The Boston Planning & Development Agency (BPDA) has long kept 3D models of its city. However, cobbled together over the years, the files are at times cumbersome and as firms increasingly turn to 3D printing for model making and testing, not so useful. Printers don’t know how to process them or they are not designed in a way that print with stability. MakeTANK, an initiative of the Boston Society of Architects (BSA) saw this as an opportunity. MakeTANK was initially started to “integrate maker culture into the design process,” according to Sasaki director of technical resources Bradford J. Prestbo, who has been intimately involved with the project along with the rest of the firm. The hope was to leverage the many makers and maker spaces in the greater Boston area, and help architects increase client engagement and decrease contractor risk—and cost—by testing their designs out first. “Imagine going into a restaurant where the chef only wrote recipes and has never actually cooked them,” said Prestbo, half-joking. “That's kind of like the architectural profession today, where we just do a lot of paper architecture and paper designs without going through the process to actually taste what we've coupled together to make sure it's actually an effective solution that also will perform long term.” City Print is MakeTANK's latest project, just announced at ABX19, though it’s been under development for over a year. The collaborative team of architects that came together for City Print developed a series of scripts that helped turn the existing models of Boston into “watertight solids,” meaning that when processed in Grasshopper they can be effectively fed into 3D printers. They also added additional topographic details. The process, however, could not be fully automated. The files have to be individually opened, the scripts ran, and all of it double and triple checked for quality control. To help convert the over 200 model tiles of the city to be 3D ready, MakeTANK has enlisted the “who’s who” of Boston-area architects. “We are engaging in the greater AEC community to help us process the tiles,” explained Jay Nothoff, Sasaki fabrication studio manager, “and then turning around and handing this resource back to that same community as a finished project for everyone to enjoy and use as they will further project work.” The revamped models will be added to the BPDA's free repository and the BSA is using them themselves. They’ll be replacing their lobby's current scale model of the city—the basis of which was originally designed in the 1980s and is mostly focused on the financial district—with a new, modular replica made from these printed files. “We're zooming out from the financial district,” said Nothoff. “We're including the City of Boston in its entirety and we're making a model that is easily updated because it is built off a grid system. As portions of the city change and grow, these titles are semi-precious at best; they're just going to be held in place with magnets so we can pull the tile and put a new one in its place to most accurately represents the City of Boston in its current state.” Felipe Francisco, an architectural designer at Sasaki, went on to explain that many community groups didn’t feel represented by the previous BSA model. “We're open to try and create a new dialogue with those groups,” explained Francisco. “We want to use this as a resource for community groups to be able to come in and use this model to diagram stories over it through projection mapping about their communities.” By collaborating with visualization experts, the BSA is developing tools to use the re-built model as a storytelling and visualization device. “The intention is to build a base projection for the model itself that delineates roads, waterways and what have you,” said Nothoff. On top of that could be layered information on sea-level rise, income data, other metrics, or more abstract visuals. “We're reaching out to various organizations throughout the greater Boston area, such as the Boston Foundation, to help us gather all the voices that are currently feeling underrepresented and give them equity with his model and teach them how to use the projection map on to the model and tell their story.” The process is ongoing. Interested area firms can “check out” tiles from a grid of the city, and for a dose of healthy competition, check out a leader board. “You grab a tile, fill out a form, and submit it and shortly thereafter you get all the support files and the working files and scripting as well as instructions on how to process them,” explained Prestbo.
Posts tagged with "Boston":
At the largest architecture, building and design event in the Northeast, you will find the complete spectrum of companies, people and ideas. Everyone who has a role in the industry comes together at this annual event to conduct face-to-face meetings, experience the newest innovations, participate in cutting-edge conference workshops, and build relationships at high-level networking events. During the two-day show you will meet 300+ exhibitors of all sizes displaying products, services, ideas and innovations. The educational conference program offers 100+ accredited workshops designed to polish skills, spark ideas and offer real world-solutions. Join us for ABX19 taking place Nov. 6-7 at the Boston Convention & Exhibition Center to walk away inspired to expand your business.
