light of the greater good of a neighborhood.

Today, present uses and changing neighborhoods are no longer considered reasons to disengage with a historic structure. More comprehensive neighborhood development patterns have made it the norm

to embrace historic structures as neighborhood pride points, or at least as buildings embodying useful energy for neighborhood functions. Today, neighborhood and community fabric are at the forefront of modern city planning, and individual, single-use buildings are no longer considered as individually eminent as they once were. This thesis intends to adapt a historic Chicago structure in the spirit of both remembering and building by honoring its aesthetic and associational preservation merits and optimizing its modern purposes in the infrastructural network it already exists within.

C. Sustainability 78

Building reuse is often called the “ultimate recycling project.” The massive amount of energy 79 “embodied” in the building is saved. The goals of adaptive reuse and preservationist professionals overlap with green goals, evidenced by the significant LEED project emphasis on building reuse. The LEED for Neighborhood Development Rating System (LEED-ND) provides a checklist for historic building projects, and several other LEED rating systems offer credits and award points towards LEED certification when a historic or existing building is being repurposed. In line with brownfield reclamation, adaptive reuse is viewed as a key factor in land conservation and the reduction of urban sprawl.80 It can contribute to a more dense use of land, something this project intends to do by adding multiple occupancies to the existing building and designing it to serve more purposes than it currently does.

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Beyond a reduction in waste and maximized existing materials and infrastructure, adaptive reuse of historic buildings have special sustainable qualities. Preservation and adaptive reuse preserves the historic character of towns and cities. Additionally, a recent report The Greenest Building: Quantifying the Value of Building Reuse found that reuse of existing buildings over thirty years old result in “immediate and lasting environmental benefits,” as even sustainably-constructed new construction 81 buildings take at least that long to recover energy expenditures from construction and maintenance.

Historic buildings were also traditionally designed with many sustainable features that responded to climate and site,82 especially in early office buildings like many built in Chicago around the turn of the 19th century. Light courts, atriums, and large, operable windows helped take advantage of natural light and can be retained in adaptive reuse projects without compromising historic character of the building.

Hitting the “triple bottom line” of green building projects, urban building preservation through adaptive reuse incorporates best practices in three kinds of resources: people, planet, and profit.83This thesis has a similar set of practical design goals which form the basis of why adaptive reuse was selected as the program type. Appropriate adaptive reuse projects contribute to the sustainability of the environment and the community. “Rehabbed buildings can help revive a whole neighborhood, even a whole town or city, with resulting higher rents and tax revenues,” Brand says. “A revitalized neighborhood attracts new investment, new business, and often the pure gold of tourists.” 84

Beyond the financial and environmental gains, the U.S. Green Building Council emphasizes the amorphous values of adaptive reuse. “Buildings that protect the history and character of a place also promote sustainability…Linking the present with the past reinforces a sense of place and helps create attractive communities with viable commercial centers. Sustainable design ensures that buildings and communities will survive and thrive for generations, no matter what the future holds.” 85

People seem to enjoy the unique experience of adaptive reuse projects, evidenced by the rise in investment in leisure and hospitality projects in recent years that appeal to younger generations of travelers and locals seeking one-of-a-kind experiences. That rise has been especially noticeable in Chicago in the 86 form of converted warehouses and upscaled hotel projects. “Recyclings embody a paradox. They work best when the new use doesn’t fit the old container too neatly. The slight misfit between the old and new – the incongruity of eating your dinner in a brokerage hall – gives such places their special edge and drama.” 87

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RESEARCH FRAMEWORK

Additionally, this thesis acknowledges the importance of measuring post-construction sustainability performance variables in adaptive reuse projects – such as reduced water consumption, quality indoor air conditions, green spaces to offset toxins, recycling plans for building materials and daily use, and other ozone recovery initiatives – with the same rigor and up-to-date standards as new construction. When the world’s densest metropolises which critically contribute to greenhouse gas emissions set new standards for development and sustainability, such modern communities like Chicago can grow and attract innovative investment to ride the tides of change well into the future.

Interior design can lead this call for sustainability by actively embracing it in practice now.

A. Sources

Research conducted for this thesis spanned two years of graduate school learning at Harrington College of Design in two architectural history courses and two design theory courses. The thesis topic formation was a culmination of interests over those two years of learning and gathering sources. One book in particular, Alain de Botton’s The Architecture of Happiness, inspired the thesis subject matter as well as provided direct quotes and one of the case studies, Skogaholm Manor. The beautiful, fascinating, incredibly varied concepts explored by de Botton are rare descriptions found in the field of interior design and architecture in America for their nuanced and emotional qualities which remain largely scientific and backed up by an enormous amount of sources cited by Mr. de Botton. Stewart Brand’s book How Buildings Learn: What Happens after they’re built was another major source of information in the investigation of adaptive reuses and the effects of preservation on individuals and neighborhoods.

