MFA Interior Architecture and Design- Flatiron Building Hotel Conversion-Thesis presentation by pedrolima

Pedro Lima

T P hesis

resentation

TABLE OF CONTENTS

Ruhlmann Hotel and Resort New York, NY Pedro Lima MFA Interior Architecture and Design, Academy of Art University, San Francisco, Graduate Thesis Presentation December 4th, 2012 11:00AM PST Student Number 02701702

I. II.

Cover Page Title Page: Ruhlmann Hotel and Resort, Pedro Lima,

MFA Interior Architecture and Design, Academy of Art University - San Francisco, Graduate Thesis - presenta tion date, AAU ID

III. IV.

Table of Contents Thesis Summary:

a. Introduction/ Abstract b. Program c. Codes

V. Research:

a. Precedent Studies b. Inspiration: Ruhlmann c. Site Analysis d. Climate e. Historical Research and Culture g. Interactive Research Questionnaire Results h. Building Analysis i. Original Floor Plans

VI.

Client and User Profiles

VII.

Concept Development:

VIII.

Design Process:

a. b. a. b.

b. c. d. e. f. g.

User Profile Client Profile

Concept description Mind maps Adjacency Matrices Flow Diagrams Bubble Diagrams Parti Diagrams Preliminary Sketches Schematic Models

IX. a.

Design Elements:

Ground Level: Lobby, Lounges, Check-in, Con cierge i. Plan ii. Perspectives b. Cellar Level: Guest Business Center, Guest RR, Lounge, Admin offices i. Plan c. Sub Cellar Level 1: Screening Room, Coat Room, RR, Night Club/Event Space i. Plan d. Sub Cellar Level 2: Kitchen/Storage/Utility spaces i. Plan e. Second Floor: Effervescent Restaurant, Bubble Restaurant, RR, Service Areas i. Plan f. Third Floor: Meeting rooms (2), Ballroom, Prefunc tion Area, Service Area, RR i. Plan ii. Perspectives g. Fourth Floor: Spa and Fitness Center i. Plan ii. Perspectives iii. Axonometric h. Sixth Floor and up: Guest Suites i. Plan and Section drawings ii. Perspectives iii. Axonometric

X. Biography XII. Resume XIII. Bibliography XIV. Thank you XV. Back Cover

HESIS SUMMARY

Introduction Abstract Program Codes

THESIS SUMMARY

INTRODUCTION

Ruhlmann Hotel and Resort is the title for the hospitality project I have designed for my thesis. It is a full service resort and hotel, cited in the Flatiron Building, in Manhattan. The building is 22 floors, each about 6000 square feet. I have designed about 40,000 square feet, which include the design of guest rooms and suites, hotel lobby, bar, lounge, upscale restaurant, casual dining restaurant, spa and fitness facility, meeting rooms, ballroom, rooftop lounge, and screening lounge/night club. The project will be an exclusive, high-end resort and hotel catering to the local demographic of the Flatiron District, in New York City. As well the resort and hotel will cater to business travelers and tourists, seeking an exciting and cultured stay in Manhattan, while immersing guests in a destination resort. The Flatiron District is an ideal location because it straddles corporate midtown areas, and chic downtown neighborhoods. The Flatiron District is now one of the most vibrant and affluent neighborhoods in the city, attracting cultured and sophisticated art lovers, and creative professionals. Tourists, visitors, and locals would benefit from the Hotel and Resort, because it would allow guest to either stay at the hotel, or serve as a destination for one of the many services offered, such as spa treatments, cocktail lounge, meeting rooms, ballroom, or restaurant dining. As well guests and locals might enjoy any of the lounges or rooftop, similar to the Gansevoort Hotel, and the Standard Hotel, both which are examined in this thesis as precedents. The Flatiron building is ideal because it is an iconic national landmark building which attracts major attention and in fact defines the neighborhood. People travel internationally to see the Flatiron building (amongst other sites as well), and it is a major draw for the neighborhood. Currently, visiting the Flatiron Building is an anti-climactic experience because the building does not offer building tours or have any interior work that is significantly preserved and of interest. This might be as a result of its original lack of intention when constructed, as a spec building, and the interiors to the building remain unworthy of a building with such stature and precedence. I hope to do justice to the beauty and history of the building, and feel that a hotel would be extremely profitable and beneficial to the community. In fact, there are plans currently to convert the building into an upscale hotel.

Effervescence is a metaphor which will spatially guide the form and creation of the project. Effervescence is defined as the bubbling of a solution due to the escape of a gas. The gas may form by a chemical reaction, as in a fermenting liquid, or by coming out of the solution after having been under pressure, as in a carbonated drink. This representation of effervescence strikes a chord with me and affords clear direction as design concept for the project on various levels. It has both a personal significance for me as the project designer, and affords strong continuity and versatility throughout the expansive programmed spaces.

Important qualities of the chemical process of effervescence are used to inspire the concept. Buoyancy, sinuous movement, resiliency, irrepressibleness, sparkling, piercing, vivaciousness, and energetic are all characteristics of effervescence. Additionally, other words I associate with the process of effervescence and its qualities are; powerful, moving/movement, poignant, experiential, profound, vitality, high-spirited, enthusiasm, excitement, liveliness, alluring, and captivating. These qualities will be interwoven to create and explore spatial solutions which speak to the effervescence concept.

ABSRACT

Characteristics related to the chemical process of effervescence are very appropriate for the design concept and will generate a cohesive concept on a broad scale. These qualities which I will focus on carry significant personal symbolism, and translate well into spatial characteristics that allow my point of view and statement as a designer to be communicated.

THESIS SUMMARY

PROGRAM

Ruhlmann Hotel and Resort is a full service resort and hotel, cited in the Flatiron Building, in Manhattan. It is owned by Sorgente Group, an Italian based real estate investment company. Sorgente Group will renovate the landmark building to transform it into a world class facility. The Flatiron building has 22 floors, each about 6000 square feet. The Ruhlmann will contain: Guest rooms and suites Hotel lobby, bar, and lounge Upscale restaurant called Effervescence Casual dining restaurant called the bubble Spa and fitness facility Meeting rooms and ballroom Rooftop lounge Screening lounge/night club The project will be an exclusive, high-end resort and hotel catering to the local demographic of the Flatiron District, in New York City. As well the resort and hotel will cater to business travelers and tourists, seeking an exciting and cultured stay in Manhattan, while immersing guests in a destination resort. The Ruhlmann Hotel and Resort will offer world class amenities and services, catering to both local residents as well as guests. The site is located at 175 5th Avenue, NY, NY 10019. This is home to the national historical landmark, the Flatiron Building, which contains 22 floors, each floor being about 6000 square feet. Hotel and Resort accommodations and amenities include: 150 guest rooms @ 350 sq. ft. each 75 double bed rooms (one bay wide) 75 king bed rooms (one bay wide) 25 guest suites @ 600 sq. ft. each (two bays wide)

52,500 sq. ft. 15,000 sq. ft.

Main lobby for guest check-in including lounge and bar 6000 sq. ft. Seating for fifty with lounge and full service bar Public restrooms accessible to guests on lower level Business center for guests with computers, small conference room, fax, and copier accessible on lower level Check-in and Concierge counters Bell hop stand and valet stand

Front office on lower level 2000 sq. ft. Managers office Four workstations for staff Workroom with copier and lateral files for storage Accounting office (2 workstations) Safe room with window to safety deposit room Safety deposit room-adjacent to check in and concierge counters Valet office Small break room and storage area Private restrooms for employees with lockers (m/f) Spa and fitness center 6000 sq. ft. Eight massage rooms 2 Facial rooms Multipurpose space for yoga/meditation/health classes Gym: free weights, treadmills, elipticals, weight machines, kettle bells, dumbbells, platforms (stacked), exercise balls, mats and storage area for mats, stair climber Locker rooms (m/f) Laundry and storage facilities Check in counter Small waiting area Back of house offices for management and staff (1 private office, 2 workstations, small work area for copier) Meeting and Ballroom spaces 6000 sq. ft. Four meeting rooms with conference tables Ballroom for wedding/banquettes Service kitchen for food prep and storage Restroom facilities accessible to pre function space Pre-function reception area Restaurant-fine dining 4000 sq. ft. Seating for 100 @ 20 sf per diner Shared restroom with casual dining room Maitre d’ stand 10 square feet counter surface Waiting area for 10 people Display signage behind Maitre d’ stand Service and prep area Casual dining restaurant 2000 sq. ft. Flexible square tables with seating for 150 diners Bar stools (5) 13 linear feet of raised bar surface Lounge seating for 5 people at bar Waiting area for 20 people Maitre d’ stand 6 square feet counter surface Shared kitchen with fine dining restaurant Shared restrooms with fine dining restaurant

Performance space, screening room, night club Rooftop lounge Lounge/bar Smaller lounge

4000 sq.ft 6000 sq ft

Kitchen in cellar level: Receiving and Storage: Dry Storage Regrigerated food storage Frozen food storage Beverage storage Refrigerated beverage storage Nonfood storage Prep areas: Vegetable prep area Meat prep area Salad prep area Dessert prep area Cooking areas: Restaurant cooking line Banquet cooking line Short order cooking line Sanitation: Dishwashing Potwashing Garbage and trash removal Service areas: Restaurants pick up Banquet pick up Room service area Other: Chef’s office Service bar Staff toilets

6000 sq ft

THESIS SUMMARY

CODES

Egress: 1. Two (2) means of egress are required for any enclosed space over 500 square feet and must open in direction of exit traveled. Door swing may not encroach more that 7” into egress path of travel. 2. Egress (exits) must be a MINIMUM of 25’-0” (7.6m) apart, measured along the interior path. Adhere to cross diagonal rule. 3. Paths of travel leading to an exit may NOT pass through a secondary space subject to closure by doors, obstruction by stored materials, or other projections. 4. All paths of travel must be barrier-free and provide 5’-0” turning circle (shown in a dashed line) at changes of travel direction. (Turning into a room does NOT require a 5’0” turning circle.) 5. 42” minimum corridors (48” is preferable) 6. Consider the open dimension of storage elements (closet doors and file drawers, etc), if they are located along the interior path of travel, the open dimension may NOT restrict the MINIMUM required clear width of the path of travel. 7. All door openings into separate classificiation areas (ie. Doors to hotel suites, restaurants, spa, night club, etc.) shall be at LEAST 3’-0” (914 mm) wide with a 1’-6” (457mm) clear space on the pull side of the door and a 1’-0” (305mm) clear space on the push side of the door. 8. 32” minimum clear door openings (36” is preferable) within tenant spaces is permitted, however main egress doors must be 36” wide. 9. All sleeping rooms MUST have an operable window or an exterior means of egress. 10. ALL objects located on a wall between 27” (685.8 mm) and 80” (2032 mm) AFF MUST NOT protrude more that 4” (101.6 mm) into an egress path of travel. Accessibility: 1. All bathrooms/restrooms MUST be accessible (barrier-free) with a 5’-0” (1.524 m) turning circle (shown as a dashed line). A door swing may encroach upon the turning circle a MAXIMUM of 12” (305mm). 2. Bathroom/restroom grab bars MUST be indicated, where required, to provide accessibility to appropriate locations on the plan. This includes two (2) grab bars for a toilet and three (3) grab bars for an accessible shower and bathtub. All grab bars at toilets must be 36” to 42” long, mounted at 34” AFF. 3. Sinks in the restrooms MUST have a clear-knee access. All accessible sinks, countertops and other accessible (barrier free) surfaces must not exceed 34” AFF with 27” high clear knee space below. All exposed hot water pipes and drains must be insulated or otherwise protect wheel chair users from leg burns. 4. Notes for restrooms: a. Sinks in all public bathrooms must have clear-knee access. b. Bathroom grab bars must be indicated and noted at 36” AFF (above finished floor). This includes two (2) grab bars for a toilet and three (3) grab bars for n accessible shower and bathtub.

c. Walls in bathroom must be impervious to moisture up to 5”-0” AFF: note restroom wall construction as ½” water resistant gypsum wallboard. d. Restroom flooring must be slip resistant. 5. Commercial Kitchen: There must be a minimum of 44” between parallel work surfaces in the catering kitchen if applicable. FF and E Safety and Wellness: 1. Flooring in all public restrooms MUST be slip resistant. 2. Walls in restrooms MUST be impervious to moisture. 3. Contrast at trim and baseboards to make changes in surfaces obvious 4. Color contrast between stair treads and risers 5. All drapery and upholstery must meet minimum flammability standards and have some protection. 6. All fabrics shall meet a minimum of 15000 Wyzenbek double rubs on upholstery. 7. Pressure switches on lamps 8. Low pile carpet to prevent slipping 9. Arms well forward on chairs 10. Wall texture to offer traction when leaning on walls 11. Plants throughout to remove contaminants and increase oxygen levels 12. For the spa gym, weights, treadmill and ceiling mounted TV in a beautiful space to encourage exercise. Electrical: 1. ALL electrical outlets MUST be 18” (457.2mm) AFF unless noted otherwise. 2. Switches between 36” and 44” high on walls 3. There MUST be exit signs in ALL occupancies at or exceeding 1,000 sf. (92.9 sq. m). 4. ALL occupancies MUST have lighting that provides minimum illumination for emergency egress while on emergency power. 5. ALL stand-alone copiers and microwaves MUST have a dedicated power circuit. 6. ALL electrical stoves, ovens, and washer and/or dryer units MUST have a dedicated 220-volt circuit outlet. 7. ALL electrical outlets located within 36” (914.4 mm) of a water source MUST be GFI. 8. High lighting levels without glare, up to 100 footcandles on kitchen counters 9. Electrical panel top no higher than 54” AFF with 30’ x 48’ clear space in front. Standards for ADA guest suites or employee areas needing to be accessible: (Hotel Suites containing kitchenette as well as any employee/public areas containing kitchen(ette)-these do not necessarily pertain to any commercial kitchen areas for the restaurants) Kitchen Cabinets and Accessories 1. Light colored counters to increase light, contrasting color at edge of counter tops