A piece of Boston’s brutalist Government Center has reached the end of the road. The Charles F. Hurley Building, designed between 1962 and 1966 by Paul Rudolph, has been placed on the market by the State of Massachusetts. Citing the building’s challenging layout—the top floor lacks windows on three sides, for starters, according to the Boston Globe’s report—as well as an outdated surrounding urban landscape, Governor Charlie Baker’s office plans to offer up the site for total redevelopment rather than adaptive reuse. The Hurley Building occupies a 3.25-acre site in downtown Boston, near North Station and the MBTA transit lines, and the move to open the site for development is expected to rake in tens of millions of dollars for the state. In pursuing a public-private partnership, the Division of Capital Asset Management and Maintenance plans to solicit an official redevelopment partner by mid-2020. The complex will accommodate new uses while retaining office space for some of the several state agencies currently housed in the building. Approximately 675 government employees work in the Hurley Building at the time of writing. News of the redevelopment quickly sparked a movement to save the building, which some consider among Boston’s brutalist treasures. The nearby Boston City Hall, built in 1968, has long been an icon of brutalism, even if it achieved that status through sheer controversy. Many architecture aficionados and critics have praised the Hurley Building's unabashed modernism, while a number of locals consider it nothing more than an eyesore. The Paul Rudolph Heritage Foundation published a blog post titled “S.O.S: - Save Rudolph’s Boston Government Center,” describing the Hurley Building as “one of Rudolph’s most interesting commissions, and a serious work of urban design.” In a call to action, the blog post encourages readers to leave comments on the Boston Globe article voicing their concerns with the project. Construction on the site is expected to begin within the next few years once the property finds a buyer. For now, the state is formulating plans to relocate its agencies to alternative sites.
Brought to you with support fromBreaking ground later this year, 212 Stuart Street is located on the northern edge of Boston’s Bay Village Historic District between two very different contexts: a midrise commercial corridor and the 19th-century enclave of brick rowhouses. Architecture firm Höweler + Yoon was challenged with bridging these distinctive neighborhoods via a 20-story residential building that is contemporary in design but still deferential to the landmarked neighborhood. The architects found inspiration in the masonry buildings in the area, notably the fluted piers on a nearby 1930s garage dubbed “Motor Mart.” In response, they designed a series of super-scaled precast concrete panels to break up the relatively straightforward massing of the high-rise building into “courses” of varying height.
concrete panels would affect the views from the inside. The concave panels and the overall assembly were optimized in collaboration with pre-casters, who helped the architects realize that it would be more efficient to use nine unique panels than the three they initially proposed. Window walls and glass spandrels complete the envelope. The design is more complex than it first appears, with a lot of movement and deflection that required extensive coordination between multiple systems to create the appearance of a single unified building envelope. “Ultimately, we worked out all the details with the help of the pre-caster, the glazier, the facade consultant, and the architect of record, Sasaki,” said principal Eric Höweler. “It’s a very clear diagram, but it turns out that requires a lot of work to get right.” The design of 212 Stuart Street was a collaborative process during which the architects also worked closely with the Bay Village community—who needed to be convinced. For nearly everyone except architects, concrete has a bad rap in Beantown, and the architects had to prove that they weren’t trying to build another Boston City Hall. The 1930s Motor Mart that inspired their design helped with this: “People thought it was limestone, but it’s actually precast,” noted Höweler. “So we were able to show that there is a way to do precast beautifully. It doesn’t have to look like City Hall.”The facade is constructed from 14-inch-thick concave panels whose rhythms produce a dynamic play of light and shadow; there’s a depth and richness to the facade that echoes the surrounding historic architecture. The design was developed and refined over many iterations and with many physical models. The developer-client was won over by the idea with a small plaster prototype of the fluting but was ultimately convinced with a full-scale foam mockup created to study the lighting effects and to better understand how the deep
Brought to you with support fromRising from a triangular lot in Boston’s Back Bay, One Dalton is a 61-story, 706,000-square-foot residential tower designed by Pei Cobb Freed & Partners. Its gently curving triangular floorplan—a direct product of the unique site—is extruded vertically to create the building’s clean but dynamic glass form. The slightly bulging facades and the sheer size of the glass units presented some major challenges when it came to developing the cladding. The glass panels are some of the largest the firm had ever worked with, with a typical unit spanning 12-feet-tall by almost 6-feet-wide with a 30-degree curve. The firm set ambitious goals for the glass beyond the unusual size and shape with specific targets for deflection and distortion, solar and thermal transmission, color rendering, transparency, UV filtration, glare and reflectance, and noise suppression.
