BFA Interior Design Thesis

TAILORING SPACE THROUGH RITUAL Minwoo Yang INT402-03-SP2018 Undergraduate Interior Design Thesis Professor. Sheryl Kasak Pratt Institute

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“I don’t need very much now,” said the boy.

“Just a quiet place to sit and rest.

I am very tired.”

“Well,” said the tree, straightening Herself up as much as she could, “Well, an old stump is good for sitting and resting Come, Body, sit down, Sit down and rest.”

And the boy did.

And the tree was happy.

Excerpt from The Giving Tree Shel Silverstein HarperCollins Publishers ©1964, New York

Copyright © 2018 Minwoo Yang. All Rights Reserved.

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Contingency 6 Issues and Interests 12 Thesis 14 Initial Researches and Precedents 16 Concept 32 Project Characteristics Users 42 Site 48 Programs 56 Project Narrative 74 Dangerous Supplement 76 Design Strategy and Development 84 Film Analysis 104 Schematics 112 Final Drawings 114 Appendices 130

Table of Contents

Contingency

noun

2. The quality or condition of being contingent. a) The condition of being liable to happen or not in the future; uncertainty of occurrence or incidence. b) The befalling or occurrence of anything without preordination; chance; fortuitousness. c) The condition of being free from predetermining necessity in regard to existence or action; hence, the being open to the play of chance, or of free will. d) The quality or condition of being subject to chance and change, or of being at the mercy of accidents.

Chance

noun

1. The falling out or happening of events; the way in which things fall out; fortune; case.

1. Absence of design or assignable cause, fortuity; often itself spoken of as the cause or determiner of events, which appear to happen without the intervention of law, ordinary causation, or providence; = accident

Ritual

noun

1. A compulsive act or routine, the non-performance of which results in tension and anxiety.

Practice

noun

1. The actual application or use of an idea, belief, or method, as opposed to the theory or principles of it; performance, execution, achievement; working, operation; (Philos.) activity or action considered as being the realization of or in contrast to theory.

Habit

noun

1. A settled disposition or tendency to act in a certain way, esp. one acquired by frequent repetition of the same act until it becomes almost or quite involuntary Definition Oxford English Dictionary

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PRACTICE CONSCIOUS OCCURENCE

RITUAL

CHANCE ABSENCE UNCONSCIOUS HABIT

Affinity Diagram

Affinity Diagram Extrusion Physical Model

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Affinity Diagram Extrusion Digital Model

PLASTER malleable FOAM mould

Junction Model “Malleable Juncture”

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Plaster casted in sponge form

Thesis Artifact Padlock “The Specialty of Ritual” Patent print poster invented by Lazlo Bako, first issued on July 15, 1975

ISSUES

PRIVILEGED PRACTICE OF INTERIOR DESIGN Interior Design profession often covers projects high-end residential projects, commercial office and retail projects, luxurious hospitality projects, yet, people with low economic status have no access to interior design.

FAILURE OF UNIVERSAL DESIGN Universial design ambitiously hoped to accommodate wide range of users, but fail to address minority in the estimation for its standard,

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INTERESTS

HAUTE COUTURE INTERIOR DESIGN Wearable Interior Customized Interior for Living ADA / Accessibility Standard

PHILANTHROPIC INTERIOR DESIGN ADA / Accessibility Standard Ubiquitous Interior Regardless Economic Status Community Impact from Interior

Issues AND Interests

PREFACE: “A vast majority of people live in dwellings not designed specifically for them, such as flats, and even when this is not the case, most dwellings are passed on to later generations or sold to unknown future residents. .”

-Robert McCarter and Juhani Pallasmaa, Understanding Architecture

Interior design is a selective practice. It either serves for upper class clientele to grand extraordinary, or replicates the standardized spatial configuration to universally accommodate diversity. However, this ubiquitousness overlooks a distinctive personality of each inhabitant, disconnecting the built environment from its user.

“Architecture, (interior design) is inherently not empathetic, but it should be, so show how it can be.”

-Craig L. Wilkins at 2017 National Design Award Winners’ Salon

There is an urgent need of remedy. As humans perform rituals to reconnect the body and mind, the disoriented relationship between humanity and the built environment entails the imm ediate ritual between the space and users.

THESIS QUESTION: Can a habitational ritual consciously tailor an empathetic layer to allow for re-engagement of a user with the disassociated built environment?

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Ideation from Humpty Dumpty Ritual Performance of Reconstructing Disassociation

Camouflage Neil Leach Contingency is through the inevitable variables of nature, including human beings. Predictable behaviors of humans are measured and calculated by designers, in order to build an unnatural and inanimate environment that people will not hesitate to assimilate with. Yet, those prediction only sits in the mere imitation; the individual creativity and variable perspective are improbability. However, the uncertainty lies in assimilation of inanimate objects and spaces to natural beings, the human. The fantasy within the space which is drawn by the designers will evoke mimesis of people inhabits.

Emphathic and Embodied Imagination: Intuiting Experience and Life in Architecutre Juhani Pallasmaa The writer reveals critical perspective on the contemporary architecture as it has been apathetic to human life. The architecture has rejected to reflect complex and dynamic human life, focusing “more on form and aesthetic criteria,� and neglecting mutual relationship between people and built environment. There is lack of design enhancing human situations. Architecture and spatial design has shifted its focus on the mere aesthetic, creating humanless spaces. Detached architecture from human life is mere a excluded and selective artwork,

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An Architecture of the Seven Senses Juhani Pallasmaa Juhani, in his writing, delineates sense based experiential quality of architecture, especially interior space. The space he describes is not a space observed by eye, yet by sensuous experience of human. And, he argues that this sensuous space is designed and constructed not by designers or architects, but by users and time that are reflected into the space. Every grab of a door handle is a ritual of a user opening the door, entering or returning to the space. An ordinary habit, through poetically observing, thus ritualizing itself, can be amplified its meaning, evoking a particular sense and experience.

Understanding Architecture (Chapter. Dwelling: Architecture, Dwelling and Home, and Chapter. Ritual: The Form of Ritual) Robert McCarter, Juhani Pallasmaa In Chapter Dwelling: Architecture, Dwelling and Home, the authors focus on the most fundamental purpose of architecture, sheltering for people to dwell.