Observational sources include my global travels which inspired an interest in history and exploration of old buildings. Ljubljana Castle in Slovenia, Neuschwanstein Castle in Germany, the medieval cloisters-turned-hotel in Avignon, and the dwellings at Machu Picchu conjure vivid memories in my mind many years after I have experienced them. The lasting memories of tangible interactions with ancient stone, ancient people, and newfound uses of ancient buildings inspired much of this investigation into the opportunities for interior design to similarly communicate across time.

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CASE STUDIES

B. Methodologies

A.

The Waterhouse at South Bund

Principles taken from literature and empirical research guided the programmatic decisions and design of the hotel, residences, restaurant, and communal spaces. Methodologies taken from the U.S. Green Building Institute and historic preservationists, most notably Stewart Brand in his book How Buildings Learn, provided the formation for arguments made over sustainability, adaptive reuse, and preservation.

The Waterhouse at South Bund Hotel is located along the Huangpu River in Shanghai. It is a four-story, 19-room boutique hotel built into an existing three-story Japanese Army headquarters building from the 1930s. Neri & Hu Design and Research re-designed the architecture and interiors in 2010. Their concept rested on “a clear contrast of what is old and new.” Steel additions were built over the existing structure and the original concrete was restored to reflect the industrial past of the working dock. Links to Shanghai’s history and local culture are seen throughout the property in references to ships. The guest rooms feature blurred private and public realms with architectural bathtubs and lavatories in plain sight from the sleeping area. This created a “disorienting yet refreshing spatial experience” full of surprises for guests who long for a unique hospitality experience. Clear glass separates the spaces and allow visual corridors and 88 adjacencies to reflect the city’s urban condition.

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B.

The Chicago Athletic Association

The Chicago Athletic Association Hotel is located just west of Lake Michigan on Chicago’s Magnificent Mile. The 1893 Venetian Gothic building was adapted and re-opened in 2015 after a period of dormancy. The new hotel interiors were designed by New York firm Roman & Williams, who worked closely with historic preservationists to restore much of the building to its original grandeur. The interior design tells the story of the club’s more than 100 year history with “a touch of disorder to keep the space fresh and draw in a younger crowd.” The multi-purpose lobby features large communal work desks and a variety of seating options opening onto a bar and game room on one side and windows overlooking Lake Michigan on the other. “Layered, lacquered, and leather-embellished” elements were inspired by old sports equipment abandoned at the site. Guest rooms feature custom brass beds and stacked blankets for cold Chicago nights, simply elegant, crisp period-style bathrooms, and functional custom furniture designed to emulate sports equipment. A rooftop bar, Cindy’s, attracts locals and 89 tourists to enjoy city, park, and lake views and “take in the story of Chicago” with a cocktail.

C.

Musée d’Orsay

Musee d’Orsay is located in the center of Paris on the banks of the Seine. It is a world-renowned museum installed in the former Orsay railway station built for the Universal Exhibition of 1900. The building itself is considered a work of art, and displays collections from the period 1848 to 1914. It is a top tourist destination in Paris for its famous art, architecture, and story in connection with Paris and the history of her industry. The unusual adaptive reuse makes no effort to hide its past, wholeheartedly embracing the railway architecture and fixtures, and creating a flow between the old and newfound uses without either intruding on the other. Its large light well makes the space feel as if it could still be a train station, adding to the memorable museum experience for guests.

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DESIGN CONCEPTS

D.

Skogaholm Manor

Skogaholm Manor is located in Narke, Sweden and was built and decorated in 1790. Its interiors “triumphantly declare” a statement of luxury and simplicity simultaneously. The furniture is detailed in a refined Rococo manner, carved with aristocratic curves and garlands of flowers. The floors are rough, unvarnished wooden planks one might see in a hayloft. “A similarly striking combination can be seen in the wall decorations, whose Neoclassical floral motifs, which might more predictably have been coloured in rich reds and golds, are instead executed in muted greys and browns.” Alain de Botton says the manor house proposes a new human ideal where luxury could entail neither decadence nor a loss of contact with the “democratic truths of the soul.” The building stands as an example of the balance we seek within ourselves between our own “troubling opposites.”