2. 32” A.F.F. wall mounted cabinets and counters for wheelchair users. 3. Self closing drawers, eliminating protruding hazards 4. White interiors on cabinets for visual acuity 5. “C” grips (Hafele) on cabinets and drawers - extra length on heavy doors 6. Drawer extensions (Hafele) for easy access: store heavy items low 7. Appliance caddies at counter level to extend appliances 8. Pull down shelves 9. Pull out hangers for dish towels, racks for cleaning supplies and ironing board 10. Counters all on one level for sliding heavy items Kitchen Floors and Access 1. Light colored floors to reflect and increase light 2. Zero clearance kitchen entries with less than 1/8” change of elevation throughout accessible route 3. Sweeps on kitchen doors to eliminate the thresholds 4. Recessed door mats 5. Non-slip tile floor with level joints Kitchen Appliances and Fixtures 1. Front mounted controls 2. 48” clearance between cabinets and opposite surface 3. Single level water controls 4. Refrigerator with freezer and pantry to save travel and easily pulled out shelves 5. Both doors swing away from task areas (see Gaggenau column refrigerators and freezers) 6. Ice and water source usable from wheelchair 7. Extra long “C” grips on appliances 8. Sink and cook tops with knee clearance beneath by folding panels or removable drawers with pipe protection underneath 9. Microwave usable from wheelchair on a Hafele pop-up shelf for standing users 10. Reachable controls between 18” and 48” A.F.F. (outlets, switches, appliance controls). 11. Counter-mounted drain controls 12. Side hinged oven door 13. Magnetic induction cook top for sliding heavy items and to prevent burns 14. Automatic shut off for cook top so it is not left on by mistake 15. Portable robot for heavy lifting 16. Motorized refrigerator shelves that extend out of the open refrigerator 17. Optional Appliance Controls and Displays 18. Remote control for cook top and oven 19. Membrane switches with suitable tactile feedback and proper markings for visually impaired people (e.g., Braille or large contrasting typography) 20. Talking/Audible feedback on membrane panels. 21. Redundant feedback for all kitchen appliances Laundry Room 1. Elevated washer and dryer with front mounted controls 2. Clothes Processor: This machine washes, and then au-

tomatically dries clothes without transferring between machines. It also features easy to reach front controls. 3. 36” clear space in front of appliance extending 18” on either side 4. Work top no more than 34” high with knee clearance beneath Storage 1. 50% of storage no more than 54” high 2. Adjustable height closet rods and shelves Access and Stairs 1. Tread lights on all stairs for safety 2. Railings on both sides of staircases 3. 5’ turning space in all rooms, at stairs and foyer 4. An open plan maximizing sightlines 5. Pocket doors Bathroom 1. Minimum 5’ x 3’ (4’ preferred) curb-less shower with trench drain or crushable shower threshold for wheelchair users 2. 60” diameter clear moving space 3. 3’ clear space in front of and to one side of toilet 4. Toilet center 18” away from any wall 5. Tub with integrated seat 6. Floor drain 7. Water Proof Floor 8. Single level water controls at all fixtures 9. Chromatherapy bathtub 10. Water saving toilet with no tank in “comfort” height for tall or older people 11. Built-in seats in aromatherapy shower 12. Grab bars to match décor, not stainless steel or chrome 13. Wall of glass and mirror to increase light levels 14. Cabinet’s wall mounted at 32” for wheel chair users 15. “C” shaped levers on all doors 16. Grab bars around entire roll in shower 17. Hand held shower on a vertical grab bar 18. Shower heads at four different heights which can be used individually to improve access or pulsed for water massage 19. Elongated standard height toilet in shower for use as a seat or to use with shower for clean up after bowel/bladder programs 20. Wall mounted “P” trap for the sink (to clear knee space) with extra insulation. No pedestal sinks. 21. Long mirrors with bottom no more than 36” A.F.F. and top at least 72” A.F.F. 22. Integral transfer seat in tub and shower 23. ¾” plywood reinforment on all bathroom walls for grab placement 24. Slip resistant tile (.6 CFR wet and dry) with multiple grout lines for traction 25. Pressure reducing mix valves to prevent surges of hot water 26. Covered toilet paper rolls to protect them from the hand help shower Master Bedroom and Bath 1. Cross ventilation for fresh air while sleeping (where possible) 2. Touch controls on lamps 3. Electric drapery controls 4. Power operated clothing carousel

ESEARCH

Precedent Studies Inspiration: Ruhlmann Site Analysis Climate Historical Research and Culture Interactive Research Questionnaire Results Building Analysis Original Floor Plans

RESEARCH

PRECEDENT STUDIES

GANSEVOORT MEATPACKING DISTRICT

RESTAURANT

ROOFTOP LOUNGE

New York City welcomes the second Gansevoort Hotel Group outpost after the original Gansevoort Meatpacking was credited as the catalyst for transforming the Meatpacking District from gritty to chic. The Gansevoort Park Avenue offers 249 luxury rooms and remarkable suites, most with lofty ceilings, Juliet balconies, and five fixture bathrooms. The three-story atrium lobby showcases striking herringbone granite floors, an oversized fireplace, and dramatic aubergine chandeliers. There is a signature rooftop pool for sunbathing and city-escape daydreaming and a bi-level rooftop bar + lounge wonderland. The hotel – in partnership with The One Group – will deliver destination dining with Ristorante Asellina, a 10,000 square foot trattoria offering Italian-inspired fare, and Twenty33, a bi-level bar that recaptures the original elegance of the prohibition-era speakeasy. Premium amenities will include exhale Spa, a full service, mind + body experience encompassing transformational healing therapies, together with yoga and Core® fitness programs; a state-of the art gym; and Cutler Salon, the stylists behind runway coifs and editorial fashion features. Gansevoort Park Avenue is centrally located in the architecturally interesting neighborhood of NoMad (North of Madison Square Park). The area is rich in history and within close proximity to award-winning restaurants, distinctive shopping, and Manhattan’s most celebrated attractions including the Empire State Building, the Theatre District, Times Square, Bryant Park, and the New York City Library.

LEGEND A. Lobby with multiple lounge seating areas for local visitors and hotel guests. B. Provocateur lounge and nightclub. C. Provocateur lounge area with seating.

“This is a hotel made for grown-ups, those who know how to stay out late and have the wisdom to recover from it all in the morning with a frittata, a massage and a dip in the pool by the light of day.” New York Times Travel

RESEARCH

PRECEDENT STUDIES

ROOFTOP LOUNGE

LEGEND A. Rooftop bar/lounge opens to the pool and elements. B. Spa contains a drink bar as well as many relaxing treatments. C.Rooftop terrace provides space for lounging outdoors overlooking the city. D. Grand Deluxe Suiteking bed and lounge area. E. Penthouse Duplex view of Living Room and Dining Room F. Grand Deluxe Suiteking bed view from lounge area.

SUITE WITH LOUNGE AREA

SPA WITH BAR

GANSEVOORT PARK AVENUE HOTEL

PRECEDENT STUDIES RESEARCH

THE STANDARD HOTEL, NYC

The latest creation from André Balazs is a New York branch of his modish Standard hotels. Rising from one of the city’s most sought-after sites, in the heart of the Meatpacking District, two glass-curtain slabs literally jump the tracks of the High Line, the old freight railroad that’s been transformed into a park on stilts. The design spans— and expands on—a century of modern architecture. André Balazs is a pioneer in the boutique-hotel business; his company owns the Mercer in Manhattan, Chateau Marmont in Los Angeles, and the Raleigh in Miami Beach. His latest project, now nearing completion in the heart of New York City’s Meatpacking District (MePa), is a branch of his lower-priced but almost intimidatingly modish Standard hotels. The new Standard—there are already two in L.A. and one in Miami—is situated on a small plot of land that is one of the most intensely sought-after development sites in the city. MePa—until recently a Weegeeesque province of bloody-smocked meat workers and transgender prostitutes—has become a high-rent district of shops, restaurants, and clubs. Vote for your favorites on VF.com’s poll of the world’s 25 best hotels. Above, the Reethi Rah resort in Maldives. “For the first time I had a hard time imagining what the hotel should look like,” Balazs says. “I usually renovate older buildings, and this was ground-up construction. Add to that the matter of the High Line and it was a unique challenge.” The High Line, which cuts diagonally through Balazs’s building site, is an 80-year-old elevated freight railroad running down Manhattan’s West Side, abandoned since 1980 but currently being transformed into a greenway, or park on stilts, designed by the architecture firm of Diller Scofidio & Renfro. The High Line’s first section is scheduled to open this spring, and already the park is considered one of the most innovative and influential urban-renewal projects of our time. “We had to be sensitive to this new landmark,” Balazs continues. “It tramples through our site, but it also defines it. That said, we wanted to not be overly shy or reverent toward it. Whatever we put up there would have to jump the train tracks.” The Standard, designed by Todd Schliemann of the New York firm Polshek Partnership Architects, is a Le Corbusier–style glass-slab building, floating above the High Line. It harks back to such New York City International Style glass buildings as Lever House and the United Nations. Schliemann explains: “The High Line is important, so we are not going to make it go through the building, or build around it, or hide it behind the building. We are not only going to step over it, we are going to exist above it.” Balazs and Schliemann recently spotted a New York real-estate blog posting that refers to the hotel’s “perpetual lap dance” with the High Line. “Very apt,” says Balazs. “The hotel straddles it in a suggestive way, but they never touch.” The Standard hotel’s tower is a 20-story structure consisting of two colliding concrete-framed planes of glass curtain wall. From a distance, the building looks like an open book standing on end. The slab tower rests on poured-in-place-concrete pilotis, which hold it, heroically, 56 feet off the ground and 30 feet above the track bed of the High Line. The building is hoisted up not for its own sake but because there is something of significance underneath. When the High Line is completed, the area around the Standard will be known as the Gansevoort Woodland (Gansevoort Street is nearby). In spring there will be a profusion of redbud and birch trees on the promenade. A building that hovers over a copse planted on an old train viaduct, accessible to the public, is something new under the sun.

RESEARCH

PRECEDENT STUDIES

ENTERTAINING SPACE

18 Story tower arching over the high line, located on the mighty Hudson River in the heart of downtown Manhattanâ&#x20AC;&#x2122;s Meatpacking district, 337 rooms with floor to ceiling windows, spectacular views, The Standard Grill, Outdoor Biergarten, extensive private meeting and event space, 1500 square foot glass-enclosed gym, and free wi-fi everywhere.

ENTERTAINING SPACE

D LEGEND A. Lobby entrance to hotel. B. Elevator lobby for guests. C. Entertaining Space, lounge-The Living Room D. Entertaining Space, lounge and views of The Living room

ELEVATORY LOBBY

THE STANDARD HOTEL

PRECEDENT STUDIES RESEARCH

PENTHOUSE SUITE

RESEARCH

PRECEDENT STUDIES

LEGEND A. Penthouse suite Living Room area and view. B. Penthouse suite view from Living Room. C.View of building from street level. D. Guest Room.

suite

Living

E. Guest Suite. F. Master Bathroom suite.

B D

THE STANDARD HOTEL

RESEARCH

INSPIRATION

RUHLMANN TEXTILE PATTERN, CURVALINEAR, PLAYFUL, AND SOPHISTICATED

Émile-Jacques Ruhlmann (1879-1933) has been an inspiration to me as a professional Interior Designer for many years. I saw an exhibition of his life and work in 2004, at the Metropolitan Museum of Art in New York City, and was profoundly impacted by the beauty and elegance of his work. Primarily a furniture designer, Ruhlmann was a prominent figure in the Art Deco movement, practicing in Paris, France during the 1920’s. “Émile-Jacques Ruhlmann (1879-1933) epitomized the neo-classical wave that crashed upon French art in the years after World War I.” (Design Review, Muschamp) What I particularly loved about Ruhlmann is the way in which he used scale, and detailing, with a meticulous eye for proportions. His work is very fine, in that the detailing is not large in scale, but rather delicate and intimate. In reference to the exhibition at the Metropolitan Museum of Art in 2004, Muschamp says: The Ruhlmann show recalls that the term classical originally denoted class, not mass. It described the language of elites. Seldom can such a tongue have been enunciated more precisely than it is by Ruhlmann. Every stick of his furniture sniffs: drop dead. The beauty of finishes and materials that he used as well carried an exquisite taste level throughout his work. He is to me one of the most sensitive furniture designers of the Deco period, and I have always found inspiration in his work and philosophy. Ruhlmann practiced an art of making wood look wealthy. No pine need apply. Instead, we move in the exclusive company of amarynth, amboina, palissander, rosewood and kingwood. The wood veneers are burnished to such a high degree of polish that they almost pass for rare minerals. In fact, when we come to a large panel of onyx, set into the front of a 1930 metal and glass sideboard, this ordinarily sumptuous material manages to look cheap. Ruhlmann designed for the class of new rich created by modern industry, families like the Renaults, the Voisins and the Rodiers. He considered them equivalent to the titled aristocracy of the past. He had no affinity for the factory aesthetic espoused by the Bauhaus. His clients sought differentiation from workers, not stylized kinship to them. His furniture defined the possibilities of breeding in the machine age. The edges of his rectangular surfaces are often subtly curved, as if to reproach the obvious. Slender, tapered, the fluted legs tiptoe delicately across the floor like a ballerina en pointe. Late in his career, in deference to the new Bauhaus aesthetic, Ruhlmann designed some pieces in steel. But he plated the metal with nickel. It might as well be sterling silver. Here’s a surprise: Ruhlmann’s head was full of bubbles. Cheerful circular, spiral and vermiform motifs occur everywhere in his designs: set with marquetry into table tops; woven into textiles and carpets; sketched free-hand in renderings of ornamented ceilings and walls. These motifs illustrate a Parisian take on cultural change. A decade we call the Roaring Twenties is known to the French as les Années Folles, the Crazy Years. That’s what these effervescent forms seem to be about: Champagne, esprit and the Folies-Bergère. Dunand, in fact, designed scenery for the Folies-Bergère; this was before the libidinous spectacle evolved into a purely tourist attraction. And Ruhlmann himself seemed incapable of designing anything that lacked theatricality. Two marble bathrooms, designed for gentlemen in 1925, have the classical severity of stage sets by Adolphe Appia or Edward Gordon Craig. Ruhlmann was, after all, designing a mythology as well as suites of rooms. In the period between the wars, the newly rich of France wanted the security of classicism to guard themselves against a changing world that they themselves had set in motion. Weren’t Renaults actu

