PHILANTHROPIST
REVITALIZING CONCRETE ARCHITECTURE GRACE
THE MISUNDERSTOOD PHILANTHROPIST
REVITALIZING CONCRETE ARCHITECTURE
Dedicated to my love for the unloved
Vision of Proposed Tower at Balconies
THE MISUNDERSTOOD PHILANTHROPIST
REVITALIZING CONCRETE ARCHITECTURE
THESIS STUDENT
GRACE DANFORTH
MASTER OF ARCHITECTURE, FALL 2024
Grace Danforth
THESIS ADVISOR
Professor Imran Khan, AIA, LEED AP
BOSTON ARCHITECTURAL COLLEGE
DECEMBER 9, 2025
DESIGN CRITICS
JOHN HALE, AIA, NCARB
IAN F. TABERNER, AIA
MORRIS TYLER
STRUCTURAL CONSULTANT
SALVATORE CHERONE
BIOGRAPHICAL NOTE
Grace Danforth began pursuing architecture in 2017 at George Brown College in Toronto, Canada and graduated with a diploma in Architectural Technology. At this college, she primarily learned about how buildings were built, and ever since these studies, she has been enamored with concrete architecture. Maybe it was due to the structure being the building, the raw honesty and unabashedness of Brutalism, that spoke to her when the architecture she was surrounded by felt like a performance. There was something unexplored or left too soon from the style’s era that required pursuance. Now, as Grace prepares to graduate with a Masters Degree in Architecture, it seems there’s even more yet to discover.
The ethos and aura of Brutalism has followed her into her career as a designer, from working at a start-up architectural firm in Toronto, to her current job as a Job Captain and Designer at Winslow Architects Inc in Massachusetts, Grace designs with an understanding that textural, bold, strong forms have persisted throughout history; they are timeless and can be adapted as technology advances.
Throughout her career thus far, most of her work belongs to the residential sector, and whether this be driven into the rest of her career is uncertain, but it is resonant through her understanding of the current world. Housing is a scarce resource, a carefully guarded commodity by those who have the resources and power to purchase and supply homes. The further her path into designing homes and apartments goes, the more knowledge she gains on being able to help develop homes for those in need. Perhaps a noble quest, but one that is necessary to support current and future generations.
Philanthropy: goodwill to fellow members of the human race especially: active effort to promote human welfare
01 INTRODUCTION
EXECUTIVE SUMMARY
ORIGINS
SITE & EXISTING CONDITIONS
UNDERSTANDING PROGRAM
EXECUTIVE SUMMARY
Revitalizing unused buildings, especially those from the Brutalist era, is not only a responsible approach to urban (re)development but also an opportunity to envision something new for these structures, making them more resilient. Brutalism, characterized by bold forms and material honesty, offers a sense of permanence and continuity in a world that refuses to acknowledge the transience of modern glass structures.
The primary challenge lies in shifting public perception. Many view Brutalist buildings with contempt, making it essential to highlight their historical and functional value while fostering appreciation for their philanthropic ethos. Despite their polarizing nature, these buildings provide tangible connections to the aspirations of the 20th century, which, when adapted to 21st century needs, may give back to their communities once again. These notions are what drove an exploration into Brutalism in need. This thesis looks specifically at the Charles F. Hurley Building, a part of Paul Rudolph’s Government Service Center, due to it’s vacant and deteriorated conditions; this civic monolith cries out for help.
In the current state of Western society, broken objects are tossed away and replaced without a second thought, and concrete architecture has mostly withstood these efforts simply due to the exertion needed to tear them down. Though in Japanese tradition, broken objects are often lovingly repaired without fear of revealing and even highlighting the fact that they were once broken. This philosophy, known as wabi-sabi, encourages an understanding of the beauty in imperfection and the process of rebirth. Wabi-sabi is the primary ideology applied to the centuries-old traditional art form of Kintsugi that mends broken pottery with gold dust and lacquer.
Brutalism that has been left to rot, like the Hurley Building, are in need of a revitalization that is unafraid to highlight its history - to sympathize with the original design. Kintsugi becomes a simple methodology of renewal that may be applied to these buildings to call attention to it’s flaws instead of encasing them in pristine glass wraps that provide no urban or human context.
Brief History of Brutalism
Preface: Brutalism’s origins are complex and tedious to recount - this condensed version of it’s history are the integral parts to tell the tale through the lens of this thesis.
Brutalism is a reactionary architecture to WWII destruction in Britain and not long after, Cold War ideologies within America (Pasnik). It is essential to view Brutalism as a response to this.
In the aftermath of widespread destruction from WWII, there became an urgent need to rebuild thousands of homes and cities. During this time, concrete emerged as the most economic and expedient construction material to provide housing and buildings that accommodated essential needs, helping many nations emerge from the depths of post-war adversity. During these times, concrete architecture was solely to provide anew for populations of people, doing away with facades and ornamentation, leaving only the functional aspects of a structure.
Brutalism’s origins have been convoluted over time, especially after arriving in North America, being used as symbols of governmental strength and power. So often Brutalism is taken to mean “Brutal”, being defined by it’s use from governments, from it’s monumentality, and from it’s overwhelming use of it’s core material - concrete.
Brutalism’s divorce from it’s ethos stems partly from it’s adaptability as an ideology; capable of accommodating the diverse needs of different countries during times of transformation. However, at its core, Brutalism embodies an ethical imperative: serving not just as a visual statement but as a ““program, a banner” for an attitude - an... ethic” (Pasnik). In understanding this, this thesis sees Brutalism as the philanthropist of architecture styles.
Fig. 1: “Park Hill” Housing Estate - Sheffield, South Yorkshire, England Built Between 1957 and 1961
SITE & EXISTING CONDITIONS
Boston underwent a radical city planning change between the late 1950’s - early 1970’s after the Cold War to stimulate ambition, redevelopment, and investment (Pasnik). This Urban Renewal planned to develop civic and public works buildings in six super-blocks within the downtown core. These buildings included the JFK Federal Office, Boston City Hall, Government Center Parking Garage, and Government Service Center (Koh).
These super-blocks of government buildings didn’t initially have land available to them, and that space needed to come from somewhere. The West End of Boston was a prime candidate for this land because at the time, it was known to be the “slums”. Hundreds of homes, bars, restaurants, and theaters were bulldozed to accommodate this Urban Renewal. The people who lived here were told they would be able to return in a few years, but only a fraction of the homes were replenished and approximately 63 percent of Boston’s working class families were displaced (Koh). Boston’s West End still has not recovered since the erection of these super-blocks.
