W Engage

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WEngage: Co-working Hub with Rentable Studios for Indie Game

Development in Cubao, Quezon City
Thesis · November 2020

DOI: 10.13140/RG.2.2.30218.59846
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WEngage:
Co-working Hub with Rentable Studios for Indie Game Development
in Cubao, Quezon City
A Thesis Proposal Submitted to the

College of Architecture
University of Santo Tomas
In Partial Fulfillment
of the Requirements
For the Degree of
Bachelor of Science in Architecture
ROMERO, MIKAELLA DISNEY D.

AD10INPB2
November 2020
Abstract
Producing games have been part of the Philippine industry as early as 1992 and
is currently known as one of the significant outsourcing pool for game development
and animation in the global market (Philippine Board of Investments, 2018).
Unfortunately, only a few are recognized for their craft despite the abundance of local
talent (Ferraz, 2015). This leads to game developers working as individuals, small
teams, or startup companies, often housed in their own homes or in rented spaces which
lack the proper working space and equipment for game development. As the field of
video game development evolves, so must creative spaces. Integrating new technology
and innovations enable architecture to take on different approaches in the typical
working environment.
With the rise of modern office workplaces being reconstructed to emphasize
comfort and boost well-being, various trends have accumulated to prioritize employee
experience, which often enhances overall productivity, innovation and morale
(Sterkenberg, 2018). Even with respect to the equipment involved, creative industries
have begun the use of revolutionary devices such as 3D printers, interactive screens and
VR technology to produce new, meaningful content. In-depth research on the needs of
the users will be recorded through archival researches, interviews, and case studies.
Since game developers are the project’s target users, their insights and preferences will
serve as strong indicators of what are considered as “playful spaces”, most of which are
merely functional working environments with stylized interiors unlike the common
image of over-the-top play zones often seen in big game studios.

The study will introduce a co-working hub with rentable studios for indie game
developers to provide the necessary facilities for game development. With the
developers’ concepts of play interwoven into the office spaces, Tiemersma’s video
game elements (2014) will serve as a framework in designing a comfortable yet
engaging work environment.
Keywords: co-working, game development, indie games, office, playful spaces,

technology, video games
Table of Contents
Abstract
Letter to the Dean
INTRODUCTION........................................................................................................ 1
Background and Nature of the Project ........................................................................... 2

The gaming landscape of the Philippines................................................................... 2
The indie game industry ............................................................................................. 3
Statement of the Problem ............................................................................................... 4
Project Goal and Objectives........................................................................................... 5
Significance of the Project ............................................................................................. 5
Scope and Limitation of the Project............................................................................... 6
Definition of Terms........................................................................................................ 7
REVIEW OF RELATED LITERATURE ................................................................ 9
Productive Workplaces .................................................................................................. 9

Existing issues .......................................................................................................... 10
Trends and features of the modern workplace ......................................................... 16
Integrating play into work ........................................................................................ 18
Models for office play .............................................................................................. 19
Play and Architecture ................................................................................................... 21

Exploring the video game design framework .......................................................... 22
Narratives ................................................................................................................. 22
Gameplay ................................................................................................................. 26
Level design ............................................................................................................. 27
Conclusion................................................................................................................ 28
Design for the Future ................................................................................................... 28

Digital technology .................................................................................................... 29
Alleviating the sick building syndrome ................................................................... 33
Conclusion ................................................................................................................... 38
RESEARCH METHODOLOGY ............................................................................. 39
Research Design........................................................................................................... 39
Sampling Design .......................................................................................................... 41
Case studies .............................................................................................................. 41
Structured questionnaire-based interviews............................................................... 41
Research Instruments ................................................................................................... 41

Library books ........................................................................................................... 41
Online documents ..................................................................................................... 41
Government files ...................................................................................................... 42
Questionnaires .......................................................................................................... 42
Procedures for Data Gathering..................................................................................... 42

Archival research...................................................................................................... 42
Case studies .............................................................................................................. 42
Treatment of Data ........................................................................................................ 43

Archival research...................................................................................................... 43
Case studies .............................................................................................................. 43
SITE SELECTION .................................................................................................... 45
Site Criteria .................................................................................................................. 45

General criteria ......................................................................................................... 45
Specific criteria ........................................................................................................ 46
Site Selection ............................................................................................................... 47
Site Justification ........................................................................................................... 50

General criteria ......................................................................................................... 50
Specific criteria ........................................................................................................ 50
Macro Site Profile ........................................................................................................ 50

The grooming of a capital city ................................................................................. 50
The city’s commitment............................................................................................. 51
Demographics........................................................................................................... 51
Industry profile ......................................................................................................... 52
Physical profile of the city ....................................................................................... 54
Infrastructure and utilities ........................................................................................ 58
Micro Site Profile ......................................................................................................... 61

Technical description ............................................................................................... 61
Adjacent structures ................................................................................................... 62
Conclusion ................................................................................................................... 65
PROJECT PROFILE AND ANALYSIS ................................................................. 67
Project Overview ......................................................................................................... 67

Office workplaces .................................................................................................... 67
Collaborative spaces ................................................................................................. 67
Market Study ................................................................................................................ 70

The competition for flexibility ................................................................................. 70
Demand for coworking spaces ................................................................................. 71
The existing co-working spaces in Quezon City ...................................................... 72
Client Profile ................................................................................................................ 74

The Game Developers Association of the Philippines ............................................. 74
GDAP mission, vision, and core values ................................................................... 75
Organizational Chart of a Co-working Space .............................................................. 76
User Profile .................................................................................................................. 77

Primary users ............................................................................................................ 77
Secondary users ........................................................................................................ 78
Sample User Activity Schedule ................................................................................... 78
Legal Framework ......................................................................................................... 80

The Constitution of the Republic of the Philippines ................................................ 80
Republic Act No. 10844 ........................................................................................... 80
Project Analysis ........................................................................................................... 81
Conclusion ................................................................................................................... 82
TECHNICAL RESEARCH DATA PRESENTATION ......................................... 84
National Codes, Laws and City Ordinances ................................................................ 84

Quezon City Comprehensive Zoning Ordinance of 2016 ........................................ 84
Quezon City Green Building Ordinance of 2009 ..................................................... 87
Case Studies ................................................................................................................. 96

NuWorks Interactive Labs, Inc. ............................................................................... 96
Jelly Button Games .................................................................................................. 99
Three Rings Design ................................................................................................ 102
Results from Conducted Interviews ........................................................................... 104

Summary of the interviews .................................................................................... 105
Analyzing the interviews ........................................................................................ 112
Conclusion ................................................................................................................. 117

SPATIAL PROGRAMMING AND ANALYSIS .................................................. 119
List of Spatial Requirements ...................................................................................... 119

Administrative services .......................................................................................... 119
Primary user areas .................................................................................................. 120
Circulation .............................................................................................................. 121
Utilities ................................................................................................................... 121
Staff amenities and support spaces......................................................................... 122
Space Program ........................................................................................................... 123
Room Data Sheet ....................................................................................................... 132
Adjacency Matrix....................................................................................................... 134
Bubble Diagram ......................................................................................................... 136
CONCEPTUAL DEVELOPMENT ....................................................................... 138
Design Objectives ...................................................................................................... 138
Design Philosophy ..................................................................................................... 138
Design Concept .......................................................................................................... 139

Playing to one’s advantage ..................................................................................... 140
Design Considerations ............................................................................................... 141
Design Strategies ....................................................................................................... 142

Creating narratives through multi-sensory design ................................................. 142
Nurturing interactivity in dynamic nodes and zonal overlaps................................ 149
Introducing responsive design ................................................................................ 154
REFERENCES......................................................................................................... 164
List of Figures
Fig. 2.1. SAS Airlines central street ............................................................................ 14
Fig. 2.2. Diagram of the four types of environmental storytelling .............................. 25
Fig. 2.3. 3D printed shoe .............................................................................................. 32
Fig. 2.4. Interactive table ............................................................................................. 33
Fig. 2.5. Comparison of activated and inactivated liquid crystal glass........................ 34
Fig. 2.6. Diagram of VRF HVAC System structure .................................................... 36
Fig. 4.1. Site A in Brgy. 668 along Roxas Boulevard ................................................. 47
Fig. 4.2. Site B in Cubao along Aurora Boulevard ...................................................... 48
Fig. 4.3. Site C in Bagumbayan near the C-5 flyover .................................................. 48
Fig. 4.4. Quezon City elevation map ........................................................................... 54
Fig. 4.5. Quezon City zoning map ............................................................................... 55
Fig. 4.6. Hazard map with fault line ............................................................................ 56
Fig. 4.7. Hazard map with flooded areas ..................................................................... 57
Fig. 4.8. Existing road network of Quezon City .......................................................... 58
Fig. 4.9. Existing transport map of Quezon City ......................................................... 59
Fig. 4.10. Water supply connection of Quezon City.................................................... 60
Fig. 4.11. Power transmission lines in Quezon City .................................................... 60
Fig. 4.12. Established growth centers in Quezon City ................................................. 61
Fig. 4.13. Wall and entry from site frontage ................................................................ 61
Fig. 4.14. Site dimensions ............................................................................................ 62
Fig. 4.15. Adjacent structures to the site...................................................................... 62
Fig. 5.1. Types of collaborative workplaces ................................................................ 68
Fig. 5.2. Standard services in a co-working space ....................................................... 71
Fig. 5.3. Standard membership plans ........................................................................... 71
Fig. 5.4. Basic organizational chart of a co-working space ......................................... 76
Fig. 6.1. Vehicular entrance/exit diagram .................................................................... 85
Fig. 6.2. Floor area ratio formula ................................................................................. 86
Fig. 6.3. Nuworks Interactive Lab reception and workspace ...................................... 97
Fig. 6.4. Workspace whiteboard and working rooms .................................................. 98
Fig. 6.5. NuWorks communal spaces .......................................................................... 99
Fig. 6.6. Jelly Button Games and Hamutzin Studio floor layout ............................... 100
Fig. 6.7. Jelly Button Games creative design elements ............................................. 101
Fig. 6.8. Office communal space ............................................................................... 101
Fig. 6.9. Office games and lounge ............................................................................. 101
Fig. 6.10. Three Rings Design interiors ..................................................................... 103
Fig. 6.11. The iconic pantry and lounge designs ....................................................... 103
Fig. 7.1. Adjacency matrix of the ground floor spaces .............................................. 134
Fig. 7.2. Adjacency matrix of the second floor spaces .............................................. 134
Fig. 7.3. Adjacency matrix of the third floor spaces .................................................. 135
Fig. 7.4. Adjacency matrix of the fourth floor spaces ............................................... 135
Fig. 7.5. Bubble diagram of the ground floor spaces ................................................. 136
Fig. 7.6. Bubble diagram of the second floor spaces ................................................. 136
Fig. 7.7. Bubble diagram of the third floor spaces..................................................... 137
Fig. 7.8. Bubble diagram of the fourth floor spaces .................................................. 137
Fig. 8.1. Horse stable illuminated through skylights ................................................. 144
Fig. 8.2. Garden terraces ............................................................................................ 145
Fig. 8.3. EKH Children Hospital interiors ................................................................. 146
Fig. 8.4. Barry Callebaut Offices & Chocolate Academy interiors ........................... 147
Fig. 8.5. Poly WeDo Art Education interiors............................................................. 148
Fig. 8.6. Shanghai Baoye Center staircase ................................................................. 150
Fig. 8.7. Uber headquarters – Commons ................................................................... 151
Fig. 8.8. In Between Green House facade ................................................................. 152
Fig. 8.9. The Second Skin perforated mesh ............................................................... 153
Fig. 8.10. Nest shelf – flexible bookshelves .............................................................. 154
Fig. 8.11. Brackets-lite – moveable chairs and tables................................................ 155
Fig. 8.12. HUBB modular furniture ........................................................................... 155
Fig. 8.13. HUBB furniture configuration................................................................... 156
Fig. 8.14. Flexible boards and seats ........................................................................... 156
Fig. 8.15. Removable chairs ...................................................................................... 157
Fig. 8.16. Ballet Mécanique apartment block ............................................................ 157
Fig. 8.17. Moving landscapes house walls ................................................................ 158
Fig. 8.18. Moving landscapes house walls ................................................................ 159
Fig. 8.19. Operable interactive village hut ................................................................. 160
Fig. 8.20. Apple Dubai mall screens .......................................................................... 161
Fig. 8.21. SDU campus .............................................................................................. 162
Fig. 8.21. Al Bahar Towers façade diagram .............................................................. 162
Fig. 8.22. Kiefer Technic Showroom panels ............................................................. 162
Fig. 8.23. Mercedes-Benz Stadium retractable roof .................................................. 163
List of Tables
Table 4.1. Site selection results.................................................................................... 49
Table 4.2. Top 5 employment rates in Quezon City ................................................... 52
Table 4. 3. S.W.O.T. analysis ...................................................................................... 63
Table 5. 1. Employee personal daily schedule. ............................................................ 79
Table 5. 2. Company weekly schedule. ....................................................................... 79
Table 5. 3. Company annual schedule with celebrations. ............................................ 79
Table 6.1. Proposed road widening.............................................................................. 86
Table 6.2. Effluent discharge table for computation.................................................... 88
Table 6.3. Summary of P.D. 1096, R.A. 9514 and B.P. 344. ...................................... 88
Table 6.4. Minimum plumbing facilities (National Plumbing Code). ......................... 92
Table 6.5. Building Classification. .............................................................................. 93
Table 6.6. Setback Requirements................................................................................. 94
Table 6.7. Percentage Site Occupancy and TOSL (P.D. 1096). .................................. 94
Table 6.8. Allowable Maximum TGFA (P.D. 1096). .................................................. 94
Table 6.9. Floor to Lot Area Ratio (FLAR) Designation (P.D. 1096). ........................ 95
Table 6.10. Maximum Building Height. ...................................................................... 95
Table 6.11. Lot Computation and Usage. .................................................................... 95
Table 7.1. Ground Floor Plan Space Program ........................................................... 123
Table 7.2. Second Floor Plan Space Program............................................................ 123
Table 7.3. Third Floor Plan Space Program .............................................................. 126
Table 7.4. Fourth Floor Plan Space Program ............................................................. 128
Table 7.5. Tabulated Summary of Area Requirements.............................................. 130
Table 7.5. Ground to Fourth Floor Room Data Sheet................................................ 132
WEngage: Co-working Hub with Rentable Studios for Indie Game Development 1
Chapter I
Introduction
The concept of video games was first realized in the form of experimentation.
Scientists, programmers and engineers from the U.S. were interested in creating
artificial intelligence which they believed could be achieved through a game of chess:
any computer who could win against a human player would be exhibiting intelligent
thought processes (Williams, 2017). This would require the computer to anticipate and
react in strategic gameplays against the human mind. The 1950s was a “decade of false
starts” (Donovan, 2010) regarding video games as the games were only treated as
interactive learning projects in attempts to challenge computer programming and
technological innovation. It was only when students in the 1960s decided to reject the
formality of programming and pursued potential fun and creativity in the subject were
video games finally engaged as entertainment and attractions.
The progress was painstakingly slow in the development of video games as
developers wrangled with their generational limits on technology; formulas were
structured then de-structured in order to innovate better styles and play mechanics. As
technology continues to evolve and society becomes more drawn into the world,
computer games can now accommodate a variety of interests and playing styles from
adventure to puzzles to action. Even software have been upgraded to be customized
with VR and AR devices, the latest immersive technology to be offered.
Interestingly enough, a connection between games and architecture can be
observed; one can argue that advancements serve to improve architectural design
processes as well. McKernan (2017) noted that use of construction toys sparked
inspiration among popular architects such as Frank Lloyd Wright, Gerrit Rietveld, etc.
into innovations in construction, featuring skyscrapers, prefabricated metal homes, the
Schröder house and much more. This is made possible in the manner of which play
affects spontaneous thought processes; play brings about a new way of dealing with the
environment as it opens the possibility of recreating established patterns or exploring
new paths that are not typically considered (Bateson, 2014).
Tiemersma (2014) states that design considerations between games and
architecture are parallels: both revolve around designing for spatiality, visuality and
functionality. With this in mind, the study may draw more points in the relationship
between the two topics; where they overlap and how to better enhance design solutions
through each other.
Background and Nature of the Project
The gaming landscape of the Philippines. The game development industry is
recognized as a “high potential segment of the Philippines’ Creative Services
Industry” (IBPAP, 2017). As early as 1992, the Philippines has been providing
content for console and arcade games (Schumacher, 2018) which has built up
to the country’s reputation as one of the major outsourcing pool of game
development and animation (Philippine Board of Investments, 2018). Filipinos
are collectively known to be skilled in the creative pool, their passion,
playfulness and spontaneity serving as selling points for innovation. These traits
are nurtured by Filipinos with pride, whether it may be producing games or
consuming them.
According to the Newzoo (2017), 29.9 million of the country’s
population are gamers with a considerable 24% as male gamers and female
gamers (both within ages of 21 to 35). Aside from fun, Filipinos are also fond
of competition which resulted having competitive gaming as a popular pastime.
It was only during the late 2000s that this gaming became a legitimate industry,
now known as esports (Schumacher, 2018).
The indie game industry. Traditionally, video games are developed by teams
which is funded by a publisher and may take a lot of time and effort before being
released. In the current era, with multiple information available at our fingertips,
some individuals take it upon themselves to self-produce. Such content can be
identified as indie games, or independent video games. These are usually
produced by single or small teams without a publisher (Pulsipher, 2010).
According to IT and Business Process Association of the Philippines
(2016), the top five game development companies in the country are responsible
for 79% of total revenues which leaves the other 23% to sizeable indie
companies. Despite the lack of support, indie games have risen in popularity
among developers as new platforms offer distribution and marketing of smaller
games. Although, this may be because indie games can be produced at lower
costs (Schumancher, 2018), more indie games are now being promoted to
encourage creativity and innovation among game enthusiasts as well. One of
these is the Game Developers Association of the Philippines (GDAP), the
association in charge of promoting and representing the country in the game
development industry.
Statement of the Problem
According to Boga (2014), despite the large crop of available local game
developers, only a few can be considered “qualified talent” which results in missed
opportunities in the business. Although it was unclear as to what exactly constitutes as
“qualified” by their standards, the implication that majority of local developers are seen
as such must not be easily dismissed. Aside from this, another problem in the industry
is said to deal with marketing (Ferraz, 2015) as a lot of local game content often remain
unknown and/or overshadowed by companies with bigger names.
Delving into a more personal level in production, individuals in any working
field are prone to emotional burnouts, stress and mental blocks. This can be easily
identified in offices due to pressuring management and inefficient working
environments (Association for Psychological Science, 2017). As an indie game
developer, the pressure and workload are more or less doubled compared to bigger
companies wherein work can be distributed into multiple teams. Freelancers and small
teams have little luxury of passing their load onto another.
Aside from the pressure to be constantly up to par with the latest methods,
creating complex codes and creating original concepts, available workstations meant to
cater game developers are little to none to be found especially in the Philippines. This
forces developers to work at home or in co-working hubs that are typically riddled with
various distractions ranging from acoustical problems to a lack of privacy due to its
open layout designs (Fayard & Weeks, 2011).
With consideration of the relationship between play and creativity, perhaps a
more productive working environment can be achieved through the process of game
development. And who better to playtest the proposed spatial design than game
developers themselves?
Project Goal and Objectives
The project aims to address the need for facilities in game development while
attempting to solve the problems in modern workplaces through the application of
Tiemersma’s (2014) video game design elements.
The following are identified as the project’s objectives:
1. To provide accessible and technologically-ready working environments for
game development;
2. To promote home-grown game content and interaction among indie game
developers; and
3. To provide enticing, creative and productive workspaces.
Significance of the Project
Games are often underappreciated and seen merely as entertainment,
completely disregarding the benefits of play in learning, innovation and productivity.
The project is designed to strengthen the correlation between work and play through
the elements of game development, seeking possible application of video game theory
into architectural design. This research will serve as another foothold in the
development of the productive modern workplace.
In addition, the game development industry in the Philippines is left
unrecognized by the public which leads to stagnant growth in the gaming community
(Ferraz, 2015). Coworking studios and rentable offices will offer game developers a
space to work, socialize and learn from each other. This will give them a platform to
promote their works and obtain feedback on their initial ideas.
Scope and Limitation of the Project
In order to design prime working spaces, playful approaches will be integrated
into the architecture as well as popular trends which had emerged in modern
workplaces. However, the definition of “playful spaces” will be restricted according to
the insights of game developers obtained from the conducted interviews. These entails
that the project’s design would revolve around the users’ preferences of functional
spaces with the appropriate aesthetics as mere supplementary elements. Since the
project caters to a creative field, the following modern workplace trends to be
considered are those relating to the improvement of productivity, innovation and well-
being as necessary features of proper, functional spaces.
Game development principles will be compiled from multiple video game
guidebooks, generalized and compared with architectural space considerations. This
will serve as the basic framework of the design with focus on improving creativity and
productivity. Aside from this, equipment such as VR technology, 3D printers and
interactive screens will be provided in order to level the playing field between indie
game developers and AAA game development studios. Innovative methods in
construction are explored to increase comfort and retain individualism in shared public
spaces.
Unfortunately, existing research, case studies and documented information
regarding game studios and companies are strictly limited. This places great restraints
on data collection especially those regarding Philippine game development. As Ferraz

(2015) had stated, local developers are often unrecognized and thus, results in sparse
information of Filipino content and their current working conditions. As such, the
impact and effectivity of game design into architecture will rely on interviews and case
studies, both foreign and local, to form a more concrete analysis of the necessary
workspaces for game development.
Local game development data is not the only information that will be limited as
the research includes possible innovations that may solve some of the problems stated
but are not totally efficient as of today. This is due to the fact that these innovations are
still in the research phase of the study but still give promising results in their respective
purposes. For the sake of the discussion, these tech will be introduced as probable
solutions for the project in the future, focusing on its long term effects as an investment
instead of its efficiency at this current time.
With regards to the project itself, restrictions will be observed in the physical
planning of the building footprint. The chosen site was not open for visitors therefore
the researcher was not able to fully identify the location of existing utilities and
vegetation. An image of the site taken from Google Maps will serve as the main
reference point instead.
Definition of Terms
1. AAA games – these are games produced by the top selling studios, often with
the biggest budgets and excellent promotional materials (Perron & Wolf, 2014)
2. Augmented reality (AR) – makes use of the real-world environment but is
overlaid with digital content; users can see into the environment but have no
means of interaction (Mealy, 2017)

3. Console game – also known as video games; games which are played on
devices (video game consoles) and are connected to a television for video and
sound (Pulsipher, 2010)
4. Coworking hub – a social space wherein varying individuals can gather to
work, some of which are operated through memberships or through hourly rent
(Lamundi, 2019)
5. Esports – an online gaming industry, now considered as a type of sport
(Mineski Infinity, 2018)
6. Game development – the process of creating a game; the tasks needed to
complete a game (Pulsipher, 2010)
7. Indie games – a type of video game produced by independent individuals
and/or small teams; are often self-produced and have no funding from
publishers (Pulsipher, 2010)
8. Level design – the designing and creation of scripts, graphics and art of a video
game level, stage, mission or episode (Perron & Wolf, 2014)
9. Platform – the electronic system, both hardware and software, wherein video
games are played and distributed (Perron & Wolf, 2014)
10. Playtesting – entails the playing of a game prototype to test the initial run of
the game; used to gather feedback or catch bugs in the system (Perron & Wolf,
2014)
11. Virtual reality (VR) – an artificial, digitally created environment parallel to the
real world which allows users to interact within the virtual environment
presented (Mealy, 2017)