The following concepts were incorporated into the floor plans, furniture, fixtures, and finishes. The concepts, or principles, were gleaned from the research through a non-linear process of deduction to ultimately arrive at the core of the design test. The concepts fuse major research themes into one authentic design solution, as seen in the renderings. The renderings were composed to reflect most or all of the design principles through general atmospheric qualities and literal design determinations made by the author. The intent of the renderings is to substantiate the thesis assertions.

TIME. The direct experience the old building gives us and capturing that through connections between its old and newfound uses.

MEMORY: Celebrating the build date materials, and creating hotel rooms that are amnesiac spaces – blank slates, and homes that are repositories of memories.

BALANCE AND TENSION: Between old and new, native and foreign, and smoothing the incompatibilities through transparent materials like glass.

LIGHT AND TRANSPARENCY: Optimized natural light as a dramatic level of spectacle and enhanced indoor air quality, and seamlessness between old and new elements.

ELEGANCE: The use of clean lines in relation to the ornate historical details, primarily through minimalist Mid-Century Modern furniture.

DELIGHT AND FUN: Because interior design should be.

APPENDIX 199

DESIGN SITE - LOCATION

Site selection was the most important practical consideration made early on in the design process. The focus was on the densest areas of the city with the best connections to local transportation and infrastructure. It was also crucial to design a property with special significance to Chicago’s history and people. By firsthand observation of several historic properties in Chicago, the Railway Exchange Building at 224 S. Michigan Avenue was determined as the ideal location and site for a hospitality and residential property.

The Loop houses 16,000 people within its 1.5 square miles. It is relatively dense, but could stand to gain density in order to sustain it, especially among permanent residents. The Loop is a transient area where people often don’t live for more than a few years, moving to more affordable neighborhoods or suburbs when the lure of city living loses its luster. This project will attract and retain those demographics through their life stages, including new moms and dads, middle and upper-income couples and individuals, and empty-nesters giving city living a second shot given the convenient amenities provided.

The Railway Exchange Building is in the heart of Chicago’s Loop neighborhood. The Loop is Chicago’s official downtown area and one of the most important central business districts on the globe.

It is a tourist’s ideal location for the connection to an incredible concentration of cultural institutions, Michelin-rated restaurants, two large parks, and world-class shopping, as well as accessibility to every branch of the Chicago el train and direct links to O’Hare Airport. It is highly walkable for urban exploration.

The Loop is Chicago’s oldest neighborhood, its center of architectural gems, and also its most saturated corporate environment. The majority of the Loop’s 324 hotels have more than 1,000 franchises across the United States, and many are globally recognizable brands. It is the center of major investments in development and as such, the location of many valuable, now demolished historic properties.

The area has an incredible concentration of cultural institutions, Michelin-rated restaurants, and world-class shopping. It contains the Theater District, two major parks, and is accessible by every branch of the Chicago el train with direct links to O’Hare Airport. It is a tourist’s ideal location for the connection to cultural attractions, available transportation, and walk-ability for exploring.

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DESIGN SITE - PROPERTY

Of the remaining historic properties, the Railway Exchange Building at 224 S. Michigan Avenue, standing at the historic crossroads of Michigan Avenue and Jackson Boulevard, was selected as a prime site for a hospitality and residential adaptive reuse project. The site is directly across the street from top tourist and local destinations Millennium Park and the Art Institute, and walking distance to everything else the Loop offers. Casual cafes and fine dining restaurants are within blocks, as well as theaters, bars, universities, and one market. Residents at the site are assured a car-less commute to offices in the city or suburbs with buses and trains nearby. It is ideal for tourists and live-able for residents.

The Railway Exchange Building was designed by Chicago’s famous architecture firm, D.H. Burnham and Co. in 1904 as the administrative offices for Chicago’s expanding population of railroad employees, primarily the Santa Fe Railroad. Chicago has long been an important railroad center and by 1900 there were 6 passenger terminals downtown and over 15,000 employees. The Santa Fe Railroad approached Burnham, and the Railway Exchange Building was proposed to be shared by the Santa Fe and several other railroads. The building is 17 stories of steel-frame construction, with an 18th floor annex that Daniel Burnham converted into his personal office. From his top-floor perch, he designed the 1909 Plan of Chicago. It is easy to see just how perfect his vision of his beloved city was from this angle.

It is a mix of the Chicago and Beaux-Arts styles popular at the time, and is a classic Chicago office building plan. Burnham himself popularized the Classical Greek and Roman-inspired Classical architectural styles in Chicago 11 years earlier at the in his mega designs for the World’s Columbian Exposition. His firm went to great lengths to bring light and air inside before electricity and modern heating. The entire building wraps around a central light well like a square donut, with a glass atrium capping the grand two-story lobby. The steel frame allows for large windows and the projecting bays increase the amount of light streaming inside.