Historically, built spaces for people served the task of “a shelter against unfavourable climate and weather, a protection against hostile forces, and a utilitarian device to enable the practical acts of daily life.” But, as meaning of ‘home’ differs from that of ‘house’, the dwelling reflects self-identity of the inhabitant, and serves as the base point to encounter variables of the world. Thus, rather than appealing aesthetically, the good house must bestow opportunities for the inhabitant to fully dwell within, as a base to interact outward.

In Chapter Ritual: The Form of Ritual, the authors explain all built environments concretize and manifest “beliefs, ideas and patterns of behaviour,” as each space is designed to serve specific function and to evoke relevant atmosphere. By facilitating the repetition of any behaviour, the built space can develop into the main player of ritual. And, as rituals of pre-scientific enlightenment served to understand and encounter contingent variables, and forming into spatial manifestation, the inanimate space creates new rituals of users through the time of inhabit.

Related Works (text) Initial Precedent Research

GANZFELDS James Turrell / (diemension) Variable (material) Unknown / 1976-2013

Ganzfelds, a German term for “the phenomenon of the toal loss of depth perception as in the experience of a white-out� exhibits uncertainty through picture-like entrance to the adjacent space. Due to lighting and color quality, the cut-out of the entrance is perceived as a flush wall. The work demonstrates a relationship between the human consciousness of physical space, and the manipulated perception through human limitation in senses.

Spatial manipulation of human perception

Related Works Initial Precedent Research 18

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AZUMA HOUSE Tadao Ando / 62 m^2 / 1975-1976 / Osaka, Japan

Azuma House, designed by Ando Tadao, exhibits an unique experiential contingency in a dwelling situation. Whereas roofs and canopies were invented to preserve human living space with a protective atmosphere, the architect removed one third of this shell to expose the house to the nature. The experience within the nature is contingent. It is the rain or any unpredicted natural crisis that holds uncertainty. Absence of human inventions allows the users to purely pray for rain and shine, to accept natural phenomena as inevitable fate, and to develop a ritual of invigoration through being exposed to nature.

Adapting unpredictability as ritual practice

Related Works Initial Precedent Research

HOMES FOR HOPE Los Angeles, California

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2016 USC Architecture Students Collaboration with MADWORKSHOP

A Typical Communal Shelter

AN EMPTY LOT

Shelter as a Human Right

Additional Research Homes for Hope USC Architecture Students Collaboration with MADWORKSHOP

JAGTVEJ 69 Jagtvej 69, 2200 København N, Denmark

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2017 WE Architecture collaboration with Vendepunktet, UBA studio, Erik Juul

Homelessness

Integrating Community with Homelessness through Urban Garden

Additional Research Jagtvej 69 WE Architecture

Diagram from www.concretecanvas.org.uk

Video captured from https://www.youtube.com/watch?v=LLrGUXk-h0M

CONCRETE CANVAS Prototype 2003-2004 Peter Brewin, William Crawford 24

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INFLATING STRUCTURE

Reflecting Surroundings

Depending on Occupancy Load of Space

Precedent Analysis Concrete Canvas 2003-2004

DOGON VILLAGE BANIAGARA Upper Niger River, Mali 1000-Present 26

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“When dogon families move,”

HOME

HOUSE

COMPONENTS OF DWELLING removal of thatch roof and clay walls eroding back into the earth

Precedent Dogon Village Bandiagara Upper Niger River, Mali 1000-Present

Understanding Architecture, images from Google.com, and Red Obscura

Butaro Hospital is an example of humanitarian architecture. From its initial design stage, the hospital is meant to accommodate patients substantially, fulfilling only the most basic requirement for a hospital: to heal. Furthermore, the notion of designing for its people extended to the construction of the space itself. The hospital, built by local people, provoked social and political change. The sense of ownership granted to the local people exemplified architecture as a humanitarian practice.

BUTARO HOSPITAL Burera, Rwanda 2011 MASS Design Group

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“... the hospital that allow us to heal.�

- MASS Design Group Co-founder, Micheal Murphy, in TEDtalk

From unventilated hallways that made paitients sicker, to exterior hallway and natural ventilation system for each paitients

Precedent

“Lo-Fab� Locally fabricated.

Architecture generating jobs, granting sense of ownership for the users.

Precedent

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The Poetics of Space Chapter. 4: Nest Gaston Bachelard

Additional Reading / Program Research: a text precedent Poetics of Space: Nests Gaston Bachelard

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CONCEPT: This thesis project suggests how human ritual performance engages in creating an empathetic interior space, a layer between the built environment and inhabitants. The project focuses on the habitational ritual that catalyzes inhabitants’ adaptation in the residential environment. As a remedy for disconnection, the empathetic layer is tailored to homeless people, one of the most marginalized population in New York City, as an urban scale ritual.

TO HOLD CACOPHONY

The project is to manage cacophony of urban context to present itself as a new approach and possibly solution to problem the thesis addresses.

RITUALIZING ORDINARY

The project is to ritualize the ordinary to amplify the existing into celebration.

EXPANDABLE TO EXTERIOR

The project is to expandable outwardly to have community impact, promoting social change.

PUBLICLY PRIVATE

The project is to be inclusive yet protect the essential idea of shelter, a protective layer for the private.

CONSISTS OF URBAN USER AND PROGRAM

ACCESSIBLE TO PUBLIC IN SOME DEGREE

The project is to address urban users and program in its context.

The project is to be inclusive, thus sharing with neighboring residents.

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CONSOLIDATION OF SELF

The project is to give full attention to each user for ultimate self-enhancement.

SHOWCASED

The project is to be showcased for further inspiration and social promotion.

EMPATHETIC TO ENVIRONMENT

The project is to adapt variables of environmental context.

PROTOTYPE TO BE SPREAD

The project is to be examined as prototype, and to be applied in multiple urban situations.

PHILANTHROPIC

The project is to create space in benefit for users and neighbors including passerby

HUMANITARIAN

The project is to be humanitarian, focusing on the user for its rudimental well-being.

Project Characteristics

Case study: the Library Bar at the Hudson Hotel demonstrates cyclical transformation of the space. Because the bar’s business and targetted clients are overlapped with adjacent burger restaurant, operates only at the certain time of day, creating a cyclical routine of occupancy density shift. The routine constantly transforms the space gradually for the operating hours. As whole, the program-complex at the Hudson Hotel creates the spatial ritual that benefits its business and users in high efficiency.

