Thesis Book

SOCIAL FOOD HUB: A PLACE TO REVITALIZE YOUR BODY by Qu Jiang

Š2016 Qu Jiang

A thesis submitted in partial fulfillment of the requirements for the degree of Master of Science in Interior Design School of Design Pratt Institute May 2016

SOCIAL FOOD HUB by Qu Jiang

Received and approved: _______________________________________________________ Date_______________ Thesis Advisor Signature _______________________________________________________ Thesis Advisor Name

_______________________________________________________ Date_______________ Chairperson Signature _______________________________________________________ Chairperson Name

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ACKNOWLEDGMENTS

I would like to express my sincere gratitude to my thesis professor Loukia who has provided constant encouragements and valuable, expert guidance throughout my entire project. She has enlightened me with her wisdom, intellect, patience, enthusiasm and optimism. I would also like to take this opportunity to thank my friends and studio mates who always inspire and support me during the most stressful days. Most importantly, this thesis would not have been possible without the unconditional support and love from my family.

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TABLE OF CONTENTS

01 Concept Abstract 02 Concept Research 03 Program 04 Case study 05 Site 06 Design Strategy 07 Bibliography

01 07 11 15 25 33 75

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01 CONCEPT ABSTRACT

1

This chapter introduces us to the social issue of most people in the U.S. are neglecting the importance of lunch break by either skipping it, eating at desk, eating while work, eating alone, taking fast food, eating snack instead etc. It causes problems of inefficiency, digestion problems or obesity and other potential health issues. This is why this thesis project is addressing this problem and try to offer a solution.

2

01 CONCEPT ABSTRACT | social issue

Can lunch break be the hour to revitalize rather than inevitable time to feed?

[ 3

ISSUES: In metropolitan area, many people have paid little attention to their lunch break quality for hustling for fast food or eat at their work desk without any rest to save the time spent on lunch break. The importance and quality of eating and resting during lunch break has been neglected. Addition to this is the phenomenon of near half of the work people eat by themselves with no social interaction or communications with others surrounding by. This fast paced habit of lunch break not only causes obesity or other digestion disease, it also forms the isolated phenomenon for those who eat alone.

CURRENT HABITS OF LUNCH BREAK

choice of fast food cho

eat while work

eat alone

get back to work without rest

CONSEQUENCES OF UNHEALTHY HABITS

eating more leater on

low effiency

obesity

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01 CONCEPT ABSTRACT | thesis statement

[ 5

STATEMENT: My thesis aims to address the issue of unhealthy lunch habits among people working across the U.S. The objective is to re-introduce a ritual approach to the eating habits within the established one hour lunch break as part of the contemporary daily routine. Hence, a social food hub is proposed initiating the user to an experiential space of various eating, resting and napping environments. The process is supported by addressing different body postures, and privacy levels of users.

THE HEALTHY RITUAL OF LUNCH BREAK

choose healthy food

mindful eating

nap

rest

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02 CONCEPT RESEARCH

7

With the unhealthy phenomenon in mind, this chapter tells us the benefits of a healthy ritual of eating and resting.

Backed up with survey conducted by myself, evidences support the same phenomenon: most of us are doing the unhealthy way.

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02 CONCEPT RESEARCH

[

“Roughly half of American adults eat lunch alone.”

“Our unaccompanied lunches are probably smaller. Studies on pigs, rats, puppies, chickens, gerbils and other animals dating back to the 1920s show a phenomenon researchers call ‘‘social facilitation,’’ in which the presence of others makes an individual eat more.”

Simply eating with one other person increases the average amount ingested by 44 percent. In fact, the more people present, the more people eat. One study showed that with seven or more, subjects ate 96 percent more than they would have alone.”

A large new study has found that people who regularly took a siesta (nap) were significantly less likely to die of heart disease.

“They found significant positive correlations between work performance and eating and cooking as a team.

Workplace satisfaction is so much higher if you eat with your colleagues.”

Eating while distracted lead to consuming more during that meal, while mindful eating was linked to eating less later on.

Take time to enjoy meal, less likely to indulge in snacking later on. *Survey (on the right) also supports evidences from research above, depicts unhealthy lunch habits and the demand for napping space.

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LUNCH BREAK HABITS SURVEY

(54 PARTICIPANTS)

LARGE FIRM >100 EMPLOYEES

MIDIUM FIRM

SMALL FIRM

<50 EMPLOYEES

<10 EMPLOYEES

DURATION OF LUNCH BREAK 60MINS

TIME TRAVEL FOR FOOD

60MINS

60MINS

10MINS

10MINS

10MINS

10MINS

PREFARABLE TIME

PREFARABLE TIME

PREFARABLE TIME

MAX TIME

MAX TIME

MAX TIME

10MINS

BRING OWN FOOD (EAT IN OFFICE) ORDER/GRAB FOOD EAT IN OFFICE BRING OWN FOOD (EAT OUTSIDE) EAT OUTSIDE/INDOOR EAT OUTSIDE/OUTDOOR

ALONE PAIR GROUP

PREFERED PLACE TO EAT OUTDOOR PARK IN OFFICE OUT OF OFFICE INDOOR RESTAURANT

DESIRE A PLACE TO REST AFTER LUNCH DESIRED LOCATION OF FOOD HUB IN WORK PLACE OUTSIDE BUT NEARBY

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03 PROGRAM

11

Work, restaurants and my proposed social food hub are cross compared such as operating hours, materiality and other factors. Programs of social food hub is proposed to house eating, resting, napping, kitchen and shared cooking.

