Hotel Architecture for the Creative Class
By Hanson Mak
A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of
Master in Architecture
Carleton University Ottawa, Ontario
© 2013 Hanson Mak Library and Archives Bibliotheque et Canada Archives Canada
Published Heritage Direction du 1+1 Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-94579-7
Our file Notre reference ISBN: 978-0-494-94579-7
NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distrbute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats.
The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. without the author's permission.
In compliance with the Canadian Conformement a la loi canadienne sur la Privacy Act some supporting forms protection de la vie privee, quelques may have been removed from this formulaires secondaires ont ete enleves de thesis. cette these.
While these forms may be included Bien que ces formulaires aient inclus dans in the document page count, their la pagination, il n'y aura aucun contenu removal does not represent any loss manquant. of content from the thesis. Canada EXTERIOR VIEW OF THE PROPOSED ARCHITECTURE Table of Contents
Abstract Introduction Part 1: History of Hotels Part 2: Temporary/Permanent Stays Part 3: Technology Part 4: Portfolio Part 5: Post-Script Abstract
The hotel industry is constantly trying allowing no flexibility for personalization to capture untapped market segments. of space. The hotel for the Creative In the current Information Age, there is Class should be designed in such a way an emerging sociological change. David that encourages hotel guests to gener Brooks, a New York Times journalist, ate impromptu discussions, and creates coined the term Bobos1, for a new opportunities for social interaction via category of people who are educated, exploration through the building. Could motivated individuals with high incomes we design a hotel that addresses the but also consider themselves to be above issues by investigating the needs creative, with anti-mainstream cultural of the Creative Class? behaviors. This new Creative Class2, comprised by the Bobos look for places to be inspired.
The majority of existing hotels do not excite much beyond their superficial material finishes. Also, rooms for extended-stays are rigidly structured
1 David Brooks, Bobos in Paradise (New York: Simon & Schuster, 2000), 11. 2 Richard Florida, The Rise of the Creative Class, Revisited (New York: Basic Books, 2012), 8.
1 FIGURE 1: COMPILATION OF IMAGES FROM HOTEL SRACES BY MONTSE BORRAS
2 FIGURE 1A: DESCRIPTION OF IDEAS AND CONCEPTS RELATED TO IMAGES SHOWN IN PREVIOUS PAGE
3 Introduction
This thesis explores the cultural behav ior and lifestyle among a new emergent social class called the Bobos. Through the understanding of this subset of pop ulation, unique architectural ideas could also emerge to reflect the needs of this demographic. The term Bobos refers to “Bourgeois Bohemians”, coined by Da vid Brooks, a New York Times journalist, in Bobos in Paradise (2000)3. During the mid-20th century, the Bourgeois and the Bohemians could be easily differentiated. The Bourgeois were the upper class with inherited wealth from FIGURE 2: BOOK COVER IMAGE OF BOBOS IN PARADISE previous generations, and their par ents’ legacy helped secured them an education at an elite university. They were the people with family names with the rise of the Information Age, the that guaranteed them successes in the Bourgeois and the Bohemians cultures business world. The Bohemians, on the became increasingly indistinguishable other hand, were the everyday artists and thus the term Bobos is now used and intellectuals that were considered to describe the resultant hybrid social ‘hippies’ during the 1960s.4 However, class.
3 Brooks, 11. 4 Brooks, 10-11.
4 financial correctness allows Bobos to spend money without looking
FIGURE 3: STARBUCKS ETHOS WATER like one of the vulgar Yuppies they despise. It’s a set of rules to help them convert their wealth into According to Brooks, Bobos are cre spiritually and intellectually uplifting ators of their own success. They are experiences.”5 hard-working people that made their way to universities without the help of a Through Bobos’ educated minds, every family legacy and successfully landed purchase is a conscious decision. They high paying jobs that they enjoy working will compare the price tag to the actual in. They consider their jobs as part of a value of the item and if they support the social mission with the mindset to better manufacturing processes, story or the the lives of others. They are spenders, company behind it, they will make the but prefer to only purchase items that purchase. For example, they will not contribute to a social cause or to their support a company that uses child labor own spiritual well being. to create its products, but would be willing to pay a premium for a humani “Bobo renounces accumulation tarian cause such as buying a bottle of and embraces cultivation. He must Starbucks Ethos Water, because they show, in the way he spends his are aware that a portion of the sale will money, that he is conscientious and go towards providing developing coun not crass. The emerging code of tries with clean water.
5 Brooks, 85.
5 FIGURE 4: SANAA'S SEIJO TOWNHOUSES FACADE
It would also be absolutely justifiable possess collectively reflect their lifestyle for them to purchase an expensive and tastes. Bobps like to display their household product such as a top of successes in very subtle ways. This the line European made coffee maker subtle curating of environment may also rather than an average coffee machine be achieved architecturally if the public because they have an appreciation is allowed to discretely glimpse the for its craftsmanship and long-lasting Bobo's home. qualities. They have a particular interest in purchasing consumer goods that are For example, Kazuyo Sejima and Ryue unique and rare to find, products not Nishizawa from SANAA (Sejima And produced for the masses. Bobos are Nishizawa And Associates) have tried curators of their own possessions.6 to create architecture that encourages inhabitants to curate their own spaces.7 When possessions are thoughtfully dis In the bookArchitecture at the Edge played within a space, a bland interior of Everything Else (2010) written by can become a curated environment that Esther Choi and Marrikka Trotter, SA is intentional, organized and pleasing to NAA’S Seijo Townhouse had effectively occupy. Since everything Bobos own is captured the architects’ social goals. carefully selected, the objects that they The Seijo townhouse composed of plain
6 Brooks, 99. 7 Marrikka Trotter & Esther Choi, Architecture at the Edge of Everything Else (Cam bridge: MIT Press, 2010), 24. FIGURE 5: FIGURES: SANAA'S SEIJO TOWNHOUSES INNER COURTYARDS SANAA’S SEIJO TOWNHOUSES WITH LARGE OPENING THAT EXHIBITS THE ACTIVITIES INSIDE THE HOUSE white facades and basic rectilinear form ings in the front and back of the house complemented the architects’ special so passersby can have a glimpse of emphasis on bridging private and public the activities and environment inside spaces together. The large window constrains the inhabitants’ behavior. openings that fronted streets or across Consequently, the inhabitants may feel a neighbor's house allowed a showcase that they have to look presentable at all of the inhabitants’ lifestyle as art. In times for others might see. Spaces of affect, the inhabitants have to continual interaction between people should be ly curate their own living quarters. At the triggered in public spaces where people same time, this openness and trans are more open to meeting and socializ parency allowed the interior to expand ing rather than in private spaces, like an to the outdoor courtyards, whereby it individual’s home. creates opportunities to interact with the neighbors nearby. The Seijo Townhouse is a prime exam ple of how architecture allows “inhab However, it seems as though these itants (to) regulate their own behavior moments of interaction are forced out not as a response to a disciplinary of the residences and could be very authority, but as a way to fit within a uncomfortable at times. The deliberate socially determined aesthetic of life."8 design decision to make large open
