The project is based on two binary concepts that are gleaned from the context of the host building: curvilinear/rectilinear, and unity/variety. Based on the "Approval Matrix", a tongue-in-cheek graphic cultural assessment in every New York Magazine, this project is a "Poché Matrix". The design of the spaces and the products are on a continuum and distributed in an array based on their relationship to the four terms. The entrance to the building is through what might be considered "habitable poché". Once inside, the rooms are shaped and composed using a traditional poché design technique.

This is an adaptive reuse project to show a new narrative of the retail showroom from the perspective of interior architecture in response to the fragmentation and change of the retail scene over the past few years.

The site for the project is a 5,000-square-foot industrial building at 210 N Harvard Street in the Allston neighborhood of Boston. The neighborhood has a residential area to the south of the site (UNITY), and various programmed areas are distributed to the north (VARIETY). In the same way, the site is divided into curved grids to the east (CURVILINEAR) and rectangular grid to the north (RECTILINEAR). The two binary concepts gathered from the context are expressed through New York Magazine's key signature, the approval matrix. In the project, one matrix introduces the context, and the other lists the products to be displayed in the showroom, including building materials, furniture, textiles, and art.

The four terms do not indicate individual spaces, but rooms are gradually shaped and composed through the architectural element of poché based on two axes. Poché is used as a traditional design technique, and the inside poché is applied as well as an entrance and a courtyard. In those spaces, the ceiling is open to show the existing building structure. As they are curvilinear spaces, it leads visitors into the building through the various densities from the curves occurring inside. The bookstore, which is a mixture of rectilinear and unity located diagonally from the entrance, has rectangular grid ceilings and floors, and the repetition of its shape and pattern affects furniture and materials. As people get farther away from the bookstore, they can see that it gets out of the rigid grids and relaxes into the stripes. The café, gallery, and theater seen in the section image show that variety works not only on a plan but also on a section. Each room exhibits a variety of senses of space through different heights of floors and ceilings, suggesting multiple perspectives of space design as a retail showroom. Externally, the matrix expands and adapts to different styles of gardens: sand, topiaries, lawns, ponds, rocks, and flowers.