ALTERNATIVE
WORKSPACES
Changing Where + How People Work
Scott A. Wilson

ALTERNATIVE
WORKSPACES
Changing Where + How People Work

Scott A. Wilson
M.Des Candidate, Emily Carr University of Art + Design, 2017
Bachelor of Interior Design, Kwantlen Polytechnic University, 2013
Supervisor Keith H. Doyle

A CRITICAL & PROCESS DOCUMENTATION PAPER SUBMITTED IN
PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF
MASTER OF DESIGN
EMILY CARR UNIVERSITY OF ART & DESIGN

© Scott A. Wilson, 2017


01

Abstract
The modern workspace is constantly evolving; what is in store for
the future of how and where we work? Workspace creators need
to provide a variety of activity landscapes intended for specific
activities, and accessible to all. One size, one design, does not
fit all!
This thesis explores possibilities of connecting generations by
transforming the traditional workspace to accommodate the
ever-blurring boundaries between the workspace, hospitality
spaces and the home spaces with the infusion of sophisticated
modularity.
Four generations contribute to today’s work
environment including Baby Boomers, Generation X, Generation
Y and Post Millennials. All of these generations have different
expectations, values and motivations about their work
environments. How can we become attuned to this emerging
generation of workspace users, who often have very different
ideas about how work should get done?
Moreover, this thesis analyzes the integration and emphasis
of work/life balance, workspace flexibility and user wellbeing,
reinforced ideas generated through an open design processes,
and explores how co-creation can facilitate the diffusion of
innovation within an organization’s common workspaces known
as lounge space. This thesis builds upon an existing product
portfolio of office furniture by implementing human centered
design through co-creation, and finding inspiration for innovation
through heuristic methodologies in order to inform design
decisions.
With an emphasis on workspace ideologies and theories,
exciting propositions based on design principles and workspace
psychology, such as the incorporation of sophisticated modularity,
lounge-as-office principles, prioritizing play, and supporting
working happy, provide interesting insights into this research.
This collection of artifacts provides functional and flexible
characteristics while being attractive enough to be enjoyed
outside of workspaces.

Figure 01 Nomadic Workscape (Above)

KEYWORDS: Creative Workspace, Workspace Culture, Work/life
Balance, Modular Furniture, User-centered design, User Choice,
Human-centered Design, Open Design, Ergonomics, Activity
Landscapes, Nature, and Wellbeing
Abstract

03

Contents

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49
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Abstract

Figures

Introduction

Inspiration + Motivation

Ideology of Work

Theory + Application

Case Studies

Research

Design Process

The Nomadic Workscape
Conclusions

References

Appendices

Figures
Figure 01 Nomadic Workscape (Above) (Photographed by S. Wilson, 2017)
Figure 02 CNC Horizontal Screen Malfunction (Photographed by S. Wilson, 2017)
Figure 03 Innovation of Research Timeline (Graphic by S. Wilson, 2017)
Figure 04 Research Triangulation: Workspace, Lounge-as-Office, Work Culture (Graphic by S. Wilson, 2016)
Figure 05 Research Flow Diagram (Graphic by S. Wilson, 2017)
Figure 06 Nomadic Workscape, Integration of Nature (Photographed by S. Wilson, 2017)
Figure 07 Urban Pathways, Edges, Nodes, Landmarks, and Districts (Graphic by S. Wilson, 2016)
Figure 08 Studio Urquiola (Photograph by Interior Design Magazine, 2015)
Figure 09 Hootsuite Headquarters, Reception (Photograph by Ema Peter, 2013)
Figure 10 10 Corso Como Cafe (Photograph by Jacques Pierre, 2014)
Figure 11 Moleskine Café in Milan (Photograph by Moleskine, 2016)
Figure 12 Urquiola Workspace Furniture (Photograph by Patricia Urquiola, 2015)
Figure 13 NeoCon, South Lobby at the Mart (Photograph by Herman Miller 2016)
Figure 14 Importance of Workspace Questionnaire (Graphic by S. Wilson 2017)
Figure 15 Patterns in Workspace Language (Graphic by S. Wilson 2017)
Figure 16 Participant Brainstorming & Process (Photograph by S. Wilson 2016)
Figure 17 Participant Workspace Conversations (Photograph by S. Wilson 2016)
Figure 18 Participant Workspace Prototyping (Photograph by S. Wilson 2016)
Figure 19 Workshop Set-up and Launch Photograph by S. Wilson 2016)
Figure 20 Participant Brainstorming & Process (Photograph by S. Wilson 2016)
Figure 21 KPU Workshop Set-up & Layout (Photograph by S. Wilson 2016)
Figure 22 KPU Workshop Floor Plan (Graphic by S. Wilson 2016)
Figure 23 KPU Workshop Schedule (Graphic by S. Wilson 2016)
Figure 24 Brainstorming 01 Activity (Graphic by S. Wilson 2016)
Figure 25 Artifact Analysis 02 Activity (Graphic by S. Wilson 2016)
Figure 26 Prototyping 03 Activity (Graphic by S. Wilson 2016)
Figure 27 Plus Shape Artifact, Process Development (Photography by S. Wilson 2016)
Figure 28 CAD Drawing Explorations for Sofa Module (Graphic by S. Wilson 2016)
Figure 29 Sofa Module Assembly Study (Graphic by S. Wilson 2016)
Figure 30 Screen Shop Drawing, Metal Work (Graphic by S. Wilson 2016)
Figure 31 Preliminary Desk CAD Drawings (Graphic by S. Wilson 2016)
Figure 32 Early Design Iteration and Exploration (Graphic by S. Wilson 2016)
Figure 33 Nomadic Workscape (Above) (Photographed by S. Wilson, 2017)
Figure 34 Nomadic Workscape, Vertical Screen: Shade and Shadow (Photographed by S. Wilson, 2017)
Figure 35 Nomadic Workscape, Vertical Screen and Guest Stool (Front) (Photographed by S. Wilson, 2017)
Figure 36 Nomadic Workscape, Guest Stool (Photographed by S. Wilson, 2017)
Figure 37 Nomadic Workscape, Vertical Screen and Guest Stool (Side) (Photographed by S. Wilson, 2017)
Figure 38 Nomadic Workscape, Horizontal Surface (Photographed by S. Wilson, 2017)
Figure 39 Nomadic Workscape, Horizontal Surface with Integrated Nature (Photographed by S. Wilson, 2017)
Figure 40 Nomadic Workscape, Side Table (Photographed by S. Wilson, 2017)
Figure 41 Nomadic Workscape, Side Table (Top) (Photographed by S. Wilson, 2017)
Figure 42 Nomadic Workscape, Sofa Module (Photographed by S. Wilson, 2017)
Figure 43 Research Triangulation: Workspace, Lounge-as-Office, Work Culture (Graphic by S. Wilson 2016)

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Figures

05

Introduction

1

The focus of my inquiry is a two-year research project on the
design of physical workspaces that accommodate an infusion
of sophisticated modularity as participants in a culture that sees
ever-blurring boundaries between the workspace, hospitality
spaces like hotel lobbies, bars, cafés, and home spaces. Current
cubical workspaces dehumanize users, creating a static workspace
landscape affecting moral and creativity. Krippendorff (1989)
describes how form and meaning are intrinsically correlated,
saying “something must have form to be seen but must make
sense to be understood and used” (p. 14). This thesis explores
alternative workspaces that give choice to the user while
integrating a stronger sense of working culture, modularity and
natural environments.
The distinction between three key terms, – workspace, workplace,
and alternative workspace – is fundamental to this research.
WORKSPACES
In the traditional sense, a workspace is a place to work, typically
using a task-chair and a horizontal surface, which may be
enclosed in a built environment or by walls, commonly referred
to as a cubicle.
ALTERNATIVE WORKSPACES
The alternative workspace is a series of artifacts that create a
multifunctional, multimodal space where people gather, have a
degree of control over their physical setting, and conduct daily
tasks.
This research primarily investigates workspace as defined above,
and not the entirety of a physical building envelope, commonly
described as workplace. This distinction is made in regards to
design concepts, such as the open-office movement and coworking spaces. These elements are important references within
office design; they are not, however, the concentration of this
thesis dissertation.
WORKPLACES VS. WORKSPACES
As noted above, workplaces are the physical building envelopes
of where work is conducted. Workspaces are the curated hubs
within the built environment that allow workspace users to

conduct their tasks individually or in collaboration. Workspaces
as described in this thesis are not assigned to one individual, but
are part of an active landscape that promotes workspace variety
and user choice. The right ensemble can be wonderfully felicitous
for creative work, but each element has certain affordances and
constraints that affect the interplay of artifact, environment and
user.
This thesis is written with the goal of promoting alternative
workspaces. A strong emphasis on heuristic methodology,
overlapped with human-centered design, reinforces the
foundation of this of design outcome. However, alternative
workspaces are not for everyone and may not fit every work style.
The goal is to educate, cultivate conversation, set precedent and
build on the movement of where and how people work.
The modern workspace is constantly evolving; creating and
sharing new knowledge is, therefore, an essential requirement
that workspace users need to embrace. An emphasis on people
in relation to workspace design and strategy are critical to the
effectiveness of the organization they work within. Further
development is needed in order to kindle social interaction by
improving the flow and vibe of workspaces holistically. Moreover,
the consideration of users’ wellbeing, and work life balance need
to be significant factors in workspaces design
PROBLEM STATEMENT
Most traditional organizations struggle to implement alternative
workspaces that accommodate the ever-blurring boundaries
between the workspace, hospitality spaces and home spaces.
THESIS STATEMENT
Through a combination of heuristic design and human centered
design methodologies, this thesis advocates for the viability of
alternative workspaces that promote user wellbeing, balance and
a unique perspective on workspace lifestyle.
DESIGN OBJECTIVES
Through primary research and case studies, the project creates
a series of workspace artifacts and contributes to the growing
discussion on design for alternative workspaces.
Introduction

07

ARRIVE

This graphic represents a workflow that is intended to continue
on with other design and research projects as I move forward.

