The essence of privacy: designing for individual needs

Not long ago privacy was a concept that related essentially to the physical world. All human beings need time to be with themselves: to rest, to reflect, to pray, to prepare mentally for the outside world or just to enjoy quality time in small groups. Finding a place to be alone or to enjoy privacy was not difficult. 

Then, in a short period of time our lives were taken over by an ever-growing dependency on the digital realm and rather than relating to the fulfillment of individual needs, privacy became instead a way to quantify the amount of personal information that we share with others, willingly or not.

If privacy is less and less a physical experience, how do we frame the need for privacy in todays built environment? Our homes are places where we can still affect some degree of control over what we share about ourselves, but how can we achieve it in the public environment: in the workplace, in leisure areas, in hotels or in cultural venues?

In his inspirational book "The Poetics of Space", french philosopher Gaston Bachelard wrote:

 "... the house shelters day-dreaming, the house protects the dreamer, the house allows one to dream in peace."

The complaint about lack of privacy is not a real one as most people knowingly accept some interference with their personal lives in order to benefit from the enhanced reality provided by our permanent sharing. I believe it is the ability to find some sort of personal space to be oneself without the involvement of others that can provide us with a sense of privacy. Even if we remain connected, we need to be in control of our environment. Privacy is probably shifting from the "alone-together" idea that used to be common in libraries, museums and churches, and moving towards a "together-alone" behavior where we can selectively connect to the wider community in some form of seclusion.

I wonder if the growing appeal of calm and serene wellness destinations does not come from this inner desire to be in a bubble where the outside world is kept somewhat at bay. It is not unusual to see people in spa relaxation areas with their smartphones or tablets. They might be enjoying leisure activities but also replying to a work email - but they still feel relaxed because there, they feel protected.

I used to think that being in an airplane provided me with a distance from the real world and for a few hours I was in privacy, even if the passenger next to me was clearly inside the most personal area of my proximity sphere, where usually no-one besides my family can stay for such a long period of time. But now we can connect to the world from the plane, and although I try to resist it, there is a sense of guilt in insisting to have those few hours all for myself.

So how do we address the design of public spaces to ensure that we create the "new privacy" that people seek?

The ability to personalize interiors is the bridge that separates public and domestic spaces, but as urban dwellers become more transient, empowered by the tools that have fostered globalization that allow them to be in multiple locations simultaneously, the challenges to the design of public spaces include trying to create those dreaming and reflecting places without interfering with the every-day life.

In "The Architecture of Happiness", Alain de Botton shares sensitive insights into the nature of human needs that we should keep in mind:

"What we seek, at the deepest level, is inwardly to resemble, rather than physically to possess, the objects and places that touch us through their beauty."

I take this to mean that if we can create a sense of identity between people and the spaces they inhabit, then we can trigger a positive connection. So much of what we call "connection" these days is so short-lived and superficial, that if we use the permanence of architecture as something that people can experience, then we touch them at a deeper level and imprint more memorable experiences. And if people experience that physical connection then we can start exploring new forms of privacy.

Relating this issue to the design of hotels is my immediate reaction as those are the spaces I deal with professionally, but I am interested in the public sphere in general. I always learn from watching how people behave in public and I've researched recent projects in the cultural field to make some sense of this important driver of design.

Charles E. Young Research Library

In the Fall/Winter issue of IIDA Perspective Magazine, UCLA Deputy Librarian Dr. Susan Parker leads an interesting tour of the recently renovated, high-tech and socially mediated facility, where physical books as well as technology and privacy held equally important places in the brief to designers Perkins+Will and Eva Maddox Branded Environments.

Perspective IIDA - Fall/Winter 2012 (pg. 14) 

I invite you to discover how relevant some of the aspects of this library's design are for wider thought about public spaces, but a particular comment stayed with me:

"We have a progression of spaces within the library, inviting people to explore and find areas that are relevant to them. That echoes the metaphor of discovery - of knowledge - that happens in the library."

