Eighteen hotels

Buildings that let the outside in.
Buildings that keep it out.

How to read this

Every hotel gets one orange block, one blue block and one framed conclusion. Nothing is scored.

Eighteen hotels in four sections, looked at through a single question: what does the building admit from around it, and what does it hold off? Glass walls and roofless courtyards on one side, windowless berths and metre-thick snow on the other.

Open

A building is open where it brings the outside into the plan: a courtyard with no roof, a wall given entirely to glass, a terrace at floor level, an atrium that carries daylight down through every storey, a shoreline that guests walk along. Openness here is a decision an architect made, not a quality we are praising.

A closed circular mark with a figure ten on a dark field
Closed

A building is closed where it holds the outside off: blank concrete on the approach, a sleeping berth with no window, a hall too deep for daylight to reach, a shell of compacted snow that cannot carry an opening. Closure is often the whole purpose of the type, so it is described the same way and with the same weight.

The eighteen

A list of facilities tells you what a hotel has bought. This pair tells you what the building decided. A capsule with no window and a cabin with one glass wall are answers to the same question, and reading them side by side explains more than any count of features could. It also travels: the pair works in a desert, an airport and a snowfield alike.

How the pair is used, and where the material comes from