Government Service Center & Paul
Rudolph
Paul Rudolph was one of the architects developing the Boston Government Service Center (BGSC) block in which the design was to be a combination of three separate but connected programs. Originally planned, the Department of Health, Welfare and Education was to
be located in a 23-story tower, surrounded by mental health facilities and the Division of Unemployment Assistance in two conjoined buildings (Rohan). Unfortunately, due to budget constraints, the tower, which was meant to anchor the complex, was never built.
Rudolph intended the courtyard to resemble the Piazzo del Campo in Siena, Italy. Unfortunately, without this tower to anchor the complex, the buildings that were constructed lack a presence within a Boston that is filled with towers marking their place.
The buildings surrounding the plaza were to represent an amphitheater; stepping floors that suggest seating to provide visitors a feeling of watching the performance of civic happenings (Rohan). These stepped floors let natural light in, in direct juxtaposition of the heroic nature of the street facing elevations.
2023
Fig. 2: Pre-Urban Renewal
Fig. 3: During Urban Renewal
Fig. 4: Present Day
Hurley Building
Urban Renewal West End Timeline
UNDERSTANDING PROGRAM
The West End of Boston is bordered by the Charles River as well as Beacon Hill, Downtown, and North End, which make it a prime candidate to be a thriving and busy district. Unfortunately though, West End has almost half the population then that of it’s neighbors.
The Hurley Building and it’s site are large enough to support a microcosm within the West End of Boston, but to begin understanding how to better support the West End community, an assessment of needs is taken. Of the assessments, parks, childcare facilities, grocery markets, churches, and community centers were looked at in terms of proximity to the Government Service Center site. Churches and childcare facilities were ruled out of this packet of information due to their abundance in the area.
Ammenities Lacking within Catchment Zone
• Area of Respite
• Fresh Food Market
• Community Center & Recreation
One of the key components to a healthy neighborhood are areas of rest and respite, like public parks and gathering spaces. The Urban Land Institute, in a report titled “Ten Principles for Building Healthy Places” stated: “Places with high levels of social isolation, which can be exacerbated by the lack of public spaces and transit options, are correlated with declines in well-being and higher health costs” (Eitler). Boston’s West End is lacking in these designated public spaces like parks. The closest park for such uses within the neighborhood is located by the Charles River, and the second closest is the Boston Common (off this map) in Beacon Hill.
Existing Areas of RespiteExisting Area of Respite on Site will be Revitalized
Existing Grocery StoresFresh Food Market will be added to Site
Within a radius of a 10-minute walk from the site, very few fresh food retailers are in the area, the closest being a Whole Foods Market and a Target Grocery as well as an abysmal singular community center. Not only are public parks key to supporting healthy neighborhoods, but so are community engagement centers. They support the strengthening of social networks, well-being and mental health, cultural diversity, and provide support services. The absence of community centers could very well be contributing to low population density in the area.
Existing Community SpacesCommunity Elements will be added to Site
SITE
02 DESIGN RESPONSE
METHODOLOGY
IMPLEMENTATION
ADDITION
SUBTRACTION
TOTAL REPAIR
SUMMARY OF REPAIR
METHODOLOGY
Origins of Kintsugi
It is alleged that in the late 15th century, a Japanese commander sent a broken tea bowl for repair and when it was returned, it had come back with metal staples holding it together. The commander thought this to be hideous and prompted his craftsmen to find more beautiful and alternative methods of repair. The craftsmen eventually developed the repair of pottery with lacquer dusted in gold (Manzella).
This Japanese tradition has come to be known as Kintsugi. As a philosophy, it treats broken and repaired objects similarly to the ideas of “wabi-sabi”, which embraces the flawed or imperfect. Rather than restoring these objects to their original condition, Kintsugi’s technique highlights the breaks, forming unique strings of golden lines that exhibit the process of rebirth, expressly highlighting the history of the object. Not only is there no attempt to hide the damage, but the repaired pieces are quite literally illuminated. The old, broken objects transform into something new while maintaining a keen familiarity.
Fig. 7: Ceramic Bowl Repaired Using Kintsugi
Methods of Repair
This art form became the methodology in which concrete architecture was revitalized in this thesis, where each element is viewed holistically; integral to each other. The beginning stages of this understanding were analyzing the broken elements of the Government Service Center and why they are in a state of needing repair. In Kintsugi, some pieces may be far too broken to mend and pieces from other broken ceramics may be used to take it’s place.
This thesis uses the techniques of Kintsugi to build and to deconstruct, mending areas where there were no previous connections from city to building. The building itself does not become a metaphor for the gold and laquer, the spaces opened and provided anew are where the joinery occurs.
IMPLEMENTATION
DESIGN
Addition
Subtraction
Total Repair
Existing
New
Repair/Mending
Fig. 8
Fig. 9
Fig. 10
ADDITION
RESIDENTIAL RENEWAL GLASS LACQUER
Proposal
ANALYSIS
1. DENSITY
The Government Service Center site has one of the largest square footage in all of Boston, but also one of the least dense sites in comparison. Overlaying the site footprint onto other known sites like Fenway Park and the Christian Science Plaza, it becomes clear just how extensive this site really is. Going further to overlay the site footprint onto a typical residential neighborhood shows that it covers approximately 35 5-story apartment buildings.
Government Service Center Site Location
Site Scale Overlayed onto Neighboring City Blocks Reveals that Site Needs to Have Much Higher Density
FENWAY PARK
LAND AREA USAGE COMPARISON
BUILDING HEIGHT
LAND AREA (SF)
0 PEOPLE IN STABILIZED HOUSING
Compared to the sites in the immediate vicinity, it is made clear that the Government Service Center lacks density. With a third of the site vacant, there is an opportunity to develop this site into something more than just government offices. “In 2018, Boston had a population density of 14,414 people per square mile of land...” (Boston Planning & Development Agency, Research Division). This means that for a site like Government Service Center, around 200 people should be able to be housed here.
200 PEOPLE IN STABILIZED HOUSING
2. FORM
The existing Hurley building is in the shape of a C, where the end of the East wing is pentagonal. This area was most conducive to supporting a residential tower because this is the one area of the Hurley building that lacked presence. This area of the building is 5-stories tall but there are only two floors at this end, where people are able to walk beneath them. Paul Rudolph had originally planned for a tower that would not only increase the density of the site but also anchor the long and low main building.