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03 PROGRAM

ENVIRONMENTS ANALYSIS OFFICE OFFICE HOUR

FAST FOOD

OVERTIME

OPENNING HOURS

6pm - 9pm

11am - 10pm

SOCIAL FOOD HUB PEAK HOURS

OFF-PEAK HOURS

HOURS OF OPERATION 9am - 6pm

12am - 1pm 5 pm - 7pm

9am - 11pm 1pm - 5pm 7pm - 9pm

OBSERVATION LOCATION

CAFE/ REST AREA RESTAURANT OFFICE

CAFE / REST AREARESTAURANT

OFFICE

CAFE / REST AREA

RESTAURANT

OFFICE

FOOD HUB

MATERIALITY

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CARPET

CERAMIC GLASS

TIMBER

ACOUSTIC FINISHING

POLISHED CONCRETE

POLISHED TIMBER CONC

STONE

TILE

METAL SHEET

CORK

TIMBER POLISHED FELT CONCRETE

TRANSLUCENTTIMBER FABRIC

STAINLESS STEEL

ZONING EATING ORDERING RESTING

EATING COOKING SLEEPING PIPE SHAFT

PIPE CHASE VARIES PER FLOOR

ELECTRIC

NAP ROOM

QUIET LOUNGE

COMMUNAL LOUNGE

MICROWAVE STATION

A SHARED KITCHEN

SHARED KITCHEN

SELF-SERVICE BAR

KITCHEN

BAR

SELF-SERVICE BAR

DN

PROGRAM

DEEP REST

LIGHT REST

A’

SHARED KITCHEN + MICROWAVE STATION KITCHEN

DINING

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04 CASE STUDY

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Chipotle, as one of the most popular destination for a fast lunch, is being analyzed here as a case study. Three locations in the densest commercial are selected as examples.

Demography, floor layout, circulation as well as other factors are all taken into consideration for further development of my thesis project.

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04 CASE STUDY

CASE: CHIPOTLE BRYANT PARK

OBSERVATION LOCATION

MADISON SQ PARK

UNION SQ PARK

28 W 40th St 28th St 15th St

INDUSTRIAL ZONE RESIDENTIAL ZONE COMMERCIAL ZONE GREEN/PARK ZONE RIVER

DEMOGRAPHY MALE FEMALE TAKE OUT EAT IN ALONE PAIR GROUP LINE UP TIME ORDER TIME

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10min

10min

10min

CIRCULATION ANALYSIS BRYANT PARK

MADISON SQ PARK

UNION SQ PARK

ULATION

FLOW STAY

FLOW STAY

FLOW STAY

PAUSE

PAUSE

PAUSE

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04 CASE STUDY

SIGHT-LINES OVERLAY

BRYANT PARK

SIGHTLINES OVERLAY

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MADISON SQ PARK

UNION SQ PARK

ACTIVITY DISTRIBUTION MAP

ZONING

CONVERSATION

PLAY WITH SMARTPHONE

EAT

DRINK

TALK ON THE PHONE

SERVICE STATION DINING ZONE QUEUE/CIRCULATION

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04 CASE STUDY

SCENARIOS OF SOCIAL FOOD HUB SCENARIOS OF SOCIAL FOOD HUB 10min

DURATION

20min

30min

ORDER FOOD

ORDER DRINK

40min

50min

REST EAT REST

HEAT UP FOOD

CHAT EAT HEAT UP FOOD

CHAT EAT

REST

CHAT

ORDER FOOD

HEAT UP FOOD

CHAT EAT

REST

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REST

EAT

CHAT

REST

HOW IS SPACE PERCEIVED?

PRELIMINARY SCENARIO SKETCHES

HOW HOWISISSPACE SPACEPERCEIVED? PERCEIVED? 1.1.

PUBLIC PUBLIC DISTANCE DISTANCE - 12ft - 12ft and and beyond beyond 2.2.

SOCIAL SOCIAL DISTRANCE DISTRANCE - 4ft - 4ft toto 12ft 12ft 3.3.

PERSONAL PERSONAL DISTANCE DISTANCE - 18in - 18in toto 4ft4ft 4.4.

INTIMATE INTIMATE DISTANCE DISTANCE - physical - physical contact contact toto 18in 18in -------Edward Edward T. T. Hall, Hall, 1963 1963

A engages A engages in in a conversation a conversation with with B while B while having having visual visual access access to to other other activities. activities.

different different exposures exposures

overlay overlay of of different different apertures apertures

different different exposures exposures

exposed exposed to to some some vsvs exposed exposed to to others others

priority priority vision vision visually visually extended extended space space

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04 CASE STUDY HOW IS HOW SPACE IS SPACE PERCEIVED? PERCEIVED? 1. PUBLIC 1. PUBLIC DISTANCE DISTANCE - 12ft and - 12ft and beyond beyond 2. SOCIAL 2. SOCIAL DISTRANCE DISTRANCE - 4ft to 12ft - 4ft to 12ft 3. PERSONAL 3. PERSONAL DISTANCE DISTANCE - 18in to- 18in to 4ft 4ft 4. INTIMATE 4. INTIMATE DISTANCE DISTANCE - physical - physical contact to contact 18in to 18in ---- Edward ----T.Edward Hall, 1963 T. Hall, 1963

