“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.

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.

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.

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.

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 Establishment imagines a tailor shop that provides a range of certified made-to-measure suits, jackets, trousers, overcoats, shirts, and accessories - sited in Rotterdam’s new fashion district inside an old trade office and portside warehouse – accommodating a slower-paced fashion industry, in which use of the daily workers suit is restored.

Three buildings accommodate the re-popularized sartorial significance of the suit: A tailor shop, an employment agency, and a more discrete Longshoreman’s business club. Reigniting interest in the craft of tailoring, formal wear and long-lasting garments and reconvening the collective bargaining power of people in an ever more fragmented world of work.

With the growing cumulation of textile waste, the fashion industry needs to introduce an alternative practice to improve the lifespan of their clothing. This contribution addresses the environmental pressure of overconsumption by upcycling textiles and redistributing them back into the German economy. Out of the Fabric creates a space for local designers to purchase the upcycled textiles from the storage facility and exhibit to the public. The new depot shifts the fashion industry’s perception of the value in excessive consumption towards a trend in secondary use and longevity of textiles. The depot rehabilitates its surrounding neighborhood of Friedrichshain by improving the condition of existing warehouses, encouraging the growth of Berlin designers, and introducing fashion textiles as an economic source for the community. The network of supply based throughout the city will ensure that recyclable materials can be always available.

The ideal wedding is a social construct that has changed through history according to the needs of society. By changing the wedding from a product to a process, this contribution aims to transform the whole wedding experience into a more efficient, technological, and sustainable event. The project is located at the spectacular Calanques National Park, one hour drive from the city of Marseille. The Quarry garden is a wedding venue composed of a series of pavilions and garden spaces that provide all the stages of getting ready. The certification “Perfect Match” certifies ceremonial processes, events, and public functions that are situated in forgotten landscapes for their protection and locational rejuvenation after its completion. The Journey of your Life is a full- service experience that offers all the stages and services of the wedding in one place and one day; allowing a more practical, less-stressful and more affordable experience. By 2040, the construct of the ideal wedding is an experience and ceremonial process rather than a final product. The paths and stages of getting ready are more valuable in a society that is more environmentally conscious and that prefers the symbolism of marriage with the least footprint possible.

Fresh Forward is the contribution for the collective project on the food industry in the Netherland and beyond, reflating on the notion of automation and its spatial implication.

This contribution proposed a design for a new kind of restaurant that utilizes contemporary technology to achieve a fully automated process, from production space to sales floor; while, at the same time,– adopting modernist cooking techniques to provide a new dining experience to the customer.

Located in a hectare of land in the Hundewiese of Frankfurt. This contribution reconstructs the conventional restaurant layout, provides an aesthetic experience—from the uniformity and repetition provided by the automated machine to the contrasting organic beauty of nature—to the customer.

Inside its production facility, Fresh Forward collaborates with chefs and culinary artists to innovate on new recipes - through the adaptation of the modernist cooking techniques - to serve freshly made, sustainable, and tasty meals that highlight the uniqueness of each raw ingredient’s flavors.

Moreover, automat can extend the reach of its service by distributing pre-cook ingredients and seasonings to supermarkets or automat points throughout the Blue Banana network.

Crafted with Care imagines a small-batch bean-to-bar artisanal chocolaterie producing luxury craft chocolate, sited within a space of 1000 square meters on a sloped terrain in the medieval town of Gruyères in Switzerland, located at the top of an 82 meter-high hill overlooking the Saane valley. The rural town of Gruyères specializing in milk production and cattle breeding remains a popular tourist destination for the traditional precision craftsmanship of the infamous cheese and chocolate production. The existing family-owned chocolaterie, Chocolaterie de Gruyères, producing artisanal craft chocolate is integrated with the existing fortification at the entrance of Gruyères with proximity to regional products—such as double cream, Friborg milk, Morello cherries, Swiss kirsch, and Swiss cane beets—for their dark or milk "bean to bar" chocolate products. However, the new engagement of the chocolaterie with Hermès, a family-owned French house recognized for its luxury crafted goods, to preserve the craft of chocolate-making from its forthcoming extinction requires a new development of Chocolaterie de Gruyères to express the luxury and craft of chocolate-making and is thus sited in an exclusive heritage monument of the fort tower, offering a parallel exclusivity that compliments the product identity. The chocolaterie—committed to the tenets of traceability—is redesigned to additionally function as a gallery, educating the visitors on the transparency of chocolate processing and the value of craft production through the implicit connection with the maker. Through the disintegration of chocolate production into its layers of programmatic elements, the chocolaterie tends to highlight the precision at each level of chocolate-making, while providing different transitional routes for the varying consumer flux. The integration of the new intervention with the existing fortifications creates visual and transitional vistas overlooking the chocolate production, thus connecting the preservation of the building with the preservation of the craft of the inherently luxurious chocolates.
The site in the car-free village has proximity to parking areas, is located at a distance of 800 meters from the railway station, and at a distance of 90 meters from the bus stop with excellent connectivity for the transport of these chocolates into the major Swiss trade routes in Europe. A resultant modified supply chain will allow Swiss local experts to introduce a new distribution network of real chocolate across the Blue Banana, under a premium brand, eventually customizing the consumer experience in Albert in Delft through a branded shop-in-a-shop to reach a target demography with its artisanal opulence.