Irregular Pentagon
A regular pentagon has equal angles of 108 degrees at each node. The existing pentagon is an irregular shape that was not conducive to supporting 20 stories of residential floors.
Make Regular Scale
To combat this, the existing pentagon was made regular.
To support as many units per floor, the regular pentagon was then scaled.
Fig. 6: Existing Hurley Building Pentagon Location
3. EXPRESSION
To honor the Brutalism of the time and to rebel against the transient glass towers that proliferate in Boston, the existing expressions and motifs of Paul Rudolph’s building are preserved through transformative replication.
The existing expression of this corner was reflected and extruded, producing an open-air space between the reflected elements for a roof terrace. This open space becomes the gold and lacquer that mends the new to the old, the residential to the public.
Fig. 11: Existing Hurley Building East Wing Elevation at Plaza
Paul Rudolph adapted Modules that surround the existing Government Service Center building, made up of columns and curtain walls. Through the reflection and extrusion of the existing building form, these modules were also adapted into the residential tower.
MODULES
As rigid as the exterior of the building seems, Paul Rudolph added playful moments of interruption to the strong and repetitious elevations. A majority of these playful elements belong to the Lindemann portion of the building, but few still occur on the Staniford Street elevation of the Hurley Building. These elements were necessary to incorporate into the residential tower to break up the monolithic and repetitive column arrangement.
INTERRUPTION
Single Module
RESOLUTION
There is a stark lack of columns at the corners of the Hurley Building, effectively creating cantilevers. This element was also incorporated into the new residential tower. Paul Rudolph used spandrel panels to accomplish this. In the new tower, spandrel panels are supported by the beams attached to the columns, which are then routed to the circulation core.
Tower Section - Floors 4-11
Diagram of Typical Tower Structure
Typical Tower Structural Plan
Through the transformation of form, the idealized pentagon is now able to support four 1-bedrooms and three 2-bedrooms across 20 floors.
If just the minimum number of occupants live in each unit, then the tower has the potential to house at least 200 people.
1-Bedroom Unit
2-Bedroom Unit
Balcony
Fig. 6: Existing Hurley Building Pentagon
Idealized Pentagon
Typical Tower Floor Plan
One Bedroom Perspective
In assessing the existing expression of Paul Rudolph’s architecture at the Hurley Building, the tower becomes a seamless integration of new into old. It is important for people to feel that their surroundings aren’t radically changing to preserve a sense of familiarity, anchoring them to their community. Lazily assigning the same, used-up glass towers to the tops of historic buildings should be away with the past. Addressing relics surgically, through careful dissection and assessment, further aids in an understanding of time and place.
In this tower scenario, the deliberate and delicate repair has made way for a breathing room which lives between the residential floors and the existing 5th floor roof, becoming an extension of the courtyard space beyond - a roof terrace, a park, and a lookout onto West End, Downtown, Beacon Hill, and North End.
Idealized Expression
Rooftop Terrace at 6th Floor
DESIGN RESPONSE
Fig. 11: Existing Hurley Building Expression
Open Air Connection Perspective at Roof Terrace
ADDITION GLASS LACQUER
Visualization Through Proposed Atrium
1. ACCESS ANALYSIS
The entirety of the Hurley Building has only one street-facing entry point. The other entry doorways exist by access through the courtyard. One caveat exists here, though, in that there are no exterior entry doorways along the entire East wing of the building.
Fig. 6: Existing Access Points
Fig. 6: No-Access Wing
2. FORM
Existing Disjointed Axis
Due to the nature of the building shape, the flow of foot traffic is forced to travel following disjointed building forms. A building user wanting to access the East wing would have to travel the entire perimeter. This disjointed flow hinders the existing building function of government services, as well as the new mixed-use function of residential and public use.
Idealized Axis
A solution to this broken flow is to remove the barriers of the building shape. By stitching the East and West wings together, a third comes into view.
This stitching becomes a literal representation of gold and lacquer repair.
Stitch
RESOLUTION
Birds-eye Perspective of Atrium
This gold and lacquer is developed into an atrium that encases the gap between the East and West wings, effectively expanding the footprint of the Hurley building. This further bonds a naturally disjointed building form into a cohesive flow of program.
This solves the issue of access to and from each wing, removing the need to walk along the entirety of the C shaped building and instead being able to cross directly from East to West.
Atrium Perspective Longitudinal Section
1. Residential Entry 2. Retail 3. Market 4. Cafe 5. Exhibition Space
The new atrium connection allows for a larger footprint of conditioned space as well as a flow of program that supports both the 200 new residences and the adjacent public of West End. DESIGN RESPONSE
Interior Atrium Perspective
First Floor Atrium Access
Exterior Atrium Perspective
Atrium Perspective Cross Section
SUBTRACTION
CORNER REVIVAL THRU-WAY
SUBTRACTION CORNER REVIVAL
ANALYSIS
1. CIRCULATION
Existing Intersecting Circulation
The existing building has multiple converging circulation axis in which none are perpendicular or parallel, this begs the question of which axis will best accommodate an entrance that supports both public and residential access.
2. ACCESS
The Hurley Building lies at the corner of Cambridge Street, New Chardon Street, and Staniford Street. This corner directly connects West End to Downtown Boston via Cambridge Street. An unfortunate circumstance of the existing building is that Paul Rudolph never designed an entrance along this corner.
Cambridge Street is a four lane passage that runs from Central Square to the Boston Common, connecting much of the city to it’s core; passing directly by the Hurley Building.
NEWCHARDONSTREET
CAMBRIDGE STREET
STANIFORD STREET
Fig. 6: Building Entry Point Diagram
Pedestrian foot traffic along Cambridge Street is the highest along the Hurley Building perimeter, making an entry point here essential.
The lack of entry at this prominent corner creates a physical barrier for pedestrians and even drivers to visualize access into the building, making the building simply a statue or wall to pass by.
Fig. 14: Existing Hurley Building at Cambridge Street
Fig. 6: Pedestrian Heat Path Diagram
Concept Diagram
The concept removes a corner of the building elevation to not only provide a necessary entry into the building, but also give back a piece of this site to the community, lessening the walleffect of this facade.
This new entry gives access to both the public and the residents of the tower, but to direct the public to public facing program, the entry is aligned along that axis.