RESEARCH

INSPIRATION

ally chariots, bearing nymphs and deities across the skyline of Paris? As Bruno Foucart notes in the show’s catalog, ‘’Perhaps it is more appropriate to speak of a Ruhlmann ‘atmosphere’ rather than a Ruhlmann style.’’ It’s an atmosphere that in retrospect has come to denote the glamour of travel: great liners, luxury trains, the daring flights of Charles Lindbergh and Antoine de Saint-Exupéry. Cinema was new. The adaptation of style to change: this is probably what most recommends Ruhlmann to viewers of the present day. But what strange new world are we adapting to? Before 9/11, designers were well on their way to devising visual mythologies for the contemporary city. Figures like Phillippe Stark, Rem Koolhaas, Jean Nouvel and Thom Mayne were among the leading innovators of early 21st-century style. I trust they still are. But the mood now also favors less flamboyant responses to contemporaneity. Sanna, the firm established by the Japanese architects Sejima Kazuyo and Nishizawa Ryue, is a name often cited these days for designs that embody stoic charms. Chad Oppenheim, based in Miami, is another of these vastly talented minimalists-come-lately. But I confess that Ruhlmann’s bubbly motifs strike me as uncannily prophetic. Whether we’re looking at Mr. Koolhaas’s porthole windows, Greg Lynn’s blob shapes or the patterns Frank Gehry designed for the acoustics of Fisher Center at Bard College, we see echoes of Ruhlmann’s polymorphic foam. http://www.nytimes.com/2004/06/18/ arts/design-review-for-the-classy-andthe-climbers-the-high-priest-of-art-deco. html?pagewanted=3

EMILE-JACQUES RUHLMANN

RESEARCH

SITE ANALYSIS

175 FIFTH AVENUE, NEW YORK, NY 10010

SITE PLAN

MAP OF MANHATTAN

FLATIRON NEIGHBORHOOD

FLATIRON BUILDING AND NEIGHBORHOOD SITE HISTORY The site on which the Flatiron Building would stand was bought in 1857 by Amos Eno, who would shortly build the Fifth Avenue Hotel on a site diagonally across from it. Eno tore down the four-story St. Germaine Hotel on the south end of the lot, and replaced it with a sevenstory apartment building, the Cumberland. On the remainder of the lot he built four three-story buildings for commercial use. This left four stories of the Cumberland’s northern face exposed, which Eno rented it out to advertisers, including the New York Times, who installed a sign made up of electric lights. Eno later put a canvas screen on the wall, and projected images onto it from a magic lantern on top of one of his smaller buildings, presenting advertisements and interesting pictures alternately. Both the Times and the New York Tribune began using the screen for news bulletins, and on election nights tens of thousands of people would gather in Madison Square, waiting for the latest results. During his life Eno resisted suggestions to sell “Eno’s flatiron”, as the site had become known, but after his death in 1899 his assets were liquidated, and the lot went up for sale. The New York State Assembly appropriated $3 million for the city to buy it, but this fell through when a newspaper reporter discovered that the plan was a graft scheme by Tammany Hall boss Richard Croker. Instead, the lot was bought at auction by William Eno, one of Amos’s sons, for $690,000 – the elder Eno had bought the property for around $30,000 forty years earlier. Three weeks later, William re-sold the lot to Samuel and Mort Newhouse for $801,000. The Newhouses intended to put up a 12-story building with street-level retail shops and bachelor apartments above, but two years later they sold the lot for about $2 million to Cumberland Realty Company, an investment partnership created by Harry S. Black, CEO of the Fuller Company. The Fuller Company was the first true general contractor that dealt with all aspects of building construction except design, and they specialized in building skyscrapers. In the 1950’s, the neighborhood was modified into a creative, arty headquarters for photographers looking for cheap space with lots of light. Around this time, artists began renting commercial office space next to designer fashion labels, starting the trend of mixing industries in one local area. Now, in the new millennium, the neighborhood is celebrated for its first class restaurants, diverse retailers, excellent universities, and one of the city’s most popular parks – Madison Square Park.

N PICTORIAL VIEW OF FLATIRON NEIGHBORHOOD

RESEARCH

SITE ANALYSIS

FRONT ENTRANCE ON 5TH AVENUE

PEDESTRIAN WALKING LANE ON BROADWAY

FLATIRON BUILDING TODAY ZONED TO BECOME HOTEL As an icon of New York City, the Flatiron Building is a popular spot for tourist photographs, but it is also a functioning office building which is currently the headquarters of publishing companies held by Verlagsgruppe Georg Von Holtzbrinck of Stuttgart, Germany, under the umbrella name of Macmillan, including St. Martin’s Press, Tor/Forge, Picador and Henry Holt and Company. Macmillan is renovating some floors, and their website comments that: The Flatiron’s interior is known for having its strangely-shaped offices with walls that cut through at an angle on their way to the skyscraper’s famous point. These “point” offices are the most coveted and feature amazing northern views that look directly upon another famous Manhattan landmark, the Empire State Building. There are oddities about the building’s interior: to reach the top floor, the 21st, which was added in 1905, three years after the building was completed, a second elevator has to be taken from the 20th floor; on that floor, the bottoms of the windows are chest-high; the bathrooms are divided, with the men’s rooms on even floors and the women’s rooms on odd ones. In January 2009, an Italian real estate investment firm bought a majority stake in the Flatiron Building, with plans to turn it into a world-class luxury hotel, although the conversion may have to wait ten years until the leases of the current tenants run out. The Sorgente Group S.p.A., which is based in Rome, controls just over 50% of the building and plans to increase its stake. The firm’s Historic and Trophy Buildings Fund owns a number of prestigious buildings in France and Italy, and was involved in buying, and then selling, a stake in New York’s Chrysler Building. The value of the 22-story Flatiron Building, which is already zoned by the city to allow it to become a hotel, is estimated to be $190 million.

There is a vibrant mix of residential, office, educational and cultural uses, which explains why investors and businesses are drawn to this neighborhood. Without a corporate office space feel like Midtown/Downtown neighborhoods, the Flatiron district appeals to creative service industries and trendy retailers. From charming old full floor commercial lofts to newer luxury high-rise office buildings, the commercial real estate opportunities scream “relocate your business here”. Some of the country’s leading businesses in diverse fields such as advertising, marketing, media, software, gaming, artist rep, and technology all have office space in the Union Square and Flatiron neighborhood. Many of the more successful tech companies with headquarters in the “valley” often eventually look for an east coast office in the “alley.”

EXCERPT FROM ELLIOT WARREN, A LOCAL REAL-ESTATE DEVELOPER With the West Village turning into a high-end retail strip with more baby-strollers than a suburban Main Street, and SoHo feeling like the Mall of America, the Flatiron has morphed into my favorite Manhattan neighborhood. It has become the perfect mix of highbrow and lowbrow culture, where graphic artists rent commercial space next to fashion labels, where McDonald’s is a stone’s throw from Union Square Cafe, where the counter guys at Eisenberg’s, a 1929 coffee shop with $7.50 fried bologna sandwiches, talk smack while wearing white counterman aprons. The building stock is not only top in the city, it’s close to the best in the world. The stonework and detail on the facades, windows and roofs are magnificent. My eyes jumped from full-bodied sculptures adorning a horizontal column at 91 Fifth Ave. to the Doric columns and gilded lobbies of others. The decorative detail on 11 E. 16th St. holds the sculptural beauty of any Parisian counterpart. I couldn’t take my eyes off it

EXCERPT FROM RED-HOT FLATIRON: NEW YORK’S MOST LIVABLE NEIGHBORHOOD

FLATIRON DISTRICT NEIGHBORHOOD AND SITE

RESEARCH

LEGEND 1. MANHATTA

2. BROOKLYN 3. QUEENS 4. BRONX

CLIMATE

5. STATEN ISL

CLIMATE DATA CHART FOR NEW YORK CITY

NEW YORK CITY CLIMATE

LAND

New York City experiences a humid subtropical climate . Using the 0 °C (32 °F) threshold, it is the northernmost major city on the continent with the humid subtropical categorization. The area averages 234 days with at least some sunshine annually, and averages 58% of possible sunshine annually, accumulating 2,400 to 2,800 hours of sunshine per annum. Winters are cold and damp, and prevailing wind patterns that blow offshore minimize the moderating effects of the Atlantic Ocean; yet the Atlantic and the partial shielding of the Appalachians keep the city warmer in the winter than inland North American cities located at similar or lesser latitudes such as Pittsburgh, Cincinnati, and Indianapolis. The average temperature in January, the area’s coldest month, is 32.1 °F (0.1 °C). However, temperatures in winter could for a few days be as low as 10 °F (−12 °C) and as high as 50 °F (10 °C).[112] Spring and autumn are unpredictable and can range from chilly to warm, although they are usually mild with low humidity. Summers are typically hot and humid with a July average of 76.5 °F (24.7 °C). Nighttime conditions are often exacerbated by the urban heat island phenomenon, and temperatures exceed 90 °F (32.2 °C) on average of 17 days each summer and can exceed 100 °F (38 °C).[113] The city receives 49.7 inches (1,260 mm) of precipitation annually, which is fairly spread throughout the year. Average winter snowfall for 1981 to 2010 has been 26.7 inches (68 cm), but this usually varies considerably from year to year. Hurricanes and tropical storms are rare in the New York area, but are not unheard of and always have the potential to strike the area. Extreme temperatures have ranged from −15 °F (−26 °C), recorded on February 9, 1934, up to 106 °F (41 °C) on July 9, 1936.

RESEARCH

CLIMATE

SITE AND CLIMATE ANALYSIS

Year

Jan. Feb. Mar. Apr. May Jun. Jul. Aug. Sep. Oct. Nov. Dec.

in. 47.25

3.42 3.27 4.08 4.2 4.42 3.67 4.35 4.01 3.89 3.56 4.47 3.91

mm 1200

86 83 103 106 112 93 110 101 98 90 113 99

RAINFALL PER YEAR AND MONTH

SUN PATH OVER NEW YORK CITY

SUN CHART OVER NEW YORK CITY The Big Apple is anything but a dry city. We get plenty of rain each year, about 114 cm (45 inches) -- about 71 cm (28 inches) of that is snow. Since the area of New York City is 801,800,000 square meters, the average annual volume of precipitation in NYC is 801,800,000 m2 x 1.14 m = 914 million cubic meters. Out of New York City, Seattle, and Miami, the average annual rainfall in NYC is second only to that in Miami which is 152 cm (60 inches) on average. We definitely get more rain than Death Valley, California, which receives less than 5 cm (2 inches) of rain annually. Annually, the earth receives approximately 86 cm (34 inches) of precipitation. That means that New York City gets about 28 cm (11 inches) more rain than the average city. Despite the phrase “April showers bring May flowers”, we actually get more rain in May than in April. NYC’s wettest month of the year is actually November, with nearly 11 cm (4.5 inches) of rain and or snow in that month. Even with that, February is the snowiest month of the year, with an average of over 20 cm (8 inches) of snow in that month. On average, NYC’s annual precipitation is 114 cm (45 inches), and the volume is 914 million cubic meters. We are just a little bit above average in our annual precipitation rates, just as in everything else.

SUN CHART OVER NEW YORK CITY

ANNUAL PRECIPITATION

RESEARCH

HISTORICAL RESEARCH

Demographic and Population Trends: The Flatiron District vs. Manhattan Rapid Growth: The Flatiron district’s population growth far exceeds Manhattan’s (22% vs 6%) from 2000 to 2009 and is projected to exceed Manhattan’s rate of growth over the next five years. More Professionals, Fewer Kids: The Flatiron District’s population includes a higher density of residents from ages 25 to 44 (45% of the total population vs. 37% in Manhattan) and far fewer children under the age of 14 (9% vs 15%). Look for Growth in Senior Citizens: The Flatiron Districts 55 and older population grew by 64% over the last nine years and is projected o grow another 30% in the next five years. Wealthier Households: The Flatiron District houses a great share of residents with six-figure incomes than the rest ofManhattan. The median HH income is 71% higher than the Manhattan median.

