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This week, we were able to get 1 on 1 help with our projects and get in some last minute feedback prior to the summative submission, enabling me to narrow down my focus and add in a few missing details.
Firstly, I need to go back to adjust certain sections within my floor plan as I now have the resolved and intended design, it is more about tidying it up and making everything ‘fit’ as best as I can. For example, certain parts where 2 hotel rooms join have a weird space in between each other so I plan to do some minor ‘surgery’ to shape them so that they fit into the building. This involves rotating things, cutting things, knocking down walls etc. to suit the geometry of the building. I also plan on playing with the line weights in my floor plan to make things easier to communicate and more legible.
After some guidance, I also have a couple of modifications to make to my collage to take it a step further and make it an even stronger composition. For example, adding depth to the doors would help strengthen the drawing as I already have depth in other areas, so overall, it would make it more cohesive. Additionally, above the piano/main entrance room I have a ‘mirrored’ circular opening which would also be beneficial to show, as this would add another level of complexity to the drawing and change the composition, allowing for a more dynamic shape. Although I do quite like the intentional white space in between both views, I may even consider uniting them in some way to highlight the relationship between the 2 spaces in a subtle yet effective way.
I feel as though I have learnt a lot on this course and it has also been really enjoyable. I have also really enjoyed seeing my skills and ideas develop week on week and after making these changes, I feel confident in my current position pre-summative.
Upon reflection, I decided that 1 of the 2 rooms within my reception/foyer space needed more careful thought with its design. I then began making changes and modifications to further ramp up the Wes Anderson style and whimsical spirit of the film even more.
My approach to the layout was to be very Wes Anderson, inspired by his use of symmetry. I wanted the piano to be the main feature of the first room, welcoming the guests upon their arrival as they exit the lifts. Offset from that, I have arranged seating in a circular and symmetrical arrangement. For the space directly above, I created a circular gallery above with more seating where the sound of the piano would be able to travel through and guests can enjoy a different, more quiet space while still enjoying the music from below. I have also positioned the furniture in a ‘weird’ and uncomfortable way, emblematic of Wes Anderson’s eccentric style. In this way, I have distilled my design and refined it which I think has lead to a resolved result with strong links to the film.
Once we had established a rough idea of my key drawing from my hand sketches and resolved floor plan, I moved onto working digitally, with photoshop. I experimented with a wide range of effects and tools that aided in the development of my key internal view. After learning some of these key techniques, I was able to apply them to my own work and further develop my key internal view drawing, adding a sense of realism to it, taking it to the next level.
I wanted to treat my collage as a stage set and for that reason, I wanted the style to be mainly artsy/whimsical but still have an element of realism to it. As my foyer spans out across 2 spaces, I wanted to highlight this and their relationship. For this reason, I created a diptych, which is quite evocative of the film and the way it was filmed, whereby both views can be seen alongside each other, uniting them as part of the same graphic.
I think that my internal key view has emulated the way that I imagine my hotel design to be filmed by Wes Anderson himself. I think that the end result is successful and I am very pleased with the outcome and the way in which it communicates the feeling of being within the space I have designed.
This week, we focused our attention onto the foyer space of our project. As I had now established where I wanted my hotel rooms to be, I started working on my floorplan. I began by almost segmenting the space into 2 sections, one being the main reception/guest check in area and the other acting as a public waiting area/terrace access point. I then began populating theses spaces with a range of different elements that embody the spirit of my film so that I could maintain the user journey and have an overall cohesive experience.
Through a series of in-studio drawing activities, we were able to develop our key internal view, using a hybrid of hand drawn and digital collage techniques. As my foyer technically spans across 2 connected spaces, I wanted to make sure I show this link within my drawing. For this reason, they are both included within the same drawing. I began by trying to understand how I would go about drawing this, playing around with multiple hand-sketches. This proved quite difficult as it was hard to visualize this space and therefore translate this on paper. As one of the 2 spaces is double height, this added another challenge. However, once I figured it out, I took my drawing into a digital format where I was able to trace over it with clean lines, allowing me to see how the ‘base’ layer was looking before moving onto adding color, texture and other FF&E elements. Gradually, my drawing developed and I started seeing it come together.
Upon reflection, I have further refined my floor plan to cater to the unique characteristics of the existing site. While initially frustrating, I recognized that such modifications are intrinsic to the daily life of designers, offering invaluable practice and a good challenge.
Firstly was the transformation of a double-height space into a standard height space. This alteration was essential to avoid the inefficiency of random room protrusions into the fifth floor, preserving valuable space.