Entry First Floor Program Generalization
Access Public Program
Existing 4th Floor to be Demolished
To carve the opening to allow for access, a portion of the existing building needed to be demolished. The understanding of Kintsugi influenced how certain items were demolished.
Four exterior columns were required to be removed, but to preserve and emphasize the history of the Hurley Building, they were not demolished in full. The remnants of the old columns become a palimpsest; showing what once was. These columns have a new function, they become moments of rest.
Columns being Utilized as Benches
Demolished
4th Floor Entry Structural Plan
To support the existing 5th floor and 6th floor roof terrace, the existing spandrel panels from the demolished 4th floor are reutilized to laterally support a new column at it’s corner. These existing spandrels also become palimpsests of the architectural history.
Existing Spandrel
Existing Columns Open to Below Open to Below
Column
Existing Structure New Structure
New Entry Structural Elevation
Roof Terrace
Entry Perspective Section
The new entry recedes into the building, making travel distance into the atrium space brief. The brief entry zone that is capped by the second floor above allows users a glimpse into the atrium beyond, propelling forward movement and exploration into the atrium.
Entry Perspective
Idealized Entry Elevation
While subtracting the building corner to create the entry, an understanding of the existing building’s expression was kept in mind to preserve and emphasize the Brutalism that has stood there for 50 years, attempting to preserve it’s history.
Existing Elevation
SUBTRACTION THRU-WAY
Perspective of Proposed Thru-Way Passage to Courtyard
1. ACCESS ANALYSIS
Staniford Street is a prominent vehicular and pedestrian pathway along the length of the Hurley Building. The only street facing entrance is on Staniford Street, with which it is difficult to locate and is not celebrated, especially due to the fact it is masked by repetitious columns.
The design proposal seeks to emphasize this entrance by creating a through-building opening; a two story pedestrian passage that will allow a direct connection to the courtyard, and in doing so, reducing the apparent wall-like effect along Staniford Street by bifurcating the length of the first two levels of the building.
Fig. 6: Existing Building Access
NEWCHARDONSTREET
CAMBRIDGE
STANIFORD STREET
At the center of the Government Service Center site lies a courtyard and plaza, in which it’s current usage rates are minimal due to much of the potential access being barricaded by the building. With minimal access points along the street frontage of the Hurley Building, the only current paths of travel into the courtyard are through a colonnade, wedged between the triangular courthouse and the Lindemann building, and through a main entrance that acts more like a pinch-point, off of New Chardon Street.
COLONNADE
Existing Exterior Access to Courtyard and Plaza
Courtyard
Existing Colonnade
Although there is a pathway running along the East wing of the Hurley Building from Cambridge Street to the plaza, the courtyard is hidden from view from the vantage point of Cambridge Street, limiting a desire to take this path.
Fig. 15: Existing Path to Plaza
2. COLUMN REPETITION & FORTIFICATION
Locating the entry is made difficult due to extreme, hulking columns that surround the entirety of the building, forming a wall that obscures entry points and even views through the glass curtain walls.
The columns, around 10 feet in depth, lie close to the building’s exterior walls, preventing passage between columns and wall, negating the possibility for a colonnade. The sheer scale of these columns begins to fortify a building that is meant to assist the public, effectively detracting interaction with the intended program.
Repeating Column Pattern
DESIGN RESPONSE
Pedestrian View of Hurley Building Along Staniford Street
The column depth is integral to the structure and support of the building, and the removal of some were not an option.
The column depth is due to direct 5th and 6th floor overhang support, as well as supporting floors 1-4 from the exterior of the building. If there were no floor 1-4, the column depth could be minimized.
Column Support Line
Fig. 12: Exterior Beam to Column Support
3. HISTORIC MURAL
The existing singular entrance along Staniford Street opens up into a two-story height lobby that is flanked by to large murals by the renowned artist Constantino Nivola. Nivola developed several techniques, including sand casting, semi-wet concrete carving, and fresco sgraffito, the latter of which is on display at the Hurley Building, as well as being his largest work using the technique.
Existing Entry to Hurley Building
DESIGN RESPONSE
Fig. 16: Nivola’s Mural in the Hurley Building Lobby
Nivola designed these murals in direct relation to the building’s function as employment security, incorporating emblems of the Federal Government and the State of Massachusetts, as well as images of working people, clasped hands, and notions of 20th century economic and social structures (Altea).
The preservation of these murals are necessary due to Nivola’s legacy in modernist history, but also because of their commentary on Boston’s economic and social history.
Location of Nivola’s Murals within the Lobby
Nivola’s Murals in Lobby Showing 2-Story Height
RESOLUTION
Concept Diagram
To open up street-to-courtyard access, a portion of the North end of the building is opened completely to the street to provide a clear visual of the space beyond to promote thru-traffic into the courtyard and complete engagement with the space for the first time since the building’s construction. DESIGN RESPONSE
In an effort to preserve Constantino Nivola’s historic murals, the existing entry was deemed off-limits to renovations and entry expansions. This left the North-most portion of the building open for consideration which would provide the most direct access from the street to the courtyard.
HISTORIC ARTWORK ZONE
Fig. 6: Proposed Thru-Way
The second floor within this new passage was also removed to create a double high space to host weekly events like farmers markets, flea markets, pop-ups, film festivals and other community gathering events effectively
Thru-way Perspective Section DESIGN RESPONSE
Perspective Section at Event Space Towards Courtyard
Existing Column Support Line
New Column Support Line
By demolishing a portion of the second floor, the columns need not be as deep. This provides better visual access through the repetition into the new thruway and helping to locate this entrance from the sidewalk.
New Staniford Street Entrance
FLOWERS
Event Space Perspective
Interior columns that once held the second floor are left with the remnants of the floor plates. These remnants are storytellers of the purpose and form the building once had.
Fig. 17: Exposed Rebar From Demolished Beams
Fig. 18: Floor Plates Left Behind
New First Floor Plan at Thru-way
1. Flower & Plant Shop
Cafe
Public Washrooms
Exhibition Space
Flanking the thru-way on the North side is a year-round flower and plant shop, and the South side hosts a cafe. The height of the event space provides a clear view from Staniford Street all the way to the courtyard. For these shops to be successful and comfortable all year round in the New England weather, air curtains are supplied at each door entry into both the Flower & Plant Shop and the Cafe.
Air Curtain Sectional Diagram Event SpaceOpen to Outdoors
Flower & Plant Shop - Indoors
Pushing gusts of air into the doorways from above, these air curtains prevent not only cool or warm air from escaping each shop, but also exhaust, dust, and odors from entering.