A engagesAinengages a conversation in a conversation with with B while having B while visual having access visual to access to other activities. other activities.

different exposures different exposures

overlay of overlay differentofapertures different apertures

different exposures different exposures

exposed to exposed some vstoexposed some vsto exposed others to others

priority vision priority vision visually extended visually extended space space

distorted space distorted space limited vision limited vision original space original space

PRELIMINARY PRELIMINARY SCENARIO SCENARIO SKETCHES SKETCHES 23

hierarchy of hierarchy vision of vision

beyondDISTRANCE - 4ft to 12ft 2. SOCIAL 2. SOCIALDISTANCE DISTRANCE - 4fttoto 12ft 3. PERSONAL - 18in 3.

PERSONAL DISTANCE - 18in to 4ft 4ft 4. INTIMATE DISTANCE - physical 4. INTIMATE DISTANCE - physical contact to 18in contact to 18in ---- Edward T. Hall, 1963 ---- Edward T. Hall, 1963

A engages in a conversation with engages in aaccess conversation with B whileAhaving visual to B while having visual access to other activities. other activities.

different exposures different exposures

different exposures different exposures

exposed to some vs exposed to others exposed to some vs exposed to others

priority vision priority vision

visually extended space visually extended space distorted space distorted space

limited vision limited vision

PRELIMINARY SCENARIO SKETCHES PRELIMINARY SCENARIO SKETCHES

overlay of different apertures overlay of different apertures

original space original space

hierarchy of vision hierarchy of vision

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05 SITE

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The site is select in the Starrett-Lehigh building, which is one of the largest international building in New York. It was turned into a office building and home to elite fashion, design, and art firms. Over 5,000 people work in the building. This site is chosen due to the fact that the building has a micro-culture and young spirit but lacks sufficient and qualify food supply.

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05 SITE

LOCATION: 601 WEST 26TH STREET

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SITE ANALYSIS

COMMERCIAL ZONE

OUTDOOR GREEN SPACE

INDUSTRIAL ZONE

PUBLIC TRANSPORTATION

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05 SITE | food distribution photos/map FOOD/DRINK SUPPLY DISDTRIBUTION

1 2 FOOD COURT 8TH FLOOR

3 4 CANTEEN 2ND FLOOR

9 10 RESTAURANT 1ST FLOOR

Poor conditions, low capacity for existing demand during peak hours.

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5 6 TACO 17TH FLOOR

7 8 JUICE BAR 15TH FLOOR

SOUTH ELEVATION

1-8TH FLOOR PLAN

FOOD

15-19 FLOOR PLAN

ELEVATOR

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05 SITE

DN

ND N D

UP

N

ABOUT STARRETT-LEHIGH Iconic International Style building completed in 1931. Originally built for innovative solution of freight distribution. Thus, it was accessible by the railway freight cars directly from Hudson River pier to the building interior. Every floor is reachable by elevator and meet the function of unload or storage.

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LEVEL 8 -PLAN SCALE 1’-0”=1/64” 651’

UP DN

UP

UP

ABANDONED ELEVATOR SHAFT

DN

191’

DN

DN

UP

ELECTRIC

PIPE CHASE VARIES PER FLOOR

ELECTRIC

PIPE SHAFT

DN

FLOOR PLAN LEVEL 88-PLAN SCALE 1’-0”=1/64” TH

DN

UP

ELECTRIC

PIPE CHASE VARIES PER FLOOR

ELECTRIC

PIPE SHAFT

SECTION

DN

LEVEL 8 -PLAN SCALE 1’-0”=1/16” 8TH FLOOR PLAN SELECTED SITE

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06 DESIGN STRATEGY

33

This chapter begins with taxonomy on eating and resting postures, conceptual models, followed by site analysis and design developments.

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06 DESIGN STRATEGY TAXONOMY OF EATING

TAXONOMY TAXONOMY TAXONOMY TAXONOMY OF OFEATING TAXONOMY EATING OF EATING OF EATING OF EATING SELF SELF

SELF

SELF

SELF

PAIR PAIR

TYPOLOGY TYPOLOGY TYPOLOGY TYPOLOGY TYPOLOGY

BODY POSTURE BODY POSTURE BODY POSTURE BODY POSTURE BODY POSTURE DIMENSION DIMENSION DIMENSION DIMENSION DIMENSION

3’-6”3’-6”

3’-6” 1’-10” 1’-10”

SQUARE FOOTAGE SQUARE FOOTAGE SQUARE FOOTAGE SQUARE 4.2188 4.2188 sqFOOTAGE ftsq ft 4.2188 sq ft SQUARE FOOTAGE

1’-10 1’-10 1/2”1/2” 1/2” 1’-10” 1’-10” 1’-10 1’-10 1/2”1/2” 1’-10 1/2” 1’-10 1/2” 1’-10 1/2” 1’-10 1/2” 1’-10 1/2” 1’-10 3’-6” 1’-10” 3’-6” 1’-10” 1’-10”