In 1980, the building went through a major renovation to further open the space and add a second glass atrium to the top floor. Today, a number of well-known architecture firms as well as the Chicago Architecture Foundation call the building home. Its gleaming white façade commands attention from tourists, architecture buffs, and passersby on the street.

The historic property has gone through a number of changing looks and uses but retains the “lure” of a lasting monument. The Classical ornamentation in the ornate lobby recalls a bygone day, and with Landmark status, visitors can take heart in knowing the building is protected by Landmark status. The original design intent of the structure can not be altered. What visitors see is largely Burnham’s original version, as a connection to the past.

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DESIGN TEST AND CHALLENGES

The Passenger concept was rigorously applied to each stage of the design process to enhance the user’s experience from beginning to end of their journey, to instill positive memories after returning home, and to enrich the lives of urban dwellers who experience the space on a daily basis.

Starting with several months of research, writing, sketching, bubble diagrams, sketches, and 10 weeks of space planning, the design went through several iterations to figure out how best to adapt the vast, old, square donut-shaped floor plan that was originally planned for offices. The focus was on translating abstract interior design solutions and enhancing the neighborhood offerings. Inspiration came from the historic building itself and the Classic design language of European city plazas that offer public amenities on the street level and more private realms beyond.

APPENDIX 205

DESIGN PROJECT

A. Programs

B.

The programs were designed to enhance the live-ability of the building for residents and to create a comfortable, even more convenient hotel location for tourists. For example, the market-cafe was designed because no other healthy food markets exist within 3 square blocks of the property, making the area difficult for residents to be able to walk to get groceries. The pool, spa, and multiple lobby bars were designed for tourists’ to enjoy a dynamic and full hotel experience all within close walking distance of everything else the Loop offers. Size and scale were important considerations made for sustainability and energy load demand. Residences were appropriately scaled for those reasons, as well as for relative affordability of city-center living. The focus across all the programs was on inviting guests and residents to experience the whole building and to have flexibility in their busy lives. Business travelers, for instance, can meet privately in the rent-able meeting rooms on the second floor, or gather in the Neoclass Cafe or lobby over food and drinks. Individual business travelers have the option to work from their hotel suite at the desk or in the padded bed. Through flexibility of offerings, residents and tourists can experience the building on their own terms for their own complicated lives. The building does nothing to hinder their already busy day, making it an inviting space associated with pleasure. This is the kind of place where residents will want to continue living and will make tourists want to return.

Overall: The original columns, coffered ceilings, balustrades, plaster details, and other on-site Classical forms provide a basis for order and beauty while the modern design elements enhance the visual landscape through inherent tension between timely forms and the desired purposiveness particular to the space. For example, the clean lines of the modern design will balance out the intricate Classical forms to create the desired effect of tension, purpose, honor for the visual order of the past, and honesty. Without the contrast of clean lines, the Classical detail work is interpreted as unnecessary applique suitable for a museum environment, not a highly functional -- and therefore relevant and impactful -- hotel and residence.

Design Response

These concepts were translated in each program and every room in the building.

LEVEL 1:

Level 1 is the central welcoming area for the entire building, with street-level amenities attracting people passing on foot. The retail store facing Michigan Avenue has high visibility through large windows and has the potential to attract many tourists every day. The Neoclass Cafe is also street-facing on Michigan Avenue with large windows for passersby to see inside and decide to dine in the casual, elegant spot. The casual seating spills out onto the street, creating a Parisian-style dining experience. Indoors, the decor is elegant, rich, and comfortable. Olive green velvet booths are warm and should encourage guests

APPENDIX 207

DESIGN PROJECT

to stay for as long as they’d like to do work solo or dine in groups. The Neoclass Cafe bar promotes flow around its circular perimeter. The active Cararra marble is an exciting upscale departure from the sports bars in the area many people frequent after work. The bar is a welcome spot for happy hour drinkers and morning coffee runs, as the barista counter has its own cash register for those who want to get their cappuccino to-go.

The adjacent, grand two-story lobby connects to Neoclass Cafe through a glass door. Guests have the option to take their coffee and reading material to the lobby seating area, where small bistro tables and chairs are set up around the perimeter. The atrium above pours sunlight into the vast space, creating an airy, outdoors environment even in the coldest months of the year. The sunshine enhances guests’ experience of the space by promoting happiness and well-being through the connection to natural light. The grand marble staircase leads guests directly up to the hotel registration and concierge desks. Elevators are reserved for guests of the hotel and residences, keeping the two private and secure. A two-sided desk underneath the marble staircase faces residents and hotel guests entering and exiting, providing a central checkpoint for information, mail, and security.