8 Choi, 29.
8 FIGURE 7: GOOGLE NEW YORK OFFICE, OPPORTUNITY FOR PEOPLE TO MEET AND RELAX
Inarguably, there is a growing trend al strategies that they used to maintain towards creating environments that a healthy working environment, while encourage interaction between people. creating an atmosphere where people This is especially true for office spaces. are encouraged to mingle with one an The hierarchical approach for business other. One policy Google developed is organization is a generation of the past. that the planning of their office spaces New office spaces are designed to has to ensure that no employee should inspire employees and strengthen their have to walk more than 150 feet to get relationships with one another. Accord to a food station, whether it is the cam ing to Brooks, “now companies go on pus main cafeterias, a vending machine expensive retreats at which employees or office kitchens. They believed that play noncompetitive games or wacky these food facilities are a great place Olympics to build those relationships”.9 to continue brainstorming sessions and discussion.11 Companies such as Google are known for having the best office environments Like many other Silicon Valley compa to work in. They have been awarded by nies, casual interaction and encounters Fortune magazine as one of the best are believed to promote collaboration places to work in for several years.10 between teams and generate more Kursty Groves, author of I Wish I interesting ideas. Impromptu meeting Worked There (2010), described sever places are designed throughout Google
9 Brooks, 129. 10 Kursty Groves, I Wish I Worked There! A look inside the most creative spaces in business (West Sussex: John Wiley & Sons, 2010), 72. 11 Groves, 78.
9 FIGURE B: FIGURE B: GOOGLE ZURICH OFFICE, SKI GONDOLAS FOR PRIVATE GOOGLE ZURICH OFFICE, FIRE POLE TO MAXIMIZE PHONE CALLS AND QUIET WORK TRAVEL EFFICIENCY
offices around the world to encourage graduates voted Google as the number interaction between different teams one dream company to work for. and to generate informal conversa tions. For instance, Google placed Google campuses have various des various destination points for people tination points within the building that to slow down and linger around. This employees can go to for casual en could be an open space ranging from counters with colleagues. The architec beanbags with a pool table to a full on tural implication for these destination in-house spa treatment. An area that points should not only be driven by the is often overlooked but is a crucial part assigned interior spaces. The primary in making the occupants comfortable circulation path should be considered is their indoor air quality. Google uses as well and designed in such a way that commercial-grade air filtration systems people are encouraged to discover and that enhance their indoor air quality by explore various parts of the building. 30% as compared to normal industry fil The simple architectural idea of en ters.12 Thus, it is no surprise that recent couraging users to explore the building
12 Groves, 76-83.
10 FIGURE 10: FIGURE 11 (RIGHT). GOOGLE IT SUPPORT STATIONS GOOGLE CAFETERIA WITH NYC SUBWAY PLACED THROUGHOUT THE BUILDING WITH MINI INSPIRED SIGNS KITCHEN
FIGURE 12: GOOGLE ZURICH OFFICE, WHITEBOARDS EVERYWHERE FOR BRAINSTORMING AND COLLAB ORATION, CASUAL MEETING PODS (EGG SHELL), ALLOWS RIDING BIKE WITHIN BUILDING FOR EFFICIENCY
11 animates the environment and creates for machinists at the time were high, surprising impromptu conversational there was only a small amount of peo spaces. ple who were willing to go through the training and fill these positions as their Not only do companies like Google life career.13 allow freedom and flexibility for its employees, office culture that is brewed However, the day-to-day grind of a this way allows staff to be more produc machinist is repetitive and once the tive and innovative as a result. Unsur skills are honed, the job is no longer prisingly, Richard Florida, an expert at challenging or stimulating. According urban and social trends, explained in ly, there is an increased preference The Rise of the Creative Class: Revis towards working in a job that offers both ited (2012) that even in the late 1990s, flexible hours and creative freedom. young adults already prefer to work Florida, during his lecture at Carnegie in jobs that offered them freedom and Mellon asked students if they would flexibility. A machinist from this time rather work at places where the job was highly praised and regarded as an gave them a stable income with regular excellent profession that guaranteed work hours or if they prefer working at stable income working in a fixed sched places such as a hair salon that gave ule. Although demands in the industries them creative freedom but their finan
13 Florida, 65-67.
12 cial income were less predictable. It magnitude and are careful in acquiring turned out that the vast majority of them possessions that are expensive and are preferred working at a hair salon, for its rare to find. flexibility in work hours and expression of personal creativity. Florida explained Then, given the existence of the Cre that it's best if individuals could have ative Class, there should already exist “input into the design of the work companies that cater to them. In fact, in place”.14 The freedom to experiment the world of consumerism, there are nu and to rearrange a space to maximize merous products that are designed for workflow liberated the students. This is them. It could be argued that products not to say that every graduate prefers such as iPhones or computers manu this but a large percentage of them fall factured by Apple are gadgets that the into the category that Florida classified Creative Class craves for due to their as the Creative Class. aesthetics in design and engineering. In architecture however, there are only In America, about one third are de a few architectural typologies that the fined as the Creative Class15 (similar Creative Class often come in contact to David Brooks’ term of Bobos), they with, one of them being hotels. are highly educated with a university degree, chose to work in jobs that ben The architectural programming of hotels efits the society or humanity in some can encapsulate a vast range of needs
14 Florida, 73. 15 Florida, 8. FIGURE 13: IE MERIDIEN BARCELONA, THE LE MERIDIEN HUB'
and activities that people do in their major countries around the world. One daily lives. These activities include eat of its strategies in differentiating their ing, sleeping and working which occupy hotels from one city to another is the the majority of people’s schedules. For creation of a hotel library that offered these reasons, it makes logical sense books on local arts, music, architecture to develop a project and implement ar and culinary cuisine to travelers. This chitectural ideas within a hotel typology. allowed visitors a convenient way to However, first we need to investigate discover local culture and activities. what has already been done in the hotel Other ways that Le Meridien Hotel industry to attract the Creative Class tried to bridge their hotel to the arts is clienteles. the commitment that they have with nearby museums. The hotel room Le Meridien Hotel is an example of card presented to guests doesn’t just a Hotel chain that specifically targets function as a key to a room or to the this group of people mentioned above. hotels recreation facilities, it also offer The hotel, acquired by the Starwood access to different museums around Group in 2006, consulted with Florida the city. The graphics displayed on the to elevate their brand to uniquely serve card are works of arts from local artists. the Creative Class. Le Meridien Hotel A curator hired by the hotel specially has many accommodations situated in details the placement of every painting/
14 sculpture showcased in the hotel.16 Although these small changes could be considered as innovative in the hotel industry, there really isn’t much change architecturally. The experiences of the spaces from the lobby to the hotel rooms are still relatively similar to what exists in traditional hotels. In order to 4 find innovative architectural solutions for the Creative Class, the hotel must be completely redesigned with circulations
FIGURE 14: LE MERIDIEN TAIPEI ROOM KEY DESIGNED that encourage guests to interact with BY TAIWANESE ARTIST MICHAEL LIN each other and architectural strategies that are attuned to their lifestyle.