Chapter II
Review of Related Literature
Productive Workplaces
In workplaces such as offices, factories and commercial establishments,
productivity is a key factor determining success and company growth (Amarathunga,
2016). Productivity is defined by the OECD Productivity Manual (2001) as the "ratio
of the volume measure of output to the volume measure of input use." Although the
provided definition is the general understanding of productivity, there are multiple ways
to gauge its measurement. The Organisation for Economic Co-operation and
Development (2001) identified five objectives for which productivity is typically
observed: (1) living standards, (2) benchmarking production processes, (3) real cost
savings, (4) work efficiency, and (5) technical change in technology.
Work efficiency is often the most significant factor affecting the company's
overall productivity rate and economic value (Amarathunga, 2016). This, in turn, is
influenced by user satisfaction, which serves as a factor in designing comfortable work
environments (Kwon et al., 2019). Office settings involve both social and physical
environments; spatial design, employee interactions, and environmental conditions are
the main factors that affect user comfort and satisfaction (Fayard et al., 2011; Jan van
Ree et al., 2010). Even a mere lack of water stations could create a butterfly effect of
negative impressions on an employee’s daily routine. It is the details that may
eventually influence one’s experience, for better or for worse. These experiences also
affect another significant factor of working individuals: health. One’s health and mental
condition influences their productivity and efficiency. At its best, effective spaces boost
creativity and inspiration but increases stress and fatigue at its worst.
Despite these factors, Kwon et al. (2019) stated that most buildings are designed
to consider energy performance, aesthetics, and indoor air quality since they mandated
by building regulations. All of these focus on branding and cost optimization, which
often leads to a lack of consideration for user-oriented approaches. This becomes a
problem in modern offices as employees suffer the effects of uncomfortable physical
environments resulting not only in low productivity but also poor well-being among the
employees (Kwon et al., 2019).
Existing issues. A controversial condition named “sick building syndrome”
(SBS) is the typical complaint in offices and workspaces, wherein indoor
environments cause ill health among employees (Abdul-Wahab, 2011). Some
cases point to poor ventilation, poor lighting, low humidity, and noisy work
environments (Abdul-Wahab, 2011). Even office layouts have proven
themselves unsatisfactory or limiting in the working environment. For the past
decade, open-plan layouts became the preferred setting in offices due to its
flexibility and the apparent increase in communication due to its use. However,
such arrangements create acoustical problems as well as issues with privacy and
individualism (Clements-Croome, 2018). The traditional cellular office, on the
other hand, emphasizes more on concentrated work as it avoids disruptions but
falls short on fostering informal discussions and community atmospheres.
Individualism and identity. The idea of individualism in company
culture is not often recognized in office guidelines and standards outside
of being used as a psychological boost in team morale. According to

Brunia & Harties (2009), most organizations set up their workspaces as
interchangeable desks; employees are discouraged from personalizing
their environments due to it being perceived as unnecessary clutter.
However, the ability to personalize is connected to the ability to display
one’s identity as it integrates a piece of their life inside the working
environment (Brunia & Harties, 2009). This becomes a quiet, social
introduction for every employee coming into the office. By allowing
them to freedom to control and mark their boundaries, individuals are
granted “permission” to share their interests, values and identity thus
increasing their comfort and familiarity in a specific space. Without this
permission, an employee’s identity is threatened and the workplace is
“dehumanized” given that business is placed as the priority, appearing
unconcerned about the humans behind the brand.
In Clements-Croome’s Creating the Productive Workplace
(2018), multiple surveys regarding comfortable workspaces were
included to show common preferences of employees in terms of indoor
environmental quality. Spatial territoriality and security were among the
primary elements contributing to comfort along with access to outdoor
spaces, natural light, contemplation areas and a degree of control over
their immediate surroundings. The restructuring of modern offices have
also begun to consider adding private spots for recuperation in line with
the ultradian rhythm. This states that a person’s attention span lasts for
only ninety (90) to a hundred and twenty (120) minutes before natural
fatigue seeps in and concentration drops. Breaks are a must to ensure the
consistent flow of productivity, together with options for private self-
reflection.
Balancing proximity and privacy. The issue of privacy remains as the
most concerning problem in modern workplace design. Open plan
layouts remain as the common trend due to the appeal for innovation
and significant decrease of construction costs (Nordstrom & Wagner,
2018). According to Ban & Imai (2016), Silicon Valley was the first to
adopt these open workspaces which resulted in organizational success
thus setting the standard of good office design for companies to follow.
Although there are a lot of benefits in incorporating this design, e.g.,
informal interaction leading to collaboration and innovation, the
drawbacks encountered are more than enough to decrease work
environment quality and comfort. Typical problems regarding open plan
layouts include the high levels of noise, distractions and lack of privacy
which affects employee satisfaction, comfort, well-being and
productivity (Fayard & Weeks, 2011).
The key to maintaining the benefits of an open layout without
the backlash of its negative effects would be finding a good balance
between proximity and privacy. Ban & Imai (2016) discussed the
importance of the Allen Curve which states that thirty (30) meters is the
point of distance wherein communication drops. To take advantage of
this theory, communal spaces such as conference rooms, break rooms
and other amenities may be placed within the thirty meters range for a
natural flow of casual meetings. However, being placed too near each
other endangers an employee’s privacy which develops his fear of being
overheard or interrupted (Fayard & Weeks, 2011). In an attempt to
determine the ideal office design, Fayard & Weeks (2011) provided
three dimensions that effective spaces must have.
The first dimension is proximity, dealing with physical distance
between individuals. With consideration of the Allen Curve, Fayard &
Weeks (2011) argued that functional centrality is more important than
physical centrality. This entails proximity to spaces that cater shared
resources such as entrances, restrooms, elevators, water coolers,
photocopiers, etc. Not only will this provide ease of access from one
resource to another, the natural traffic it drives gives people a reason to
stay and interact with those around them.
The second dimension revolves around privacy. Fayard &
Weeks (2011) defined privacy as the ability to control other’s access to
you, offering the option to decline or accept invitations for interaction.
A case study for the Scandinavian Airlines was provided as example of
an office which placed multiple spaces to encourage informal
interaction. The headquarters was designed around a “central street”,
linking various stores such as cafes, shopping fronts, offices and others.
According to analyzed results, only nine percent (9%) of interactions
actually took place in the “street” with two-thirds of all interaction
occurring in private offices (Fayard & Weeks, 2011).

Fig. 2.1. SAS Airlines central street

Reprinted from “SAS HEADQUARTERS,” by Nielstorp. (n.d.). Retrieved from
https://nielstorp.no/project/sas-headquarters/
This is due to the lack of privacy communal spaces present,
restricting one’s capacity to speak freely. Sounds and visual are the
perceived factors of privacy that must be prioritized especially in cases
of high-density spaces as lack of privacy increases unexpected or
unwanted social contact as well (Kwon, et. al., 2019). Fayard & Weeks
(2011) determined that alcoves are ideal spaces for informal
interactions; cases wherein conversations are started in public spaces
can easily be moved into alcoves for confidentiality without having to
seek out a room.
And lastly, permission must be emphasized as a driving factor in
assuring good balance between privacy and proximity. Permission is
often established by the company, dictated by its culture as what is
perceived as the appropriate behavior in their environment. A space only
becomes comfortable for natural interaction if the company designates
it as such. In Fayard & Weeks’ analysis of the culture between a

consulting firm and a creative company, they were able to discover that
the corporate culture of the consulting firm established work to be done
at one’s desk. Although luxurious coffee lounges were provided in close
proximity, they remained empty as their culture does not give them
permission to idle or talk for extended periods of time. The creative
company, on the other hand, often integrate collaborative activity as part
of their process; designers, architects and artists may lounge on sofas or
chat in cafes while considering it all as part of their work.
Maintaining balance between all three dimensions is a challenge
that modern workplaces face in developing the best model for office
environments. Despite the appeal of open plan layouts due to its ease of
application and reduced costs, multiple researches advocate alterations
to the traditional cell offices for more flexible layouts such as combi
offices which is a mixture of open layouts with cubicles or flexi offices
which are similar to combi offices but are not permanently assigned to
specific employees (Been & Beijer, 2014). Nordstrom & Wagner (2018)
suggested multi-zoned offices that offers space both for open
collaboration and private concentration. In a survey conducted in offices
in Netherlands, individual and shared room offices proved to have the
highest satisfaction rates and perceived productivity (Been & Beijer,
2014). This features a similar approach to multi-zoned offices wherein
half-open and enclosed spaces alternate with each other, complementing
rooms necessary for concentrated work and for informal meetings. An
additional benefit for this office type is the ability to control indoor
climate (e.g., temperature, humidity, lighting) in specific zones without
affecting the central climate of the floor. However, office comfort is not
strictly limited to doses of good workspaces but is also affected by
supporting amenities as well.
Trends and features of the modern workplace. As more offices strive for
hospitality and comfort in their working environment, experience-driven spaces
move to the front line of workplace trends. Employee experience is given
priority to not only optimize space but boost overall productivity and morale
(Sterkenberg, 2018). More features on the improvement of health are being
integrated, including meditation areas, walking trails, cocktail bars and game
rooms. As part of the emphasis on health and comfort, biophilic principles have
gained popularity to integrate more life into the built environment. Using natural
and sustainable materials, application of green walls and the addition of pocket
gardens are only a few of the trends commonly spotted in recent workspaces.
According to a BCO survey in 2014, office workers have stated to prefer access
to outdoor spaces and contemplation areas as well as lots of natural light in
improving the setting of their offices. In light of achieving innovation,
sustainable and enjoyable working environments, four main trends of the
modern workplace have been identified.
Collaboration. In an attempt to stimulate innovation, "open" designs
have become a standard in modern workplaces. Cooper (2015) notes that
companies that feature traditional, hierarchal offices emphasize

individual work and denotes an atmosphere of control or fear. The
design of working spaces profoundly impacts the social behavior and
culture of the company, which can then determine employee satisfaction
and productivity. Open plan and unconventional layouts produce a
relaxed ambiance that encourages resource exchange, consistent
learning, and social support among employees (Orel, 2019).
Modularity. A flexible system comes hand in hand with open-plan
layouts, embracing the constant changing of needs inside the office
(Cooper, 2015). Moveable walls, furniture, and machinery are typical
considerations, some even providing extension cords to accommodate
different placements of desks. This is particularly useful for companies
that may have an inconsistent number of employees, allowing them to
change spaces according to how many people will be using it, or simply
as a way of making things less mundane inside the office by rearranging
work desks or lounges.
Biophilia and well-being. As most office tasks involve sedentary
behavior— sitting for hours at a time in front of a screen— various
health complications can arise in addition to sick building syndrome. As
a solution, biophilic principles are being incorporated into working
environments as nature is said to reduce stress levels, improve
workplace satisfaction and productivity (Bipp et al., 2019). The use of
natural lighting and ventilation, daylight, maximizing views and green

walls have become the trend for the past few years along with furniture
modification e.g., task-specific workstations and sit-and-stand tables to
lessen the amount of prolonged sitting.
Experience and entertainment. Concerning the promotion of employee
well-being, most offices allot spaces meant to highlight happiness and
satisfaction. This develops morale and openness among the entire staff,
from interns to executives (Sterkenberg, 2018). Some companies feature
playful spaces such as rock-climbing walls, game rooms, theaters, and
sports tournaments. Others prefer more passive leisures, dedicating time
for meditation, massages, yoga, and acupuncture.
Integrating play into work. Although work will always be a serious operation,
incorporating play into working environments has been a topic of debate for
years. Various research, however, favors adding play as a necessary part of an
individual's routine. Employees live, at minimum, eight hours of their lives in a
working environment so such spaces might as well be one they enjoy "living"
in (Clements-Croome, 2018).
Various companies have taken to providing comfort spaces (e.g.,
meditation rooms, snack bars) as a more neutral and relaxed "playful" setting
but creative industries often take a step towards thematically designed spaces as
means of integrating play. Contextual cues and playful props, such as games,
toys and casual furniture, can shift the atmosphere in a room and clue in an
employee that he can relax for some time (Carlsson et al., 2016).
Symbols of play serve as the obvious, visual cues in the environment but
may fail to form the desired effect. According to a case study conducted by Alha
& Kultima (2017), game development offices tend to use physical spaces as
tools and symbols of company culture, values, and branding. The goal is to
fashion enjoyable spaces as part of the motivation to come to work and increase
inspiration among the staff. An interesting note on this research, however, is
that some of these symbols turn into simply that: a symbol.
Initially, these symbols (e.g. hammocks, candy store, arcade) are often
welcomed by employees as it fosters a relaxed and playful environment.
Unfortunately, a tendency to disregard these objects starts to pervade employees
as the symbols become taunting reminders drawn from guilt: no one wants to
be the person in the hammock while everyone else works. Thematically
designed aesthetics prove to be more effective in this case as these merely
showcase a dedication to games instead of forcing “playful” activity (Detsaridis,
email interview, 2019).
Models for office play. In a case study research conducted by Alha & Kultima
(2017), four strategies were identified for office play: basic office play,
collaborative decorative play, brand play, and gamifying through player
metrics.
Basic office play involves socialization and interaction among
employees (active play) through toys, games, and unconventional furniture.
General decoration serves as instruments in cultivating a playful work
environment but play itself is brought forth by employees connecting.

Similar to the basic office play, socialization can be pushed further into
designing interiors with fantastical décor (e.g., life-sized plush toys, forest-like
designs, murals) through collaborative decorative play. This model requires
spontaneous teamwork wherein the staff are given opportunities to personalize
the spaces in the office.
Brand play is a typical aspect in any office setting, a means of
showcasing company products, artworks, and merchandise from released
games. This is in line with company identity and their sense of pride in their
creations.
Invitations of play are present in gamifying through player metrics,
similar with collaborative decorative play. The playful elements produce
differing dynamics and impact in creative work, thus providing a scale that can
be altered to improve the setting according to their desired result, such as
increased productivity, innovation, etc.
These four strategies create a simple category for companies to model
their playful office environment should they wish to incorporate it. All of the
listed categories can be observed in both formal and informal company types,
regardless of it being intentional or not. Since basic office play solely depends
on the employees’ behavior (e.g., inside jokes or stories), it can be concluded
that even the strictest companies have a type of “office play”. The rest of the
categories may rely on company culture and industry type for its
implementation although most of these are already being applied albeit in their
own ways. Collaborative decorative play and brand play would appear as the
most physically obvious implementation of “play” into the workplace. Both of

these have strong connotations towards the importance of individualism and
with the former strengthening the individual’s identity and the latter for the
company. Because of Alha & Kultima’s case study results, establishing both
collaborative decorative play and brand play alludes to their co-existence:
employees can personalize their own space without it being a threat to the
company’s brand and identity. In this case, the company’s brand may serve as
the overall theme of the building that houses several smaller identities that make
up the company itself.
Among the identified strategies, gamifying through player metrics is the
most vague and barely observed unless given frequent attention. It is more
experimental and intentional compared to the others as it may be used to achieve
a certain workplace trait. The idea behind gamification is that specific game
mechanics are used for non-games such as education, marketing and any other
field (Perron & Wolf, 2014). Since games are primarily user-based, more
consideration is placed on retaining the player’s attention to the game to avoid
boredom and encourage players to continue using the game. Gamification
would entail following such mechanics to incite concentration, innovation or
productivity in other areas such as office environments.
Play and Architecture
As previously discussed, playful aspects in design impact the psychological
state of users that can be manipulated according to the desired result. Another field that
showcases similar techniques in design is video games.

Exploring the video game design framework. The casual relationship
between video games and architecture is seen in the visual aesthetics of video
games. Literally speaking, it is the designing of cities, buildings, and worlds
inside the game world. Meanwhile, other accounts offer the use of human-
centric design principles that came from architecture, prioritizing user
experience, and satisfaction.
Tiemersma (2014), on the other hand, presents an inverted perspective:
using video game elements in improving architectural design. The framework
establishes the essential design considerations and elements that overlap
between video games and architecture: narratives, gameplay, and level design.
Narratives. Narrative pertains to the story elements incorporated within a
game. This helps in creating an immersive environment for the player to enjoy
and typically leads the path of the game itself. Interactive games are ideal as it
offers a more natural way of storytelling, giving the user the opportunity to react
accordingly. Thus, these stories represent the realities being provided in the
game world.
Narratives in architecture. Narrative has been acknowledged as an
integral element in architecture by notable architects such as Le
Corbusier and Kevin Lynch. This is because a story needs a narrator and
a reader the same way an architect needs a user (Psarra, 2019).
Lynch’s discussions of urban cities and can be considered as an
emergent narrative. He claimed that narratives in real life applications

are created by the users within a setting or a community but can be
enhanced through its environment, leaving space for users to produce
new dialogue (Coates, 2012; Tiemersma, 2014). In contrast to this, Le
Corbusier follows a more linear narrative since he believes architecture
is best experienced when moving from space to space in order to create
a mental map of the structure (Samuel, 2010; Tiemersma, 2014) which
establishes a clear chronological path.
Response of the people and how they interact with the
environment is also an effect of narratives (Psarra, 2019). The
interactivity and background present in narratives are intangible; these
are not aspects physical spaces can produce but rather cultivated among
the users in relation to its specific context. This is made evident in
thematical architecture such as churches; stories are reflected in visual
décor (e.g. paintings, statues) and the manner of which it is constructed
such as how the height of cathedrals often denotes a reach for the
heavens (Coates, 2012).
The four types of storytelling. Storytelling methods often vary
according to model and function, from story flow to world-making to
sensory mediums. In terms of video games, environmental storytelling
provides an elaborate viewpoint in the use of narratives (Jenkins, 2003;
Tiemersma, 2014).
Evocative spaces are the most easily identified storytelling as
they rely on themes and attractive designs to sell their stories. In this
case, users are given new experiences as the narrative is already
established and familiar, offering the exploration of the world or
expanded settings inside that story universe.
Enacted stories are stories that involve a linear sequence or
timeline and is propelled forward through movement in the space. This
type aims to motivate the user in securing a goal by getting to different
destinations, focusing on spatial exploration instead of plot
development.
Embedded narratives are similar to enacted stories as they both
make use of timelines and a direct sequence of events. Embedded
stories, however, involve internal stories within the main plot. This can
be found through clues inside the story world, allowing the user to
produce conclusions regarding potential plot developments (e.g.,
detective or mystery games).
Emergent narratives appear as the most challenging yet most
engaging story within game development since users are only given a
game world and mechanics, then are left to create their own stories.
Objects are designed to enhance interaction, conflict, and character
inside the space, guiding the user's actions while providing enough
freedom to choose their next move. Popular games that feature this
storytelling are Minecraft and The Sims.

Fig. 2.2. Diagram of the four types of environmental storytelling
Architectural storytelling. Although the four types of environmental
storytelling fit more in the context of interactive literature and video
games, they can be applied within architecture as well. Evocative spaces
are still the most familiar, often seen in amusement parks, specialized
concept stores, and theme parties. Creative offices are frequent users of
this storyline as well, integrating play and actual games into the design.
Enacted and embedded stories are observed in museums,
churches, and exhibition halls, indicating a linear pathway integrated
with narratives. This is done in the form of historical timelines or story
progressions, as seen in portraits and mosaics.
Emergent narratives offer the most exciting and engaging
application in architectural design. Multiple books and journals often
reference this concept to Kevin Lynch's urban design principles wherein
user interaction, and personal meanings drive the importance of a space.
Integration of emergence into a working environment would be limited
as options for customization and exploration are not primary
considerations in offices. However, the ability to choose and personalize

one's space can still be offered through modular systems and interactive
furniture. In this way, users are again given free rein to interpret the
given space according to his comfort or needs.
Gameplay. Gameplay refers to the elements in a game that encourages
interaction. McKernan (2017) determines that core gameplays are typically
designed by the developer in an established path (canon action) but has no
absolute hold over actual player experience (periphery action). The game world
is produced with the base essentials from its narrative (e.g. setting, tasks,
characters) but is left with enough room for players to fill the direction and
atmosphere of the gameplay (McKernan, 2017). A formula for these models
was settled into four parts: clear goals, no distractions, direct feedback and a
continuous challenge (Schell, 2008; Tiemersma, 2014). This ensures that
players are entertained and stimulated in the gameplay.
Gameplay in architecture. According to Tiemersma (2014), gameplays
are difficult to translate into architecture as games primarily focus on
immersion and entertainment whereas architecture is more concerned
with the function of the structure. As for specific typologies, gameplay
application is strictly limited. A point of intersection, however, can be
observed through follies as these spaces provide boundaries for use but
still have open frameworks which users are free to interpret as they
please. Worldbuilding and purpose of the folly is given personal

definitions as part of the user’s play with options to change the
environment.
As for specific typologies, gameplay application is strictly
limited. Architecture in itself is too complex to be designed by a one-
size-fits all approach (McKernan, 2017), thus requiring proper
evaluation of the structure’s purpose and how user freedom fits into it.
Level design. Levels, stages, episodes—all these refer to the spatial design that
defines the gameplay (what will happen and where). Level design includes the
visuals, audio and layouts to be implemented, keeping similar guidelines to
architectural design (Perron & Wolf, 2014). In order to create immersive
environments, there must be consistency in the harmony between objects,
music, paths and game style.
The most important aspect in level design is the designation of
wayfinding (Tiemersma, 2014). Despite the complex worldbuilding, players
must be provided with easy navigational tools by methods of attraction (to
determine hierarchy of spaces) and identity (to give players a memorable
landmark within the setting). Unknown routes must be considered in order to
enhance game immersion, allowing players to discover and learn game elements
on their own (Tiemersma, 2014).
Level design in architecture. Circulation and flow within spaces is
already a major consideration in architectural design, parallel to video
games. Wayfinding, a familiar topic in the field of architecture, can be

sourced from Kevin Lynch’s principles in urban design. These
principles are easily integrated into level design, e.g. to create identities
per location, use landmarks as orientation cues, provide signs at decision
points, design clear paths and offer controlled options for exploration
(Folz, 1998; Tiemersma, 2014).
Conclusion. The similarities between architecture and video games are not
exact parallels but tend to overlap in various areas of design. As video games
focus more on user experience and the creation of engaging environments, these
aspects can serve to improve the spatial state of architecture.
Considering the narrative, gameplay, and level design of architecture
establishes a new technique in conceptualization. Modern offices and
workplaces have already taken steps in integrating playful elements to nurture
a comfortable and innovative atmosphere. Therefore, the integration of video
game elements could be another foothold in developing productive work
settings.
Design for the Future
In the advent of new discoveries and exploration of the world’s capabilities,
technology is more-or-less taken as the norm in our everyday lives. From social media
to transportation to home security, devices are being upgraded to create ease of living.
Over time, work is slowing being taken over by digital technology as well. Integrating
the newest tech is a must to keep up with the ever-evolving market and to keep the edge
in one’s favor. Industries strive to become competitive; it is no longer about who could
keep up but who could keep up the fastest (Balasubramanian et al., 2017). Market
competition is well known to boost the economy and serves a push to produce more
exciting content for user consumption, up until the point that technology becomes both
problem and solution. If one’s health degrades in pursuit of success, there is always
medical tech to make up for it. If social ties are in danger of being severed, there is
always virtual social reality to keep in touch. However, reliance on the technological
features would also mean consideration on the part of the creator to present the same
purpose technology is intended for: to create ease of living.
According to Abdul-Wahab (2011), both employed and non-employed live two-
thirds of their life indoors. This includes homes, schools, offices, malls, vehicles and
other structures. Due to the consistent exposure to indoor environments, the artificial
atmospheric conditions of the building must of maintaining good well-being of its users.
Buildings must be smart; it is a must to be responsive and updated to achieve the ever-
evolving needs of its users through which technology becomes an advantage. Over the
course of the chapter, discussions are provided in consideration of workplace quality
and sustaining the health of employees. However, steps must also be taken in not only
maintaining but also increasing the work quality of individuals. In the project’s case,
opportunities for game developers to improve their skills and learn new techniques is
necessary to secure their position in the competitive market without sacrificing their
well-being in the process.
Digital technology. With the craft continually grasping for incentives in
producing unique and engaging gameplays, new equipment and software have
been introduced to further push progress in the creative field. Immersive and
interactive displays have become the latest trend to upgrade user experience in
the virtual world.
As early as the 1960s, the concept of computer-generated artificial
realities have been tossed about, a series of progressions that eventually landed
on the tech available today.
Realities of the digital environment. Virtual Reality (VR) is an artificial,
digitally created environment parallel to the real world, allowing users
to interact within the virtual environment presented (Lanier, 2017). The
two types of headsets in VR involve ones that require a connection to
PC, and the other is a standalone projected on smartphones. Augmented
Reality (AR) makes use of the real-world environment but is overlaid
with digital content; users can see into the environment but have no
means of interaction. AR tech offers a way to visually edit the existing
condition of the surroundings with supplemental digital objects (Mealy,
2018). Portable devices are the common access to this technology,
although some make use of smart glasses and headsets. Mixed Reality
(MR), also known as hybrid reality, is the combination of AR and VR.
Digital content is applied over real-world environments, and users can
interact with the produced environment. Due to its complex nature, this
technology requires either the use of holographic devices or immersive
headsets with non-translucent displays (Mealy, 2018).
Further research is still being undertaken to improve the current
state of digital realities and the manner they are used. Head-mounted
displays (HMDs) are the typical consumer base (Mealy, 2018), but some
companies have been looking into the creation of "smart glasses" as a
more portable and user-friendly device. VR tech is the most common
application in video games, featured by Google Daydream, Samsung
Gear VR, Oculus Rift, Windows Mixed Reality, and PlayStation VR.
According to Mealy (2018), sales on VR have reached millions, which
entail decent adoption rates but lack the massive rate observed by other
gaming systems. Although the immersive experience offers unique
gameplay and opens the field for innovation, it is not currently that big
of an influence on the gaming market audience. AR, on the other hand,
is much more accessible as it can be used on mobile devices without the
need for headsets. In 2017, Apple and Google released platforms which
enabled developers to write AR application for iOS and Android but still
lands in second place against the appeal of VR (Mealy, 2018).
Dozens of corporations are invested in the success of digital
realities, aiming to develop the technology into a hit for mass
consumption not only in video games but in other fields as well. Even
Mark Zuckerberg, CEO of Facebook, had announced his goal of “getting
one billion people into virtual reality” (Mealy, 2018).
Devices for interaction and innovation. Outside of virtual reality,
technology has already been utilized as tools for collaboration,
communication, research, production and display (Wagner & Watch,
2017). In the field of design, the recent device aiding production are 3D
printers. Wagner & Watch (2017) had called it the “silver bullet” behind
innovations as they serve as research tools that allow its creator to easily
manipulate, assemble, disassemble and assess the product in a physical
manner without disrupting the existing set-up. Although similar in
function to virtual reality settings, 3D printers are able to replicate
objects in the real world, enabling physical handling.
Fig. 2.3. 3D printed shoe