The window seat, one of the predominant features of the room, was a challenge. I love this feature of my design and I was keen on keeping it, as it really embodies the spirit of the film. This feature was however causing me issues when fitting it to the existing site because of its irregular shape. For this reason, I decided to make modifications to it. By ‘cheating’ its placement, I ensured access to the beautiful view of Edinburgh while accommodating these difficult site constraints. For the other 2 windows on either side, I added some walls to act as ‘viewports’, with images/props from the film, acting as a discrete homage to its cinematic inspiration.
Originally inspired by the aspect ratios used within the cinematography, the concept of double height (which was used initially in the hotel room), will now be used in the reception/foyer space and public areas, ensuring it is integrated in a way best suited to the site. Similarly, I scaled down the size of my hotel room, without compromising the integrity of my design.
Although I maintained the overall shape of the floor plan, I made subtle alterations to the configuration, to enhance the spatial efficiency and flow within the space. The entrance in particular, emphasises the distinctive symmetry associated with Wes Anderson.
Recognizing inefficiencies in the prior floorplan layout, I condensed functions such as the hotel room foyer/minibar area into the main living space, eliminating redundant spaces and enhancing usability. Additionally, adjustments like removing the terrace and resizing the window were made to align with site limitations while preserving key features and ‘selling points’ of the room.
Throughout this process, furniture placement and layout were meticulously adjusted to optimize functionality and maximize its potential within the confines of the site.
Hotel visit
The design-conscious Moxy Hotel, balances style with functionality in its design. Upon arrival, we were greeted by an inviting public entrance area, setting the tone for our exploration of the rest of this unique hotel. It was quite spacious but was segmented into different areas, providing a more intimate feeling. The initial impression upon entering the hotel, was rather odd, because instead of being greeted by an inviting/large open space, guests are met with a wall which also has barrels in front of it. This may have been a design feature they wanted to integrate, but I don’t feel like it works very well from a way-finding point of view. This highlights the importance of considering user experience in my own project. As we transition into designing the public foyer area, I really want to create an atmosphere that makes guests feel welcome and valued from the moment they step inside.
During our tour, we had the opportunity to see a typical private hotel room, which, while decent in size, revealed some areas feeling slightly cramped and awkward.
Speaking with the staff, provided valuable insights into the operational aspects of the hotel. Despite challenges posed by the compact nature of the building, the team shared their proactive approach to optimizing space through strategic rearrangements and configuration adjustments to further enhance the guest experience and their comfort.
Learning about the hotel’s clientele was quite insightful. With a predominant demographic of young people, often in large groups, the energetic ambiance is reflected throughout the hotel, amplified by creative signage and dynamic design elements. The signage itself was also quite straightforward and easy to understand, facilitating way-finding and overall movement throughout the hotel.
Below are also some images of other elements I picked up on that are noteworthy, ranging from the design to materiality, colour etc.
Visiting the hotel, was an invaluable experience that provided firsthand insight into its functionality and the ambiance of its public areas from a guest’s perspective. Witnessing how guests interact with the space and how they experienced it, helped me gain a deeper understanding of what I want to achieve in my own project.
As our hotel room designs have now been concluded, it was time to move onto the rest of the project. We were given the original site plans, which we then went to survey and record for our own records and to aid in the next steps of the project.
Once this information was collected, we were tasked with finding ways to arrange and integrate our floorplans as repeat modules within the existing site. Being sensitive to the site and the regulations, there were some elements, such as the lifts, structural support columns and fire exits/staircases which couldn’t be removed for practical reasons. This meant that we had to work around these existing features, making it more tricky. The site in itself is already of an irregular shape as it is quite jagged and disproportionate, making this a real challenge. Another difficulty I have encountered is placing my floorplan within the site. My design is quite different in shape and isn’t your standard rectangular shape, making it difficult to integrate. My design also integrates a large window seat with floor to ceiling windows in addition to a terrace, meaning that each room must have access to some sort of view.
To test out this theory, I decide to print these floorplans at 1:200 scale and play with different arrangements by hand. Below are the examples of the theories i tested out.
I also zoned out the 4th and 5th floor plans to strategically plan for public/private spaces within my design. My idea was to have the 4th floor as the public space with the 5th floor as the private space which is where the hotel suites will be located.
This week, I focused on my floor plan and getting my design ready for formative submission. To begin with, I needed to thicken the outer walls as they were the same size as the interior walls. In order to showcase my work as best as possible, I created a range of sections to maximise the display of information and highlight the intricate details within my design.
During formative review, I received a lot of valuable feedback, prompting me to make several changes to my drawings. Although not completely necessary, I decided to also add the floor patterns as seen in my SketchUp model, to further populate the floorplan, resulting in a rich drawing with lots of information.
