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.

Navy Lodge Manhattan is a Sailors' Boarding House segment that refreshes enlisted sailors. 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.

The Sailors' Boarding House Segment Propositions:
1. The growing popularity of the annual New York Fleet Week and other major events contributes to the vital presence of sailors in the city.
2. A US. Navy–operated retreat in Midtown Manhattan relieves sailors from the difficulty of finding affordable accommodations for both short and long-term stays.
3. The Sailors’ Boarding House segment provides a gender-integrated home for male and female sailors smoothing the transition from duty to leave.
4. The presence of the sailors in the rhythm of the bustling hotel and the temporary exposure to other guests forms a mutually instructive encounter between them.
5. The Sailors’ Boarding House segment validates the United States Navy as a thriving organization that cherishes its personnel and the civilians it serves, and encourages recruitment.

“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.

The City Resort is a resort hotel segment that indulges vacationers in a manicured paradise. 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.

Resort Segment Propositions:
1. The Resort segment is a remedy for today’s over-worked society.
2. The Resort segment mediates between the guest’s desire for both isolation and social life.
3. The Resort segment is a vertical meandering through sequences of delays, destinations, and spatial transitions characterized by different levels of exposure.
4. The Resort segment is part of a collection of amenities shared with other leisure-oriented segments.
5. The Resort segment offers a new lens through which to view the city.

Capsule Metro is a capsule hotel segment that treat cheapskates with a good deal. 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.

Capsule Segment Propositions:
1.⁠ The Capsule segment provides a temporary rest stop in the center of Manhattan, a simple and affordable space after long hours of work.
2. The Capsule segment arranges the space and circulation between the skyscraper’s infrastructure and lodging near the core, creating a cozy temporary resting stop surrounded by cluttered service spaces.
3. The Capsule segment t formulates the physical space of the capsule by considering different postures and perceptions of minimum comfortable distances.
4. Despite being adjacent to other hotel segments with various statuses, the Capsule segment nests in the elevator corridor with a vertical arrangement, providing anonymity and indifferent contact with limited amenities.
5. The Capsule segment provides an affordable option for temporary stays in New York City, alleviating financial burdens and enabling visitors to enjoy what the metropolis offers.

Eminence Trade is a boutique hotel segment that elevates aspirants’ real life and online presence. 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.

Boutique Segment Propositions:
1. Eminence Trade is accessible to aspirants of all incomes and backgrounds.
2. Eminence Trade offers a place of comfort, adjacency, ambition, eminence, and equality.
3. Eminence Trade, the luxurious flagship of One Hotel’s brand, differentiates a plethora of private, public, and partnership amenities to ensure its leading-edge business model.
4. Eminence Trade, as a place of sublimity and exclusivity, offers temporal and unilateral types of use of accommodation and amenities within One Hotel.
5. In a city of aspiration, Eminence Trade signifies eminence but does not equate
elevating above others.

The Campground is a family hotel segment that family hotel that all members of the nuclear family can enjoy.. 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 a 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 a landmark—The Metropolitan—and the hotel as a 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.

Family Segment Propositions:
1. The nuclear family seeks to reconnect through discovery.
2. The skyscraper provides a range of explorable facilities.
3. The Family segment creates shelters in the urban jungle.
4. The playground brings people together.

The Jukebox is a day hotel segment that where lovers cross paths and share fleeting intimacies. 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.

Day segment propositions
1. The Day segment sifts through New York City’s multiplicity of crowds.
2. The Day segment is a 24/7 hub at the base of the skyscraper.
3. The Day segment goes beyond the traditional day-hotel model through its diversification of room types, supporting activities, and retail options.
4. The Day segment makes itself financially feasible by pooling resources such as foot traffic, infrastructure, and labor.
5. The Day segment offers a range of fleeting intimacies somewhere between commodity and serendipity.

ImmerseFlow is a Wellness Spa hotel segment that blends sensory treatment with water-enhanced tranquility. 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.