Due to the preservation of Constantino Nivola’s historic murals and the new thru-way, the existing building entry is enclosed, creating an opportunity for an Exhibition space that may host artist galleries, demonstrations, and classes. The cafe backs onto the exhibition space, where Nivola’s murals become a colorful and historic backdrop.
Cafe Perspective into Atrium and Exhibition Space
Exterior Perspective of Exhibition Space
Interior Perspective of Exhibition Space
TOTAL REPAIR
COURTYARD
TOTAL REPAIR COURTYARD
Vision of Proposed Revitalized Courtyard
1. AXIS ANALYSIS
The courtyard was designed to surround an un-built tower in a radial fashion, which assisted the notion of the building becoming an amphitheater. Due to the construction of the triangular courthouse in the late 1990’s, the original axis of design begins to fail; as it faces the pointed end of the courthouse instead of an anchor point.
Fig. 19: Paul Rudolph’s Original Site Design
Fig. 6: Existing Site Design
2. GRADE
Paul Rudolph’s architecture often incorporated interesting moments of natural lighting. For example, The Government Service Center site has two levels of below-grade parking beneath it, and to achieve projecting natural light into these underground spaces, Rudolph took advantage of the site’s sloped grade change. The parking garage extends beyond the footprint of the buildings, capped by an outdoor plaza which is then connected to a lower level courtyard on-grade via stairs. This design created breaks between these two levels to allow sunlight to penetrate into the parking garage.
Existing 2-Story Below-Grade Parking
DESIGN
Elevation Change Diagram
Fig. 21: View from Parking Level 1 Into Courtyard
Fig. 22: Underground Parking with Natural Light
Pedestrian Travel Heat Map and Idealized Courtyard Axis
The courtyard at the Government Service Center is a hearth that should warm and connect residents and neighbors with their community. The existing hearth has been cold and empty for far too long.
A re-division of it’s central axis to instead align with the Lindemann Building and the new residential tower opens it’s line of sight at it’s longest point, avoiding confrontation with the courthouse and reducing the claustrophobic effect that it previously encapsulated.
With this renewed axis in place, an estimated pedestrian heat map can be analyzed. A majority of foot traffic arrives to site from Cambridge Street and Staniford Street, and due to subtracted elements like the Cambridge Street corner and the Staniford Street thru-way, more pedestrian traffic is able to access the courtyard. These two access points converge near the center of the courtyard.
Precedents:
The Christian Science Plaza in Boston, Massachusetts, does this similarly - a central reflecting pool flanked by concrete structures and trees. What is also common to both of these successful plazas is a juxtaposition between the concrete and the brick of the plaza itself. The warmth of the red brick and the natural elements breathes life into the Brutalism, effectively balancing the entire site. What’s unique about the Christian Science Plaza is a large fountain at the head of the site that is often accessed by children in the summer who cool off and play in the water.
The Barbican, in London, England, is a Brutalist complex of residential, civic, and public uses that is anchored around a lake. The public gather to this space consistently due to the mini-city, or microcosm, feeling that it holds. There is a safety in being surrounded by structures and gardens, and a calmness of a central water feature that is innate to human nature.
Fig. 23: Christian Science Plaza, Boston
Fig. 22: The Barbican, London
The new Government Service Center courtyard combines elements from both of these precedents by creating a formal piazza along the renewed axis, anchored by the warmth of red brick pavers. Pathways within the new courtyard are centralized to where the estimated pedestrian majority will be, through the subtracted spaces.
New Government Service Center Site Plan
Hurley Building
Lindemann Building
Staniford Street
NewChardonStreet
Cambridge Street
Marrimac Street
Edward W. Brooke Courthouse
In Paul Rudolph’s original design of the plaza, he incorporated curvilinear openings that would bring light into the parking area. To pay homage to Rudolph’s design, the shape of these curvilinear moments were reflected in the form of the new water feature. Visitors may lounge within these curvilinear shapes provided within the reflecting pool, and their inset nature allows for users to feel that they are sitting inside of the water, almost at eye level.
Fig. 6: Existing Government Service Center Plaza Showing Curvilinear Openings
New Reflecting Pool with Curvilinear Indentations
Perspective From Seating within Reflecting Pool
Perspective Section Through New Courtyard and Parking Levels
To provide the maximum amount of ground cover and activated spaces within the courtyard, a portion of the original plaza was demolished. To accommodate this goal, a portion of the 2-story below-grade parking structure had to be removed and infilled with earth.
Though natural lighting is removed from parking levels, the priority was to renew a sense of belonging, activation, safety, and calm within the courtyard. The priority was to give back a gathering space to Boston’s West End, becoming a respite.
Fig. 6: Existing Plaza with Parking Below
New Plaza with Parking Below
Landscaping Plan
1. Reflecting Pool
2. Rock Garden
3. On-Grade Fountain
4. Promenade
5. Curvilinear Landscaping
6. Park Space
The new plan for the Government Service Center courtyard balances areas of play, reflection, and rest through moments of order juxtaposed to more playful and natural assortments of landscaping.
The existing building provides elliptical seating between some columns along Staniford Street, Cambridge Street, and New Chardon Street. The new street landscaping along these streets aims to emphasize these
moments and add spaces between for planting, attempting to integrate them more thoroughly into the site.
Fig. 24: Existing Eliptical Seating Around the Hurley Building
1: Courtyard Entry Perspective from New Chardon Street
2: Rock Garden Perspective
3: Courtyard Fountain Perspective
SUMMARY OF REPAIR
SUMMARY OF REPAIR
SUMMARY OF REPAIR
The existing building’s East wing proved to be a great location to increase the density and function of the site. A 20-story residential tower was designed to conjoin with the existing 5-story wing, taking cues from Paul Rudolph’s original designs of the Hurley and Lindemann Buildings to develop a tower that feels like it has always been there. This new tower provides much needed homes to support a more dense and connected West End and becomes a beacon and an anchor for the site, creating way-finding and directional understandings for pedestrians and drivers alike.
Made to support the 200+ new residents, much needed entry points were developed on both Cambridge Street and Staniford Street using the mending technique of Subtraction. Both entryways attempt to combat a repetitive wall of deep columns that previously detracted users from an understanding of where main entrances lie. The new Cambridge Street entrance subtracts 4-storys of existing structure at it’s corner, giving back space at the ground level to a traffic-heavy passage. This use of Subtraction draws people into the new space, making it exceptionally clear that it is a place of entry and that they are welcome there.