SIS T IT

SIT

4.2188 3.1250 3.1250 sqsqft ftsq ft 4.2188 3.1250 sq ft sq ft

SIT

3.1250 sq ft

1’-10”

1’-10”

SIT

3.1250 4.2188 4.2188 sq ftsq ftsq ft

4.2188 sq ft 4.2188 4.2188 4.2188 sq ftsq ftsq ft

4.2188 4.2188 sq ftsq ft

1’-10”

1’-10” 1’-10”

4.2188 sq ft

1’-

SIT S

3.1250 3.1250 4.2188 sq ftsq ft

NOISE LEVEL NOISE LEVEL NOISE LEVEL NOISE LEVEL NOISE LEVEL SOUND SOUND

SOUND

SOUND

SOUND

SIGHT SIGHT

SIGHT

SIGHT

SIGHT

SMELL SMELL

SMELL

SMELL

SMELL

PRIVACY LEVEL PRIVACY LEVEL PRIVACY LEVEL PRIVACY LEVEL PRIVACY LEVEL

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MEDIUM MEDIUM TOTO BRIGHT BRIGHT MEDIUM LIGHTING LIGHTING TO BRIGHT MEDIUM LIGHTING TO BRIGHT MEDIUM LIGHTING TO BRIGHT LIGHTING

DIM DIM LIGHT LIG

”

PAIRPAIR

PAIR

PAIR

GROUP GROUP

1’-10”

188 sq ftsq ft 4.2188 sq ft

1’-10”

1’-10”

1’-10”

SIT SIT

4.2188 sq3.1250 ft sq 3.1250 ft sq ft

1’-10” 1’-10” 1’-10”

SIT

3.1250 sq3.1250 ft sq 3.1250 3.1250 ft sq sq ftft

1’-10”

SIT

3.1250 sq ft

DIM LIGHTING DIM LIGHTINGDIM LIGHTINGDIM LIGHTING

1’-10”

3.1250 sq ft

1’-10”

1’-10”

4.2188 sq 4.2188 ft sq ft

2’-6”

GROUP

2’-6”

2’-6”

1 1’-8”

1 1’-8”

1 1’-8”

1 1’-8”

2’-6”

GROUP

1’-10”

SIT SIT

1’-10”

SIT

SIT

4.21884.2188 sq ft sq 4.2188 ft 4.2188 sq ftsq ft 4.2188 sq ft

4.2188 sq ft

MEDIUM MEDIUM TO BRIGHT TO BRIGHT MEDIUM LIGHTING LIGHTING TO BRIGHT MEDIUM LIGHTING TO BRIGHT LIGHTING

36

06 DESIGN STRATEGY TAXONOMY TAXONOMY TAXONOMY OF TAXONOMY RESTING OF RESTING OF RESTING OF RESTING TAXONOMY OF RESTING

5’-9”

SOUND SOUND SOUND SOUND NOISE LEVEL

NOISE LEVEL

NOISE LEVEL

20 5/16 sq ft

20 5/16 sq ft

20 5/16 sq ft

READ/OTRHEEARD/OTR HEA RD/O

3’-1”

3’-1”

3’-1”

9 3/4 sq ft

9 3/4 sq ft

9 3/4 sq ft

1’6”

1’-10 1/2”

SIT

4 1/8 sq ft

/2” 1’-6”

1’6”

1’- 1’-6” 61 /6 ”

1’6”

1’- 1’-6” 61 /6 ”

1’6”

1’61 /6 ”

5’-4”

2’-8”

3’-1”

LEAN ORLLEAAYNDOORW LLE NAAYNDO OR WLLN EAAYNDO OR WLNAY DOWN 9 3/4 sq ft

2’-6 1/2”

NAP

1’61 /6 ”

5’-4”

2’-8”

5’-4”

2’-8”

2’-8”

61 1’-

/6” 61 1’-

61 5’-9”

LAY DOWN LAY DOWN LAY DOWN LAY DOWN SQUARESQUARE FOOTAGE SQUARE FOOTAGE SQUARE FOOTAGEFOOTAGE 20 5/16 sq ft

NAP

/6”

5’-4” 5’-9”

1’-

1’-

61

/6”

DIMENSION DIMENSION DIMENSION DIMENSION

/6”

BODY POSTURE BODY POSTURE BODY POSTURE BODY POSTURE

5’-9”

NAP

1’61

NAP

2’-6 1/2”

SLEEP

2’-6 1/2”

SLEEP

5’-2”

5’-2”

5’-2”

5’-2”

TYPOLOGY TYPOLOGY TYPOLOGY TYPOLOGY SLEEP SLEEP

1’-10 1/2”

SIT 4 1/8 sq ft

NOISE LEVEL

WHITE SOOTHING NOISE, WHITE MUSIC, SOOTHING NOISE, QUIET WHITE MUSIC, SOOTHING NOISE, QUIET MUSIC, SOOTHING QUIET MUSIC, QUIET LOW LEVELLOW NOIS WHITE NOISE, WHITE SOOTHING NOISE, WHITE MUSIC SOOTHING NOISE, ,QUIET WHITE MUSIC SOOTHING NOISE, ,QUIET MUSIC SOOTHING ,QUIET MUSIC ,QUIETWHITE NOISE,