Thus far we have discussed the culture, interests and behaviors of a new emer gent social group as identified by Flor ida and Brooks and what has already been done architecturally to captivate, challenge and motivate these individ uals. In the next portion of this paper, we will examine how hotels came about
FIGURE 15: LE MERIDIEN ART INSPIRED DINNER, and the industry’s evolution to date. In SKULL SHAPED DECANTER learning the lessons from the past, we can better envision the next iteration of design change.
16 Starwood Hotels & Resorts, Starwood Hotels & Resorts, 03 Dec 2012 < http:// www.starwoodhotels.com/lemeridien/lmlOO/artist.html?id=FLORIDA>.
15 History of Hotels
The bookHotel: An American History were not purpose built for their function. written by A.K. Sandoval-Strausz, intro The first generation of hotels was duces the concept that the architectural built in the early 1800’s with Boston typology of hotels in America developed Exchange Coffee House (Figure 16) circa 1800’s. According to the author, being the very first to be completed in the idea of hotels may have come about 1809. Several earlier projects had been when the then newly elected President proposed and partially constructed but George Washington made his national were never completed.19 tour across America. Washington under stood that his success to unify the na tion depended on his every action and thus decided to stay in public houses for the tour rather than in private hospi tality where the public might view it as favoritism.17 Public houses, also called taverns and inns were generally private homes or buildings that were converted to accommodate travelers. The condi tion of these spaces lacked privacy and FIGURE 16: cleanliness. The vernacular exteriors BOSTON EXCHANGE COFFEE HOUSE, 1809 were often indistinguishable as a public house from its neighboring buildings.18 In short, these early accommodations
17 A.K. Sandoval-Strausz, Hotel: An American History (Devon: Duke & Company, 2007), 13-15. 18 Sandoval-Strausz, 17. 19 Sandoval-Strausz, 21-29. The first generation of hotels was very early public houses were shared targeted towards the upper class with spaces within a family home (Figure grand ballrooms, coffee/tea rooms and 17). Public houses then moved from meeting rooms. The overall goal was the basic bungalow type houses to to vastly improve the condition of what multi-stories family dwellings (Figure its predecessors had to offer. However, 18). It was economically viable since the the emerging industry quickly came to a family who lived there worked to serve realization that people of different social their guests. The next development of classes would occupy these public these household buildings led to a total spaces and as such, hotel architec reconfiguration in its design (Figure 19). ture began to evolve to have “multiple Bedrooms were placed side-by-side in parlors, meeting halls, ballrooms, coffee the upper floor with much larger parlors, rooms and bars for compartmentalized kitchen and dining rooms at the ground public sociability”.20 In turn, this led to level to better accommodate groups of the creation of a second generation of people at a time.21 As demand grew, hotels that aimed to serve the middle public houses had to become institu class and the common man. tionalized and new architecture had to be invented like the Boston Exchange The gradual changes to hotel design Coffee House where teams of staffs can be observed in the evolution of its were needed to properly run the busi floor plans. As mentioned earlier, the ness.22 In the early nineteenth century,
20 Sandoval-Strausz, 36. 21 Sandoval-Strausz, 145. 22 Sandoval-Strausz, 150-151.
17 */Tr. I'unm- K J.'irv CCCR.T VAS _n .aj t TAV£jw* t<*.M Y*.i*JL ay orjf*. of t BFi£.KF«j
I
B ID R-*-. A ^ R.COA.
| r it . V T r y j O R . P L A M ■ t c o iO f’ L O o tL h la .a ;
FIGURE 17: FIGURE 18: A TYPICAL BUNGALOW HOME THAT CAN EARLY AMERICAN TAVERNS WITH DIVISION OF SPACES THAT CAN ACCOMODATE LARGER GROUPS ACCOMODATE TRAVELERS
FIGURE 19: BENJAMIN S COFFEE EXCHANGE HOUSE, 1809 RECONFIGURATION OF ROOMS SO THAT ROOMS HAVE CORRIDOR ACCESS INSTEAD OF HAVING ROOMS OPENING ONTO ANOTHER ROOM
18 architects experimented with the hotel prejudice to background, culture and architecture, discarding what isn't need education; even organizations have a ed and expanding what functioned well. trend towards working horizontally with It later led to development of the double in offices rather than vertically. There is loaded corridor system such as the one a cultural shift towards a more trans in Tremont House of 1829, it was a leap parent environment, such as our desire in design that functioned better than for open concept interiors. The design opening one room onto another.23 of public spaces will need to stimulate the minds of those who occupy it. In Evidently, the design evolution of the case of private spaces, such as an hotel was driven by cultural shifts and individual’s hotel room, it is critical to changes to our social behaviors. As understand the needs of the traveler, mentioned before, in the early days, especially one from the Creative Class. each room had a very specific function. Then design changes had to be made to accommodate multiple rooms to deliberately separate different people of different social classes. However, in modern society, people are willing to engage and interact with others without