Summer
Semester
2017

MATURE
Summer
Semester
2016

SHIFT

HUSTLE

CLIMB

Spring
Semester
2016

THE TORCHBEARER’S CALLING

LEAP

Fall
Semester
2015

Post
Graduation
2017

DREAM
ABANDON

FLIGHT

Refine Design
Elements

Fall
Semester
2016

The future is a formless void,
a blank space waiting to be filled.
And then a Torchbearer envisions a new possibility.
That vision is your dream, your calling,
and it burns like a fire in your belly.
But you can’t create the future alone.
You need Travelers to come along.
Yet the path through the unknown is dark and
unclear.
You have to illuminate the path for travelers.
Torchbearers communicate in a way that conquers
fear and inspires hope.
Some say being a torchbearer is a burden. Some
say it’s a blessing.
Either way, those who light the path are the ones
who change the world (p. 7)

Durate (2016)

Figure 03 Innovation of Research Timeline

LEAP | FALL 2015
I attended Emily Carr University of Art and Design to broaden my
perspective and gain new research and design skills, to better
communicate my design intent. The focus of the fall semester
included orientating myself within an academic setting and
beginning to build a framework for workspaces by determining
appropriate methodology.

GROW | FALL 2016
The ability to learn quickly and adapt, significantly influenced
my research and design endeavors. With great momentum from
the co-creation workshop and driven by human-centered design
outcomes, I began to heavily explore via fabrication by making
a series of integral alternative workspace components that
reflected the ethos of the primary research and heuristic insights.

CLIMB | SPRING 2016
The theme of spring semester included a focus on making by
emphasizing old skills and exploring new approaches. This
included developing a significant amount of ideation studies
while producing low-fidelity prototypes. A paradigm shift away
from designing inclusively for millennials becomes apparent and
aided in the transition of the research.

ARRIVE | SPRING 2017
I have reflected on and revised my design practice throughout
my research in order to achieve depth of understanding and
criticality towards my work. The written component—this thesis—
bridges the gap between theory and application, combined with
innovative design intent. The work not only communicates to the
users I have designed for, but has evolved my own knowledge of
designing thinking.

MATURE | SUMMER 2016
The summer afforded excellent opportunities to travel and
expand my independent research in broader contexts. Chicago
laid a framework for current trends and innovation, while Milan
created conversations about my own research, but also gave
me insights into how others research and design. These probes
created momentum for planning and executing a series of
dynamic co-creation activities.

HUSTLE | POST GRADUATION 2017
My life as a designer and my design practice has manifested
to new horizons and I now feel like a contributor to the Emily
Carr design community. I have gained so many insightful
and welcoming connections, and I intend on cultivating and
expanding my design network through my passion for design.
These research and design provocations are intended to create
conversations about all types of workspaces and I aim to be an
advocate and representative of the alternative workspace.

Figure 02 CNC Horizontal Screen Malfunction
Introduction

09

Inspiration +
Motivation

2

Workspaces have always had a magical and poetic quality for
me… Space design has consumed me for most of my adult
life as I endeavor to enrich my life through design practice and
methodology. My design background stems from the built
environment, with a degree from the industry-accreted bachelor
of interior program at Kwantlen Polytechnic University (KPU) in
Vancouver, Canada. My training and hands-on experience has
given me the opportunity to design a multitude of hospitalityinfluenced spaces including resorts, casinos, restaurants and
retail spaces. My aim is to harness the knowledge that I have
acquired and direct my expertise into functional alternative
workspaces that enhance the workspace and workspace culture.
As an emerging multi-disciplinary designer in the built
environment, I have spent thousands of hours in what most
people would call the prototypical workspace. The daily grind of
working nine to five, five days a week in a static seated position
is simply an unbearable habit; society and decision makers,
however, too often choose to accept our place and make do,
while yearning for more. I have struggled with this for the last
ten years as I have acknowledged the toll this style of workspace
has taken on my body, spirit and mind. Most disheartening as a
designer of the built environment is recognizing we are provided
with and inherently have access to so many wonderful resources;
we are the first, however, to under appreciate our training in our
own design practice workspaces.
The concept of practicing and developing gratitude and empathy
are at the core my design practice; I am grateful that I have the
outlet to be a voice and advocate in offering a unique opinion
about the workspace. Both of these qualities are contributing
factors to the methodology and theoretical framework of this
thesis. The aspirations of my research, though, will not be for
everyone or every work style; it would be irrational for everyone
to work in the way that I am proposing.
An aspiration of mine is to be part of a team of individuals
advocating for change in and altering the traditional philosophy
of workspace culture, building off previous notions and modifying
the ways we create physical objects for our workspaces. I believe
you have to love where and how you work in order to gain
fulfillment and meaning in your every day work life.

WORKSPACE

LOUNGE-AS-OFFICE

WORK CULTURE

CONNECTING
P E O P L E

Figure 04 Research Triangulation: Workspace, Lounge-as-Office,
Work Culture
Inspiration + Motivation

11

Ideology of Work

3

This chapter suggests principles and theories, some unexpected
or counter-intuitive, that could play a role in creating a great
workspace. Sociologist Van Dijk (1998) states, “the philosophy
and sociology of science tell us that old theories and approaches
are seldom discredited because they are explicitly proven
false or inadequate” (p. 4). Because I believe the way we think
about modern work is flawed, I am introducing ideas that might
unsettle traditional ideologies of work, rather than trying to
prove those traditions “false or inadequate” (Van Dijk, 1998, p.
4). By approaching the ideology of work from multiple angles,
including my own past experiences and self-reflections, I hope
to develop a design solution that discredits traditional systems,
while providing solutions and alternatives. I reflect on situations
and experiences that I have encountered in the workplace, and
am left wondering, why do we work?
I am not going to pretend that I know how to immediately fix the
way we work. I am determined, however, to create an avenue for
discussion. I have built upon and developed a series of narrative
assemblies of thoughts that provide a unique perspective on how
we, as a collective group, can work.

THE WORKSPACE IS NOT
Here, by workspace, I am not reffering to the traditional desk
and ergonomic task chair; there are new technologies and
consequent innovation in the workspace. This new workspace
is not assigned exclusively to one person, but is part of a
community that encourages interplay between inhabitants. It
is time to redefine the role of the workspace in today’s world.
Ultimately, the workspace is not a stereotypical office, but part
of a lifestyle of work that reinforces the engagement of people,
leading to innovation, creativity and productivity by providing a
new platform.
WORKSPACE PRINCIPLES
A shift in how society views workspaces is needed. The following
proposed concepts begin to develop a framework based on
psychological and physical elements that can be used to evaluate
workspaces. My aspiration is to contribute to the workspace
conversation and advocate change regarding workspace culture
and workspace design. My reflections are divided into three
categories:
WORKSPACE: PHYSICAL TRAITS

THE WORKSPACE
Workspaces should not be static; they should have life, and
should evolve over time. My ideas behind the workspace revolve
around the notion of not spending significant amounts of time
in one resting zone. Such environments as active workspaces
that evoke innovation and creativity through physical stimulation
while blurring the lines between work, life and play. I propose
that workspaces can inherently encourage user interaction by
providing choice regarding physical setting, maintaining ultimate
flexibility through move and sophisticated modularity, and
having an integral connection with nature. In such a scenario, the
workspace is the physical artifacts that populate the eco-system
of the built environment, harmoniously working together.

Lounge-As-Office
Neighbourhoods
Third Place

Sophisticated Modularity
Integration With Nature

WORKSPACE: PSYCHOLOGY TRAITS
People Matter
Work Happy
Flow
Play

Empathy
Gratitude
Being a Host

WORKSPACE: EVENTS
The Welcome

The Charrette
Ideology of Work

13

LOUNGE-AS-OFFICE
The traditional way we work needs to change; the desk and task
chair is not always the answer. What about a lounge workspace
that performs like an office? Imagine a fresh workspace that
is constantly changing and growing, infused with elements
of hospitality and memories of home. The lounge-as-office is
fundamentally welcoming to everyone, while maintaining a
distinct DIY feel. The dominant intention of such a space is to
create choice within a flexible work environment, while practicing
and evolving as a holistic entity. Horizontal workspace surfaces
are shared, and engage people in an alternative way. My
lounge-as-office paradigm aligns with new technologies such
as cellphones, tablets, and laptops, while adapting to change.
The setting is most likely shared space, with DIY environments
configurable to the task at hand. The lounge-as-office works to
create a conversation about how and why we work; it is meant
to be a community for like-minded individuals that make up
alternative work environments.

NEIGHBOURHOODS
Building upon fundamental urban design planning principles
defined by Lynch (1960), workspace designers can consider
edifiers such as paths, landmarks, edges, nodes and districts
within the social arrangement of workspace artifacts (p. 99). If
we start to draw ideas from the urban realm and translate those
ideas into the urban work environment, the results can be quite
startling. As an example, a dearth of landmarks in the workspace
environment could be resolved by a simple trolley stocked with
nourishing provisions and beverages that moves around the
workplace nomadically in hopes of creating connections and
dialogue between people. For Gehl (2010), “urban structures
and planning influence human behaviour and the ways in which
cities operate” (p. 9). The same conclusion could be made
about workspaces in relation to artifacts. Neighbourhoods are
an overall planning consideration; however, they have a strong
correlation to the artifacts that ultimately make up the workspace.

THIRD PLACE
The concept of the third place is about creating personal
experiences that enhance the quality of the built environment.
Simply, third places are places we spend time outside of home
and work (Oldenburg, 1999, p. 42). These spaces address the
needs of individuals by enhancing social interaction, creativity
and holistic wellbeing, which are also integral to any workspace.
Oldenburg (1999), author of The Great Good Place suggests,
“most needed are those third places which lend a public balance

to the increased privatization of home life” (p. 6). Encouraging
user choice, social opportunities and embracing place are
important attributes to refresh, invigorate and recharge people
in workspaces.

The change and metamorphosis attribute can contribute to
an overall design brief in two distinct manners. Firstly, a crosspollination can be fostered between nature and human-centered
activity. Secondly, a supportive environment can support change
and keep evolving.

EDUCATION
Bachelor of
Interior Design

ME

Graduate Student
Master of Design

Connect generations through
experience design

EXPERIENCE

Lounge-based innovation
creating activity work settings

Hospitality Interior
Designer
I AM
INTERESTED
IN HOW
PEOPLE
WORK...

SOPHISTICATED MODULARITY
Modularity is receiving increasing attention as a means of
managing complexity and designing flexible organizational and
technological systems (Ethiraj & Levinthal, 2004, p.2). Again, it
comes down to user control. Sophisticated modularity is about
allowing for agile and refined changes in the workspace to allow
for flexibility as to when, where and how a person will work, so
they can work effectively. This type of workspace furnishing gives
people the opportunity to have several workspace components
that all work together, but that have the ability to subdivide into
smaller segments that can be independently used in different
furniture or accessory configurations. This flexibility can allow
companies to have dynamic workspaces, adapt to growth
fluctuation and create working communities. Finally, while
sophisticated modular systems are complex, they can also be
easy to use through a series of user-friendly adjustments and
settings.