By 2050, when the world’s population is expected to increase by two billion people, “scarce” crops—from the massively consumed Arabica coffee bean to the popular avocado—will be genetically modified in laboratories to endure market pressure and environmental challenges to provide solutions to the impending food scarcity crisis in a post-pandemic society. The Lab Oratory envisions a highly curated agricultural landscape that converges the unviable industrial and the exclusive organic production of crops into a reconstructed future of farming. This novel “modus operandi” endeavors to reintroduce the building type of the laboratory in regards to the food industry and thus the boundaries of natural and artificial by creating a space of multidisciplinary experimentation that brings together growers and scientists.
Sited in the Netherlands, in the Wageningen, is co-located with the Food Valley NL, cooperation that attempts to offer food security and enhances the existing food innovation network that expands beyond the limits of Europe. At the same time, the Lab Oratory is located in the Rhine river’s floodplain, offering the possibility to discover solutions in regards to the flooding risks that the Netherlands is facing due to climate change.
The dike that surrounds the plot detaches it from the city by creating a 7-meter height difference. The laboratory’s functions are condensed across a half kilometer infrastructural line that connects the city with the river and generates different multileveled routes. Bookended by public spaces, an amphitheater and library respectively, and elevated as a pier, the infrastructural line is open to the public offering views into the experimental landscape, highlighting the transparency of different uses, to re-establish public trust in lab experimentation. The biosafety laboratories, the tissue culture rooms, the open labs, the microscopy, the botanical garden, the controlled growth facilities, the offices and meeting rooms, the grower’s spaces and finally the greenhouses are placed accordingly to allow the efficient function of the spaces. Following the Köppen Climate classification, the greenhouses are divided into five main volumes that mimic different climate groups; temperate, polar, dry, continental, and tropical climates.
From the lab to the land, multiple multidisciplinary experiments take place. An experiment on three different methods of farming; monoculture, strip cropping, and pixel farming based on a collection of data in regards to crop yield, pest control, biodiversity, pollination, nutrient cycling, water regulation, and soil fertility and an experiment on flood-tolerant crops that mimic the traits of rice consist the main occupation of the land.
The expertise is exported across the world, while crops of the patented seeds arrive daily in the supermarket. As an essential service, the supermarket’s design incorporates integrated agriculture strategies, accentuating the new civic presence within the supermarket in an attempt to rethink the controversial subject of GMOs in aid of combating food scarcity.

The “Shop Til You Drop” aims to create a new experience in the old town of Gibraltar, seeking to engage visitors by luring them in with the world of shopping. By designing a unique space that combines the architectural character of the heritage city with that of the modern aspiration of commercialization, it seeks to rebuild the characteristic of the street to bring in economic revenue and urban growth

This project deals with the past, present, and future theatricality of the Bay of Gibraltar, in relation to the settlements around its edge – Gibraltar, La Linea, Algeciras – and across the strait to Morocco. These landscapes are read as both backdrop and auditorium; the ports are re-contextualised as the wings and aisles, and the Bay is the stage. The project first establishes comparisons between historical events that have occurred in the Bay alongside other theatrical experiments by artists, architects, and landscapes designers, based on visual and structural similarities. These include both grand events - military sieges, ostentatious construction contributions, as well as the everyday theatricality of fishing-trips, dolphin-tours, migrant patrols, and global trade. It compares the legislation that dictates movement across the Bay to the laws which dictate movement around a stage. The theatrical reading elevates these events as somehow equivalent and worthy of attention, disturbs pre-existing understandings, and recognizes the Bay as a unique theatrical setting. Three sub categories – staging, scripting, viewing – demonstrate precise modes of comparison, each corresponding to a set of spatial conditions, architectural operations, and design objectives. They also coincide to a range of materials, introducing comparisons between drawings and cartographies, scripts and instructions, photography and etchings. By definition the designer of a stage does not limit the acts that can or should take place on it, thus, this contribution is not about designing a play but rather defining the stage. Going beyond the conventional theater space, this contribution introduces a new scale and form of theatrical setting-the global. Theatrum Mundi, or the world as a stage, and in particular, the Bay as a Stage. The theatrical reading is undertaken in order to literally and figuratively draw attention away from the contentious Rock, relegating it to the status of backdrop, and move focus towards the neutral and shared Bay, elevating it to the status of stage. Historically the Rock has been the focus of the theater, in emotional, political, and scenographical terms, with a vocabulary that emphasizes its separation, security, and isolation. Discourse within Gibraltar tends likewise towards isolation and introversion, typified by their antagonistic relationship to the water and their preoccupation with the Rock. By shifting the focus from the Rock towards the Bay, and by providing a new vocabulary for how we speak about the shared Bay the contribution invites regional scale collaborations and initiatives by clarifying and reinforcing the theatricality of the Bay itself.