Reprinted from “Electric Light Shoe by Freedom of Creation,” by Etherington, R. (2008).
Retrieved from https://www.dezeen.com/2008/01/17/electric-light-shoe-by-freedom-of-
creation/
The application of virtual reality also manifests as in-situ
visualization which creates lifelike simulations without involving the
use of resources in experimentation. Aside from this, interactive LED
video walls, digital whiteboards, interactive screens and tables. The
overall advantage such tech provides is the minimal storage and
resources being consumed to produce the same results, or in most cases,
more accurate and tested products. Additionally, current advancements
in technology have been geared towards smaller, more energy efficient
devices that allows easy portability. Some argue that reliance on
technology greatly harms our ability to connect and communicate in
face-to-face settings, opting for digital use instead. Wagner & Watch
(2017), however, countered this point. Their argument insisted that
technology is necessary for connection between individuals, especially
in cases of far distances and circumstances, but places greater emphasis
on the need for spaces to meet. Collaborative work is best and easiest
done through face-to-face meetings (Orel, 2019) which is a different
experience all together if done with phones and other devices. With that
said, digital technology does not reduce existing human conditions but
becomes a supporting agent that upholds the quality of working
situations leading to innovation.
Fig. 2.4. Interactive table

Reprinted from “Innovation Spaces: The New Design of Work,” by Wagner, J. & Watch,
D. (2017). Retrieved from https://www.brookings.edu/wp-
content/uploads/2017/04/cs_20170404_innovation_spaces_pdf.pdf
Alleviating the sick building syndrome. Airborne contaminants and mold
growth are the most common identified physical constituents of the SBS
syndrome, excluding the poor quality of the indoor environment relating to
ventilation, temperature, acoustics and the like (Goldstein, 2014). Modern
offices have taken steps in alleviating these symptoms as evident by the latest
trends and features continuously being optimized with each passing year. While
preferences for outdoor spaces and natural ventilation do improve overall
morale and inspire employees during work, other the other physical factors
regulating the SBS syndrome are not completely diminished. The issues
presented are still prevalent in workplaces if not designed properly, and no
amount of additional amenities can fix this. In line with the advancement of
technology and the advocacy for smart buildings, solutions may be found in
integrating digital innovations outside of being tools in production.
Controlling privacy. One of the popular innovations is the use of smart
glass. Gomes & Preto (2018) listed different applications for smart glass
from liquid crystal glass to low-e glass to thermochromics. From the
following options indicated, liquid crystal glass is commonly used in
achieving privacy. The two sheets of clear glass is filled with liquid
crystal film in between which turns translucent to opaque (and vice
versa) with a click of a button (Gomes & Preto, 2018). This is particular
glass is helpful in ensuring flexibility of work confidentiality, presenting
a way to control the desired level of privacy of a specific room at a
specific time.
Fig. 2.5. Comparison of activated and inactivated liquid crystal glass

Reprinted from “Smart Glass With PDLC: Frequently Asked Questions,” by Gauzy. (2019).
Rerieved from Gauzy: https://www.gauzy.com/smart-glass-with-pdlc-frequently-asked-
questions/
Regulating necessary and preferred temperatures. The application of
smart glass is not the only way of permitting control over preferences in
one’s immediate surroundings. Lack of temperature control was
identified as an irritant among employees with warm discomfort being
detrimental to overall performance and motivation (Clements-Croome,
2018). Airconditioning systems are often centralized in office settings
which prevents personal control over the temperature in one’s
workspace, with only a published standard degree of comfort to be
followed (Abdul-Wahab, 2011). Due to this problem, various methods
of self-regulating temperature devices are produced and marketed to the
public.
A common solution that may be presented are air conditioning
systems such as the Variable Refrigerant Flow (VRF) HVAC system.
This type of unit has been considered as a “sophisticated technology” as
it has more flexible properties than those of typical units. According to
CoolAutomation (2019), the VRF System’s structure consists of an
outdoor unit, indoor units, refrigerant piping and communication wiring.
What makes this system efficient is its ability to individually control
each indoor unit from a central location with only one outdoor unit,
eliminating various other factors that complicate its function. Not to
mention, its ductless application offers a more modular and easier
approach in installation since it becomes a sort of plug-and-play system
that does not disrupt the existing structure of a building (LG HVAC
Story, 2017).
Fig. 2.6. Diagram of VRF HVAC System structure

Rerieved from https://coolautomation.com/blog/vrv-or-vrf/ rature-16484838/
Additionally, this system appears as a convenient setup to
accommodate the various temperature settings necessary for offices and
the building’s equipment maintenance. Particularly for Main
Distribution Frames (MDF) and Intermediate Distribution Frames
(IDF), temperature must be maintained between 17.78°C to 23.89°C
with humidity ranging only from 30% to 50% (DPWH, 2017). These
equipment rooms and telecommunications form the heart of the data
center for structures in technological sectors, especially those for
offices. In the DPWH Department Order No. OS, Series of 2017, MDF
and IDF rooms are specified to have no exterior windows, no false
ceilings and must be located away from devices that may cause
electromagnetic interference (e.g. transformers, motors, elevators).
Considering energy efficiency. With consideration of all innovations
previously discussed, the use of digital technology certainly has

drawbacks in power consumption. Especially in the case of game
development wherein computers and laptops are the most important
tools in production, such proposals that combine their necessary
equipment with innovative tech would entail massive use of electricity.
Fortunately, the UNNC is not the only research team being involved in
manufacturing efficient materials. Engineers from the University of
California developed a device that converts waste-heat energy below
100 degrees Celsius, also known as low-quality waste heat, into energy.
Pyroelectric energy conversion is the base phenomenon used in
developing the device and was described to work in the same manner
engines power a car without any moving parts involved (Pandya, et. al.,
2018). The thin-film system of the device may be attached to high-speed
electronics to harvest waste heat but is still in the development process
to further expand the reach of the product.
Other methods are available to provide supporting sustainable
energy sources but to maximize the available resources in a game
development based co-working hub, thermoelectricity seems as the most
appropriate solution. Similar studies conducted by researchers from
Stanford University show that thermoelectric circuits may be
manufactured to transform excess heat from computers into electricity.
Unlike the thin-film system of the University of California research
team, these materials are studied as carbon nanotubes (a sheet of carbon
atoms rolled like a tube) mixed with resisting molecules to slow heat
flow and enhance the thermoelectric effect (Kodama, 2017). These can
be structured into enhanced thermoelectric generators which can further
amplify developing research into heat recovery.
Conclusion
Modern offices and workplaces have evolved continually in the 21st century,
integrating new approaches to design and company culture to keep up with the changing
needs of working individuals. This is made possible with the constant evolution of
technology as the decades' pass, and we find ourselves at another tipping point into
innovation.
Despite the technological breakthroughs, the simple and traditional technique
of integrating play into workplaces is determined to be an effective form of enhancing
user satisfaction, productivity, and well-being. Tiemersma (2014) offers that the study
of video game application into architectural spaces can further improve the manner of
designing structures. The overlap between games and architecture can be utilized in
producing engaging spaces. With current trends focusing on employee experience, a
comfortable yet stimulating environment can be further improved with the use of
technological innovations.
Chapter III
Research Methodology
Research Design
Due to the study's focus on identifying efficient design for workplaces,
qualitative strategies have been identified to be the best fit for data collection. User
experience and preferences in the built environment will be the priority of the study,
supported by case studies of tried-and-true approaches in the context of game
development companies. Therefore, the first half of the research will comprise of
information retrieved from existing accounts as well as published materials while the
second half will rely on the researcher’s primary sources.
Descriptive research. Given that the needed information follows the specific
characteristics in creative industries, a descriptive research method will be
utilized in order to determine the patterns and behaviors of game developers
inside workspaces. Descriptive research methods rely primarily on observations
to examine and establish the current norms of certain situations (Walliman,
2011). This is particularly useful in identifying the preferences of game
developers during both their working times and off times as well as the problems
to be addressed in modern working environments.
Archival research. To supplement the descriptive approach, an archival
research will be conducted. These entails the collection of public
documents, academic journals, and previous research regarding the topic

to form a conclusion (Groat & Wang, 2013). The archives will become
the foundation of facts on which the proper planning of offices will
follow, including provided standards and guidelines of design.
Case studies. The addition of case studies into the research will serve as
verification of the norms in creative industries regarding office design.
According to Groat & Wang (2013), a case study is defined as an
“empirical inquiry that investigates a phenomenon or setting.” This
allows multiple reviews of a single setting to generalize a theory,
enabling the researcher to measure different approaches in design that is
the most appropriate in terms of user experience, sustainability, and
cultural context.
Structured questionnaire-based interviews. Interviews will form the
researcher’s primary source of data as these will establish the trends and
general conditions which can be cross-examined between multiple
firsthand accounts (Lucas, 2016). The flow of the interview will be pre-
determined by a list of questions and the insights gathered be will used
to explore the missing links of the research that is specific to the
relationship between workspaces and the game development process.
Analysis of the data gathered from interviews will have the most
significant impact on the project's design process as this will serve as the
basis for the target users' specific needs and preferences according to the
project's goal: improving workplace efficiency.

Sampling Design
Case studies. Both local and international video game development offices will
be studied in a purposive sample to discover efficient patterns in design. Groat
& Wang (2013) defines purposive samples as a nonrealistic research method
wherein the goal of the research is to determine “patterns of information about
particular groups” instead of establishing a general notion in a large population.
As such, case studies of notable game development companies will be featured
to pinpoint strategies used in their offices.
Structured questionnaire-based interviews. Professional video game
developers who are either the founders or heads of the indie game team will be
interviewed, serving as the representatives for their team. The following game
development companies will be interviewed according to purposive sampling
design, similar to that of the case studies. This method is included to fill in the
gaps left by the archival research and case studies.
Research Instruments
Library books. Books borrowed from UST’s Miguel de Benavides Library will
procure information regarding game development as well as architectural books
on efficient office design.
Online documents. These are the articles, journals, and case studies found on
the Web revolving around current issues on game development, coworking
spaces, and game studios.

Government files. This involves the Quezon City Comprehensive Land Use
Plan, city maps, city ordinances, and national codes that apply to the project.
The following data will serve as the guidelines of the project in its specific site
context.
Questionnaires. A list of questions to be given during interviews. Some are
modified to fit the company type and background of the interviewee, including
spontaneous follow-up questions that may branch out from the interviewee’s
answers.
Procedures for Data Gathering
Archival research. Books, journals, articles, and research work on game
development, game theory, and office settings will be collected from online
sources and the library. This will form the basis of the project's material,
determining the existing issues, trends, and future models of the proposed
structure as well as the current condition of the games industry.
Case studies. Data on game studios will be taken from existing studies, articles
and descriptions of their office space. Working hand in hand with archival
research, case studies will be organized to identify established design patterns,
playful spaces and typical working conditions for game studios (Yin, 2018).
Structured questionnaire-based interviews. Interviews will be conducted to
discuss the interviewee's personal experiences and insights regarding their tasks
and work environment. Online platforms such as email and Skype will be used
when it is more convenient for the interviewees.
Treatment of Data
Archival research. The research produced will be concluded to form an
analysis of the ideal work environment, building a majority of the written
research work. This includes the established models in office design, existing
concerns and future innovations that can be applied to improve the design of
workplaces further. Articles, journals, and books regarding the subject matter
will be examined and compiled into a coherent flow of discussion.
The current conditions of the proposed structure will be explored as
well, indicating the considerations of its specific site context as mandated by
the City. This takes into account provisions for sustainability with particular
attention for energy consumption to diminish the carbon footprint created by a
structure heavily relying on technological devices to function.
Case studies. As part of the descriptive approach in research, case studies will
be analyzed according to the intended effect as provided by the articles’
description and the researcher’s own observations from the material with
consideration of the results from the conducted interviews. The acquired data
will be cross-examined across a variety of sources to determine the appropriate
approaches and designs. In considering international projects, the range of

available data is widened and integrates a larger user base when it comes to
generalizing preferences instead of merely relying on local strategies.
Structured questionnaire-based interviews. Information from interviews will
serve as the foundation of a game developer’s experience and insights inside his
workplace. This will support the literary research conducted and will provide
the primary considerations of the target clients. Analysis of the interviews will
be used to cross-examine the information gathered from case studies and the
archives to conclude the appropriate design strategies, approaches and
appropriate playful spaces in construing efficiency in workplaces.

Chapter IV
Site Selection
Site Criteria
General criteria. The general criteria involve requirements to be used in
determining site quality. They pertain to the typical fundamentals in planning
and design. A total of 25% is assigned to the general criteria, containing the
following:
Accessibility (5%). The site must be readily accessible through various
modes of transportation. It should have at least one connection to a major
road and must not be difficult for pedestrians and cyclists to enter.
Site utilities (5%). Availability and proximity of utility outlets such as
electricity, water and communications must be given proper
consideration to ensure the efficiency of the building.
Land use and zoning (5%). City guidelines and requirements must be
followed, with special consideration for zoning ordinances as not to
disturb the nurtured environment of the city.
Safety (5%). Location must be nearby barangay outpost, police stations,
fire departments, etc. to assure quick response time in cases of
emergency.
Flexibility (5%). The site must have enough room to accommodate
future expansion and/or activities which require great outdoor spaces. It
must be able to adapt to the needs of both the individual and the
structure.
Specific criteria. The specific criteria entail essential factors to be examined
which are unique and personal to the project. These are the major considerations
in site selection, forming a total of 75% of the scoring.
Location in creative sectors (15%). The site must be easily identified as
a setting for entertainment, technology and the arts in order to attract
users into the project.
Visibility (15%). Position of the land must be visible from the business
center to promote a sense of place and identity for the project as well as
encourage public interest.
Adjacency to commercial areas (15%). Social engagements must be
open for the community in order to foster interaction between working
individuals and the public. Access to food and entertainment will make
the site an ideal spot.

Sustainability (15%). Provisions for sustainability and energy efficient
solutions is a major concern of the project thus the site must have proper
access and space to optimize the site environment.
Sceneries (15%). The psychology aspects of the project entail sufficient
means to outdoor spaces and sceneries as an approach to boost health
and comfort in a working environment.
Site Selection
A. Barangay 668, Manila. As the capital of the Philippines, Manila City is
home to the country’s economic, political, social and cultural endeavors
(Fernandez, 2019) and is known as the center of learning as most universities
are located within its boundaries.
The site itself is approximately
3,287 square meters, bounded by
roads on all four sides (two major
roads and two minor). Nearby
buildings include government
offices, hotels, mixed-use
buildings, and a police station.

Fig. 4.1. Site A in Brgy. 668 along Roxas Boulevard
Retrieved from Google Maps (2019)
B. Cubao, Quezon City. The presence of famous commercial structures such
as the Araneta Center, Gateway Mall, and Farmer's Plaza together with various
transport terminals determines Cubao as a prominent node in the city.
The site is approximately 9, 294
square meters and is only
accessible from Aurora Blvd. It
sits nearby three bus terminals, the
Araneta Center-Cubao Station
and the Technological Institute of
the Philippines.
Fig. 4.2. Site B in Cubao along Aurora Boulevard

C. Bagumbayan, Quezon City. The growth of Eastwood City has attracted the
public to Bagumbayan as commercial spaces, offices and residential
skyscrapers fill the area. However, the majority of primary transportation modes
are in Cubao, wherein fx and jeepneys are taken to reach Bagumbayan itself
afterward.
At 2,690 square meters, it is
bounded by a minor road and a
major road and is right beside the
barangay hall. Nearby structures
include residential homes, small
commercial stores, and a Libis-
Cubao jeep terminal.

Fig. 4.3. Site C in Bagumbayan near the C-5 flyover.
Table 4.1. Site selection results
General Criteria Percentage Site A Site B Site C
Accessibility 5 4 5 3
Site utilities 5 3 3 3
Land use and zoning 5 5 5 5
Safety 5 5 5 5
Flexibility 5 5 5 4
Subtotal 22 23 20
Specific Criteria Percentage Site A Site B Site C
Location in creative sectors 15 14 15 15
Visibility 15 13 14 12
Adjacency to commercial areas 15 13 15 13
Sustainability 15 13 14 12
Sceneries 15 14 13 10
Subtotal 67 71 62
TOTAL 89 94 82
Site Justification
General criteria. In comparing the three site options, Manila and Quezon City
were chosen for their accessibility through various modes of transportation. On
evaluation, Cubao appears as the most accessible due to the presence of bus
terminals and LRT stations adjacent to the site. Additionally, Site B has the
largest lot size, which gives the project much needed open, breathing spaces.
Specific criteria. Both cities’ culture was greatly considered and with Quezon
City being the "Entertainment Capital of the Philippines" (Quezon City Local
Government Website, 2019), a game development hub fits in more with their
identity than Manila. The site itself is located along a major road which
enhances its visibility and is surrounded by small food establishments.
Macro Site Profile
Quezon City is known to be the home of various small to medium-scale business
establishments and is labeled by the city government as the Center of Media Operations.
This is due to the majority of the country's broadcasting networks and communication
systems located in the City (Quezon City Local Government Website, 2019). Due to its
location, the City serves as a convergence point of the surrounding cities, which makes
it a node for transportation and distribution (Macusi, 2014).
The grooming of a capital city. In 1939, Former President Manuel Quezon
approved the bill, which established the boundaries of Quezon City. Ten years
later, it would be formally inaugurated as the national capital of the Philippines.

Various proposals were produced, from urban planning to general development
plans and improvements in the City. However, the City lost its status in 1976
when Former President Ferdinand Marcos bestowed the title to Manila. Despite
this, the City still aims to provide its citizens with the same quality of life
regardless of label.
The city’s commitment. Quezon City prides itself as a catalyst for economic
growth, whereby pledging its duty to continuous development as seen in its
mission and vision.
Mission. “To provide quality service which will make Quezon City an
ideal community where people live, work and do business in a
hospitable, progressive & peaceful environment.”
Vision. “The Quezon City Government envisions itself to be a model of
effective governance and responsible leadership, working in partnership
with the citizenry in building a Quality Community.”
Demographics. According to the 2010 census of the Philippine Statistics
Authority, Quezon City ranked first as the highest population in the country
with a sum of 2,761,720. This comprises approximately one-fourth of Metro
Manila's total population.
Out of that population figure, it is estimated that 1,348,546 are part of
the labor force population while the rest is formed by housewives, students,
retirees, and PWDs. From this figure, the NSO's Integrated Survey of
Households in 2013 were able to deduce the top five industries with the highest
employment: (1) wholesale and retail at 24.4%, (2) manufacturing sector at
10.4%, (3) construction industries at 9.1%, (4) administrative and support
services at 8.4%, and (5) accommodation and food services at 8.2%.
Table 4.2. Top 5 employment rates in Quezon City.
Industry profile. Given the strategic location of the city, it is often identified
as an ideal destination for tourism and business. The Quezon City Local
Government website lists five of the city's popular sectors they capitalize on as
part of their powerful growth engine.
Wellness center. With the presence of multiple medical institutions,
Quezon City has gained a reputation for its internationally renowned
specialty hospitals as a wellness capital of the Philippines. These
institutions are often known for modern and innovative developments in
the medical field, resulting in a medical tourism industry. Aside from

hospitals, several health spas, rehabilitation centers, nursing homes,
dental health, and beauty clinics make up the rest of the spectrum.
Information and communications technology. The City currently has
the highest concentration of IT parks and economic zones, contributing
to the growth of Business Process Outsourcing call center industries, IT
infrastructure, and educational programs. A Science and Technology
Park can even be found along Commonwealth Avenue, nicknamed as
the "Silicon Valley" in the Philippines. The abundance of ICT projects
serves as a magnet to attract local and foreign investors, boosting
tourism and the e-commerce system.
Entertainment and recreational center. As previously stated, Quezon
City earns its label as a Center of Media Operations due to the television
and radio stations found within its boundaries. The dense cluster of the
city is also filled with multiple shopping malls and commercial
complexes.
National government center. Because of its early identity as the nation's
capital, many of the principal government offices are located in the city
such as the Batasang Pambansa, the Sandigang Bayan, Civil Service
Commission, Office of the Ombudsman, Department of Natural
Resources (DENR), Department of Agriculture (DA), Department of
Agrarian Reform (DAR) and Bureau of Internal Revenue (BIR).

Educational center. Quezon City houses numerous learning institutions
such as the well-known universities, the University of the Philippines
and Ateneo de Manila University. The City is also known to restore and
preserve historical landmarks and artifacts, combined with tourism-
oriented facilities.
Physical profile of the city. The City is located in the northeast part of Metro
Manila, bounded by multiple cities with the Novaliches Watershed in its
northeast and the Marikina River in its east. It is the largest city in the region,
accumulating an area of 16, 112 hectares.
Topography. Quezon City is comprised of alternating ridges and
lowlands as it is located on the Guadalupe Plateau. It has a low-grade
terrain in its south but undulates to the north where the Novaliches
Reservoir and La Mesa Dam is found.
Fig. 4.4. Quezon City elevation map

Retrieved from the Quezon City Comprehensive Land Use Plan 2011-2030
The Quezon City Comprehensive Land Use Plan 2011-2030
provided an elevation map of the city with the lowest at two (2) meters
and the highest at 232 meters. According to an online, global
topographic map, the specific site is raised 44 meters above sea level.
Land use and zoning.
Fig. 4.5. Quezon City zoning map

Retrieved from the Quezon City website (2016)
The City is dominated by residential, commercial, and
institutional zones. There are areas denoted for Special Urban
Development use, some of which are inside institutional sectors such as
the UP TechnoHub and QC Central Business District in East and North

Triangles. Parks and open spaces are allocated 16.25% of the City's land
area, with 14% dedicated to the La Mesa Dam Reservoir. This site itself
falls inside the boundary of the C-3 Metropolitan Commercial Zone.
Hazards.
Fig. 4.6. Hazard map with fault line

Fig. 4.7. Hazard map with flooded areas

The West Valley Fault passes through the edges of Quezon City, striking
Barangays Bagumbayan, St. Ignatius, Ugong Norte, Bagong Silangan, and
Batasan Hills as well as residents in Green Meadows, Blue Ridge, White Plains,
and Eastwood City. In terms of flooding, only a few areas are affected– portions
along the San Juan River and Culiat Creek.

Infrastructure and utilities.
Road networks. Quezon City's CLUP 2011-2030 provided the
circulation paths for both public and private transportation, as outlined
in Fig. 4.8, and Fig. 4.9. The City is well dissected with roads, making
it easy to travel from area to area with multiple alternative routes to
choose from. Jeepneys and buses are observed to take the primary roads
with some secondary roads taken by jeepneys as well.
Due to the increase of vehicles on the streets, even the major
roads of the city are proving to be insufficient in accommodating its
density, leading to traffic congestion particularly along North Avenue,
Commonwealth Avenue, Visayas Avenue, EDSA, Quirino Highway, A.
Bonifacio Avenue, Aurora Blvd and P. Tuazon Blvd (QC CLUP 2011-
2030). Proposals for road widening is said to be prepared to solve this
problem (see Chapter VI, table 6.1).
Fig. 4.8. Existing road network of Quezon City

Fig. 4.9. Existing transport map of Quezon City

Water supply and sanitation. The City’s main water supply is provided
by two entities: the Maynilad Water Services, Inc. for the northern and
western portion and the Manila Water Company, Inc. for the south and
east. The La Mesa Watershed maintains a large reservoir in the
uppermost area of the City.
The sewerage system requires individual septic tanks and
sewage treatment plants per site as dictated in the Quezon City Green
Building Ordinance of 2009. Only the older residential communities
retain community sewer treatment plants (QC CLUP 2011-2030).