INTEGRATION WITH NATURE
There are lots of ways to bring natural elements into the workspace
to influence mood, performance, and health. Biophilic design,
as described by Kellert (2008) is the term used to describe
an “innovative approach that emphasizes the necessity of
maintaining, enhancing and restoring the beneficial experience
of nature in the built environment” (p. 1). I am an advocate of
letting the outdoors be art by creating living feature walls and
otherwise integrating vegetation where possible. Workspace
designers can find inspiration in Biophilia, which explores the
innate human urge to seek connections with nature, creating an
instinctive bond between human beings and other living systems
(Wilson, 1984, p. 22). Artifacts within the built environment
can incorporate natural elements that seamlessly unite, while
improving functionality and contributing towards the aesthetics
of an overall space. Kellert (2008) provides great insight when
describing attributes of the evolved human-nature relationship
specifically on change and metamorphosis:
Change is a constant in both natural and human
systems, reflected in the process of growth, maturation,
and metamorphosis (Bloomer 2000). Many powerful
designs capture this dynamic and developmental quality
where one form or state appears to flow into another in
a quasi-evolutionary sequence. (p. 13)

THESIS
Emphasis on non-traditional
work environments

A collection of objects and
amenities influenced by
hospitality + home comfort

BENEFITS
The workspace collection encourages more
movement and interaction that stimulates
work station variety ensuring healthy work
environment and workspace culture
EXPERIENCE
Influences from urban planning and hospitality
design engage workers in a variety of work
settings empowering choice
FEATURES
Lifestyle + Balance + Wellbeing + Fluidity

Figure 05 Research Flow Diagram

PEOPLE MATTER:
By understanding peoples’ physical and emotional responses
to their working environment, workspace professionals can
design and deliver positive experiences that support better
organizational performance. As such, it is important to build
a framework and purpose for people within organizational
workspaces. Here, purpose refers to narrative storytelling based
on creating experiences within the workspace that benefit the
people that work within them. This requires a shared vision
between organizations and the people who comprise them.
The people element refers to creating opportunities for people
to grow within an organization, outside of conventional means.
An example of this strategy is for organizations to consider
work secondary to the people within the organization, and to
demonstrate this through workspace experiences or workspace
culture.

WORK HAPPY
Working happy is subjective to every workspace user, but
incorporating small personalization can provide immediate
impact to an overall workspace experience. Ideally, seating
allows workspace users to feel relaxed and work comfortably
for heads down tasks. Workspace users, who take small breaks,
go for a walk, play table games, or read a chapter of a book
come back to work refreshed. Integrating cultural artifacts
and relevant accessories, such as objects, writings or artwork,
inspires work while giving a sense of home. This can be further
supplemented by an organization also incorporating artifacts
that have significant meaning to the brand and culture of the
organization. Furthermore, by providing youthful obsessions
such as old-fashioned puzzles, found objects, classic toys or
other tactile things, people can be working with their hands
when they need a break.

FLOW
Being in the flow is fully immersing oneself by inherently
assimilating the best of one’s focus and full involvement while
incorporating enjoyment intrinsically and aligning oneself in the
path of least resistance. Murphy (1996) defines flow regarding

high performance athletics as “a magical and special place
where performance is exceptional and consistent, automatic and
flowing” (p. 4). Establishing flow in the workspace helps users to
achieve an optimal experience, finding balance between work/
life opportunities by allowing reflection and action to coexist.
While people cannot enter this attuned state at will, they can
master the basics of a series of tasks in order to be prepared to
experience it when it happens and to yearn afterward to return
to that state (Csikszentmihalyi, 1998). Creating opportunities
through workspace design that accentuate these characteristics
is important to the physiological element of creating a desirable
workspace.

PLAY
Imagine a workspace where play is encouraged, where, play is
vital. Play, in my definition, is simply having fun, being joyful
and feeling energized. Although usually associated with the
young, play is an engaging, fun and safe means to explore and
experiment with the unknown for people of all ages (Mainemelis
& Ronson 2006). These characteristics suggest that there are
plenty of benefits to establishing play within the workspace.
The opportunity to play suggests that people are valued and
contributes to a balanced work/life scenario. Potential outcomes
could lead to more engagement, collaboration and increased
creativity, leading to overall workspace happiness. Workspace
design can encourage a sense of play through adding playspecific elements, or even through allowing workspace users
control over their spaces so that they can incorporate their own
sense of play into the spaces they use.

EMPATHY
Without an understanding of what people feel and experience,
design is a pointless task. Thinking about the ways people work
is just as important as considering the physical spaces in which
they work. An empathetic approach is needed to understand
what people need to enrich their routines regarding their working
environment and work/life culture. Demonstrating empathy takes
commitment to harnessing awareness and understanding and to
putting others first.
Ideology of Work

15

“The pleasures
of relaxed
chat, of casual
conversation,
encourage the
ethnographer in
everyone” (p. 23).

Sennett (2012)

GRATITUDE
The act of practicing gratitude can contribute to the success
of people within an organization. In correlation with working
happy, the maintenance of a state of relentless optimism by
concentrating on solutions, and seeing all possibilities in any
situation, contributes to happiness and success. Gratitude
includes embracing change, and the unknown, and situating
oneself by helping others find ways to show their talents through
change and disruption. Maintaining an authentic welcoming
approach by embracing an open, generous and collaborative
atmosphere is integral to work culture and the workspace.

BEING A HOST
Being a host originates from the hospitality sector, as well as
from within our own homes. In this exploration, the focus is on
the philosophical study of the moral obligations that hold in
hospitality relationships and practices. Simmel (1950), describes
“the stranger as an organic member of the group;” hospitality
is about compensating and equalizing strangers to the host,
making them feel protected and taken care of, and at the end of
the hosting, guiding them to their next destination. Treating all
guests in the same manner provides a dynamic and interesting
quality to the workspace, reiterating the comforts of home. Bell
(2005) suggests, “as new technologies are adopted and adapted
in the home, they both change and are changed by the social
relations that they mediate, and thus, it may be useful to think of
design for the home as, in some senses, a social and political act”
(p. 2). Comparing the workspace to home creates an interesting
intersection between private and public spaces and the theory of
emphasizing the workspace user’s ability to choose within a work
environment.

people get to know everyone better. Essentially, this welcome
package acts as a creative toolkit to help new people get through
their first few weeks of work. Martin (2012) describes creative
toolkits as a means of conveniently packing the elements of
any participatory method (p. 48). This welcome kit is first and
foremost welcoming, but also indoctrinates users into a way of
thinking, values, how much fun they will have and what to expect
on their new journey. These actions take planning and resources,
but are essential to the growth of individuals at any organization.

THE CHARRETTE
A charrette is an intensive planning session where people
collaborate on a vision for development. These events can
range from community-based projects to improvements around
the workspace, and work by creating insight by exploring types
of empathy experiences, predicting potential solutions, and
finding opportunities to leverage workspace content. Martin
(2012) describes a charrette as a creative space provided for a
multidisplinary group to come together and generate potential
ideas for a project. Charrettes also create opportunities to invite
members outside of the workspace community to participate
or lend their own knowledge. Furthermore, the workspace
community that hosts the charrette benefits from improving
communication and morale, helping employees to get to know
each other better, and learning about group members’ strengths
and weaknesses as a result of the charrette.
In conclusion, these foundational principles are a starting point
for examining the workspace, and provide a platform from which
to break down the current state of the office environment. The
combination of physical traits, such as the integration of nature;
psychological traits, such as working happy; and workspace
events, like regular charettes, establishes a framework to build
upon and measure primary research moving forward. These
narratives support goals and initiatives of this thesis project by
outlining scenarios where people can be at their best in the
workspace, and are meant as a starting point to be expanded
upon and to allow the reader to cultivate their own viewpoints
about workspaces.

THE WELCOME
In correlation with being a host, a good first impression can
create significant fond memories in your workspace. People who
feel appreciated tend to stay around longer. The organization
can initiate this by making the first gesture of cordial exchange.
For example, new people might be given a welcome box
filled with objects indicating that the people who make up the
organization are happy that the new individual is joining them.
A welcome box might consist of: a personal welcome letter,
branded merchandise, a map of the organization, a copy of the
company’s mission and vision and a personalized orientation
schedule. The program could introduce a binder with everyone
in the organization’s personal biography and photo to help new
Ideology of Work

17

Theory + Application

4

The workspace has evolved dramatically over the last few years and
is now one of the most innovative areas of the built environment.
Previous models emphasized public place; these models lacked,
however, the same creative approach for communal and task
based work areas. In addition, there is a growing belief in the
importance of work areas as social spaces and dissolution of
barriers between work and recreation. My demonstrations,
based on theory, intend to find alternative approaches capable
of making the twenty-first workspace a better environment for
people, with a more dynamic atmosphere. Workspace ideas and
inspiration have been sourced in some unlikely places, and are
represented here through a series of case studies. Workspace
design solutions will triangulate the design process, identifying
key cultural insights, ensuring user choice, and integrating nature
into the workspace.
My furniture collection creates a unique experience that evokes
a sense of playfulness, creativity, and excitement; it allows cluster
activities for like-minded people allowing curiosity, modulation
and growth to stakeholders and creates a vehicle for participation
and generates excitement as a brand lifestyle.
Alongside key insights and integration, a combination of
heuristic design and human centered design methods were used
to increase the viability of alternative workspaces in the built
environment. This can be compared to the process of Jiménez
Narváez (2000), described as:
A design project is not only a plan or willingness to
act; it is the action to project oneself, and it requires
two fundamental aspects: understanding the design
problem and the act of developing an idea and defining
what needs to be done with respect to social aspects.
(p. 7)
The consideration of the problem of reshaping workflow in the
built environment demands further understanding of the traits
of work culture, user choice in workspaces the incorporation of
natural elements and workspace flexibility. Jiménez Narváez
suggests a design process through the following four strategies:

