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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.
Brought to you with support fromOn June 25, Facades+ is returning to Boston for the fourth year in a row. The conference, organized by The Architect's Newspaper, is a full-day event split between a morning symposium and an afternoon of workshops led by top AEC practitioners. Leers Weinzapfel Associates (LWA), a Boston-based firm with projects nationwide, is co-chairing the conference. Panels for the conference will focus on the changes underway in Boston, ranging from new educational structures, the city's new tallest residential building, and historic preservation projects. Participants for the conference's symposium and workshops include Behnisch Architekten, Knippers Helbig Advanced Engineering, Pei Cobb Freed & Partners, Bruner / Cott, Arrowstreet, Consigli Construction, Walter P. Moore, Autodesk, Atelier Ten, Harvard GSD, the Wyss Institute, and Okalux. In this interview with The Architect's Newspaper, LWA's designer and business development representative Zhanina Boyadzhieva and associate Kevin Bell, the conference co-chairs, discuss their firm's growing body of work and the developmental trends within the city of Boston. The Architect's Newspaper: Boston is known as a relatively quiet city with a predominantly low-slung skyline. How is current development reshaping that identity and what does it mean for the future? Zhanina Boyadzhieva: Boston is indeed a “quiet” city, but it is also a hub of innovation and creative thinking. In the past few years, we have observed dynamic design work, largely by local firms, on several fronts: 1) creative re-envisioning of historical landmarks through readaptations and additions such as Smith Center at Harvard University and Congress Square in downtown Boston 2) careful insertions of new landmarks in the skyline such as One Dalton 3) fast development and growth of existing or new resilient neighborhoods such as Harvard’s Allston campus. Each design solution addresses unique urban conditions and entails holistic thinking about city planning, resilience, and sustainability, coupled with a sense of function, form, materiality, and human experience. Naturally, facades combine all of these considerations and become dominant players in the reshaping of cities. The diversity of approaches we observe—controlled material juxtapositions of old and new, sculptural form-making, and playful screening strategies—are testaments to ongoing design experimentations here. There is a search for new methods to address creative reuse, high performance, material fabrication, and user experience. AN: The city possesses one of America's largest concentrations of brutalist buildings, as well as large historic districts. How can Boston embrace its heritage while moving forward? Kevin Bell: The rich building history of Boston, including modern landmarks like City Hall, and its brutalist companions make for wonderful urban fabric for intervention and a great place for an architect to practice. This history should serve to elevate our expectations for new buildings and major renovations in the city. The recent warming to Boston’s brutalism, its strong geometry and bare materials, is welcome, encouraging designers to consider rather ignore these local icons. It presents the opportunity to consider adaptation and re-envisioning through sustainability’s lenses, the human experience, and materiality. If we can dramatically improve the energy efficiency and human use in these sensitive historic buildings, we can achieve the same in new construction and create a model for continued improvement. AN: What innovative enclosure practices is LWA currently executing? KB: As a firm, we have a legacy of designing efficiently in an urban context. Often, our site is an existing historic building or a tightly constrained sliver of land, or sometimes, there's no site at all. This fosters a sensibility within the studio toward compact volumes, materially efficient, with taut fitted skins, a practice that serves us well as we work to make evermore energy efficient and sustainable buildings. We're also redefining our performance expectations around our clients' commitments to energy efficiency, many of whom have established operational carbon neutrality as their aim by mid-century. The enclosures we design today will be part of that efficiency equation. They must be considered to be part of a carbon neutral organizational environment as a performance baseline above simple compliance with today's codes or target certifications. Envelope performance, especially the use of innovative glazing materials, is a logical extension of the way we think about reactive, efficient space and energy efficiency targets in building enclosure design. Our Dartmouth Dana Hall renovation and addition, under construction now, is an example of this process and practice. We worked closely with the college to define a program for building reuse around its energy use reduction targets that dramatically improved envelope efficiency. Through the design process, we worked with our design and construction partners to continually refine the design while holding to incremental improvement in energy efficiency at each step; our modeled efficiency improved even as we moved through cost reduction exercises. The result is a highly insulated building, triple glazed throughout, with a thermally improved, south-facing glass curtainwall system combining vacuum insulated high-performance glass modules with integrally solar shaded, triple glazed vision glass as part of a building with a predicted energy use index (pEUI) in the middle twenties before the introduction of site renewables. AN: Which materials do you believe are reshaping facade practices? ZB: Materials are the agents of larger design strategies shaping the practice such as resilience, sustainability, and human experience. The aim to rethink and cherish historical buildings, for example, leads to a careful layering of existing and new materials that contrast and simultaneously enhance each other. Heavy textured concrete at the Smith Center is supplemented by light and open transparent glass, green walls and warm wood. Traditional brick block at Congress Square is juxtaposed with a floating glass box on top of sculptural fiber-reinforced plastic panels. On the other hand, the vision to create new landmarks that celebrate and reshape the Boston skyline result in the careful sculpting of distinctive volumes as in One Dalton, a tall glass skyscraper with careful incisions of exterior carved spaces for human use. Finally, the goal to produce energy efficient but playful envelopes leads to a game of patterns composed of an inner insulated layer with an outer wrapper of perforated metal screens or angled aluminum fins. Each choice of material and its manipulation reflects a larger vision to create a unique experience in the city. Further information regarding Facades+ Boston can be found here.