Hotel administrative offices are also off the lobby with large windows facing the atrium for access to natural light. A conference room and break room, as well as access to the back doors and bike storage are provided for staff well-being in the workplace.

The marketplace-cafe is convenient for staff, residents, hotel guests, and people who work nearby.

Morning commuters can walk in for a coffee at the Jackson Boulevard-facing coffee counter. Beyond the counter is a large store room with alley access for deliveries, and the marketplace with deli counters and a large produce section. The miniature market is a European-style amenity where people can have access to fresh foods each day of the week. A green wall adjoins the market to the lobby for seamless and beautiful integration between programs.

The architectural museum fronts both Michigan Avenue and Jackson Boulevard at a dynamic point in the city for tours to begin and for visitors to learn more about Chicago’s architectural legacy. Four permanent exhibits are dedicated to Daniel Burnham, Louis Sullivan, Frank Lloyd Wright, and Mies van der Rohe. A high-end gift store is adjacent to the museum and has its own separate entry from the street.

LEVEL 2:

The journey of the passenger continues up to the second floor, which is the information nexus of the hotel. The grand staircase leads travelers directly to the registration desk, and a concierge desk sits adjacent across the staircase. Both desks conveniently face visitors when they exit the elevators as well. A luggage storage room sits across the hall from the desk and next to a bellboy’s private elevator for convenient movement between the first and second levels. A small and private business center is next door to the luggage room for guests to use for quick prints and email.

APPENDIX 209

DESIGN PROJECT

A central lounge leads one around the atrium to enjoy prized views of the Lake and a small bar connecting to one of the venue spaces. Two other rent-able venue spaces sit in the corners of the building, each with great views of the city or lake. A kitchen, two permanent bars, as well as two make-shift bars serve the venue spaces and lounge.

The train car lounge has overtones of the Santa Fe line’s famous Pullman dining car. The Pullman cars represented a luxurious, low-stress travel experience. This lobby bar attracts locals seeking an experience different from the sports bars in the area, and offers exciting views of bustling Jackson Boulevard below. The train car seating carries visitors on a more literal modern train journey. Soft leathers and modern colors aim to create connections to the past and avoid the feeling of a museum.

The guest suites are named after historically significant hotel themes, such as the Burnham Room and the Pullman Room. The Pullman Room is a standard king size space that is ideal for two. It includes a glass-enclosed shower and bright red clawfoot tub. Classic Versailles parquet floors with an ashy tone add contemporary notions, and simple white crown molding connects the space with the lobby below. Bay window seating in some rooms offers a comfortable opportunity to view Millennium Park or to sit with other travelers with a drink from the mini bar. The headboards represent constructions of old-fashioned suitcase straps and are padded for business travelers to work from bed. Specific books were selected for each room so guests can enjoy a new reading experience each time they return. Several other touches make the room intimate and memorable. The old-fashioned telephone sits on the Mid-Century Modern bedside table and photographs by famed Chicago photographer Vivian Maier are hung on the wall.

LEVELS 3 - 9:

Continuing the journey on, Levels 3 - 8 are hotel guest suite floors. Level 8 has the addition of the pool, gym, and spa registration. The spa is stacked on levels 7, 8, and 9 by a grand staircase.

The spa and gym are tucked back in the alley-facing corner of the building so the guest suites have maximal natural daylight. The spa is cozier and darker for relaxation, without compromising the cool urban experience through access to brick wall views across the alley out the windows.

All guest suites have king size or double queen accommodations. Some are adjoined for traveling groups, while the corners occupy two-story deluxe suites with kitchenettes.

LEVELS 10 - 16:

The residential realm of The Passenger occupies Levels 10 - 16, where permanent city dwellers can enjoy the best views from the building. Residential floors consist of 6 one-bedroom and 5 two-bedroom apartment units. Each apartment has a unique floor plan and was appropriately scaled for density and relative affordability of city-center living. Residences are outfitted in natural wood tones of quarter sawn oak and have Statuary marble islands. Minimally invasive contemporary touches strike a balance with the classical backdrop of crown moldings and columns. Black marble fireplaces warmly welcome residents into the open-space design of their homes. Residences have at least one wall of original exposed brick.

Contemporary lighting and layouts create a marriage of spaces that enhance city living without making it more stressful.