SIGHT

SIGHT

SMELL SMELL

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SIGHT

SIGHT

SMELL

SMELL

DIM LIGHTINDGIM /DLAIR GK HTIND GI/M DA LR IGKHTIND GI/M DA LR IGKHTING/DARK

SOOTHING SC OE ON TT HING SSCOEONTTHING SSCOEONTTHING SCENT

PRIVACYPRIVACY LEVEL PRIVACY LEVEL PRIVACY LEVEL LEVEL

DIM LIGHTINDGIM /DLAIR GK HTIND GI/M DA LR IGKHTIND GI/M DA LR IGKHTING/DARK

SOOTHING SC OE ON TT HING SSCOEONTTHING SSCOEONTTHING SCENT

MEDIUM

REFRESH

1’-10 1/2” 2’-9” 2’-9”

1’-10 1/2” 2’-9”

SIT

SIT

2’-6 1/2” 1’-6”

1’61

1’-6” 1’8”

/2”

2’-6 1/2”

2’-6 1/2”

1’-6” 1’8” 1’6 1’- 1/2 61 ” /2”

2’-6 1/2”

CHAT

1’-6” 1’8” 1’6 1’- 1/2” 61 /2”

2’-6 1/2”

CHAT

1’-6” 1’8” 1’6 1’- 1/2” 61 /2”

2’-6 1/2”

CHAT

1’61 /2” 1’8 ”1 1’-6” ’-6 1’- 1/2” 61 /2”

4’-8” 61 /2” 1’-

8”

8”

8”

1’-

1’6 12’-8 1 /2” /2”

4’-8” 2’-8

1/2”

4’-8” 8”

/6”

2’-8

1/2”

4’-8” /2”

8” 1’61

2’-8

1/2”

4’-8” /6”

8” 1’61

CHAT

1’61

2’-8

/6”

8” 1’61 /2”

1’61

2’-8

/6” /2” 1’-6”

1’61

1’61

/6” /2” 1’-6”

1 1’6” ’-6 1

1’61

1’6”

1’6”

9 3/4 sq 4ft 1/8 sq99ft3/4 3/4 4 1/8 sq sq ftsq ft ft

SIT

CHAT CHAT

1/2”

4’-8”

2’-6 1/2”

1’-10 1/2”

1/2”

1’6” 1’1’61 6 1’/2” 1’-6” 1/6 ” -6 1/6 ”

1’-10 3’-1” 1’-10 1/2” 3’-1” 3’-1” 1/2”

LN EAAYNDO OR WLLN EAAYNDO OR W SL IN TAY DSO ITWN

/4 sq ft

2’-6 1/2”

2’-6 1/2” 1 1’- ’-6 1’-6” 6 1 1/6 /2” ”

2’-6 1/2”

2’-6 1/2”

3’-1”

1’- 1’-6” 61 /6 ”

5’-4”

1’61 /6 ” 1’-6”

2’-8” 2’-6 1/2”

R NE AA PD/R OE TA HD E/R OTR HEA RD/OTR HEA RD/OTR HEA RD/OTR HEA RD/OTHER

1’-10 1’-10 1/2” 1/2” 2’-9”

SIT SIT

4 1/8 sq ft 9 3/44sq 1/8 ft sq 9 3/4 ft sq ft 4 1/8 sq 9 3/4 ft sq ft 44 1/8 1/8 sq sq 9 3/4 ftft sq ft

2’-9”

SIT 9 3/4 sq ft

2’-9” 2’-9”

SIT

2’-8”

SIT

99 3/4 3/4 sq sq ftft 4 1/8 sq ft 4 1/8 sq ft

1’-10 1/2” 1’-102’-8” 1/2” 2’-8”

SIT

1’-102’-8” 1/2”

1’-102’-8” 1/2”

1’-102’-8” 1/2” 2’-8”

1’-10 1’-10 1/2” 1/2”

SIT

4 1/8 4 1/8 sq ftsq ft 4 4 1/8 1/8 sqsq ft ft

44 1/8 1/8 sqsq ft ft

44 1/8 4 1/8 1/8 sqsq sq ft ftft

4 1/8 sq ft

44 1/8 1/8 sq sq ftft

UIET G WHITE E, WHITE MUSIC, SOOTHING NOISE, NOISE, QUIET MUSIC, SOOTHING SOOTHING LOW QUIET LEVEL MUSIC, MUSIC, LOWNOISE, LEVEL QUIET QUIETVARIETY LOW NOISE, LEVEL VARIETY OF MUSIC LOW NOISE, OF LEVEL VARIETY MUSIC LOW NOISE, OF LEVEL VARIETY MUSIC LOW NOISE, LOWOF LEVEL LEVEL VARIETY MUSIC NOISE, NOISE, OFMEDIUM VARIETY VARIETY MUSIC MEDIUM TO OF OFHIGH MUSIC MUSIC TO NOISE MEDIUM HIGHLEVEL, NOISE TO MEDIUM VAIRETY HIGH LEVEL, NOISE VAIRETY TO OFMEDIUM HIGH MUSIC LEVEL, OF NOISE VAIRETY MUSIC TO MEDIUM HIGH MEDIUM LEVEL, OF NOISE VAIRETY MUSIC TO TO HIGH HIGH LEVEL, OF NOISE NOISE VAIRETY MUSIC LEVEL, LEVEL, OFVAIRETY VAIRETY MUSIC OF OF MUSIC MUSIC