Fig. 4.10. Water supply connection of Quezon City

Power supply. Electricity is distributed within the City by MERALCO,
with three power transmission lines ending at Balintawak and Galas
(two from north Luzon and one from south Luzon). There are currently
twelve MERALCO sub-stations inside the City (QC CLUP 2011-2030).
Fig. 4.11. Power transmission lines in Quezon City

Micro Site Profile
Among the growth centers of Quezon City, Cubao covers the city’s first central
business district (Quezon City Local Government Website, 2019) and contains the
central terminal of most bus transport systems. All of the advantages in the area merely
boils down to ease of access, city identity as a technological sector, and proximity to
various commercial spaces, which are the primary considerations in site selection.
Fig. 4.12. Established growth centers in Quezon City

Technical description. The site is approximately 9, 294 square meters, walled
along its perimeter. The Aurora Blvd. is its only access road as it is bounded by
commercial spaces on its east and west with a residential village to its south.
Fig. 4.13. Wall and entry from site frontage

Fig. 4.14. Site dimensions

Adjacent structures.
Fig. 4.15. Adjacent structures to the site
The site is displayed with a maroon color on the map and can be observed to be
situated among a cluster of commercial and residential zones. This is due to the
City's promotion of mixed-use buildings, primarily mixing homes with small

storefronts, offices, and cafeterias. It is relatively quiet within the area, even
with the Technological Institute of the Philippines right at 20th Avenue, and the
only consistent noise to be heard comes from the passing of vehicles and buses
towards their designated terminals.
The primary commercial nodes of the district are found approximately
one (1) kilometer away: the Araneta Center, Farmers' Market, Ali Mall, and SM
Supermarket. Proximity to the site ensures its peaceful surroundings as
necessary for office settings while having the option to leave and go to the more
prominent commercial structures if desired.
Table 4. 3. S.W.O.T. analysis.
Strengths Opportunities
1. Based on observation, the site is 1. The site’s surroundings will be
located in the midst of residential relatively quiet and free from
homes and small commercial intrusive noise, excluding the
establishments which diminishes occasional buzz of daily traffic,
the potential of disruptive which makes it an ideal working
activities; location;
2. According to the City’s zoning 2. Proximity to bus terminals and
map, multiple terminals of LRT stations, with jeepneys and
transportation are located nearby tricycles as well, increases the
the site; site’s accessibility from both
inside and outside the City;

3. The City’s CLUP aims to 3. The district’s lively image
maintain the vicinity’s identity attracts potential users towards
as a business district which the area seeing as it can readily
indicates the continuous addition provide any necessity from
of more commercial facilities homes, work and recreation;
such as shopping stores, offices
and recreational structures;
Weaknesses Threats
1. Based on Google Maps, the site’s 1. The entry and exit points of the
only entry and exits points will site has the potential to lead to
come from Aurora Boulevard; traffic congestion especially
2. A small residential village can be since Aurora Blvd. is a major
observed directly located in the road in the City;
southern side of the site; 2. Due to the site’s proximity to a
3. According to the City’s CLUP residential village, the allocated
hazard map and Geoportal activities of the project in its
Philippines, the West Valley south must not cause too much
Fault line breaches through noise to avoid disturbing the
eastern edge of the City which is residents;
approximately 3 kilometers away 3. Earthquakes will be felt through
from the site. the site and must be given proper
consideration to mitigate its
effects.
Conclusion
Considering the project’s typology as a co-working hub, the biggest factors
affecting its success would be its accessibility and identity. Multiple co-working hubs
are present in various cities, all of which can provide ample space and amenities needed
for a working nomad or simple group meetings for students and professionals. Since
the proposal aims to cater game developers, certain features must be present to assure
its potential in attracting the target user base. From the provided specific criteria, its
location in creative sectors would be the most fundamental consideration in choosing
the site since game developers who wish to find their preferred working space would
look for hubs located in areas that have a good reputation for their field. Creative cities
often attract creative persons as it would appear as a place for them to meet like-minded
individuals and hopefully, have their talent recognized by others. As Quezon City
labelled itself as a Center of Media Operations, it already offers an identity that theirs
is a city that creative individuals root their careers in. Adding this with Cubao being
known as a central business district makes the area a convenient site to erect a co-
working hub for game development as it could benefit from the district’s natural magnet
for users to gravitate towards.
With regards to the chosen site, it appears as the most beneficial as it is nearby
popular commercial areas and a university. This not only increases its visibility but also
maximizes engagement, allowing students to use the structure if they need to. Although
the concentration of commercial areas are mostly found to its west which puts it at a
slight disadvantage. There could be lesser chances of the structure being discovered by
people travelling from the west since they would stop right at the commercial cluster
instead of passing by. This, however, does not mean that the site’s visibility is greatly
diminished since people travelling from the east or those travelling past the area towards
the east would still be able to see the building. A co-working hub would benefit more
if it was surrounded by nodes on both sides to ensure its visibility but in this case, it
also serves as an advantage. Aside from the university, residential homes and
condominiums are the notable structures near the site. The lack of constant public
engagement becomes an asset in cultivating a quiet and peaceful environment for work.
This becomes an appropriate balance for any working individual; a quiet building to do
one’s work with minimal outside distractions but is conveniently close to malls, markets
and transportation terminals if one needs it.

Chapter V
Project Profile and Analysis
Project Overview
Office workplaces. An office is defined as a “collection of room wherein work
is performed by an employee for an employer” (Heathfield, 2019). It is the
“living space” of sorts for the individual during his working hours. Every office
is styled thematically, according to company product and service, which would
make almost every office unique. However, these spaces can be classified into
three differing types (Day, 2019).
Class A offices offer the highest quality spaces, fitted with premier
amenities, facilities, and equipment. They often have vast spaces such as large
lobbies and high ceilings, possessing eye-catching presences in business
districts. Meanwhile, Class B offices make up the average to above-average
bracket. Although they are not as luxurious as Class A types, they are considered
as nice "decent" spaces with complete facilities. Lastly, Class C offices are
typically located in old buildings that may be subject to disrepair. They have the
lowest quality among the three with smaller spaces, although these buildings
can still be renovated into Class B types.
Collaborative spaces. Within the realm of the start-up community, three spaces
introduce a collaborative environment: co-working, incubator, and accelerator.
The three functions more or less in similar ways; work can be done in groups or
in private with break rooms to provide refuge against the stressful conditions of
the task. A splintered branch from the typical office, they first emerged in 2005
and had continuously grown into a global trend as businesses tend to take
advantage of them as means of acquiring equipment, space, and services that
they typically cannot afford to buy themselves. Periods of rent may be
indefinite; some cases may offer areas that can be secured per day or per year
depending on the lessor's terms.
These spaces often contain flexible office layouts, which are ideal for
small companies, startups, and freelancers. Not only does this provide them the
necessary facilities, social connections, and collaboration can be formed within
the confines of the structure (Squarefoot, n.d.). However, due to the neutrality
of collaborative spaces– an approach that allows them to cater to diverse
businesses and individuals– shared amenities only include meeting rooms,
working spaces, break areas, and other basic spaces.
Fig. 5.1. Types of collaborative workplaces

Reprinted from “A Study of the Co-Working Operating Model”, by Zhai, W. (2017).
The start-up incubator. According to Harris (2017), incubators are
focused on newly created businesses or those that are still in the
beginning stages. A more fitting term for these is the "start-up hub" as
incubators can even serve as business schools for tenants wherein

counseling and seed money are part of the hub's service. What makes
this collaborative space unique from the other two is the direct guidance
it offers, as well as the funding opportunity, in exchange for a "small
amount of equity" from the companies.
The accelerator. Accelerators are similar to incubators in the overlap of
the services they offer (business counsel and funding) but differ in the
stage wherein they accept companies. While incubators take in
businesses in the preliminary stage, accelerators only accept those that
have already been established (Harris, 2017). These spaces become a
tool in further developing companies, focusing on strategic
management, business operations, and branding.
Co-working spaces. Co-working is the most common among the three
and is the most accessible as its membership only provides facilities to
work in rather than business counseling. This has become the new
favored business model, catering to “individuals working independently
or collaboratively in shared office space” (Rouse, 2011). Users often
enter these spaces for the flexibility it offers and its access to a bigger
community of like-minded individuals (Harris, 2017). Lately, most co-
working spaces have become dedicated as “innovation hubs” since
tenants have the freedom and advantage to work among themselves as
they see fit or to collaborate and create new social connections.

Market Study
According to Newzoo (2017), the Philippines ranked as the 29th in the
worldwide revenue for game content, construing approximately 29.9 million
consumers. Throughout the years, the gig economy has been emerging into industries,
which leads to an increase in homegrown companies and startups every year, taking
advantage of the booming industry and opportunities in games (IBPAP, 2017).
The competition for flexibility. In an attempt to accommodate the wide variety
of users coming into coworking, most structure their spaces with neutrality as
they focus more on flexibility, comfort, and universal design. Such spaces are
usually fully-furnished with essential equipment and ready-to-use facilities
(Jiao, 2017), often featuring access to high-speed Internet and several
workstations that make up the significant considerations of most tenants.
The current challenge in this relies on the creativity, and new concepts
a co-working space can provide that may distinguish itself among the multiple
structures offering the same services. Some spaces cultivate community
engagement through programs and events that help the tenants' business thrive
or gain connections, similar to that of the incubator or accelerator, but heavily
lean towards fostering good relations and bonds instead of business counsel.
Fig. 5.2. Standard services in a co-working space

Fig. 5.3. Standard membership plans

Demand for coworking spaces. Coworking has been an established global
trend as early as 2012. In Metro Manila, an impressive number of 110
coworking spaces have been documented as more companies embrace the
collaborative office model (Lamundi, 2019). Approximately fifteen (15) co-
working spaces are popularly known in Quezon City. Most of these are located
in Diliman with others stationed along Katipunan Avenue, E. Rodriguez Sr.
Avenue, Don Antonio Heights, New Manila, Project 8, and Bagumbayan.
The existing co-working spaces in Quezon City. A list of existing co-working
spaces within the City were compiled from various blogs and review articles to
determine the most popular structures available and those with the biggest
media coverage. A total of fifteen (15) structures were identified, with the
strongest concentration in Diliman.
In comparing the services provided by the structures, facilities and
amenities are more or less the same: hot desks, small group areas, private rooms
and meeting rooms are the basics together with unlimited, high-speed WiFi, free
coffee and water and a small lounge to relax or play in. Office supplies are
always on hand for any printing, scanning and photocopying needs. Some
spaces even conduct events in their space, from seminars to performances, as a
way of strengthening their bonds with the tenants. Almost all the spaces
embrace a home-like atmosphere and easy ambiance from the community
although a few tend to lean towards a business-like, professional approach such
as KMC Solutions and Paperwork Asia.
Co-working like Sales Rain, Bullish and The Owlery Work Hub provide
gaming areas with board games to relieve stress; the most unique of them in this
would be Agors Coworking Café who schedules trampoline days within a
month which is free for use to any tenant. Meanwhile, WIP Ph and Quad Study
and Coworking proposes a calmer alternative via napping nooks and beanbag
arrangements.
Among the list, Happy Hive appears to be the most community-centered
and accommodating to varying preferences as they make use of different seats
(e.g., ergonomic chairs to hammocks) and provide space for a library and bike
storage. The space is pet-friendly as well and have partnerships with small
businesses. It is important to note, however, that Happy Hive is an incubator
rather than a co-working as they offer services that help other individuals and
companies improve their business.
On the other end of the spectrum, KMC Solutions appear to be the space
for more formal businesses and medium sized companies as most of their rooms
can accommodate up to 400 persons. They even offer bars, rentable multi-
function rooms and halls for company training and interviews. Paperwork Asia
works the same way, with the addition of a library and customized modular
enclosed offices. These enclosed offices are known as “plug-and-play”
facilities. They are fully furnished rooms that can immediately be used upon
rent by any type of company. Sales Rain makes use of these facilities as well,
keeping three (3) fully furnished floor ready for use.
Although physically available, almost all of the spaces restrict use
according to opening hours. The common opening time is at 9 A.M. with the
earliest at 8 A.M. and the latest at 1 P.M. Closing time ranges wildly from 7
P.M. to 10 P.M. to 12 A.M. The latest closing time would be Quad Study and
Coworking’s 3 A.M. However, Sales Rain maintains a 24/7 operating hours for
its members but closes for visitors at 6 P.M. In a similar fashion, Greenlights
Coworking Space typically closes at 10 P.M. but allows students to stay until 2
A.M. for Thesis Night which they must book beforehand.

Keeping in mind all of the above information, it can be observed that
co-working spaces maintain their identity above the competition through the
provision of amenities catering to a wide range of interests. Libraries, gaming
lounges and napping nooks are only a few of the methods found in the listed
structures. Aside from this, special events are commonly used by the owners to
create an engaging community in their space that will entice tenants to return.
Lastly, operating hours of the structure counts a major consideration in choosing
a co-working space (Pineda, 2019) as longer hours means more time for
working on projects or studying for classes.
Client Profile
The games industry peaked in 2003 as the accumulation of game development
companies led to the establishment of the Philippine chapter of the Independent Game
Developers Association (IGDA), which was later replaced by the Game Developers
Association of the Philippines (GDAP) in 2007 (IBPAP, 2017).
The Game Developers Association of the Philippines. Abbreviated as the
GDAP, they are the association in charge of promoting and representing the
country's game development industry. Benefits of acquiring membership with
the GDAP range from training to promotional materials as they offer
workshops, seminars, and competitions regarding game design, game writing,
animation, audio engineering, programming, etc.
Aside from maintaining the country’s image as an ideal outsourcing
destination for game production, the GDAP’s focus has begun to shift towards
promoting itself as a hub for innovators. The association continuously push for
original, local content and extends resources in leveling the playing field for
startups (Outsource Accelerator, 2018). An example of this would be their
annual industry rewards ceremony entitled "Game On!" wherein multiple
categories are open for both students and professionals to enter. The event aims
to inspire game development and creativity as well as encouraging innovative
ideas within the industry.
GDAP mission, vision, and core values. With the association serving as the
lead union in game development, their mission states their commitment
“towards promoting the interests of the game development industry in the
Philippines” through the provision of game development services, including
research, training, promotions, government relations, etc.
This also manifests in their vision, intending to create and nurture the
growth of the Filipino game development industry that is "vibrant, dynamic and
prosperous." By providing a platform for members to collaborate and innovate
among each other, the project helps the organization achieve its vision.
The GDAP is devoted to the development of individuals and
organizations affiliated with game development and supports the gamers who
patronize the content. The following core values guide them: (1) responsible
leadership, (2) excellence and quality, and (3) integrity and honesty.
Organizational Chart of a Co-working Space
The typical co-working space is headed by a director or its owner, under which
subdivisions may be formed (see figure 5.1.). Full-time managers are assigned each
floor to assist the tenants whenever needed readily. They often act as mediators and
counselors during conflicts between users and are in charge of community
management, e.g., events and support programs (Harth et al., 2019). Housekeeping is a
must in every structure, ensuring the appropriate function and cleanliness of the spaces,
although users are encouraged, and sometimes mandated, to clean up after themselves.
Marketing and influencers help maintain the continuous addition of members,
especially in the promotion of the company brand but may an optional asset.
Directly under floor managers are IT personnel who are tasked with overseeing
the bills and invoices while HR handles the co-working space's employee payroll,
benefits, and relations (Wehive Business, 2018). Human resources deals with company
management and handles coordination between the differing division.
Smaller co-working spaces opt to hire one person to serve as the floor manager,
marketing, and IT. In these cases, an efficient software solution would be necessary to
help assist the employee in overseeing both logistics and community management of
the space.
Fig. 5.4. Basic organizational chart of a co-working space

Reprinted from “What's the best organisational structure of a coworking space with aggressive plans for growth?”,
by Wehive Business, (2018). Retrieved from https://www.quora.com/Whats-the-best-organisational-structure-of-a-
coworking-space-with-aggressive-plans-for-growth
User Profile
Primary users. The primary users comprise of the target indie game
developers but is not strictly limited to them. As a co-working space, the
structure maintains a flexible working environment which other individuals
such as students and entrepreneurs from other businesses can benefit from.
In the Ultimate Guide to Operating a Successful Coworking Space
(n.d.), Cooley lists three of the most common co-worker personas with their
corresponding needs.
The digital nomad. These are the individuals who move to different
cities due to their work and will most likely stay for short terms in a co-
working space before moving again. Due to the remote work, daily
memberships or “day passes” are what they prefer using. They will also
rarely have clients or visitors to drop by on them.
The work-from-home professional. Work-from-home professionals are
the most common type of indie game developer. In terms of other
businesses, they can be found in any place and are more stable tenants
than the digital nomad. These are working individuals who want to
segregate their home life and their work life, searching for a more
flexible environment that can offer them professional settings in case of
client meetings.
The entrepreneur. Similar to the work-from-home professional,
entrepreneurs seek a base to work in while managing their business.
These are typically the long-term members who often invest and
participate in the co-working community. The entrepreneur can be
compared to a start-up company in the sense that they will be planting
their roots in the co-working space and will most likely have frequent
guests and clients to bring over.
Secondary users. The administrative staff and supporting staff will be
considered as the secondary users. Their allocated space is the most private
section of the building as they oversee the whole operation of the offices. As
previously discussed, the administrative staff is often a small team of members
with overlapping roles. According to Coworking Resource (n.d.), a good co-
working space must pursue its community before its space. Therefore, the staff
must be well-integrated with the users of the project, entailing partial access
from tenants to the staff when necessary.
Sample User Activity Schedule
Since combi and flexi office layouts have more or less become the norm in
modern workspaces, the employee timetable has also shifted to accommodate a more
flexible schedule. Especially in the case of solo game developers, their time is solely
dependent on their own pacing and self-scheduling. However, some companies adapt
this indefinite timetable as well. This is the case of Gamesys Estonia; employees have
a flexible schedule and may come and go so long as they get the assigned job done by
the end of the day. Because of this, each individual may have inconsistent schedules
per day and may have differing working times with other employees. There are still
some activities which are required by the company at certain times during certain days
but aside from these, they do not practice the strict protocols of other corporate
companies.
To present a sample schedule of activities in a game development team, the
following tables provided disclose both the company’s and an employee’s personal
timetable in Gamesys Estonia.
Table 5. 1. Employee personal daily schedule.
Time Activity
9:00 AM Time in
12:00 NN Lunch
1:00 PM Return to work
5:00 PM Time out
Table 5. 2. Company weekly schedule.
Day Activity
Monday Regular working day
Tuesday Team meeting at 10:00AM
Wednesday Meeting at the headquarters at 3:00PM
Thursday Regular working day
Friday Regular working day
Table 5. 3. Company annual schedule with celebrations.
Month Activity
January Return from the holidays
February Celebration of Friendship Day on the 14th
March to April Regular working schedules
May Team building efforts
June to September Regular working schedules

October Halloween party the Friday before
November 1
November Regular working schedules
December Christmas party the Friday before the 25th
Legal Framework
The Constitution of the Republic of the Philippines. Section 10 of the
Constitution considers science and technology as essential aspects of the
country’s development and progress. Therefore, the State allots resources for
the “research and development, invention, innovation and their utilization” as
well as education and training under this sector. This supports “scientific and
technological capabilities” in the benefit and interest of the State.
Republic Act No. 10844. Under Section 3 of the Republic Act are terms defined
as included of the provision, one of which is the ICT-Enabled Services or the
ICT-ES Sector. This sector covers any and all services requiring the “intrinsic
use of Id’s”, ranging from architectural design to informatics service providers
to outsourcing such as game development.
Supporting the promotion of trade and investment in ICT-ES Sectors is
mandated under part IV of the Republic Act, in coordination with the
Department of Trade and Industry (DTI) and other relevant public and private
agencies. In line with this, partnerships among local and international ICT are
encouraged as means of enhancing the industry’s growth and cultivating
competitiveness of local enterprises in the global market.

Project Analysis
With the GDAP's aim for creating original content, innovations, and
development of Filipino creativity in the game development industry, indie game
developers and will be the project's public users to provide them the necessary facilities
in game development which may not be easily acquired on their own. Even national
codes mandate the continuous development of this sector, urging for innovation that
will help the State become globally competitive in every aspect dictated.
In comparing the three types of collaborative spaces, co-working and rentable
studios are best fitted to suit the needs of the identified target users. This office type
offers them the advantage of collaboration and social connections, which will help
acquire inspiration and feedback on their ideas. As previously discussed, community
culture remains as the top influencing factor in convincing members to stay in a co-
working space but the amenities provided are the main method of attraction. Several of
the existing co-working listed in the chapter had common services, therefore, they opted
to include additional quirky features that would make them stand out from the group.
Out of the fifteen, more than half included “fun” spaces for members to relax and play
in which follows the current trend of promoting wellness in work settings. Plug-and-
play type of offices are also a common occurrence and an ideal model for companies to
settle in as they can immediately set up and get to work. The formal setting of the layout
grants them an appropriate place to meet with clients as well as the privacy for their
team to operate without having to run into other tenants.
Given these features, competition is still a close match as co-working spaces are
forced to introduce unique concepts or better amenities. It then poses the ever-present
question: what does this co-working offer that others do not?

Conclusion
With regards to the given amenities above, these become the minimum spaces
co-working users may expect to find. Food and drinks are a must together with Wi-Fi
connections, game lounges and rentable meeting rooms. Napping spots are also a
necessary addition to the structure, allowing users to relax by sleeping. It is a feature
most will be able to appreciate especially for those who prefer to take power naps.
Just like any other working individual, deadlines are a typical occurrence and
there may be instances overtime work cannot be avoided. Co-working hubs are chosen
according to time availability as well; some users may need a place to work in late into
the night for rush works. Especially with such flexible timetables, some may have
unpredictable schedules that some co-working spaces cannot accommodate. Aside from
this, the structure is able to maximize its use and profit if it is opened 24 hours daily.
According to the gathered data, the latest closing time for co-working around the site is
at 3AM although Sales Rain operates 24/7. The timeframe would even be helpful for
students as well, in the cases they would need a place to cram their works before the
day of submission. This brings napping spots and sleeping pods from convenient to
valuable as members may opt to sleep overnight if necessary. A kitchen will be
available for members aside from food stocks in the allocated pantries, not to mention
small gyms and meditation rooms for recuperation. The previously discussed trends
will be developed in these amenities, fostering innovation and collaboration as well as
putting modularity into play. To be able to house the variety of team types and
individuals, multiple workspaces will be provided. These will include hot desk areas
for individuals, small group rooms and plug-and-play offices for those with larger
teams.
In order to properly secure and organize the user’s access in the structure,
memberships will dictate which amenities are available for them and the type of
working schedule they may want to avail. Working schedules may vary for monthly,
yearly or per day use, allowing digital nomads to only pay for day passes or for
entrepreneurs to nurture their start-ups for some months before moving. The most basic
amenities given for day passes would comprise of the minimum essentials in a co-
working e.g., dining area, pantries, sleeping pods. What higher memberships would
offer are bigger rooms, more privacy and in the cases of plug-and-play offices, their
own pantry and isolation spaces.
The painted picture of what the project will hold does not cover its target user
base; the discussion only provides what the proposal improves based on existing cases
but not what it offers that others do not have. Since game development is the main focus
of the project, spaces and equipment will be furnished for this field. This takes into
account the integration of play into work as well as the models for office play to enhance
inspiration and innovation among its users. The most essential facilities, however,
would be VR rooms, playtesting lounges, 3D printers and interactive screens. Game
development belongs to the technological sector; it is only fitting that its developers be
equipped with new technology that may help them advance their careers, develop their
skills and make new connections in the process.