As my design is quite complex in nature and not a typical standard ‘box’ shape, it was difficult to describe the user journey. For this reason, I created a couple of perspective sketches into my design, drawn at eye level, with the addition of annotations and notes, to really showcase the guest experience as best as possible.
Survey
This week we also had an opportunity to visit the site and take measurements for ourselves. My team was assigned the external window wall on the 5th floor (as indicated on the plan). We began by recording the internal elevations of the walls and then proceeded to get the floor to ceiling heights and finally, take note of the materials that are used. Below is a record of the data collected, thus aiding my understanding of the site and the context in which my design is going to sit.
Colour palette
The colour palette was monochromatic, creating a neutral and stale environment, although conducive for its function as a shared working space.
Materials
In terms of the materiality, we noticed the carpet tile which seems to be of a polyester-type material, in addition to perforated ceiling panels, as pictured below.
After having a closer look at my design, I wanted to further capture the spirit of The Grand Budapest with the integration of furniture showcased within the film. To further reinforce the bespoke nature of my design, I decided to recreate an integral piece of furniture featured within the film and have documented the process below.
(Screenshot taken from the film)
I began by sourcing an image of the arm chair to which I began constructing the shell, using the rectangle tool and the push and pull tool. Once I had the shape I desired, I used the colour picker to extract the original colours and then applied these to a leather texture which I sourced online. I then added the metal bars on the bottom which act as chair feet. In this way, I was able to replicate the arm chair successfully. I was struggling with furniture selection for the main space but I now feel as though this piece of furniture will really pull my design together and further reinforce the spirit of the film. I think that sometimes, although a useful tool, SketchUp sometimes limits me, as a designer by constricting me to the furniture selection available in the 3D warehouse. For this reason, I have found that designing some of my own furniture, I have been able to tailor the space and enhance its bespoke nature.
Since last review, I have made a couple of changes to the layout, one of which being switching the bedroom and bathroom to enhance the flow of the space and allow for the bedroom to have a view. I have tried to consider the user and their journey while making the space flexible. Additionally, I have changed some of the furniture and even the colour palette to suit the whimsical spirit of the film and embody its quirky nature. Although it has been a challenge, I think that I am finally beginning to find a balance between the integration of elements from the 30s and 60s to capture the spirit of the film.
After review, I was given some feedback, so I decided to annotate my current floor plan with all the comments I had received to be able to read my drawing more visually and get my thoughts onto paper as can be seen below.
I have now reached a stage where I have a clear direction for advancing my design, and my next step is to refine my ideas. The main point I took away from the review was that my concept is strong and I now need to narrow my focus towards enhancing the functionality within the design of the hotel room, considering the user and their needs/activities.
Model construction
Initially, conceptualizing a single door, upon reflection, I have decided to elevate the design through the creation of a double door. This deliberate choice was significant as it embodies the grandeur and opulence showcased within the film. Channeling the distinct Wes Anderson aesthetic, I went for the typical Wes Anderson colour palette, integrating pastels such as pink and blue, predominant colours within the film, which capture its iconic and whimsical nature.
To amplify the allure, I wanted to add some intricate detailing to the entrance to spark a sense of curiosity within the guests, setting the stage for the immersive experience within while still preserving an element of surprise until they step into the hotel room itself. For these details, I used gold as this was
(Screenshot taken from the film)
Choosing gold for the detailing, was a nod to the film’s aesthetic, reinforcing the elegance and luxury which I aimed to channel in my design. I drew inspiration from the intricate pattern at the front entrance of the hotel, so I wanted to incorporate a similar pattern into my design, offering a subtle narrative that enhances the overall guest experience.
Overall, I am happy with the progression of my model and I think that this activity has really helped me bring my imagination to life and act as a visual aid to support my design and ideas.
I also wanted to showcase the view to the outdoors as the bay window is a key design element within the hotel room. Below, I documented the process of creating it which involved meticulous measuring and planning before cutting out each individual piece.
In my initial design, I overlooked the importance of capturing the essence of the time periods in which the movie is set. Recognizing this, I decided to do some more research into typical 1930s and 1960s interiors to truly understand how spaces were back then, seeking a deeper understanding of the design elements that characterized both of these eras, enhancing the sensitivity and authenticity of my work.
Through these significant changes, I think that my design is developing well and is beginning to become bespoke, however, there were some key pieces of feedback that i had received which I would like to take into consideration when continuing to progress my work in the weeks to come.
The first key point would be the guest experience within my design. I think that I need to look at the series of spaces that I have and look closely at the activities happening within each space and how everything works together to create the most optimal flow of movement. For example, the bathroom. I need to further consider how it feels to sit on the toilet, to stand at the sink, to be in the bath or to even be sat at the dressing table. Now that I have looked back at my work, perhaps the dressing table seems misplaced and potentially not needed. I also need to rescale the toilet as it seems to be quite small compared to the wash hand basin.