A LR IGKHTIND D GII/M M DA LLR IIG G KH HTTIIN NG G//D DA AR RK K MEDIUMM TE ODBIU RM IGT HO TM B LIR E GIDH GIT U HIM T NG LTIO GH M BTR EIN IDGG IU HM T LTIO GH M BTR EIN IDGG IU HM T LTIO GH M B MTR E EIN ID D GG IIU H UM T MLTTIO G OHB BTR RIN IIG GGH HTT LLIIG GH HTTIIN NG GMEDIUMM TE ODBIU RM IGT HO TM B LIR E GIDH GIT U HIM T NG LTIO GH M BTR EIN IDGG IU HM T LTIO GH M BTR EIN IDGG IU HM T LTIO GH M B MTR E EIN ID D GG IIU H UM T MLTTIO G OHB BTR RIN IIG GGH HTT LLIIG GH HTTIIN NG G

SSCOEONTTHING SS SCO OEO O NTTTH HIIN NG GS SC CE E N RN ETTFRESR HE INFG RE SS CH EIN NTG RESFCREENSTHING RESFCREENSTHING RESFCREENSTHING R RE E SFFCR REE ENS STH H RIIN E NF G GRS S EC C SE R E HN N E INTF TG RE SS CH EIN NTG RESFCREENSTHING RESFCREENSTHING RESFCREENSTHING R RE E SFFCR REE ENS STH HIIN NG GS SC CE EN NTT

38

06 DESIGN STRATEGY CONCEPT MODELS VARIATION OF PARTITION STRUCTURE PROVIDES PRIVACY LEVELS

39

STRUCTURE TRANSFORMING INTO FURNITURE SYSTEMS

40

UP

ELECTRIC

PIPE CHASE VARIES PER FLOOR

PIPE SHAFT

ELECTRIC

DN

06 DESIGN STRATEGY

site

PIPE CHASE VARIES PER FLOOR

UP

ELECTRIC

PIPE SHAFT

ELECTRIC

DN

A SERIES OF SITE ANALYSIS BASED ON SOUND, LIGHT, CIRCULATION AND PRIVACY LEVLES.

quiet

41

noisy

noise level

private

public

UP

UP

ELECTRIC

ELECTRIC

PIPE CHASE VARIES PER FLOOR

noise level private public PIPE CHASE VARIES PER FLOOR

PIPE SHAFT

PIPE SHAFT

ELECTRIC

ELECTRIC DN

DN

site main circulation bright dim

light quality

privacy level

42

UP

UP

UP

ELECTRIC

ELECTRIC

ELECTRIC

PIPE CHASE VARIES PER FLOOR

PIPE SHAFT

PIPE CHASE VARIES PER FLOOR

PIPE SHAFT

PIPE CHASE VARIES PER FLOOR

PIPE SHAFT

ELECTRIC

ELECTRIC

ELECTRIC DN

DN

DN

eating

43 eating resting

PRELIMINARY ZONING

+ + + +

UP

UP

UP

UP

ELECTRIC

ELECTRIC

ELECTRIC

ELECTRIC

PIPE CHASE VARIES PER FLOOR

PIPE SHAFT

PIPE CHASE VARIES PER FLOOR

PIPE SHAFT

PIPE CHASE VARIES PER FLOOR

PIPE SHAFT

PIPE CHASE VARIES PER FLOOR

PIPE SHAFT

ELECTRIC

ELECTRIC

ELECTRIC

ELECTRIC

DN

DN

DN

DN

06 DESIGN STRATEGY

resting

MAPPING OF CIRCULATION

eating eating resting resting

+

WEAVING OF PRIVATE AND PUBLIC ZONES + + +

RESULT OF WEAVING OF ZONES AND HIERARCHY OF DIFFERENT ZONING. TEMPORARY ISOLATION OF ONE PART.

44

UP

UP

UP

UP

ELECTRIC

ELECTRIC

ELECTRIC

ELECTRIC

PIPE CHASE VARIES PER FLOOR

PIPE SHAFT

PIPE CHASE VARIES PER FLOOR

PIPE SHAFT

PIPE CHASE VARIES PER FLOOR

PIPE SHAFT

PIPE CHASE VARIES PER FLOOR

PIPE SHAFT

ELECTRIC

ELECTRIC

ELECTRIC

ELECTRIC

DN

DN

DN

DN

06 DESIGN STRATEGY SHARED KITCHEN MICROWAVE STATION

SHARED

DEEP D E R REST T

KITCHENKITCHEN

MICROWAVE STATION SHARED KITCHEN KITCHEN MICROWAVE STATION

SHARED KITCHEN MICROWAVE STATION

DEEP REST D E R T

SHARED KITCHEN DEEP D E R REST T KITCHEN N N KITCHEN AVE MICROWAVE STATION

DEEP EP REST E T

ELECTRIC

KITCHEN

DEEP D E R REST T

SHARED KITCHEN N NDEEP KITCHEN LIGHT REST EP REST E T AVE MICROWAVE STATION SHARED SHARED KITCHEN N KITCHEN MICROWAVE NKITCHEN KITCHEN AVE MICROWAVE STATION STATION LIGHT REST

ELECTRIC

ELECTRIC

SHARED KITCHEN N N KITCHEN AVE MICROWAVE DINING STATION

SHARED KITCHEN PRELIMINIARY PROGROAM LAYOUT KITCHEN MICROWAVE STATION AREA VARIES SLIGHTLY.

