Safer at night. Two design students at Carnegie Mellon University created a functional and graceful lighting system for bikers that enhances side visibility at night. The LED lights that line the wheel rims, are powered by pedaling and change colors depending on speed. Bloggers at Greater Greater Washington have posted a video of the lights in action. Convenient Cities. What makes a city "convenient"? According to a study published by The Street, factors include walkability, public transportation, and amenity proximity. Their city ranking, using data from Walk Score, Zillow and APTA, put Boston, New York, Denver, Portland, and Chicago at the top. Olympic Pollution. A documentary by filmmaker Faisal Abdu'Allah, Double Pendulum, examines the harmful effects of pollution on East London residents and athletes, The Guardian says. Abdu'Allah cautions that poor air quality in East London may threaten athletes' performances in the London 2012 Olympic Games. Designer Chocolates. PSFK reports that researchers in a joint program between the University of Exeter, the University of Brunel, and Delam, a software developer, have created a printer that turns 3D CAD designs into ready-made chocolates. An upcoming retail site will allow the public to upload original designs.
Posts tagged with "Boston":
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An 80-foot waterfall highlights the atrium of a new mixed-use development in Boston.Atlantic Wharf is one of the newest additions to Boston’s changing downtown waterfront area. Located on the edge of Fort Point Channel, the one million-square-foot mixed-use center incorporates a series of restored and renovated structures built there more than 100 years ago. Beneath a new 31-story office tower, an 80-foot-high glass atrium encloses the original 19th-century street grid, creating a grand entrance to the tower from Congress Street. As a nod to the site’s history and Boston Harbor views, the building’s translucent glass screen wall is designed with a canted top resembling a sail. Working with developer Boston Properties, architect Childs Bertman Tseckares Inc. envisioned another nod to the site’s maritime past in the atrium. Custom water feature design and fabrication company Bluworld was brought on board to create a feature that would span the height and width of the space. The atrium’s size was the primary challenge. “The client wanted something to go as high as it possibly could,” said Rob Morton, Bluworld’s director of sales. “A rain curtain gives you that freedom because it doesn’t have a bulky frame or heavy glass panels,” which add significantly to cost, maintenance, and structural concerts. The team determined they would install three rain curtains spaced across nearly 50 feet, each one falling the full 80-foot atrium height. The company has extensive experience building rain curtains—a design in which water streams down Mylar strands arranged in various configurations—but this was the tallest they had designed by 20 feet. Morton believes it is the tallest such design in the world. Bluworld began by building the mechanical equipment that would carry water to weirs, or reservoirs, suspended above each rain curtain. The team located an atrium similar to that of the Wharf’s in another Boston building and installed a test reservoir, spending about a week making adjustments to the types of pumping and filtration equipment necessary to handle the rain curtain’s height. Once the final pump and filtration equipment had been manufactured in Bluworld’s Orlando facilities, it was crated and shipped to Atlantic Wharf. The team welded the curtain’s upper weirs directly to the atrium’s structural steel canopy; no additional structural reinforcement was needed. A below-grade mechanical space houses the rain curtain’s equipment as well as its “brains,” a patented control called a Blubox. The touchscreen panel operates the water feature’s maintenance; each week its timer shuts off the flow of water before draining, filtering, flushing, and refilling the weirs. Nearly invisible 1/8-inch-diameter Mylar strands suspended from each overhead reservoir give the feature its curtain-like quality. They create enough surface tension for individual droplets released from the reservoir to travel the full drop to the atrium floor. As the droplets bead together or fall in spurts, the sheet of water takes on an infinitely random series of patterns. Streams are collected in three lower concrete troughs lines with stainless steel reservoirs filled with river stones. A video of the completed installation is available here.
Quick! Name that Building! That's right, it's time for another round of our favorite game. You can probably name the architect, thanks to the ribbons of his signature corduroy concrete, to say nothing of the cantilevered passageways and swooping staircases. So it's Paul Rudolph. But which of his masterworks? It's not a famous one, so you'll probably never guess. Okay, you got it. It's the Hurley Building of his Government Service Center in Boston. It's an impressive star turn for an architect whose buildings haven't faired so well of late. And yet it's good to know that when those Madison Avenue Fatcats still need a structure to shoot on that screams hip futurism, Rudolph's the go-to guy. Dude's still got it.
