Coworking Together

Click here to load reader

  • date post

  • Category


  • view

  • download


Embed Size (px)


Exploring the idea of what happens when people of different disciplines work in the same space- how they can work together, learn from one another, and better their environment by sharing utilities. The triangulated pattern in the building structure represents the different nodes that those connections could create.

Transcript of Coworking Together

  • C O W O R K I N GThinking Creatively Together

  • Kelli Franklin 2008 Thesis Document

  • I N D E X

    Analysis and Research0 1

    Proposal of Site0 2

    Organization of Space0 3

    1.1 The Creative Office In Context1.2 Architecture and Disjunction 1.3 The Manhattan Transcripts 1.4 Parc de la Villette 1.5 Stansted Airport: Structural System

    2.1 Charlotte, North Carolina2.2 Neighborhood in context: Wilmore 2.3 The Site: 100 West Park Avenue 2.4 The Charlotte Area Transit System (CATS) 2.5 Market Delineation: Central Business Districts 2.6 Local Strengths, Weakness, Opportunity, and Threats 2.7 Zoning Ordinances, Buffers, & Setbacks

    3.1 Creating Pavilions3.2 Preliminary Design 3.3 Parti models and diagrams 3.4 Second Design Scheme 3.5 Third Design Scheme 3.6 Third Design Scheme (contin.) 3.7 Perspective Drawings/ Concepts

  • I N T R O

    Coworking can be best defined as a social, informal collaborative, bringing together en-trepreneurs and independent contractors who dream of leasing their own space, but are limited by the cost of square footage and utilities. They are energetic individuals excited about their jobs that do not feel pressured to remain seated if they need to walk around to clear a brain block. Coworking is a new approach to the structure of a workplace. The building I have designed warrants a compilation of disciplines that not only rely on one another socially but are represented struc-turally. A building with forces triangulating together to hold its own. A place for coworkers, a Creative Office. I have a specific interest in designing for independents and those who are challenged financially to start their own businesses. I have met many individuals that are experiencing these problems and as a result they seek collaborative environments. When people work together, they understand each other. Their collective intelligence allow them to be more productive in the workplace. However, some companies unintentionally take these interac-tions away from their employees and advances in technology are often the cause.

    Technology takes this interaction away from people by substituting their positions. There is no longer a need to combine efforts amongst individuals when a machine could produce more efficient work. It is not only the final product that is important, the interaction amongst indi-viduals is just as important. Nowadays, more people work longer hours, and often multiple jobs, yet they still continue to seek more freedom. For some this means starting small businesses that are often forced to share a working environment because of cost, but it does not have to always be a bad thing. Some people choose to work in collaborative environments. This is a great example of who coworkers are. Those who do not mind working around other people and find it useful to share the amenities with other individiduals to save money. These are also people who seek social interaction as a way to further their ideas and lives in the business world. I will preface this document by noting that coworking is a culture, not a building type. However, the building type I have proposed in this document, also considered a creative office, creates an environment for this 21st culture to thrive.

  • The architecture of a creative office is experienced in the same way that a literary context unfolds events to a reader or as a series of frozen frames found in photography or cinema. The building captures events, space, and movement; being both continuous and logical as well as startling and unscripted at times. The method I used to organize this building derived from several sources. They include Bernard Tschumis design for The Manhattan Transcripts and his influential project Parc de la Villette in addition to the writings of Richard Florida in the books The Rise of the Creative Class and Cities and the Creative Class. I also studied other buildings such as the Stansted Air-port as a reference for materiality and structural systems. The abstraction of these concepts and the construction of material images created the form of this design. I will analyze and frame the four disjointed programs of an existing farmers market, a printing company, a coffee shop, and use the creative office studio space as a supportive infrastruc-ture. It is through diagramming and research that I will produce a snapshot from which a creative office will manifest.

    Analysis and Research0 1

    1.1 The Creative Office In Context

  • The book Architecture and Disjunction is a collection of essays composed by Bernard Tschumi to provide an alternative to the architectural condition of the twentieth century. He defines architecture to be pleasurable but at times a violent confrontation of spaces and events. The book is broken into three main parts: Space, Program, and Disjunction. Space not defined as the six faces of a cube, but the experi-ence one questions as they observe and navigate. Program suggests the pragmatic usefulness of a building in solidity and utility as an extension to the notion of event. Disjunction begins to combine these concepts of space and program to produce a form. A form that would design the conditions of a city rather than the city conditioning the design. Tschumi expands upon the importance of socioeconomics to architecture. In particular to understanding an absolute contradiction between new spatial organization and the growth of the land. A formor organization can temporarily modify an individual or group, then in-herently society could experience change.

    1.2 Architecture and Disjunction

  • Coworking, to me, is not defined as a space, but a movement. One that motivates a change in the way people operate in the business world. Coworking is a community-like environment that acts as a collaboration space for developers, writers, and independents. It allows people of various disciplines to inadvertently make use of each others knowledge.

    I have a specific enthusiasm for people who are separated by genre, but not separated by geography or sociological organization. These could be writers, who look to photog-raphers for inspiration, or graphic artists who seek dance movements for logos. These are individuals who work independently, but still share similar values and are interested in the

    After reading many of his books, I started to question the very things Tschumi researched, especially organization as an architectural method. Tschumis method of transprogramming was very similar to my definition of coworking. He defines transprogramming as a combination of two programs regardless of their incompatibilities, together with their respective spatial configurations. His reference: a planetarium + a rollercoaster.

    ...Architecture was, first and foremost, the adaptation of space to the existing socioeconomic structure. It would serve the powers in place, and, even in the case of more socially oriented policies, its programs would reflect the prevalent views of the existing political framework (Tschumi).

  • Architecture is not simply about space and form, but also about event, action, and what happens in space. The Manhattan Transcripts are different from most of the architectural drawings. As a theoretical project, the transcripts proposed an architec-tural interpretation of reality. The transcripts are a collection of photographs that either directed or witnessed events through the lens of a camera, in the same way that plans, sections, and diagrams outline spaces the lead role in the expe-rience of architecture. The Transcripts explicit purpose was to tran-scribe things normally removed from conventional architectural representation, namely the complex relationship between spaces and their use, between type and program, between objects and events. Tschumi offered a different reading of architecture keeping space, movement, and events independent. Their relationship to one another on paper, however, allowed them to be comparable. This was his way of breaking down architecture and rebuilding it along different axes. Hiss abstractions and format aid in exploring the unlikely confrontations of design.

    1.3 The Manhattan Transcripts

  • Although no mode of notation, whether mathematical or logical, can tran-scribe the full complexity of the architectural phenomenon, the progress of architectural notation is linked to the renewal of both architecture and its accompanying concepts of culture. (Tschumi)

    It is difficult for a reader to understand The Manhattan Transcripts after only a single glance of images. However, this demon-stratesTschumis ability to make us view architecture through an atypical lens, or set of eyes. The Manhattan Transcripts made me think about organization in a different way. One that is seeminly structured, however, unpre-dictable at times.

  • In contrast and in opposition to functionalist, formalist, classical, and modernist doctrines, my ambition, already expressed in The Manhattan Transcripts, is to deconstruct architectural norms in order to reconstruct architecture; to indicate that space, movement, and event are inevitably part of a minimal definition of architecture, and that the contemporary disjunction between use, form, and social values suggest an interchangeable relation between object, movement, and action.

  • This led me to a theory of sociology called organisational semiotics. Organizational semiotics examines the nature, characteris-tics and features of information, and studies how information can be best used in the context of organized activities and businesses. Organizations are treated like information systems, separated into various categories. I took this same structural system and