H+ Magazine | No. 6 | Fall-Winter 2018

THE

25 YEARS EDITION

PUBLISHED BY HACIN + ASSOCIATES

I SSUE NUMBER SIX

DDESIGN ESIGN CCULTURE U LT U R E

25 years 25 ideas.

RESIDENTIAL ARCHITECT MAGAZINE

Over 70 design awards for Architecture, Interior Design, and Branding.

PHOTO ©TRENT BELL

” H+A's multifamily buildings blend contextual materials and scale with streamlined forms and spare detailing, announcing their modernity while complementing the established rhythm of the city.”

www.hacin.com

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PHOTO ©MICHAEL STAVARIDIS

DESIGN C U LT U R E

PUBLISHER

CONTRIBUTORS

Hacin + Associates

EDITOR-IN-CHIEF David Hacin

CREATIVE DIRECTORS David Hacin Emily Neumann

PHOTOGRAPHY Trent Bell Chuck Choi Clint Clemens Kent Dayton Anna Durkin Gustav Hoiland Matt Kalinowski Bruce T. Martin Emily Neumann Bob O'Connor Michael Stavaridis

COPY EDITOR David Tabenken

LEAD WRITER

Scott Thomson David Tabenken Matthew Manke Jeremy Robertson Jennifer Clapp Eduardo Serrate Matthew Arnold Jeffrey Brown Hillary Faccio Eric Carlson Rob Clocker Elizabeth Dame Dorothy Deák Anna Durkin Aimee Epstein Norton Darien Fortier Russell Higgins Michelangelo Latona Joshua Lentz Christine Rankin Manke Elena Reinhardt Rebecca Rivers Matthew Woodward Alexander Bondi Kathryn Platt Tae Shimamoto

SPECIAL THANKS

Anna Durkin

Tim Grafft

FEATURE WRITERS Elizabeth Dame Darien Fortier David Hacin Emily Neumann Tae Shimamoto David Tabenken

ADVERTISING media@hacin.com Printed in China

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H+ MAGAZINE IS CREATED, DESIGNED, AND PUBLISHED BY ARCHITECTURE AND DESIGN FIRM, HACIN + ASSOCIATES 500 HARRISON AVENUE, STUDIO 4F, BOSTON, MA 02118 www.hacin.com | media@hacin.com | 617.426.0077 /HacinAssociates

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25 Years, An intro.

Reflections and lessons...

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fter 25 years at anything, you learn a few things. Reflecting on how H+A has evolved over the last two decades, we wanted to make sense of our own history, the ideas that have come to shape how we work today, and how we plan to move forward into the next decade. Looking back at the work of the studio, the partnerships we've shared, the city we've rooted ourselves in, and the clients we have to thank, we come away with an understanding of ourselves as individuals and as a team, as well as a newer, wiser appreciation for the intricacies of the business of design. Here are some of the truths we found along the way.

25 Ideas.

AN INTELLECTUAL SAYS A SIMPLE THING IN A HARD WAY. 6

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25 YEARS, 25 IDEAS.

AN ARTIST SAYS A HARD THING IN A SIMPLE WAY. Charles Bukowski ISSUE NO. 6

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1 Design can change lives.

All kinds of design...

WORDS BY DAVID HACIN

W

hy be a designer? There are so many difficult problems in the world, how can architecture and design really make a difference? I remember being asked those questions a lot when I was growing up in a small Pennsylvania town; a career in design seemed out of the bounds of what seemed to make sense to most people I knew there. My father was an architect in far away Switzerland and I visited frequently. Even then I could see that his work was changing Geneva one project at a time and I could see the impact he was having on his community — and I liked that.

When I was just 13, I came across an editorial in an issue of Architectural Record sitting on a coffee table in his office that hit home. It was 1974. I clipped it out so that I wouldn’t forget it and carried it in my wallet for more than 30 years before it started to crumble and fall apart. I would pull it out and read it to anyone who questioned my decision to be an architect and can still almost recite it from memory.

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It read: "We are not so naive as to believe that architecture is the solution to all the problems of the world; that good planning and design is a substitute for jobs that don't exist, or for food that doesn't exist or is too dear. But housing and a sense of community are basic human needs - and that is the part of the problem we know most about and can best do something about. So let us try.”

As we look back on the past 25 years of H+A, I recognize that this remains a guiding principal of mine. While there have been many ‘benchmark’ projects over the years, a few stand out because they fulfilled that goal of expanding the audience for design to new groups of people who have traditionally been left out of the conversation and for whom good design represented opportunity as much as aesthetic or functional satisfaction. Looking back, I can now say with conviction that design does change lives and small actions add up. So let’s keep trying.

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Design can change lives.

Project Place Local non-profit agency and transitional housing.

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fter nearly 40 years spent in a 19th-century, 12,000-square-foot row house on Rutland Street in the South End, Project Place decided it was time for a new chapter. Established in 1967, the Boston-based nonprofit agency provides essential resources to homeless or low-income individuals in the Boston area, supporting personal change and growth in the face of overwhelming struggle. The agency facilitates job training, education, housing, and support services to those that are goal-oriented and committed to personal stability.