1.Thinking about doing, which refers to the design
process and project.
2.Thinking about how to do, which refers to technological
production problems and technique.
3.Thinking about the dependence on doing, the
financial and productive submission of design.
4.Thinking about what needs to be done to achieve
institutional and social change. (p. 7)
Jiménez Narváez’s strategies of design set the framework for a
design-based solution, using case studies combined with key
goals such as identifying key work culture insights, ensuring user
choice, nature and emphasizing the flexibility of workspace.
The interplay of workspace and work culture creates community
within the built environment. A community’s work culture is based
around the principle of group harmony, creating a unique work
lifestyle. Infusing hospitality into a work culture with an emphasis
on being a host is an integral pillar of a successful workspace.
Complimentary to hospitality, lounge-based innovation sets a
casual tone in the diminishing classical workspace hierarchy, and
emphasizes community and knowledge sharing. Lastly, work/life
balance aids in knitting the workspace atmosphere together, as it
reiterates the importance of life, work, and play.
LIFESTYLE BRANDING IN THE WORKSPACE
The true essence of lifestyle is about storytelling and engaging
with people in a conversational way. In order to create a successful
lifestyle brand, organizations work to create narratives that are so
compelling to people within the workspace, that they want to
enrich their lives by working in an environment that is inspiring
and resonates with their own values.
WORK/LIFE BALANCE
Balance between work duties and everyday life signifies the
extent to which people experience feeling fulfilled and having
their needs met in both work and non-work facets of life. Through
experiencing greater work/life balance, people generally feel
better, with greater job and life satisfaction, and tend to behave
Theory + Application

19

in favourable ways that in turn lower turnover and absenteeism.
This balance can be encouraged by incorporating self-enriching
activities on paid company time, such as initiatives at Hootsuite
described by CEO Holmes (2015):
Exercise in the office isn’t a new idea. But it’s such
a clear win-win — in terms of health, morale and
productivity — that I think it deserves to be put in the
spotlight once more.
Arguably, the actions of senior leaders are heard and observed
by people that work for them. Self care, as an act of balance
within work/life, is one contribution to the overall replenishing of
body, mind and soul. Optimistically, decisions, policies, values,
and expectations in the workspace support people in work/
life balance choices. The furniture collection I have developed
promotes layout must be able to expand and contract according
to a organizations needs, enabling workspace users to enjoy the
flexibility, comfort and convenience of a circuit of artifacts that
promote user interaction and wellbeing.
Creating a positive work environment is one thing; creating a
positive workspace is another thing entirely. Desk and task chair
alone are not enough: we need workspaces that can handle
different functions. The workspace is becoming more complex
and will require conversations about how to optimize it. Making
a decision, with the amount of choice that we now have in the
workspace, is truly an important component of when considering
a holistic work environment. More and more, organizations
require spaces to meet a variety of different types of work and
needs.
Concentrations on encouraging the development
of workspace identity, using a plug-and-play approach and

considering new standards in ergonomics are critical factors to
consider in the design of workspace furniture.
PERSONAL IDENTITY
Visual expression is perhaps one of the most exciting attributes
for celebrating a workspace user’s identity within the built
environment. When carving out three-dimensional space, Rengel
(2008), frames and values identity as a key project driver:
Identity refers to the embodiments, in tangible ways,
of the qualities that distinguish a particular person or
group. You can think of it as the physical manifestation
of the entity’s personality. The identity may be real or
ideal. (p. 257)
Years of research have been dedicated to furthering knowledge
in the fields of consumer behavior. Personality, self-concept and
lifestyle choices help further define consumers’ patterns and
preferences. Based on popular consumer behavior traits, Rengel
(2008) suggests the following character analysis:
1. Actual self-image: or how people actually see
themselves
2. Ideal self-image: or how people would like to see
themselves
3. Social self-image: or how people feel others see them
4. Ideal social self-image: or how people would like
others to see them
5. Expected self image: or how people expect to see
themselves at some point in the future. (p. 258)
Allowing the end user tools to create an individual environment

will reinforce self-expression. However, a careful line must
be walked in the allowance of creative freedom. Rengel best
describes this with the following example:
There are many factors that contribute to a project’s
personality and, therefore, many considerations that
have to be made to decide how to externalize identity.
The topic of identity and its expression in design is
complicated and sensitive.
(p. 258)
PLUG-AND-PLAY
Plug-and-play aspects of the workspace can accommodate
individuals as well as team configurations and allow for easily
made changes within the configuration. This feature allows for an
individuals or team identity to come to the forefront in an effort
to stimulate and incorporate ideal work styles, technologies,
organization, and aesthetics. Furthermore, the movement of
plug-and-play originates from DIY (do-it-yourself) culture, and
allows easy or simple modification to an object in order to
enhance workspace environment. This, then, allows both the
designer and the user the freedom to creatively arrange a simple
modular system to create individual designs.
SOPHISTICATED MODULARITY
Studies show that organizations that offer workspace flexibility
have less absenteeism and turnover, and higher levels of
engagement and productivity. Again, it comes down to
control. Sophisticated modularity, or design based on easily
interchangeable parts, is about the ability to make agile changes
in the workspace to when, where and how a person will work.
This feature allows workspace users the opportunity to have
several components that all work together, but which can also
subdivide into smaller segments that can be used independently
or in different configurations. This allows companies to have
dynamic workspaces, adapt to growth fluctuations and create
working communities. Finally, sophisticated modularity allows for
a complex system that is easy to use through a series of userfriendly adjustments and settings.

and an outcome of creating localities in which people live, engage
with each other, and engage with the physical places around
them. Urban planning principles can be an effective planning
tool for workspaces. Chopovsky’s (2014) research has shown
that the use of quantitative information can help organizations
optimize their spaces in ways that positively reinforce their
overarching mission, and accommodates their unique work styles.
Urban physics has the power to transform workspaces to reflect
companies’ true ethos and values, to instill a sense of belonging
in employees, and to encourage productivity, engagement, and
overall happiness. The physical attributes of urban spaces, such
as paths, edges, landmarks, nodes and districts can provide
create a strong correlation to workspace design and the social
arrangement of people that work within it.
Whether considering the workspace in terms of organizational
culture or ideal workspace infrastructure, these theories should
inform any disruption of workspace traditions. Organizational
culture can be shifted to foster work/life balance, or emphasize
lifestyle branding. Workspace infrastructure ideals can be
informed by well-trodden paths in urban planning, ergonomics,
sophisticated modularity, plug and play aesthetics, or displays
of personal identity. In chapter eight, I present my own solution
to the tired desk-and-chair workspace with furniture that
incorporates the above theories, allowing workspace users to
pursue workspace goals discussed in chapter 3, such as getting
in the flow, being happy, and acting as a host.

ERGONOMICS
Ergonomics and human factors play a significant role in workspace
design and the overall health, safety and wellness of the people
that work there. My observations indicate that published physical
ergonomic standards are out-of-date, due to rapid changes in of
technology and the way work is done on a day-to-day basis. New
work style postures and working conditions need to be inspected
and documented. The ability to adjust and modify settings easily
are critical to semi-casual work settings. Ergonomics are now
about mapping the interactive nature of changing technology,
and the ever-changing built-environment, creating interplay
between physical science and providing users a variety of choices.

Figure 06 Nomadic Workscape, Integration of Nature

URBAN PLANNING
Urban design is concerned with the arrangement, appearance
and function of our suburbs, towns and cities. It is both a process

Figure 07 Urban Pathways, Edges, Nodes, Landmarks, and Districts
Theory + Application

21

Case Studies

5

In order to be able to investigate the problem
area of workspaces and have more input for
the project, a series of case studies have been
introduced to provide further insight into the
literature review. Each case study builds on the
foundation of physical characteristics of space
combined with work culture as described in the
literature review, while developing a relationship
within the context of the local community. My
research has given me the opportunity to
explore three different cities: Vancouver, Milan
and Chicago. These cities provide different
working cultures, but highlight similarities in
how alternative workspaces may be perceived.

Figure 08 Studio Urquiola
Case Studies

23

10 CORSO COMO CAFÉ
This complex features a unique blend of place: part bookstore,
part garden café, part workspace and part boutique hotel.
The rich composition features designs blurring the boundaries
between nature and architecture, outside and inside, with this
blurriness appearing to be a fundamental concept and model for
this space’s success.
MOLESKINE CAFÉ
This space was derived from a value system that prioritizes
culture, memories, and exploration, emphasizing lifestyle and
the actives that consume us. The most notable feature of
the space is its connection to an analogue product – the high
quality Moleskine notebook. A variety of comfortable seating
configurations reinforce working with Moleskine products in an
analogue setting, while limiting connectivity to technological
devices. The space also offers comforts of hospitality and home
spaces.

Figure 09 Hootsuite Headquarters, Reception

VANCOUVER, CANADA

MILAN, ITALY

Vancouver is a metropolitan city known for its rainforest-wrapped
beautiful coastline and stunning glacial mountain ranges while
also embracing multiculturalism and community. Vancouver is
also my home city, where I work and study. Vancouver presents
some promising examples of innovative working environments
that have the ability to inspire people and begin to change the
way people work. Vancouver is also coming to the attention of
the technology sector as a viable location for start-ups, regional
offices and headquarters. One example of an innovative
organization and workspace is Hootsuite headquarters in
Vancouver.

In correlation with my experiences in Vancouver, this past
summer I participated in the XXI International Exhibition of the
Triennale di Milano, hosted in Milan. The Triennale included
Liminal Labs – an internationally networked exhibition and
working studio space, which consisted of select undergraduate,
graduate, alumni and faculty participants. Focusing on new
crafts, Liminal Lab participants exchanged ideas on creativity
and open innovation processes, while discovering the nuances
and intricacies of Milan. The substructure and context of the
urban realm lead to unexpected moments of relief throughout
the neighbourhoods and districts in Milan. Three notable
destinations included 10 Corso Como Café, the Moleskin Café
and Patricia Urquiola Studio.

HOOTSUITE HEADQUARTERS
The common spaces at Hootsuite’s corporate office embody
the spirit of lounge-based innovation, combined with elements
of a Pacific Northwest aesthetic that integrates the warm
characteristics of a cabin-in-the-woods look. The use of
natural, organic elements include log cabin walls, tree stump
artifacts and the playful use of large tents to create meeting
rooms. Furthermore, the combination of found objects and
graphic murals creates a charming west-coast style throughout
the workspace. Hootsuite uses large communal workspaces,
clumping large densities of people together. From a work culture
and interior design perspective, Hootsuite clearly understands
the importance of supporting workspace users mentally and
emotionally, at work and at home.