So we've got schools with green roofs sprouting in D.C., Manhattan, the Bronx, and who knows where else across this fine country of ours. (If you've got more, email us, we'd love to hear about them.) Not content simply with the mantle of "country's oldest public school," Boston Latin has decided to add a green roof as well. Designed by Studio G Architects, this one's a whopper, covering 50,000 square feet with areas dedicated to growing crops for the cafeteria and providing lab space for science classes. At that size, maybe they could even find some room up there for some mini golf or a tennis court. More renderings and details after the jump. From the school:
The oldest public school in the nation, Boston Latin’s green roof is significant in that it was conceived by a group of students who, after seeing An Inconvenient Truth, formed BLS YouthCAN (Climate Action Network), lobbied BLS administration to implement the green roof concept idea, participated in the development of designs, and are spearheading fundraising efforts for the $5 million project. Studio G Architects of Boston was so impressed by the energy and commitment of the students that they donated design services for the project. The roof’s numerous program areas will create a variety of new learning opportunities for BLS students and schools across Massachusetts. State-of-the-art STEM (science, technology, math & engineering) labs form the backbone of the design, enabling students to observe and measure data related to the school’s environmental technology, like calculating the amount of energy being generated by the PVs or the wind velocity of the turbines. A cafeteria garden, greenhouse and orchard demonstrate the accessibility of fresh local produce and help encourage healthy eating habits. A contemplative garden offers a space for repose or for language, art and music classes. Besides the inherent sustainability of training urban kids to be good stewards of the environment, the green roof will lower BLS’ carbon emissions through its planted microclimates, while PVs and turbines will offset its energy consumption. These diverse programming opportunities have inspired an entirely new sustainability curriculum, which is being piloted at BLS this fall and will be available to the other 17 YouthCAN chapters throughout Massachusetts, thereby extending the impact of this revolutionary program space to students beyond BLS.
Every rose has its thorn, including those supposed holy grails of sustainable products. CFLs contain mercury. Biofuel competes with farmers for topsoil. Now high performance windows, particularly those of the double-pane, Low-E variety, have become the bane of suburbia, as they can apparently melt your neighbors home—or at least their vinyl siding. That was the news from a surprising report on Boston's Channel 5 news, sent to us by Infared New England, who tests for these sorts of things. It turns out that under the right circumstances, the windows work as magnifiers, focusing light on nearby buildings like a rascally child picking off ants. At least two area women have suffered the consequences, and there are plenty of similar videos on YouTube. So let this be a warning to you about the risks of vinyl siding next time you consider using it on a project. (Okay, let's be honest, if you're reading this, god forbid such a thought ever crossed your mind. Still, it's pretty crazy, the unintended consequences of this business of ours. Eh, Frank?)
UPDATE: Yanni Tsipis, a Chiofaro critic, counters: "In addition to the 625 foot limit on the Harbor Garage site, which was to be expected, note that [Massport flight paths] would also allow a 900 foot building in the middle of the Boston Common or a 1,000 foot building in the middle of the historic Back Bay brownstone district... certainly doesn't mean any of these would be a good idea!" Ever since the Boston Redevelopment Authority finalized its study setting heights along the post-Big Dig Rose Kennedy Greenway, the fate of developer Don Chiofaro's Boston Arch has been very much in question. The city is recommending no more than two towers rising to 200 feet on the site, saying it will cast shadows on the politically sensitive park. This did not prevent Chiofaro from presenting his own claims earlier in the month that the 40-story office and 59-story residential towers designed by KPF that he wants to build will have no negative impacts, that the claims are overblown. Now, Massport, which oversees Logan airport, certified its earlier pronouncement that the project could not exceed 625 feet, a concession Chiofaro has already made by excising a skyframe—the nominal Arch—from the project. While flight paths and shadows have nothing to do with each other, the hard charging developer will no doubt use this latest vote as one in his favor.