A monumental sculpture symbolizing the love and legacy of Dr. Martin Luther King, Jr., and Coretta Scott King will be erected in the historic Boston Common sometime in 2020, according to The Boston Globe. Designed by artist Hank Willis Thomas and MASS Design Group, The Embrace was chosen from a pool of impressive works honoring the beloved civil rights leaders; the 22-foot-high pair of clasped bronze arms rose above the fold. King Boston, the organization behind the memorial project, announced the winning design yesterday. Cochairman Paul English told The Globe the decision was near unanimous—both the art committee and the members of the public who viewed the proposal on display at various locations around town, agreed it should be built. “The committee was really moved by it,” English said. “They thought it was iconic. People would come to see it and take pictures and share it. You could imagine people hugging each other next to it.” Not only did the selection committee and thousands of Bostonians consider The Embrace a moving work of art, the design would also be much less expensive and easier to construct than the other five finalists. Adam Pendleton and Adjaye Associates’ collaboration with Future/Pace and David Reinfurt would have brought an elongated steel walkway—part of which was cantilevered—into the park. Walter Hood’s project with Wodiczko + Bonder and Maryann Thompson Architects, The Ripple Effects, would have also significantly altered the landscape with a large, public plaza and terraced field. The Embrace is reminiscent of Anish Kapoor’s Cloud Gate (a.k.a The Bean) in Chicago's Millennium Park. People will be able to walk beneath the interlocked arms and gather in the public spaces surrounding the piece. It also provides a literal point of reflection for visitors and exists as a stand-alone sculpture that surprises but doesn’t overwhelm. According to a statement by King Boston, the sculpture and landscape call people toward empathy and action. ”Is there a more radical act of justice than love?” said Michael Murphy, founding principal and executive director of MASS Design Group. “The choice to love your neighbor, to love someone that is not yourself, to go into a community and act is the foundational seed of social justice. To us, there was no better way to honor the Kings’ legacy and advance collective action.” With such community support and government backing—Boston’s City Hall has already greenlighted the project, according to English—the group expects the project to be built fairly quickly. It’s likely to rise in conjunction with an already-planned restoration of Boston Common, reported The Globe. The nonprofit aims to raise up to $12 million for sculpture, which is likely to cost between $3 and $4 million. Some of the money raised will go toward the new King Center for Economic Justice in Roxbury, Massachusetts, as well as the local congregation of Twelfth Baptist Church where Dr. King preached and the couple first met. King Boston also plans to fund a 25-minute documentary on their love story and lives in Boston during the early 1950s. So far, $6 million have been raised.