Designed by H+A, the six-story Project Place Gatehouse was built at the site of Boston’s original city gate on the corner of East Berkeley Street and Washington Street.

In addition to Project Place’s classes and counselling services, the agency operates four social enterprises: Project Pepsi, a third party vendor to Pepsi-Cola; Clean Corners Bright Hopes, a public maintenance and janitorial program; Home Plate, a food catering business; and Working Opportunities for Women (WOW), a program that offers a variety of services to specialty product companies, including their first partner, Coop’s Microcreamery. The building’s fifth and sixth floors house 14 single room occupancy units for residents who pay rent and work. Residents are expected to stay anywhere from six months to two years, though there is no time limit on residency.

Presently, Project Place serves over 1500 individuals with a staff of just 25. Over the past 11 years, two of the original 14 studio apartment tenants remain, with the majority of residents transitioning to more permanent housing after about 18 months. The agency continues to respond to the evolving needs of the population, demonstrating their core values and unwavering support for personal change.

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25 YEARS, 25 IDEAS.

ABOVE: DETAIL OF PROJECT PLACE FACADE. OPPOSITE PAGE FROM TOP: PROGRAM PARTICIPANT AT WORK; STREET VIEW OF PROJECT PLACE FACADE; EVENING VIEW OF PROJECT PLACE FROM INTERSECTION OF WASHINGTON AND EAST BERKELEY STREETS.

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Design can change lives.

ABOVE: DUPLEX HOUSING AT LAWRENCE COMMUNITY WORKS. OPPOSITE PAGE FROM TOP: SINGLE FAMILY HOUSING; FACADE VIEW OF GARAGE ENTRY AT DUPLEX HOUSING; COMMUNITY GARDEN AND NEIGHBORHOOD RESIDENTS.

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25 YEARS, 25 IDEAS.

Lawrence Community Works Affordable condominiums in a transitioning neighborhood.

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n 2002, H+A was hired by non-profit organization Lawrence CommunityWorks (LCW) to design five new residences for first-time homebuyers who earn between 50-60% of the median income in Lawrence, Massachusetts. Built on a series of vacant parcels, the Union and Mechanic Street Homes infill three sides of an underutilized residential block. The architectural expression of each home is unique, but with a unifying, contemporary design approach. Each residence includes a living room, dining room, kitchen, three bedrooms, 1-1/2 half baths, and a laundry space.

Twelve years after completion in 2006, the Union and Mechanic Street Homes continue to act as a stabilizing force in their North Common neighborhood. According to former LCW Director of Real Estate Development, Lisa Kozol, “Of the five original families who purchased the homes in 2006, four still reside there, while one recently sold their home this year.” This demonstrates the underlying impact of this housing development on the local community.

Shortly after the project's completion, Phase II of H+A’s master plan that included two additional two-family buildings on an adjacent, city-owned parcel was put on hold, due in part to the financial crisis of 2008. However, this year, LCW closed on the property and will construct three single-family homes along with two additional homes on a vacant parcel nearby in hopes of perpetuating the positive trajectory of the neighborhood.

DESIGN IS ONE OF THE MOST POWERFUL FORCES IN OUR LIVES, WHETHER OR NOT WE ARE AWARE OF IT. ALICE RAWSTHORN

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Design can change lives.

Laconia Lofts A mixed-use building with live/work artist spaces and gallery.

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aconia Lofts was the first, entirely new construction of affordable live and work artist space built in the eastern United States since the early 20th century. Referred to by some as the first significant project in the South End’s Washington Street revitalization, the 99-unit loft building is located at a key point of transition between the South End Landmark District of brick Victorian townhouses and the SOWA Art and Design District of warehouse lofts. Laconia’s design is meant to represent the rebirth of the South End neighborhood, drawing inspiration from the area’s industrial warehouses and stately brick townhouses, but with a modern expression.

Upon completion, the first three floors of Laconia were designated for artists at subsidized rates while the remaining lofts were sold at market rate. With few affordable options for the local artistic community, this provided an opportunity to cultivate a vibrant, creative presence in the neighborhood. Laconia’s units were conceived as a ‘canvas’ in which owners could customize the space to their needs. This was ideal for many artists as they sought a flexible space for working and living.

For painter and printmaker Candy Nartonis, the idea of a live-in studio was very desirable. “Having a live-work studio at Laconia Lofts changed my life,” Candy said.

HAVING A LIVE-WORK STUDIO AT LACONIA LOFTS CHANGED MY LIFE. THE DAILY CONTACT WITH OTHER CREATIVE PEOPLE FED MY HEART AND SOUL. CINDY NARTONIS

“Having access to my work and office space at any time meant that I could move forward immediately with new ideas.” She also notes the ease of hosting clients and curators in the space, making her business practices feel more professional. However, Candy considers Laconia’s artistic community one of the best parts of her experience. “The daily contact with other creative people fed my heart and soul.”

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25 YEARS, 25 IDEAS.