Figure 11 Moleskine Café in Milan

URQUIOLA STUDIO - MILAN - ITALY
It is not necessarily Urquiola’s studio that is impressive, but the
quality of her recent work related to the comfort of home and
the workspaces that resides in her studio space. Urquiola’s work
in furniture design is widely known to be playful and poetic,
yet pragmatic and functional – a creative combination that
is the magic behind her work. She comes and goes through
conventional time – rethinking, reinventing, and creating new.
The effect is a powerful reminder of the past and exploration into
the now, always creating a new experience for the user.

CHICAGO, UNITED STATES
In order to test and gather further insight into my research and my
own perceptions, I attended an international commercial interior
design fair that primarily focuses on corporate environments –
the NeoCon 2016 conference, held in Chicago. As a first time
attendee, I gained many industry connections that lead to
stimulating conversations about design and my thesis work.
NEOCON CONFERENCE 2016
NeoCon is a commercial interior design conference that focuses
on vertical markets such as workplace, healthcare and hospitality
design. Here, all major workspace design companies release
their newest workspace trends and design takeaways begin to
come to fruition. The major advancements displayed at the
2016 conference were: colour as a captivating trend, movable
lounge pieces for breakaway spaces, and workspaces that aimed
to improve wellness and enhance creativity. The conference
also allowed me to informally interview lead global research
and workspace strategist O’Neill regarding achieving flow
in the workspace. Furthermore, attending NeoCon allowed
me to validate my research and design responses through my
observations, conversations and experiences while in Chicago.

Figure 13 NeoCon, South Lobby at the Mart

Figure 10 10 Corso Como Cafe

Figure 12 Urquiola Workspace Furniture

These case studies aid in the triangulation of the theory and
application described in chapter four, and gave me first hand
experiences of being in an unknown place. I have tried to
expand my horizon of what I know, and develop a deep interplay
between theory and experience. These experiences ultimately
helped contribute to my own research framework and built up a
foundation of reputable theories, values, studies and experiences
to contribute to my knowledge base on making and workspace
culture.
Case Studies

25

Research
is the importance of workspace design?” with 1 indicating less
important and 5 indicating more important. Survey results
demonstrated that participants value workspace design as having
a 4.5 level of importance, with many participants indicating 5.0 as
the level of importance.
5

4

3

2

KWANTLEN POLYTECHNIC UNIVERSITY CO-CREATION
WORKSHOP
This co-creation exercise provided insight into workspace users’
needs and values, as explored across my research journey. The
co-creation programming was extensively planned and tested
using my peer cohort before the workshop was conducted on
September 8, 2016. The cross-pollination of heuristic and human
centered methodologies shows evidence of intersection during
my fieldwork.
OBSERVATION AND INSIGHT
The intention of this three-part study was to identify a human
centered design approach in order to interrogate my own
preliminary findings. Here, by human-centered design, I build
upon the approach that Brown (2009) of think tank IDEO’s uses as
a creative process that starts with the people you are designing
for and ends with new solutions to suit their needs. Information
was captured in multiple forms in order to create a dynamic set
of qualitative data. A summary of each brainstorming, artifact
analysis and prototyping activity can be reviewed in can be
reviewed in the appendices: pages 57-58.

1

0
BOOMER

GEN-X

MILLENNIAL

[4.70]

[3.90]

[4.90]

When reviewing the generated work and conversations, my main
goal was to discover patterns in the language and context. These
narratives were described through words, diagrams, drawings,
body language and conversations.
The co-creation data
highlighted the following prevalent themes in how participants
valued workspace choices:

L E G I B I L I T Y

FLUIDITY

LIFESTYLE
VARIETY

WELL-BEING

On September 8, 2016, I conducted an informal verbal
questionnaire of the workshop participants.
The single
question asked participants, on a scale of one to five, “What

POSTMILLENNIAL
[4.60]

Figure 14 Importance of Workspace Questionnaire

CHOICE

6

In order to gain insight into what workspace users value, and
how alternative workspaces might be designed to take work
culture, user choice, and the integration of nature into account, I
conducted qualitative inquiries by organizing a large co-creation
session with strategic activities. The methods deployed included
brainstorming, artifact analysis and prototyping, with participants
cycling through these activities twice. The group of seventyeight participants included interior design faculty and students
at various levels. Workshop participants, who had a diverse
background outside the research area, were given a primer
presentation on workspace research before starting the activities.
This research was further supplemented by my own heuristic
methodology in an effort to explore practice-based fieldwork,
which will be discussed in Chapter 7.

WORK/LIFE BALANCE

REGIONALLY RELEVANT

AGILITY

Figure 15 Patterns in Workspace Language
Research

27

Lastly, as a welcoming and hosting measure, music softly played
in the background of the session; music selection also had an
effect on the performance of participants. In the morning, the
music selection was curated to resemble a hospitality setting,
such as a hotel lobby, with smooth jazz creating a calming and
soothing atmosphere. The result was a serene playfulness in
participants’ attitudes, with participants staying fairly organized.
In contrast, in the afternoon session, participants were invited
to select the music, which ended up being top-40 and popular
choice. The result of the afternoon session evoked an energy
in the form of playful chaos, however, the participants were very
focused in their activates.

Figure 17 Participant Workspace Conversations

Figure 16 Participant Brainstorming & Process

An unexpected outcome was the variety of different working
positions participants engaged in while involved in the workshop.
Participants adapted the workshop space with less uniformity
than I expected, and used a wide range of seating options such
as sitting up, lounging or sitting in a relaxed position, lying down,
kneeling, squatting, sitting cross-legged and perching halfway
between sitting and standing. The curated workspace landscape
that I provided gradually morphed throughout the day as
participants made the space their own. The structure of the space
went from a clean, rigid configuration to a working incubator for
design ideas. I was quite intrigued by the participants’ natural
approach to the environment and the materials and objects
that made up the space. A general theme appeared, as many
participants collaborated and learned in networks or swarms.
The main conclusion I drew from this exercise is that we need
several different positions for working in, and should move away
from training people at an early age to always remain seated.

My approach to the workshop was to encourage participants
to communicate in whatever manner best supported them.
Participants were able to write on the tables or on the walls,
which had been covered in craft paper. The tables could be
reconfigured to any position, with everything mobile and
on wheels. This process was inadvertently validated by the
spontaneous response of one participant, who explained
that the user experience of the workshop achieved a sense of
play fostered by the removal of barriers and encouragement
of creativity. The primary outcome – that multiple resting
positions must be provided for – is essential for a good working
environment. After reviewing the video footage of the workshop
and reflecting on field observation notes, I would argue that the
session had an energy which reflected productivity evidenced
by people working together, combined with a sense of fun, noncompetitiveness, and non-hierarchical approaches. The energy
of the workshop was in part encouraged along by the fact that
participants had the freedom to move and rest their bodies in
various ways of their choosing.

Figure 18 Participant Workspace Prototyping

PROCESS KNOWLEDGE
The participants’ approach regarding making and the design
process developed into an overlying theme. No matter
how many times I communicated, “make before thinking”
participants continually planned and strategized their actions
in a concentrated effort. This development was surprising
and not surprising at the same time. Personally, I would have
enjoyed observing more participants letting go of their natural
design tendencies and using a making first approach. A creative
disruption point was scheduled into the program by allowing
participants and teams to establish a new composition or
respond and add to a previous group’s design work and process.
The general consensus was that this design variable added to
the experience of the workshop by enriching the quality of work.
While this aspect of the workshop did not go as I planned, it
reinforced the idea that, overall, we need to allow people to work
in the way they determine they need to work, and not create rules
that force them to work in some other way.

Figure 19 Workshop Set-up and Launch

Figure 20 Participant Brainstorming & Process

Figure 21 KPU Workshop Set-up & Layout
Research

29

DESIGNING THE WORKSHOP
The workshop space was planned to reflect basic principles of
urban planning including nodes, pathways, edges, landmarks
and districts.
The term nodes here indicates temporary
communal clusters intended for participants to congregate
around and share ideas. Pathways are simply the negative space
allotted for people to circulate through the various stations.
Edges are both vertical and horizontal, allowing participants to
communicate with multiple approaches. A refresh-and-refuel
landmark allowed participants to continually stay hydrated and
refreshed throughout the workshop. Various healthy and nonhealthy snacks gave participants choice on how they want to
refuel. Lastly, three distinct districts created legible wayfinding
to delineate each station activity.

23

24

3 01 – 1 58 7 W E S T 8 TH AVE NUE
VA N C O U V E R, B C | V 6J 1T5

30X96

T

6 0 4 . 8 9 9 . 2 5 5 5

W W W .I N S I D E D E S I G N S T U D I O . C O M

REGISTRATION
NAME TAGS
ALL OF THE DOCUMENTS PREPARED BY
INSIDE DESIGN STUDIO INC. (IDSI) OR
ON BEHALF OF IDSI IN CONNECTION
WITH THE PROJECT ARE INSTRUMENTS
OF SERVICE FOR THE EXECUTION OF
THE PROJECT. IDSI RETAINS THE
PROPERTY AND COPYRIGHT IN THESE
DOCUMENTS, WHETHER THE PROJECT
IS EXECUTED OR NOT. THESE
DOCUMENTS MAY NOT BE USED ON ANY
OTHER PROJECT WITHOUT WRITTEN
AGREEMENT OF IDSI.