Last Monday, we published a story on Boston finalizing its plans for the future development of the Greenway. In it, we made small mention of developer Don Chiofaro and his Boston Arch project. This was for a few reasons. First, we wanted to focus on the Greenway study as a whole, and its dozens of development sites, and not just one of them. Second, Chiofaro, as the video above shows, is a story unto himself. Or many stories. Most, in fact, as he has turned the study into a referendum on his project and not one about the future of Boston's newest, if still slightly bedraggled park. That said, allow us to make up for our previous paucity with a lengthy look at where Chiofaro's project stands, or, uh, doesn't. As we mentioned, this is pretty much become the focus of the Greenway study, what happens on this one tiny lot, though what happens there is very important. As it was explained to us by Tim Love, one of the study's creators, this is the marquee spot on the Greenway—a prime location next to the water, a delicate one that could easily block out the sun, a garage no one wants, but two very tall towers no one is necessarily in love with, either. On Sunday, the Globe gave a very thorough accounting of the problems facing his project, why he's been duped, why this is personal. Chiofaro questions the study as a hit job, and some people seem to believe him. This creates a bad situation for everyone because it has actually managed to call the study's validity into question, something that we heard time in again in reporting our story was not the case. By making this personal, Chiofaro could unbalance the entire Greenway, and not simply with his own building. Which creates an ever-greater quandary for the BRA because the more it relents, the more it invalidates its hard work. Development is all about precedents. Today, the Herald sheds some new light on what may really be the problem here, as is often the case in development and politics, the matter of a simple misunderstanding. Chiofaro's colleauge Ted Oatis tells the tabloid, “We presented conceptual tower designs from 400 to north of 700 feet and they were very well received.” It's a line not unlike one from a Globe editorial on May 1:
After all, Chiofaro bought the Boston Harbor Garage for $153 million in 2007, while it carried an official height restriction of 150 feet. He hoped to build a skyscraper more than four times that height, and believed he had received some encouragement from Menino’s Boston Redevelopment Authority. But the BRA is, indeed, a labyrinth, and Chiofaro’s request for a large variance got clogged up in the system — perhaps, Chiofaro suspects, because of Menino’s personal objection.And yet Oatis is telling the Herald they'd gotten tentative approval two years earlier. This was around the time the mayor was kicking around ideas for an 80-story tower by Renzo Piano, an icon he was very much in support of (even if it did demolish a notable building by Paul Rudolph). The fact of the matter remains, times change, as do circumstances, but Chiofaro refuses to accept that. One local observer recently told us that Chiofaro wants to give the mayor the icon he seems to desire, though that also happens to be the exact opposite goal of the highly contextual planning study that has been developed for the Greenway. Having learned the lessons of the small-by-comparison 120 Kingston, a 300-story project that caught a lot of flack on the way to being approved, the city has realized that the stakes are simply too high along the greenway to allow much in the way of tall buildings to be built where they don't, as at least some see it, belong. It appears, then, that Don Chiofaro, like so many others during the recession, may be forced to take a hair cut—if not to his pocket book than at least to his building.
MIT reached a settlement with Frank Gehry last month for what had been called a flawed, leaky design for his Ray and Maria Stata Center that led to a 2007 lawsuit, which also named construction manager Skanska as responsible. Blair Kamin revealed the news Tuesday on his Cityscapes blog, but he didn't reveal much as the settlement remains private. Drawing on an MIT student newspaper story from March 19, Kamin notes,
"MIT retained outside consultants to examine the construction for defects, and those consultants produced reports which are not publicly available." The account does not say whether any money changed hands in the settlement. [...] In an email Tuesday, Gehry said no money was involved in the settlement. On March 30, the university's news office issued a joint statement from MIT, Gehry's firm (Gehry Partners) and Skanska saying that the lawsuit had been "amicably resolved."So there you have it. Legacy preserved.
The Rose Kennedy Greenway was supposed to transform downtown Boston, and while the Big Dig has had some impact on traffic, its above ground success have been far fewer, at least in the three years since the project was completed. At least two major developments have been forestalled because of competing demands on the Greenway's open space, which itself has not been a smashing success, and now the Boston Globe reports the demise of yet another cultural institution that had been planned for the 1.5-mile park. The latest loss is the New Center for Arts and Culture, an $80 million project designed by Daniel Libeskind that was meant to foster diversity and dialogue between disparate groups. Other of the glassy, glitzy victims—blame falls largely on poor fundraising due to the economy—include a new YMCA, Garden Under Glass, and the Boston Museum, which has since relocated to a different site where it also struggles to get off the ground. After the jump, a graphic from the Globe breaks the blunders down.