Well, it appears as though the next multi-hyphenate celebrity looking to add "architect" to their roster of titles is: You guessed it, Tom Brady. In an interview on WEEI’s “The Greg Hill Show,” the New England Patriots quarterback mentioned he may want to get into residential design after retiring from professional football. “Maybe I’ll be an architectural designer,” Brady said, “because I love building houses." That much may be true. He’s really into personal building projects. Brady and his wife, supermodel Gisele Bundchen, have built several homes together, including their 14,000-square-foot Brookline mansion which just went on the market last week for nearly $40 million. Patriots fans have been freaking out over the rumors of its sale, speculating that he’s likely to retire after this upcoming season. Brady squashed the chatter in the WEEI interview, telling fans not to look too much into it. It’s yet to be determined whether fans will believe him—with the sale of the home it means Brady is decreasing proximity to Patriots owner Bob Kraft who owns property next door.
Brady and Bundchen also custom-designed an 18,000-square-foot mansion in the Brentwood neighborhood of Los Angeles together. Though they sold it to record producer Dr. Dre in 2017, they clearly put a thoughtful lot of work into the home: It boasts an eco-conscious build-out created in tandem with architect Richard Landry, known as the “King of MegaMansions,” and expensive interior designer Joan Behnke. With the Brookline mansion now up for grabs and their Brentwood home in the hands of Dr. Dre, the question remains whether Brady and Bundchen will take up another design project for their next residence. For now, they'll have their 5,000-square-foot, 5-bedroom condominium in New York to return to in 70 Vestry, a 14-story limestone tower in Tribeca designed by Robert A.M. Stern. Forbes reported that the family moved there in 2017 for $20 million. Should Brady officially go into the architectural profession post-Patriots, he’ll join other personalities such as Kanye West, Brad Pitt, Bill Clinton, and Travis Scott who’ve all expressed interest in design.
Tom Brady & Gisele Bundchen’s Massachusetts home was briefly listed for sale this morning for $39.5 million. Brady paid $4.5M for the land alone where their custom mansion was built. First reported by @NoraPrinciotti. pic.twitter.com/4E7W3EUX0x— Darren Rovell (@darrenrovell) August 6, 2019
The United States of America of the 19th century was a civilization in rapid flux, subject to spiraling economic and demographic growth coupled with staggering socioeconomic inequality that manifested in deleterious urban poverty. Big Plans: Picturing Social Reform, on display at the Isabella Stewart Gardner Museum in Boston through September 15, 2019, effectively encapsulates the bold visions of the era's patrician reformers with the living conditions of the urban poor that influenced their sweeping plans. The exhibition is curated by Charles Waldheim, the Harvard Graduate School of Design's John E. Irving Professor of Landscape Architecture, Director of the Office for Urbanization, and the Ruettgers Curator of Landscape, and is largely made up of highly-detailed topographical and landscape maps, historical photographs, and personal mementos. According to Waldheim, "the show started with a very simple idea; could we take large urban plan drawings from the 19th century and treat them like works of art?" For Big Plans, Waldheim hones in on four protagonists; Frederick Law Olmsted, the historic doyen of landscape architecture; Isabella Stewart Gardiner, the museum's namesake and prominent member of the Boston Brahmins; Charles Eliot, Olmsted's apprentice and prominent city planner in his own right; and Lewis Wickes Hine, the sociologist and prodigious photographer of the American urban condition. Although contemporary controversies surrounding park construction largely center on budgetary or zoning constraints, the execution of such projects during the 19th century was remarkably radical in ideology and scope. Big Plans highlights the revolutionary nature of public landscape design with an initial focus on Olmsted & Vaux's design for Central Park in New York, juxtaposed with an original hand-colored map by William Bridges for New York's 1811 Commissioners' plan that would place the gridiron street layout of Manhattan. In comparing these two disparate visions of Gotham at the onset of the exhibition, the curatorial direction quickly lays out the reformers' visions of reshaping the rigid rationality of the industrial city into one that cultivated both economic and social progress. The theme of correcting the societal ills of the industrial metropolis is continued in the second room of the exhibition with five-by-seven-inch silver gelatin prints produced by street photographer and sociologist Lewis Hines. Similar to contemporaneous New York-based social reformer Jacob Riis, Hines advocated for photography as an effective tool to prod for social reform. The images are not beautiful; as is the case with much early photography, many are overexposed and out of focus. However, aesthetics were not their purpose. The photos are a searing indictment of child labor, depicting young men and women toiling in industrial mills and sifting through fetid landfills in search of scrap materials. The remainder of the exhibition is largely a collection of drawings that plot out the expansion of the public realm and park space in Boston and Chicago, ranging from the Back Bay Fens to Jackson Park. Absent from the curatorial direction of Big Plans is a perspective from the urban working class and impoverished for whom the grandiose schemes were tentatively laid out for. This top-down perspective was a conscious decision by Waldheim to highlight the uneasy paternalism, or noblesse oblige, of the era's social reformers. While not explicit, the exhibition begs the question of whether this condescension laid the groundwork for similarly grandiose urban renewal plans during the mid-20th century. Big Plans: Picturing Social Reform Isabella Stewart Gardner Museum 25 Evans Way Boston Through September 15, 2019