INCOME/ FINANCIAL Average HH Income Median HH Income Median Income Under 25 Midan Income 25-34 Median Income 35-44 Median Income 45-54 Median Income 55-64 Median Income 65-74 Median Income over 75

$56,370 $48,480 $39,539 $48,994 $50,667 $60,229 $57,723 $38,358 $31,145

Average HH Net Worth Median HH Net Worth Median Home Sale Price Median Total Debts Sales Tax Rate Sales Tax Type Average Total HH Exp.

$387,601 $113,652 $484,322 $134,136 8.375% PL $47,361

DEMOGRAPHICS Total Population Male Population Female Population Density (Persons per sq. ml.) Median Age

50,165 24,099 (48.04%) 26,029 (51.89%) 22,410.00 37.83

MARITAL STATUS Never Married Married Separated Widowed Divorced

HOUSEHOLDS Total HH Family HH Non-Family HH HH with Children HH without Children Average People per HH

EMPLOYMENT White Collar Blue Collar

13,779 17,577 2,921 4,283 3,242

20,197 12,155 8,042 4,968 15,230 2.36

2,542 5,411

RESEARCH

INTERACTIVE RESEARCH

SURVEY QUESTIONS AND RESULTS 1. Please answer the following questions concerning the Flatiron building and Flatiron District in New York City. QUESTION 1. Have you ever seen or visited the Flatiron building in New York City? 2. Would you consider staying at a hotel in the flatiron building a unique experience? 3. Would you consider going to a spa, having dinner, visiting a night club or lounge, holding business meetings, or having an event in the Flatiron building a special experience? 4. Would you be more interested in staying or visiting the facility solely because it is located in the Flatiron building? 5. Do you visit the Flatiron District, or neighboring areas (within ten blocks) for leisure or recreational activities ever?

COMMENTS 1. The Flat Iron Building is a treasure but should not be treated as an exclusive treasure. It should be treated in such a way as to encourage people to want to check it out--just like the tenement museum. Hence, I think it should be more “common man” focused, like cafe’s, clubs, divided into small offices with shared services like conference rooms and support services. Get the City of New York involved to take space in the building. It should offer community programs. Too many of these historic gems become isolated from people and become “out of reach” from real life. With the change in globalization, the economy and sustainability interior designers must change their focus. I am an interior designer who has been practicing since 1973 when I graduated from Syracuse with a BFA in ID and started teaching interior design in 1977 and still do both. Be an innovator, Dude, and do something different from the same old same old. These hotels, spas, etc. are pretty damn boring. 2. I’m also doing a Masters and will be trying a survey - best wishes for it! Flatiron building - NYers are jaded - the building isn’t THAT special, the interior architecture would sell it, not the building. 3. shopping, dining

2. How likely would you patronize each service if you were not staying at the hotel as a guest? PROBABILITY OF PATRONAGE 1. Hotel Lobby with bar and lounge spaces 2. Casual dining restaurant 3. Formal dining restaurant 4. Screening room and night club 5. Banquette and Meeting room facilities 6. Spa with massage rooms and gym

COMMENTS: This is contingent upon the reason for the stay. If it is business, I would use the meeting rooms, if my stay is leisure, I would not use the meeting rooms.

YES

MAYBE

RESPONSES COUNT

70.8% (17)

29.2% (7)

70.8% (17) 83.3% (20)

4.2% (1) 8.3% (2)

25.0% (6) 8.3% (2)

24 24

41.7% (10) 45.8% (11)

20.8% (5) 37.5% (9)

37.5% (9) 16.7% (4)

24 24

HIGH 54.2% (13)

MEDIUM 29.2% (7)

LOW 16.7% (4)

NO 0.0% (0)

RESPONSE COUNT 24

41.7% (10) 20.8% (5)

45.8% (11) 41.7% (10)

12.5% (3) 37.5% (9)

0.0% (0) 0.0% (0)

24 24

25.0% (6) 16.7% (4) 29.2% (7)

45.8% (11) 37.5% (9 25.0% (6)

20.8% (5) 37.5% (9) 33.3% (8)

8.3% (2) 8.3% (2) 12.5% (3)

24 24 24

RESEARCH

INTERACTIVE RESEARCH

3. Which adjacencies seem most appropriate? SPACE OR AREA

Hotel Lobby with bar and lounge spaces

Hotel Suites

Casual dining restaurant

Formal dining restaurant

Hotel Lobby with bar and lounge spaces

9.2% (5)

0.0% (0)

3.8% (1)

Hotel Suites Casual dining restaurant Formal dining restaurant Screening room and night club Banquette and Meeting room facilities Administrative offices and employee spaces Spa with massage rooms and gym

.0% (1) 33.3% (8) 12.5% (3) 26.1% (6) 13.0% (3) 12.5% (3) 0.0% (0)

20.0% (5) 12.5% (3) 4.2% (1) 8.7% (2) 0.0% (0) 4.2% (1) 62.5% (15)

50.0% (13) 4.0% (1) 4.2% (1) 8.3% (2) 21.7% (5) 4.3% (1) 0.0% (0) 0.0% (0)

0.0% (0) 8.3% (2) 16.7% (4) 13.0% (3) 21.7% (5) 0.0% (0) 4.2% (1)

COMMENTS 1. Admin offices should probably be on the first floor couple of floors, depending on how many office spaces are needed. Employee spaces should be next to some of the admin spaces. 2. Happy to discuss your work further if youâ&#x20AC;&#x2122;d like - mfior@endicott.edu Michael Fior

4. In a highrise building, which floor level would you place the following service spaces? SPACE OR AREA

1-3 (Ground Level Floor - 3 Floor) 88.5% (23)

3-24

rooftop

Response Count

Hotel Lobby with bar and lounge spaces

Below grade floors (basement levels) 11.5% (3)

7.7% (2)

Hotel suites and guest rooms Casual dining restaurant Formal dining restaurant

4.2% (1) 19.2% (5) 7.7% (2)

0.0% (0) 80.8% (21) 42.3% (11)

Banquette and Meeting room facilities Administrative offices and employee spaces Spa with massage rooms and gym

23.1% (6) 46.2% (12) 30.8% (8)

50.0% (13) 53.8% (14) 26.9% (7)

95.8% (23) 8.3% (2) 0.0% (0) 15.4% (4) 3.8% (1) 57.7% (15) 19.2% (5) 23.1% (6) 11.5% (3) 0.0% (0) 34.6% (9) 15.4% (4)

24 26 26 26 26 26

COMMENTS 1. I am just checking anything off because I have to--because the survey makes me. 2. The adjacencies depend on your program - on what you want the hotel to be - the image and the brand. I put nothing below grade because I donâ&#x20AC;&#x2122;t know what this particular space is like. All dining wants, I think, to be easily available to non-guests. Offices need quick access to main hotel spaces.

Screening room and night club

Banquette and Meeting room facilities

Administrative offices and employee spaces

Spa with massage rooms and gym

Other or none

Response Count

15.4% (4)

3.8% (1)

0.0% (0)

3.8% (1)

4.0% (1) 12.5% (3) 12.5% (3) 4.3% (1) 4.3% (1) 0.0% (0) 4.2% (1)

0.0% (0) 12.5% (3) 20.8% (5) 4.3% (1) 4.3% (1) 45.8% (11) 0.0% (0)

0.0% (0) 4.2% (1) 8.3% (2) 0.0% (0) 43.5% (10) 12.5% (3) 8.3% (2)

56.0% (14) 0.0% (0) 8.3% (2) 0.0% (0) 0.0% (0) 8.3% (2) 12.5% (3)

12.0% (3) 12.5% (3) 8.3% (2) 21.7% (5) 8.7% (2) 16.7% (4) 8.3% (2)

25 24 24 23 23 24 24

Response

26 26 26 26 26

4. Rank the following spaces as related to natural light and best view. SPACE OR AREA

Critical

Somewhat important

Hotel Lobby with bar and lounge spaces

38.5% (10)

30.8% (8)

Not important or negative impact 30.8% (8)

Casual dining restaurant Formal dining restaurant Banquette and Meeting room facilities Administrative offices and employee spaces Spa with massage rooms and gym

19.2% (5) 53.8% (14) 23.1% (6) 11.5% (3) 23.1% (6)

73.1% (19) 38.5% (10) 30.8% (8) 30.8% (8) 42.3% (11)

7.7% (2) 7.7% (2) 46.2% (12) 57.7% (15) 34.6% (9)

COMMENTS 1.Good luck and do something that is socially, economically and environmentally important. Do not take the easy, weak and meaningless way out. 2. I love natural light and would almost always prefer to be in a room with some form of natural light or a view to the outside. The exception would be if the view is just of the building right next door and the building is very close. In those cases, the natural light is still appealing but the view is actually somewhat of a negative impact. 3. Depends on your mood/brand/image and your skills with lighting. I’d be more concerned if the hotel were in, say, the Adirondacks, but the only real views are uptown from the point of the building, and I’d rather make them really expensive suites. 4. For an innovative structure like the Flatiron building, natural light and exquisite views offer tranquility and create unique living space where history and original character combine with contemporary features to fit today’s lifestyles perfectly.

RESEARCH

BUILDING ANALYSIS

NARROW POINT FACES NORTHWEST, PRIME INTERIOR SPACE

THE UPPER LEVELS OF THE FLATIRON BUILDING HAVE BEEN ABANDONED FOR 25 YEARS

A VIEW FROM THE INSIDE OF A “POINT” OFFICE

FLATIRON BUILDING HISTORY The Flatiron building is a perfect match for the Ruhlmann Hotel and Resort because of its location in the Flatiron district, which will attract local crowds. Being that the resort caters to the creative and financial professional industries, I believe that the Flatiron building will provide the elegance, history, and stimulation to set it apart as a first pick destination. The Flatiron Building was designed by Chicago’s Daniel Burnham as a vertical Renaissance Palazzo with Beaux-Arts styling. Unlike New York’s early skyscrapers, which took the form of towers arising from a lower, blockier mass, such as the contemporary Singer Building (1902–1908), the Flatiron Building epitomizes the Chicago School conception: like a classical Greek column, its facade – limestone at the bottom changing to glazed terra-cotta from the Atlantic Terra Cotta Company in Tottenville, Staten Island as the floors rise–is divided into a base, shaft and capital. The entire conception is based upon the classical Greek column. First, the building is divided in three parts, the base in rusticated buff limestone with copper-clad windows, the main body of pale-colored bricks and terra-cotta with unusual and gracious undulating oriels, and the capital represented here by arches and columns topped by a heavy projected cornice and a flat balustrade roof. The Greek column character was enhanced by the rounded prow, creating the illusion of a freestanding colossal column. Seen under another angle, the Flatiron seems to be only a flat wall. The Flatiron Building was built as a speculative project with the intention of renting out offices to various commercial and financial enterprises. Bearing the influence of architectural trends introduced at the 1893 World’s Columbian Exposition in Chicago, Burnham’s eye-catching design combined elements of French and Italian Renaissance architecture in an effort to attract businesses to this formerly residential and retail-oriented neighborhood. Early sketches by Daniel Burnham show a design with an (unexecuted) clock face and a far more elaborate crown than in the actual building. Though Burnham maintained overall control of the design process, he was not directly connected with the details of the structure as built; credit should be shared with his designer Frederick P. Dinkelberg, a Pennsylvania-born architect in Burnham’s office, who first worked for Burnham in putting together the 1893 World’s Columbian Exposition in Chicago, for which Burnham was the chief of construction and master designer. Since it employed a steel skeleton–with the steel coming from the American Bridge Company in Pennsylvania–it could be built to 22 stories (285 feet) relatively easily, which would have been difficult using other construction methods of that time. It was a technique familiar to the Fuller Company, a contracting firm with considerable expertise in building such tall structures. At the vertex, the triangular tower is only 6.5 feet (2 m) wide; viewed from above, this “pointy” end of the structure describes an acute angle of about 25 degrees. The “cowcatcher” retail space at the front of the building was not part of Burnham design, but was added in order to maximize the use of the building’s lot and produce some retail income to help defray the cost of construction. Henry Black, the owner, pushed Burnham hard for plans for the addition, but Burnham resisted because of the aesthetic effect it would have on the design of the “prow” of the building, where it would interrupt the two-story high Classical columns which were echoed at the top of the building by two columns which supported the cornice. Black insisted, and Burnham was forced to accept the addition, despite the interruption of the design’s symmetry. Another addition to the building not in the original plan was the penthouse, which brought the building to 21 floors. It was constructed after the rest of the building had been completed to be used as artists’ studios, and was quickly rented out to artists such as Louis Fancher, many of whom contributed to the pulp magazines which were produced in the offices below.