30X96

BLANK CRAFT PAPER

30X96

30X96

REFRESH
SNACK BAR

30X96

72 "MOBILE
WHITEBOARD

30X96

30X96

72" MOBILE
WHITEBOARD

30X96

HARBOR WORK
LOUNGE CHAIR

30X96

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PROTOTYPING
STATION 03

30X96

HOSU LOUNGE
CHAIR

ARTIFACT ANALYSIS

BRAINSTORMING

STATION 02

STATION 01

no.

description

by

date

revisions

25

issued for:
description

date

26

30X96

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72" MOBILE
WHITEBOARD

30X96

QUI

project

KPU
WILSON SCHOOL
OF DESIGN
•
START-UP WEEK
8771 LANSDOWNE RD,
RICHMOND, BC V6X 3V8
30X96
drawing name
30X96

MATERIALS

WORKSHOP
•
SET-UP LAYOUT

project no.

revision no.

date

AUG. 26, 2016
drawn

Figure 22 KPU Workshop Floor Plan

PLAN • WORKSHOP LAYOUT
1
Evaluating my own process, planning and execution of the co-creation session is an important form of deconstruction for my own selfreflection and progress. Organizing an event for 78 participants can be cumbersome, as well as, extremely rewarding. I faced challenges
with inter-agency politics stemming from differences between the two universities that I applied to for research ethics approval. The
process was long and strenuous, however, I learned how important clear communication is when writing such applications. I have gained
insight on how long co-creation activates can last; a three hour maximum session (preferably in the morning) tended to have the best
results. Lastly, co-creation needs a great supporting cast, and I am grateful for all the support that I have received to date.

checked

SW
scale

NTS
drawing number

ID-1.01
Figure 23 KPU Workshop Schedule
Figure 24 Brainstorming 01 Activity
Figure 25 Artifact Analysis 02 Activity
Figure 26 Prototyping 03 Activity
Research

31

Design Process

7

After extensively reviewing multiple current examples of
workspace design and developing the workshop held at KPU, I
began to think about one of the most basic principles of humancentered design: empathy. McDonagh and Thomas (2011)
advocate for “employing empathic research strategies” in order
to “gain insight and shared understanding with users.” Designers
are then able “to create more intuitive, sustainable and successful
product outcomes” (p. 147). As an empathy exercise, I began
formulating a collection of workspace artifacts in direct response
to the current state of the workspace conditions at Emily Carr
University of Art and Design’s (ECUAD) graduate student studios.
When beginning to formulate a thesis proposal on artifacts within
workspace design, it seemed natural to question my cohort’s
current working conditions and how they could be improved.
Learning through problem solving and exploration provided
a secondary avenue to confirm or challenge the conclusions
reached by the co-creation research. Heuristics are learned from
experience within a domain, and tend to be implicit and difficult
to verbalize (Nisbett & Ross, 1980, p. 18). Design heuristics offer
a conceptual bridge between more general design theories and
individual design precedents that are often provided to learners.
Dealing with craft and building artifacts cannot necessarily be
defined through human centered research. ECUAD’s network
of craft community members is only so large; while I generally
received excellent recommendations and direction, a significant
portion of my work was driven by self-exploration and problem
solving.
Supplemented by a human centered design rationale, much of
my work was based on self-discovery with craft and material. I
have discovered that skilled manual work offers spiritual rewards
when working through the front-end design process, which
I have spent most of my academic and professional career
doing. For me, as for Korn (2013), “designing and building
furniture… has never lost the challenge of exploration and the
delight of discovery” (p.37). Making with my own hands and
seeking guidance from experienced craftspeople has provided
a paradigm for celebrating material and skill as sources of
meaningful work. Moreover, continually acquiring knowledge

and the lifelong practice of learning is an element of what makes
our lives worthwhile.
Transitioning from design iteration and design development to
the making and crafting of physical goods has been a journey
of self-discovery. The support system within the university
community has been good; much of my learning, however, has
been supplemented by hustling outside familiar grounds. In
the beginning of my overarching design process, I hesitated to
make, as I could easily detail my projects by producing hand
sketches or computer generated models. I also produced highlevel technical shop drawings communicating the nuances of the
design, which in my experience at ECUAD are a rare sight. These
intuitive steps created a substructure for analyzing my progress
while situating myself in the making culture. I learned much
about craft and also made significant mistakes when attempting
fabrication processes for the first time. I also developed an
interesting perspective on the contrasts between making by
hand and making with digital processes. Moreover, my practice
and the substance of my thesis work combines both of these
processes in order to create modern and dynamic solutions that
reflect consistency and quality.
PROCESSES I HAVE LEARNED
In order to achieve the projects that I set out to make, I had to
learn several new skill sets. The following descriptions discuss
the processes I have learned and share the trials and tribulations
that are inherently tied to skill acquisition.

I explored an advanced computer-aided drawing software, called
Rhinoceros 3D, which allowed me to experiment with freeform
surfaces and aided in further refining fairly developed designs
previously done in SketchUp, a more basic 3D modeling software
program. Rhino proved to be very helpful for producing files
for wood CNC fabrication, laser cutting and plasma cutting
fabrication.
Design Process

33

Figure 27 Plus Shape Artifact, Process Development

Wood and woodworking has been a critical component and
dominate form of exploration in my practice while I have been
exploring solutions for workspaces. Wood is arguably one of the
most widely used materials in workspaces. Wood’s warmth and
aspirational appeal have a rich appeal within workspaces. I have
chosen to work primarily in Baltic birch plywood, as my workspace
components needed to be humble and workable prototypes that
could communicate the design’s aesthetic vision and functional
appeal. The general extent of my woodworking practice is for
practical problem solving in order to execute woodworking tasks
related to my designs. Much of my time in the wood shop is
spent researching how to execute something and then reflecting
on how I can use these woodworking processes to benefit my own
designs. Many times I underestimated a series of steps or had
not yet developed the refined skills to execute a woodworking
process on my first attempt. Since I am not a master woodworker,
I am informed by Korn’s (2013) ideology, that “to look at a
drawing, mock-up or prototype and make judgments well, one
must gauge and trust one’s first pulse of reaction to the arc of
the curve, the trust of a leg, or any other aesthetic stimulus” (p.
114). This ideology informs my decision-making and helps guide
me through the making process. An unexpected result of my
experience working with wood was the newfound impulse to
embrace and celebrate the failures of my craft as a form of visual
communication and a reminder to others and myself. Moreover,
woodworking is an empowering skill built on trusting oneself,
respecting the material and executing creative problem solving
techniques while adjusting to the unknown, such as how a design
might have different outcomes if executed using a CNC machine.
Integrating computer-controlled processes, such as CNC
machining, into my practice has allowed me to explore texture
in three-dimensional space with a high level of quality and
consistency. Computer numerical control, or CNC machining
is a process where automated cutting tools follow programmed
sequences of commands, allowing for very precise cutting and
carving of materials. Preparing carefully designed computer files
allowed me to achieve high efficiency in cutting vital assembly
components of my furniture collection. CNC fabrication helped
bridge the gaps of my limited woodworking knowledge by
simplifying the making of custom components. A major insight
was recognizing the importance of clearly communicating my
file setup and design intent to the university technician so that
we could achieve precise execution based on the machine’s
capabilities. Human error did occur; however, the design learning
opportunities outweighed the shortsighted mistakes. The ability
to make mistakes and learn from them in the comfort of the
university community afforded me, as a designer, knowledge for
future opportunities involving my woodworking and metalwork
designs.
I was also excited to explore metal fabrication processes and
bring a metal practice into the components of my workspace
furniture collection. This happened later in the design and
making process, therefore, I had limited time to learn metalwork

common techniques and process leading to the quick execution
of the technical shop drawings. In order to produce the desired
shapes for the metal frames, I had to explore processes outside
of the university community. The general shapes I designed
were professionally cut with a computer-automated plasma
cutter to ensure the accuracy required to join them with the
plywood assemblies. I then de-burred the frames’ edges using
an angle grinder and then manually drilled holes with a drill press
and hand drill. This process was essential but time consuming,
and would need to be refined for mass manufacture. Lastly, the
metal components were professionally powder coated including
chemical cleaning and sandblasting to ensure a quality finish.
The metal components paired nicely with the natural finished
plywood and fit precisely because of the exacting manufacturing
processes and design.
Discovering upholstery processes pushed my mind, as well as
my hand, to evolve in unforeseen ways. I sought the advice
and expertise of a seasoned upholster who guided me through
upholstery processes, explaining where I was making mistakes
and correcting my assumptions. In an effort to keep my costs
down, the upholster guided me through the techniques required
to complete the sofa modules by personally instructing me on
how to sew on his machines. This act of kindness and generosity
reinforced the gratitude that I have for making and the spiritual
connection to the craft and the materials I am working with.
Preparing wood materials for finishing is a science and
experimental process weaved into one. With intuition and manual
processes, I carefully prepared all of the plywood surfaces by hand.
In hindsight, this was probably an archaic process considering the
technology available to me; however, a hand process allowed me
to work at my own pace in my home studio. Working with various
sanding blocks, files and rasps allowed me to have precise
control, ensuring my desired level of smoothness and detail in
my first furniture project. Later, I applied several spray layers of
protective clear matte interior polycrylic until I achieved a level
pleasing to my hand and eye. Once finished, I roughened the
finish with a brown paper bag, as advised by a wood specialist,
to remove unwanted tacky areas. While I was going through this
tedious finishing process, I was extremely close to the work, and
could see many of the minute flaws; these flaws, however, might
not otherwise have been noticed. Sennett (2008) comments, “to
the absolutist in every craftsman, each imperfection is a failure;
to the practitioner, obsession with perfection seems a perception
for failure” (p. 45-46). As I understand, this phenomenon haunts
many makers; however, this experience is rarely reflected on or
willingly pointed out.
MANUFACTURING
Although these physical investigations are a representation of
an exercise in producing artifacts for a alternative workspace at
ECUAD, I anticipated a potential manufacturing process for wider
use. The collection is designed to be sourced and produced
locally in Vancouver by myself, or a small team. The prototypes

Figure 28 CAD Drawing Explorations for Sofa Module
Design Process

35

FA-1 MUSLIN SLIPCOVER
WHITE POLYESTER BATTING

VERTICAL SECTION • BACK CUSHION
FA-1 MUSLIN FABRIC SLIPCOVER
THREE PIECE CONSTRUCTION

27 3/4"
FINISHED LENGTH

WHITE POLYESTER BATTING - TYP.

27 3/4"

FINISHED LENGTH

B

SOFT DENSITY FOAM (2030)
FOAM HEIGHT: 3"

A life-enhancing experience in Milano, Italy this past summer
allowed me to explore additive manufacturing by researching,
preparing and producing 3D printed forms as part as the Liminal
Labs studio. These explorations did not directly inform my current
efforts; however, I would like to integrate additive manufacturing
in my process moving forward as I gain more experience and
expertise. I anticipate the additive-manufacturing processes
becoming prevalent in my modular workspace furniture going
forward. As a designer, one must adapt to constantly changing
and evolving technologies in order to give each design
opportunity the best solution possible. Additive manufacturing
will be part of the solution, the design process, and will impact
ROUND
ROUNDPOWER
POWER
how I design.
OUTLET
OUTLETGROMMET
GROMMET

12"(H) LUMBAR SUPPORT
SOFT/MED DENSITY FOAM (2030)

A

12"(H) HIGH DENSITY FOAM
WITH HOLLOW CORE
BOTTOM LAYER (17110)

PLAN • SEAT (TOP LAYER)
QUANTITY: 3
27 3/4"

9"
54"
EQ

03

02

DM-1 DECORATIVE METAL
1/4" COLD ROLLED STEEL PLATE
WATER JET FABRICATION

QUANITY:(2X)

01 - PLAN • SUPPORT COLUMN

FINISH: PT-1 POWDER COATING
DESIGNER TO MATCH (WHITE)

SCALE: 1-1/2" = 1'-0"

(2X) COUNTERSUNK
FLATHEAD SCREWS
PROVIDED BY DESIGNER

1"
1/4"

1/2"

1/4"

EQ

EQ

4. DRILL 3/4" DIA. HOLE @ 1/16"
DEPTH FOR RARE EARTH MAGNET
DISC 3/4" DIA. X 1/16" THICK

1/4" THICK COLD
ROLLED STEEL PLATE
FRAME BEYOND

EQ

EQ

DRILL 3/4" DIA. HOLE
@ 1/16" DEPTH & DRILL
(2X) COUNTERSUNK
HOLES - TYP.

