Emotional Hotel, Manchester Part 2 Project 2005 Tony Ip Manchester School of Architecture Manchester UK The word “extreme” was the starting point of the project. My response was the idea of “extreme emotions”. Emotions are extreme because they affect our lives daily. Humans express emotions, yet emotions themselves are actually invisible. For example, what would the emotion of lust look and feel like if it took physical form? What would it be made of? The project was a study in seeing how a building could be generated from emotions. What would a building be like if it were to speak the language of emotion?Research was based upon psychologist Philip Shaver’s emotion tree, an emotion classification diagram which informed a methodology to represent emotions physically. This led to conceptual representations of particular emotions in the form of some very tangible design objects and virtual installations which experimented with texture, gesture, colour, hardness, softness, wetness, dryness, form and shape. To explore the tactile nature of the project in detail led to further development of these ideas in the form of a small hotel. The use of these contrasting objects and environments became the means of an attempt to change the perception of the hotel to something less ‘containerised', a hotel that expresses a notion of choice, variety and the experience of diverse intimate environments which stimulate the senses. Tony Ip Firm, commodious and delightful -Tony Ip's project set out to explore emotional conditions and translate these through analysis and projective experiment into a personal architectural language that could inform programmatic and tectonic resolution. An apparently excessive gesture that exuberantly embraces formal, chromatic and tactile qualities is in fact theoretically disciplined and methodologically rigorous but skillfully avoids treating theory and method as anything other than the ambient crucible in which the work is forged. A work rich in future potential is also powerfully palpable in the sensuality of its projected presence. A messy vital architecture ‘out of joint' with the prevailing conventions of hair shirted phenomenology and ascetic minimalism that share similar synaesthetic origins - the 'almost nothing' is eschewed in favour of the 'almost everything' in dressing and addressing the frame that forms the clotheshorse of contemporary architecture. Profoundly cosmetic this is truly 'false work'.