Chapter VI
Technical Research Data Presentation
National Codes, Laws and City Ordinances
The following requirements were taken from the typical Philippine codes used
in architectural design: the National Building Code, the Fire Code of the Philippines,
and the Accessibility Code. Additionally, the Quezon City Comprehensive Zoning
Ordinance (2016), as well as the Green Building Ordinance (2009), will be included.
Quezon City Comprehensive Zoning Ordinance of 2016
Zoning. According to the City’s Comprehensive Land Use Plan, the site
is located inside Cubao Growth District under the Metropolitan
Commercial Zone (C-3). This zone contains "heavy commercial
developments and multi-level commercial structures" such as trade,
service, and entertainment on a metropolitan scale. The area is
established as a major node for activities, e.g., shopping, leisure, and
work. Therefore, the high density of people and vehicular traffic must
be taken into account.
Vehicular entrances. The City aims to enhance the pedestrian
experience and the overall quality of the City's road networks. The
Ordinance then mandates that properties along major roads must provide
driveways for vehicular entry and exit. Parking slots are prohibited from
being directly accessed from the road; a sidewalk must be allocated in
front of the lot.
Fig. 6.1. Vehicular entrance/exit diagram

Retrieved from the Quezon City Comprehensive Zoning Ordinance (2016)
Parking. Office buildings must provide one (1) parking slot for every
fifty (50) square meters of rentable space.
Emergency access to the structure. All buildings must have access to a
public or private street that is open to the public and must be able to
accommodate servicing fire protection units.

Height regulations. The Ordinance provides a maximum Floor Area
Ratio (FAR) formula to follow. The site is located along the Aurora
Blvd. (within the 15th Avenue to QC-Markinia City limits), designating
its FAR as eight (8).
Fig. 6.2. Floor area ratio formula

Retrieved from the Quezon City Comprehensive Zoning Ordinance (2016)C
Provisions for road widening. Aside from the imposed setbacks,
additional space must be open accordingly for the proposed widening of
major roads. This is meant to ease traffic flow and improve access to
properties within the City.
Table 6.1. Proposed road widening

Retrieved from the Quezon City Comprehensive Zoning Ordinance (2016)
Surface drainage and heat reduction. Properties must make use of
green spaces and porous materials such as perforated slabs, interlocking
blocks/tiles, and gravel/pebbles in developing parking lots, driveways,
and sidewalks to minimize surface run-off and allow groundwater
harvesting.
Quezon City Green Building Ordinance of 2009
Designing green buildings. The Green Building Ordinance defines a
green building as an approach to the design, operation, and maintenance
of the structure that mitigates its environmental, economic, and social
impact. There are five aspects that must be attained to be labelled as a
green building: (1) site conservation and sustainable planning, (2) water
conservation and efficiency, (3) energy efficiency and renewable
energy, (4) conservation of materials and resources and (5) indoor
environmental quality and human health.
Sewage treatment plants. All structures must be equipped with a sewage
treatment plant within the property. A computation table for effluent
discharge is provided as the Ordinance mandates at least forty percent
(40%) of the total floor area shall be allocated for effluent discharge.
Table 6.2. Effluent discharge table for computation

Retrieved from the Quezon City Green Building Ordinance (2009)
Table 6.3. Summary of P.D. 1096, R.A. 9514 and B.P. 344.
PD 1096 RA 9514 BP 344

National Building Code Fire Code of the Accessibility Code
Philippines
Division / E-2 Business and Mercantile Business

Catgeory
Parking Slot by 1.) 1 slot for every two (2) units 1 slot for every 100
Occupancy or a fraction thereof for units sqm of gross floor
with 18.00 to 40.00 sqm gross area
floor area;
2.) 1 slot for each unit with
41.00 to 70.00 sqm gross floor
area;
3.) 1 slot for every 70.00 sqm
for units with more than 70.00
sqm
Parking Slot 1.) Average car slot of 2.50 x Accessible parking

Dimensions 5.00 meters (for perpendicular slots:
or diagonal parking)
1.) Minimum car slot
2.) Car slot of 2.15 x 6.00 of 3.70 x 5.00 meters
meters for parallel parking
2.) Provision of 1.20
meters minimum
3.) Standard truck or bus width for walkways

parking/loading slot of 3.60 x between front end of
12.00 meters parked cars
4.) Articulated truck: 3.60 x
18.00 meters
5) Jeepney or shuttle
parking/loading/unloading slot:
minimum slot of 3.00 x 9.00
meters
Ceiling Heights 1.) Habitable Rooms - Not less

than 2.40 meters (floor to
ceiling)
2.) For multi storey bldgs: 1st
storey shall have 2.70 meters
and the 2nd storey and the
succeeding shall hve 2.40
meters
3.) Naturally ventilated rooms -
not less than 2.70 meters
4.) Mezzanine floors - not less
than 1.80 meters above and
below it.
Sizes of Rooms 1.) Room for Human
Habitations - 6.00 sq.m with the
least dimension of 2.00 meters.
2.) Kitchen - 3.00 sq.m with the
least dimension of 1.50 meters.
3.) Bath and toilet - 1.20 sqm
with a least dimension of 0.90
meters
Toilet Dimension Accessible toilet

compartment
dimensions: 1.7 x 1.8
meters
Elevator 1.) Accessible
Dimension elevator car minimum
clear dimension of
1400 x 1200mm; clear
door opening: 900mm
2.) Must not be
located more than
30m from the
entrance
Air Space 1.) Workshop, factories, offices

Requirements - 12.00 cu. Meters per person
2.) Habitable Rooms - 14.00

cu. Meters per person
Doors For exit doors: Minimum clear

width: 900mm
1.) Door width: 900mm
2.) Door Height: 2.00 meters
Window Openings Rooms not provided with
natural ventilation shall have at
least 10% of the floor area of the
room.
Minimum Every corridor or exit balcony The clear width of any 1.) Minimum clear
Corridor Width shall have not less than 1.10 corridor or width of 1200mm
meters width passageway serving an (enough passage
occupant load of fifty space for both a
(50) or more shall be wheelchair used and a
not less than 1.12 non-pwd)
meters
1800mm (for 2
wheelchairs to pass)
2.) Turnabout spaces
of 1500m x 1500m
with not more than 12
meters interval
Number of Exits At least 1 exit for every Not less than 2 exits
building. Floors above the first shall be accessible
storey shall have not less than 2 from each floor,
exits. including floors below
the floor of exit
1.) For occupant load of 500 to discharge and
999, at least three (3) exits occupied for public
2.) For occupant load of 1000 or purposes
more, at least four (4) exits
Travel Distance to 1.) For buildings without 1.) In buildings with
Exits sprinkler system, exits shall be sprinkler system in
no more than 45 meters from an accordance with
exterior exit NFPA 13, the travel
distance to exits shall
2.) For buildings with a not exceed sixty-one
complete automatic fire meters (61 m)
extinguishing system, the
distance from the exits may be
increased to 60 meters
2.) In buildings other
than those complying
with para (1) above,
the travel distance
shall not exceed forty-
six meters (46 m)
Stairs 1.) For occupant load more than 1.) Minimum width of 1.) Maximum height
50, the width should not be less 1120 mm for less than of risers must be
than 1100mm 2000 persons; 150mm
2.) For occupant load of 50 or 1420mm for more or 2.) Minimum tread
less, the width may be 900mm equal than 2000 depth must be
300mm
3.) For private stairs serving an 2.) Maximum height
occupant of less than 10 may of risers: 180mm
have a width of 750mm
3.) Minimum height
4.) Distance between landings of risers: 100mm
must not be more than 3.60
meters 4.) Maximum tread
depth: 280mm
5.) Minimum
headroom: 2000mm
6.) Max height
between landings:
3660mm
Fire Escapes 1.) Minimum widths:

Stairs 60cm clear between
rails.
2.) Minimum
horizontal dimension
any landing of
platform: 60cm
3.) Maximum rise: 23
cm 4.) Minimum
tread, exclusive of
nosing: 23cm
4.) Maximum height
between landings:
3.66 meters
5.) Headroom,
minimum: 2 meters
6.) Access to escape:
Door or casement
windows 61 cm by
1.98m or double hung
windows 76.20 cm by
91.44 cm clear
7.) Level of access
opening: not over
30.50cm above floor;
steps if higher
Ramps Slope of ramp must not exceed 1.) Minimum width 1.) Minimum clear
1 in 8 clear of all width of 1200mm
obstructions: 1120mm
2.) Maximum slope:
2.) Maximum slope: 1 1 in 12
in 12
3.) Level area
3.) Maximum cross minimum: 1.80m at
slope: 1 in 48
4.) Maximum rise for top and bottom of

a single ramp run: ramp
760mm
4.) Handrails on both
side of ramp: 700 mm
and 900 mm from
floor of the ramp
Guards and Guardrails minimum of 1.) Guards minimum 1.) Handrails on both
Handrails 1200mm of 106cm side of ramp: 700 mm
and 900 mm from
2.) Handrails floor of the ramp
minimum 76cm and
maximum of 86.5cm 2.) Railings for
protections height:
1100mm
3.) 300 mm long
extension for the top
and bottom of ramps
and stairs
Table 6.4. Minimum plumbing facilities (National Plumbing Code).
Types of Water Water Urinals Lavatories Lavatories Showers

Occupancy Closets Closets (Male) (Female)
(Male) (Female)
Assembly 1: 1-100 3: 1-50 1: 1-100 1: 1-200 1: 1-200

Places 2: 101-200 4: 51-100 2: 101-200 2: 201-400 2: 201-400
Theaters, 3: 201- 400 8: 101-200 3: 201-400 3: 401-750 3: 401-750
Auditoriums, 11: 201-400 4: 401-600
Convention
Halls etc. for Over 400, Over 400, Over 600, Over 750, add 1 fixture
public use add 1 fixture add 2 add 1 for each additional 500
for each fixtures for fixture for persons
additional each each
500 males additional additional
300 males 500 males
Office of Public 1: 1-15 1: 1-15 0: 1-9 1 per 40 1 per 40

Buildings – for 2: 16-35 3: 16-35 1: 10-50
employee use 3: 36-55 4: 36-55
Add 1
fixture for
Over 55, add 1 fixture for each
each additional 40 persons additional
50 males
Dormitories 1 per 10 1 per 8 1 per 25 1 per 12 1 per 12 1 per 8

School or Labor
Add 1 Add 1 Over 150,

fixture for fixture for add 1
each each fixture for
additional 25 additional 20 each
males females additional
50 males
Restaurants, 1: 1-50 1: 1-15 1: 1-150 1: 1-150 1: 1-150

Pubs and 2: 51-150 2: 16-35 2: 151-200 2: 151-200
Lounges 3: 150-300 4: 36-55 Over 150, 3: 201-400 3: 201-400
add 1
fixture for
Over 300, add 1 fixture for each Over 400, add 1 fixture
each additional 200 persons additional for each additional 400
150 males persons
Development controls.
Table 6.5. Building Classification.
Code Reference Division Zoning Classification
QC Comprehensive Zoning -- C-3:

Ordinance of 2016 Metropolitan Commercial
Zone
(heavy commercial
developments and multi-level
commercial structures)
National Building Code E-2: C-2:

Business and Mercantile Medium Commercial
(medium-rise
building/structure for medium
to high intensity commercial/
trade, service and business
activities)
Table 6.6. Setback Requirements.
RROW Front Sides Rear
QC Comprehensive Zoning 15-20 5.0 meters -- --

Ordinance of 2016 meters (in
anticipation
for road
widening)
National Building Code 20 meters 5.0 meters 3.0 meters 3.0 meters
Table 6.7. Percentage Site Occupancy and TOSL (P.D. 1096).
Maximum Maximum Maximum Total Open

Allowable Allowable USA Space within
PSO ISA (Unpaved Lot
(Percentage (Paved Open Open Spaces) (ISA + USA)
Site Spaces)
Occupancy)
Office Without fire wall 75 20 5 25
With fire wall 85 10 5 15
Table 6.8. Allowable Maximum TGFA (P.D. 1096).
Type of Interior Inside or Corner Through Corner Corner

Building Lot and Regular Lot Lot Through Lot
Rear Lot Lot Lot Abutting
3 or
More
Streets
Office C-2: 12 x 80% 12 x 75% 12 x 80% 12 x 80% 12 x 90% 12 x 90%

With sprinkler
system & fire
walls
Table 6.9. Floor to Lot Area Ratio (FLAR) Designation (P.D. 1096).
Type of Building FLAR Designation
National Building Code C-2 3.60 – 9.00

(at a 15-storey or 45.0 m BHL)
QC Comprehensive Zoning C-3 8.00

Ordinance of 2016
Table 6.10. Maximum Building Height.
No. of Allowable Storeys of Meters Above Highest Grade

Floors Above
National Building Code 6 18.00 meters

(C-2)
Table 6.11. Lot Computation and Usage.
TLA (Total Lot Area) 9 294.0 square meters
ISA: Paved Open Spaces 20% 1 858.8 sqm
USA: Unpaved Open Spaces 5% 464.7 sqm
TOSL: Total Open Space 25% 2 323.5 sqm
ISA + USA 2 323.5 sqm

AMBF: Allowable Max. Building Footprint TLA - TOSL 6 970.5 sqm
PSO: Percentage Site Occupancy 75% 6 970.5 sqm
MACA: Max. Allowable Construction Area Max. PSO + Max. ISA 8 829.3 sqm
FLAR: Floor Area Ratio 8.0
TGFA: Total Gross Floor Area 12 x 75% 83 646.0 sqm

(BHL storeys x PSO of Lot)
BHL storeys x 41 823.0 sqm

PSO of Lot
GFA: Gross Floor Area TLA x FLAR 74 352.0 sqm
AMVB: Allowable Max. Volume of Building AMBF x BHL (m) 125 469.0 sqm
Case Studies
Three game companies from different parts of the globe are randomly chosen
to be used as case studies of the project; one from the Philippines, one from Asia and
one from America. They will serve as representatives of game development offices per
continent, excluding the local sample. This is to ensure that a broader study of the
typical working conditions of game developers are considered with photos of their
respective office settings to illustrate the interior design.
NuWorks Interactive Labs, Inc. (Philippines). NuWorks Interactive Labs is
a digital agency that provides services ranging from branding, media
management, games and much more. Their office is located in Pasig City and
is home to around 100 diverse individuals “led by creativity, disciplined by

strategies and equipped by technology”. Creativity is certainly a trait visible not
only in their team but in their workspace as well. According to Peña (2016), a
variety of playful elements are available for daily use; swings, hammocks,
scooters and arcade games are only a few features scattered around the office.
Fig. 6.3. Nuworks Interactive Lab reception and workspace

Reprinted from “Coolest Offices in Manila: NuWorks Interactive Labs,” by Labrador, C. (2016).
Retrieved from Spot PH: https://www.spot.ph/newsfeatures/the-latest-news-features/66095/coolest-
offices-manila-nuworks-interactive-labs-a198-20160503
The spaces itself are vibrant, fused together with statues, murals and
unconventional furniture. Labrador (2016) noted that the waiting area is filled
with upcycled bathtubs that were reconfigured as seats. In one of the rooms, a
bracket, which is said to be an important coding symbol, is displayed on the
wall with foliage. A whiteboard runs along the perimeter of the office for easy
access and discussion in the midst of production. Modular furniture makes an
appearance in their meeting rooms, allowing the space to expand or shrink
according to their needs. The unorthodox environment is meant to represent the
creative exploration NuWorks aims to provide in their work and thus becomes
a type of playground for multiple working scenarios.

Fig. 6.4. Workspace whiteboard and working rooms

Communal spaces are the designed as the main sources of inspiration,
wherein bean bags, ball pits and small swings line the area to invoke a positive
and encouraging atmosphere. This is ideal in promoting informal interaction
and casual discussion among individuals, often ending with a collaboration or
feedback (Orel, 2019). Socialization appears to be one of the priorities as most
spaces were designed for brainstorming with differing areas for relaxing.
Labrador (2016) listed an in-house photo studio, zone-out space and a cozy nook
as some of the additional amenities the Lab offers outside of the common social
spaces such offices consider. In a corporate setting, these spaces are seen as
invitations to waste time or idle around. However, in creative industries like
game development, these spaces are necessary to continuously produce more
ideas; the creative individuals of NuWorks “lives and breathes all the stories it
likes to tell” which benefits more from spaces that are meant to give them
inspiration towards innovation.

Fig. 6.5. NuWorks communal spaces

Jelly Button Games (Israel). In 2015, the Tel Aviv based office of Jelly Button
Games was redesigned to be shared with interface design firm, Hamutzim
Studio. This proved to be a challenge for the architectural design firm in charge
of the renovation as workspaces would need to accommodate the necessary
functions of both teams while being open for them to co-habit the office and
interact as one unit. Jelly Button Games is a convenient study in approaching
proper design layout for co-working as their current situation, i.e., sharing office
space with other teams, parallels the same conditions in a co-working hub.
Fig. 6.6. Jelly Button Games and Hamutzin Studio floor layout
Reprinted from “Jelly Button Games and Hamutzim Studio / Roy David Studio.,” by Archdaily. (2015).
Retrieved from https://www.archdaily.com/625360/jelly-button-games-and-hamutzim-studio-roy-david-
studio
Spatial fluency was produced by dividing the floor into three sections:
public, private and semi-private. Through this layout, the public zone becomes
the central core all the floor which only emphasizes the firms’ social and
dynamic nature then eventually eases into more solitary functions as it gets to
the ends of the room. For the Jelly Button Games side of the space, an
underwater world theme is used which was inspired by their jellyfish branding.
Similar to NuWorks, geometric designs, bright color schemes and custom-made
furniture decorate the area. Different textures are paired with different materials
in multiple corners of the space to further enhance the enthusiastic identity of
the firm. In addition, most of the interior walls are made of glass or make use
of translucent partitions, allowing the users to see into all activities being done
inside meeting rooms or work areas.

Fig. 6.7. Jelly Button Games creative design elements

Reprinted from “Jelly Button Games and Hamutzim Studio / Roy David Studio.,” by Archdaily. (2015).
Retrieved from https://www.archdaily.com/625360/jelly-button-games-and-hamutzim-studio-roy-david-
studio
Fig. 6.8. Office communal space

Reprinted from “A Look Inside Jelly Button Games’ Cool New Tel Aviv Office.,” by Ptacek, M. (2017).
Retrieved from OfficeLovin: https://www.officelovin.com/2017/04/13/look-inside-jelly-button-games-
cool-new-tel-aviv-office/
Fig. 6.9. Office games and lounge

Reprinted from “A Look Inside Jelly Button Games’ Cool New Tel Aviv Office.,” by Ptacek, M. (2017).
Retrieved from OfficeLovin: https://www.officelovin.com/2017/04/13/look-inside-jelly-button-games-
cool-new-tel-aviv-office/
Given the short description of the office setting, their work environment
appears to be a mix of engaging and chaotic due to the numerous sights
available. Hanging from the ceilings and walls, or even lined along shelves, are
dozens of random objects that contribute to the office’s creative character.
Although they are pleasant additions to the overall aesthetic of the space, these
objects may become distractions and unnecessary clutter around the area. The
furniture and games are certainly elements that game developers appreciate as
part of their recreational time. Unfortunately, having so much playful yet
impractical elements is simply a pointless technique to incorporate as attested
by the conducted interviews. However, this does not allude to a complete
removal of such items but of a balanced consideration of both function and
aesthetics. Even the provision of clear glass rooms must be met with balance;
confidentiality and privacy of an individual may be compromised in these
spaces which could lead to lower satisfaction and productivity (Fayard &
Weeks, 2011). Opportunities for isolation outside of one’s workspace would be
more beneficial for the users. This could be resolved by allotting private nooks
and hideaway corners somewhere within the layout, similar to the construction
of NuWorks.
Three Rings Design (California). Jelly Button Games is not the only company
to feature thematic interiors as various articles had pointed Three Rings
Design’s headquarters as one of the most creative offices in San Francisco.
Unlike other game development companies which focus on a “let’s play!”
attitude, Three Rings Design embodies play as its overall theme. The steampunk
interior is made possible through custom made furniture and décor, which by
itself already boasts designs that cannot be seen or recreated anywhere else.
The office itself is only around 800 square meters which led to the final
layout being segregated into semi-partitioned pods of four to five desks each
(Detsaridis, 2015). Since the number of employees were significantly low
during their indie days, privacy and noise were easily controlled through
partitioned desks. The teams are divided into small workgroups but are not
totally separated from each other; the clustering of workspaces allow immediate
proximity with a few steps if necessary while maintaining distinct boundaries
during concentrated work.
Fig. 6.10. Three Rings Design interiors

Reprinted from “Three Rings Design Offices.,” by OfficeSnapshots. (2008). Retrieved from
OfficeSnapshots: https://officesnapshots.com/2008/12/29/three-rings-design-offices/
Fig. 6.11. The iconic pantry and lounge designs

Reprinted from “Three Rings Design Offices.,” by OfficeSnapshots. (2008). Retrieved from
OfficeSnapshots: https://officesnapshots.com/2008/12/29/three-rings-design-offices/
In one of the conducted interviews, it was verified that thematic interiors
would be the best approach into playful design as compared to those that rely
on ball pits and slides to deliver the message. Not only does it serve as a
functional alternative but it creates a more unified design as well. In the case of
Jelly Button Games, unity was achieved through its basic white background
color which was then complemented with different bright colors and geometric
patterns. It was eclectic but not irritating to look at, and with enough room for
the eye to rest on other blank spaces of the room. Similarly, Three Rings Design
made use of motifs and a coherent color scheme to create a fitting brand to their
work and the personalities of their employees. Multiple articles had described
their office as an incredibly unique space, proving its aesthetic appeal as one
that many can appreciate and enjoy inhabiting the space.
Results from Conducted Interviews
The content of the interview derives information regarding the company (its
team, culture, vision, and project types) that gives the researcher a better feel for the
specific needs which the project can cater. It questions the current conditions of their
workspace and the facilities needed in the game development process as well as insights
into the interviewee's sources of motivation and their methods of marketing. Questions
regarding playful workstations and visual cues explore their preferences in design. This
allows the researcher to deduce patterns of interest in terms of personalization and the
balance between function and aesthetics, which target users will appreciate. Aside from
the game development studios, the Game Developers Association of the Philippines’
Vice President was also interviewed for additional recommendations regarding the
proposal.
Summary of the interviews.
Ryan Sumo (Squeaky Wheel). Mr. Sumo is the CEO and lead artist of
indie game company Squeaky Wheel whose games typically revolved
around strategy and simulations. There are currently five (5) members
on the team, including Mr. Sumo, that consists of one (1) game designer
and three (3) programmers.
Squeaky Wheel maintains a work-from-home setting,
conducting team meetings twice a month at Builtable PH, a co-working
space in Mandaluyong. Mr. Sumo shared his experience in working at
the space, balancing both advantages and disadvantages regarding the
environment of Builtable. Most complaints are due to poor acoustics and
lack of facilities such as projectors and a suitable pantry but are
combated by easy access to the location and the co-working space's
culture.
When asked about his preferences in visual design, Mr. Sumo
confessed that he found the idea of playful spaces as "silly" and had no
bearing on his motivations or in overcoming burnouts. Personally, his
method of releasing stress is to take long walks, play games, study
Japanese, or practice urban sketching.