EXCEPTION: NO SCREW HOLES
EQ
3/4"

3/4"
14"

3/4" DIA. RARE EARTH
MAGNET DISC

02 - HORIZONTAL SECTION • SUPPORT COLUMN

03 - FRONT ELEVATION • SUPPORT COLUMN

SCALE: 1"= 3/4"

SCALE: 1-1/2" = 1'-0"

Figure 30 Screen Shop
Drawing,
Metal ASWork
SCREEN
• SUPPORT COLUMN
NOTED
STATUS:

PRELIMINARY

TITLE:

SCALE:

DATE:

SHEET:

NOVEMBER 04, 2016

01 OF 02

ENVIRONMENTS + OBJECTS
BY SCOTT WILSON
STUDIO

BB

3"
3"

FINISHED LENGTH

1"

9"

STITCHING SEAM

14"
EQ

9"

12"

In summary, many learning processes and strategies were
deployed in an effort to achieve a dynamic and thoughtful solution
based on feedback from others, as well as my own personal
journey. Reflecting on these processes, gaining experience
through making and engaging with like-minded craftspeople
was not only extremely beneficial, but was also a journey of
sharing knowledge and experiences. These experiences and
teachings are the core learning outcomes of this project, with the
final product representing the spirit of progression and acting as
milestones of self-growth and achievement.

SOFT DENSITY FOAM (2030)

8"

C

NOTE - DESIGNER TO SUPPLY RARE
EARTH MAGNETS & WOOD SCREWS
FOR MOST ACCURATE FABRICATION

00 - CONCEPT • MOBILE SCREEN

HIGH DENSITY FOAM (17110)

B

DRILL (2X) COUNTERSUNK HOLES
FOR 3/4" FLATHEAD WOOD SCREW

15/16"

A

DRILL 3/4" DIA. HOLE @ 1/16" THICK
FOR RARE EARTH MAGNET DISC
3/4" DIA. X 1/16" THICK
9"

PLAN • BACK CUSHION
QUANTITY: 3

3"

1/4"

8"

SOFT DENSITY FOAM (2030)

1/4"

3"

HIGH DENSITY FOAM (17110)

9"

FINISHED LENGTH

3/4"

feature Baltic birch plywood, white powder coated metal,
mixed density foam and muslin canvas. The collection uses
common, commercially available parts where possible to ensure
the artifacts remain reasonable in cost. The production chain
considers a small scale of production, using local collaborators
when necessary. This is extremely important to the ethos of
the workspace prototypes, as the expense of quality offshore
manufacturing and accompanying shipping costs defeats aims
and goals of this research.

27 3/4"

3"
3"

3"3"

2'-6"

PLAN • SEAT (MID LAYER )
QUANTITY: 3

WD-1
KRILLE LEG WITH CASTOR,
BEYOND - TYP. H-3

3"

27 3/4"

5 1/2"(H) HIGH DENSITY FOAM
MID LAYER (17110)

FINISHED LENGTH

5'-0"
5'-0"

3"

D

ROUND CHARGING
USB GROMMET
H-2

3"
3"
3"3"

3"

3"

11
3"

1'-1 1/2"
1'-1 1/2"

AL
IN
O
WI
O

A

P
D

DO
O

CC

KRILLE LEG WITH CASTOR,
BEYOND - TYP. H-3 5'-0"

3"

D

3"(H) SOFT/MED DENSITY FOAM
TOP LAYER (2030)

C

ROUND POWER
ROUND CHARGING
OUTLET GROMMET
USB GROMMET
H-1
H-2
3"
BALTIC BIRCH PLYWOOD

A
B

3"3"

3"

2'-6"

BALTIC BIRCH PLYWOOD
WD-1
KRILLE
KRILLELEG
LEGWITH
WITHCASTOR,
CASTOR,
BEYOND
BEYOND- TYP.
- TYP. H-3
H-3

ROUND
ROUNDCHARGING
CHARGING
ROUND
POWER
USB
GROMMET
USB
GROMMET
OUTLET GROMMET
H-2
H-2
H-1

W

3"

3"

WHITE POLYESTER BATTING - TYP.

B

H-1
H-1

1'-1 1/2"

BALTIC
BALTICBIRCH
BIRCHPLYWOOD
PLYWOOD
WD-1
WD-1

3
V

C

1'-1 1/2"

HIGH DENSITY FOAM (17110)
FOAM HEIGHT: 5 1/2"

2'-6"
2'-6" 3"

27 3/4"

FINISHED LENGTH

FA-1 MUSLIN FABRIC SLIPCOVER
THREE PIECE CONSTRUCTION

AA

C
COLLECTION
COLLECTIONELEVATION
ELEVATION

DETAIL
DETAILPLAN
PLAN• •DESK
DESK

Scale:
Scale:1"1"= =1'-0"
1'-0"

Scale:
Scale:1"1"= =1'-0"
1'-0"

no

3"

rev

iss

des

5'-0"

2 3/8" - TYP.

OPEN

27 3/4"

E

OPEN

2'-3 1/2"
2'-3 1/2"

KRILLE
KRILLELEG
LEGWITH
WITH
CASTOR,
WHITE
CASTOR,
WHITE- TYP.
- TYP.
H-3
H-3

MODULAR SOFA

2'-3 1/2"

ASSEMBLY COMPONENT DIAGRAM
QUANTITY: 3

2'-5"

KEY- FOAM LAYERING

KRILLE LEG WITH
CASTOR, WHITE - TYP.
H-3
2'-3 1/2"

Figure 29 Sofa Module Assembly Study

Scale: 1" = 1'-0"

dra

2'-5"

PLAN • SEAT (BOTTOM LAYER)
QUANTITY: 3

pro

Scale: 1" = 1'-0"

3/4"

5 1/2"

E

COLLECTION ELEVATION

DETAIL PLAN • DESK

3/4"

2X6 BEECH FRAME STRUCTURE
1 1/2" ELASTIC UPHOLSTERY
WEBBING BY OTHERS

3"
5 1/2"

Scale: 1" = 1'-0"

Scale: 1" = 1'-0"

1

12"
2X6 FRAME STRUCTURE
BY OTHERS-TYP.

COLLECTION ELEVATION

DETAIL PLAN • DESK

1

3/4"
3/4"

2'-5"
2'-5"

FINISHED LENGTH

HIGH DENSITY FOAM (17110)
FOAM HEIGHT: 5 1/2"

5 1/2"(H) HIGH DENSITY FOAM
WITH HOLLOW CORE
BOTTOM LAYER (17110)

KRILLE LEG WITH

CASTOR,
WHITE CAD
- TYP. Drawings
Figure 31 Preliminary
Desk
H-3

22

FRONT
FRONTELEVATION
ELEVATION• •DESK
DESK
Scale:
Scale:1"1"= =1'-0"
1'-0"

pro

33

RIGHT
RIGHTELEVATION
ELEVATION• •DESK
DESK
Scale:
Scale:1"1"= =1'-0"
1'-0"

Design Process

37

dat

dra

8

Figure 32 Early Design Iteration and Exploration

The Nomadic Workscape
While addressing the workspace conditions at ECUAD’s graduate
student studios was an empathetic impulse, the resulting artifacts
have grown beyond this initial urge. Verbeek (1998) examines the
problematic nature of designing for function, noting that this
type of focus can “result in a loss of attachment with products”
wherein “their individual characteristics become less important”
(p. 33). While this project started with my questioning of my
cohort’s working conditions, the more universal characteristics of
good workspaces became my focus .

emphasis on flexibility means that all components contain
mobile attributes such as castors, or are light enough in scale
for most people to relocate. Modularity was included to provide
choice to the user as well as to create a DIY canvas for the user to
interact with and personalize their workspace. The following first
iteration prototypes make up The Nomadic Workscape:

Taking into account the work ideologies I have proposed in
chapter three and the human centered research discussed in
chapter six, I began to experiment with artifacts that reflected
the proposed principles and characteristics.
The journey
incorporated new processes, craft, material exploration, problem
solving and, of course, self-reflection. The combination of human
centered design and self-guided design, or intuition, creates a
playful dialogue between artifact and purpose.
The objective of The Nomadic Workscape – workscape here
being a collection of varied workspace artifacts – is to provide
a system in which a series of flexible and modular components
make up a changeable district in a work environment. The

Figure 33 Nomadic Workscape (Above)
The Nomadic Workscape

39

GUEST STOOL
The stool was originally inspired by typical rigid milk crates.
Although cleverly abstracted, the handle layout plays homage to
this original inspiration. The guest stool’s purpose is as a casual
breakout session seating device that acts as a secondary seat to
any environment. Light in scale, the stool is easily moved and
can be carried to a desired location. The prototype features a
plywood structure, combined with recycled white plastic acrylic
and a soft cushion. The stool’s dimensions are based on use in
a casual atmosphere, and it has the ability to be stored on the
vertical screen’s lower shelf when not in use. 27”(L) x 12”(W) x 16”(H)

Figure 36 Nomadic Workscape, Guest Stool

Figure 35 Nomadic Workscape, Vertical Screen and Guest Stool
(Front)

VERTICAL SURFACE (SCREEN)
The screen is a vertical plane inspired by hospitality environments
that provide varied levels of privacy as well as functional support
for workspace users. The screen uses castors, making it mobile,
and can be attached to other screens. The design of the screen
includes many plus-shaped voids, offering workspace users
a balance of privacy and transparency. The design also offers
several small plus-shaped objects that allow workspace users
to control that level of privacy; they also provide functional
accessories that can be tailored to the particular task at hand.
Additionally, a lower shelf stores a guest stool for break out
sessions. The optional accessories include small planters,
cord organizers, lighting, shelves, pin-up boards, and coat/bag
hooks. The intention of the vertical screen is for it to develop
a personalized look over time, based on the user’s evolving
requirements, thus providing eclectic character and a functional
design. 28”(L) x 14”(W) x 54”(H)
Figure 34 Nomadic Workscape, Vertical Screen: Shade and Shadow