Case Study Relationship to Theme

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HUDSON HOTEL LIBRARY BAR 356 West 58th Street, New York, NY Constructed in 1928, Renovated in 1997 Interior Designed by Philippe Starck Case Study

ENTRANCE FOYER ESCALATOR

LOBBY/ RECEPTION

CORRIDOR

RESTAURANT

OUTDOOR GARDEN

CORRIDOR

LIBRARY BAR

Case Study Analysis: Program Adjacency

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BOOKSHELVES

BAR

INACCESSIBLE BOOKSHELVES

BOOKSHELVES

BAR

PRESENCE OF LIBRARY STIMULATING AMBIENCE Case Study Analysis: Program

06:00

09:00

12:00

15:00

18:00

21:00

24:00

03:00

06:00

SPATIAL USAGE OF OCCUPANCY THROUGH TIME

Case Study Analysis: Occupancy

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Does programmatic transformation alter experience in the space?

Y Does atmosphere generated by bookshelves affect the mood and how the space is used?

Y Case Study Interview

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USER

I NY LOW INCOME HOUSEHOLD

HOMELESS

TOURIST (AFFORDABLE)

GENTRIFIED REFUGEEE

Transient User Group To emphasize reassociation of a space and users through ritual performance, the targetting user group is to be transient. Short-term inhabitants’ adapting or wearing an empathetic layer to reengage with the disassociated built environment will examine the project assiduously.

Possible User Groups

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HOMELESS

Homelessness is one of the tribial concern in the urban situation, thus be solved.

The homelessness is caused by various reasons, including financial crisis to mental crisis. Homelessness is not a problem of poor/forgotten group of people, but it is an issue of deprivation of fundamentals of life.

Project User

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User Research

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SITE

HIGH LINE WHITNEY MUSEUM OF AMERICAN ART

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CHELSEA MARKET

29-35 9th Ave, New York, NY 10014 currently Soho House New York (Hotel)

Site Map Site Analysis on Sanborn 2016 Map (left) Exterior Image from https://www.sohohouseny.com

The proposed site in Meat Packing District challenges the idea of homeless shelter in the middle of the highly urban situation. However, homelessness is not a problem that is to be avoided or be hid, but, in fact, an issue to encounter through a particular urban context; homelessness in New York is different from that in other city. As history of buildings in the neighborhood exhibits rebirth of old warehouse buildings into markets, hotels, restaurants and retail stores, the proposed site asks for the phenomena of homelessness to be examined and confronted by residents of New York.

Site Map Google Satellite View 52

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Site Visit

January, 10

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August, 15

Site Daylight Study

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Site Physical Model Inflating Interior Space

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PROGRAM

HUDSON RIVER

HIGHLINE

HIGHLINE

HIGHLINE

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THE SHED

HUDSON YARDS

PERFORMANCE

INSTAL ATION

EXHIBITION EXHIBITION

ARENA

EXHIBITION EXHIBITION

CONCERT

Program Research: a project precedent “The Shed” Diller Scofidio + Renfro with Rockwell Group 545 W 30th St, New York, NY 10001 Video captured from theshed.org

LIVING ROOM KITCHEN BEDROOM BATHROOM LOBBY DINING ROOM POWDER ROOM CLOSET DRESSING ROOM GREAT ROOM STUDY ROOM WORK SPACE

GYM SWIMMING POOL LOUNGE PENTHOUSE THEATER SPA MASSAGE STATEROOM 60

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BASIC PROGRAM CONFIGURATION

SPECIFIC PROGRAMMATIC DIFFERANCIATION

LOBBY GYM SWIMMINGROOM POOL DINING LIVING GOROO ROOM O LOUNGE POWDER ROOM KITCHEN PENTHOUS PENTHOUSE CLOSET BEDROOM THEATER DRESSING ROOM SPA SPA BATHROOM GREAT ROOM MASSAGE STUDY ROOM WORK SPACE STATEROOM ENHANCING BASIC PROGRAMS THROUGH SPECIFICIED PROGRAMS

ADDITIONAL AMMENITY SPACES Initial Program Proposal

LIVING ROOM

LIVING ROOM

LOBBY O

LOBBY O

KITCHEN DINING GOROOM O BEDROOM M WALK-IN WALK IN CO CLOSET S

KITCHEN DINING G ROOM BEDROOM M WALK-IN W WALK ALK-IN IN CLOSET C S CO

GREAT ROOM

GREAT ROOM

DRESSING ROOM M STUDY ROOM M

DRESSING ING ROOM STUDY ROOM M

WORK SPACE

WORK K SPACE

BATHROOM POWDER OO ROOM O

BATHROOM POWDER O ROOM

ADDING SPECIFIC PROGRAMS

REGROUPING

PUBLIC(SHARED) OCCUPANCY: 10 MAX

LIVING ROOM

LOBBY O Y

GREAT ROOM

KITCH KITCHEN DDINING G ROOM O BEDRO OOM O WALK-IN WALK W ALK-IN IN CCLOSET CO S

PRIVATE OCCUPANCY: 1-2

DDRESSIIN INNG ROOM SU Y ROOM STUD STUDY S OO

WORK W K SC SPACE

BATHRROPOWDER OOM POWDE O ROOM SEMI-PRIVATE OCCUPANCY: 3-5

Initial Program Development Programmatic Breakdown Diagram Program Occupancy Diagram

SEQUENCE: ENTERING

ENTRANCE

STATE ROOM

GYM

LOBBY

LOUNGE

SEQUENCE: AMMENITY SPA

MUD ROOM

LEVEL OF ASSOCIATION TO SPACE

SEQUENCE: DINING KITCHEN

DINING ROOM

WALK-IN CLOSET

LIVING ROOM

CORRIDOR

STUDY ROOM

SEQUENCE: SANITARY BATHROOM

POWDER ROOM

BEDROOM

PASSAGE AS RITUAL PERFORMANCE

Initial Program Adjacency Sequential Program Proposal

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sleeping

toilet

relaxing

changing/ storing

washing hand, face, brushing teeth

entering/exiting

entering/exiting

bathing, showering

laundry

dining

cooking

entering/exiting

Programmatic Enhancement for the Urban Home The proposed program is a homeless shelter. As a typical and an unique urban setting of New York, the project aims to tackle sheltering homelessness with New York’s own resources, such as diversity, trend, and highly urban context. The shelter features to focus on rudimentary service of household, and “urban home.�

By providing focused services such as communal shower and bath and powder room, the shelter pursues the total recovery of homelessness through highlighting hygenic awareness. Also, the space is open to hotel users on the floor above, to engage social interaction and communication of humanity as whole.