23 Sandoval-Strausz, 147.
19 The World Traveler
Even in the modern day, the idea of it’s our actions, that will last forever. living in a hotel can be quite alluring to That’s real value.” 25 people. Some individuals, like multi-bil lionaire Nicolas Berggruen for example, Berggruen, like the rest of the Creative sold his mansion and luxury condos in Class wants to create an impact on so favor of staying in hotels. Although he ciety, and consequently value this more acquired the world's largest collection of than material possessions. Pablo Picasso paintings among many other things, he only carries a bag of For business travelers that stay at a clothes and his blackberry with him hotel for months at a time, our current while traveling in his private jet.24 architectural model of extended-stay hotel works efficiently to a certain ex The homeless billionaire stores clothes tent. Over the years, hotel interior have and other belongings at various hotels changed according to the social culture that he frequents. The idea of acquiring at the time. Inarguably, our world has things had lost interest to him. When become more transient than ever be Berggruen was asked by a Wall Street fore. People who travel to a city for an Journal reporter why he lost the appeal extended period of time whether it is for in possessing things, he answered: studies, business or for personal plea sures, packing, storing and transporting “Whatever I own is temporary, since their personal items can be a headache we're only here for a short period of after months of accumulation of items. time. It’s what we do and produce, Even for minimalistic living like the
24 Business Insider, The High-Flying Life of 'Homeless Billionaire' Nicolas Berggruen, 16 Dec 2011, 20 Jan 2013 < http://www.businessinsider.com/homeless-billion aire-nlcolas-berggruen-201 l-12?op= 1 >. 25 Robert Frank, The Homeless Billionaire - The Wealth Report - WSJ, 19 May 2008, 20 Jan 2013
20 homeless billionaire, storage for person al stuff is still an essential. The idea for private spaces, such as the hotel room, should continue to respond and adapt to the changes in our social behavior. Architecture should adapt to its users through design rather than the other way around. The intervention for a new type of extended-stay hotel architecture FIGURE 20: NICOLAS BERGGRUEN IN HIS HOTEL ROOM AT CARLYLE HOTEL, NEW YORK, 2011 will be based on curatorial architecture whereby the architecture encourages hotel guests to make their room more personal. Thus, in the following section, transportable units for temporary stay will be observed and extended stay hotels will be analyzed to understand the reality of the market demands and condition.
21 Temporary/Permanent Stays
There are two main types of residences where individuals can stay depending on their preferences: Temporary and Permanent shelters. Architecture such as Pop-Up hotels and structures that can be disassembled and reassembled for transportation are categorized as temporary. Pop-up hotels are used in festivals where they are only set up for up to a week or for the wealthy individ uals who travel to exotic locations and need shelter.
Andrea Zittel, an accomplished de signer who has exhibited her work at the Venice Biennale and the Whitney FIGURE 21: PORTABLE ARCHITECTURE PROTOYPES Biennials, designed and created several BY ANDREA ZITTEL prototypes of compartment units that are transportable and could be reas sembled easily by one or two people shelter from the elements, a sleeping (Figure 21). Her designs all provide area and storage spaces for cooking the basic necessities needed to live supplies and personal items. These por comfortably. The unit themselves offer table modules are tested and used by
22 FIGURE 22: SLEEPING PODS IN A CAPSULE HOTEL
her friends and collaborators in remote also plan ahead for future occupants. West Coast deserts where the climate However, she also expressed that is appropriate for the built structures. “beyond these functional requirements Her vision for these projects is to devel are the factors that cater to psycho op “qualities that create independence logical needs, stimulating the mind for the owner and user: Compactness, and senses, and uplifting the human Adaptability and Transportability.”26 The spirit.”27 These psychological concerns three listed attributes are also applica need to be addressed especially for an ble for the hotel guests. extended-stay hotel where guests only have their belongings to depend on for For the Creative Class travelers who comfort in an unfamiliar setting. During stay at different cities for a lengthy these long period of stay, purchases (of period of time, their hotel room is often rarity or not) will inevitably be made and the only place where they can call home the accumulation of items will increase for the entire trip. As such, these hotel over time. Thus, the design of hotel rooms should allow users the freedom rooms should allow an easy process for to rearrange and decorate their space the guests to display, store and trans with items that are of value to them. In port personal items. Rethinking Design and Interiors written by Shashi Caan (2011), she explained In the permanent category, the sizes of that designers and architects have the these personal spaces can range from ability to plan and design volumes that a small bed to a full condominium suite. fulfill programmatic requirements and Capsule hotels, originated from Japan
26 Jennifer Siegal, More Mobile: Portable Architecture for Today (New York: Princeton Architectural Press, 2008), 46. 27 Shashi Caan, Rethinking Design and Interiors: Human Beings in the built environ ment (London: Laurence King Publishing, 2011), 112.
23 have sleeping pods that are stacked to recreate these social experiences by on top of each other and are placed offering exciting opportunities for people side by side to maximize the number to meet informally. These conversations of guests within the property. Usually, should seem like serendipitous encoun they are for accommodating travelers ters, when really they are instigated by for 1 to 3 nights. There are also hostels the design of the spaces. and bed and breakfast, where the home environment created by these estab Hotels, even Le Meridien Hotel, are lishments is more inviting for guests often designed for accommodation from to be more social and mingle with one a couple days to up to a week's stay. another. People from all over the world However, in order to design a hotel travel to these accommodations and that reflects a lifestyle pattern, we need when they have the chance to gather to understand the current design of in public spaces such as the lobby, extended-stay hotels. Case studies are Internet lounge or dining hall, they are drawn from Marriott’s extended-stays more susceptible to chat and share their hotel brands: TownePlace Suite and stories. The hotel for the Creative Class Residence Inn. is no different in the way that travelers are coming from different parts of the world. The architectural design will need
24 FIGURE 23: MARRIOTT TOWNEPLACE SUITE TYPICAL FLOOR PLAN
TownePlace Suite targets people who are value conscious and would rather stay in a hospitality that is economi I cal yet practical. The need for fancy I i ' recreational facilities, restaurants and I i I bars are not necessary for its clients. II As a design guideline set by the hotel FIGURE 24: MARRIOTT TOWNEPLACE SUITE TYPICAL EXTERIOR chain, a typical layout of this hotel is shaped longitudinally with a double
mm cn loaded corridor serving as circulation spaces for rooms on both sides. The building stands 4 stories high with parking spaces around the perimeter of the property. The majority of the rooms are studio rooms at a mix of 80% and availability for one bedroom at 5% and two bedrooms at 15%.28 The layouts of the rooms are typical condominium floor plans with a small kitchen in the entrance area.
FIGURE 25: MARRIOTT TOWNEPLACE SUITE TYPICAL STUDIO ROOM
28 Marriott, Marriott TownePlace Suites, 10 December 2012 < http://www.marriott.com/hotel-development/Towneplace-Suites.mi>. FIGURE 26 (RIGHT): MARRIOTT RESIDENCE INN TYPICAL EXTERIOR
FIGURE 27 (BELOW): MARRIOTT RESIDENCE INN TYPICAL FLOOR PLAN
the shape of an ‘L’ with an elevator core in the center to service the two wings. The building is filled with amenities ranging from meeting rooms, recreation room to a swimming pool.29 This chain also offers studio rooms, 1 bedroom and 2 bedrooms. However, the spaces In comparison, Residence Inn, also by are carefully planned to accommodate the Marriott, targets a different demo a full kitchen and a spacious sitting area graphic than the TownePlace Suite that can comfortably entertain guests brand. Their targeted clienteles are the if needed. Overall, the Residence Inn frequent business travelers who want rooms have a higher square footage more comfort to rest and work in. The when compared to similar TownePlace typical layout for this hotel chain is in Suite rooms.