APPENDIX 211

DESIGN PROJECT

The residences have meaning for those who call them home. Many residents are travelers themselves and can seamlessly enjoy their souvenirs from foreign places on display. Appliances and cabinetry appear seamless on a single plane. Ample storage was designed in the large pantry closets in each apartment, as well as the multiple built-in pantry cabinets. Another seamless aesthetic includes the single flooring material which flows throughout the rooms. Each apartment was designed to elevate the status of the dining room as the heart of the home through slight divisions without compromising the open flow of the unit.

LEVEL 17:

On the 17th floor, residents, locals and tourists can enjoy a site-specific dining experience at The Line at the Lake Restaurant. This is the fine dining experience offered by The Passenger Hotel and Residences, with the casual dining on the first level. The 17th floor space is large and flexible for brunch and lunch in one area, and evening dining in another for service efficiency. Two long bars are central to the space and lead guests between them to a prized view out one of the characteristic porthole windows. The nautical windows provide views of the lake and boats, and evening visitors can watch the sunset over the horizon from lounge chairs and sofas. Five private dining rooms along the southern wall face Jackson Boulevard. The rooms are encased in semi-transparent reeded glass, and doors between the five rooms can open to become one large party room for engagements, rehearsal dinners, or company parties.

Lounge seating arrangements are ensconced by Mid-Century Modern light fixtures along the atrium, where guests can enjoy dramatic views of 15 stories in the light well. The seating areas are made more intimate by the close-knit seating and ample greenery. The restaurant represents the line of parks along Lake Michigan with Chicago’s four seasons on display in colors and plantings.

LEVEL 18:

On the top level 18, Daniel Burnham’s Plan of Chicago is immortalized through map references in Point B Lounge and bar. An outline of Burnham’s original office is blueprinted on the floor, and a roof deck provides coveted outdoor experiences visitors and locals enjoy. Burnham’s office can be experienced directly in the blueprinted former office space, where visitors can stand where he stood and see what he saw in the sprawling city below. Unparalleled views from the roof deck remind visitors of the importance of this site, and of this city.

APPENDIX 213

CONCLUSION

In conclusion, the modern urban explorer, be they dweller or traveler, needs an experience designed at the human level that addresses human needs in the built environment. Based on the above research, these include feeling comfortable not anxious, feeling energized, being reminded of ideal human virtues, experiencing a space authentically in order to create positive memories of it, feeling a balance of perspective, and feeling the comfort of other humans within the space and from other times.

APPENDIX 215

END NOTES

1 Stewart Brand, How Buildings Learn: What Happens After they’re Built (New York: Viking

Penguin, 1994), 63.

2 Mark Pagel, “Does globalization mean we will become one culture?” BBC Future,

November 18, 2014, accessed October 20, 2015, http://www.bbc.com/future/sto

ry/20120522-one-world-order.

3 Ibid.

4 Ibid.

5 Ibid.

6 Ibid.

7 Sharon Zukin, “Destination Culture: How Globalization makes all Cities Look the Same,”

Inaugural Working Paper Series at Trinity College (2009): 7.

8 Ibid, 4.

9 Ibid.

10 Ibid.

11 Ibid.

12 Ibid.

13 Michele Acuto and Parag Khanna, “Nations are no longer driving globalization – cities are,”

Quartz, May 3, 2013, Accessed October 15, 2015, http://qz.com/80657/the-return-of-the-city- state/.

14 Sharon Zukin, “Destination Culture,” 2008.

15 Simon Dodsworth. The Fundamentals of Interior Design. Lausanne: AVA Academia, 2009.

16 Marcuse, Peter, and Ronald Kempen. Globalizing Cities: A New Spatial Order?. Chichester: John

Wiley & Sons, 2008.

17 Ibid.

18 Ibid.

19 Michele Acuto and Parag Khanna, “Nations are no longer driving globalization – cities

are,” 2013.

20 Sharon Zukin, “Destination Culture,” 2008.

21 “Our Philosophy.” Slow Home Studio. Accessed March 23, 2015. http://slowhomestudio.com/our-philosophy/.

22 Chicago’s Neighborhood Hotel Boom: Stay Like a Local.” Chicago Architecture

Foundation, 2015. Accessed October 15, 2015. http://www.architecture.org/architec ture-chicago/topics/news/chicago-under-construction/chicagos-neighborhood-hotel-boom- stay-like-a-local/.

23 Dodsworth, Simon. The Fundamentals of Interior Design. Lausanne: AVA Academia, 2009.

24 “United Nations Millennium Development Goals.” UN News Center. 2015. Accessed

September 14, 2015. http://www.un.org/millenniumgoals/.