The second use of Subtraction, developed along Staniford Street, opens a clear view through the bulk of the building through a 2-story height space. The existing entrance along this street is shrouded by columns and difficult to find. To better support navigation into the building, the entryway is enclosed, becoming an exhibition space for public use that preserves and displays Costantino Nivola’s historic murals. The new entry point along this path was developed as the most direct passage into the currently under utilized courtyard. The wall-like columns were able to be made thinner at the subtracted entry since they would no longer be supporting a second floor, and this, along with views to the courtyard, allow pedestrians and building users clear understandings of access into the building. This new open-air entry becomes a rotating event space that can support farmers markets, flea markets, and other community gathering events.
The East and West wings of the existing building are a currently disjointed form that restricts a flow of circulation between them. To better support the new public and residential uses, these wings were stitched together through the use of an atrium, capped at the fifth floor. These two axis are now opened to each other in a conditioned space, effectively increasing the square footage of the first floor and creating open access to public programs like a food market, retail, cafe, and exhibition space as well as providing a clear line-of-sight into the courtyard. The upper floors within the atrium host program such as a gym, a restaurant and bar, and rentable office spaces, which all look out onto the atrium through balconies. This new atrium creates visual connection between all programs within it, opening opportunities for interaction.
The intervention of Total Repair takes a look at the severely under utilized courtyard and plaza that is surrounded by the Hurley Building, Lindemann Building, and the Edward W. Brooke Courthouse. The existing plaza is a roof for 2-storys of underground parking, which takes up a majority of the area and leaves a small elliptical shape of greenery to the courtyard. To juxtapose the existing desolate space, and in assessing the needs of Boston’s West End, a community park for respite and play was required. Successful plazas for those needs are those like the Christian Science Plaza in Boston, MA as well as the Barbican in London, England, which all incorporate water features, warm brick pavers, and greenery. The total repair of this space included the realignment of the central axis to be lengthwise between the new residential tower and the existing Lindemann Building, preventing feelings of claustrophobia. This new alignment left space to incorporate a traditional piazza centered by a reflecting pool and fountain that is flanked by grass and tree cover. The combination of the structured, traditional piazza and the more loose and natural green spaces give visitors options for how they utilize the space. Children may play in the fountain and between the trees, visitors can read a book under a tree or simply sit by the reflecting pool and enjoy the weather
These interventions of Addition, Subtraction, and Total Repair help to mend and expand the usage of a site currently unloved. They aim to shed a new light on the Hurley Building and the Government Service Center as a whole, bringing community back into the understanding of Brutalism.
BEFORE & AFTER
Fig. 25: Perspective of Existing Hurley Building
Perspective of New Hurley Building
PROGRAM & CIRCULATION
Rentable Office Space Perspective
Program Perspective Section Diagram
PARKING
EVENT SPACE
EXHIBITION SPACE
COWORKING
RESTAURANT(S)
GYM
MARKET CAFE
EXISTING GOVERNMENT OFFICES
ROOFTOP TERRACE
FLOWER & PLANT SHOP
RENTABLE OFFICES
1. RETAIL, EVENTS, & COWORKING
Flower & Plant Shop
Event Space
Cafe
Public Restrooms
Exhibition Space
Retail
Market
Main Entry
Residential Entry
Coworking Space
Second Floor Plan
2. RESTAURANT, BAR, & GYM
12. Restaurant 13. Restaurant Balconies 14. Bar 15. Walking Track 16. Group Exercise Rooms 17. Gym
18. Pickleball Courts
19. Senior Fitness Center
20. Locker Rooms
Open to Below
Third Floor Plan
Open to Below
Fourth Floor Plan
3. OFFICES, SYSTEMS, & TERRACE
22. Existing Government Offices
23. Resident Storage Rooms
24. MEPfP Systems
25. Roof Terrace
26. Outdoor Bridge Connection
23.
22.
Atrium Roof
Fifth Floor Plan
24.
Sixth Floor Plan
4. RESIDENT UNITS
27. 3-Bedroom Units
28. 2-Bedroom Units
29. 1-Bedroom Units
27.
Eighth Floor Plan
Ninth Floor Plan - Typical Through to Floor 26
5. PARKING LEVELS
Parking Plan Level 1
58 Parking Spaces
50 Parking Spaces
Parking Plan Level 2
Elevation 1: Staniford Street
Elevation 2: Cambridge Street
Elevation 3: New Chardon Street
Elevation 4: East Courtyard
Elevation 5: South Courtyard
03 CONCLUSION CLOSING
IF, ANDS, AND BUTS
The Hurley Building, and the Government Service Center as a whole, is a commentary on the controversial history of Urban Renewal in Boston’s West End. Through the methods and philosophies of Kintsugi, the design interventions were unafraid of preserving the history, as erasure feels like a crime.
Using the Kintsugi techniques of Addition, Subtraction, and Total Repair and the careful analysis of Paul Rudolph’s original design methods, the overall concept creates a revitalized Hurley Building that is entirely different, but keenly familiar. In this thesis, the opinion stands that the best historic preservation is one that adapts to the changing needs of the people in which the building serves.
By questioning the role of Brutalism in Boston, the Hurley Building has been re-imagined to better align itself with the needs of a growing community. Combining supporting programs for the new residential tower to open public areas, this super-block instead becomes self sufficient and a microcosm of Boston’s West End; fully integrating itself into the neighborhood and becoming the central building it was always meant to be.
If double the time could have been spent solely on the design of the new Hurley Building, it still would not have been enough with just one person. The Hurley Building, and the Government Service Center (GSC) as a whole deserves the attention and care of a whole team of people. If there were more time allotted to the design portion of thesis studies, this thesis would have dove into the details of how to insulate a concrete building from the 1970’s and prevent thermal bridging, it would have developed in-depth material considerations for interior spaces, updated HVAC schemes for the different uses of each space, and fully flushed out every single floor plan so that the new Hurley Building could be sympathetic to the original design while also bringing it up to the standards of 2024.
This thesis was ambitious in nature, but the GSC, and Boston’s West End, warrants this type of attention, care, and detail to be able to expose a Brutalism that is ethical and “for the people”, just like its original ethos and philosophy.