DEEP EP REST E T

OF MODULAR UNIT

LIGHT REST

DINING

SHAREDAREA KITCHEN MICROWAVE 220SF STATION

PRELIMINIARY PROGROAM PROGRAM LAYOUT OF MODULAR UNIT AREA VARIES SLIGHTLY.

DEEP REST DINING PROGRAM

DEEP EP REST E T

DEEP REST

DINING ELECTRIC

DEEP REST

AREA

LIGHT REST

CAPACITY

400SF SHARED

SHARED KITCHEN + KITCHEN MICROWAVE MICROWAVE STATION 125SF 12 LIGHT REST 400SF KITCHEN STATION150SF SHARED KITCHEN + DEEP REST

220SF

DEEP REST

CAPACITY

LIGHT REST KITCHEN

4

DEEP REST

12

4

KITCHEN

4 /

PRELIMINIARY PROGROAM LAYOUT OF MODULAR UNIT MICROWAVE STATION 125SF

4

475SF

24

KITCHEN VARIES SLIGHTLY. / 150SF AREA

DINING

DINING

475SF

24 SUM: 44

SUM: 44 PRELIMINIARY PROGROAM LAYOUT OF MODULAR UNIT

PROGRAM

AREA VARIES SLIGHTLY.

STUDY OF ONE ISOLATED PART OF THE SPACE

45

AREA

CAPACITY

DEEPLAYOUT REST 220SF AND 4 CALCULATION PRELIMINARY OF PROGRAMS OF OCCUPANCY AND CAPACITY. PROGRAM AREA CAPACITY LIGHT REST

400SF

12

SHARED KITCHEN + DEEP REST MICROWAVE STATION KITCHEN LIGHT REST

220SF 125SF 150SF 400SF

4 4 / 12

SHARED KITCHEN + DINING MICROWAVE STATION KITCHEN

475SF 125SF 150SF

24 4 / SUM: 44

KITCHEN LIGHT REST ST

DEEP REST

DINING D NI

DN

KITCHEN TC SHARED H HA D KI + MICROWAVE CR WA WA ST STATION

KITCHEN DEEP REST

KITCHEN

DINING D NI

LIGHT REST ST

KITCHEN TC SHARED H HA D KI + KITCHEN TC HWA HA + MICROWAVE CRSHARED WA D KI STATION ST

DINING D NI

PIPE CHASE VARIES PER FLOOR

MICROWAVE CR WA WA ST STATION

ELECTRIC

LIGHT REST ST

EAT + LIGHT REST

ORDER FOOD

EAT + DEEP REST

OWN FOOD OR COOK

EAT + LIGHT REST EAT + DEEP REST

E SHAFT

DEEP REST

ORDER FOOD OWN FOOD OR COOK

EAT + LIGHT REST

ORDER FOOD

EAT + DEEP REST

OWN FOOD OR COOK

46

06 DESIGN STRATEGY

PIPE SHAFT

ELECTRIC

DN

TRANSVERSE CIRCULATION AND LONGITUDINAL CIRCULATION

LIGHT CONDITION

47

BRIGHT

LESS PRIVATE

MEIUM LIGHTING

MEDIUM TO DIM

DARK

PRIVATE

A MORPHING SYSTEM RESPONDS TO THE CURRENT CIRCULATION,PRIVACY AND LIGHT CONDITIONS.

As moving from eating to resting to napping, the ceiling move from rigid and generic rectilinear shape to shaper and then to fluid, curvilinear profiles. The furniture structure also follows this language of morphing, from harsh lines and materials to softer lines and materials.

48

C

ZONING

49

EATING ORDERING RESTING

EATING COOKING SLEEPING PIPE SHAFT

PIPE CHASE VARIES PER FLOOR

ELECTRIC

SELF-SERVICE BAR

MICR R ROWAVE STAT T TION

SELF-SERVICE BAR

EXIT

C’

06 DESIGN STRATEGY

A’

C

PIPE SHAFT

PIPE CHASE VARIES PER FLOOR

EATING

ELECTRIC

SELF-SERVICE BAR

COMMUNAL LOUNGE

MICROWAVE R STATION T

A’

TYPICAL CIRCULATION

50

KITCHEN

SELF-SERVICE

EXIT

C’

PLAN

51 C

SHARED KITCHEN

ELECTRIC

FLOOR PLAN

EXIT

PRIVAT PRIVATE REST

EATING KITCHEN

UP

PRIVAT PRIVATE REST

SCALE：1/4” = 1’-0”

NAP ROOM N RO R O

QUIET LOUNGE

COMMUNAL LOUNGE

MICROWAVE STATION

BAR

SELF-SERVICE BAR

EATING

B

PIPE SHAFT

PIPE CHASE VARIES PER FLOOR

PATHWAY

SHARED KITCHEN

SELF-SERVICE BAR

A PUBLIC EATING

EXIT

PATHWAY

C’