25 Alain de Botton, The Architecture of Happiness, New York: Vintage Books, 2006.

26 Ibid, 93.

27 Ibid.

28 Ibid.

29 Ibid.

30 Ibid.

31 Ibid.

32 Lyndon, Donlyn, and Charles Willard Moore. Chambers for a Memory Palace.

Cambridge, MA: MIT Press, 1994.

33 Brand, Stewart. How Buildings Learn, 1996: 90.

34 Sweet, Matthew. “Suite Dreams.” The Economist 1843. October 2012. Accessed

October 20, 2015. https://www.1843magazine.com/content/lifestyle/bringing-ho tel-home?page=full.

35 Sweet, Matthew. “Suite Dreams.” 2012.

APPENDIX 217

END NOTES

36 Ibid.

37 Brand, Stewart. How Buildings Learn, 1994:94.

38 Fedele, Angela. “Why Hotels Are Leaving Design Continuity Behind.” Sourceable. 2014.

Accessed October 2014. https://sourceable.net/why-hotels-are-leaving-design-continuity-be

hind/.

39 Sweet, Matthew. “Suite Dreams.” 2012.

40 De Botton, Alain. The Architecture of Happiness, 2006: 200.

41 Brand, Stewart, How Buildings Learn, 1994: 89.

42 Ibid, 88.

43 Ibid.

44 Ibid.

45 Ibid.

46 Brand, Stewart. How Buildings Work, 1994: 94.

47 Ibid, 94.

48 Ibid.

49 Ibid.

50 Ibid.

51 Ibid.

52 Ibid.

53 Ibid.

54 Ibid.

55 56 57 58 59 60 61 62 63 64 65

66 67 68 69

70 71 72 73

Ibid.

Ibid.

Ibid.

Ibid.

Ibid.

Ibid.

Ibid.

Ibid.

Ibid.

Ibid.

Bluestone, Daniel M. Buildings, Landscapes, and Memory: Case Studies in Historic Preservation.

New York: W.W. Norton, 2011: 178.

Bluestone, Daniel M. Constructing Chicago, 1991: 179.

Ibid, 180.

Ibid.

“National Historic Landmarks in Illinois.” Illinois Historic Preservation Agency. 2016. Accessed February 7, 2016. https://www.illinois.gov/ihpa/Preserve/Pages/NHL.aspx.

Bluestone, Daniel M. Constructing Chicago. 1991: 181.

Ibid, 181.

Ibid.

Ibid.

APPENDIX 219

END NOTES

74 Ibid.

75 Ibid.

76 Ibid.

77 Ibid.

78 WBDG Historic Preservation Subcommittee. “Sustainable Historic Preservation.” Whole Building

Design Guide. October 9, 2014. Accessed January 20, 2015. https://www.wbdg.org/re sources/sustainable_hp.php?r=historic_pres.

79 Whidden, William I., “The Concept of Embodied Energy,” New Energy from Old Buildings

(Washington: Preservation Press, 1981): 130.

80 Joachim, M. Adaptive Reuse, Massachusetts Institute of Technology, Cambridge, Massachusetts,

1 Oct. 2011 http://www.archinode.com/lcaadapt.html.

81 The Greenest Building: Quantifying the Environmental Value of Building Reuse. National Trust for

Historic Preservation Green Lab, 2011. Accessed January 25, 2015. http://www.preserva tion.org/information-center/sustainable-communities/green-lab/lca/The_Greenest_Building_ lowres.pdf.

82 WBDG Historic Preservation Subcommittee. “Sustainable Historic Preservation,” 2014.

83 LEED Core Concepts Guide: An Introduction to LEED and Green Building. 3rd ed. Washington,

DC: U.S. Green Building Council, 2014.

84 Brand, Stewart. How Buildings Learn, 1994: 94.

85 LEED Core Concepts Guide: An Introduction to LEED and Green Building. 3rd ed. Washington, DC:

U.S. Green Building Council, 2014.

86 “Adaptive Chicago.” Chicago Architecture Foundation. Accessed March 1, 2016. http://www. architecture.org/architecture-chicago/topics-news/topic/adaptive-chicago/.

87 Campbell, Robert, and Peter Vanderwarker. Cityscapes of Boston: An American City through Time.

Boston: Houghton Mifflin, 1992.

88 “The Waterhouse at South Bund / Neri & Hu Design and Research Office.” ArchDaily. 2012.

Accessed October 18, 2015. http://www.archdaily.com/263158/the-waterhouse-at-south-bund- neri-hu.