29 Marriott, Marriott Residence Inn | Residence Inn Hotels, 10 December 2012 < http://www.marriott.com/hotel-development/Residence-Inn.mi>.
26 20* - tr
With the understanding that the majority of extended-stay hotel rooms are com prised of studio rooms with a kitchen that opens onto the living and sleeping area, this will become the basis for the portfolio’s hotel room design. For the design solution of other architectural
FIGURE 28: challenges as discussed previously, it MARRIOTT RESIDENCE INN TYPICAL STUDIO FLOOR PLAN would require technological solutions. For example, the Creative Class likes to be challenged and inspired but the mundane circulation for a typical building with vertical circulation core is predictable and unexciting for them. If we can develop a new technological innovation to address the building’s circulation core, then the building could become inspiring to explore. According ly, research on the current technological capabilities that are relevant to the design presented in the portfolio will be studied to support that the ideas could in fact be achieved.
27 of private and public gallery spaces. Additional elevators and stairs at the back are used for the main circulation and thus allowing the moving gallery to park on a specific floor based on its FIGURE 29: daily activities.30 The moving room oper EXTERIOR OF SPERONE WESTVWTER GALLERY BY FOSTER + PARTNERS ates on hydraulics and the works of arts featured inside are carefully curated. The Sperone Westwater Gallery located The concept of a transportable ‘curated in the heart of New York City features box’ that can store or display people’s a moving art room that animates the possessions within a hotel room will ■building fagade. The intent of this become part of the portfolio design. For design was to allow galleries at differ public spaces, elevators that can go ent floors the possibility to expand into on a diagonal will be developed in the the moving gallery when needed. The portfolio and thus, non-conventional moving gallery connects all 5 floors elevators will need to be utilized.
30 ArchDaily, Sperone Westwater Gallery / Foster + Partners, 22 Sep 2010, 03 Apr 2013 < http://www.archdaily.com/78827/sperone-westwater-gallery-fos ter-partners-2/>.
28 f W . T ' * ' !!■
Uovov Room
r.
HWfMd
FIGURE 30: FIGURE 31 (RIGHT): IMAGE SHOWING THE UNDERSIOE OF INTERIOR SPACE OF THE MOVING GALLERY THE MOVING GALLERY WITH HYDRAULIC WITH INSTALLATION PIECES ON THE SIDE OF PUMPS THE WALLS
FIGURE 32 (BOTTOM): SECTION THROUGH THE BUILDING DEPICTING THE MOVING GALLERY AS THE FEATURED SPACE AND ADDITIONAL ELEVATORS ON THE BACK OF THE BUILDING
29 Non-Conventional Elevators
The conventional set up for an elevator runs vertically straight up, perpendicular to the ground. This upward movement translates into a resultant force that is exerted down on people’s feet. Peo ple have traveled in such environment many times before and the experiences are generally very predictable. Some FIGURE 33: exceptions may be the acceleration INTERIOR VIEW OF THE LUXOR HOTEL ATRIUM SPACE WITH INCLINED ELEVATOR ENCLOSURE PROMINENTLY speed of the elevator cabs or the views FEATURED that the elevator shaft may offer as it codes had a limit of maximum horizon travels up from floor to floor. However, tal peak of 0.5g for a few milliseconds; non-conventional elevators such as the otherwise the horizontal force is too 16 inclined elevators installed in Las large that the passengers will be thrown Vegas Luxor Hotel in 1990s provides off balance. With the design of Luxor’s a completely different ride experience high-speed inclined elevators, codes that is exciting for most hotel guests.31 had to be updated and it was deter In the Vertical Transportation Handbook mined that the 0.5g limit was outdated. written by Robert Caporle and George Thus, the code was changed to pres Strakosch (2010), it revealed that the ent day’s maximum horizontal force of building codes for inclined elevators did 0.1g for 125 milliseconds with gradual not anticipate high-speed elevators be acceleration and deceleration or 0.25g fore the Luxor project. The old building for emergency stops.32
31 George Strakosch and Robert Caporale, Vertical Transportation Handbook, 4th Edition (John Wiley & Sons, 2010), 402. 32 Carporle, 402-403.
30 Required noistway
'wo speed car doors
Resultant force on individual wtiile ascending
Drive for two-speed doors
Door kick
— Open
' Rope deflecting rollers to take sag of rope
FIGURE 34: ILLUSTRATION OF LUXOR HOTEL'S ELEVATOR SHAFT AND ITS MECHANICAL WORKINGS
31 The Luxor Hotel is shaped in a square pyramid form. There are four elevator cores located on the perimeter of the building, four of them on each corner making a total of 16 elevators. Inclined elevators by definition “travel a single inclined direction in a single plane.”33 Elevators that travel on multiple angles in the same plane can also be done. The Peace Tower of the Parliament FIGURE 35: DIAGRAM OF PEACE TOWER SHOWING LOCATION OF building in Ottawa, Canada and the THE ELEVATOR WITH A COMBINATION OF INCLINED AND VERTICAL RUNS Eiffel Tower in Paris, France are of such examples. Elevators with multiple planes could also be realized such as the one installed in the Washington Masonic Monument in Alexandria, Virginia.34 Although designing the mechanical system to properly hoist the elevator cabs is a difficult engineering task, the research shown suggests that it is possible to achieve. The idea for m m multiple planes elevator will be further explained in the portfolio by connecting multiple elevator shafts to create an FIGURE 36: DIAGRAM OF MASONIC MONUMENT WITH A MULTI-PLANE unconventional structural core. ELEVATOR SYSTEM
