> It downsizes at once the main living
components to an acceptable scale for smaller
spaces

> It accommodates the largest piece of furniture

required in the space without reducing the
square footage

> It effectively uses verticality, and needs only a

small stepping stool for access

> It creates additional storage nested along the
sides of the platform, thereby reducing the
need for additional furniture

> It functions as interior architecture rather
than removable furniture

> Its solidity and attached relationship to the
space gives it a clear sense of permanence

> It is an enduring object that can be
customized by simple colour and accessory
choices or modifications

> The main components cannot be lost or
stolen

> It can be constructed on site with locally
sourced materials, and repaired and
maintained as needed

OUTCOMES /

Undeniably, the greatest hurdle encountered
during our design process was the mediation
of different interests. Traversing these
differences required careful consideration and
compromise throughout the problem-solving
process. During this time we drew much
inspiration from Donald Schén:

“Designing is a social process. In every building
project, there are many different kinds of
participants. [these individuals] pursue different
interests, see things in different ways, and even
speak different languages. [Any] theory of design
worth its salt must somehow take into account all
of these tensions.”

We feel confident that the final prototype
takes into account these tensions as identified
during the design discovery process. Although
the concept could be pushed further (given
more time or a larger budget), we feel that the
solution is certainly “worth its salt.”

In conclusion, our prototype was developed
with less than five hundred dollars worth

of locally-sourced materials. The design is
configured for simple on-site construction
and can be reproduced by contractors without

IMAGE 3 / Using verticality in small living spaces conserves space while reducing the need for additional furniture.

any specialized training. The floor space has
been effectively cleared for users to move
through comfortably, leaving ample room for
additional amenities. Most importantly, the
space successfully fosters a greater sense

of emotional engagement and permanence.
Furthermore, we hope that our strategy can

be used in future housing developments to
increase the number of affordable, micro-living
environments in other urban centres.

ACKNOWLEDGMENTS

We would like to thank Karla Tull-Esterbrook,
our third teammate for being an insightful
and invaluable partner in this project. We
also wish to thank the client, our investors
and our design instructor, Christian Blyt, for
his expertise and support in developing the
concept. We greatly appreciate the opportunity
to design for such a dynamic problem space.
We would also like to extend thanks to the
University’s staff and shop technicians for
aiding and facilitating our design process, as
well as our classmates for providing

valuable feedback.

REFERENCES

Squires, Susan. “Design
Research.” Design Studies:
A Reader. Eds. Hazel Clark
and David Brody. New
York: Berg, 2009. 115-120.
Print.

Buchanan, Richard.
“Wicked Problems in
Design Thinking.” Design
Studies: A Reader. Eds.
Hazel Clark and David
Brody. New York: Berg,
2009. 96-102. Print.

Schon, Donald.
“Designing: Rules, Types
and Worlds.” Design
Studies: A Reader. Eds.
Hazel Clark and David
Brody. New York: Berg,
2009. 110-114. Print.