Program Proposal Relationship to the Theme

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Area (sq.ft.)

Quantity

Occupancy

Adjacency

Individual Units

210

9 x2

1-2

Bathroom, Powder Room

Toilet

330

1 x2

1

Bedroom

Powder Room

950

8 stalls x2

2 each

Bed/ bathroom

Kitchen/Dining

800

1 x2

20

individual units

Shower/Bath

780

1 x2

2-3

Dining and other kitchens

Ritualistic experience of washing

Laundry/Lounge

1350

1

30-40

open access, main entrance

Laundry as social gathering activity

Childcare/Lounge 1300

1

30-40

open access, main entrance

Childcare as social gathering activity

Shared Living Room

300

1x2

10

individual units, Small breathing area toilet

Administration Office

140

1

3

Main entrance

Classroom

200

1

8

Childcare

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Characteristics

Inflating inward to individual occupants

Ritualistic experience of washing

Program Chart

LIGHT

Individual Units

Toilet

Powder Room

Kitchen/Dining

Shower/Bath

Laundry/Lounge Childcare/Lounge

Shared Living Room Administration Office

Classroom

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SOUND

Individual Units

Toilet

Powder Room

Kitchen/Dining

Shower/Bath

Laundry/Lounge Childcare/Lounge

Shared Living Room Administration Office

Classroom

Program Light and Sound Quality

THIRD FLOOR NET 10241 SQ FT

SECOND FLOOR NET 10241 SQ FT

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NET 20482 SQ FT

REQUIRED SQ FT FOR PROGRAMS NET 19580 SQ FT

Program Spatial Compatibility

HOTELpool POOL / AMENITY Hotel / amenity HOTELbar BAR Hotel HOTEL / LOUNGE

EXISTING E XISTING G SOHO O OH HOUSE OUSE US P PR PROGRAM ROGRAM R OG M

Hotel / lounge

HOTEL / THEATER Hotel / theater SHELTER / CLASSROOM

NEW N E EW WP PROPOSED PRO RO OPOSED P POSED OSED P PROGRA PROGRAM ROGRA AM M

SHELTER / classroom SHELTER / OFFICE HOTELsalon SALON / LOBBY Hotel / LOBBY HOTELbasement BASEMENT Hotel

Homeless Single mother and their children, age 6-13 The proposed program is a homeless shelter. As a typical and an unique urban setting of New York, the project aims to tackle sheltering homelessness with New York’s own resources, such as diversity, trend, and highly urban context. The shelter features to focus on rudimentary service of household, and “urban home.”

By providing focused services such as communal shower and bath and powder room, the shelter pursues the total recovery of homelessness through highlighting hygenic awareness. Also, the space is open to hotel users on the floor above, to engage social interaction and communication of humanity as whole.

Program Program Development

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Program Program Development Hygenic Rituals

Program Program Adjacency

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MAIN ENTRANCE

COMMUNITY INTERACTION

INDIVIDUAL UNITS

CORE HYGENIC PROGRAM

INDIVIDUAL UNITS

Program Program Schematic

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An adaptable transient dwelling is proposed and located within the Soho House, New York. As the hotel continues to operate, an emergent shelter for homeless single mothers and their children is tailored to their habitational rituals providing progressive accommodation to facilitate a reconnection to society.

TOP

LEFT

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FRONT

Dangerous Supplement Proposal

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Dangerous Supplement Visual Provocation “Wearing Wall”

TAILORING TO HUMAN BODY

Dangerous Supplement Material Study Inflation 80

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SEAM

SEAM

SEAM

SEAM

SEAM

SEAM

PROTOTYPE

Crumpled paper representing inflation

MOCK-UP

*red thread representing inflation tube

PROCESS

BLOWING BY OWN BREATH. VOLUNTARY DEDICATION

This layer is designed for homeless people who lack the fundamentals of living. The layer is worn like a jacket, inflated by each breath of the user, and also accommodates unpredictable weather conditions from living on the street. Through inflation as a method of tailoring, the structure conforms to the body’s contour and re-engages with disassociated external environment.

And, its feature of constructing by the users’ own breath represents conscious dedication to confront adverse situation and to adjust their own environment.

Proprioception Statement Inflation as method of tailoring

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Scale of Body Inflation Jacket

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A HOMELESS MAN WEARING AN EMPATHETIC LAYER

Tectonic Language Development Inflation as method of tailoring

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OCCUPANCY OF THE HABITATIONAL RITUAL during the rituals, a person occupies different volume of space at each moment.

Thus, empathetic layer must also be tailored to the momentary volume of the occupancy of the ritual.

Ritual and Inflation Study of habitational Ritual cooking, dining, taking a shower

MOMENTS OF THE RITUAL

ACCOMMODATION

EMPATHETIC LAYER

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Ritual and Inflation Moments of the Ritual and Accommodation The Empathetic Layer

SPACE TO INHABIT ACCOMMODATION

DEGREE OF ACCOMMODATION

EXTRUSION

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EMPATHETIC NICHE

Tectonic Language Degree of Accommodation Extrusive Inflation

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Tectonic Language Vertical Application Topography

Interior volumes stand autonomous from the overall architectural structure in order to perform the habitational ritual transformations. Adapting inflation as a method of tailoring, the interior volume is expandable and malleable through the use of the space. This metamorphic volume allows the space to be sculptured for individual inhabitant.

Scale of Volume Autonomous Interior

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3D PRINTING

Inflation Study

Filled

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Inflation SYSTEMATIC INFLATION

PHOTOS OF STUDY MODELS

Inflation Study System of Inflation Study model

EXPANDING BOUNDARY THROUGH RELOCATING OWN BELONGINGS

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Empathy Study What creates the empathy?