RESEARCH

BUILDING ANALYSIS

The building’s triangular plan was a clever response to the awkward site produced by the intersection of Broadway and Fifth Avenue. Its ornate but restrained facade is composed of stone and terra-cotta panels whose forms simulate the effects of rustication. Undulating bays break up the monotony of the building’s tall midsection. The overall effect is that of a palazzo stretched to great height. Here, for the first time, the construction of a steel-framed skyscraper was witnessed in its entirety by the general public--an event which generated much response

EGRESS PLAN FROM FIRST FLOOR

Floor plan of one of the flatiron building’s floors from a 1902 issue of architectural digest. Note that the building is not an isosceles triangle (equal sides) but is a right triangle. fifth avenue is at left, Broadway is at right, 23rd street is at the top.

CURVED WINDOWS IN THE “POINT”

CAD DRAWN FLOOR PLAN OF FIRST FLOOR, DEVELOPED OFF OF ORIGINAL PLAN

ORIGINAL FLOOR PLAN FROM 1902 OF UPPER LEVEL

RESEARCH

BUILDING ANALYSIS

SURFACE ORNAMENTATION ON LOWER AND UPPER LEVELS

CLOSE UP OF EAVE AND ORNAMENTATION

BEAUX-ARTS ORNAMENTATION AT TOP OF BUILDING

HEAVY FRIEZE ON LOWER LEVELS AND CROWN DETAILING WITH DENTAL MOLDING

RESEARCH

BUILDING ANALYSIS

BUILDING SHAPE DEFINES THE NEIGHBORHOOD

BUILDING DETAILS CAN BE SEEN FROM BLOCKS AWAY

BUILDING DETAILS CAN BE SEEN FROM MADISON SQUARE PARK

BUILDING DETAILS ARE PROMINENT WITHIN THE FLATIRON NEIGHBORHOOD

RESEARCH

ORIGINAL FLOOR PLANS GROUND LEVEL PLAN VIEW GROUND LEVEL FLOOR PLAN SCALE 81 "=1'-0"

SERVICE ELEVATOR

PLAN NORTH

NTS ACTUAL NORTH

RESEARCH

ORIGINAL FLOOR PLANS PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

SERVICE ELEVATOR

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

THIRD FLOOR PLAN SCALE NTS

PLAN NORTH ACTUAL NORTH

THIRD FLOOR THROUGH 22ND FLOOR PLAN VIEW

NTS

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT UP

SERVICE ELEVATOR

THIRD FLOOR PLAN SCALE NTS

ROOFTOP PLAN VIEW

PLAN NORTH ACTUAL NORTH

NTS

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

SERVICE ELEVATOR

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

CELLAR LEVEL 1 SCALE NTS

PLAN NORTH ACTUAL NORTH

CELLAR AND SUB CELLAR LEVELS PLAN VIEW

NTS

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

SERVICE ELEVATOR

SECOND FLOOR PLAN

PLAN NORTH

SCALE 81 "=1'-0"

SECOND FLOOR PLAN VIEW

ACTUAL NORTH

NTS

LIENT AND USER PROFILES

User Profile Client Profile

CLIENT AND USER PROFILES

USER PROFILE

TARGET DEMOGRAPHIC The target market for the Hotel and resort will be working professionals, both male and female, between the ages of 35 and 75. Guests of the hotel will be tourists, while users for the restaurants, lounges, and spa will be primarily residents of the Flatiron district, which is one of the fastest growing neighborhoods in all of Manhattan, at a rate of 22% between 2000 and 2009 according to the 2009 census. The Flatiron district attracts affluent tourists from an international market, for shopping and recreation. As seen in the 2009 census, “The Flatiron District’s 55 and older population grew by 64% over the last nine years and is projected to grow another 30% in the next five years.” Wealthier senior citizens and working professionals will support the Hotel. Additionally, the Flatiron district median household income is 77% higher than the rest of Manhattan. The Ruhlmann Hotel and Resort will appeal to many people in both creative and financial industries. The general demographic will be those seeking to not only find a hotel to stay at in the city, but those looking to find a destination resort, where the facility actually provides a vacation within the city. As a result of the neighborhoods commercial and creative emphasis, the Ruhlmann Hotel and Resort will appeal to local residents, tourists, and business travelers seeking an upscale outlet for entertainment, cultural inspiration, and relaxation. Neighborhood demographic and Hotel Ruhlmann: The Flatiron district bridges uptown neighborhoods with the artistic and creative energy of downtown. Many people working in theater, television, design, fashion, architecture, graphics, film, and other creative industries have offices either in the Flatiron District or nearby. While there are already many bars, restaurants, and hotels in the area, many of the more chic and upscale hotels are located uptown, or further downtown, but few are located in the Flatiron District.

DEMOGRAPHICS OF TARGET USERS: A WORKING PROFESSIONALS B WEALTHIER SENIOR CITIZENS C AGES 35-75 D CREATIVE AND FINANCIAL INDUSTRIES

TYPES OF USERS:

A BUSINESS TRAVELERS B REGIONAL TOURISTS C NATIONAL TOURISTS D INTERNATIONAL TOURISTS E LOCAL NEIGHBORHOOD RESIDENTS F MANHATTAN RESIDENTS G NEW YORK CITY RESIDENTS H TRI-STATE RESIDENTS

PROGRAMMED SPACES GUEST ROOM AND SUITES

HOTEL LOBBY, BAR, AND LOUNGES EFFERVESCENCE RESTAURANT-UPSCALE BUBBLE RESTAURANT-CASUAL SPA AND FITNESS FACILITY BALLROOM AND MEETING ROOMS ROOFTOP LOUNGE SCREENING ROOM/ NIGHT CLUB

D E F G H HOTEL LOBBY, BAR, AND LOUNGES

D H

GUEST ROOM AND SUITES A

D E F G H SPA AND FITNESS FACILITY

CLIENT AND USER PROFILES

USER PROFILE

DEMOGRAPHICS OF TARGET USERS:

TYPES OF USERS:

A BUSINESS TRAVELERS

A WORKING PROFESSIONALS

B REGIONAL TOURISTS

B WEALTHIER SENIOR CITIZENS

C NATIONAL TOURISTS

C AGES 35-75

D INTERNATIONAL TOURISTS

D CREATIVE AND FINANCIAL INDUSTRIES

E LOCAL NEIGHBORHOOD RESIDENTS F MANHATTAN RESIDENTS G NEW YORK CITY RESIDENTS H TRI-STATE RESIDENTS

D E F G H BALLROOM AND MEETING ROOMS

D E F G H SCREENING ROOM/ NIGHT CLUB

D E F G H EFFERVESCENCE RESTAURANT-UPSCALE

D E F G H BUBBLE RESTAURANT-CASUAL

D E F G H ROOFTOP LOUNGE

CLIENT AND USER PROFILES

CLIENT PROFFILE

SORGENTE GROUP Sorgente Group, an Italian based real estate investment company owns the Flatiron building and has plans to convert the structure into a high-end boutique hotel and resort with world class amenities and attractions. Sorgente Group plans on converting the landmark commercial office building into a 150 guest suite luxury hotel and resort, complete with two restaurants, roof top pool and lounge, salon, spa, meeting and conference rooms, and retail stores. The primary goal is to position the building as the number one attraction in the flatiron district for both tourists and local residents in dining, hotel, and conferencing needs.

Sorgente Group will establish the flatiron building as the premier hotel and resort in the flatiron district, drawing local residents to its shopping, dining, spa, and lounge amenities. Tourists will as well be drawn to the building as a hotel, and want to remain in the building and neighborhood during their stay, rather than explore other areas of the city. Sorgente Group expects the Flatiron building to continue to draw in tourists internationally and establish a new precedent in hotel accommodations within New York City.

Sorgente Group SpA is active in the real estate finance sector with 4 investment management companies (in Italy, Switzerland, Luxembourg and the USA) and 37 real estate companies and financial and real estate service companies located in Italy, France, Great Britain, Luxembourg and the USA. As of December 31st 2010 the Group registered total real estate and financial revenues in excess of 128 million dollars, total assets under management and administered real estate for over 4.5 billion dollars and total equity in managed and promoted funds of 4.3 billion dollars, which, with the maximum leverage allowed, will determine in the period 2011-2014 total assets under management equal to 10.2 billion dollars.

ONCEPT DEVELOPMENT

Concept Description Mind Maps

CONCEPT DEVELOPMENT

CONCEPT DESCRIPTION

DESIGN ELEMENTS

1. Spatial organization 2. Lighting 3. Objects/furniture 4. Sinuous labyrinth 5. Upward movement 6. Proportion 7. Surfaces 8. Color 9. Materials

The expression of effervescence will take shape in many forms, and on various levels throughout the project. Color, materials, planning and spatial strategies, lighting concepts, and object design will all be used as the means of communicating the design concept. High contrast will be a consistent technique used to incorporate the metaphoric symbolism of effervescence, as well as exaggerated vertical proportions, labyrinthian ideals, and sinuous curvilinear motifs.

THE SINUOUS LABYRINTH Sinuous line, labyrinth patterns, and curvilinear elements combine to form a symbolic element which will consistently be used throughout the design. These elements will combine to represent the energy, life, and vibrancy that I find significant and personally symbolic. The sinuous labyrinth will be used as a metaphor to represent the path of travel that is often encountered in the city, as well as the experience of moving through the city, and passing through spaces. The tall city buildings with narrow streets often do not allow sight of the final destination, or even to see the path of travel. The grid planning of the city in most areas combats the chaos of the concrete jungle, which include not only the tall buildings and narrow streets, but throngs of people, objects, obstacles, and obstructions on the city streets. For example, walking on a sidewalk in Manhattan along a straight path of travel is a luxury. Usually one is forced to move along a sinuous path of travel, as a way of avoiding collisions, uneven ground planes, and accidents. The constant dodging of obstacles in tight crowded spaces causes one to strategize the best path and route to any destination, much like being in a labyrinth. One cannot see beyond the nearest obstruction in a labyrinth, and it takes effort and planning to get through it. Awaiting behind each turn or corner, one experiences a sense of anticipation, as it could bring something exciting, dangerous, or even uneventful. As in a labyrinth, there are many doors and exits off of the city street, leading into unknown spaces. Surprises and hidden thresholds are everywhere, only to cross through and find yet another maze and puzzle to solve. Living with this sense of finding the best path to travel is a way of life for me, both figuratively and literally. The effervescence concept allows me to draw similarities, and incorporate certain elements which represent this struggle and experience through the use of sinuous elements and features. In effervescence, the bubbles can be seen as various sizes. They are many, as in a pot of boiling water with the bubbles rising to the top, and appear to chaotically collide and overlap. In representing the overlapping of bubbles and varied sizes of bubbles in the effervescence process, sinuous curvilinear planning will be used along with the layering of curvilinear elements. When sinuous components overlap, a labyrinth pattern can develop. The pattern created will inform the design in many ways, on both micro and macro levels.

PLANNING STRATEGIES On a macro scale, the planning in various areas will use the concept of a sinuous labyrinth in representing the movement of the bubbles. This space planning strategy evokes a sense of movement and excitement. It can as well be a powerful, poignant, and experiential moment in the design. Creating a labyrinth-like space plan would be appropriate in the more private and intimate areas of the facility, such as the spa, gym, and night club. As well the macro sinuous labyrinth can serve beautifully between spaces as a transitional technique, either in thresholds, or more grand spatial transitions such as vestibules or anti-spaces, where passing from one space to another requires movement through the sinuous labyrinth. Physically moving along a sinuous path can be very dynamic for the end user to experience, and if done appropriately, leave a lasting impression. In the larger spaces such as the lobby and ballroom/meeting rooms, the sinuous labyrinth motif can be incorporated in more subtle ways, on a micro scale. Materials, architecture, lighting, and object, will be used to strategically aid and affect the way-finding and circulation. Without creating an enclosed circulation route or visual barrier, the motif can be used as a subtle informant on surface and material detailing. This will incorporate the sinuous repetition of the labyrinth pattern on a micro scale, on objectS, and as surface treatments rather than by closing out areas where it would not be appropriate to have maze-like circulation and architecture.

SURFACES The approach of incorporating this motif into objects and planes on a micro scale will create a vivacious sense of liveliness in these areas, which works to enforce the concept. Using the motif of sinuous curvilinear lines will be a very prominent concept in the development of patterns and textures to be used throughout the project. Materials, finishes, furniture, and objects will carry the motif of sinuousness and overlapping curvilinear components. This overlapping can include a pattern which creates a labyrinth design. Carpeting, ceiling height changes, and wall treatments will be strong areas where this concept can be developed, as well as assist in spatial and architectural techniques to highlight the more focal treatments. Following is an image taken from the Renaissance Boston Waterfront Hotel, showing pattern on the carpeting which could illustrate the effervescent concept:

LIGHTING Lighting and sparkle will also be found on surfaces, in a micro scale, to not overpower the dominating planning qualities. They will serve to provide depth and richness to surfaces, such as varying high gloss and matte finishes, and use of reflective finishes against solid planes of flat color. As well hidden lighting and deliberate representational lighting concepts will be used to incorporate the essence of bubbles traveling through a liquid. Following are example of lighting treatments which incorporate architectural treatments in a similar way, taken from the Renaissance Boston Waterfront Hotel:

CONCEPT DEVELOPMENT

CONCEPT DESCRIPTION

LIGHTING CONTINUED In the Sanctuary Hotel restaurant called Ola, as well as the Epic Hotel designed by Cheryl Rowley, lighting is used both architecturally and as a design element to create an effervescent concept. In the Epic Hotel Ballroom, Miami Florida- the use of bubble lighting on the ceiling creates the effervescent feel of bubbles floating overhead.