Brought to you with support fromThe rapid development of urban areas across the country is leading to the reappraisal of the commonly found, and often maligned, parking garage. Boston-based architectural practice French 2D has joined this trend by invigorating a drab parking garage using a mesh facade with dynamic graphics intended to serve as a large-scale artistic canvas as well as a functional enclosure. The design of the parking garage’s facade was intended to reference the competing architectural scales and functions of the surrounding Kendall Square. The neighborhood, separated from downtown Boston by the Charles River, is defined by newly built tech hubs, residential buildings, and a fading industrial heritage. For the design team, the primary challenge and objective of the project were to break up the monolithic scale of the existing garage—it is eight stories and measures a whopping 350,000 square feet.
Brought to you with support fromIn October 2018, Amherst College opened the New Science Center on its historic Massachusetts campus. The new academic building, which replaced an aging science center that was failing to keep up with its contemporary academic needs, is a six-story structure offering a home for six different science departments. Designed by the Boston-based architectural practice Payette with aggressive energy targets in mind, the enclosure is wrapped in a quintet of materials; glass, brick, concrete, weathered steel, and metal composite.
Zahner. Along the complex's forecourts, the perforated weathered steel panels face narrow side out, while the western elevations are fully shrouded. The weathered steel is backed by narrow glass-and-composite-metal panels. The project, which has received numerous accolades for its environmental performance, will be presented by Payette Principal and Director of Building Science Andrea Love at Facades+ Minneapolis on July 24.During the design process, Payette paid particular focus on how to minimize thermal bridging between the myriad facade components. "The brick masonry angles are held off the face of the building wall to permit insulation to run continuous," said the design team, "and Teflon spacers were utilized in the support of exterior weathering steel screen. The structure of the roof overhang and canopies are thermally broken to minimize heat transfer at those locations as well." The 251,000-square-foot project is located on the eastern border of the Amherst campus, its form primarily consisting of a large rectangular volume running on a north-south axis, with three fingers protruding to the west. This main rectangular volume is home to the structure's primary gathering space, The Commons. From the west, the circulation paths and spaces within The Commons possess near-complete visibility due to a colossal structural triple-glazed silicone curtainwall. To reduce UV exposure, the insulated glass units were treated with two different low-E coatings, Vitro Solarban 60 & 72, to achieve a system U-Value of .25 while maintaining a visible light transmittance of 56 percent. A series of sawtooth skylights is located atop the primary rectangular volume and serves two functions: further illumination of the interior and structural support for the glass curtainwall. The steel roof structure is cantilevered from the concrete core, and in turn, hangs the glass curtain wall. According to the design team, "the columns supporting the glass wall are nearly 40 feet removed from the curtain wall, supporting a load of nearly 10,000 pounds per mullion in addition to the dead, snow, wind and seismic loads." For the eastern elevation of the structure, which faces the campus boundary on East Drive and is visible from town, the envelope switches over to a more traditional brick facade. The bricks produced by Danish-manufacturer Petersen Tegl are long and flat in dimension, approximately measuring 20.8 inches by 4.3 inches by 1.5 inches. Their finish is irregular and resembles grayish rough ashlar. The three protruding wings of the New Science Center are all three stories in height and clad in a screen of weathered steel produced by
Brought to you with support fromCommonwealth Avenue, snaking from the Boston Public Garden through the greater metropolitan area, is no stranger to significant cultural venues and institutional buildings. Boston University’s Joan & Edgar Booth Theatre and College of Fine Arts Production Center, by local firm Elkus Manfredi Architects, joins this assemblage with an angled glass curtainwall shrouded in a scrim of ultra-high-performance concrete (UHPC) and flanked by vertical strips of metal panels.
