This project is an elderly school in Berlin, which aims to help the elderly enjoy their happy life by enhancing their sense of self-achievement through knowledge sharing with other people. This elderly school floats on top of Fennpfuhl Lake in the park, and the elderly could also enjoy poetic scenery while teaching and learning. It includes age-friendly design, participatory design, and multi-sensory design, aiming to help the elderly gain a sense of self-achievement through cross-age communication. The elderly school allows people to meet and talk, using classrooms, in-between spaces, and gardens to provide formal and random learning and communication opportunities. It also improves the self-satisfaction of the elderly in different aspects. The classroom is a teaching space that provides fixed courses where the elderly can gain a sense of self-achievement when teaching and acquiring knowledge. The in-between space is a space for people to communicate and rest, where random learning opportunities can be triggered. The indoor garden is separated by exhibition shelves, where the elderly carefully maintain the plants, and they will also feel happy in this planting space.

This thesis explores the design and conceptualization of a contemporary installation art museum in Berlin, aiming to redefine the traditional white cube experience and contribute to a healthier society. The ‘white cube’ model as we know it today has been around since the late 19th century. With its neutral, flexible and decontextualized spaces it takes away all distractions from the art. However this ‘white cube’ model and passive experience has become outdated and fails to engage visitors in a more meaningful way. It is exactly this engagement and interaction with the art and other visitors what makes the museum potentially such an important building in our future society. Especially in this digital age where people are becoming more alone and isolated it is important to have places where they can come together and connect with each other. That is why the primary objective of this project is to create spaces that foster meaningful interaction and connections, ultimately contributing to a healthier and more cohesive society. This building, focusing on social health, together with eight other buildings will form a broader strategy to improve Berlins health by integrating a health beneficiary space in to the buildings design.

Berlin, a city characterized by its diversity, creativity, and resilience, stands as a vibrant hub with a rich history, influential club culture, with a prominent global position. The city’s identity has been shaped by a series of transformative events, from its growth along the Spree in 1724 and the cities expansion with characteristic blocks in 1862, up to the significant impacts of World War II and the division imposed by the Berlin Wall in 1961. The subsequent reunification process led to redevelopment, urban planning, and the evolution of Berlin’s dynamic, multicultural identity.

Aligned with this historical narrative, the city’s spatial structure, public transportation network, and urban development have undergone continuous evolution. The Berlin railway network, dating back to 1846, has expanded and adapted to the city’s growing needs, as evidenced by the i2030 expansion plans for railways (Start - i2030, 2023).

However, the evolution of train stations, integral to the city’s transportation infrastructure, has taken a distinct turn. Once serving as waiting shelters, stations have transformed into commercial entities prioritizing profit and efficiency often at the expense of inclusivity. While the program focuses on becoming a symbolic gateway to the city, there is a growing sense of exclusion despite train stations being the daily crossroads for diverse populations.

In the spirit of Berlin’s anarchistic character, which advocates a bottom-up approach to city-making, this thesis proposes a radical departure from the conventional model of train stations. Instead of admitting to the profit-driven agenda of the state-owned railway operator, Deutsche Bahn, the thesis advocates for a user-centric architectural approach which will make it inclusive. By delving into the essential needs of Berlin’s community, passengers, and commuters, the aim is to establish a harmonious balance between profit-driven objectives and the diverse requirements of the local population.
The thesis seeks inspiration from anarchism, a philosophy advocating for the absence of top-down authority. This departure from conventional architecture involves challenging the prevailing paradigm of “hostile architecture,” marked by exclusionary designs, towards a more inclusive and versatile approach focused on liveability. Through the lens of anarchistic principles, the proposal aims to redefine the S-Bahn stations along the Berlin ring, offering a compelling vision for a more user-friendly, community-oriented, and progressive environment as prototype station.

This thesis proposes a prototype station for the current S-Bahn station at Frankfurter Allee, where the seamless integration of functionality and user experience becomes the focal point. The “Frankfurter Allee Locals Foundation”, consisting of rotating local residents, jointly owns the rentable units added to the station’s program. Its former identity as containerbahnhof has been repurposed for the rentable units at this particular station.

Some recommendations on how to design a prototype station for the S-Bahn ring in Berlin combining all flows with local identities are the outcome of the research through design.

This thesis delves into the intricacies of designing a courthouse in Berlin, aiming to address current and future challenges within the German legal system, as well as reimagining traditional courthouse design.
In Germany, public trust in institutional organizations and the government has witnessed a considerable decline. According to a DW survey, 25% express concern about the actions of politicians and the government. The introduction of the Hartz IV law, involving cutbacks in unemployment benefits, exemplifies one of the reasons for this mistrust. Germany’s highest court recognized the insufficiency of welfare benefits (Arbeitslosengeld II), particularly for families with children. Similar governmental scandals, such as the ‘allowance affair’ in the Netherlands, have fueled citizen distrust in government and legal systems.
One contributing factor to this erosion of trust is the inaccessibility of judicial help and the legal system. Legal representation by attorneys is prohibitively expensive, averaging around 250 euros per hour ([Source](faire-integration.de)). Additionally, the current legal systems face immense pressure due to a shortage of judges and judicial staff, resulting in an alarming backlog of cases. Germany, for eight consecutive years, holds the unfortunate record of the highest number of pending cases, with 400,000 cases yet to be opened ([EEUA, European, EASO Data](source)). This backlog is a direct consequence of the understaffed judicial system.
To alleviate the strain on the existing legal system and to enhance its accessibility, affordability, and comprehensibility, a shift towards mediation emerges as a potential solution. Mediation offers significant advantages, such as being more cost-effective. According to R. Lalanne, a typical case negotiated using a mediator may cost around $6,000.00, in stark contrast to the potential cost of over $35,000.00 for litigation, assuming both mediator and attorneys bill at $250.00 per hour.
Mediation is not only cost-effective but also holds the promise of being swift, efficient, and operates in a voluntary and cooperative manner. Thus, the proposal pivots from designing a traditional courthouse to conceptualizing a ‘House of Mediation.’ By prioritizing mediation over adversarial trial settings, this innovative approach aims to make the legal process more accessible to the public.

The graduation project “music bunker, commemorative space” adopts the adaptive reuse of a bunker to design a contemporary performing art center. This project will focus on the logistics of designing a commemorative public space and a functional auditorium in a performing art center, which can make people participate better in live music performances in their daily lives.

This thesis proposes an inner city hydrogen-powered seaplane port located in Rummelsburger Bucht, near the centre of Berlin. By using seaplanes, the airport would be a small-scaled airport with the approximate size of 50,000 square metres next to the Spree and no runways on ground would be necessary. With innovations of the hydrogen fuel, airports could be more environmentally friendly, sustainable and thus could be located at the heart of Berlin, benefiting medical passengers from rural areas and domestic travellers escaping the city for a break.

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.

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.

“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.

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.

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.

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.

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.

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.

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 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.

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.

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.