Spirituality in Gibraltar follows its own local logic. Around the base of the rock, in the dense town and port, cultures mix and intersect and negotiate in streets and buildings. Churches, mosques and synagogues, religions have found places – sometimes highly traditional senses in their symbolism, sometimes not. These communities reach a balance and form the dynamics of the peninsula. The compression reinforces the difference of certain beliefs, a fierce shared sense of coexistence as well as a multi-faith and Gibraltarian identity. Currently, they share a cemetery located at the junction of the airport and the city center, not just creating a religious blending atmosphere, but also being under the pressure coming from invasive city expansion. Above the settlement, they make designs in, on and around the Rock. Technologies, structures, and spaces from different centuries have erected a Vibrant vein of the Rock, as if the Rock is evolving by itself. From prehistoric burial chambers undergoing hi-tech archaeological research to world-war tunnels reinvented as tourist destinations, from man-size caves to large tunnels enabling transportations to pass through, incursions into the Rock such as abandonment, reinforcement, renovation and extension are made according to available technology for the rituals and requirements of the day. Developed trajectories of both tunnels and religions are similar, they can reflect and compensate each other, allowing both contradiction and similarities co-exist simultaneously. This project takes the phased relocation of Gibraltar’s multi-faith cemetery from its hard-to-survive site on flat ground and prime real estate adjacent to the airport, to a steeply sloping, east-facing site of defunct “Water Catchment” that are barren lands nowadays as the basis both for reassessing spirituality in, on and of the rock, and for reinventing the ways in which spaces are made in, on, and of it. The shared funeral system with introduced ecological methods continuously change the life forms and textures of the Rock with the help of vegetations as new tombs, which is slow in process but full of energies, making a comparison with the high-speed developing urban environment.Life does not end but continues in another way.

The project deals with the architecture of hospitality. More specifically, it is an investigation of how architecture is used to provide a background to civil society and induce meanings through spatial and structural constructs whose realization is based on exchange value. In the transient territory of Gibraltar, where current and future construction boom run the risk of encouraging local authorities to dispose of land and property assets to real estate developers, the project takes the form of a hotel, with its ability to provide the means through which the relationship between public and private space is negotiated, while capitalizing on the capacity to produce different formats of social encounter. Hence, the modus operandi of this contribution within the grand scheme of things is twofold; The hotel comes in as a point of convergence whose sole purpose is based on continuous movement of people and capital, facilitating the predicted boom of the tourist industry and the increasing influx of people into the territory. More importantly, however, it presents itself as a private commercial venture offering an alternative ground for social and political participation in a privatized city.
It is the political charge of the hotel that this project uses as a means to articulate the civic potential of this particular building type. By introducing politics as a set of activities that take place on the spectrum between public and private, the Inn Gibraltar challenges the hotel as an architectural artifact—with its programmatic, formal, and spatial presence—and its capacity to engender a register of meaning in its own right. To politicize a hotel then means to openly question its importance, not only as a city-forming element, but also as a relevant cultural edifice. To explicate what is often only implicit is to shed light on the forces that shape and will continue to shape not only Gibraltar's, but our urban condition at large. As such the project's main intent is an interrogation of a particular form of hospitality in order to comment on the transfer of responsibility from agencies as different as the state or the family to the corporation.