IF, ANDS, AND BUTS
04 APPENDICES
APPENDIX A - BIBLIOGRAPHY
APPENDIX B - THESIS DEVELOPMENT
APPENDIX C - RESEARCH
APPENDIX ABIBLIOGRAPHY
In-Text Citations
Altea, Giuliana. “Costantino Nivola.” Squarespace, Museo Nivola, static1. squarespace.com/static/53e7dd4fe4b0fb1fc62c318a/t/5a4a6df271c10bd7b34 daded/1514827259343/Sample_SS1.pdf. Accessed 9 Dec. 2024. Boston Planning & Development Agency, Research Division. BPDA, Boston, Massachusetts, 2020, p. 6, Boston by the Numbers 2020.
Eitler, Thomas W., et al. “Ten Principles for Building Healthy Places.” Urban Land Institute, 2013, uli.org/wp-content/uploads/ULI-Documents/10-Principles-forBuilding-Healthy-Places.pdf.
Knapp, Stephanie. “Healey-Driscoll Administration Announces New Redevelopment Vision for Hurley, Lindemann Buildings.” Mass.Gov, 24 July 2024, www.mass. gov/news/healey-driscoll-administration-announces-new-redevelopmentvision-for-hurley-lindemann-buildings.
Koh, Michele. “Architecture of Insanity: Boston Government Service Center.” Singapore Architect, April 2010, p. 148, https://www.fengshuistoryboard. com/files/neighborhood-watch-case-file-19/M19_02_ArchitectureofInsanity pdf, PDF.
Manzella, Kathryn Pombriant. “Kintsugi – Art of Repair.” Traditional Kyoto, 12 Dec. 2014, traditionalkyoto.com/culture/kintsugi/.
Pasnik, Mark, et al., editors. Heroic: Concrete Architecture and the New Boston. Monacelli Press, 2015.
Rohan, Timothy M. “The Dream behind Boston’s Forbidding Government Service Center.” BostonGlobe.Com, 7 Sept. 2014, www.bostonglobe.com/ ideas/2014/09/07/the-dream-behind-boston-forbidding-government-servicecenter/zmTu4rsTtcfTqQKjy8sbt0/story.html.
Image Citations
FIG. 1. Kociatkiewicz, Jerzy. “Park Hill Sheffield.” Zupagrafika, https://www. zupagrafika.com/post/brutal-britain-postwar-modernist-architecturein-the-uk
FIG. 2. Lowry, Laurence. “Aerial View of the West End Before Demolition.” The West End Museum, 1955, Population and Housing Trends in the PostRenewal West End – The West End Museum
FIG. 3. Lowry, Laurence. “Aeria View of the West End After Demolition.” Wbur, 1959, https://www.wbur.org/news/2015/10/15/boston-urban-renewal-Westend-exhibit
FIG. 4. Google Earth. West End, Boston, Massachusetts. Retrieved December 2, 2024, from https://www.google.com/earth.
FIG. 5. Rudolph, Paul. “Boston Government Service Center, Boston, Massachusetts. Perspective Rendering of Interior Courtyard.” The Estate of Paul Rudolph, The Paul Rudolph Institute for Modern Architecture, https://www.paulrudolph.institute/196205-boston-governmentservices-center
FIG. 6. Google Maps. (2024). “Government Service Center, Boston, Massachusetts.” Retrieved November 15, 2024 from https://www. google.com/maps/@42.3626217,-71.0628791,291m/ data=!3m1!1e3?entry=ttu&g_ ep=EgoyMDI0MTIwNC4wIKXMDSoASAFQAw%3D%3D
FIG. 7. Takahashi, Riya. “A repair of crack pottery tea cup.” The Epoch Times, Aug. 8, 2018, From Lament to Glory: How an Ancient Japanese Tradition Can Heal Our Divided Societies | The Epoch Times
FIG. 8. Sookyung, Yee. “Translated Vase.” https://featherofme.com/yeesookyungtranslated-vase/
FIG. 9. Lakeside Pottery LLC. “79. Kintsugi bowl with a missing segment representing finding beauty, rebirth and remembrance even when a loved one is missing.” Lakeside Pottery, May 2, 2024, https:// lakesidepottery.com/Pages/Kintsugi-art-example-gallery.htm
FIG. 10. Nicole, Allise. “Kintsugi.” Allise Nicole’s Artistic Explorations, May 28, 2019, https://artistallisenicole.com/2019/05/29/kintsugi/kintsugi/
FIG. 11. Google Maps Street View. (2021). “Charles F. Hurley Building East Wing Elevation from Plaza.” Retrieved November 24, 2024 from https:// www.google.com/maps/
FIG. 12. Google Maps Street View. (2024). “Charles F. Hurley Building Staniford Street Entrance.” Retrieved November 29, 2024 from https://www. google.com/maps/
FIG. 13. Rudolph, Paul. “Boston Government Service Center, Boston, Massachusetts. Perspective Section Rendering.” Paul Rudolph Collection, Library of Congress, Prints & Photographs Division, https://www.paulrudolph.institute/196205boston-government-services-center
FIG. 14. Crisafulli, Anthony. “Charles F. Hurley Building at Cambridge Street Corner.” Icon Architecture, https://www.iconarch.com/government-servicescenter-life-safety-retrofit/
FIG. 15. Google Maps Street View. (2020). “Charles F. Hurley Building at Cambridge Street Corner.” Retrieved December 5, 2024 from https://www. google.com/maps/
FIG. 16. Schmal, C. Peter. “Constantino Nivola Mural in the Charles F. Hurley Building Lobby.” 2017, SOS Brutalism, https://www.sosbrutalism.org/ cms/15891623
FIG. 17. Zhou, Connie. “401 Park Repositioning/Elkus Manfredi Architects.” 2019, Architizer, https://architizer.com/projects/401-park-repositioning/
FIG. 18. Benson, Robert. “401 Park Repositioning/Elkus Manfredi Architects.” 2019, Architizer, https://architizer.com/projects/401-park-repositioning/
FIG. 19. Rudolph, Paul. “Boston Government Service Center, Boston, Massachusetts. Rendered Site Plan.” Paul Rudolph Collection, Library of Congress, Prints & Photographs Division, https:// www.paulrudolph.institute/196205-boston-government-servicescenter
FIG. 20. Hayduk, Tim. “View of Courtyard from Underground Parking, Boston Government Service Center.” Docomomo, https://docomomo-us.org/ news/state-places-hurley-building-at-a-crossroads
FIG. 21. Hayduk, Tim. “Light Entering Underground Parking, Boston Government Service Center.” Docomomo, https://docomomo-us.org/news/stateplaces-hurley-building-at-a-crossroads
FIG. 22. Google Maps. (2024). “The Barbican, London.” Retrieved November 16, 2024 from https://www. google.com/maps/search/ the+barbican+london/@51.5194172,-0.094595,527m/ data=!3m1!1e3?entry=ttu&g_ ep=EgoyMDI0MTIwNC4wIKXMDSoASAFQAw%3D%3D
FIG. 23. Google Maps. (2024). “The Christian Science Plaza, Boston.” Retrieved November 16, 2024 from https://www.google. com/maps/place/Christian+Science+Plaza/@42.3445774,71.0857068,527m/data=!3m1!1e3!4m6!3m5!1s0x89e37a1084a9ffff:0 x2e36a19dfb08ee1d!8m2!3d42.3445774!4d-71.0843511!16s%2Fg% 2F11btxh1nc2?entry=ttu&g_ ep=EgoyMDI0MTIwNC4wIKXMDSoASAFQAw%3D%3D
FIG. 24. ArchiTexty. “Boston, MA Government Service Center.” September 1, 2020, flickr, https://www.flickr.com/photos/army_arch/50408403477/in/ photostream/
FIG. 25. Google Earth. “Boston Government Service Center.” Retrieved December 10, 2024 from https://earth.google.com/web
APPENDIX BTHESIS DEVELOPMENT
ACKNOWLEDGEMENTS
Thank you to the critics that followed along with this thesis. Your passion and understanding of the plight of this thesis further inspired and propelled this design process to its finish.