It is so important to create the possibilities of self-discovery, as those will provide people with a sense of individuality, with the ability to customize their environment around their behavior, and ultimately enable that elusive sense of privacy. 

East Hotel - Hong Kong

Just recently I stayed a few days at East in Hong-Kong. East is part of Swire Hotels, owners of  The Upper House, which in a past blog post I elected as one of the game-changers in the hospitality market ("Hotels of the future: will they be comfortable?").

Entrance (from: SassyHongKong.com)

East is a wonderful example of a hotel where all spaces are able to retain the ability to treat each guest in an entirely personal way, where travelers that are focused on the reason for their trip can feel as if there is a little bit of home there, and still enjoy communal  areas in a very relaxed way. As I said before, most people have accepted to live with smaller intimacy spheres around them, so the answer to creating some privacy possibly comes from having a variety of contiguous spaces to satisfy different needs. It could be the ability to jump into a private call by moving away from the louder areas into small acoustically appropriate compartments and a diversity of seating layouts that can accommodate both formal and informal gatherings in the same space, allow for work, relax, alone or together.

Sugar Bar (from: swirehotels.com)

And in the guestroom, then more freedom is permitted to provide that variety, sometimes with a bit of gimmicks and otherwise just by providing natural and serene comfort with the focus on the bed, the lighting, the shower and in this case ... the view!

Suite (from: swirehotels.com)

Interactive, Integrated and Inter-operable: 3 ideas for hotel design

A few weeks ago in this blog I asked "When will technology really disrupt the hotel business?". 

As I observe how hoteliers are exploring the possibilities of evolving the paradigm in which hotel operations are based, I have identified 3 key elements that are needed to implement successfully any technological advance: solutions must be interactive, integrated and inter-operable.

This means that technology must:

• enhance the experience through an enticing connection between the guest and the physical space
• be perceived as a seamless part of the guest experience, and not just a layer applied on the conventional operation
• it must increasingly permit information exchange with the guest's own personal devices

The market is full of examples of technological upgrades, but I've recently come across a few experimental and conceptual ideas that push the envelope and that I believe will leverage further the hospitality user experience when they are ready to be applied in commercial spaces.

The Nest Thermostat

Nest Thermostat

The Nest Thermostat is an ingenious invention developed by Tony Fadell, an Apple alumni who had a key role in the Ipod creation.

This device re-invents our relationship with the appliances that control human comfort, in this case thermal comfort. It has an innovative capability to learn the user patterns in order to create optimal living conditions, as well as to provide energy savings.

What I find particularly interesting is a design that embeds artificial intelligence so discreetly in the product's DNA, and that permits a innovative interaction with the user.

Adaptive environments that learn how to adjust the conditions of a living space to its occupants will be a quantum leap from our existing systems. And Nest might be about temperature only, but once this concept expands it can be applied to all sort of adjustments in moisture content, barometric pressure, air velocity, acoustic issues, and then even further to manage visual comfort through daylighting and artificial lighting controls, eventually media content, and who knows maybe even physical comfort through fine adjustments in upholstery firmness.

It is truly a new product, and I envision a time when people can carry their own "comfort intelligence" in digital form, and then transfer that information in advance to the room where they will be staying. We will then be able to have a hotel guestroom, or an office space which customizes its properties to accommodate each unique user's needs.

The customization of spaces will be further enhanced with evolved TVs which will allow us to "launch" our tablet customization on the screen just by placing them on the side and swiping them in the direction of the TV. At this point all our own media (music, video, whatever entertainment apps) will immediately become available in the room. Portable comfort, and portable media-impact devices will meet the interactive, integrated and inter-operable requirements.

SLEEP ART: A robot that paints your sleep

Accor's Ibis brand is testing an original interactive experience, with a robotic arm linked to sensors placed on bed mattresses, which transfer sleeping patterns onto a canvas. I find it to be such a daring use of technology! And it provides a novel connection of guests to the hotel in ways that we can only begin to imagine.