UPWARD MOVEMENT While the sinuous and curved path becomes a very important feature in the planning, it is not singular in representing the effervescence concept into planning strategies. During effervescence, bubbles move along an upward sinuous path, as they pass through the liquid. At the end of the path, the bubbles escape and are released from their element. The planning and use of this concept will be integrated in the spatial and decorative qualities of the project. The upward path is critical to the process of effervescence, and will be a dominant concept in the design. Planning considerations will enforce path of travel to move upward, in using ramps, steps, and staggered level changes. While ADA and universal design is critical, the concept will explore ways of incorporating the upward path through the building to allow for universal accessibility, and at minimum meet all code requirements. The concept is to create a sinuous upward path through spaces, and through the building, to represent the process of effervescence, and to encompass the personal qualities and goals of achievement and growth earlier discussed. As users move upward, they will experience a sense of accomplishment and feel a shift in energy, as they leave behind the lower levels of the space. Areas will increasingly become smaller in scale as they progress upward, to accentuate the change in height. While the upward path may not literally move throughout the entire building, it will be used in certain areas where it would be appropriate, such as passing from the lobby to the restaurants, night club, or spa facility. The pool and roof lounge are the highest spaces in the building, and as such will be areas of strong conceptual design regarding the upward path. The sinuous upward path concept, as one moves from the elevator towards the roof will be incorporated. Following is an example of a curved staircase taken from the Renaissance Boston Waterfront Hotel:

PROPORTION

Proportioning within the spaces must enhance and be informed by the concept of the sinuous labyrinth, and upward movement, as they are the more dominant strategies. Proportions will be such that a one to five ratio will be followed in vertical areas, where components will be divided such that the bottom section is one part of the overall height out of five parts. This creates a very strong vertical emphasis and dominance, which can create a strong psychological effect of grandeur, energy, and liveliness. As well it symbolizes advancement, as the eye is drawn upward, and will reinforce the upward path of travel concept through various spaces. Built-ins, furniture and object proportions, and lighting as well will follow this ratio to enforce the effervescence concept of upward emphasis and movement. Following are examples of the use of one to five proportioning used to emphasize the vertical height from the Hotel Monaco in Washington DC:

CONCEPT DEVELOPMENT

CONCEPT DESCRIPTION

COLOR Color will serve to provide emphasis and excitement to the design, providing cues for psychological implications to take shape through the more dominant elements of the sinuous labyrinth. Color schemes will reinforce the spatial qualities and motifs, while adding their own unique contribution of strong contrast and vitality. Complementary color schemes will be used throughout the project in varying intensities and schemes. Energetic and powerful color schemes are appropriate because they represent the intensity of energy that can be found in an effervescent liquid. As the gasses escape from the liquid during effervescence, energy is released. The colors will be symbolic of this energy, as well as bring an element of vivaciousness and sparkle to each space. Colors are a very important part of the concept because they evoke strong reactions from users, as does life in Manhattan and the liveliness that can be found on the streets. Additionally, color and psychology are closely connected, and by using color as a tool to create energetic and vivacious spaces, the desired affect will be a definite outcome. Color and color psychology has been important to me in my professional work as a designer. As a former member of the International Association of Color Consultants (IACC), I have studied the effects of color on humans in three ways; psychologically, physiologically, and psychosomatically. I would like to continue to explore ways in which each programmatic space can take full advantage of color as an element, in both achieving the effervescent concept for each programmatic space, while also using it as a tool in achieving the varied goals of each area. In the larger spaces, split complementary schemes will be used, combining rich rust oranges with vibrant royal blues, and fresh green colors with vivid reds. I will use the colors in layering effects, so that sightlines and visual sequence creates a powerful and colorful experience in a very controlled and deliberate way. For example, upon entry to the building, the colors will be used so that there is a layering of vibrancy and tone, with the brightest colors being the furthest away visually, and the more muted colors closer to the entry, so that the eye will pass through to the back of the space, and create a dominant focal point. In the suites I will use bold colors that allow for relaxation and comfort, but still provide visual stimulation and excitement. The blue and rust schemes will represent city and sky, thus capturing the essence of Manhattan, and concept of getting away from it all at the same time. Following are examples of bold complimentary color schemes from the Hotel Monaco in Washington DC and the Hotel Monaco in Alexandria Virginia:

PRELIMINARY WORD MAP

CONCEPT DEVELOPMENT

CONCEPT MAPS

MIND MAP OF CONCEPT WITH FOUR CRITERIA: FORM, CONTRAST, SURFACE, AND CIRCULATION

ESIGN PROCESS

Adjacency Matrices Flow Diagrams Bubble Diagrams Parti Diagrams Preliminar y Sketches Schematic models

DESIGN PROCESS

ADJACENCY MATRICES

MASTER MATRIX

BACK OF HOUSE ADJACENCIES

BALLROOM AND MEETING ROOM MATRIX

LOBBY AND BUSINESS CENTER MATRIX

SPA AND FITNESS CENTER MATRIX

DESIGN PROCESS

FLOW DIAGRAM



USER GROUPS: PUBLIC END USERS EMPLOYEES AND PRIVATE

FIRST FLOOR FLOW DIAGRAM

LINE OF BALCONY ABOVE

OPEN TO BELOW

SERVICE ELEVATOR

DESIGN PROCESS

BUBBLE DIAGRAMS



MAIN LOBBY



LOBBY BAR



LOUNGE



SERVICE ENTRANCE AND STORAGE



CHECK-IN DESK



CONCIERGE

CHECK IN DESK 120 SQUARE FEET

LOBBY BAR LOUNGE 1850 SQUARE FEET

GROUND LEVEL FLOOR PLAN SCALE 18 "=1'-0"

CONCIERGE 100 SQUARE FEET UP

LOUNGE 3100 SQUARE FEET

MAIN LOBBY 1250 SQUARE FEET SERVICE ELEVATOR

SERVICE ENTRANCE AND STORAGE 450 SQUARE FEET

PLAN NORTH ACTUAL NORTH

DESIGN PROCESS

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

BUBBLE DIAGRAMS

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT



COAT ROOM



SCREENING ROOM



RESTROOMS



STORAGE



NIGHT CLUB/ EVENT ROOM

COAT ROOM 450 SQ. FT. UP

NIGHT CLUB/ EVENT ROOM 3900 SQ. FT.

SERVICE ELEVATOR

SCREENING ROOM 1500 SQ. FT.

RESTROOMS 700 SQ. FT.

STORAGE HALLWAY 550 SQ. FT.

SUB CELLAR LEVEL 1

PLAN NORTH

SCALE 18 "=1'-0"

ACTUAL NORTH

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

KITCHEN



STORAGE



PREP KITCHEN

KITCHEN 3200 SQ. FT.



COLD AND DRY STORAGE



WASTE STORAGE

PREP KITCHEN 450 SQ. FT UP

SERVICE ELEVATOR

COLD STORAGE/DRY STORAGE 600 SQ. FT.

STORAGE HALLWAY 980 SQ. FT.

WASTE STORAGE 380 SQ. FT.

SUB CELLAR LEVEL 2

PLAN NORTH

SCALE 81 "=1'-0"

ACTUAL NORTH

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT



KITCHEN



STORAGE



PREP KITCHEN

KITCHEN 3200 SQ. FT.



COLD AND DRY STORAGE



WASTE STORAGE

PREP KITCHEN 450 SQ. FT UP

SERVICE ELEVATOR

COLD STORAGE/DRY STORAGE 600 SQ. FT.

STORAGE HALLWAY 980 SQ. FT.

WASTE STORAGE 380 SQ. FT.

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

SUB CELLAR LEVEL 2

PLAN NORTH

SCALE 81 "=1'-0"

ACTUAL NORTH

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT



EFFERVESENCE RESTAURANT (FORMAL DINING)



BUBBLE RESTAURANT (CASUAL DINING)



RESTROOMS



SERVICE AREA



PREPARATION AREA

RESTROOMS 500 SQUARE FEET

EFFERVESENCE RESTAURANT 2000 SQUARE FEET

BUBBLE RESTAURANT 2800 SQUARE FEET SERVICE ELEVATOR

PREPARATION AREA 450 SQUARE FEET SERVICE AREA 450 SQUARE FEET

SECOND FLOOR PLAN

PLAN NORTH

SCALE 18 "=1'-0"

ACTUAL NORTH

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

DESIGN PROCESS

 MEETING ROOM (2)

RESTROOMS 500 SQUARE FEET

 BALLROOM  PREFUNCTION AREAS

BALLROOM 2000 SQUARE FEET

 PREPARATION AREA

 RESTROOMS UP

PRE FUNCTION 1250 SQUARE FEET

SERVICE ELEVATOR

MEETING ROOMS 1600 SQUARE FEET

PREPARATION AREA 450 SQUARE FEET SERVICE AREA 450 SQUARE FEET

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

THIRD FLOOR PLAN

PLAN NORTH

SCALE 18 "=1'-0"

ACTUAL NORTH

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

 PRIVATE SUITE-PREP ROOM

RESTROOMS 500 SQUARE FEET

 BALLROOM  PREFUNCTION AREAS

BALLROOM 3200 SQUARE FEET

 SERVICE AREA  RESTROOMS

PRE FUNCTION 1250 SQUARE FEET SERVICE ELEVATOR

PRIVATE SUITE-PREP ROOM 1250 SQUARE FEET SERVICE AREA 450 SQUARE FEET

FOURTH FLOOR PLAN

PLAN NORTH

SCALE 18 "=1'-0"

ACTUAL NORTH

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

BUBBLE DIAGRAMS

 SERVICE AREA

GYM 2000 SQ. FT.

FITNESS ROOM 400 SQ. FT.

WAITING AND CHECK IN

SPA

SERVICE ELEVATOR

WOMEN OFFICES 460 SQ. FT. MEN

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT LAUNDRY AND STORAGE

480 SQ. FT.

SPA FLOOR PLAN SCALE NTS

PLAN NORTH ACTUAL NORTH

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT DOUBLE SUITES KING SUITES

CIRCULATION UP

CIRCULATION

SERVICE ELEVATOR

SUITES

APARTMENT SUITE

APARTMENT SUITE VENDING SERVICE AREA AND STORAGE

SUITES FLOOR PLAN SCALE NTS

KING SUITE

PLAN NORTH ACTUAL NORTH

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

STACKING DIAGRAM

PARTI DIAGRAMS DESIGN PROCESS

DESIGN PROCESS

LIGHTING STUDIES

NATURAL DAYLIGHT STUDY WAS DONE FIRST, BY SHADING ALL NATURAL DAYLIGHTING IN BLUE.

GLASS FLOORING IN LOBBY TO BRING DAYLIGHT INTO LOWER LEVELS OF FLOOR PLAN. GLASS FLOOR SHOWN IN LIGHT BLUE.

GLASS FLOOR FROM FIRST FLOOR ILLUMINATES LOWER LEVEL WHERE NO NATURAL LIGHT WOULD OTHERWISE ENTER. GLASS CEILING SHOWN IN LIGHT BLUE ON CELLAR LEVEL.

SAMPLING OF LIGHTING CONCEPTS AND PROCESS DEVELOPMENT NATURAL LIGHTING DEVELOPMENT INTO LOWER LEVELS

LIGHTING SKETCHES AND CONCEPTS

DESIGN PROCESS

LIGHTING AND WATERFALL STUDIES

LIGHTING SKETCHES AND CONCEPTS

LOBBY WATERFALL DESIGN DEVELOPMENT

LOBBY PROCESS SKETCHES AND SKETCHUP DEVELOPMENT

DESIGN PROCESS

LOBBY AND RECEPTION

PRELIMINARY PLAN VIEW

FINAL PLAN VIEW

CONCEPT SKETCHES

SKETCH UP MODEL

REFINED SKETCH BY JIM FREED

FINAL PERSPECTIVE LOBBY DESIGN DEVELOPMENT CAD/SKETCHUP AND HAND DRAWING LOBBYCONCIERGE STAIRCASEAREA PROCESS DEVELOPMENT

lobby diagram-staircase will be the main focus of the spatial qualities, and lead to a second story balcony

PRELIMINARY SKETCHES OF LOBBY STAIRCASE

quick sketching and bubbling of the staircase design in the lobby

DESIGN PROCESS

LOBBY AND RECEPTION

LOBBY STAIR PROCESS DEVELOPMENT

LOBBY STAIRCASE PROCESS DEVELOPMENT CAD/SKETCHUP

LOBBY STAIR PROCESS DEVELOPMENT

DESIGN PROCESS

LOBBY AND RECEPTION

LOBBY WATERFALL

STAIRCASE WATER FEATURE CONCEPTS SKETCHUP AND HAND DRAWINGS

FINAL PLAN OF THE POINT

END TABLE SKETCH CONCEPTS

LOUNGE AND FURNIITURE DESIGN DEVELOPMENT “THE POINT” PROCESS SKETCHES AND CONCEPTS

ESIGN ELEMENTS

LOBBY GROUND LEVEL BUSINESS CENTER ADMIN. OFFICES S C R E E N I N G R O O M E V E N T S PA C E KITCHEN AND STORAGE RESTAURANTS BALLROOM AND MEETING ROOMS S PA A N D F I T N E S S C E N T E R GUEST SUITES

DESIGN ELEMENTS

GROUND LEVEL



MAIN LOBBY



LOBBY BAR



LOUNGE



SERVICE ENTRANCE AND STORAGE



CHECK-IN DESK



CONCIERGE RAMP DN

18'-7" RUN

18'-7

TOTAL LOWERING OF 1'-4"

