Catching Lives is a Migrant hotel segment that shelters those on long-term relocation. It is part of The Hotel, a collective project that studies the hotel, both as a building type and as a place of hospitality, through a collection of fourteen individual contributions inside one skyscraper. The project imagines hospitality as a realm of exchange that condenses the diversity of the city through an assortment of guests, staff, and the broader public.

The hotel is a function of temporality and hospitality. The study questions the requirements for an architecture of hospitality to welcome, host, and entertain. As an architecture of temporality—an architecture that is dynamic and ever-changing, embodying a sense of transience and constant activity—the hotel allows for experimentation, while anticipating adaptation to meet the changing demands of its temporary residents. The hotel, as type, is understood beyond its curated front. It is, instead, a place of anonymity and exchange, of served and serving, a place characterized by short stays in a lasting structure.

The skyscraper, as a formal and monumental object, appears to contrast the hotel’s temporality. In its autonomy, the skyscraper is a landmark in the skyline. Located in Midtown Manhattan—on the former site of Hotel Pennsylvania and adjacent to Penn Station—this project is a reflection on the metropolis of New York City.

The Hotel consists of the design of the skyscraper as landmark—The Metropolitan—and the hotel as tenant—One Hotel.

Collective propositions:
1. The Hotel embraces the frenetic energy of New York City while opposing its outward expansion.
2. The Metropolitan will outlast One Hotel.
3. One Hotel accommodates fourteen types of guests, and its staff.
4. One Hotel shares accommodation, amenities, systems, and services with a 24/7 cycle.
5. The Hotel sets a standard for an architecture of hospitality.

“Almost Home” is a residential hotel segment that is (almost) home to precariats on the move. It is part of The Hotel, a collective project that studies the hotel, both as a building type and as a place of hospitality, through a collection of fourteen individual contributions inside one skyscraper. The project imagines hospitality as a realm of exchange that condenses the diversity of the city through an assortment of guests, staff, and the broader public. 

The hotel is a function of temporality and hospitality. The study questions the requirements for an architecture of hospitality to welcome, host, and entertain. As an architecture of temporality—an architecture that is dynamic and ever-changing, embodying a sense of transience and constant activity—the hotel allows for experimentation, while anticipating adaptation to meet the changing demands of its temporary residents. The hotel, as type, is understood beyond its curated front. It is, instead, a place of anonymity and exchange, of served and serving, a place characterized by short stays in a lasting structure.

The skyscraper, as a formal and monumental object, appears to contrast the hotel’s temporality. In its autonomy, the skyscraper is a landmark in the skyline. Located in Midtown Manhattan—on the former site of Hotel Pennsylvania and adjacent to Penn Station—this project is a reflection on the metropolis of New York City. 

The Hotel consists of the design of the skyscraper as landmark—The Metropolitan—and the hotel as tenant—One Hotel. 

Collective propositions:
1. The Hotel embraces the frenetic energy of New York City while opposing its outward expansion. 
2. The Metropolitan will outlast One Hotel.
3. One Hotel accommodates fourteen types of guests, and its staff.
4. One Hotel shares accommodation, amenities, systems, and services with a 24/7 cycle.
5. The Hotel sets a standard for an architecture of hospitality.

Residential segment proposition:

1. Purposeful precariats in New York City reject traditional senses of home.
2. Only in the middle of the skyscraper can precariats find seclusion and connection to Manhattan.
3. A residential hotel encourages its guests to consider the value of a life unbound from place.
4. By sharing with other long-term guests of One Hotel, the Residential segment asks the guests to consider either staying alone “at home,” or together “at home.”
5. A home is a space where you have to do chores.

Safe Haven is a love hotel segment where sex workers and customers can be intimate in a safe environment.

It is part of The Hotel, a collective project that studies the hotel, both as a building type and as a place of hospitality, through a collection of fourteen individual contributions inside one skyscraper. The project imagines hospitality as a realm of exchange that condenses the diversity of the city through an assortment of guests, staff, and the broader public.