Whether the result is true art or not isn't really the issue (watch the video and decide for yourself), but this use of technology pushes the boundaries of human interaction with technology, and integrates it not only in the physical space, but also creates a very unique form of engagement with the hospitality product. And the enrollment via Facebook provides an additional layer of positive entanglement with the brand.

For the cynics and pessimists, you can have the consolation that even if this experiment doesn't really catch on, it will for sure have taught hoteliers and designers where some of the boundaries are.

Immersive Cocoon / Step into the Future

This is a highly conceptual product developed by design collective NAU. More than a product, this object reminiscent of Kubrick's monolith, is an interface. The concept is that the space enclosed within the sphere can provide infinite digital freedom where the entire body interacts with sensors to re-create reality. It is a unique sensory experience inside a very controlled environment, in a way that until now was the object of science fiction. 

This concept contradicts in some ways the basic notions of integration and inter-operability, because it is a device so independent from reality, but I was drawn to the idea that an interface might not need to be a screen and it can be anywhere we want it to be.

Where I see the disruptive potential is not necessarily from the product in its pure form, but the ability to expand the notion of interaction and apply it to real spaces to improve living environments and comfort.

I am thinking for instance of a smart wardrobe where the mirror can allow the user to "virtually" try the clothes before getting dressed .... or falling asleep with the kind of warm summer breeze that makes it so easy to drift away at the beach ....

So these 3 examples of innovative creativity in product design point to a direction where we can carry our own comfort as a digital signature, we can interact physically with spaces, and we can extract elements of virtual experiences to increase the quality of living spaces.

And the more we talk about the possibilities, the more we realize that these inventions will intersect and trigger exponentially increasing options to re-design the hotel experience: the room sensors can detect what the user's exact mood and feeling is, and by using the "learned intelligence" adjust the comfort conditions and transform the perception of the room ambiance and decor to suit the guest.

Creative and talented inventors are providing us with the tools we need. Now it is up to hoteliers, designers and entrepreneurs to put them to use, disrupt the market and impress their guests.

When will technology really disrupt the hotel business?

A few weeks ago, I wrote about hotels of the future, which expressed essentially thoughts about comfort. Another aspect of the evolution of hotels is connected to technology and how it has become key to brand strategy differentiation. Technology is a catalyst for increased building efficiency and it is becoming a key element of disruptive market strategies by hotel owners,operators and the designers that support their vision.

The recession limited the comprehensive modernization of hotel systems, but it also coincided with an incredible growth in interactive technology, and particularly its ability to impact the guest experience.

As renovation budgets become more robust and new construction accelerates, we’ll increasingly see the deployment of integrated systems that improve hotel performance and also enhance the guest experience. A few successful examples of hotel concepts that are already pushing the envelope are YOTEL and CITIZEN M.

Yotel in New York is the most recent outpost of the brand:

Yotel New York - Entrance 

Yotel New York - Lobby

Yotel New York - Typical Guestroom

And Citizen M opened the first of three London hotels in July 2012:

Citizen M (website)

Citizen M London - Typical Guestroom

Citizen M London - Guestroom Control tablet

The focus of end-user technology varies across market segments:

• Upper-upscale and luxury hotels have had a greater ability to add high-end technology to enhance the entire experience from concierge services to entertainment.
• The upscale segment, and in particular business oriented hotels, have deployed technology to improve check-in, to achieve some customization of guest relationship, to offer advanced meeting space functionality and to provide some in-room amenities.
• The economy to mid-scale segments have focused more on the implementation of building management systems looking at cost control and operational sustainability, with a more incremental use of technology in public spaces and in-room technology.

We are starting to see state-of-the-art technology in all hotels, from tablets to 3D TV, from digital art to smart keys. But when will we begin to see a truly integrated approach to technology deployment?

The reality is that the conventional operation model has not changed much, and the use of technology in hotels is essentially a layer applied on top of the traditional services, and issues affecting equipment reliability and inter-operability have discouraged owners and guests alike about the validity of turning technology as ubiquitous in hotels as it is in homes and offices.