This project looks at both the role of Gibraltar within the global ecology and the dynamics of the local ecology on the peninsula. It describes how Gibraltar’s geomorphology—a mountain surrounded by water, located between two water bodies and two continents—has resulted a unique local ecology that is vital for the global ecosystem. Carried by the winds, migratory birds soar across the Strait; ocean currents and water temperatures determine the spawning locations of marine life migrating through the Strait; human migrants settle on their way to cross the Mediterranean; tourists travel to the peninsula to observe its unique and dynamic biodiversity. The Rock and its morphology produce local winds and precipitation, which have shaped the Rock into two distinct sides: an urban and cultivated west side, a steep and uncultivated east side, and a Nature Reserve on the Upper Rock. In turn, these sides have framed settlement patterns, from early military settlements between walls and on the Rock, to reclamations and Marinas on the verge of the surrounding waters. Levante clouds and limestone formations provide humidity and alkaline soils for endemic plants; the seeds of which are taken by the wind, insects, birds and Barbary macaques that reside on the Rock; whose residence in turn attracts troops of tourists and their accompanying taxi drivers. The project explores how both the global and local ecologies affect and are affected by human settlement and design. As humans are part of the same ecosystem as all other species, they shape it, and are shaped by it. Birdwatchers travel to coastal areas to see the journey of the flocks; cruise ships and dolphin tours interact with migrating marine life; urban settlements expand into the sea and onto macaque-territory; Mediterranean woodlands are cultivated and become Maquis-vegetation; behavioural patterns of Barbary macaques are influenced by the tourists coming to see and feed them and the architecture that provides for them; as well as vice versa. In a context of climate change and population growth, two paintings and a series of models anticipate changes in global and local migratory and settlement patterns and explore the role of design within these ecosystems. As sea-level rise, droughts, changing temperatures, and extreme weather conditions reshape global and regional migration and settlements areas of all species, the projected intervention in Gibraltar is an examination of the role of design in the balancing act of the global ecosystem.

The contribution explores the new agenda of architectural means in contemporary context. Today, in the era of Post-truth, when all the information we learn circulates with uncertainty and doubtful truth, all these online knowledges we perceive are like rumors. As architects, we develop techniques to simulate architectural design throughout history and the advancement has eroded our idea of built and not-built nowadays. When the influence of architectural means is not limited in its own profession in this Post-truth era. Can we, architects, interfere people’s understanding of a place by deliberately creating or exaggerating certain aspect of a something, in this case, the Chinatown of Gibraltar. Across Europe there’re anxiety about motives, underhand tactics, and cultural transformations. The image of Gibraltar – which remains vague, mysterious, exotic in most minds – is thus ideal to generate rumors. The spatial influence of the new type of Chinatown interfered in smaller scales, on personal level. Across the world, the Chinese investment today are not only on Chinese stuffs, they also produce authentic products. To design an effective architectural rumor, the method is analogy to the ordinary way of designing architecture. The design brief, the objective of all the Chinatown rumors, is to suggest the Chinatown in Gibraltar either directly or implicitly, the site and program are chosen on media where we learn about Gibraltar, and the reference can increase reliability of the rumors. The Chinatown rumor disseminated in Europe might be on websites and stories about Brexit and cultural transformation to increase exposure. The Chinatown rumor disseminated in Gibraltar might be on local forums with exclusive stories. The same method can apply to various websites with different stories, identities to affect different audience. The reaction of the rumors embodies new agenda of architectural means.

This project deals with the industrial heritage of Gibraltar and its future prospects in the context of the global economy and the local culture. More particularly, it is about an upgrade of a ship repair yard known as Gibdock. It is aiming to counterbalance the issue between the ecological and Gibraltar’s economy, improving a better quality of the local environment to Gibraltar, and while providing efficiency and convenience as if a pit stop, to make a profit on the global stage of the maritime industry.It is strategically located in the western Mediterranean but cannot accommodate the majority of current container ships due to its limited size of dry-docks. Historically, Gibraltar has been fortified for many centuries, and human activities happened both on land and on ocean—Gibdock used to be a British naval dock (S, M and L size) for repairing and docking battleships, and has dominated Gibraltar’s economy with the naval dockyard providing the bulk of economic activity until 1984— this, however, has changed after then, and these undersized docks impeded Gibdock to catch up on new demands in ship repairs and refits currently.The upgrade strategy critically considers new international marine regulations, anticipating standard sizes, operations quantity, type of repairs for the next decades. It finalizes what kind of refits to ships need to complete, in order to comply to new rules. This anticipation of design is based on a wide range of sizes in relation to container ships, machine operations, spare parts, and considers how this design can turn the side effect of heavy industry in positive way. As a consequence, a new piece of infrastructure modernizes these S, M, and L docks while a new wet-dock in front of the existing docks enables Gibdock to modify XL boats. The service Gibdock provides is part of a larger marine business strategy called the ‘’one-stop-shop”. By offering all the services in one place —Gibraltar can gain a competitive advantage over Ports which only offer one or two of these services. This modification of ships at Gibdock is another service alongside those that Gibraltar already provides: refueling& underwater cleaning (at North mole), loading & unloading (at container berth), crewing & de-crewing, mooring (at Quayside), repairing and refitting (at Gibdock).