James Lo (Taktyl Studios). Taktyl Studios is a fifty (50) person team
based in Fort Bonifacio, Taguig. Mr. Lo, the Co-founder and CEO of
the company, describes them as a “human-centered” software
development company that aims to “turn ideas, systems and processes
into fun and meaningful experiences”.
Mr. Lo disclosed that the studio typically releases games to their
target platform, such as Apple App Store, Google Play Store and Stream
to name a few, but relies on the gaming community to promote and
review their content as marketing. In this case, the player’s feedback
becomes their foundation on making better and more engaging
applications to attract a broader user base.
In the discussion regarding their current working environment,
Taktyl Studios makes use of a privately rented studio inside a co-
working space that is exclusive to their team but shares a common
lounge and pantry. For them, a comfortable work area with quiet spots
and an activity center is all that they need to work efficiently. Mr. Lo
mentioned a preference for a lot of meeting rooms with whiteboards to
aid in brainstorming and meetings. Due to their exclusive space, the
team can personalize their own areas unlike in shared desks which
improves the morale of their team. Their studio culture is very social and
prefers having shared music although during focused work, their
employees often segregate themselves into their own bubbles. A
noteworthy description Mr. Lo had given was their preference for dark
places with minimal light during work to avoid reflections on computer
screens and allows them to clearly see the colors of the program.
Since Mr. Lo is also the Vice President of the project client, the
Game Developers Association of the Philippines, he was able to share
some insights into the proposal. To accommodate the various seminars,
workshops and ceremonies, he suggested adding auditoriums, multi-
function rooms and a computer lab. As of late, the Association holds
monthly meetings in the IBPAP Office in Bonifacio Global City but he
expressed interest in using the project structure for their activities. A list
of their annual events include: (1) Academic Roadshows which are held
in different universities to spread awareness of the game industry, (2)
workshops and seminars which are also held together with gaming
events to develop talent in the field and (3) Game Awards which is
usually held in the Smart Auditorium of SM Aura, to rewards and
acknowledge the works of talented individuals in the industry.
Linanne Pineda (Assistasia Philippines). Unlike Squeaky Wheel and
Taktyl Studios, Assistatsia Philippines mostly produces assets for
Japanese games instead of developing their own games. Their team
consists of thirty-two (32) members, two (2) of which are the admins
with nine (9) 2D graphic artists and twenty-one (21) 3D artists. Ms.
Pineda is their Corporate Secretary and is a 2D Graphic Artist.
Assistasia Philippines works in their own office in Makati and,
since they are a Philippine branch of the main company from Japan, have
not experienced using a co-working before. Customizable spaces, big
working desks and a “fun” area are among those that were listed in
necessities for a good office setting. They even have a library that helps
re-inspire their production. However, Ms. Pineda noted that she would
prefer having a “fun or themed” office as a game company but still
appreciates the ergonomic workstations they have. She describes the
ideal working environment as place where they can relate and feel a
sense of belonging in the company, treating it as a second home.
In terms of promotion and marketing, the company sometimes
joins conventions to provide live demos, lets bloggers have early access
to games for promotion or releases free to download games to catch the
market’s attention.
Ben Banta (Ranida Games). Ranida Games is a game development
studio in San Pedro, Laguna with fifteen (15) members composed of
artists, game designers and programmers. Mr. Banta is the CEO and
Studio Head of the company.
Similar to Squeaky Wheel, Ranida Games has a work-at-home
office setup wherein most live right in the office they live in while others
work from their own homes. Meet-ups are conducted at their home-
office and they have never tried to use a co-working before as well. As
for Mr. Banta’s preferences in his working environment, he showed
interest in customizable furniture, personalized desks and playful spaces
such as swings and ball pits although he admitted that most people will
stop using those types of playful space after some time. He does not
appreciate having unnecessary objects in his space and prefers function
over aesthetics.
Demetri Detsaridis (Experiment 7). Mr. Detsaridis is currently an
executive producer and board member in various game studios in New
York as well as the co-founder of Experiment 7. He is a former
architectural history grad student and gave a seminar on the proper
working conditions of a game development studio, thus prompting the
researcher to interview him regarding the effects of architecture on game
design. The typical playful interiors and styles of the popular game
companies in New York were compared, discussing the difference
between having actual “play time” objects in the space versus
thematically-aligned aesthetics, wherein the latter proved to be more
appreciated by the team as it shows a dedication to their craft.
Aside from this, Mr. Detsaridis stated that he had multiple
experiences in working with new technology such as VR which is how
his latest independent studio, Experiment 7, came to life. Social
immersion in games is a powerful addition to the games industry,
prompting him to innovate and explore the limits of VR with his team.
However, working with these tech was much more difficult compared
with the usual mobile or pc platforms especially since the market is
significantly smaller and building the necessary user interface for VR is
challenging enough as is, more so if the developer has to study it from

scratch, so he does not recommend shifting in VR for indie game
developers unless they have a steady foothold in the usual market.
Sharing resources for VR and the like is something he supports,
however, as it still gives developers the opportunity to try new
techniques without losing revenue possibilities. This fits with the
concept of co-working, another idea which he wholeheartedly supports
as it can be used to “provide access to equipment and services indie
developers can make use of but which aren’t used frequently enough to
justify an individual purchase.” Aside from VR headsets, he listed 3D
printers, projectors with large screens and console development kits as
some equipment that would benefit indie developers. Furthermore, he
advised that while small game-centric co-working spaces will not be
able to compete with “big real estate players”, the value of co-working
will have to rely on the services, equipment and community it cultivates.
An additional topic introduced during the interview was the
overlap between game design and architecture. Mr. Detsaridis
determined that the key similarity of the two is found in the “exploration
of physical constraints to drive innovation in form.” Both architects and
game developers approach projects according to their preferred manner
of designing; theme, mood, setting, story and other factors may serve as
the foundation all other designs can grow from. User experience remains
as the topmost consideration in both disciplines from which the chosen
material will be optimized. Choosing appropriate materials of a building
as well as the aesthetics and function per space parallels the planning for
game platforms from touch screen application to console controllers to
mouse and keyboard use. These are the constraints which Mr. Detsaridis
is inferring, although there are many dissimilarities both fields as well.
Miguel Caron (Gamesys Estonia). Gamesys is an international software
developer company that specializes in casino and bingo games. While
their company headquarters is in London, they conduct their business
operation worldwide, one of which includes Estonia. In this division,
they currently have forty (40) employees with Mr. Caron serving as the
General Manager. According to Mr. Caron, their division had grown
thrice its original size in the span of 18 months. Due to the increase, they
will be moving into a bigger office by next year. Although a larger
company entails more active employees to shoulder substantial
workloads, it also results in various problems: long bathroom lines,
small rest areas, high noise levels and very few spaces for privacy. The
solution for these problems, however, appear to involve spatial sizes and
quantity (e.g., bigger breakrooms, more isolated spaces for private
work/rest) and have little bearing on the actual content of the spaces.
Similar to previous interviews, Mr. Caron only listed technological
devices (laptops, printers, computers, tablets) and whiteboards as the
base essentials in game development.
The problems listed above are most likely similar issues his team
had encountered in co-working. Mr. Caron described his experience as
“workable but not efficient” and only ever used it when his team was
still very small. In terms of efficiency and creativity, Gamesys applies
the notion of “play” into their office as a way of motivating employees.
Personalization and office customization are also factors of their design
although Mr. Caron stated that they did not apply this at their co-working
space in the past.
Analyzing the interviews. Among the interviewees, it can be observed that the
smallest number of persons in a team is listed at five (5) and the biggest at fifty
(50). Considering this volume and the corresponding work environment shows
that those teams with thirty-two (32), forty (40) and fifty (50) employees
(Assistasia Philippines, Gamesys Estonia and Taktyl Studios, respectively) have
their own private offices unlike the rest which have significantly lower numbers
of staff. As such, it can be concluded that having at least thirty (30) employees
would warrant a need for their own office space which would be more beneficial
for them instead of shared co-working workstations. More groups of people
only demand more space for them to occupy, therefore establishes the need for
considering the growth and expansion of the company. As discussed by Mr.
Caron, a sudden increase of employee density, although an advantage of the
company, can lead to other problems as well. What was once a nice fit with
ample space to move around is now restrictive and cramped; bathroom lines are
longer, breakrooms and lounges can no longer accommodate enough people,
the noise level has become a distracting factor and there is little to no space for
privacy. These identified problems are more-or-less the same issues Mr. Sumo
had shared regarding his experience at co-working, lending insight that proper
co-working spaces should be designed to avoid the uneven ratio of an employee
to his space by using bigger user areas and allocating multiple activity areas as
well as rooms for isolation. Additionally, lacking access to food and necessary
equipment such as projectors and whiteboards are some of the other concerns
when using a co-working space.
Projectors, whiteboards and printers are only some of the base essentials
for game development, including laptops, computers, tablets and tv screens.
Given that the process of game development is a solely software-related output,
it is not surprising that most interviewees only look for comfortable furniture
and a good amount of food alongside their laptops to do their work. However,
in terms of idea creation and conceptualization, it is always helpful to have
research materials onhand. Mr. Lo had stated games consoles and board games
are good for their research and quality assessment. Even library books are
suggested to give developers inspiration, as is the case in Ms. Pineda’s
company. Providing spaces that are not only for work or rest but also for
brainstorming is a must for creative industries such as game development since
it would help them get out of burnouts or mental blocks and even increase their
drive towards innovation (Alha & Kultima, 2017). Mr. Detsaridis had
encouraged providing 3D printers, console development kits and VR headsets
as additional amenities that are not typically found in co-working but are
advantageous to have around for game developers. Branching off into the use
of VR technology is a convenient feature if made available for indie developers.
However, although it is still a good feature to include, Mr. Detsaridis does not
recommend it as a popular item for indie developers considering that VR games

are much difficult to produce and is more time-consuming compared to regular
mobile or pc games. Indie game developers will most likely focus on releasing
games that can be consumed by the typical market base of gamers, especially
since the VR games’ audience is not a very big market yet (Mealy, 2018).
Providing shared technology, however, gives them the opportunity to expand
their content without having to invest long term for a device they may not be
able to use for multiple periods at a time.
Aside from this, games do not often track success from the public in
terms of advanced technology but from the retention strategy applied. Mr. Lo
stated that this strategy may rely on unlockable content and good narratives to
create engaging games while Ms. Pineda noted that it is in the innovation and
unique experience the game can offer. All the interviewees have differing
opinions on what makes a game successful and engaging but it all boils down
to public reception. Some of the companies interviewed such as Assistasia
Philippines, Taktyl Studios and Ranida Games had disclosed they attend
conventions, expos and events to showcase their content. Other ways of
engaging the public, as identified by Ms. Pineda, include creating Kickstarters
to market their games, releasing free-to-play games and giving bloggers early
access to review and stream their content.
It is interesting to note that the production of successful and appealing
games (i.e., focusing on user experience and innovation) is similar to
considerations in architectural design. Mr. Detsaridis had remarked that the
overlap between architecture and games was the “exploration of physical
constraints to drive innovation” which begs the question, up to what point can
architecture be made engaging to the public? In one of the questions asked
regarding marketing and producing engaging games, Mr. Banta stated that
experimental games are the most interesting and challenging in the way that
they offer multiple choices in a game. This parallels the notion of emergence, a
recurring topic in the project’s research. What makes emergence so appealing
to the public is that it allows the freedom and ability to control the way one can
experience a game or a space. This dips further into personalization and user
preferences as well, since it is not only a good concept for the consumers but
the producers as well. Giving game developers the option to customize their
space with additional consideration of their preferences, serves as insights into
the working conditions and psychological behavior of the project’s target users.
Mr. Lo affirmed that personalization improves the morale of their team but it
should be noted that while individuals have varying opinions and preferences,
there are common links to be found among game developers.
Based on the interviews, it can be observed that game developers may
be actively social during casual interactions but are focused and private during
working hours. Mr. Lo had disclosed that most of their employees often wear
headphones in work, engrossed in their own worlds. He also noted that they
typically work in rooms with minimal outside light to avoid reflections on the
laptop or computer’s screen, thus allowing them to see the actual colors and
programs they are currently working on. With those in mind, the users’ behavior
can be categorized into two divisions: an openly social character and a private,
focused character. This may already begin to paint a picture of the type of spaces
game developers prefer to use and have around. To summarize the interviewees’
answers, company culture often integrates playful elements into their working
environment but should only revolve around functionality instead of aesthetics.
It is common to see ball pits and slides at creative companies such as Google as
a method of boosting inspiration, creativity and morale. However, two of the
interviewees had asserted they found unnecessary spaces allocated only for play
are impractical; Mr. Banta expressed interest in the idea at first but concluded
that such items will most likely remain unused after the initial exposure. A much
more appealing proposal for them included community walls, shared music and
movie-watching as well as spaces to nap in. Those suggestions are established
from the interviewees’ personal preferences on how they take their time off and
regain the momentum they need in work. To conclude, the aspect of playful
elements deal less with active “play” and more to do with comfort and
recuperation through creative design such as ergonomic furniture, interactive
nodes (e.g., breakrooms, game lounges) and quiet spaces meant for private time.
To reiterate Mr. Lo’s comment, playful spaces are “great but not
essential”. Although playfulness of typical offices are deeply rooted in the
creative culture of its service as a game development company, the push towards
fun aesthetics must always go hand-in-hand with its functionality and
maintenance. Unused “playful” spaces will only serve as a stark and sad
reminder of how serious work can be, not to mention the costly installation and
maintenance of a product only a few really touch, while being only empty
symbols that take up valuable space. Architecture must focus more on achieving
both aspects to create honest and engaging designs that benefit the users while
driving towards innovation.

Conclusion
In comparing the data collected from the case studies and interviews, there
appears to be a specific direction playful spaces move into. The physical design of the
studied offices are often filled with elements that scream play! as observed from
NuWorks' ball pit and Three Rings' steampunk desks. Even in the case of Jelly Button
Games, murals and toys decorate their shared office as means of cultivating a playful
atmosphere. It is interesting note that while ball pits and slides are what one typically
expects to see inside a game studio, this is certainly not what game developers would
like to have in their space. Although playful themes are still part of what they prefer to
keep in the offices, the elements must have some function one way or another for them
to truly appreciate the piece. Unnecessary objects are no doubt simply a waste of space
that could have been used to house another work desk and while the antics of
playgrounds are attractive at first glance, they eventually lose the interest after the next
few days. Games are meant for fun and play but game development is not.
To be able to effectively grasp the definition of playful spaces among game
developers, it must take root in the actions of their work. Integrating playful settings
may manifest through comfort spaces and visual clues as previously discussed. In
synthesizing the differences and similarities of results of the overall research, it appears
as though the concept of playful spaces only boils down to one important aspect:
freedom. Individuals must be free to express themselves, free to choose their
timeframes, free to choose their preferred working spot. By allowing them the freedom
to breathe and choose, they become relaxed in their environment and here begins the
actual “play”. In Alha & Kultima’s models for office play (2017), this freedom can be
observed in basic office play; socialization and interaction are the base foundation for
this category and is only supported by general decoration. Once this basic level is
established, then will the other models be put into use effectively.
This does not mean that creative interiors are unnecessary in game development
offices. The purpose of playful spaces is to inspire and enlighten its users, driving them
towards innovation and moving past mental burnouts. With this in mind, the project
proposes to make use of designs that are only thematically playful, following the path
of Three Rings and Jelly Button Games, which will not hinder the functionality of the
space.
Chapter VII
Spatial Programming and Analysis
List of Spatial Requirements
Administrative services. The admins of a co-working hub are considered as
the lifeblood of the space as their personality often dictates the character of the
structure itself (Chatterton, 2016). As such, the following positions listed below
are the primary roles needed in managing an engaging and comfortable co-
working environment.
1. Director Offices
a. Office of the Director
2. Business Development Team
a. Business Development Manager
b. Marketing Team
c. Influencers/Aggregators
3. Member Management
a. Floor Manager/Community Manager
b. Assistant Floor Manager/Community Manager
c. Front Desk Associate/Receptionist
4. IT Operations and Accounts
a. Operations Manager
b. Operations Staff
5. Human Resources (HR)
a. HR Manager
b. Assistant HR Manager
6. House Keeping
a. Janitors
b. House Keeping Staff
7. Security
a. Security Personnel
Primary user areas. These are the facilities available for the tenants' use, such
as workstations, recreational amenities, and communal spaces. The provided
spaces are designed to cultivate interaction and collaboration among the users.
1. Common Public Area
a. Reception Area and Lobby
b. Toilets
c. Open Café
2. Workstations
a. Hot Desk Area
b. Semi-private Workstations
c. Collab Spaces
d. Private Workstations
e. Outdoor Workspaces
3. Communal and Recreational Spaces
a. Food Court (Dining Area)
b. Toilets
c. Game Room/Playtesting Pod/VR Room

d. Meditation Room
e. Library
f. Gym
g. Sleeping Pods
h. Isolation Spaces
4. Community Spaces
a. Exhibit Hall/Open Playtesting
b. Business Center
c. Inner Garden
Circulation. These include but are not limited to the vertical and horizontal
circulation areas, enabling the users to enter and exit the allocated facilities.
1. Stairs
2. Elevators
3. Fire Exits
Utilities. The building’s utility area allocates space to accommodate the
necessary equipment in operating and maintaining the structure’s use.
1. Mechanical Room
2. Electrical Room
3. Generator Room
4. Transformer Vault
5. Garbage Room
6. Auxiliary Room
7. Telecommunications Room
8. Server Room and Intermediate Distribution Frame (IDF) Rooms
9. VRF HVAC System
10. Pump Room
11. Elevator Control Room
Staff amenities and support spaces. The following areas are provided for the
private use of the structure's employees as well as the back-of-the-house. These
aid in the overall production and management of the building.
1. Service Lobby
2. General Storage and Lockers
3. Toilets and Shower Area
4. Admin Meeting Room
5. Employee Lounge
6. Employee Pantry
Space Program
Table 7.1. Ground Floor Plan Space Program

We n g a g e Co - wo rkin g Hu b
US ERS FURNITURE AND FIXTURES

S P ACE S UBTOTAL S UBTOTAL ROOM NO. OF TOTAL
ACTIVITIES CIRCULATION
REQUIREMENTS AREA P ER NO. OF A B AREA ROOMS AREA
F/ F L W AREA QUANTITY
US ER US ERS
Gr o u n d F l o o r
Inne r Ga rde n
Bre a t hing spa c e

Ma in be nc h 12 0.5 6 1
S oc ia l me e t -ups
0.36 50 18 19.5 11.25 48.75 1 48.75
De signa t e d smoking a re a
S ide be nc he s 3 0.5 1.5 9
se mi-
Zoning public priva t e
priva t e
S e c urit y Offic e
Gua rds ove ra ll sa fe t y a nd Ta ble 3 0.6 1.8 1

se c urit y of t he use rs a nd
t he sit e Cha ir 0.5 0.5 0.25 2
0.36 2 0.72 3.281 1.2003 5.2013 2 10.4026
Vie wing of se c urit y
Dra we r 0.8 0.45 0.36 1
c a me ra s
se mi-
Zoning public priva t e Bookshe lf 1.38 0.45 0.621 1
priva t e
TOTA L TOTA L
A R EA OF 53.95 F LOOR 5 9 . 15
S P A C ES A R EA
Table 7.2. Second Floor Plan Space Program


US ER US ERS
S e c o n d Fl o o r
Lobby a nd Re c e pt ion
Ent ry t o building
Re c e pt ion
7.6 0.6 4.56 1
de sk
Gre e t ing of visit ors
S e rve s a s informa t ion

de sk Re c e pt ionist ' s
0.36 15 5.4 0.5 0.5 0.25 2 5.31 3.213 13.923 1 13.923
c ha ir
Booking of spa c e s
Me mbe rship a pplic a t ion

Exhibit st a nds 0.5 0.5 0.25 1
se mi-
priva t e
Fe ma le Toile t s (Visit ors a nd Te na nt s)
Wa shing
La va t ory 6 0.65 3.9 1
Urina t ing a nd de fe c a t ing
0.36 11 3.96 6.98 3.282 14.222 2 28.444
Re fre shing one se lf
Wa t e r c lose t s 0.7 0.4 0.28 11
se mi-
priva t e
Ma le Toile t s (Visit ors a nd Te na nt s)
Wa shing La va t ory 6 0.5 3 1
Urina t ing a nd de fe c a t ing Wa t e r c lose t s 0.7 0.4 0.28 9

0.36 10 3.6 6.095 2.9085 12.6035 2 25.207
Re fre shing one se lf Urina ls 0.46 0.25 0.115 5
se mi-
priva t e
Exhibit Ha ll / Ope n P la yt e st ing
Exhibit ing of works for

S t a ge 7 4 28 1
visit ors
Displa y
0.6 0.3 0.18 52
Int e ra c t ion be t we e n c ount e r
t e na nt s a nd visit ors
0.36 200 72 Cha ir 0.3 0.3 0.09 52 93.436576 49.6309728 215.068 1 215.068
P la yt e st ing of ga me s Circ ula r st a nd 0.55 0.55 0.95 16
se mi- Int e ra c t ive

Zoning public priva t e 2.4 2.4 18.1 2
priva t e sc re e n
Func t ion Room
Holding of e ve nt s,
me e t ings
Ta ble 2.7 1.3 3.51 8
Int e ra c t ion be t we e n
0.36 200 72 40.08 33.624 145.704 2 291.408
t e na nt s a nd visit ors
Cha ir 0.5 0.5 0.25 48

se mi-
priva t e
Ope n Ca fé Ba r 53.9072 53.9072
Dining Are a
Ea t ing Cha irs 0.5 0.5 0.25 10
Informa l disc ussions 0.36 20 7.2 Long sofa 13.23 0.66 8.732 2 23.5636 9.22908 39.9927 1 39.9927
se mi-
Zoning public priva t e Ta ble 0.6 0.6 0.36 10
priva t e
Ca fé Ba r
P a nt ry 2 1 2 1
Cooking a nd pre pa ra t ion
of me a ls
Re frige ra t or 0.6 0.6 0.36 1
0.36 2 0.72 9.9835 3.21105 13.9146 1 13.9146
Count e r wit h
P ic k up of food 4.847 0.5 2.424 1
grill & sink
se mi-
Zoning public priva t e Count e r 8 0.65 5.2 1
priva t e
Busine ss Ce nt e r
Clie nt me e t ings Ta ble s 1.2 0.6 0.72 15
Coffe e t a ble 0.36 0.36 0.13 12

Forma l a nd informa l
disc ussions
Armc ha ir 1 1 1 8
0.36 150 54 50.8092 31.44276 136.252 1 136.252
S oc ia l me e t -ups Cha ir 0.5 0.5 0.25 71
Ha ng-out spot Round sofa 2.22 0.6 1.332 7
se mi-
Zoning public priva t e S ofa s 1.3 1.3 1.69 2
priva t e
Int e rior Dining Are a
Ta ble 0.8 0.6 0.48 20

Ea t ing
S ma ll group
2 0.6 1.2 9
t a ble s
Informa l me e t ups a nd 0.36 104 37.44 S olo t a ble 13.6 0.6 8.16 1 71.96 32.82 142.22 1 142.22
c a sua l int e ra c t ion a mong
t e na nt s Cha irs 0.5 0.5 0.25 68
se mi-
Zoning public priva t e S ofa s 5 0.66 3.3 8
priva t e
Food Court
Ea t ing Food kiosks 2.8 2.2 6.16 6
S ma ll group
Informa l me e t ups a nd 1.83 0.91 1.665 12
t a ble s
c a sua l int e ra c t ion a mong 0.36 80 28.8 73.9436 30.82308 133.567 1 133.567
t e na nt s Cha irs 0.5 0.5 0.25 68
se mi-
priva t e
Administ ra t ive Offic e 115.57 115.57
Re c e pt ion
Re c e pt ion
Gre e t ing of visit ors 2 1 2 1
de sk
S e rve s a s informa t ion Re c e pt ionist ' s
0.5 0.5 0.25 1
de sk c ha ir
0.36 3 1.08 9.855 3.2805 14.2155 1 14.2155
Wa it ing a re a of visit ors S ofa 7.6 0.6 4.56 1
se mi-
Zoning public priva t e Coffe e t a ble 3.5 0.87 3.045 1
priva t e
Ge ne ra l Employe e Workspa c e
P a pe rwork ha ndling Ta ble 1.3 0.6 0.78 8
Ove rse e ing of spe c ific

building a c t ivit ie s a nd 0.36 8 2.88 Cha ir 0.5 0.5 0.25 8 33.395 10.8825 47.1575 1 47.1575
ma na ge me nt
se mi-
priva t e
Dire c t or' s Offic e
Dire c t or' s
P a pe rwork ha ndling 3 0.7 2.1 1
t a ble
S upe rvising st a ff Cha ir 0.5 0.5 0.25 3

0.36 3 1.08 3.8625 1.48275 6.42525 1 6.42525
Orga niz ing busine ss pla ns Dra we r 0.65 0.45 0.293 1
se mi-
priva t e
Building Engine e r
P a pe rwork ha ndling Ta ble 1.8 1.1 1.98 1
Ove rse e ing building

0.36 2 0.72 Cha ir 0.5 0.5 0.25 2 3.47 1.257 5.447 1 5.447
ma int e na nc e
se mi-
priva t e
Me e t ing Room
Conduc t ing of t e a m
Ta ble 2.6 0.9 2.34 1
me e t ings
Admin upda t e s a nd re vie w 0.36 10 3.6 Cha ir 0.5 0.5 0.25 10 5.83 2.829 12.259 1 12.259
se mi-
Zoning public priva t e Dra we r 2.2 0.45 0.99 1
priva t e
P a nt ry
Kit c he n
Ea t ing 3.18 0.577 1.835 1
c ount e r
Kit c he n isla nd 3.5 0.6 2.1 1