The news out of Boston this morning is that developer Don Chiofaro has bowed to community opposition (pun intended?) and will reduce the height of his harborside Boston Arch tower complex, designed by KPF. Formerly at 1.5 million square feet, the building will shave off 10 to 15 percent of its bulk, including the loss of the distinctive "skyframe" that gave it its name. The frame, which rose to 780 feet, is gone, leaving the towers behind, also at reduced heights. The slenderer residential and hotel tower will now rise to 625 feet, instead of 690, a Chiofaro representative told us today, and the 560-foot office tower will also shrink. Final designs are still in the works. Not to say we didn't see this coming. Indeed, when we first wrote about the tower back in June, we expected as much:
Then again, this is how most real estate deals get done: propose the most extreme possible project, and work down from there. Chiofaro said he had toiled for months on getting the project just right, revising its scale, composition, and components. “The geometry of the buildings begins to be set specifically by what goes inside of them and what we’re trying to achieve on the ground,” Chiofaro told AN. [...] The only problem was that against the skyline, the two towers looked somewhat muddled, which is how the arch was conceived. “Not only does it create an icon, a real gateway,” said Andrew Klare, an associate principal at KPF, “but with that addition, it actually makes the scale break down.”According to Chiofaro, the height reductions were provoked by Massport, which oversees the airport and apparently did not feel safe with anything taller than 625 feet near the Logan approach, and thus the reduction. But could it also be that the arch was originally conceived as a folly to make the building look taller than it actually is, only to be cast aside later to assuage the concerns of the community? When we suggested as much, Chiofaro's people demurred. Now we're left with two stepped towers with some sort of retail base—not unlike Chiofaro's first major success, the nearby International Place, designed by Philip Johnson. And now, onto round two, as we wait to hear from the BRA on its Greenway study, which was advocating for something in the 400-foot range at the extreme.
Increasingly becoming home to Boston's architectural community, pinkcomma gallery opened its third Fall season on with two exhibitions: Heroic and Publishing Practices. Heroic takes a closer look at the material that re-shaped Boston, concrete, and the idealistic architects that used it from 1957-1976. The exhibit consists of a selection of local concrete buildings intertwined with essays by some of the architects who built them, material experts, historians, and voices from a new architectural generation who seek to put this work in context. Heroic, however, boasts a larger and weighty agenda: to educate the public at large on the innovations and ideals of Boston's concrete architectural legacy to save endangered buildings. On pinkcomma's second room Publishing Practices traces a history of practices that use publication as part of the tools available to them to think about and produce built form. Perhaps as interesting are the results of a survey on contemporary attitudes towards publishing conducted by curator Michael Kubo. Not surprisingly, Kubo finds that most people get their architectural news from websites and blogs while a great majority of respondents say that the physical book will always have a place in their studios. The results begin to show practices more comfortable using digital-physical media hybrids in their publishing projects. During the opening the crowd enjoyed the interactive yet low-tech nature of the exhibit. Heroic, for example, consists of over thirty 11" x 17" pieces of paper that the gallery encourages its visitors to collect and asks them to participate by suggesting additions to their growing list of notable concrete buildings. Both shows run through October 15.
Fifty-one years after his graduation the late Max Bond Jr.'s influence is once again felt in his alma mater, Harvard's Graduate School of Design. An exhibit and celebration of his life and work opened there on Monday September 14th and will run through October 18th. The exhibit takes a close look at Max Bond's personal life, his passion for social equity, and his professional design work. Bond made all three areas of his life inseparable. In an 1981 interview with Paul Broches in the Journal of Architectural Education he pronounced that "Progress means trying to improve the lot of the people in the world generally and to have architecture contribute toward that goal." The exhibit displays Bond's design work from Ghana to Harlem to Washington DC that shows what may be Max Bond's most important contribution, taking strongly held social ideals and turning them into built form. This posthumous lesson is specially timely for a class starting their design education in the midst of what many consider to be the worst economic down turn in over 80 years. Life and Works of J. Max Bond, Jr.: Practice, Education, and Activism September 14th-October 18th Related lecture: Max Bond, Multiculturalism, and Social Equity in the Built Environment October 2nd - 3:30PM Harvard University's Graduate School of Design