Centria, and treated with their Kolorshift PVDF, the aluminum panels reflect different colors depending on their exposure to sunlight—their character effectively morphs according to weather, time of day, and season. This dichroic effect is amplified along the northern corners of the east and west, where the aluminum panels were installed diagonally, producing a wave-like effect of color differentiation. The relative formality of the south elevation, along Dummer Street, is a response to the immediately adjacent residential neighborhood. Throughout the design process, the design team met regularly with the surrounding community to address their concerns. The use of Ipe wood softens this elevation and links it materially to it wooden dropside neighbors, while louvered windows provide glimpses within.The 75,000-square-foot building rises to a height of approximately 57 feet and largely follows a rectangular massing. While the majority of elevations rise perpendicularly from the ground level, the north elevation is defined by a 42-foot-tall glass curtainwall tilted at a 14-degree angle. The glass panes, measuring 7-feet-by-14 feet, were structurally adhered on site and lifted into place using a custom steeling rigging system. A scrim of UHPC panels frames the primary northern elevation and folds onto the east and west elevations, a design feature intended to evoke a proscenium screen shrouding the entrance of the theater. In total, there are 83 UHPC panels measuring 14-feet by 7-feet, each weighing approximately 1,600 pounds. Tubular steel outriggers, cantilevered from the slab edge and running horizontally, serve as a platform for the concrete panels. For Beton, a Montreal-based fabricator, the project was a first in their production of ultra-thin concrete. "Not only does the color of the UHPC concrete tie the building into its immediate surroundings—including the sandstone former Cadillac dealership, a national landmark next door—the material can also take the desired form reminiscent of theatrical fabric, unlike stone," said Elkus Manfredi Architects vice president Ross Cameron. "The engineered concrete-polymer material has three times the tensile strength of traditional concrete yet weighs half as much, so the design team pushed to use the material in these new ways, striving for ever thinner and delicate forms." Besides the entrance atrium, there are limited chances of fenestration across the rest of the building due to performance spaces within. For the remaining elevations, the design team opted for Ipe wood and aluminum siding. Produced by
Brought to you with support fromArchitectural preservation is often cast as a zero-sum game; historic structures are either painstakingly maintained or demolished in favor of contemporary development. Arrowstreet's Congress Square, a 530,000-square-foot project in Boston's Financial District, provides an alternative solution for this quandary with the restoration and consolidation of an entire block of historic structures that integrates a contemporary glass addition with a fiberglass reinforced plastic (FRP) soffit. The historic core of the project is composed of three separate Beaux-Arts banks built in the early 20th century. Over the course of their lifetime, and a number of financial mergers, the banks were haphazardly joined into a single entity. A lightwell was located between these three structures but it was filled with a web of mechanical systems over the years.