89 Roman and Williams. “Chicago Athletic Association . Chicago.” Roman and Williams. Accessed

March 1, 2016. http://www.romanandwilliams.com/caa-chicago/.

APPENDIX 221

BIBLIOGRAPHY

Acuto, Michele and Parag Khanna. “Nations are no longer driving globalization – cities are,” Quartz,

May 3, 2013, Accessed October 15, 2015, http://qz.com/80657/the-return-of-the-city- state/.

“Adaptive Chicago.” Chicago Architecture Foundation. Accessed March 1, 2016. http://www.architecture.org/architecture-chicago/topics-news/topic/adaptive-chicago/.

Brand, Stewart. How Buidings Learn: What Happens After they’re Built. New York: Viking Penguin, 1994.

Bluestone, Daniel M. Buildings, Landscapes, and Memory: Case Studies in Historic Preservation. New

York: W.W. Norton, 2011.

Fedele, Angela. “Why Hotels Are Leaving Design Continuity Behind.” Sourceable. 2014. Accessed

October 2014. https://sourceable.net/why-hotels-are-leaving-design-continuity-behind/.

Joachim, M. Adaptive Reuse, Massachusetts Institute of Technology, Cambridge, Massachusetts, 1 Oct.

2011 http://www.archinode.com/lcaadapt.html.

Lyndon, Donlyn, and Charles Willard Moore. Chambers for a Memory Palace. Cambridge, MA: MIT

Press, 1994.

“Our Philosophy.” Slow Home Studio. Accessed March 23, 2015. http://slowhomestudio.com/our philosophy/.

Bluestone, Daniel M. Constructing Chicago. New Haven: Yale University Press, 1991.

Pagel, Mark. “Does globalization mean we will become one culture?” BBC Future, November 18, 2014,

accessed October 20, 2015, http://www.bbc.com/future/story/20120522-one-world-order.

Campbell, Robert, and Peter Vanderwarker. Cityscapes of Boston: An American City through Time.

Boston: Houghton Mifflin, 1992.

Roman and Williams. “Chicago Athletic Association . Chicago.” Roman and Williams. Accessed March

1, 2016. http://www.romanandwilliams.com/caa-chicago/.

Chicago’s Neighborhood Hotel Boom: Stay Like a Local.” Chicago Architecture Foundation, 2015.

Accessed October 15, 2015. http://www.architecture.org/architecture-chicago/topics/ news/chicago-under-construction/chicagos-neighborhood-hotel-boom-stay-like-a-local/.

Sweet, Matthew. “Suite Dreams.” The Economist 1843. October 2012. Accessed October 20, 2015. https://www.1843magazine.com/content/lifestyle/bringing-hotel-home?page=full.

De Botton, Alain. The Architecture of Happiness. New York: Pantheon Books, 2006.

BIBLIOGRAPHY 223

BIBLIOGRAPHY The Greenest Building: Quantifying the Environmental Value of Building Reuse. National Trust for

Historic Preservation Green Lab, 2011. Accessed January 25, 2015. http://www.preser vation.org/information-center/sustainable-communities/green-lab/lca/The_Greenest_Building_ lowres.pdf.

“The Waterhouse at South Bund / Neri & Hu Design and Research Office.” ArchDaily. 2012.

Accessed October 18, 2015. http://www.archdaily.com/263158/the-waterhouse-at-south- bund-neri-hu.

“United Nations Millennium Development Goals.” UN News Center. 2015. Accessed September 14,

2015. http://www.un.org/millenniumgoals/.

WBDG Historic Preservation Subcommittee. “Historic Preservation.” Whole Building Design Guide.

April 16, 2015. Accessed September 20, 2015. https://www.wbdg.org/design/historic_ pres.php.

WBDG Historic Preservation Subcommittee. “Sustainable Historic Preservation.” Whole Building

Design Guide. October 9, 2014. Accessed January 20, 2015. https://www.wbdg.org/ resources/sustainable_hp.php?r=historic_pres.

Whidden, William I., “The Concept of Embodied Energy,” New Energy from Old Buildings

Washington: Preservation Press, 1981.

Zukin,

Sharon. “Destination Culture: How Globalization makes all Cities Look the Same” (paper presented as a keynote for Conference on “Rethinking Cities and Communities: Urban Transition Before and During the Era of Globalization,” Center for Urban and Global Studies, Trinity College, Hartford, Connecticut, November 14-15, 2008.

BIBLIOGRAPHY 225

“Beauty is in what time does.”

-Frank Duffy, British Architect