33 Carporle, 403. 34 Carporle, 403.
32 FIGURE 37: EXTERIOR VIEW OF PROPOSED HOTEL
33 Project Brief
The purpose of the portfolio is to devel i. Encourage visitors to explore the op an extended-stay hotel for the Cre building (create an unconventional envi ative Class in a richly cultured location ronment that captivates their minds) with three main architectural objectives as discussed in previous sections: ii. Encourage interaction between peo ple in public spaces (for psychological and spiritual needs)
Hi. Create an easy storage/transport solution for personal belongings (for practical purposes and gives an op portunity for guests to customize their settings)
34 Business
FIGURE 38: FIGURE 39: TYPES OF ACCOMODATION VISITORS STAY IN PURPOSE OF VISIT
The site chosen is located in downtown Philippines, the Malaysian and the Singapore, a South-East Asia country Indonesian, with the majority of them that has only 697km2 of land. Although speaking English as one of their official its country is small in footprint, it has a languages. population of 5.3 Million and officially celebrates four major cultures through The unique mixtures of its traditions, its multicultural diversities.35 Singapore the stability of the government and strict ranks as one of the top countries in legal policies make it one of the best Florida’s Creative Index36 with a strong places to travel to for an easy transition economy that has subsidiary offices of into the world of the East. Thus, it could global companies located there which be a place for the Creative Class to makes it a very reasonable location seek various eastern customs and val for the Creative Class to travel there ues without venturing to several parts for business trips. Singaporeans have of Asia. backgrounds from the Chinese, the
35 Central Intelligence Agency, CIA - The World Factbook, 15 Dec 2012
Mid-Tier
Upscale
Luxury
conveniently located in the downtown core and is within walking distances to some of the most popular attractions in the country.
FIGURE 40: AVERAGE OCCUPANCY RATE BY TIER (2009) The site currently sits vacant and is directly across one of most popular food courts for locals and tourists alike. Statistics from the Singapore Annu The octagonal shaped building houses al Report on Tourism 2009 showed many culinary dishes with recipes from that around 180,000 of the 9.7 million different cultures. The site is also con people that visit the country that year veniently blocks away from Marina Bay stayed for more than 30 days.37 It also with stunning views of the city’s inner showed that roughly 60% of the visitors skyline. Although mainly office buildings stayed in hotels and kept these accom surround the immediate site, the loca modations to up to at least 70% occu tion is desirable for the Creative Class pancy rate in all price ranges. These who wants to live close to their work numbers alone support the proposal place with easy access to the subway for an extended-stay hotel. The site is system just two blocks away.
37 Singapore Tourism Board, Annual Report on Tourism Statistics 2009, Annual Report (Singapore: VourSingapore, 2010), 22.
36 ( Orchard Road (shopping distri
$ Clarks
ore Flyer
Financia -District
Main Roads □ Hotels □ Commercial Buildings
FIGURE 41: SITE ANALYSIS WITH MAP SHOWING COMMERCIAL AND HOTEL BUILDINGS NEAR BY
37 I <0
CROSS ST
CENTRAL BLVD
BOON TAT ST
5 UJ > 1 a . i
FIGURE 42: SITE MAP WITH SHADOW DEPICTING THE PROPOSED HOTEL BEING NESTLED IN A SEA OF COMMERCIAL SKYSCRAPERS
38 FIGURE 43: NORTHWEST AERIAL VIEW WITH MASSING OF BUILDINGS IN THE IMMEDIATE VICINITY FIGURE 44: SOUTHEAST AERIAL VIEW WITH MASSING OF BUILDINGS IN THE IMMEDIATE VICINITY
40 Architectural Implication targeting the first objective with structural innovation:
The main goal for the project is to create an architecture that facilitates moments of surprises, no matter how many times the user had visited the building before. The design approach to this is to rethink the way we treat the structural ‘core’ and to open up opportu nities that challenge the user to explore FIGURE 45: DIAGRAM OF CONVENTIONAL the building in public spaces. BUILDING CORE In conventional buildings, many high ris es such as office buildings or hotel tow ers use the elevator shafts as its ‘struc nometric view. If we shift these elevator tural core’. By using this technique, locations to the desired level as shown every floor plate remains relatively the in Figure and create a diagonal elevator same and the location of where one is shaft connecting them all together. Ef within a building is predictable. Howev fectively, the elevator shafts as a whole, er, if the position of the elevator location created an even stronger ‘structural on each floor is different from floor to core’ since it have been reinforced by a floor, then visitors experience a multi diagrid-like structure. Even without the plicity of circulation routes when they presence of any floor slabs, this 'Diagrid move through the building. The diagram Core’ (Figure) can theoretically be sta shown in Figure indicates the location ble enough to stand on its own because of the elevators in a superimposed axo- it is in an enclosed loop with at least 3
41 FIGURE 46: SUPERIMPOSED AXONOMETRIC VIEW OF ELEVATOR LOCATION ON ONE FLOOR PLATE
FIGURE 47: VERTICALLY MANIPULATING THE ELEVATOR LOCATION TO VARIOUS LEVELS
FIGURE 48: CONNECTING MULTI-LEVELED ELEVATOR LOCATION TO CREATE A NEW BUILDING CORE (THE OIAGRID CORE) points of contact for its foundation. The structing the Diagrid Core out of steel void created within this Diagrid Core frame, glass could be applied for its can now act as the atrium space where enclosure and allows passengers riding it offers people a dramatically different the elevators to look out at every floor to experience compared to other atriums get a sense of the activities happening they have been in and serves at a refer around them. The Diagrid Core glass ence point for orientation purposes. enclosure will shimmer from within the building like a sculptural piece with The triangular skylight that opens up metallic window film applied to it. When the atrium allows direct sunlight into approaching the building from afar, the the building. The triangular patterned transparent fagades and the jewel like mullions cast a shadow of patterns on effect of the Diagrid Core enclosure the lobby ground and assists in animat resembles a museum glass box that ex ing the inside of the building through the hibits the finest curated sculptural work day. at a large scale. The architectural imple mentation of the Diagrid Core effectively The construction of the Diagrid Core/ solves the first objective stated earlier Elevator shaft will be constructed out as it produces an exciting journey for of steel frame and will be welded to people exploring the building. steel beams at every floor. Then topped with conventional steel trusses, metal decking and poured concrete. By con
43 55.®
0? m
^ < 2 fS T Ti fTl Q r\ S 3 § § 2 8 £ £ 3 « i i - O 5g B * $8 P S S FIGURE 50: LOBBY INTERIOR VIEW OF THE ATRIUM SPACE FIGURE 51: VIEW FROM ONE OF THE ELEVATOR SHAFTS LOOKING INWARDS TO THE ATRIUM
46 EXPLODED DIAGRAM SHOWING CUSTOM JOINTS THAT ARE RIVETED TOGETHER TO STEEL BEAM WITH AN ANGLED STEEL PIPE FRAME TILTED TOWARDS THE BEAM
FIGURE 52: TYPICAL DIAGRID CORE AND FLOOR PLATE JOINT DETAIL
47 GLAZING
METAL GRATE C-CHANNEL
I-BEAM LIGHT GUAGE STEEL ®16"0.C. GYPSUM BOARD
CONCRETE SLAB WITH REBAR CORRUGATED STEEL DECKING OPEN WEB STEEL JOIST LIGHT GUAGE C-CHANNEL GYPSUM BOARD
FIGURE 53: TYPICAL CURTAIN WALL FACADE AND FLOOR PLATE CONNECTION DETAIL