Cooking a nd pre pa ra t ion
of me a ls
Re frige ra t or 0.56 0.56 0.314 1
0.36 12 4.32 9.81246 4.239738 18.3722 1 18.3722
Ca bine t 2.2 0.45 0.99 1
Informa l int e ra c t ion
a mong t e na nt s
Ta ble 1.2 0.76 0.912 2
se mi-
Zoning public priva t e Cha ir 0.5 0.5 0.25 11
priva t e
Fe ma le Toile t s
Wa shing
La va t ory 2.5 0.6 1.5 1
0.36 6 2.16 2.62 1.434 6.214 1 6.214
Wa t e r c lose t s 0.7 0.4 0.28 4
se mi-
priva t e
Ma le Toile t s
Wa shing La va t ory 2.05 0.6 1.23 1

0.36 5 1.8 2.415 1.2645 5.4795 1 5.4795
se mi-
priva t e
Floor Ma na ge r Offic e
Ma na ge r' s
t a ble
Ove rse e ing of oc c upying
0.36 3 1.08 Cha ir 0.5 0.5 0.25 3 3.57 1.395 6.045 1 6.045
floor a c t ivit ie s
se mi-
priva t e
Out door Ta ble s
Big group
Ea t ing 2.72 1.32 3.59 6
t a ble s
S ma ll group
Informa l me e t ups a nd 2 0.6 1.2 7
t a ble s
t e na nt s S ofa s 1.3 1.3 1.69 4
se mi-
Zoning public priva t e Cha irs 0.5 0.5 0.25 64
priva t e
Gym 123.525 137.843
Gym Are a
Re c e pt ion
7.6 0.6 4.56 1
de sk
Re c e pt ionist ' s
0.5 0.5 0.25 1
c ha ir
Exe rc ising Yoga ma t s 1.872 1.262 2.362 12
Boxing a re a 1.477 1.477 6.853 2
Be nc h 2.455 0.45 1.105 5
0.36 30 10.8 Tra ining c yc le 1.382 0.67 0.926 2 73.205471 25.2016413 109.207 1 109.207
P ull-up fra me
1.04 0.66 0.686 2
a nd ba r
Rowing
Re lie ving st re ss 2.25 0.58 1.305 2
ma c hine
S t a t iona ry
1.2 0.66 0.792 4
bike
Tre a dmill 2.06 0.86 1.772 4
se mi-
Zoning public priva t e Be nc h pre ss 1.465 1.613 2.363 2
priva t e
S howe rs a nd Loc ke rs
S howe ring S howe r st a lls 1 1 1 6
S t oring of pe rsona l
0.36 10 3.6 Loc ke rs 0.5 0.3 0.15 5 7.41375 3.304125 14.3179 2 28.6358
be longings
se mi-
priva t e Be nc he s 1.475 0.45 0.664 1
Ca psule Be ds
Re c e pt ion
S le e ping 7.6 0.6 4.56 1
de sk
0.5 0.5 0.25 1
c ha ir
Re c upe ra t ion 0.36 30 10.8 76.224 26.1072 113.131 1 113.131

Ca psule be ds 2.3 1 2.3 30
se mi-
Zoning public priva t e Loc ke rs 0.45 0.37 0.167 16
priva t e
TOTA L TOTA L
A R EA OF 13 4 3 F LOOR 15 3 0
S P A C ES A R EA
Table 7.3. Third Floor Plan Space Program


US ER US ERS
Th i r d F l o o r
Ent ry t o building
Re c e pt ion
7.6 0.6 4.56 1
de sk

0.36 15 5.4 0.5 0.5 0.25 2 5.31 3.213 13.923 1 13.923
c ha ir

se mi-
priva t e
Wa shing
La va t ory 6 0.65 3.9 1
0.36 11 3.96 6.98 3.282 14.222 2 28.444
Wa t e r c lose t s 0.7 0.4 0.28 11
se mi-
priva t e

0.36 10 3.6 6.095 2.9085 12.6035 2 25.207
se mi-
priva t e
Isola t ion S pa c e (Ha llwa ys)
Bre a t hing spa c e P la nt e r box 13 4 52 4
S oc ia l me e t -ups 0.36 200 72 Seats 0.5 0.5 0.25 67 224.75 89.025 385.775 1 385.775
se mi-
priva t e
P lug a nd P la y Offic e 295.085 1180.34
Re c e pt ion
Re c e pt ion
Ent ry spa c e of t he floor 3.28 0.6 1.968 1
de sk
Gre e t ing of visit ors 0.5 0.5 0.25 1
c ha ir
0.36 5 1.8 9.823 3.4869 15.1099 4 60.4396
S ofa 7.6 0.6 4.56 1
de sk
se mi-
priva t e
Workst a t ions
Enc lose d pods 2.1 1.6 3.36 12

P riva t e , se mi-priva t e a nd
ope n la yout st a t ions
Cubic le s 1.6 1.3 2.08 22
0.36 50 18 114.26 39.678 171.938 4 687.752
Working Ope n de sk 1.4 0.7 0.98 16
se mi-
Zoning public priva t e Cha ir 0.5 0.5 0.25 50
priva t e
Me e t ing Room
Conduc t ing of t e a m
Ta ble 3.83 1.12 4.29 1
me e t ings
Admin upda t e s a nd re vie w 0.36 12 4.32 Cha ir 0.5 0.5 0.25 12 8.2796 3.77988 16.3795 4 65.5179
se mi-
Zoning public priva t e Dra we r 2.2 0.45 0.99 1
priva t e
S t udio He a d / CEO' s Offic e
Ma na ge r' s
t a ble
Cha ir 0.5 0.5 0.25 3

Ma na ge s ove ra ll c ompa ny
ope ra t ions a nd proje c t s
Bookshe lf 2.2 0.45 0.99 1
0.36 3 1.08 6.012744 2.1278232 9.22057 4 36.8823
Dire c t s c ommunic a t ion
Dra we r 1.6 0.45 0.72 1
be t we e n divisions
Ove rse e ing of offic e
S ide t a ble 0.3 0.3 0.283 1
a c t ivit ie s
se mi-
Zoning public priva t e S ofa 1.8 0.65 1.17 1
priva t e
Huma n Re sourc e s Offic e
Int e rvie wing a nd

Ta ble 1.8 0.7 1.26 2
sc re e ning of e mploye e s
Ha ndling of pa yrolls a nd
Cha ir 0.5 0.5 0.25 3
t ra ining
P la nning, dire c t ing a nd 0.36 3 1.08 8.22 2.79 12.09 4 48.36

c oordina t ing of Bookshe lf 2.2 0.45 0.99 5
a dminist ra t ive func t ions
se mi-
priva t e
P a nt ry
Ea t ing Big t a ble 1.12 0.91 1.019 1
S oc ia l me e t -ups S ma ll t a ble 1.2 0.76 0.912 1
Ma king priva t e c a lls Cha ir 0.5 0.5 0.25 12
Kit c he n
P re pa ring food 3.6 0.5 1.8 2
c ount e r
0.36 25 9 23.3528 9.70584 42.0586 4 168.235
Re frige ra t or 0.56 0.56 0.314 1
Informa l me e t ups a nd
c a sua l int e ra c t ion a mong Ca ll boot hs 1.6 1.1 1.76 3
t e na nt s
Couc h 7.2 0.5 3.6 1
se mi-
priva t e
Colla b S pa c e
Ope n me e t ings Couc h 2 0.66 1.32 3
Innova t ing a nd
0.36 30 10.8 Modula r se a t s 0.5 0.5 0.25 18 10.96 6.528 28.288 4 113.152
c olla bora t ing
se mi-
Zoning public priva t e Ta ble 2.5 1 2.5 1
priva t e
Ga me Lounge 101.357 123.853
Commons Are a
Re la xing Couc h 2 0.66 1.32 3
Cha ir 0.5 0.5 0.25 26

a mong t e na nt s
0.36 40 14.4 Big t a ble 4.82 1.4 6.748 2 46.261864 18.1985592 78.8604 1 78.8604
S oc ia l me e t -ups S ma ll t a ble 1.83 0.91 1.665 2
se mi-
Zoning public priva t e Dra we rs 7.55 0.8 18.98 1
priva t e
P la yt e st Are a
P la yt e sing, re la xing Couc h 2 0.66 1.32 2
Cushion se a t s 0.65 0.5 0.325 6

0.36 14 5.04 6.285 3.3975 14.7225 2 29.445
a mong t e na nt s
TVse t 1.95 0.5 0.975 1
se mi-
Zoning public priva t e S ide t a ble 0.6 0.6 0.36 2
priva t e
VR Room
P la yt e sing, re la xing Couc h 2 0.66 1.32 1
S ide t a ble 0.6 0.6 0.36 1

0.36 5 1.8 4.18 1.794 7.774 2 15.548
a mong t e na nt s
TVse t 3 0.5 1.5 1
se mi-
Zoning public priva t e VR ga me spa c e 1 1 1 1
priva t e
Out door Ta ble s
Ea t ing Round sofa 2.22 0.6 1.332 2
S ma ll group
Informa l me e t ups a nd 1.2 0.6 0.72 15
t a ble s
t e na nt s S ofa s 1.3 1.3 1.69 66
se mi-
Zoning public priva t e Cha irs 0.5 0.5 0.25 64
priva t e
Ma na ge r' s
t a ble
0.36 3 1.08 Cha ir 0.5 0.5 0.25 3 3.57 1.395 6.045 1 6.045
se mi-
priva t e
TOTA L TOTA L
A R EA OF 10 5 2 F LOOR 19 8 7
S P A C ES A R EA
Table 7.4. Fourth Floor Plan Space Program


US ER US ERS
Fo u rt h Fl o o r
Ent ry t o building
Re c e pt ion
7.6 0.6 4.56 1
de sk

0.36 15 5.4 0.5 0.5 0.25 2 5.31 3.213 13.923 1 13.923
c ha ir

se mi-
priva t e
Wa shing
La va t ory 6 0.65 3.9 1
0.36 11 3.96 6.98 3.282 14.222 2 28.444
Wa t e r c lose t s 0.7 0.4 0.28 11
se mi-
priva t e

0.36 10 3.6 6.095 2.9085 12.6035 2 25.207
se mi-
priva t e
Hot De sk Are a
Ta ble 1.1 0.6 0.66 60
Cha ir 0.5 0.5 0.25 82

Working, ga me produc t ion
a nd t e st ing
Loc ke rs 0.5 0.3 0.15 24
Cubic le s 1.6 1.3 2.08 21
Re c e pt ion
0.36 90 32.4 7.6 0.6 4.56 1 121.175 46.0725 199.648 1 199.648
de sk
Round sofa 1.5 0.7 1.05 1

Colla bora t ing be t we e n
pe e rs
Couc h 2 0.66 1.32 3
Cushion se a t s 0.65 0.5 0.325 10
se mi-
Zoning public priva t e TVse t 1.95 0.5 0.975 1
priva t e
S e mi P riva t e Workst a t ions
Modula r se a t s 0.5 0.5 0.25 11
Cha ir 0.5 0.5 0.25 60

Ga me produc t ion a nd
t e st ing
Loc ke rs 0.5 0.3 0.15 24
Cubic le s 1.6 1.3 2.08 47
Re c e pt ion
0.36 80 28.8 7.6 0.6 4.56 1 132.925 48.5175 210.243 1 210.243
de sk
Round sofa 1.5 0.7 1.05 1

Individua l working
Couc h 2 0.66 1.32 4
Cushion se a t s 0.65 0.5 0.325 6
se mi-
Zoning public priva t e TVse t 1.95 0.5 0.975 1
priva t e
Colla b S pa c e
Modula r se a t s 0.5 0.5 0.25 44

Colla bora t ing be t we e n
pe e rs
Cha ir 0.5 0.5 0.25 60
0.36 90 32.4 Big t a ble 2.75 0.91 2.503 4 45.51 23.373 101.283 1 101.283
Te a m me e t ings,
bra inst orming
Round c ouc h 1 1 1 5
se mi-
Zoning public priva t e Modula r t a ble 1.5 0.6 0.9 5
priva t e
P riva t e Workst a t ions
Enc lose d pod 2.2 1.5 3.3 26
Cha ir 0.5 0.5 0.25 12

Ga me produc t ion a nd
t e st ing
Loc ke rs 0.5 0.3 0.15 12
Ta ble 1.1 0.6 0.66 12

0.36 65 23.4 130.6276 46.20828 200.236 1 200.236
Ope n t a ble 1.68 1.1 1.848 13
Conc e nt ra t e d working S olo c ouc h 0.66 0.66 0.436 6
S ide t a ble 0.7 0.7 0.49 3
se mi-
Zoning public priva t e Cushion se a t s 1 1 1 4
priva t e
Libra ry
Re c e pt ion
Re a ding 3.28 0.6 1.968 1
de sk
Bookshe lf 3 0.78 2.34 20

Ga t he ring informa t ion
Dra we rs 2 0.6 3.77 2
0.36 45 16.2 100.449432 34.9948296 151.644 1 151.644
S olo t a ble 10.2 0.6 19.23 1
Re ga ining inspira t ion
Cha ir 0.5 0.5 0.785 25
se mi-
Zoning public priva t e Couc h 2 0.66 1.32 4
priva t e
Me dit a t ion Room
Bre a t hing spa c e S ofa se a t 3.9 0.53 2.067 2
Me dit a t ing, re c upe ra t ing 0.36 45 16.2 Cushion se a t s 0.45 0.45 0.203 20 20.624736 11.0474208 47.8722 1 47.8722
se mi-
Zoning public priva t e P la nt e r box 3.3 0.6 6.22 2
priva t e
Ma na ge r' s
t a ble
0.36 3 1.08 Cha ir 0.5 0.5 0.25 3 3.57 1.395 6.045 1 6.045
se mi-
priva t e
TOTA L TOTA L
A R EA OF 957.7 F LOOR 984.5
S P A C ES A R EA
Table 7.5. Tabulated Summary of Area Requirements
Ground Floor
Spaces Area per Space Overall Area
(Square Meters) (Square Meters)
Inner Garden 48.75 48.75
Security Office 5.20 10.40
Total Area of Spaces 53.95 sqm 59.15 sqm
Second Floor
Lobby and Reception 13.92 13.92
Female Toilets (Tenants) 14.22 28.44
Male Toilets (Tenants) 12.60 25.21
Exhibit Hall 215.07 215.07
Function Rooms 145.70 291.40
Open Café Bar 53.91 53.91
Business Center 136.25 136.25
Interior Dining Area 142.22 142.22
Food Court 133.57 133.57
Administrative Office 115.57 115.57
Floor Manager’s Office 6.05 6.05
Outdoor tables 117.19 117.19
Gym with Shower and Lockers 123.52 123.52

Capsule Beds 113.13 113.13
Third Floor
Isolation Space 385.76 385.76
Plug and Play Offices 295.09 1180.34
Game Lounge 101.36 123.85
Outdoor Tables 223.09 223.09
Total Area of Spaces 1052 sqm 1987 sqm
Fourth Floor
Hot Desk Area 199.65 199.65
Semi Private Workstations 210.24 210.24
Collab Space 101.28 101.28
Private Workstations 200.24 200.24
Library 151.64 151.64
Meditation Room 47.87 47.87
Room Data Sheet
Table 7.5. Ground to Fourth Floor Room Data Sheet

LIGHTING VENTILATION ACOUS TICS VIS IBILITY FIRE RIS K

S P ACE ACTIVITYLEVEL
NATURAL ARTIFICIAL NATURAL ARTIFICIAL QUIET NOIS Y OP EN HIDDEN LOW MEDIUM HIGH
Gr o u n d F l o o r
P ublic S pa c e s
P a rking P a ssive √ √ √ √ √ √
Inne r Ga rde n P a ssive √ √ √ √ √ √
P riva t e S pa c e s
S e c urit y Offic e Ac t ive √ √ √ √ √ √ √

Admin P a rking P a ssive √ √ √ √ √ √
S e rvic e S pa c e s
De live ry Ba y P a ssive √ √ √ √ √ √
S t ora ge Room P a ssive √ √ √ √ √
Ga rba ge Room P a ssive √ √ √ √ √
Me c ha nic a l Room P a ssive √ √ √ √ √
Ge ne ra t or Room P a ssive √ √ √ √ √
Ele c t ric a l Room P a ssive √ √ √ √ √
Tra nsforme r Va ult P a ssive √ √ √ √ √
P ump Room P a ssive √ √ √ √ √
Ga rba ge Room P a ssive √ √ √ √ √
S e c o n d Fl o o r
P ublic S pa c e s
Lobby a nd Re c e pt ion P a ssive √ √ √ √ √ √

Toile t s P a ssive √ √ √ √ √ √
Exhibit Ha ll Ac t ive √ √ √ √ √ √
Func t ion Rooms Ac t ive √ √ √ √ √ √
Ope n Ca fé P a ssive √ √ √ √ √ √ √
Busine ss Ce nt e r Ac t ive √ √ √ √ √ √ √
Administ ra t ive S pa c e s
Re c e pt ion P a ssive √ √ √ √ √ √
Ge ne ra l Employe e
Workspa c e
Ac t ive √ √ √ √ √ √
Arc hive s P a ssive √ √ √ √ √ √
Building Engine e r' s
Offic e
Ac t ive √ √ √ √ √ √
Dire c t or' s Offic e Ac t ive √ √ √ √ √ √
Floor Ma na ge r' s
Offic e
Ac t ive √ √ √ √ √ √
Me e t ing Room Ac t ive √ √ √ √ √ √
P a nt ry P a ssive √ √ √ √ √ √
S e mi-priva t e S pa c e s
Out door Ta ble s Ac t ive √ √ √ √ √ √ √

Int e rior Dining Are a Ac t ive √ √ √ √ √ √ √
Food Court Ac t ive √ √ √ √ √ √ √
Gym Ac t ive √ √ √ √ √ √
Ca psule Be ds P a ssive √ √ √ √ √ √
S e rvic e S pa c e s
Ele c t ric a l Room P a ssive √ √ √ √ √ √

S e rve r Room P a ssive √ √ √ √ √ √
VRF AHU P a ssive √ √ √ √ √ √
Te le c ommunic a t ions P a ssive √ √ √ √ √ √
S t ora ge Room P a ssive √ √ √ √ √ √
Auxilia ry Room P a ssive √ √ √ √ √ √
S t ora ge Room P a ssive √ √ √ √ √ √
Auxilia ry Room P a ssive √ √ √ √ √ √
Th i r d F l o o r
Isola t ion S pa c e s P a ssive √ √ √ √ √ √ √

P lug a nd P la y Offic e s Ac t ive √ √ √ √ √ √
Ga me Lounge Ac t ive √ √ √ √ √ √
Out door Ta ble s Ac t ive √ √ √ √ √ √ √
Fo u rt h Fl o o r
Hot De sk Are a Ac t ive √ √ √ √ √ √

S e mi-priva t e
Workst a t ions
Ac t ive √ √ √ √ √ √
Colla b S pa c e Ac t ive √ √ √ √ √ √
P riva t e Workst a t ions Ac t ive √ √ √ √ √ √
Libra ry P a ssive √ √ √ √ √ √ √
Me dit a t ion Room P a ssive √ √ √ √ √ √ √
Adjacency Matrix
Fig. 7.1. Adjacency matrix of the ground floor spaces
Fig. 7.2. Adjacency matrix of the second floor spaces

Fig. 7.3. Adjacency matrix of the third floor spaces
Fig. 7.4. Adjacency matrix of the fourth floor spaces

Bubble Diagram
Fig. 7.5. Bubble diagram of the ground floor spaces
Fig. 7.6. Bubble diagram of the second floor spaces

Fig. 7.7. Bubble diagram of the third floor spaces
Fig. 7.8. Bubble diagram of the fourth floor spaces

Chapter VIII
Conceptual Development
Design Objectives
With consideration of the conducted research and analysis of the proposal, the
following are deemed to be the best fit for translating the project objectives into design:
1. To design work environments that incorporate visual cues which will enhance
how users perceive and experience the spaces;
2. To design comfortable yet engaging spaces through proper zoning among the
various users, nurturing nodes in between private areas;
3. To design working environments that cater to the differing needs and
preferences of indie game developers by providing a variety of customizable
workstations and modular furniture.
Design Philosophy
As a three-dimensional object, architecture encompasses not only visual design
but user experience as well. This additional element of interactivity that is often limited
in other forms of art enables a design to create various differing perceptions of space
with only subtle changes in the environment.
The way an individual consumes architecture is heavily influenced by their
response to the objects present in their space. A designer must take into account the
effects of these objects on its surroundings: what people will see, how it will feel when
touched, where it should be placed to maximize impact. Architecture does not need to
be grand nor colorful to be impactful. It should only be mindful of its position and
context within the space and allow meaningful dialogue to be produced between the
structure and its audience.
As such, an architect should take into consideration designing the movement
surrounding the object, designing around user experience and interaction, as a means
of creating responsive architecture.
Design Concept
In establishing the relationship between video games and architecture, a
particular concept often resurfaces in the overlap. Both deal with experience and
function that manifests in the primary goal of engaging their intended audience
(Tiemersma, 2014). An engaging atmosphere is best cultivated through a type of call-
and-response approach that can be observed in emergence.
Emergence entails the provision of an environment, fully furnished with the
necessities of the space, and allows an individual to interpret it according to his needs
and preferences (Tiemersma, 2014). The notion behind emergence relies on user
interaction and the flexibility of space in forming personal meanings and functions. It
embraces the unforeseen experience that strays from the designer’s intended design,
giving the user enough freedom to manipulate and personalize his surroundings.
The ability to personalize their own spaces is a factor that affects employee
satisfaction and comfort in an office space (Clements-Croome, 2018). This is due to the
need to display individualism among a large group of people and a claim of one’s
identity. As such, the theory behind emergence can cover all the necessary elements to
produce an engaging, responsive, and comfortable working environment.

Playing to one’s advantage. In line with the notion of emergence, the project
introduces the concept of free play architecture which derives its meaning from
free play games and activities. According to the Merriam-Webster Dictionary,
free play is defined as an “unrestricted movement, activity, or interplay”. This
is an activity typically observed in children’s playgrounds; the active,
unstructured, outdoor play often linked with social development and well-being
(Alleyne, 2011).
Free play features the similar aspects of emergence in the way it
provides freedom and choices within certain boundaries. Flexibility plays the
most significant factor in this approach, providing the essentials of an
environment and allowing its user to manipulate it according to their desired use
and preferences. Providing multiple-use objects and spaces engages the
creativity of an individual, giving them glimpses of new, unexplored
perspectives that can aid in idea creation. This serves as an approach to playful
design that does not rely on aesthetics but its function. According to the
conducted interviews, game developers will appreciate this more as it is not
subject to personal tastes and style.