MALL stands for Mass Architectural Loopty Loops or Miniature Angles & Little Lines, among other variations. Just like its ever-changing moniker, MALL’s work is constantly shifting. Founded by Jennifer Bonner in 2009, the Boston-based studio develops collections of projects that iteratively build from one to the next. As a graduate of Auburn University’s Rural Studio and Harvard Graduate School of Design—where she currently serves as faculty—Bonner channels her love of the American South and uses her teaching to experiment with new typologies and invent new modes of architectural representation. Her colorful, out-of-the-box approach to design is just one of many reasons why she is named one of AN Interior’s top 50 interior architects. AN associate editor Sydney Franklin spoke with Bonner about stepping away from tradition and what’s next for MALL. AN Interior: What would you say are the driving forces behind your aesthetic project? Jennifer Bonner: As you probably noticed from looking at my work, each of the projects are very different formally. At MALL, we begin by working on a conceptual and intellectual project first, and the formal emerges out of these considerations. I am against producing an overall “MALL aesthetic” and much more interested in many architectures. Yet within a single project, the process I’ve set up for my office is to work through many iterations around singular ideas—never discarding any, but creating a cute collection. You can see these collections in the work of Domestic Hats and Best Sandwiches. The latter is a colorful spatial experiment questioning how architecture might stack, in which we are interested in reimagining the extruded midrise office tower. AN: So these collections allow you to explore multiple new typologies? JB: Each of my larger conceptual projects has the potentiality to question paradigms, which is what I’m most interested in. Take the roof forms in Domestic Hats and Haus Gables, a single-family house opening this month made from one of the original Domestic Hats models. I believe the roof plan can be an instigator of space rather than using Le Corbusier’s free plan and Adolf Loos’s raumplan. Here I was looking to expand different roof typologies, which is a topic I dove into while teaching at Georgia Tech. AN: You’re also keen on expanding your use of unique materials, textures, and colors in your formal projects. JB: Yes, I really want to keep pushing the boundaries of materiality. I’m currently working on this through a project called Faux Brick, a distant cousin to the Glittery Faux-Facade study I developed in 2017. In preparation for this year’s Bauhaus Centennial, I’ve studied a pair of houses by Mies van der Rohe in Germany where I argue that authentic bricks are used as a fake structural strategy. In this project, we’re trying to figure out how the rendering and other representational techniques involving bad bump maps and bad meshes might create new faux-brick facades. AN: How has your experience teaching and living in different places like London, Istanbul, Los Angeles, and Boston informed your work? JB: As someone who has one foot in academia and one foot in practice, it has been exciting to absorb all of these cities into the way I imagine architecture. Having grown up in Alabama and recently living in Atlanta, I have decidedly made an effort to work on architecture in the American South. It is not by accident that my first architecture, Haus Gables, is located in Atlanta. AN: For Atlanta, Haus Gables is a really avant-garde residential design. It’s made of cross-laminated timber and features quirky exterior and interior finishes. How were you able to make it so different? JB: It’s completely self-funded without a traditional client—so my partner and I have taken on all of the risk. It was important for me that the design be as radical as possible in my first built work, and not diluted by many external factors. Radical, however, does not mean there wasn’t a fixed budget (which there certainly was). Throughout my career, I’ve worked with several clients associated with the public realm, such as institutions and galleries, but that kind of client is different from, say, a client who wants you to design a house. AN: So you want to design and develop your own projects too? JB: I wouldn’t call myself a developer just yet. But I’ve always been into what John Portman did in Atlanta in the 1960s as an architect who both developed and found financing for his projects. By doing this, he was able to produce a new typology, the super atrium, which I’m not sure he would have been able to accomplish so early in his career if he had faced typical constraints.
The pop-up, temporary store phenomena, began a dozen years ago when local, community-based associations attempted to deal quickly with unwelcome empty storefronts on struggling main streets. They have now become a cliché of contemporary corporate branding and a quick, inexpensive way to make a product seem "cool." But Spaceus, a temporary floating workshop in Boston and Cambridge, Massachusetts, is trying to put the local back into pop-up. The creation of two MIT graduate students Ellen Shakespear and Stephanie Lee, Spaceus takes empty storefronts and turns them into temporary workspaces and information centers for artists. The architects created a membership structure that lets users determine the function of Spaceus, and then the designers used their skills to create a simple, inexpensive, and handsome walk-in space. The initial pop-up was located in an empty shop in Faneuil Hall, then the Roslindale neighborhood, then Harvard Square, and now on February 2, they launched their latest “hybrid workspace” at 11 First Street in East Cambridge. Shakespear and Lee think that “many young architects are frustrated by the traditional mode of practice” and “are looking toward new models of funding.” Instead of having to jump into top-down design practices as young professionals they went out and found a design problem to solve, organized their own client base, and created a space to make it work. It’s not an entirely new idea that architects can take control of their agency, particularly at MIT, which has long supported "Participatory Action Research," but it is one that needs to be brought back into the architecture studio. Spaceus is the current generation's attempt to reinvigorate the model. If you’re in the Boston area, drop into the latest Spaceus in East Cambridge.