Shelving Modules

Porous

PLAN SCALE:1/2”-1’-0”

ELEVATION SCALE:1/2”-1’-0”

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DETAIL SCALE:3”-1’-0”

Openings

Rotate to invite entry

*rear view

Empathy Study Shelving System

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Empathy Study Sketches

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105 wiped

sheltered / accommodated

wiped

sheltered / accommodated

wiped

unsheltered / exposed

interior

Film Anaylsis

interior

wiped

sheltered / accommodated

wiped

sheltered / accommodated

wiped

sheltered / accommodated

exposed/unaccommodated throughout

temporary

stay

moment of accommodation

temporary

stay

moment of accommodation

Private Units

The film sequence when a human is exposed to natural contingency in exterior space, and different roofs and canopies are accommodating the person by creating the interior spaces. In this project, individual units as the beginning and ending, inhabitants travels through other programs while they are accommodated by different scale, degree and method of the empathetic layer. Each of the empathetic layer, the habitational rituals, highlights the moment of accommodation when the empathetic layer is tailored.

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Private Units

temporary stay moment of accommodation

temporary stay

moment of accommodation

temporary stay moment of accommodation

Film Anaylsis Habitational Ritual Sequential Program

temporary stay moment of accommodation

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Film Anaylsis Spatial Evolvement

Film Sequence

Looping back

Sequence remains, yet possible detours

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Everyone’s Ritual Sequence Overlapping one another.

The Public Ritual

Film Anaylsis

While the volume of the space stays autonomous from the architectural structure, inhabitants move through one space to the other; the spaces reflect these transitions of the occupants. Each program interfaces with one another through the empathetic layer, which accommodates the changes of occupancy.

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Scale of Perception Correspondence Occupancy and Circulation

POWDER ROOM

DINING

OFFICE ADMIN

SHOWER BATHROOM

POWDER ROOM

KITCHEN

DINING

POWDER ROOM

KITCHEN LOUNGE

SHOWER

POWDER ROOM

LOUNGE

THIRD FLOOR PLAN - SCHEME 1

CLASSROOM BATHROOM

POWDER ROOM

DINING

KITCHEN

CLASSROOM SHOWER BATHROOM

POWDER ROOM POWDER ROOM

DINING

KITCHEN LOUNGE

SHOWER

POWDER ROOM

SECOND FLOOR PLAN - SCHEME 1

LOUNGE

SCHEME 1.RITUAL SEQUENCE SCHEME 2.FORM ORIENTED

KITCHEN

DW

REF.

SHOWER 8 stalls

DINING

CLASSROOM

LOUNGE3 FOYER

KITCHEN SINK/POWDER ROOM 9 sinks

LOUNGE1 DW

REF.

SHOWER LOUNGE2 8 stalls

LOUNGE3

SINK/POWDER ROOM 9 sinks

LOUNGE1

LOUNGE2

THIRD FLOOR PLAN - SCHEME 2

SHELTER OFFICE

DINING

FOYER

KITCHEN

DW

REF.

SHOWER 8 stalls

DINING LOUNGE3 FOYER

KITCHEN

LOUNGE1 DW

SINK/POWDER ROOM 9 sinks

REF.

SHOWER LOUNGE2 8 stalls

LOUNGE3

LOUNGE1

SINK/POWDER ROOM 9 sinks

SECOND FLOOR PLAN - SCHEME 2

LOUNGE2

SHELTER OFFICE

Shower / Bath 780 sq. ft.

Childcare / Lounge 1300 sq. ft.

Classroom 199 sq. ft.

Childcare / Lounge 1300 sq. ft.

Bathroom 330 sq. ft.

REF.

Kitchen / Dining 800 sq. ft.

Powder Room 950 sq. ft.

REF.

Shared Living Room 300 sq. ft.

Bathroom 330 sq. ft.

REF.

REF.

REF.

Kitchen / Dining 800 sq. ft.

Powder Room 950 sq. ft.

REF.

Shared Living Room 300 sq. ft.

Individual Unit 210 sq. ft.

REF.

REF.

Individual Unit 210 sq. ft.

THIRD FLOOR PLAN Shower / Bath 780 sq. ft.

Administation Office 140 sq. ft.

Shower / Bath 780 sq. ft.

Administation Office 140 sq. ft.

Laundry / Lounge 1350 sq. ft.

W/D

W/D

W/D

W/D

W/D

Laundry / Lounge 1350 sq. ft.

W/D

W/D

W/D

Bathroom 330 sq. ft.

W/D

W/D

W/D

REF.

W/D

Kitchen / Dining 800 sq. ft.

W/D

W/D

Powder Room 950 sq. ft.

Shared Living Room 300 sq. ft.

Bathroom 330 sq. ft.

REF.

REF.

Kitchen / Dining 800 sq. ft.

REF.

Powder Room 950 sq. ft.

REF.

Shared Living Room 300 sq. ft.

REF.

Individual Unit 210 sq. ft.

SECOND FLOOR PLAN Individual Unit 210 sq. ft.

REF.

REF.

THIRD FLOOR REFLECTED CEILING PLAN

SECOND FLOOR REFLECTED CEILING PLAN

SECTION A

SECTION B

118

119

VIGNETTE: BEDROOM

120

121

VIGNETTE: HALLWAY

VIGNETTE: SHOWER AND BATH

122

123

SECTIONAL PERSPECTIVE

124

125

VIGNETTE: LAUNDRY / SOCIAL LOUNGE

126

127

VIGNETTE: POWDER ROOM

128

129

130

131

APPENDICES

Directed​ ​Research​ ​Interview Name​ ​of​ ​Interviewee​ ​and​ ​title/position:​ ​Matt​ ​(Bartender) Date:​ ​10/02/19 1) What​ ​is​ ​the​ ​main​ ​goal/purpose​ ​of​ ​your​ ​facility?​ ​Any​ ​statistics?

Bar.​ ​I​ ​don’t​ ​have,​ ​but​ ​they(managers)​ ​have​ ​the​ ​numbers,​ ​like​ ​the​ ​average​ ​numbers​ ​of occupancy​ ​and​ ​all​ ​that.

2) How​ ​would​ ​you​ ​describe​ ​your​ ​organizational​ ​culture?