Design Considerations
With the concept of emergence dominating the direction of design,
considerations were taken from Alcock et al.’s Responsive environments (1985)
wherein principles of wise urban planning are dictated. Although the proposal is
focused on a single structure instead of a city, Alcock et al.'s design methods and
theories closely match the notion behind emergence. It often states the importance of
giving users multiple options in sound design, following the same train of thought.
Richness. As part of the multi-sensory approach, architecture deals with
sensory experiences that cover sight, smell, touch, and hearing. Richness entails
the structure's effects on the user's overall experience, no matter how subtle
some of the techniques may appear.
Visual appropriateness. The mental image of a place depends on one's
perception of space. Visual appropriateness regards the quick interpretation of
a viewer in their space, drawing their attention to the overall physical attributes
present that may hint at the space’s intended use. This is achieved through
appropriate visual cues that tell the user of its functions without completely
overriding their ability to create personal meanings within the space.
Permeability. Permeability is measured in terms of access: where people can
go and where they cannot. This is observed in spatial layouts that offer
circulation paths that are linked to form a cohesive flow of movement. Pathways
can be made unique by providing alternative routes that offer different
experiences per branch. In this manner, the interaction between users can be
manipulated across private and public zones by allowing them to choose their
corresponding "gameplays" and scenes.
Personalization. The ability to customize and personalize one's space is an
essential aspect of emergence as this goes hand-in-hand with legibility.
Individuals are often attached to the idea of personal spaces and territorial
claims as a manner of security. This will become a design challenge considering
co-working is a public space, and hot desks limit the stability for long-term
personalization.
Design Strategies
Creating narratives through multi-sensory design. The multi-sensory design
framework is one of the most effective strategies formed for considering the
richness and legibility of a space. Multi-sensory design has been theorized and
re-theorized several times over the course of the years. To maintain a clear and
updated format, the project will follow the Flourish Model by Clements-
Croome et. al., (2019).
This model introduces three layers to be considered in design: (1) the
normal layer, wherein the standard comfort, health and safety guidelines are
applied in terms of temperature, sound, light, ventilation, etc., (2) the individual
layer, which takes into account personal preferences and offers a degree of
control over one’s surroundings, and (3) the sparkle layer, which are the
additional features of a space serves as a boost in an individual’s wellbeing such
as access to nature, daylight, color schemes, etc.
Design precedents. Of the various structures which are applauded to
display multi-sensory approaches, most of them often depend on
materials and texture to create an additional sense of depth. Although
others still incorporate sounds and scents as part of the experience, the
predominant senses being taken into consideration are still sight and
touch. The most common typology to incorporate this approach are
museums and exhibit halls as these are typically the ones who make use
of a viewer’s experience as their main function. In contrast to more
functional-based typologies such as offices, multi-sensory design must
revolve around producing comfortable and engaging environments but
are not distracting for the users. Special consideration is also given for
the preferred working conditions of game developers as taken from the
interviews.
As previously analyzed, dim rooms with properly segregated
social zones are typical environment in game development. This allows
them sufficient control over their work and space, increasing
concentration while negating possible disturbances. However, in light of
the trend towards reinforcing proper office design, access to daylight

and open spaces are must to ensure good health and well-being. To even
out the contrast, the project offers a different approach into integrating
light and nature inside the structure. One solution is to make use of
skylights.
Fig. 8.1. Horse stable illuminated through skylights

Reprinted from “Elongated skylight illuminates stables in Chile by Matias Zegers Architects,”
by Griffiths, A. (2018). Retrieved from https://www.dezeen.com/2018/07/29/chile-stables-
matias-zegers-architecture/
The Chilean stables designed by Arch. Matias Zegers introduced
an elongated skylight as the key feature, running from one end of the
structure to the other. According to Griffiths (2018), the opening
allowed sufficient natural light for the horses and groom to work indoors
with only minimal artificial lighting required. In a similar fashion, using
skylights as the main windows in the project would provide enough
daylight to penetrate into the building without the harshness of glare
typical window layouts produce. This would restrict the amount of

uncontrollable lighting (sunlight) in the workspaces but is still supported
with artificial lights which the tenants are able to adjust according to
their preference. However, this would result in dim spots inside the
structure and lack of views to the outside world. To resolve this, internal
courtyards and pocket gardens will become the main source of nature
and accessible green space, excluding the plaza.
Fig. 8.2. Garden terraces

Reprinted from “kojimachi terrace,” by Nendo. (2019). Retrieved from
http://www.nendo.jp/en/works/kojimachi-terrace/
The design firm, Nendo, intended to allocate outdoor spaces that
are more connected to the external environment and are easily accessible
in office settings. The final outcome is the “Sky Forest” which was
developed as a small hideaway for employees in between office hours.
Openings below allow visual connections between floors and even
provide enough space for trees to grow in. Incorporating pocket gardens
and courtyards such as these into the project will deliver the necessary
comfort zones in nature as well as sceneries that may be hindered by the
lack of big windows.
In terms of comfortable zones, the psychological aspects of
design are not overlooked but made prominent in multi-sensory
architecture. Considering the distinction between active, social and
private, work-focused behavior of the target users, spaces can be
designed to create visual cues covering both zones. Spaces for isolation
and limited social proximity (Nordstrom & Wagner, 2018) as well as
high perceived quality of their work environment (Cudmore, et. al.,
2018) are necessary to further enhance concentration and self-
productivity. Aside from allotting courtyards and pocket gardens, the
project will integrate psychological aspects of interior design into the
interior architecture as means of improving well-being and natural
comfort.
Fig. 8.3. EKH Children Hospital interiors

Reprinted from “EKH Children Hospital / IF (Integrated Field),” by Abdel, H. (2020).
Retrieved from https://www.archdaily.com/932317/ekh-children-hospital-s-csb
The EKH Children Hospital in Thailand was able to create a
good portrayal of this approach. Since hospitals lean towards sterile and
cold environments, it is often associated by children with pain, bitter
medicine and scary needles. As a solution, interior decoration of the
hospital was designed with “fun” in mind. The finish of the materials,
color schemes and layout generate an exciting mood inside the structure.
Pastel colors and curving elements are distributed inside the building
which aims to inspire imagination and a sense of freedom from the usual
stiff geometric forms. Another structure that displays this technique is
the Barry Callebaut Offices & Chocolate Academy in Istanbul.
Fig. 8.4. Barry Callebaut Offices & Chocolate Academy interiors

Reprinted from “Barry Callebaut Offices & Chocolate Academy - Istanbul”. (2019).
Retrieved from https://officesnapshots.com/2019/08/26/barry-callebaut-offices-chocolate-
academy-istanbul/
This office’s interior design was based on their products,
invoking the “essence, elegance and deliciousness” of chocolate. An
interesting feature was the use of the wooden grids, free flowing as the
coffered ceiling. The structure made use of both curved and linear
elements in this case which gave it the elegance an office requires while
still being playful. Its overall design appears to be dependent on the
intended atmosphere and impact on its users as evident in the dim
lighting and sunken pods of the second photo. However, in terms of

spatial design and planning, the Poly Wedo Art Educational Institution
would appear to be more effective in delivering the appropriate
environment that balances both privacy and interaction.
Fig. 8.5. Poly WeDo Art Education interiors

Reprinted from “Rockery for Play—Poly WeDo Art Education / ARCHSTUDIO”. (2017).
Retrieved from https://www.archdaily.com/878933/rockery-for-play-poly-wedo-art-
education-damei-branch-archstudio
The building is composed of circular classrooms with arched
window openings into corridors, letting passersby visually connect with
the activities inside. Even the use of wood and artificial trees are a subtle
nod to the stimulation nature gives in between serious studies and
concentration.
To compare the three given structures, all of them were
conceptualized as with specific uses but had overlapped in terms of
design considerations and elements. Applied in office and co-working
settings, the structure must be a habitat for private work, either as teams
or as individuals but must not discount the ability to interact with others
and give inspiration during periods of concentration. The combination
of curved and linear elements, colorful palettes and spirited decor
provide sufficient visual stimulation unlike the stereotypical and rigid

set-up of corporate offices, allowing playful scenes to be integrated into
work.
Nurturing interactivity in dynamic nodes and zonal overlaps. Aside from
the psychological effects that architecture provides, another factor affecting
workspaces is the social well-being and interaction among employees (Ban &
Imai, 2016). Features involving the social, active behavior of the users are
heeded in designing zonal overlaps to nurture casual interaction and
collaboration between a variety of individuals. Permeability is the most
important consideration for this strategy as visual, physical and social access
are put into play. These nodes serve to balance the quiet and serious nature of
the proposed workspaces, acting as “recharge” spots that may aid them in
drafting new ideas, help them receive feedback on their work or simply
immersing themselves in the company of like-minded individuals.
Design precedents. Based on Fayard & Weeks (2011) guide for
effective collaboration, the three dimensions (proximity, privacy and
permission) must be equally balanced to lessen social barriers in
interaction. The use of these dimensions, although not completely
dependent on architectural solutions, are greatly affected by designs
being taken into account. While others may think of it as an additional
feature which will eventually be formed through the community, some

structures utilize the potential for collaboration as a main focal point in
design. An example of this is the Shanghai Baoye Center in China.
Fig. 8.6. Shanghai Baoye Center staircase

Reprinted from “Shanghai Baoye Center Interior / LYCS Architecture,” by Archdaily. (2018).
Retrieved from https://www.archdaily.com/897383/shanghai-baoye-center-interior-lycs-
architecture
In the layout of their office, a great staircase greets both visitors
and employees right from the lobby. The purpose of this staircase is
meant to prompt informal interaction among employees in the cases
wherein they happen to walk together or bump into each other while
walking towards their destination. Each landing is connected to an office
per floor; this ensures that a person taking the stairs would have to pass
by every office beneath his, heightening his chances of casual meetings
with other employees. Dynamic nodes are designed the best when they
are tailored to fill another role. As analyzed by Fayard & Weeks (2011),
design cannot completely dictate the use of a space especially when it
comes to user interactivity. This is supported by the theory of emergence
as well which allows multiple interpretations of a space according to
one’s comfort in the said space. In the case of the Shanghai Baoye
Center’s staircase, its primary role is to be a vertical access point
between the floors but opens room for employees to interpret it as a place
to meet other people, have casual discussions or even make invitations
for collaboration.
Fig. 8.7. Uber headquarters – Commons

Reprinted from “SHoP Unveils Plans for New Uber Headquarters in San Francisco,” by
Rosenfield, K. (2015). Retrieved from https://www.archdaily.com/636843/shop-unveils-
A similar take in design is the Uber headquarters in San
Francisco which features the main circulation point as “the Commons”.
It was designed as the space for meetings with connecting bridges
hovering above it, forming an intersection for various interactions.
Unlike the Shanghai Baoye Center, the Commons’ intended purpose is
a gathering area like a plaza. The big space would make it an ideal
location to simply wait or hangout and will most likely frequented for
socializing.
Other methods that incorporate the three dimensions can include
the use of materials, especially for privacy. In places meant for high
concentration such as offices, control over privacy is a must to retain
focus and avoid distractions. However, control does not mean
completely eliminating potential for social interaction. Desk areas or
rooms may be provided with appropriate materials that limit visual
access and proximity unless granted permission. A greenhouse in

Taiwan had implemented a system which can be applied into this
strategy.
Fig. 8.8. In Between Green House facade

Reprinted from “In Between Green House / J.R Architects,” by Archdaily. (2019). Retrieved
from https://www.archdaily.com/916576/in-between-green-house-jr-architects
The In Between Green House had utilized a double-skin façade
using translucent polycarbonate panels and glass to blend the distinction
between the exterior and interior environment. This can be incorporated
into interiors but instead of blurring the line between two zones, it
emphasizes the boundary of the two. With the rise of open plan layouts,
there has been little to no divisions between private and public
workspaces. Incorporating translucent partitions offers semi-privacy for
an individual while giving him the opportunity to invite outsiders into
his space once he sees their silhouettes on the other side of the partition.
This grants them ease and comfort in generating in-depth discussions
and collaboration away from the prying eyes of others. In relation to
materials, zoning can be subtly defined with other partition textures such
as glass, wire frames or perforated mesh.

Fig. 8.9. The Second Skin perforated mesh

Reprinted from “The Second Skin / LUKSTUDIO,” by Archdaily. (2018). Retrieved from
https://www.archdaily.com/890450/the-second-skin-lukstudio
The Second Skin is a lingerie store Hong Kong that was able to
physically manifest the lightness and seamless identity of their product
into their interiors. The curving forms of the steel mesh highlight the
different sections of the shop, often overlapping to continue the flow of
design. Perforated mesh is a more visually permeable material compared
to translucent panels but are still flexible enough to determine irregular
zonal configurations of the proposed structure. The style of the material
can be easily paired with glass enclosures, providing a contrasting
texture to smooth, clear glass.

Introducing responsive design. Flexibility and personalization are heavily
integrated in interiors but can be observed in exterior facades through
responsive environments. As such, the project introduces the use of responsive
environments in the sense that it is not strictly limited to furniture but covers
architectural surfaces as well.
Mobile environments. In terms of modularity, this entails that walls,
partitions and floors are given additional functions outside the norm,
offering opportunities to use these surfaces as furniture and vice versa.
Spatial layouts and furniture must be able to adapt to the changing needs
of the users, encouraging modularity and creativity. Based from the
conducted interviews, the ability to customize their workspace is an
inherent need to improve their comfort and well-being. This case made
evident by multiple designs being produced to create movable walls and
plug-and-play type of furniture.
Fig. 8.10. Nest shelf – flexible bookshelves

Reprinted from “nendo's flexible nest shelf for london design festival adapts to available
space,” by Azzarello, N. (2015). Retrieved from Designboom:
https://www.designboom.com/design/nendo-london-design-festival-nest-shelf-adaptable-
flexible-09-17-2015/
Fig. 8.11. Brackets-lite – moveable chairs and tables

Reprinted from “nendo connects office furniture with bracket-shaped units,” by Azzarello, N.
(2014). Retrieved from Designboom: https://www.designboom.com/design/nendo-brackets-
lite-office-furniture-kokuyo-10-20-2014/
Nendo’s Nest shelf and Brackets-lite collection are a few
samples of modular furniture. The Nest shelf is manufactured in a simple
grid with openings in its sides for users to pull and push, changing the
width of the bookshelf. The Brackets-lite collection is designed towards
connection wherein whole seats and tables can be joined side by side or
separated, molding to what its user needs it to be. The HUBB’s
collection of furniture is another set of concepts into modularity being
applied for “flexible learning environments” (Bari, 2017).
Fig. 8.12. HUBB modular furniture

Reprinted from “Mecanoo and Gispen Design Modular Furniture Collection for Flexible
Learning Environments,” by Bari, O. (2017). Retrieved from Archdaily:
https://www.archdaily.com/868103/mecanoo-and-gispens-design-modular-furniture-
collection-for-flexible-learning-environments?ad_medium=gallery
Fig. 8.13. HUBB furniture configuration

Reprinted from “Mecanoo and Gispen Design Modular Furniture Collection for Flexible
Learning Environments,” by Bari, O. (2017). Retrieved from Archdaily:
https://www.archdaily.com/868103/mecanoo-and-gispens-design-modular-furniture-
collection-for-flexible-learning-environments
In the given diagram, multiple configurations are available to
produce individual seating, by pair and by group. Compared to the
Brackets-lite collection, the HUBB provides an acoustic felt canopy that
can be attached with lights and power outlets. Aside from these
workspaces, more designs have been integrated to transform functional
furniture into interior design. Chairs may be slotted into walls to as
creative patterns or walls may be punched open as additional private
spaces. Even boards hanging on walls may be flipped open as tables then
closed up to save space if unused.
Fig. 8.14. Flexible boards and seats

Reprinted from “How To Get (A) Fabulous Commercial Office Design Ideas On A Tight
Budget,” by Fariz, A. (2017). Retrieved from http://architecturedsgn.com/get-fabulous-
commercial-office-design-ideas-tight-budget/
Fig. 8.15. Removable chairs

Reprinted from “How To Get (A) Fabulous Commercial Office Design Ideas On A Tight
Budget,” Fariz, A. (2017). Retrieved from http://architecturedsgn.com/get-fabulous-
However, mobile environments are also being explored in a
more macro scale than just the vicinity of workspace which can be
observed in various differing typologies. The Ballet Mécanique
apartment block in Zurich is a firm example of incorporating modular
figures into a building’s structure. Its exterior façade is lined with
movable elements that can serve as either sun shading for the openings
nearby or as extended balconies. The creative exploration of this design
opens possibilities for multiple use features that do not necessarily take
up a lot of space.
Fig. 8.16. Ballet Mécanique apartment block

Reprinted from “Ballet Mécanique apartment block has walls that unfold to form balconies
and sunshades,” by Ravenscroft, T. (2018). Retrieved from Dezeen:
https://www.dezeen.com/2018/09/03/ballet-mecanique-moving-walls-manuel-herz-
architects-balconies//
Even interior walls are being shifted and moved around,
although these are much common to see compared to exterior walls.

Saving space appears to be one of the main considerations for producing
moveable partitions as control over the size and configuration of a room
is left in the hands of its owner. This was the proposed solution of
Matharoo Associates when their client asked for a home in which
privacy is a controllable option for the family.
Fig. 8.17. Moving landscapes house walls

Reprinted from “Sliding and spinning walls animate facade of house by Matharoo
Associates,” by Frearson, A. (2016). Retrieved from Dezeen:
https://www.dezeen.com/2016/07/04/sliding-spinning-walls-house-moving-landscapes-
matharoo-associates-india-edmund-sumner/architects-balconies//
Although the walls appear as massive marble slabs, they are
attached to motorized systems that allow them to rotate and slide along
rails with a push of a button. The house was designed in a U-layout, the
courtyard surrounded by two wings occupied by the family. If preferred,
the house can transform to open itself into the garden which will widen
its space to accommodate a large quantity of visitors or merely as a
welcoming invitation for the family to congregate. KWK Promes’ Safe
House also operates in the same manner with mobile panels pushed into
its exterior walls. The structure itself was designed as a monolithic
concrete box but its moveable parts are made of light steel trusses filled
with mineral wool. At the front portion of the house is a large roll-down
gate that can be used as a movie projection screen, viewed from the
garden. According to KWK Promes, the house was styled to emphasize
multiple functions of a single element. This resulted in hatches that
transforms into balconies, sliding walls that cover their floor-to-ceiling
windows and swinging panels that can be closed during winter to
preserve heat.
Fig. 8.18. Moving landscapes house walls

Reprinted from “Safe House / KWK PROMES,” by Archdaily. (2011). Retrieved from
https://www.archdaily.com/143281/safe-house-kwk-promes
While mobile architecture is certainly a recurring trend that has
gained popularity over the past years, most of the transformations are
seen on its façade using new technology. The more prevalent term when
it comes to these types of structures is kinetic architecture, often dealing
with moving exteriors that are well-versed to move in tune to its
surroundings.
Environmentally sensitive facades. As part of responsive architecture,
kinetic architecture relies on adaptability of the structure to blend
according to its environment. This introduces sensitive architectural
facades produced with the latest technology which analyzes
temperature, wind patterns, lighting and other environmental factors to
transform the structure into the best fit for its current climate. User
comfort and sustainability becomes the primary considerations as it not
only creates the “ideal” internal climate but it offers solutions for better
maintenance and self-efficiency of the structure.
A small cultural hut in China was built to explore digital
architectural research, coded with sensors for temperature, humidity,
wind, etc. Mechanical devices are attached to three operable panels
which may open to convert into a performing stage if necessary. Its
current purpose is a reception center and souvenir sales room located
near the entrance of a mountain village.
Fig. 8.19. Operable interactive village hut

Reprinted from “Operable Interactive Village Hut / JCDA,” by Archdaily. (2019). Retrieved
from https://www.archdaily.com/917967/operable-interactive-village-hut-jcda
Operable panels can also be seen as the focal point of Dubai’s
Apple Mall. Its tall, carbon-fiber screens are a beautiful translation of

the Emirates’ culture, meant to mimic the movement of an eagle’s wings
during operation. The screens are engineered to open in sweeping
motions along curved rails during the night to provide access to a wide
terrace for a breathtaking view of the waterside promenade. In the
morning, the screens serve as additional buffer against direct sunlight
but allows sufficient light to penetrate into the structure.
Fig. 8.20. Apple Dubai mall screens

Reprinted from “Apple Dubai Mall / Foster + Partners,” by Archdaily. (2017). Retrieved
from https://www.archdaily.com/870357/apple-dubai-mall-foster-plus-partners
Climate-responsive designs dominate majority of these
architectural innovations, leaning towards sun-shading, insulation and
wind patterns. What differentiates them from each other are the shapes
or forms of the panels and the manner it responds to the changes. To
illustrate, the Syddansk Universitet, Al Bahar Towers and Kiefer
Technic Showroom are a few samples of buildings with facades that
transform as protective devices, depending on its microclimate. Wherein
the Syddansk Universitet are composed of triangles that swing outwards
to open, the Al Bahar Towers are attached with three dimensional
formations of triangles which opens into flower-like designs. The Kiefer
Technic Showroom is more straightforward in both its function and

form, the electronic shutters simply open up or down, depending on
preferred internal comfort in the structure.
Fig. 8.21. SDU campus

Reprinted from “SDU Campus Kolding / Henning Larsen,” by Archdaily. (2015). Retrieved
from https://www.archdaily.com/590576/sdu-campus-kolding-henning-larsen-architects
Fig. 8.21. Al Bahar Towers façade diagram

Reprinted from “Al Bahar Towers Responsive Facade / Aedas,” by Cilento, K. (2012).
Retrieved from Archdaily: https://www.archdaily.com/270592/al-bahar-towers-responsive-
facade-aedas
Fig. 8.22. Kiefer Technic Showroom panels

Reprinted from “Kiefer Technic Showroom / Ernst Giselbrecht + Partner,” by Vinnitskaya,
I. (2010). Retrieved from Archdaily: https://www.archdaily.com/89270/kiefer-technic-
showroom-ernst-giselbrecht-partner
Likewise, a stadium in Atlanta had opted to construct a roof
which opens and closes according to the current climate. Its structural
component is comprised mostly of railings for the roofing to slide open,
similar to a camera’s lens.
Fig. 8.23. Mercedes-Benz Stadium retractable roof

Reprinted from “Aperture-Style Retractable Roof at Atlanta’s Mercedes-Benz Stadium
Closes for the First Time,” by Lynch, P. (2017). Retrieved from Archdaily:
https://www.archdaily.com/876888/aperture-style-retractable-roof-at-atlantas-mercedes-
benz-stadium-closes-for-the-first-time
The construction of the stadium itself received multiple
supporters in the sports world especially since it is said to be designed
for hosting events from the Super Bowl to concerts to the NCAA Final
Four. The retractable roof has since become the iconic feature of the
structure which creates both an aesthetical and functional element to
observe during the games.
The use of smart materials become more and more prevalent in
pushing the boundaries of architectural experience, some of which are
being produced in connection to the multi-sensory design approach.
What once were static walls are now filled with creative innovations
ranging from thermochromic paint (Azarbayjani & Breffeilh, 2010),
temperature regulating materials (Schwartz, 2011), smart glass (Franco,
2017) and even more applications, merging user interaction with the
built environment to generate new meaningful encounters.

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WEngage: Co-working Hub with Rentable Studios for Indie Game

Thesis · November 2020

The user has requested enhancement of the downloaded file.

A Thesis Proposal Submitted to the

ROMERO, MIKAELLA DISNEY D.

and animation in the global market (Philippine Board of Investments, 2018).

and innovations enable architecture to take on different approaches in the typical

With the rise of modern office workplaces being reconstructed to emphasize

experience, which often enhances overall productivity, innovation and morale

VR technology to produce new, meaningful content. In-depth research on the needs of

image of over-the-top play zones often seen in big game studios.

game elements (2014) will serve as a framework in designing a comfortable yet

engaging work environment.

Keywords: co-working, game development, indie games, office, playful spaces,

Background and Nature of the Project ........................................................................... 2

Statement of the Problem ............................................................................................... 4

Project Goal and Objectives........................................................................................... 5

Significance of the Project ............................................................................................. 5

Scope and Limitation of the Project............................................................................... 6

REVIEW OF RELATED LITERATURE ................................................................ 9

Productive Workplaces .................................................................................................. 9

Play and Architecture ................................................................................................... 21

Design for the Future ................................................................................................... 28

RESEARCH METHODOLOGY ............................................................................. 39

Research Instruments ................................................................................................... 41

Procedures for Data Gathering..................................................................................... 42

Treatment of Data ........................................................................................................ 43

SITE SELECTION .................................................................................................... 45

Site Criteria .................................................................................................................. 45

Site Selection ............................................................................................................... 47

Site Justification ........................................................................................................... 50

Macro Site Profile ........................................................................................................ 50

Micro Site Profile ......................................................................................................... 61

Project Overview ......................................................................................................... 67

Market Study ................................................................................................................ 70

Client Profile ................................................................................................................ 74

Organizational Chart of a Co-working Space .............................................................. 76

User Profile .................................................................................................................. 77

Sample User Activity Schedule ................................................................................... 78

Legal Framework ......................................................................................................... 80

Project Analysis ........................................................................................................... 81

TECHNICAL RESEARCH DATA PRESENTATION ......................................... 84

National Codes, Laws and City Ordinances ................................................................ 84

Case Studies ................................................................................................................. 96

Results from Conducted Interviews ........................................................................... 104

Conclusion ................................................................................................................. 117

List of Spatial Requirements ...................................................................................... 119

Space Program ........................................................................................................... 123

Room Data Sheet ....................................................................................................... 132

Adjacency Matrix....................................................................................................... 134

Bubble Diagram ......................................................................................................... 136

CONCEPTUAL DEVELOPMENT ....................................................................... 138

Design Objectives ...................................................................................................... 138

Design Philosophy ..................................................................................................... 138

Design Concept .......................................................................................................... 139

Design Considerations ............................................................................................... 141

Design Strategies ....................................................................................................... 142

interactive learning projects in attempts to challenge computer programming and

video games finally engaged as entertainment and attractions.

The progress was painstakingly slow in the development of video games as

developers wrangled with their generational limits on technology; formulas were

adventure to puzzles to action. Even software have been upgraded to be customized