48 FIGURE 54: TYPICAL DETAIL OF DIAGRID CORE AT FOUNDATION LEVEL WITH CUSTOM STEEL BRACKETS FOR INSERTION OF THE STEEL FRAME
49 Architectural implication targeting the second objective with organization strategies:
The proposed building contains all the privacy such as washroom, kitchen or amenities required by the Creative private meeting spaces. The openness Class, and typical of most traditional of the floor plans allows people to move hotels. This includes restaurants and freely from one space to another: this cafes on the second floor. Offices, combined with the unconventional ele meeting rooms with various sizes, a vators could generate opportunities for library, Internet lounge and working sta people to collide and start impromptu tions are located on the third floor. The discussions. spiral staircase along with the elevators provides accesses to these floors and welcomes the public to occupy these spaces. A swimming pool, fitness cen ter, spa and salon are on the forth floor where primary access are by elevators to reserve the facilities for hotel guests or for clients with appointments. All of these amenity spaces have complete ly open concept floor plan, with the exception of isolated rooms or pods for
50 rYTYTYTYl
lA iA lA iA J
FIGURE 55: 1 Lobby GROUND FLOOR PLAN 2 Retail 3 Cafe 4 Hotel Reception 5 Pick Up/Drop Off
51 M «c «c 3 CC in 3 cc cc 3 cc tc. 3 nnnnnnnpi
■
11
10 o oanannflooann c POPP c DODD c BBBBBBaaaaaa
FIGURE 56: 6 Restaurant A 2ND LEVEL FLOOR PLAN 7 Restaurant B 8 Kitchen 9 Bar 10 Private Dinning 11 W/C
52 ™ u,Ri;53 D1 12 Meeting Rooms 3RD LEVEL FLOOR PLAN ® 13 Work Stations 14 Library 15 Internet Lounge 16 Washrooms
53 17 o
18
B n B B L e I n n h i n
22 11.111 n u . II D D D D. i n * * * .
17 Swimming Pool 21 Yoga 18 Washrooms 22 Cardio Room 19 Spa 23 Weight Room 20 Aerobics
54 fig u r e59 : 24 Gallery 5TH LEVEL FLOOR PLAN 3 25 Permanent Colection 26 Temporary Collection
55 Hotel
Gallery a //\\ , Fitness Club Work Station \ \ / / i n Library Bar , w \ /// \ t Restaurants Retail ,w\ / / Reception w \ / / / r m \\ \ /______
FIGURE 60: SECTION VIEW THROUGH BUILDING DEPICTING THE UNCONVENTIONAL CORE
56 FIGURE 61: SECTION VIEW THROUGH BUILDING DEPICTING THE UNCONVENTIONAL CORE
57 Architectural Implication targeting the third objective with customizable and transportable pods:
As discussed in previous sections, moving gallery. This customizable guests staying in a foreign city for an space can be installed directly behind extended period of time would typi the bed as an alcove (shown in images cally collect items from the local area in the following pages). Guests can use as souvenirs. Providing a temporary this enclave to display their personal space for these objects where they can items such as hanging of family photos, be displayed is typically not feasible display of their recently purchased art within the un-customizable hotel rooms. works or books. In addition to this, most hotels cannot cater to guests who prefer to customize At the end of their stay, these pods can their living space, and consequently be used as a storage container where individuality in temporary residences guests can place their belonging. The is impossible. The solution to both of idea is to have this model replicated in these dilemmas is to implement a cus other major cities around the world so tomizable and transportable pod within that travelers can conveniently migrate the hotel room where guests have the from one part of the world to another opportunity to modify spaces to suit with all their belongings with them with their needs and changing preferenc out the headache. If needed, clients can es. The idea was partially inspired by also store these pods in the hotel if they Zittel’s transportable units and Foster’s plan to come back annually.
58 FIGURE 82: TYPICAL STUDIO ROOM WITH STORAGE POD HIGHLIGHTED IN RED
59 FIGURE 83: STORAGE PODS ARE TRANSPORTED FROM DIRECTLY WITHIN THE HOTEL ROOM
60 RECESSED RAIL ON TOP AND BOTTOM TO SLIDE DOORS IN PLACE
EDGE GUARDS INSTALLED ON BOTH ENDS TO PERMANENTLY CONTAIN THE SLIDING DOORS WITHIN THE BOX
DOORS ARE DESIGNED TO SLID BEHIND WALLS BUT CAN EASILY BE SLID INTO PLACE TO ENCLOSE THE BOX FOR TRANSPORTATION WHEN NEEDED
FIGURE 64: CONSTRUCTION OF THE TRANSPORTABLE POD (STORAGE BOX)
61 m & a &
&
&
^ & T ^ LEV£Lf''00RP'>N FIGURE 66: TOP LEVEL FLOOR PLAN
63 P ostScript
The transportable container responded for the mind. If the floor plates were to the needs of the Creative Class by completely solid (without an atrium to providing an efficient way to transport orient the user), the building could be and store personal items. It eliminates come quite challenging to navigate but potential waste created by disposal would still provide an unrivaled spatial of accumulated goods over a lengthy experience. This new Diagrid Core can period of stay. The user can neatly pack also be applied successfully to other their belongings for reuse at anoth building typologies, specifically those in er location. In reality, this model can earthquake and hurricane prone areas potentially become a signature hotel to reinforce core structural stability. brand with locations in major cities that specifically targets corporate executives When detailed elements such as ideas and managers. implemented from Le Meriden hotel (hotel key that can access local muse The idea of a Diagrid Core could be ums) combined with the architectural further refined if some of the sections ideas presented in the portfolio, the can have an interchange of staircases, proposed project vastly improves the escalators and elevators. The innova existing architectural experience of tiveness of the structure will certainly hotels, produces exciting opportunities be inspiring for the Creative Class to to explore and experience a new model circulate in, even if they have visited of temporary living. the building multiple times. The rarity of such a unique structure is stimulating
64 The Rise of the Creative Class (2002) across different occupation (including by Richard Florida was written more blue collars), higher housing costs than a decade ago. Since then, cities eventually resulted and forced the less and developers across North Ameri skilled workers to relocate. This created ca had used his economic theory to an economically unsustainable model implement, influence and advance for a healthy city.40 city developments. It must be noted that cities that poured vast amounts Although Florida’s theory was flawed in of money into building his vision had trying to spur economic growth in cities, largely failed. Attempts to recreate the the successes or failures of his vision successes of Silicon Valley in various was not of a major importance for this cities were unsuccessful.38 Florida, thesis. The significant contribution from published an article in The Atlantic referencing Florida’s Creative Class Cities titled More Losers than Winners was that he identified a unique group in America’s New Economic Geography of people in our society. The focus on (Jan 30 2013), admitted that by building the lifestyle and pattern of the Creative cities that mainly attract the Creative Class/Bobos allowed for a different ap Class were unsustainable. In his words, proach in architectural thinking and de “talent clustering provides little in the sign. The focus led to new architectural way of trickle-down benefits."38 He innovation such as the Diagrid Core as concluded that even though cities were presented in the portfolio. As architects, able to draw in the Creative Class to we should continue to strive to create drive productivity and improve wages new inspiring spaces for the public.