2'-1

UP '-1"

4 STEPS 4" RISE DN

CHECK-IN RECEPTION DESK

2'-6"

4 STEPS 4" RISE DN

25'-5"

• • ••••

1'-7"

4'-11"

14'-11" 4'-10"

4'-11"

LOUNGE

GROUND LEVEL FLOOR PLAN SCALE 81 "=1'-0"

18'-

RAMP UP

ELEVATED LOUNGE

18'-7"RUN

TOTAL RISE OF 1'-4"

4 STEPS 4" RISER UP

4 STEPS 4" RISER UP 4 STEPS 4" RISER UP

LOBBY BAR OPEN TO WATER FEATURE BELOW

3'-9"

BACK OFFICE FOR BAR AND STAFF

TRANSITIONAL STORAGE ROOM INTERSTITIAL VESTIBULE 7'-10"

8'-4"

2'-1"

OTB 7'-3"

1'-1"

9'-9"

11" 9"

5'-10"

2'-6"

CONCIERGE DESK

ELEVATOR BANK

48'-1"

MAIN LOBBY

SERVICE ELEVATOR OTB

SERVICE ENTRANCE AND STORAGE

PLAN NORTH ACTUAL NORTH

GROUND LEVEL DESIGN ELEMENTS

18'-7"

RAMP UP

ELEVATED LOUNGE

18'-7"RUN

TOTAL RISE OF 1'-4"

4 STEPS 4" RISER UP

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

4 STEPS 4" RISER UP

LOBBY BAR



LOBBY BAR



LOUNGE



SERVICE ENTRANCE AND STORAGE

7'-10"

8'-4"

2'-1"

OTB 7'-3"

1'-1"

9'-9"

11" 9"

5'-10"

CONCIERGE DESK 2'-6"

CHECK-IN DESK CONCIERGE

OPEN TO WATER FEATURE BELOW

TRANSITIONAL STORAGE ROOM INTERSTITIAL VESTIBULE

 

3'-9"

MAIN LOBBY

BACK OFFICE FOR BAR AND STAFF



RAMP DN

18'-7" RUN

18'-7"

ELEVATOR BANK

MAIN LOBBY

TOTAL LOWERING OF 1'-4"

48'-1"

2'-10"

23'-1"

4 STEPS 4" RISE DN

OTB

CHECK-IN RECEPTION DESK

4 STEPS 4" RISE DN

2'-6"

4 STEPS 4" RISE DN

25'-5"

SERVICE ENTRANCE AND STORAGE

• • ••••

1'-7"

4'-11"

14'-11" 4'-10"

4'-11"

SERVICE ELEVATOR

LOUNGE

GROUND LEVEL FLOOR PLAN

PLAN NORTH

SCALE 18 "=1'-0"

ACTUAL NORTH

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

GROUND LEVEL DESIGN ELEMENTS

ENTRY VIEW INTO THE POINT

18'-7"

RAMP UP

ELEVATED LOUNGE

18'-7"RUN

TOTAL RISE OF 1'-4"

4 STEPS 4" RISER UP

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

4 STEPS 4" RISER UP

LOBBY BAR



LOBBY BAR



LOUNGE



SERVICE ENTRANCE AND STORAGE

7'-10"

8'-4"

2'-1"

OTB 7'-3"

1'-1"

9'-9"

11" 9"

5'-10"

CONCIERGE DESK 2'-6"

CHECK-IN DESK CONCIERGE

OPEN TO WATER FEATURE BELOW

TRANSITIONAL STORAGE ROOM INTERSTITIAL VESTIBULE

 

3'-9"

MAIN LOBBY

BACK OFFICE FOR BAR AND STAFF



RAMP DN

18'-7" RUN

18'-7"

ELEVATOR BANK

MAIN LOBBY

TOTAL LOWERING OF 1'-4"

48'-1"

2'-10"

23'-1"

4 STEPS 4" RISE DN

OTB

CHECK-IN RECEPTION DESK

4 STEPS 4" RISE DN

2'-6"

4 STEPS 4" RISE DN

25'-5"

SERVICE ENTRANCE AND STORAGE

• • ••••

1'-7"

4'-11"

14'-11" 4'-10"

4'-11"

SERVICE ELEVATOR

LOUNGE

GROUND LEVEL FLOOR PLAN

PLAN NORTH

SCALE 18 "=1'-0"

ACTUAL NORTH

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

DESIGN ELEMENTS

GROUND LEVEL

VIEW FROM ENTRY DOORS THROUGH BUILDING

18'-7"

RAMP UP

ELEVATED LOUNGE

18'-7"RUN

TOTAL RISE OF 1'-4"

4 STEPS 4" RISER UP

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

4 STEPS 4" RISER UP

LOBBY BAR



LOBBY BAR



LOUNGE



SERVICE ENTRANCE AND STORAGE

7'-10"

8'-4"

2'-1"

OTB 7'-3"

1'-1"

9'-9"

11" 9"

5'-10"

CONCIERGE DESK 2'-6"

CHECK-IN DESK CONCIERGE

OPEN TO WATER FEATURE BELOW

TRANSITIONAL STORAGE ROOM INTERSTITIAL VESTIBULE

 

3'-9"

MAIN LOBBY

BACK OFFICE FOR BAR AND STAFF



RAMP DN

18'-7" RUN

18'-7"

ELEVATOR BANK

MAIN LOBBY

TOTAL LOWERING OF 1'-4"

48'-1"

2'-10"

23'-1"

4 STEPS 4" RISE DN

OTB

CHECK-IN RECEPTION DESK

4 STEPS 4" RISE DN

2'-6"

4 STEPS 4" RISE DN

25'-5"

SERVICE ENTRANCE AND STORAGE

• • ••••

1'-7"

4'-11"

14'-11" 4'-10"

4'-11"

SERVICE ELEVATOR

LOUNGE

GROUND LEVEL FLOOR PLAN

PLAN NORTH

SCALE 18 "=1'-0"

ACTUAL NORTH

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

DESIGN ELEMENTS

ELEVATED LOUNGE

TOTAL RISE OF 1'-4"

4 STEPS 4" RISER UP

4 STEPS 4" RISER UP 4 STEPS 4" RISER UP

LOBBY BAR



LOBBY BAR

BACK OFFICE FOR BAR AND STAFF

OPEN TO WATER FEATURE BELOW

MAIN LOBBY

3'-9"



TRANSITIONAL STORAGE ROOM INTERSTITIAL VESTIBULE 7'-10"

LOUNGE



SERVICE ENTRANCE AND STORAGE



CHECK-IN DESK



CONCIERGE

8'-4"

2'-1"

OTB

1'-1"

7'-3"



9'-9"

11" 9"

5'-10"

2'-6"

CONCIERGE DESK

RAMP DN

18'-7" RUN

18'-

ELEVATOR BANK

MAIN LOBBY

TOTAL LOWERING OF 1'-4"

48'-1"

2'-1

23'-

OTB

CHECK-IN RECEPTION DESK

1'-7"

4'-11"

14'-11" 4'-10"

4'-11"

SERVICE ELEVATOR 4 STEPS 4" RISE DN

4 STEPS 4" RISE DN

2'-6"

4 STEPS 4" RISE DN

25'-5"

SERVICE ENTRANCE AND STORAGE

• • ••••

GROUND LEVEL

RAMP UP

18'-7"RUN

LOUNGE

GROUND LEVEL FLOOR PLAN

PLAN NORTH

SCALE 18 "=1'-0"

ACTUAL NORTH

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

18'-

DESIGN ELEMENTS

ELEVATED LOUNGE

TOTAL RISE OF 1'-4"

4 STEPS 4" RISER UP

4 STEPS 4" RISER UP 4 STEPS 4" RISER UP

LOBBY BAR



LOBBY BAR

BACK OFFICE FOR BAR AND STAFF

OPEN TO WATER FEATURE BELOW

MAIN LOBBY

3'-9"



TRANSITIONAL STORAGE ROOM INTERSTITIAL VESTIBULE 7'-10"

LOUNGE



SERVICE ENTRANCE AND STORAGE



CHECK-IN DESK



CONCIERGE

8'-4"

2'-1"

OTB

1'-1"

7'-3"



9'-9"

11" 9"

5'-10"

2'-6"

CONCIERGE DESK

RAMP DN

18'-7" RUN

18'-

ELEVATOR BANK

MAIN LOBBY

TOTAL LOWERING OF 1'-4"

48'-1"

2'-1

23'-

OTB

CHECK-IN RECEPTION DESK

1'-7"

4'-11"

14'-11" 4'-10"

4'-11"

SERVICE ELEVATOR 4 STEPS 4" RISE DN

4 STEPS 4" RISE DN

2'-6"

4 STEPS 4" RISE DN

25'-5"

SERVICE ENTRANCE AND STORAGE

• • ••••

GROUND LEVEL

RAMP UP

18'-7"RUN

LOUNGE

GROUND LEVEL FLOOR PLAN

PLAN NORTH

SCALE 18 "=1'-0"

ACTUAL NORTH

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

18'-

GROUND LEVEL DESIGN ELEMENTS

DESIGN ELEMENTS

Guest Business Center



Guest Restrooms and lounge area



Back of house admin offices



Lounge for guests

STORAGE WALL

2'-6"

WORKSTATIONS RECEPTION AREA "

5'-6

BACK OF HOUSE ADMIN

ACCOUNTANTS WORKSTATIONS

3'-9"

5'-8

CONFERENCE ROOM 3'-7"

CELLAR LEVEL



MANAGER'S OFFICE WAITING AREA

CELLAR LEVEL 1 SCALE 18 "=1'-0"

GUEST LOUNGE AREA

4'-1

COMPUTER AREA 4'

24'-11"

4'-1

1" 4'-1 " 10 14'-

" 3'-7

CONFERENCE ROOM "

6'-3

10" 19'-

17'

OPEN TO ABOVE

18'-2"

3'-4"

COPY/STORAGE AREA

GUEST BUSINESS CENTER 26'-3" 4'

VESTIBULE

6'-3"

SERVICE ELEVATOR

22'-2"

VESTIBULE

MEN'S RESTROOMS

23'-1"

20'-7"

SERVICE AREA AND STORAGE

6'-10"

11'-5"

20'-7"

GUEST LOUNGE AREA

WOMEN'S RESTROOMS

4'-8"

PLAN NORTH ACTUAL NORTH

DESIGN ELEMENTS

COAT ROOM



SCREENING ROOM



RESTROOMS



STORAGE



NIGHT CLUB/ EVENT ROOM UP

SCREENING ROOM

25'-11"

STORAGE/ PROJECTOR ROOM 1'-4"

SUB CELLAR LEVEL 1



SUB CELLAR LEVEL 1 SCALE 18 "=1'-0"

MEN'S RESTROOMS

BAR

COAT ROOM

NIGHT CLUB/ EVENT ROOM

3'-4"

SERVICE ELEVATOR

2'-10"

23'-8"

24'-9"

STORAGE

4'-7"

17'-10"

WOMEN'S RESTROOM

PLAN NORTH ACTUAL NORTH

DESIGN ELEMENTS

SUB CELLAR LEVEL 2



KITCHEN



STORAGE



PREP KITCHEN



COLD AND DRY STORAGE



WASTE STORAGE UP

COLD STORAGE/DRY STORAGE 600 SQ. FT.

WASTE STORAGE 380 SQ. FT.

SUB CELLAR LEVEL 2 SCALE 18 "=1'-0"

" 4'-7

PREP KITCHEN 450 SQ. FT

KITCHEN 3200 SQ. FT. UP

SERVICE ELEVATOR

STORAGE HALLWAY 980 SQ. FT.