They(customers)​ ​come​ ​here.​ ​They​ ​order​ ​drinks​ ​at​ ​the​ ​bar,​ ​or​ ​on​ ​the​ ​weekend​ ​we​ ​have​ ​waitress, so​ ​they​ ​order​ ​drinks​ ​when​ ​they​ ​come,​ ​they​ ​either​ ​wait​ ​here(at​ ​the​ ​bar)​ ​or​ ​take​ ​a​ ​seat​ ​on​ ​the couch​ ​or​ ​anywhere,​ ​have​ ​conversation,​ ​they​ ​can​ ​play​ ​chess,​ ​checkers​ ​or​ ​even​ ​they​ ​can​ ​play pool.

3) What​ ​is​ ​the​ ​sq​ ​ft.​ ​/​ ​maximum​ ​occupants?

We​ ​have​ ​up​ ​to​ ​45​ ​to​ ​50​ ​seats​ ​in​ ​the​ ​room,​ ​and​ ​it​ ​fills​ ​up.

4) Is​ ​the​ ​space​ ​spacious?

For​ ​what​ ​the​ ​room​ ​is,​ ​for​ ​what​ ​is​ ​meant​ ​to​ ​be,​ ​for​ ​me​ ​I​ ​think​ ​it​ ​is​ ​big​ ​enough.​ ​If​ ​it​ ​was​ ​bigger,​ ​it wouldn’t​ ​hurt.

5) How​ ​does​ ​the​ ​design​ ​of​ ​this​ ​facilities​ ​unique?​ ​From​ ​others​ ​or​ ​same?

There​ ​are​ ​couple​ ​of​ ​library​ ​bars​ ​in​ ​manhattan​ ​This​ ​is​ ​definitely​ ​unique.​ ​We​ ​have​ ​cows​ ​with​ ​hats on​ ​all​ ​the​ ​wall,​ ​you​ ​really​ ​don’t​ ​find​ ​that​ ​anywhere.​ ​With​ ​the​ ​pool​ ​table,​ ​that​ ​mirror,​ ​and​ ​fireplace, as​ ​far​ ​as​ ​design,​ ​I​ ​think​ ​it​ ​is​ ​very​ ​unique.

6) Who​ ​are​ ​the​ ​types​ ​of​ ​people​ ​that​ c​ ome​ ​to​ ​this​ ​facility?

People​ ​from​ ​the​ ​hotel​ ​above​ ​comes​ ​in.

7) Averages​ ​of​ ​occupants?​ ​Age,​ ​gender,​ ​economic​ ​status 30​ ​to​ ​60.​ ​Majority​ ​is​ ​definetly​ ​order.

8) How​ ​long​ ​do​ ​people​ ​stay?

Varies,​ ​just​ ​like​ ​the​ ​bars​ ​in​ ​general.

9) Is​ ​there​ ​any​ ​feedback​ ​about​ ​the​ ​space/vibe​ ​from​ ​users?

People​ ​like​ ​its​ ​classic​ ​atmosphere.​ ​Some​ ​people​ ​might​ ​think​ ​it​ ​is​ ​small​ ​space,​ ​most​ ​people enjoys​ ​it.

10) Number​ ​of​ ​staff?​ ​At​ ​a​ ​time?

We​ ​have​ ​around​ ​3​ ​to​ ​4.​ ​At​ ​busy​ ​time,​ ​4.

11) ​ ​What​ ​type​ ​of​ ​work​ ​spaces​ ​does​ ​the​ ​staff​ ​require?​ ​Just​ ​bar?​ ​The​ ​circulation?

Just​ ​bar​ ​for​ ​drinks.

12) What​ ​are​ ​different​ ​places​ ​from​ ​this​ ​facility?​ ​Other​ ​bars/​ ​library/​ ​lounge​ ​area?

13) ​ ​How​ ​do​ ​departments​ ​interact,​ ​with​ ​bar,​ ​outdoor,​ ​burger​ ​etc.

Umami​ ​burger​ ​restaurant​ ​is​ ​on​ ​the​ ​opposite​ ​side​ ​of​ ​this.​ ​There​ ​is​ ​a​ ​private​ ​park,​ ​yard.​ ​There​ ​is no​ ​bar​ ​service​ ​out​ ​there​ ​now.​ ​It​ ​is​ ​a​ ​seasonal​ ​menu.​ ​An​ ​outdoor​ ​area​ ​you​ ​can​ ​bring​ ​your​ ​drinks and​ ​sit​ ​at.​ ​You​ ​can​ ​order​ ​drinks​ ​here​ ​and​ ​go​ ​outside.​ ​And,​ ​we​ ​also​ ​have​ ​a​ ​bar​ ​lounge​ ​across from​ ​the​ ​front​ ​desk,​ ​and​ ​rooftop​ ​bar​ ​on​ ​15th​ ​floor.​ ​All​ ​different​ ​bars​ ​are​ ​decorated​ ​differently​ ​for different​ ​theme.​ ​Upstair​ ​bar​ ​is​ ​more​ ​modern​ ​looking,​ ​Miami-look,​ ​whereas​ ​here​ ​is​ ​more​ ​antique.

Case Study Interview (Staff)

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Umami​ ​Burger​ ​is​ ​completely​ ​new​ ​design.​ ​You​ ​cannot​ ​bring​ ​burger​ ​there​ ​since​ ​we​ ​don’t​ ​allow food​ ​in​ ​the​ ​bar.

14) What​ ​are​ ​the​ ​public/private​ ​boundaries​ ​in​ ​the​ ​space?

It​ ​is​ ​private​ ​because​ ​it​ ​is​ ​inside​ ​of​ ​hotel.​ ​If​ ​you​ ​were​ ​a​ ​hotel​ ​guest,​ ​you​ ​can​ ​just​ ​come​ ​in​ ​here.

But​ ​if​ ​you​ ​are​ ​just​ ​coming​ ​in​ ​from​ ​the​ ​street,​ ​you​ ​can’t​ ​come​ ​in​ ​here.

15) What​ ​do​ ​they​ ​do​ ​in​ ​public?​ ​Works?​ ​Does​ ​Not? Communication,​ ​playing​ ​games,​ ​and​ ​reading.

16) What​ ​are​ ​the​ ​circulations​ ​within​ ​the​ ​space?Deliver?​ ​Served?​ ​Self​ ​Served?In​ ​and​ ​out?