I believe that this will only come through a re-concepting that merges the hotel operation, the asset management and the guest experience through solutions that address simultaneously service, comfort, entertainment and amenities.

A more seamless hotel experience is one that will bring together the human, physical, personal needs of the guest and the capabilities permitted by technological innovations.

I am sure that behind retina-scan access doors at the HQ of large hotel companies there are very smart people wielding state-of-the-art tablets and thinking about what the hotel of the future will be.

I wonder if these are the questions they are trying to answer:

• Can a hotel become an intuitive experience that anticipates the guest’s needs within a very efficient operation?

• Can we make a hotel react to the guest?

• Can a hotel ever become an extension of the guest’s own personal environment?

Right now, there is an opportunity for hotel owners, operators and designers to re-think radically the role of technology and how it can catalyze a deeper integration of interactive capabilities in the hotel physical space.

Who will take us on this journey first?

Do historic hotels dream about their past? Some thoughts on the renovation of iconic properties.

Hilton Worldwide, owner of the historic Waldorf Astoria hotel in New York city has begun a phased upgrade and much needed renovation of the crown-jewel in its portfolio. This iconic hotel is not only the quintessential urban luxury hotel, but it is also the flagship property of the company's luxury brand.

On the tail-end of a recession that hit the luxury segment particularly hard, hospitality executives have worked hard to re-tool and compete in a market that has blurred the lines between luxury, lifestyle and boutique. Defining a clear vision for the luxury experience and communicating a compelling brand narrative have become the keystones of renovations, especially when the buildings carry such weight.

The plan to bring the Waldorf Astoria into the 21st century has been carefully considered, and will be implemented over the course of years to come. The Park Avenue Entrance is setting of the tone for the rest of the hotel renovation, which will be overseen by New York based designers Champalimaud and BBG. This area re-opened recently with a few architectural modifications, a renewal of furnishings and lighting, and a focus on the existing murals and flooring pattern. 

So what do we see upon entering?

Gone is the Starbucks which offered a confusing welcome to guests even before they got to the main lobby. Gone is the mezzanine that lowered the ceiling height and removed any sense of greatness upon arrival. Gone is the chandelier that seemed so out-of-place in the Art Deco inspired building. Gone is the characterless carpet. In fact, gone are many layers of decor that were added over the years in vapid refurbishments that did nothing for the space except to hide the natural aging of the building. The designers have been careful in de-layering the existing space and restoring it to a grand, elegant look and arrival experience. The Waldorf is, in the words of its designers, "modern again".

 Park Avenue Lobby - Before                                                                                                             Proposed Design - Courtesy of Champalimaud 

                                                                                       Waldorf Astoria New York 

We can't underestimate the challenge involved in renovating an 80-year old, 1200-room urban hotel running at permanently high occupancy rates and with one of the busiest function businesses in the city. And although the hotel interiors are not landmarked, there is a need to deal with the reaction, not always positive, of the community at large towards any kind of improvement or modification.

There are many parallels to be drawn between the renovation of the Waldorf Astoria and other emblematic hotels in cosmopolitan centers. Aside from this project, I was closely involved in the renovation of hotels that have been key destinations in their cities for at least two generations, and I have gained a significant understanding in to how to best approach these projects. 

The projects I have been involved with include the full renovation of the Hotel Bel Air in Los Angeles (California), the re-branding of the oldest luxury hotel in China, the Astor Hotel in Tianjin (Starwood Luxury Collection property), and the phased re-energizing of The Dorchester in London. These distinct properties in three continents interestingly have had many aspects in common through the renovation process. 

Hotel Bel Air - Typical Guestroom (Before and After - Image courtesy of Champalimaud Design)

Hotel Bel Air - Lobby/Reception (Before and After - Image courtesy of Champalimaud Design)

Hotel Astor Tianjin - Exterior (Old Building and Renovated Building)

It is interesting to notice that the perceived history of the buildings by the local community and current guests tends to be a somewhat exaggerated view of the truth, and it often veils a serious acknowledgement of how much the hotels need to be renovated. This is true both in terms of the quality of the building's architecture and interiors, as well as the stories and myths inspired by popular culture. Often the most vocal disagreements towards any renovation come from people that haven't really set foot in the building in a very long time. Although time-consuming and sometimes devoid of any real substance, dealing respectfully with these subjective aspects of a renovation is an important step as they can add extraneous uncertainty to the project, and are often key to generate the right buzz around the hotel's re-opening.