06 DESIGN STRATEGY | plan, enlarged plan

B’

A’

ENLARGED PLAN C

PIPE SHAFT

PIPE CHASE VARIES PER FLOOR

PATHWAY

EXIT

PRIVATE PRIVAT REST

EATING

ELECTRIC

SHARED KITCHEN

SHARED KITCHEN

SELF-SERVICE BAR

A NAP ROOM N RO R O

QUIET LOUNGE

COMMUNAL LOUNGE

MICROWAVE STATION

PUBLIC EATING

KITCHEN

BAR

SELF-SERVICE BAR

UP

PRIVATE PRIVAT REST

EATING

B B’

52

EXIT

PATHWAY

C’

06 DESIGN STRATEGY | RCP, sections

RCP (OF CEILING PANELS AND COLUMNS ONLY) 53

SECTION BB’

SECTION BB’

SECTION CC’

54

06 DESIGN STRATEGY | sections

SECTION AA’

SECTION AA’ 55

SECTION BB’

SECTION CC’

SECTION CC’ 56

06 DESIGN STRATEGY | detail drawings

EATING TYPE 1 Pair

Personal distance, Direct eye contact, Low ceiling profile Intimate space Dowelled joint

57

EATING TYPE 2 (Group of) Individuals

Public distance, No direct eye contact Lower ceiling profile Intimate space

Dowelled joint

58

06 DESIGN STRATEGY | detail drawings

EATING TYPE 3 Group

Combination of public distance, social distance and personal distance Direct and indirect eye contact High ceiling profile Public space

59

60

06 DESIGN STRATEGY | detail drawings

RESTING TYPE 1

(Group of) Individuals

Social to Public distance, No direct eye contact Lower ceiling profile

61

RESTING TYPE 2 (Group of) Individuals

Social to public distance No direct eye contact Lower ceiling profile Intimate space

62

06 DESIGN STRATEGY | detail drawings

RESTING TYPE 3 Pair or Group

Personal distance Direct eye contact Lower ceiling profile Intimate space

63

RESTING TYPE 4 (Group of) individuals

Social to public distance No eye contact Lower ceiling profile Soft/Translucent partitions Intimate space

64

06 DESIGN STRATEGY | renderings

PUBLIC EATING AREA (WOOD, GENERIC, RECTILINEAR)

65

PRIVATE EATING AREA (WOOD, LOWER PROFILE, RECTILINEAR)

66

06 DESIGN STRATEGY | renderings

RESTING AREA (CORK, OPAQUE, CURVILINEAR FORM)

67

NAPPING AREA (FABRIC, TRANSLUCENT, CURVILINEAR FORM)

68

06 DESIGN STRATEGY | physical models

EATING ZONE Light traveling through the layers

69

RESTING ZONE Light traveling through the layers

70

06 DESIGN STRATEGY | physical models

RESTING ZONE Light traveling through the layers

71

RESTING ZONE Light traveling through the layers

72

06 DESIGN STRATEGY | physical models

NAPPING ZONE

Bright

73

NAPPING ZONE

Dim

74

07 BIBLIOGRAPHY

75

76

07 BIBLIOGRAPHY Baraban, Regina S., and Joseph F. Durocher. 2001. Successful restaurant design. New York: Wiley.

Plunkett, Drew, and Olga Reid. 2013. Detail in contemporary bar and restaurant design. London: Laurence King Pub. Ryder, Bethan. 2010. New restaurant design. London: Laurence King.

Curtin, Deane W., and Lisa M. Heldke. 1992. Cooking, eating, thinking: transformative philosophies of food.

Bloomington: Indiana University Press.

“Failure to lunch”, Malia Wollan, New York Times, last modified: 02/25/2016, site: http://www.nytimes. com/2016/02/28/magazine/failure-to-lunch.html, accessed: 03/15/2016 “Distracted eating may add to weight gain”, Howard LeWine, M.D., Havard Health Publication, last modified 03/29/2013, http://www.health.harvard.edu/blog/distracted-eating-may-add-to-weight-gain-201303296037, accessed: 09/15/2015 “Why Your Lunch Break Is Sacred”, Ruchika Tulshyan, Forbes, last modified 08/22/2014, site: http://www.forbes. com/sites/ruchikatulshyan/2014/08/22/why-your-lunch-break-is-sacred/#3fa446bc56f5, accessed: 09/01/2015 “8 Reasons Why You Should Definitely Take That Lunch Break”, Belle Beth Cooper, Fast Company, last modified 03/12/14, site: http://www.fastcompany.com/3027496/work-smart/8-reasons-why-you-should-definitely-takethat-lunch-break, accessed: 09/10/2015 Maas, James B. (1998) Miracle Sleep Cure: London: Thorsons “Midday Naps Found to Help Fend Off Heart Disease”, Rob Stein, Washington Post, Last modified 02/13/2007, site: http://www.washingtonpost.com/wp-dyn/content/article/2007/02/12/AR2007021200626.html, assessed: 10/05/2015

77

“Deep into Sleep”, Craig Lambert, Harvard Magazine, JULY-AUGUST 2005, site: http://harvardmagazine. com/2005/07/deep-into-sleep.html

78