Figure 37 Nomadic Workscape, Vertical Screen and Guest Stool
(Side)
The Nomadic Workscape

41

SIDE TABLE
The collection includes an occasional and multi-purpose side
table to place, store or stack your work while providing functional
opportunities to store treats, office supplies or have a clean look
by incorporating natural elements, such as a plant. The side tables
are meant to be scattered around the workspace, providing open
storage, and a station to work in casual and alternative manners.
The side table provides opportunities for subtle gestures such as
including a welcoming artifact through a connection to nature or
just a simple candy dish. 21”(Dia) x 24”(H)

LOUNGE SOFA MODULES
The sofa modules offer a destination for lounging, snacking,
working on a laptop, or conversing with colleagues. The
construction creates different support scenarios, with lumbar
pillows to nudge users to use ergonomic positions. The sofa
modules embody the notion of lounge-as-office design by
promoting an alternative way of sitting and working. The
generous seating area provides firm but casual support. The
next iteration as this sofa design will feature an improved lumbar
cushion that allows for even more working styles and seated
positions. The modular sofa components feature a mix of
sustainable high-density foams, a plywood shell, metal skeleton
and multi-directional castors. 28”(L) x 28”(W) x 26”(H)

Figure 38 Nomadic Workscape, Horizontal Surface

HORIZONTAL SURFACE
A nod to the traditional worktable that allows users to focus on
heads-down work, this surface is also intended to allow users to
recharge their technology devices. Integrated power receptacle
and USB chargers allow the user to recharge their device with
ease. The table also features a removable pan that can be used
to integrate natural elements, such as plants, rocks, sand or found
objects into the table, or to allow a more functional approach
by storing common office supplies at arms reach. A secondary,
removable standing height vessel allows users to easily transform
the surface into a standing desk, to promote activity and varied
work positions within the workspace. 60”(L) x 28”(W) x 29-42”(H)

Figure 39 Nomadic Workscape, Horizontal Surface with Integrated
Nature

The Nomadic Workscape
generates emphasis on
user choice to make it
their own, while hinting
at the natural expression,
adaptation, and flexibility,
since so many creatures
migrate. The collection
aims to satisfy the
functional and aesthetic
demands of today’s
innovative organizations,
by offering a novel
alternative workspace
to the traditional office
desks.

Figure 40 Nomadic Workscape, Side Table

Figure 41 Nomadic Workscape, Side Table (Top)

Figure 42 Nomadic Workscape, Sofa Module

While this collection of furniture artifacts started out as response
to an education environment, they now reflect an ongoing shift
in current work styles and work culture. The artifacts themselves
are complete, but are a work in progress in terms of being an
answer to a bigger design problem. This collection is the start
of realizing an imaginative approach to fresh workspaces that are
constantly changing and growing, with an emphasis on infusing
elements of hospitality and memories of home. The lounge-asoffice works to create welcoming experiences with a distinct DIY
feel. The dominant intension is to create choice within a flexible
work environment, while practicing and evolving as holistic entity.
Moreover, The Nomadic Workspace artifacts work to initiate a
conversation about how and why we work; they create a starting
point for a community for like-minded individuals who work in
alternative workspaces.
The Nomadic Workscape

43

Conclusions

9

The nomadic workscape model is a framework for supporting
alternative workspace environments. The nomadic model
challenges traditional ways of doing things in workspace
settings. This thesis also builds a support model for cultural
inquiry within the workspace by adding a contrary voice to the
discussion. Acknowledging the impact work culture creates is a
crucial interplay with the physical design of the artifacts. Forming
an enhanced work culture system of ideologies and principles
of an organization is essential to attract and retain incoming
generations.
MAKING PROCESS + INSIGHTS
Transitioning to include making as part of my design practice has
been a rewarding journey of self-growth and discovery. Learning
new skills has been paramount to my success in expanding my
knowledge of making while refining my approach to design
thinking. Creating conversations about my practice has led me
to meet some incredible mentors and fellow makers. Walker
(2011) comments that “tacit ways of knowledge can be perceived
internally, felt and recognized, but cannot be adequately
described in words” (p. 164). As a maker, this statement speaks
volumes, however, the importance of reflecting on methods and
processes is truly vital to the work. My dedication to the design
process continues to lead me to many interesting crossroads of
learning, self-growth and abundant opportunity.
FUTURE DIRECTIONS
Future directions for this research include many realistic and
hopeful opportunities. I view the alternative workscape as an
early prototype and proof of concept for an innovative workspace
system. My vision for the future of this project includes a larger
or more dynamic workspace that allows multiple people to work
together, harmoniously, to achieve excellence in their pursuits
and endeavors. Incorporating and expanding on the ideologies
of work in chapter three would provide workspace users with
a visually rich workspace combined with a multi-layered work
culture. Additional user testing, combined with further refining
the design, will strengthen the alternative workscape.

The objective of the nomadic workscape prototype is to start
a conversation about alternative workspaces and work styles.
This solution may not work for everyone or every organization,
but design aspects can be integrated as part of the workspace
experience within the context of the built environment. Moreover,
the ability to integrate culture into flexible and agile spaces,
while maintaining a direct connection to nature, are important
factors to consider for any workspace. In an effort to sustain the
regionally relevant aspects of the system, the nomadic workscape
is not intended for large-scale production by foreign companies.
Readers of this thesis will want to make their own journey and
draw their own conclusions. That consideration, in the end, is the
most important thing, if we really want to improve the human and
social dynamics of our future workspaces.

CONNECTING PEOPLE

WORKSPACE

WORK CULTURE

LOUNGE-AS-OFFICE

Figure 43 Research Triangulation: Workspace, Lounge-as-Office,
Work Culture
Conclusions

45

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Godine, Publisher, 2013.
Krippendorff, K. (2006). The semantic turn: A new foundation for 		
design. Boca Raton: CRC/Taylor & Francis, 2006.

Walker, S. (2011). The spirit of design: Objects, environment and 		
meaning. Washington, DC: Earthscan.
Wilson, E. O. (1984). The biophilia hypothesis. Washington, D.C: 		
Island Press.
References

47

Appendices

PANEL OF RESEARCH ETHICS CERTIFICATE
PANEL ON
RESEARCH ETHICS

TCPS 2: CORE

Navigating the ethics of human research

Certificate of Completion
This document certifies that

Scott Wilson
has completed the Tri-Council Policy Statement:
Ethical Conduct for Research Involving Humans
Course on Research Ethics (TCPS 2: CORE)
Date of Issue:

11 November, 2015

Appendices

49

KWANTLEN POLYTECHNIC UNIVERSITY CO-CREATION WORKSHOP | APPROVALS

RESEARCH ETHICS BOARD

Certificate of Approval
Researcher Name

Institution

Number

Keith Doyle

Emily Carr University of Art +
Design

2016-029

Research + Industry Office
Emily Carr University of Art and Design
Research Ethics Board

Institution where Research will be carried out:

May 24, 2016

Kwantlen Polytechnic University

MEMORANDUM TO:

Co-Investigators:

Keith Doyle, Associate Professor, Principal Investigator, Faculty of Design + Dynamic Media
Scott Wilson, Graduate Student Co-Investigator, Faculty of Design + Dynamic Media

Scott Wilson

Re: Application for Ethics Approval (File #2016030702)

Sponsoring Agencies (if any):

Thank you for sending in the requested clarifications to your research ethics application for ‘Workspace in Transition’.

Project Title:

These were reviewed by Glen Lowry, Chair of the Emily Carr University Research Ethics Board, on May 24, 2016. As a

Workspace in Transition: Connecting Generations

result of that review, this project now has full approval to proceed with participant research.

Approval Date:

Documents Included in the Approval:

The dates for this approval are May 24, 2016 – May 1 , 2017.

August 29, 2016

None

Please note, the following:

End Date:

st

•

May 1, 2017

st

This approval extends until May 1 , 2017, after which time renewal is available. To ensure timely renewal, you
are invited to use FORM 204.1 Annual Review / Request to Amend Approved Research to communicate

Certification:

the progress of the research and to request any required changes. This form is provided with this letter.

The protocol describing the above-named project has been reviewed by the
Kwantlen Polytechnic University Research Ethics Board and
found to be acceptable on ethical grounds
for research involving human subjects.

•

If you need to make any changes to any aspect of the approved application, you are required to inform the
ECU-REB prior to the implementation of changes. FORM 204.1 Annual Review / Request to Amend
Approved Research should be used to communicate changes. This form is provided with this letter.

•

In the event of an adverse event associated with the participant research, the applicant must notify the ECUREB within five (5) days. FORM 204.2 Adverse Incident Report is available for you to use to communicate
these incidents. This form is provided with this letter.

•

At the conclusion of the project, please complete FORM 204.3 Research Ethics Completion so that the file
can be closed in an appropriate manner. This form is provided with this letter.

This signed Approval Status Letter is an official ethics status document. Please keep it for reference purposes. If you have

__________________________
Dr. Arleigh Reichl
Chair, Research Ethics Board
This Certificate of Approval is valid for the above term provided
there is no change in the research protocol.
It is renewable, subject to annual review and approval.
A completion report must be filed at the completion of the project.

not received a signed paper copy of this letter please contact me at ethics@ecuad.ca. The approval status listed above, the
date of this letter, and the ECU-REB file number should all appear on materials that are circulated to the participants in this
way: “This project has Full Research Ethics Approval from the Emily Carr University Research Ethics Board (May 24, 2016,
ECU-REB #2016030702). If you have any comments or concerns about ethical issues in the research, you are invited to
contact the Emily Carr University REB Coordinator at ethics@ecuad.ca or (604) 844-3800 ext 2848.”.

Appendices

51

KWANTLEN POLYTECHNIC UNIVERSITY CO-CREATION WORKSHOP | ACTIVITIES

Appendices

53

Appendices

55

KWANTLEN POLYTECHNIC UNIVERSITY CO-CREATION WORKSHOP | IN PROGRESS

WORK/LIFE BALANCE

LIFESTYLE

REGIONALLY RELEVANT

FLUIDITY

L E G I B I L I T Y
Appendices

57

IDEATION SKETCHES

Appendices

59