FINAL DESIGN REVIEW
DATE: November 16, 2024
TIME: 11:00 AM
LOCATION: Fishbowl, 320 Newbury Street, Boston
CRITICS:
• Imran Khan
• John Hale
• Ian Taberner
• Morris Tyler
PRESENTATION OVERVIEW:
This Final Design Review summarized the development of this thesis, organizing analysis into Broken Parts, Pieces to Salvage or Remove, and Repair, and repairing the existing structure through the techniques of Addition, Subtraction, and Wholesale Repair.
CRITIC COMMENTS:
1. Talk about your process wihth more clarification; your process of thinking
2. Would like to see a section through Cambridge Street subtraction
3. Your analysis of of the building is not Kintsugi, the methodology is, so it should not be framed as such
4. Should free-hand some diagrams to give a nod to the imperfect nature of kintsugi
5. Would like to see interior perspectives and walk-through renders
6. Organize your graphics as a step-by-step approach in a way that emphasizes your intent
7. Kintsugi is very important to your design, so make one whole board about it
8. Showing a physical example of a Kintsugi repair will be impactful
9. Provide existing versus new so the viewer can understand the changes you’ve made
10. Be very deliberate with the colors you use to show your repair and to show Kintsugi
SUMMARY
Overall, clarity in the way the design process is shown is needed to be addressed, including deliberate color choices in diagrams, the way in which Kintsugi is applied to the design, and through a step-by-step understanding of design choices.
DESIGN DEVELOPMENT REVIEW
DATE: October 24, 2024
TIME: 6:00 PM
LOCATION: Zoom
CRITICS:
• Imran Khan
• Ian Taberner
• Morris Tyler
PRESENTATION OVERVIEW:
In the Design Development Review, a more developed understanding of design analysis and process was shown, as well as the further development of the new residential tower and subtracted spaces at both the Cambridge St corner and Staniford Street.
CRITIC COMMENTS:
1. Show circulation around exterior of tower
2. Possibility of developing townhouse style units within the tower
3. Should think about including supporting programs like coworking spaces and gyms
4. Because Paul Rudolph used moments of interruption within the existing building, these should be incorporated into the tower as well
5. Incorporate unique light moments within new spaces as Rudolph tended to have this philosophy in his designs
6. Start thinking about the human scale and how you may start adding Kintsugi to those elements, like differing textures etc
SUMMARY
The discussion mainly revolved around the understanding of program and ways to reincorporate Paul Rudolph into the repaired elements as a way to pay homage and to blend the existing and new more seamlessly. Overall, key development of supporting programs and details of the tower need to be designed further.
SCHEMATIC DESIGN REVIEW
DATE: September 28, 2024
TIME: 11:00 AM
LOCATION: Zoom & 3rd Floor Studio, 951 Boylston St, Boston
CRITICS:
• Imran Khan
• John Hale
• Ian Taberner
• Morris Tyler
PRESENTATION OVERVIEW:
The Schematic Design Review began diving deeper into the analysis of why certain elements of the existing building were “loved” or “unloved” and how these elements could be repaired. There were broad ideas for repair including the addition of a tower, and masking the wall of repetitive columns.
CRITIC COMMENTS:
1. Overlay the existing site over known sites to help understand the scale of area
2. See Carpenter Center and compare how Le Corbusier dealt with the understanding of glass to concrete ratios
3. Explore Paul Rudolph’s design of the Hurley Building by taking sections of the double-height lobby space, understanding orientation of windows, and layout of existing floor plans
4. Look to Louis Khan for spatial relationships
5. Diagram the additive and subtractive process of your design next to additive and subtractive kintsugi
6. Will you emphasize repairs noticeably, like Kintsugi does, or will you be trying to blend the new with the old completely so it feels like it has always been there? It is a delicate balance.
7. Define your design principals
SUMMARY
This discussion provided helpful insights into other known architects works to provoke further ideas of repair as well as a thought provoking conversation of the usage of the Kintsugi methodology and how it can be implemented into the architecture.
PRELIMINARY DESIGN REVIEW
DATE: September 5, 2024
TIME: 6:00 PM
LOCATION: Zoom & 3rd Floor Studio, 951 Boylston St, Boston
CRITICS:
• Imran Khan
• John Hale
• Ian Taberner
• Morris Tyler
PRESENTATION OVERVIEW:
This presentation “sset the stage” and provided insights into thesis statement, site and existing conditions, as well as the beginning stages of what revitalization looks like through the use of collages and why.
ACKNOWLEDGEMENTS
Special thanks goes out to the responsive and obliging team at the Division of Capital Asset Management and Maintenance (DCAMM) for providing documents of floor plans for the Hurley Building. The level of detail and understanding of Paul Rudolph’s architecture would have been lost to this thesis without it.