Kreysler and Associates and Midwest Curtainwalls, to develop the soffit design. The design and fabrication teams reviewed three color options in both glossy and matte finishes, constructing full-scale mockups to effectively gauge the product most complementary with the historic ornamental metalwork found throughout the buildings. Ultimately, the team settled on an iridescent gold-like finish that reflects light to the street below. "Our team refined the design of the soffit using Rhino 3D software and 3D printing to visualize the final installation," continued Korté. "Sharing these models, we could interface directly with Kreysler and Associates' sophisticated fabrication equipment, including six-axis CNC robotic routers to realize complex geometries." While the bulk of the project focused on the insertion of the seven-story glass pavilion atop three historic banks, the northern rump of the mixed-use project involved the restoration of two additional historic structures and the construction of an entirely new 12-story addition. The facade of the addition was manufactured by Island Exterior Fabricators and was fully installed in under two weeks. Amy Korté, Arrowstreet President, will be presenting a deeper dive into this project as part of the panel, "Lightness & Weight | Creating Continuity in Cityscape with Hybrid Facades" at the upcoming Facades+ conference in Boston on June 25. For more details, along with registration info, visit Facades+ Boston.For the design team, one of the greatest challenges of the project was how to structurally support the seven-story glass addition, and its 24-foot cantilever, without visually disrupting historic elements. "A 1,700-square-foot mat foundation was constructed in the basement supported by more than 60 mini-piles that were all driven inside the existing building," said Arrowstreet President Amy Korté. "Fourteen super columns were then threaded through the perimeter of the existing buildings to support the vertical addition." Additionally, a new concrete core was inserted within the lightwell to both support the new glass canopy as well as house contemporary mechanical equipment. The new concrete core also facilitated the open-floor plan of the glass-clad office space. The structure's sharply-angled cantilever and soffit are located on the prominent southwestern corner of the project, adjacent to Post Office Square. Arrowstreet collaborated closely with the FRP and the curtainwall manufacturers,
Brought to you with support fromThe Greater Boston area is home to a large collection of brutalist structures. Now, with these historic buildings passing their semicentennials, municipalities and institutions are reappraising their original designs and coming up with solutions to adapt them to contemporary needs. Harvard's Smith Campus Center, a colossal academic building located on Massachusetts Avenue across from Harvard Yard, is an exemplar of this trend, with a significant overhaul led by design architect Hopkins Architects and executive architect Bruner/Cott Architects consisting of facade restoration and the insertion of glazed pavilions. Formerly known as the Holyoke Center, the Smith Campus Center, completed in 1966, was designed by Josep Lluis Sert, dean of the Harvard Graduate School of Design from 1953 to 1969. In total, the center's original design encompassed over 360,000 square feet and reached a height of 10 stories. The massing was generally an extruded H-shaped plan, with a three-story pavilion found on the north elevation. For the design team, the goal of the project was the retention and strengthening of the original concrete-and-glass facade through sealant removal, concrete cutting and chipping, and glass replacement, and the opening of the ground level with a new glass curtainwall. The design team conducted extensive studies prior to the intensive intervention. "Restoration originated in 2008 with a study by Simpson Gumpertz & Heger and Bruner/Cott Architects," said Bruner/Cott principal Henry Moss. "Two vertical drops down the 100-foot height of Sert's concrete facade identified areas of incipient spalls from cast-in-place concrete. In 2013, the same team did a binocular survey from street level to locate fractures and estimate the frequency of different types of repair for the building as a whole." Similar to many mid-century structures, the Smith Campus Center was beleaguered by environmental performance issues—low-E coatings did not exist in this area, and the bulk of the building's windows were single glazed. To bring the Center up to contemporary environmental and performance standards, Bruner/Cott designed a new system of insulated glazing systems. Additionally, Sert's original design featured non-tempered glass—the present building code requires safety film for any fenestration located 25 feet above pedestrian areas. "On all but the north elevation, new clear films provided enhanced solar control with a slight shift towards a bluer hue," continued Moss. "Thirty-five-year-old reflective solar films were removed from all elevations to restore the figure-ground relationship between translucent and clear panes in the composition of facades by restoring transparency to Sert's "vision panels." While a significant portion of the project was dedicated to the renovation of Sert's brutalist complex, the footprint's forecourt provided an opportunity to embed a contemporary welcome pavilion. The pavilion's new glass panels, typically measuring 7'-8" wide by 11'-2" tall and 1 ¾" thick, were double-laminated with polyvinyl butyral and a 16mm argon-filled void. The glass curtainwall is held in place by toggles fastened back to the custom-fabricated interior columns. Panels located atop the pavilion are 7'-8" feet wide and 18'-3" tall. Henry Moss, Bruner/Cott principal, will be presenting a deeper dive into this project at the upcoming Facades+ conference in Boston on June 25. For more details, along with registration info, visit Facades+ Boston.
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