38 Florida, 304. 39-40 Richard Florida, More Losers than Winners in America's New Economic Geography, 30 Jan 2013, 5 May 2013
65 Interestingly, the status of the Bob people’s desire for individualism and the os is very much alive and have gone chase for exquisite items.42 Unsurpris international with the emergence of ingly, there were even debates between “China’s Bobos Fever” as Jing Wang, intellectual groups on whether or not who worked at a well-known global there is indeed a large group of Bobos advertising agency Ogilvy in Beijing, in China. In any case, it is fascinating had identified in her bookBrand New to see that the “Bobo fever was not only China: Advertising, Media, Commer a popular cultural phenomenon but a cial Culture (2009). She commentated marketing phenomenon”.43 that there is currently a strong distaste for the nouveau rich in China by the general public and that the success ful yet educated elites in China rather associate their new found bourgeois status with the word ‘bohemians’ as to lessen the perception of their ma terialistic lifestyle.41 In her marketing perspective, the influences of consumer products marketed in first tier cities would eventually trickle down to second and later third tier cities of China. This ripple effect had immense influence on
41 Jing Wang, Brand New China: Advertising, Media, Commercial Culture (Harvard University Press, 2009), 188. 42 Wang, 180-181. 43 Wang, 195.
66 Bibliography
ArchDaily. Sperone Westwater Gallery / Foster + Partners. 2010 22-Sep. 2013 15-Dec
Borras, Montse. Hotel Spaces. Beverly: Rockport, 2008.
Brooks, David. Bobos in Paradise. New York: Simon & Schuster, 2000.
Business Insider. The High-Flvinp Life of 'Homeless Billionaire’ Nicolas Bergpruen. 2011 16-Dec. 2013 20-Jan
Caan, Shashi. Rethinking Design and Interiors: Human Beings in the built environment. London: Laurence King Publishing, 2011.
Central Intelligence Agency. CIA - The World Factbook. 2012 15-12
Esther Choi, Marrikka Trotter. Architecture at the Edge of Everything Else. Cambridge: MIT Press, 2010.
Florida, Richard. More Losers than Winners in America’s New Economic Geogra phy. 2013 30-Jan. 2013 5-May
Florida, Richard. The Rise of the Creative Class. Revisited. New York: Basic Books,
2012.
67 Frank, Robert. The Homeless Billionaire - The Wealth Report - WSJ. 2008 19-May. 2013 20-Jan
Groves, Kursty. I Wish I Worked There! A look inside the most creative spaces in busi ness. West Sussex: John Wiley & Sons, 2010.
Marriott. Marriott Residence Inn I Residence Inn Hotels. 2012 10-Dec
Marriott. Marriott TownePlace Suites. 2012 10-December
Sandoval-Strausz, A.K. Hotel: An American History. Devon: Duke & Company, 2007.
Siegal, Jennifer. More Mobile: Portable Architecture for Today. New York: Princeton Architectural Press, 2008.
Singapore Toursim Board. Annual Report on Tourism Statistics 2009. Annual Report. Singapore: YourSingapore, 2010.
Starwood Hotels & Resorts. Starwood Hotels & Resorts. 2012 03-12
Strakosch, George and Robert Caporale. Vertical Transportation Handbook. 4th Edi tion. John Wiley & Sons, 2010.
Wang, Jing. Brand New China: Advertising. Media. Commercial Culture. Harvard Uni versity Press, 2009.
68 Image Source
Figure 1 Select images from - Borras, Montse. Hotel Spaces. Beverly: Rockport, 2008. Figure 2 Brooks, David. Bobos in Paradise. New York: Simon & Schuster, 2000, front cover. Figure 3 http://friendzon3.tumblr.com/image/24305390881 Figure 4 http://www.theplan.it/J/images/stories/Riviste/The%20Plan%20027/027-6.jpg Figure 5 http://www.zavodbig.com/sl/wp-content/uploads/2008/09/seijoville2-prev.jpg Figure 6 http://www.zavodbig.com/sl/wp-content/uploads/2008/09/seijoville5-prev.jpg Figure 7 Groves, Kursty. I Wish I Worked There! A look inside the most creative spaces in business. West Sussex: John Wiley & Sons, 2010, 79. Figure 8 Kursty, 77. Figure 9 Kursty, 84. Figure 10 Kursty, 81. Figure 11 Kursty, 78. Figure 12 Kursty, 76. Figure 13 http://www.wallpaper.com/galleryimages/17053171/gallery/03_Barcelona.jpg Figure 14 http://www. hotelchatter.com/story/2011 /4/8/111735/3052/hotels/Another_Reason_ to_Collect_Hotel_Key_Cards%3A_Le_Meridien's_Unlock_Art_Program Figure 15 http://www.wallpaper.com/commercial/le-meridien/events/2012-06-%204-an-art-in spired-dinner-and-private-view/5864 Figure 16 Sandoval-Strausz, A.K. Hotel: An American History. Devon: Duke & Company, 2007, 29. Figure 17 Sandoval-Strausz, 145. Figure 18 Sandoval-Strausz, 146. Figure 19 Sandoval-Strausz, 148.
69 Figure 20 http://www.sfgate.com/politics/joegarofoli/article/Think-Long-panel-proposes-Cali fornia-tax-overhaul-2288794.php Figure 21 Siegal, Jennifer. More Mobile: Portable Architecture for Today. New York: Princeton Architectural Press, 2008,44-48. Figure 22 http://minimalismissimple.com/wp-content/uploads/2012/10/9h_Nine- Hours-Capsule-Hotel.jpg Figure 23-25 Marriott TownePlace Suites. 2012 10-December
‘ Figures not listed above are self produced images, renderings, diagrams and/or drawings
70