PLAN NORTH ACTUAL NORTH

DESIGN ELEMENTS

EFFERVESENCE RESTAURANT (FORMAL DINING)



BUBBLE RESTAURANT (CASUAL DINING)



RESTROOMS



SERVICE AREA



PREPARATION AREA UP

4'-3"

4'-7"

RESTAURANTS



BUBBLE RESTAURANT

SECOND FLOOR PLAN SCALE 18 "=1'-0"

WOMEN'S RESTROOMS

1'-6"

1'-8"

2'-4"

1'-6"

MEN'S RESTROOMS

BAR

LOUNGE

2'-6"

OPEN TO FOUNTAIN BELOW

3'-9"

DN WAITING LOUNGE

ENTRY VESTIBULE

SERVICE ELEVATOR

6'-7"

OPEN TO FOUNTAIN BELOW

MAITRE D'

4'-9"

2'-6"

4'-11"

EFFERVESCENCE RESTAURANT MAITRE D'

SERVICE AND PREP 5'

SERVICE AND PREP AREAS

1'-6"

SERVICE AND PREP

PREP ISLAND FLOATING SHELVES CANT. OVER COUNTEROP

PLAN NORTH ACTUAL NORTH

DESIGN ELEMENTS

BALLROOM MEETING ROOMS

 MEETING ROOMS (3)  BALLROOM  PREFUNCTION AREAS  SERVICE AREA  RESTROOMS UP

MEETING ROOM 2 270 SF

MEETING ROOM 1 570 SF

THIRD FLOOR PLAN SCALE 18 "=1'-0"

MEETING ROOM 3 280 SF

PRE FUNC 1250 SQUARE

WOMEN'S RESTROOMS

1'-6"

1'-8"

2'-4"

1'-6"

MEN'S RESTROOMS

BALLROOM 3200 SQUARE FEET

LOUNGE

4'-8"

4'-3"

4'-8"

4'-3"

CTION E FEET

SERVICE ELEVATOR

SERVICE AND PREP AREAS 380 SF PREP ISLAND FLOATING SHELVES CANT. OVER COUNTEROP

PLAN NORTH ACTUAL NORTH

DESIGN ELEMENTS

BALLROOM MEETING ROOMS

D B C

PRE FUNCTION AREA OUTSIDE MEETING ROOMS LOOKING TOWARD BALLROOM PREFUNCTION

LEGEND A. CURVED SOFFIT EVOKES SWIRL AND LIQUID

B. ANGLED WALL SYMBOLIC OF UPWARD MOVEMENT

C. BUBBLE TREATMENT ON FLOORING AND WALL AS PATTERN D. GLOBE PENDANTS EVOKE EFFERVESENCE ON WALL AND CEILNG

B B B

D B C

DESIGN ELEMENTS

LEGEND

BALLROOM MEETING ROOMS

A. CURVED SOFFIT EVOKES SWIRL AND LIQUID B. ANGLED WALL SYMBOLIC OF UPWARD MOVEMENT C. BUBBLE TREATMENT ON FLOORING AND WALL AS PATTERN D. GLOBE PENDANTS EVOKE EFFERVESENCE ON WALL AND CEILNG

LOBBY AREA, INK 48, KIMPTON HOTEL NY

D RENAISSANCE HOTEL, BOSTON MA

MIMA RESIDENTIAL TOWER, NY

D D C

D C

PREFUNCTION AREA OUTSIDE BALLROOM

DESIGN ELEMENTS

BALLROOM MEETING ROOMS

LEGEND

A. EFFERVESCENT CHANDELIER DESIGN B. ANGLED WALL SYMBOLIC OF UPWARD MOVEMENT C. BUBBLE TREATMENT ON FLOORING AND WALL AS PATTERN D. GLOBE PENDANTS EVOKE EFFERVESENCE ON WALL AND CEILNG E. USE OF WAVY PATTERN AND GRAINING TO SYMBOLIZE BUBBLE MOVING UP LIQUID

D C

B B

MEETING ROOM WITH ACCORDION PARTITIONS OPEN-VIEW TOWARDS THE POINT OF BUILDING

DESIGN ELEMENTS

BALLROOM MEETING ROOMS

LEGEND

A. EFFERVESCENT CHANDELIER DESIGN B. ANGLED WALL SYMBOLIC OF UPWARD MOVEMENT C. BUBBLE TREATMENT ON FLOORING AND WALL AS PATTERN D. GLOBE PENDANTS EVOKE EFFERVESENCE ON WALL AND CEILNG USE OF WAVY PATTERN AND GRAINING TO SYMBOLIZE BUBBLE MOVING UP E. LIQUID

D E

ROOKERY HALL HOTEL, LONDON ENGLAND

MIMA RESIDENTIAL TOWER, NY

CARPET AND FINISH SAMPLES IN MEETING ROOM

BALLROOM

DESIGN ELEMENTS

BALLROOM MEETING ROOMS

DESIGN ELEMENTS

BALLROOM MEETING ROOMS

LEGEND

A. CURVED SOFFIT EVOKES SWIRL AND LIQUID B. ANGLED WALL SYMBOLIC OF UPWARD MOVEMENT C. BUBBLE TREATMENT ON FLOORING PATTERN D. GLOBE PENDANTS EVOKE EFFERVESENCE ON WALL AND CEILNG

C RENAISSANCE BALLROOM, BOSTON MA INSPIRATION IMAGES

EPIC HOTEL, MIAMI FL

DESIGN ELEMENTS

BALLROOM MEETING ROOMS

DESIGN ELEMENTS

BALLROOM MEETING ROOMS

DESIGN ELEMENTS

BALLROOM MEETING ROOMS

DESIGN ELEMENTS

BALLROOM MEETING ROOMS

LEGEND

A. CURVED SOFFIT EVOKES SWIRL AND LIQUID B. ANGLED WALL SYMBOLIC OF UPWARD MOVEMENT C. BUBBLE TREATMENT ON FLOORING AND SURFACE PATTERNS D. GLOBE PENDANTS EVOKE EFFERVESENCE ON WALL AND CEILNG

PREFUNCTION HALLWAY LEADING TOWARDS MEETING ROOMS

DESIGN ELEMENTS

BALLROOM MEETING ROOMS

DESIGN ELEMENTS

SPA AND FITNESS CENTER

WAITING AND 4'

4'-4

SPA 1400 SQ. FT.

3'-8"

3'-6

1'-

OFFICES 460 SQ. FT.

GYM 2000 SQ. FT.

1'-9"

FITNESS ROOM 400 SQ. FT. UP

D CHECK IN 5'

3'-6"

3'-2"

3'-6" 3'-2"

10'-1"

3'-6"

LAUNDRY AND STORAGE 480 SQ. FT.

MEN

3'-6"

WOMEN

1'-6"

3'-6"

SERVICE ELEVATOR

4'-2"

DESIGN ELEMENTS

SPA AND FITNESS CENTER

DESIGN ELEMENTS

SPA AND FITNESS CENTER

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

1'-9"

FITNESS ROOM 400 SQ. FT. DN

WAITING AND CHECK IN 5' 4'

3'-2"

3'-6"

4'-4"

SPA 1400 SQ. FT.

3'-6" 3'-2"

3'-8"

10'-1"

3'-6"

LAUNDRY AND STORAGE 480 SQ. FT.

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

OFFICES 460 SQ. FT. MEN

3'-6"

WOMEN

1'-6"

3'-6"

SERVICE ELEVATOR

1'-11"

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

GYM 2000 SQ. FT.

4'-2"

WAITING AND CHECK IN 5' 4'

3'-2"

3'-6"

SPA 1400 SQ. FT.

3'-6"

4'-4"

3'-6" 3'-2"

3'-8"

10'-1"

OFFICES 460 SQ. FT. LAUNDRY AND STORAGE 480 SQ. FT.

MEN

WOMEN

3'-6" 1'-6"

3'-6"

1'-6"

3'-6"

SERVICE ELEVATOR

3'-6"

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

DESIGN ELEMENTS

FITNESS ROOM 400 SQ. FT. DN

4'-2"

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

1'-9"

SPA AND FITNESS CENTER

GYM 2000 SQ. FT.

1'-11"

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

1'-9"

FITNESS ROOM 400 SQ. FT. DN

WAITING AND CHECK IN 5' 4'

3'-2"

3'-6"

4'-4"

SPA 1400 SQ. FT.

3'-6" 3'-2"

3'-8"

10'-1"

3'-6"

LAUNDRY AND STORAGE 480 SQ. FT.

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

OFFICES 460 SQ. FT. MEN

3'-6"

WOMEN

1'-6"

3'-6"

SERVICE ELEVATOR

1'-11"

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

GYM 2000 SQ. FT.

4'-2"

SERVICE ELEVATOR

SPA AND FITNESS CENTER

DESIGN ELEMENTS

WAITING AND CHECK IN

OFFICES 460 SQ. FT.

LAUNDRY AND STORAGE 480 SQ. FT.

3'-2"

3'-6"

1'-6"

1'-9"

3'-6"

1'-6"

3'-2"

WOMEN

10'-1"

FITNESS ROOM 400 SQ. FT.

4'-2"

3'-6"

GYM 2000 SQ. FT.

3'-6"

MEN

3'-6"

DESIGN ELEMENTS

GUEST SUITES

KING SUITE

KING SUITE KING SUITE

KING SUITE

DOUBLE SUITE

KING SUITE

GALLERY

SERVICE ELEVATOR

APARTMENT SUITE

VENDING KING SUITE

APARTMENT SUITE

SERVICE AREA AND STORAGE

GUEST SUITES DESIGN ELEMENTS

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

KING SUITE

GALLERY UP

SERVICE ELEVATOR

KING SUITE

KING SUITE KING SUITE

APARTMENT SUITE

VENDING

KING SUITE

APARTMENT SUITE

SERVICE AREA AND STORAGE

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

DOUBLE SUITE

KING SUITE

GUEST SUITES DESIGN ELEMENTS

DESIGN ELEMENTS

APARTMENT SUITE

GUEST SUITES

NDING

ND STORAGE

KING SUITE

GUEST SUITES DESIGN ELEMENTS

Pedro A. Lima is a prominent design professional in the Interior Design industry with over 15 years of industry relations. His design experience is diverse, working in boutique retail, corporate, institutional, restaurant, and residential design. Establishing Pedro Lima Design LLC in 2004, Pedro has completed projects nationally and continues his passion for great design.

BIOGRAPHY

e has extensive product and furniture expertise, including a private label collection of Tibetan rugs through Inigo H Elizade Rugs and Eastern Knots, and many custom furniture pieces for private client as well as Cliff Young Ltd. He also founded New York Urban Stone Inc in 2008, a stone wholesale and import firm, catering to exclusive interior designers and architects, purveying top quality stone and tiles for renovation and new construction projects. Prior to establishing his namesake firm, Pedro worked for several design and architectural firms, including Eric Warner Studio, FFKR Architects, and Cliff Young Ltd. Pedro is serving on the American Society of Interior Designers (ASID) national advisory board for Emerging Professionals (EPAC). He served as the ASID New York Metro Chapter President and President-elect between 2008-2010. Pedro is a licensed New York State Certified Interior Designer (CID} and became an NCIDQ Certificate holder in 2004. P edro is currently a full-time faculty member in the Interior Design department at the Art Institute of New York City, and an adjunct faculty member for Westwood College. He has authored and written architectural interior design studio courses. Pedro recently juried the New York International Gift Fair for the ASID Top Pick Awards, and was a judge for national design competition for Clorox. His work has been seen on HGTV’s Mission: Organization, and Sweat Equity. Pedro’s work has been published in magazines, and has been quoted by design periodicals as a content expert. He holds a BFA in Interior Design from Brigham Young University in Provo, Utah and is working towards an MFA in Interior Architecture and Design at the Academy of Art University.

BIBLIOGRAPHY

Socioeconomic factors influencing your thesis

http://www.easternconsolidated.com/images/articles/Flatiron_By_The_Numbers%20-%20Demographics.pdf http://homes.point2.com/Neighborhood/US/New-York/New-York-City/Manhattan/Flatiron-District-Demographics. aspx http://www.city-data.com/neighborhood/Gramercy-Flatiron-New-York-NY.html http://www.sorgentegroup.com/index.php?lingua=eng

Sustainable issues relating to your project http://andydragt.com/2010/02/redeveloping-the-flat-iron-building/ Identification of relevant building codes

Historical and current factors that will influence your project

http://www.nydailynews.com/services/realestate/2008/01/03/2008-01-03_redhot_flatiron_new_yorks_most_ livable_n.html http://www.flatironsquare.com/the-neighborhood/flatiron-nyc-neighborhood/ Gillon, Edmund Vincent (photographs) and Reed, Henry Hope (text). Beaux-Arts Architecture in New York: A Photographic Guide New York: Dover, 1988. p.26 http://www.destination360.com/north-america/us/new-york/nyc/flatiron Sheftell, Jason "Italian real estate investor buys stake in Flatiron building, eyes hotel" New York Daily News (26 January 2009) Lueck, Thomas J. "15-Story Ad on Flatiron Building Must Go, the City Says" New York Times (April 8, 2005) White, Norval & Willensky, Elliot (2000). AIA Guide to New York City (4th ed.). New York: Three Rivers Press. ISBNÂ 0812931076. Alexiou, Alice Sparberg. The Flatiron: the New York landmark and the incomparable city that arose with it. New York: Thomas Dunne/St. Martin's, 2010. ISBN 978-0-312-38468-5 Stapinski, Helen. "Square Feet: A Quirky Building That Has Charmed Its Tenants" New York Times (May 25, 2010) http://www.ruhlmann.info/interiors.php/t,Interiors http://www.nytimes.com/2004/06/18/arts/design-review-for-the-classy-and-the-climbers-the-high-priest-of-art-deco. html?pagewanted=3

Ergonomic and universal design issues that relate to your project Case Study research:

GANSEVOORT HOTEL: http://gansevoortpark.com/ http://travel.nytimes.com/2011/07/03/travel/hotel-review-gansevoort-park-avenue-nyc-in-new-york.html STANDARD HOTEL: http://www.vanityfair.com/style/features/2009/02/standard-hotel200902 http://www.standardhotels.com/new-york-city/ RENAISSANCE BOSTON WATERFRONT HOTEL: http://www.marriott.com/hotels/travel/boswf-renaissance-boston-waterfront-hotel/ http://newbostonwaterfront.com/2011/renaissance-waterfront-hotel-foreclosure/ http://citybuzz.com/boston/renaissance-boston-waterfront-hotel-the-seaports-latest-addition http://www.oyster.com/boston/hotels/renaissance-boston-waterfront-hotel/photos/restaurants-bars-renaissance-boston-waterfront-hotel-v597953/

CLIMATE:

http://en.wikipedia.org/wiki/New_York_City#Climate wind direction: http://answers.yahoo.com/question/index?qid=20080901151600AAB9f21 precipitation: http://hypertextbook.com/facts/2005/LauraDePalma.shtml

EDRO LIMA | RUHLMANN HOTEL AND RESORT