Wellness Spa propositions:
1. Establishing an unadorned sanctuary in the skyscraper and blending artificial with natural rejuvenation offers an escape from the city’s ornate mundanity.
2. Nestled above the slit between the two parts of the skyscraper, the Wellness Spa segment is veiled in spring garden mist, blurring its form into a tranquil haven.
3. Guests wander through aquatic gardens, in parallel with the plumbing system, discovering a journey of holistic well-being.
4. The Wellness Spa segment converts the skyscraper’s communal water system into a hydrotherapy oasis and boosts amenities and financial viability through collaboration with neighboring hotels.
5. The Wellness Spa segment, revealing its mechanical core, shows serene spaces that counter urban extravagance.

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.

One Casino is a casino hotel segment where gamblers are dealt a good time. 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.

Casino Segment Propositions:
1. The Casino segment caters to a diverse gambling audience, including culturally indifferent residents and visitors, offering an alternative source of amusement tailored to their preferences in the vibrant setting of New York City.
2. Reflecting the city’s frenetic energy, the lower floors of the skyscraper are exclusively dedicated to the casino, operating continuously around the clock.
3. The Casino segment recreates the excitement of gaming in a dynamic manner, maintaining rigorous surveillance and operational efficiency within the skyscraper’s confined space.
4. Instead of offering accommodations, the Casino segment arranges rooms from other segments to accommodate specific high-spending guests.
5. The Casino plays a crucial role in bolstering significant revenue for the hotel, the city, and the state by collecting a 30 percent gambling tax and creating numerous job opportunities.

Her Hotel is a Single Women’s hotel segment that supports women to live freely and confidently. 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.

Single Women’s segment Segment Propositions:
1.⁠ The Single Women’s segment supports women as they face safety concerns, difficulty navigating New York City, and an increasing cost of living.
2. Elevated high in the skyscraper, the segment’s private floors are connected to the vertical city of the skyscraper through program and public spaces designed for women.
3. The Single Women’s segment caters to solo travelers and career-focused women through a kind of new domesticity, accommodations for a variety of budgets, and protection within a secure boundary.
4. The Single Women’s segment advocates for women across One Hotel, through safety measures, caregiving spaces, and hotel programming that empowers.
5. The Single Women’s segment is a place for social exchange among women.

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.

Marriott Metropolitan is a chain hotel segment that entices business travelers to extend their journey. 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.

Chain Segment Propositions:

1. ⁠As the most expensive travel destination, New York City is witnessing a resurgence in business travel and its price soar.

2.⁠ ⁠The Chain segment is located between Sky Lobby 1 and 2 to take advantage of different shareable amenities.

3.⁠ ⁠Business travelers can book or upgrade different rooms depending on the duration of their stay.

4.⁠ ⁠Brand-based membership systems provide customer loyalty and the Chain segment brings continuous business to One Hotel.

5.⁠ ⁠The Chain segment balances standardization with specialization.

Fashion is technological, since the first clothing worn by early humans, the garments have been developed radically to become efficient and comfortable (quick dry, highly warm, extremely light) to match weatherability.
Up until the last decade, fiber technology and materials science was limited to specialists. Since then, textile and clothing brands decided to invest in research and development. The lower costs of cutting-edge technology made it possible for independent designers as well as medium and larger companies to create concepts using innovative products. Additionally, there is a new consumer profile opting for environmentally responsible products that reflect their digital lifestyle.
The Try It Out contribution - sited in the Andermatt, a village in the Swiss Alps - proposes a facility for the development of prototyping and testing of the textile
performance.
Material research becomes increasingly paramount, as material innovation is one of the main drivers for the fashion industry to tackle environmental challenges. Improving the lifespan of fabrics (duration), creating better-performing garments (higher value), and revolutionizing production processes (production), will change how fashion is consumed (consumption).

This contribution is part of Fashion House, a collective project on the spatial implications of a decentralized and more tightly regulated fashion industry across Europe that reimagines the function and design for a fashion house.

The Standard Resort is part of Fashion House, a collective project that speculates on the spatial implications of the future of the fashion industry in five post-industrial cities throughout Europe, collectively referred to as the Red Thread.

This contribution proposes an all-inclusive Valencian beachside resort, The Standard Resort, a microcosm of society in which both guests and designers in residence immerse themselves in an enclosed and fully regulated environment. During their stay, guests, their bodies, and their resort-provided outfits are on full display for everyone within spaces of simultaneous performance and spectating. This resort—an escape from daily life for people of the Red Thread—serves as a testing ground for the recalibration of clothing norms and body standards.