While the subjective variables are very important elements, there are also very tangible aspects of historic hotel renovations that designers must address thoughtfully as they work with the Owner to deploy the investment successfully. I find that some questions must be answered very objectively as they are determinant in the programming phase: 

• How extensive must the renovation be to achieve a measurable increase in the property's competitiveness?
• How much "newer" must the hotel look like after the work is completed?
• How will changes affect the hotel's ability to provide increased guest service?
• What to keep and what to change when it comes to art, furniture, memorabilia, etc...?
• What investment is required in technical services such as lighting, HVAC, guest technology and entertainment, to increase the guest comfort and experience?

Answering these questions will help focus the efforts and I've compiled here a list of lessons learned, to-dos and not-to-dos when it comes to historic hotel renovations. This is by no means comprehensive, but it touches on a few significant aspects that should be taken into account:

• Before the concept is developed, a good deal of research should occur. Investing this time wisely will definitely be valuable . In this research there should be interaction with the community that includes existing guests, local residents and any parties that hold a stake in the hotel's future. There are many different reasons why people feel attached to historic hotels, and it isn't always style or function. It could be memories, and it might just be the fact that they are used to seeing it in a certain way. It is very often a question of perception and of emotion. Displaying a respecting for those emotions is easy to do and has a huge pay-off.
• Every aspect of the current plans must be questioned. Older hotels tended to have large public spaces with no services associated to them. Activating public areas with F&B service, lounging, informal meeting areas or retail can impact the operations very positively and increase the ROI of the project.
• Avoid giving the new spaces a room-set feel. Hotels with history have too much authenticity to become mere vignette spaces. They need to be imbued with personality: they need to be a child, or a grand-child of the original, but never a distant cousin.
• Pastiche should be avoided. Re-creating the original is never a good idea, it often appears fake, and no space can ever live up to what it once was, even if the look before was out-dated. The obvious trick of using old photos and memorabilia never really seems to create the connection it intends, and seldom provides a historic link. Curating a high quality collection could work, but it must be done in the right framework (for more on this, read my post "Is curated overrated?")
• Seek to re-juvenate, re-energize and do not sacrifice comfort for look. Paying proper attention to selection of furnishings and uphosltered goods is critical.
• Choose a limited number of vendors rather than spreading specifications over a large number of suppliers. Chances are adjustments will be needed as we near installation, and vendors that feel involved in the process are more likely willing to help. Every vendor likes the idea of being involved with a property that stands out in their credentials and they will go the extra mile on this.
• Lighting is very important, but traditionally is has never been a feature in itself in more historical interiors. Lighting should enhance visual comfort and perhaps a few key interior architecture features, but it should not be too visible a layer. It must be like the pause in music: without it it is not the same, but you never really know it's there.
• Avoid thinking that major infra-structure investments are restrictive aspects of the renovation. Technical services are often out-dated and must be upgraded or modified to achieve essential comfort and improve building efficiency. However there are very effective retro-fitting solutions for air conditioning and lighting that should be explored. These are not always clean-cut solutions, and might require additional surveying costs, but they can have an impact in overall investment and save valuable dollars that can be directed to the guest's visual experience.

These are just a few key thoughts that should be kept in mind, but my most important learning has been that the renovation of a historic building is most successful when there is adequate time to develop a comprehensive, holistic approach to the building in one effort, even if the implementation will be sequenced across a longer schedule. Soft-cost investment to bring all the consultants on-board early and the allocation of adequate concepting and planning time by owners and operators is bound to yield high returns later in the process. The best approach in my experience is to work on a game-plan that addresses the building deficiencies, that listens to the community concerns, that focuses on the appropriate variables that will increase the hotel's performance, that provides a vision that will create the right product and that sets a clear framework to guide the key decisions by all stakeholders. Then the schedule can be fine-tuned, and the budget can be properly allocated, but it is important that all essential questions about the hotel's identity are asked and answered before the renovation begins.