Another main piece of feedback would be the colour palette, material palette and furnishings used within my design. Having been inspired by the cinematography in the film, in particular the aspect ratios used to film both the scenes set in the 60s as well as 30s and how that changes. Although the variety of vertical space is creating interesting volumes, I am considering further emphasising this as a design choice. I could do this by over-emphasising other elements so that the whole of the interior becomes dramatic and thus echoing the whimsical nature of the film even further. In terms of the colour palette, I think that I need to reconsider certain spaces with regard to the colour choices to integrate more of the film’s personality and personify each space. I was also prompted to extract the colour palette out of my interior as this would enable me to assess if my ‘raw’ design is enough to be in the spirit of the film, thus prompting me to make bolder design choices in terms of the architecture of the space.
As my film is quite particular and whimsical, it can be difficult to design a space that is respectful of the spirit of the film while also not being cliche or tacky, making it challenging. With regards to the material palette and texture applied within my design, I think I have almost overloaded the space with an abundance of textures and materials because I did not want to miss anything and wanted to try and include everything that I thought would most successfully convey the whimsical spirit of the Grand Budapest hotel. Therefore, I think it may be worth reconsidering the range of colours, textures and patterns that I am showing to create a balance and make my design more autonomous. In this way, I believe that I will be able to create a really strong set of spaces which can all stand on their own, with each space owning its own specific set of materials.
Through the application of this feedback, I have been able to develop the bespoke nature of my design. I believe that the whimsical and quirky nature of the film is finally beginning to ‘read’ in my interior and I just need to continue to develop my design with these comments in mind to really embody the spirit of the film whilst resisting the urge to recreate it.
Model construction
I also wanted to document some of the model making process, which has been supportive in the way on which it has allowed me to look at the actual space that I have proposed, bringing me closer to the reality of what I have designed. As our process is evidently driven by the ‘guest’ experience, we began with a model of the door/wall entrance to the hotel room, as this almost acts as a first impression for the guest and provides them with a sneak peak with what to expect in the interior, creating a threshold between the lobby and private hotel room which we have designed. First impressions are imperative so I really wanted my door/wall design to embody the spirit of the film but also not give to much away to create an element of surprise/mystery for the guest upon their entrance to the room. I began by sketching a rough idea for my design, using the measurements from my 1:20 scaled plan. I then began with the 3D model. Through the help of scoring, i was able to create a model which can stand on its own as it has a thickness to it. The real challenge for me in this process, was being careful with the measurements and making sure I cut out the correct pieces.
As the Grand Budapest is set within 2 separate timeframes (1930s and 1960s), I was trying to think of ways in which I could implement this within my work. As the majority of the movie is set in the 1930s time period, I decided that majority of the hotel room would be influenced by that era and the rest of it, would be inspired by the 1960s. I have only just started my design, so it is still a work in progress, as can be seen below.
Now that I have had time to discuss my work with tutors and peers, I fear as though I may have taken the brief too literally. Going forward, I would like to try and integrate aspects from the film but in a more subtle non-thematic way. Instead, I was thinking I could combine both time periods strategically, rather than having some form of partition separating each era.
Initially, when I first started working on my design, I think I made the mistake of restricting my design to a conventional ‘box’. Due to the constricting shape of my current floor plan, I was left with a monotonous design which lacked creativity and intrigue. I think that I had started to worry about how my design would work in the real world and all the limitations and regulations that come with that, so I lost some of my creativity worrying about the functionality of it.
After having seen some of my peers work and the variety of approaches to the task, I now feel inspired and feel as though I can be more elaborate, creative and ambitious with my design and not be scared to break away from conventional standards. For these reasons, I have decided to rework my design and integrate the constructive feedback that I have received.
Although this can feel frustrating, it is all part of the process and I am quite an early stage in my design where making changes is not a hindrance. I now feel confident in the development of my current design and believe that I will be in a stronger, more resolved position in the weeks to come.
This week we were introduced to the key aspects to consider when designing hotel rooms. Different guests, have different needs and as a result, desire different hotel rooms. However, the key thing that all hotels have in common, whether that be a budget hotel or luxury one, is functionality.
Ergonomics need to be considered, and in order to understand this effectively, I decided to research a case study. In particular, the Jiahe Boutique Hotel in Shanghai.
(Image taken from Arch Daily website)
After having done some research on the spatial conditions, I have learnt that hotel rooms need continuity. The main priority should be functionality but that does not mean that traditional standards cannot be challenged. Everything included within the design, must be integral to the room and must serve a purpose.