In 2040, increased leisure time encourages people to break away from their daily routines and seek out opportunities to experiment with social behaviours. This is in response to the contemporary condition, in which people follow the through advertisement and standardization established fashion norms and impose these norms on other people, homogenizing social contact in public space.

Examining how fashion norms are dictated through the design, programming, and marketing of space, the resort consists of two opposite worlds. The standardized structure accommodates the stylistically conventional guestrooms and facilities that dictate known dress codes. In contrast, the ballroom -sited in a former wine storage facility- is a constructed disorder that blurs these conventions, allowing designers and consumers to let go of their shame and challenge and redefine fashion norms. Having fulfilled a 3-month residency testing and learning from this context, designers are granted the Shameless certification.

This contribution—the design of a fur farm sited in Berlin’s southwestern rural landscape—reimagines a fur farm that alters the notion of fur farming to restore the unrivaled luxury, warmth and longevity of fur as a responsible product in the fashion industry. The captive industrial farming and preventative culling of minks following the COVID-19 outbreak and the mass-production of fur leading to decentralized efficiencies, lack of animal welfare, and poor labor practices probes the unrestrained extraction of animal-origin virgin materials for the production of fashion goods. This contribution argues that in the world of fast fashion, where duration and sustainability are symbiotic, the dignified status of fur—due to its biodegradability, longevity, and sourcing transparency—must be restored so that it can emerge as a responsible commodity in the fashion industry.

This contribution is part of Fashion House, a collective architecture project that anticipates an alternative future for the fashion industry in five emerging European fashion centers in and around Berlin, Marseille, Rotterdam, Valencia, and Zurich, creating a pan-European cooperative and regulatory body that intensifies regional production and increases conscientious consumption patterns by granting product certifications, providing industry services, and offering brand consultancy.
Aporia envisions a generalized curriculum fashion atelier for students from regions without crafts heritage. This fashion atelier directly adjoins Fashion House Berlin, near Alexanderplatz, in the German capital of Berlin.
Aporia proposes a fashion atelier in Haus D of the DDR government Haus der Statistik in Berlin. This atelier offers a generalized curriculum teaching multidisciplinary skills competency. Atelier workers train in at least five of forty-four Red Thread artisanal disciplines, from wool artistry to patternmaking. These disciplines occupy enfilade studios under one roof, with minimized spatial and organizational hierarchies, altogether facilitating interdisciplinary knowledge exchange.
An increasingly regionalized fashion industry intrinsically entails the proliferation of skills and knowledge to support regional manufacturing. Regional artisanal manufacturing declined as a result of brain drains to centralized Taylorist production—which strives for peak productivity via production process atomization—emblematic of the previous fashion paradigm. Specialized workers of this previous paradigm are susceptible to economic volatility, and to a self-deceptive conflation of specialized knowledge mastery with growth.
Generalist ateliers fill that knowledge gap as centralized sites of education and knowledge exchange. Workers learn and share knowhow through collaboration and mentorship, all within shared work and evaluative spaces. Mastery is traded for inexperience each time the worker begins a new discipline, dispelling self-deceptive overvaluing of mere knowledge.
These atelier workers become professionally autonomous generalist artisans—certified “Know it All”, or proficient in at least five fashion artisanal disciplines—upholding geographically and organizationally decentralized manufacturing required for the regionalized fashion industry.

Ready to Rent envisions a fashion rental hub that provides the rental, delivery, and maintenance of a wide range of clothing options. It supports a model of usership in fashion consumption by offering clothing as a service rather than a purchasable product.

The fully automated processing facilities handle used garments used garments for user-to-user transfer in a vertical assembly line, ensuring Good as New certification guaranteeing the same quality standards than the shop floor. Collection and drop-off lockers located throughout the city facilitate the transfer of rental garments and empower unboxing, packaging, and fitting at home, challenging traditional retail settings.

Ready to Rent, located in Rotterdam’s innovative M4H district, offers a unique solution for fashion consumption and supports it as a means of aspirational self-expression.