It​ ​is​ ​self-served​ ​basically.​ ​People​ ​come​ ​to​ ​the​ ​bar​ ​and​ ​order​ ​drinks,​ ​then​ ​go​ ​wherever​ ​they​ ​want.

17) Any​ ​special​ ​equipment,​ ​plumbing,​ ​lighting,​ ​technology,​ ​or​ ​ventilation​ ​requirements?

There​ ​is​ ​no​ ​special​ ​equipment.

18) What​ ​are​ ​the​ ​main​ ​safety​ ​issues?​ ​security​ ​issues?

There​ ​is​ ​the​ ​security​ ​guard​ ​for​ ​hotel,​ ​and​ ​they​ ​rotate​ ​throughout​ ​the​ ​area,​ ​throughout​ ​the​ ​day.

19) ​ ​Design​ ​and​ ​program.​ ​Work?​ ​Doesnt?

Yes.​ ​Make​ ​it​ ​cozy,​ ​someone​ ​comes​ ​here​ ​for​ ​that.​ ​Someone​ ​like​ ​to​ ​read​ ​as​ ​it​ ​feels​ ​comfortable.​ ​If a​ ​person​ ​by​ ​himself​ ​comes, 20) Furniture/finishes.​ ​Are​ ​they​ ​purposeful?​ ​Changed?

For​ ​15​ ​years,​ ​the​ ​interior,​ ​furniture​ ​layout,​ ​and​ ​furniture​ ​itself​ ​have​ ​not​ ​changed.​ ​You​ ​can​ ​see the​ ​metal​ ​chairs​ ​in​ ​few​ ​seating​ ​areas,​ ​and​ ​that​ ​means​ ​that​ ​original​ ​furniture​ ​is​ ​in​ ​process​ ​of fixing.​ ​They​ ​do​ ​not​ ​want​ ​to​ ​add​ ​new​ ​furnitures​ ​to​ ​mess​ ​up​ ​the​ ​original​ ​theme​ ​of​ ​the​ ​space.

21) Attention​ ​to​ ​acoustics?

No.​ ​It​ ​doesn’t​ ​get​ ​too​ ​loud.

22) Any​ ​suggestion​ ​for​ ​improvement?

Just​ ​upgrade​ ​for​ ​the​ ​furnitures,​ ​matching​ ​ones.​ ​I​ ​would​ ​keep​ ​it​ ​like​ ​this.

23) ​ ​If​ ​money​ ​is​ ​not​ ​an​ ​object,​ ​what​ ​would​ ​this​ ​facility​ ​be​ ​like?

I​ ​wouldn’t​ ​change​ ​it​ ​too​ ​much​ ​for​ ​interior​ ​design.​ ​Maybe​ ​some​ ​equipment​ ​for​ ​the​ ​bars?

24) What​ ​else​ ​can​ ​improve​ ​the​ ​space?

Keep​ ​it​ ​that​ ​way,​ ​as​ ​the​ ​room​ ​has​ ​been​ ​like​ ​this​ ​for​ ​15​ ​years.​ ​It’s​ ​classic.

25) Space​ ​for​ ​staff​ ​to​ ​be​ ​bigger?​ ​More​ ​enclosed?

This​ ​is​ ​fine.

26) More​ ​space​ ​for​ ​occupants?​ ​Or​ ​less?​ ​Divided?​ ​Etc. It​ ​is​ ​enough.

Additional​ ​Information: Are​ ​those​ ​books​ ​real?​ ​“Somethings​ ​up​ ​there​ ​are​ ​real​ ​and​ ​fake.​ ​That’s​ ​only​ ​made​ ​for​ ​decoration.

Just​ ​decoration.​ ​Anything​ ​that​ ​is​ ​standing​ ​straight​ ​up,​ ​it​ ​is​ ​fake​ ​and​ ​tilted​ ​and​ ​sticking​ ​out​ ​from the​ ​shelves.​ ​Are​ ​real.”

“People​ ​asks​ ​me​ ​about​ ​the​ ​space​ ​all​ ​the​ ​time.​ ​I​ ​had​ ​to​ ​learn.”

“It​ ​is​ ​Ian​ ​Schrager​ ​hotel​ ​and​ ​the​ ​designer​ ​is​ ​Philippe​ ​Starck.​ ​He​ ​designed​ ​the​ ​entire​ ​hotel​ ​from the​ ​neon​ ​lighted​ ​entrance​ ​to​ ​hotel,​ ​hotel​ ​lobby​ ​and​ ​small​ ​details​ ​in​ ​the​ ​corridor.”

Case Study Interview (Staff)

Gina,​ ​54 Hotel​ ​Guest How​ ​many​ ​time​ ​have​ ​you​ ​visited​ ​the​ ​space?

-It​ ​is​ ​my​ ​first​ ​time​ ​here​ ​in​ ​the​ ​hotel.​ ​I’ve​ ​used​ ​the​ ​bar​ ​a​ ​couple​ ​times.

Have​ ​you​ ​visited​ ​the​ ​site​ ​in​ ​different​ ​time?​ ​If​ ​yes,​ ​how​ ​was​ ​the​ ​experience​ ​different​ ​from​ ​now?

What​ ​do​ ​you​ ​think​ ​makes​ ​difference?

-I​ ​have​ ​not​ ​been​ ​to​ ​the​ ​restaurant​ ​across​ ​the​ ​outdoor​ ​garden.​ ​But​ ​I​ ​have​ ​noticed​ ​that​ ​the​ ​bar opens​ ​in​ ​the​ ​evening,​ ​as​ ​expected.

Can​ ​you​ ​imagine​ ​the​ ​space​ ​without​ ​the​ ​library/book​ ​shelves?

-The​ ​theme​ ​of​ ​library​ ​and​ ​bookshelves​ ​is​ ​very​ ​significant​ ​feature​ ​to​ ​me.​ ​It​ ​gives​ ​a​ ​bizarre​ ​but cozy​ ​mood​ ​to​ ​sit​ ​in.​ ​If​ ​it​ ​were​ ​just​ ​a​ n ​ ormal​ ​bar​ ​without​ ​the​ ​bookshelves,​ ​I​ ​wouldn’t​ ​have​ ​enjoyed as​ ​much​ ​as​ ​I​ ​do​ ​now.