Even a brick wants to be more ...

On October 24th 2012, New York will have a new park, a new memorial and at last, a design by Louis I. Kahn: The Franklin D. Roosevelt Four Freedoms Park.

New York is a city that glorifies the pursuit of passions, with art and architecture being key among those. With the inclusion of Kahn's posthumous sculpture-cum-architecture masterpiece, the city's rich register of places to visit will now have another destination. 

In this serene and contemplative place, the memory of a Man and of a Presidency will be preserved and celebrated with dignity. The meticulously planned and thoughtfully designed edge of the island points forward like a ship’s prow, but also provides a safe sanctuary within its hull. It is sober and austere but also elegant, dynamic and full of Kahn’s considered details.

Image copyright Four Freedoms Park LLC

Franklin D. Roosevelt Four Freedoms Park

View of the East River: Roosevelt Island and Manhattan  East Side

Louis Barragan's once told Kahn that his piazza at the Salk Institute was like a ‘facade facing the sky’. Perhaps these words have not been as relevant since. Yes, New York has a new monument, and one that people will talk about. Whether it is the 36-ton granite blocks that sit side-by-side separated by inch-wide slits where the polished sides create an unusually reflective view through them, or the gently sloping paths that connect water and earth, or even the copper beach trees planted in angular rows to reinforce the perspective towards the Statue of Liberty.

I love having an opportunity to write about Louis I. Kahn. His work has influenced me so much: I admire his strict and solemn designs, I marvel at his unusually perceptive understanding of light, and I appreciate the rationalization in his building concepts. His remarkable designs are full of maturity and are layered with intuitive inferences about the impact of buildings on the natural order of the world.

Kahn was in his 50’s when his designs became centerpieces to the architecture of his time. He defined a grammar of construction and extended his concepts into his own philosophy of space. Educated on the crest of the Modern Movement, he broke the linearity that conditioned the thought of his peers. He searched the nature of architecture, and he framed the steps that led him to its understanding. During his intellectual evolution, he developed an enormous interest in natural light, and in the enhancements it could bring to architecture.

You can say that the light, the giver of all presences, is the maker of a material, and the material was made to cast a shadow, and the shadow belongs to the light.                                                       (Silence and Light lecture, Zurich 1969)

He relied on instincts, on preliminary ideas and concepts that were not constrained by the practical considerations of construction. Maybe for this reason, it was so easy for him to work closely with the immateriality of light. It became for him a defining element of the architecture, as important as any other physical material.

Kahn’s designs have to be felt. They are the expression of a personal philosophy that sought to understand how knowledge could allow architects to create spaces where a sense of community exists and where a respect of natural order is ever-present. Louis Kahn’s architecture was built on his own orders: an order of Movement, an order of Winds and an order of Light. Continuously re-visiting the basic post and lintel structure, ‘when the walls parted and the columns became’, he sought to define structures that were conducive to human interaction, that were shelters, but also enhancers of man’s knowledge and achievements. For him, light was not an element of architecture and well-being, it was also the luminous inspiration driving his creative mind.

The power of Kahn’s words is often overwhelming. The fact is that Kahn’s sensitivity and vision allowed him not only to see the built structures in his mind, but also to test the reality of his ideas. With each design, thoughts were refined, descriptions were sophisticated and his views became clearer. 

Experiencing his spaces can leave us in awe but it also energizes us, and leaves us full of hope.

Looking at the Four Freedoms Park, I can't stop thinking about his most exalted words:

               A brick wants to be something.
               It aspires.
               Even a common, ordinary brick ... wants to be something more than it is.
               It wants to be something better than it is.
               Even a brick wants to be something.

Entrance to the Four Freedoms Park Memorial