The hotel is a function of temporality and hospitality. The study questions the requirements for an architecture of hospitality to welcome, host, and entertain. As an architecture of temporality—an architecture that is dynamic and ever-changing, embodying a sense of transience and constant activity—the hotel allows for experimentation, while anticipating adaptation to meet the changing demands of its temporary residents. The hotel, as type, is understood beyond its curated front. It is, instead, a place of anonymity and exchange, of served and serving, a place characterized by short stays in a lasting structure.

The skyscraper, as a formal and monumental object, appears to contrast the hotel’s temporality. In its autonomy, the skyscraper is a landmark in the skyline. Located in Midtown Manhattan—on the former site of Hotel Pennsylvania and adjacent to Penn Station—this project is a reflection on the metropolis of New York City.

The Hotel consists of the design of the skyscraper as landmark—The Metropolitan—and the hotel as tenant—One Hotel.

Collective propositions:
1. The Hotel embraces the frenetic energy of New York City while opposing its outward expansion.
2. The Metropolitan will outlast One Hotel.
3. One Hotel accommodates fourteen types of guests, and its staff.
4. One Hotel shares accommodation, amenities, systems, and services with a 24/7 cycle.
5. The Hotel sets a standard for an architecture of hospitality.

Love Segment Propositions:
1. The Love segment offers a safe haven for sex workers, providing stability amidst the challenges of the city’s sex-work landscape.
2. Centrally located, the Love segment offers a balanced, secure environment, avoiding unsafe streets while fostering chance encounters among guests.
3. A regulated floor empowers sex workers, offering controlled and exciting experiences, along with long-term living options, making it a transformative establishment.
4. Located in One Hotel’s heart, the Love segment guarantees safety, separate from neighbors, yet connects sex workers to society through sky lobby amenities.
5. The Love segment challenges stigmas, offering larger, less discreet spaces than historically unhygienic tenements and illegal massage parlors,and thereby redefining perceptions of sex work.

The Neighborhood is a homeless hotel segment that invests in children’s better future. It is part of The Hotel, a collective project that studies the hotel, both as a building type and as a place of hospitality, through a collection of fourteen individual contributions inside one skyscraper. The project imagines hospitality as a realm of exchange that condenses the diversity of the city through an assortment of guests, staff, and the broader public.

The hotel is a function of temporality and hospitality. The study questions the requirements for an architecture of hospitality to welcome, host, and entertain. As an architecture of temporality—an architecture that is dynamic and ever-changing, embodying a sense of transience and constant activity—the hotel allows for experimentation, while anticipating adaptation to meet the changing demands of its temporary residents. The hotel, as type, is understood beyond its curated front. It is, instead, a place of anonymity and exchange, of served and serving, a place characterized by short stays in a lasting structure.

The skyscraper, as a formal and monumental object, appears to contrast the hotel’s temporality. In its autonomy, the skyscraper is a landmark in the skyline. Located in Midtown Manhattan—on the former site of Hotel Pennsylvania and adjacent to Penn Station—this project is a reflection on the metropolis of New York City.

The Hotel consists of the design of the skyscraper as landmark—The Metropolitan—and the hotel as tenant—One Hotel.

Collective propositions:
1. The Hotel embraces the frenetic energy of New York City while opposing its outward expansion.
2. The Metropolitan will outlast One Hotel.
3. One Hotel accommodates fourteen types of guests, and its staff.
4. One Hotel shares accommodation, amenities, systems, and services with a 24/7 cycle.
5. The Hotel sets a standard for an architecture of hospitality.

Homeless Segment Propositions:
1.⁠ ⁠The Homeless segment addresses homelessness as a generational issue.
2.⁠ ⁠The Homeless segment is a walkable neighborhood across the skyscraper.
3.⁠ ⁠The Homeless segment is a home before a homeless family can get their home.
4.⁠ ⁠The Homeless segment normalizes the accommodation of homeless families in the skyscraper hotel.
5.⁠ ⁠The Homeless segment encourages trust in welfare and personal development.