What​ ​atmosphere​ ​does​ ​space​ ​generate?​ ​And​ ​how​ ​the​ ​atmosphere​ ​of​ ​the​ ​space​ ​determine​ ​the use​ ​of​ ​space?

-​ ​Bizarre​ ​and​ ​cozy.​ ​The​ ​atmosphere​ ​really​ ​gives​ ​direction​ ​of​ ​what​ ​I​ ​should​ ​do​ ​in​ ​the​ ​space.​ ​I​ ​am reading​ ​today.​ ​I​ ​was​ ​drinking​ ​yesterday.

Victor,​ ​42 Hotel​ ​Guest,​ ​pilot How​ ​many​ ​time​ ​have​ ​you​ ​visited​ ​the​ ​space?

-​ ​Few​ ​times​ ​because​ ​our​ ​airline​ ​has​ ​a​ ​partnership​ ​with​ ​the​ ​hotel.​ ​I​ ​enjoy​ ​every​ ​time​ ​I​ ​come​ ​here.

Have​ ​you​ ​visited​ ​the​ ​site​ ​in​ ​different​ ​time?​ ​If​ ​yes,​ ​how​ ​was​ ​the​ ​experience​ ​different​ ​from​ ​now?

What​ ​do​ ​you​ ​think​ ​makes​ ​difference?

-​ ​Since​ ​I​ ​stayed​ ​few​ ​days​ ​in​ ​the​ ​hotel,​ ​I​ ​have​ ​seen​ ​it​ ​closed,​ ​just​ ​opened,​ ​and​ ​in​ ​the​ ​midnight.​ ​All fantastic​ ​experience,​ ​but​ ​I​ ​especially​ ​enjoy​ ​when​ ​it​ ​just​ ​opened​ ​and​ ​there​ ​is​ ​still​ ​sunlight​ ​shining into​ ​the​ ​space.​ ​I​ ​personally​ ​think​ ​it​ ​could​ ​be​ ​open​ ​in​ ​the​ ​daytime​ ​as​ w ​ ell.

Can​ ​you​ ​imagine​ ​the​ ​space​ ​without​ ​the​ ​library/book​ ​shelves?

-​ ​I​ ​guess​ ​maybe.​ ​The​ ​library​ ​concept​ ​adds​ ​interesting​ ​feeling,​ ​but​ ​the​ ​rest​ ​of​ ​decoration​ ​is​ ​also epic.​ ​I​ ​still​ ​like​ ​the​ ​way​ ​it​ ​is.

What​ ​atmosphere​ ​does​ ​space​ ​generate?​ ​And​ ​how​ ​the​ ​atmosphere​ ​of​ ​the​ ​space​ ​determine​ ​the use​ ​of​ ​space?

-It​ ​is​ ​like​ ​a​ ​parlor​ ​of​ ​someone’s​ ​antique​ ​house.​ ​Very​ ​intimate.

Case Study Interview (User)

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Jeffrey 24.​ ​Accountant How​ ​many​ ​time​ ​have​ ​you​ ​visited​ ​the​ ​space?

-This​ ​is​ ​my​ ​third​ ​time.

Have​ ​you​ ​visited​ ​the​ ​site​ ​in​ ​different​ ​time?​ ​If​ ​yes,​ ​how​ ​was​ ​the​ ​experience​ ​different​ ​from​ ​now?

What​ ​do​ ​you​ ​think​ ​makes​ ​difference?

-I​ ​came​ ​here​ ​around​ ​6​ ​30​ ​with​ ​my​ ​coworkers​ ​after​ ​work​ ​because​ ​someone​ ​else​ ​recommended the​ ​place​ ​that​ ​is​ ​the​ ​first​ ​time​ ​here.​ ​And​ ​I​ ​brought​ ​my​ ​other​ ​friend​ ​around​ ​10:30,​ ​which​ ​was​ ​more casual.

Can​ ​you​ ​imagine​ ​the​ ​space​ ​without​ ​the​ ​library/book​ ​shelves?

-After​ ​couple​ ​drinks,​ ​yes.

What​ ​atmosphere​ ​does​ ​space​ ​generate?​ ​And​ ​how​ ​the​ ​atmosphere​ ​of​ ​the​ ​space​ ​determine​ ​the use​ ​of​ ​the​ ​space?

-It​ ​is​ ​a​ ​lot​ ​more​ ​comfortable,​ ​and​ ​not​ ​as​ ​noisy​ ​as​ ​other​ ​bars​ ​because​ ​it​ ​is​ ​small.

Case Study Interview (User)

Silverstein, Shel. The Giving Tree. Harper and Row, 1964. http://www.oed.com/view/Entry/40247?redirectedFrom=contingency#eid http://www.oed.com/search?searchType=dictionary&q=chance&_searchBtn=Search http://www.oed.com/view/Entry/166369?redirectedFrom=ritual#eid http://www.oed.com/search?searchType=dictionary&q=habit&_searchBtn=Search http://www.oed.com/search?searchType=dictionary&q=practice&_searchBtn=Search Bako, Lazlo. Padlock. Issued July 15, 1975.

Leach, Neil. Camouflage. Cambridge (Massachusetts): The Massachusetts Institute of Technology Press, 2006.

McCarter, Robert, and Juhani Pallasmaa. Understanding architecture:. Phaidon, 2012.

Turrell, James. Ganzfelds. 1973-2013.

Architecture for Humanity, ed. Design like you give a damn. New York: Abrams, 2012.

Bachelard, Gaston, and M. Jolas. The poetics of space. NY, NY: Penguin Books, 2014.

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Musca, Thomas. “USC Architecture Students and MADWORKSHOP Collaborate to Combat LA’s Homeless Epidemic.” ArchDaily. August 06, 2017. Accessed May 06, 2018. https://www.archdaily.com/877132/usc-architecture-students-and-madworkshopcollaborate-to-combat-las-homeless-epidemic.

Lynch, Patrick. “WE Architecture Erik Juul’s Urban Garden and Housing to Provide Turning Point for Copenhagen’s Homeless.” ArchDaily. March 16, 2017. Accessed May 06, 2018. https://www. archdaily.com/867338/we-architecture-plus-erik-juuls-urban-garden-and-housing-to-provideturning-point-for-copenhagens-homeless.

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