ABOVE: VIEW OF LACONIA LOFTS FROM PETER'S PARK ON WASHINGTON STREET IN BOSTON'S SOUTH END. OPPOSITE PAGE FROM TOP: ARTIST CANDY NARTONIS AT WORK IN HER LIVE-WORK STUDIO; LACONIA LOFTS AND NON-PROFIT GALLERY ENTRY FROM HARRISON AVENUE.

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From its inception, State Park, a bar and restaurant in Cambridge’s Kendall Square, had a vibrant identity and candid sense of humor. Owners Rachel Miller Munzer, Alon Munzer, John Kessan, Heather Mojer, Rachel Sundet, and Tyler Sundet honed in on the “dive bar” concept: a fun, laidback space where people can eat, drink, and play.

State Park’s distinct sense of self emanates from each found artifact, working together to achieve the eccentric, tongue-in-cheek energy that the owners were looking for. With a tight bud-

25 YEARS, 25 IDEAS.

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ow do you take an old idea and make it feel new again?

How do you design a place based on an idea familiar to many and yet also make it original and fresh?

get, it was important to be resourceful, leading the design team to collect many pieces from antique markets and vintage shops. Bar furniture, such as booths and tables, was salvaged from closing restaurants and reconfigured to fit the space. Personal touches, like the six-foot diorama display created by the owners and H+A’s Christine Rankin Manke, provide a mark of individuality. Hours were spent creating this playful depiction of Hungry Mother State Park, in Southwestern Virginia, complete with Playdoh to finish the boulders along the beach and a tiny house whittled by hand. Needless to say, the mix of individuals and quirky contributions to this project allow it to reach its vaguely familiar, dive-y, granny-wallpapered potential.

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Give the familiar a twist.

Make it feel new again.

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Give the familiar a twist.

IT WOULD HAVE BEEN A SHAME TO SERVE FOOD WITH THIS MUCH PERSONALITY IN A ROOM WITHOUT ONE. H+A GAVE US ALL THAT AND THEN SOME. CHRISTOPHER MYERS

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25 YEARS, 25 IDEAS.

In many ways, Myers + Chang is like a time capsule. Since its debut in 2007, the restaurant at Project Place Gatehouse in Boston’s South End hasn’t skipped a relevant beat. Realistically, Myers + Chang would not have come together in the same way without the project’s location or the specific vision of Christopher Myers and James Beard award-winning chef, Joanne Chang. Mix it all together and you’ve got an Asian fusion diner with a laidback, Los Angeles flair in an up-andcoming Boston neighborhood.

a space that felt rooted in history: a vintage atmosphere to contrast with the newness of the building and complement the grit of the neighborhood.

To create the time-worn look, the team used materials that would quickly age and tarnish. Like clockwork, rings from water glasses marked the metal table tops, scratches appeared on end-cut wood counters, and fingerprints began to darken brass light fixtures. A patinaed atmosphere called for furniture to match.

Affordable pieces were customized to Driven by this intended vibe, the de- look like antiques, rounding out the sign team worked intently to strike worn feel of the restaurant. the right balance. The clients wanted

Atmosphere by design.

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Engage other creative companies.

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Collaborate for more impact.

25 YEARS, 25 IDEAS.

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erhaps it's obvious that more minds are better than one. Beyond our own efforts to work as a team, H+A's philosophy on collaboration extends past the walls of our own studio to include other creative companies. Our experiences working with design firms and creative studios like Sasaki, IDEO, and Proverb have not only enriched our work, but have also yielded lasting professional and personal connections.

Joint collaborations often develop into client-designer relationships between two companies. Our relationship with IDEO Cambridge began with the redesign of their first Cambridge headquarters, which led to our work together on Society of Grownups for MassMutual in 2014.

We worked for IDEO again in 2017 with the design of their newest Cambridge headquarters. This included important moments of teamwork between our two companies, such as the rope installation at the main stair and the exterior façade renovation that served as the canvas for a mural by artist Eltono.

Boston-based agency, Proverb, partnered with H+A on Myers + Chang, creating environmental graphics and branding elements for the space we designed. Years later, H+A hired Proverb to facilitate a company retreat meant for team-building and reassessing who we as a studio had become. Using the feedback from the event, they produced our present-day manifesto, consisting of our own statements to capture who we are and what we're about.

THERE IS NO LONE CREATIVE GENIUS. TOGETHER, WE'RE BETTER. A COLLECTIVE IDEA IS ALWAYS GOING TO BE STRONGER THAN AN INDIVIDUAL IDEA. MICHAEL HENDRIX

OPPOSITE PAGE, CLOCKWISE FROM TOP LEFT: SOCIETY OF GROWNUPS STOREFRONT; ARNOLD ADVERTISING COLLABORATION WITH SASAKI; STAIR INSTALLATION AT IDEO CAMBRIDGE; SOCIETY OF GROWNUPS. THIS PAGE FROM TOP LEFT: H+A MANIFESTO BY PROVERB; FP3 CONCEPT HOME WINDOW GRAPHICS BY PROVERB.

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Design everything.

Think of “design” in the broadest possible terms.

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or its first decade, H+A was an architecture firm in the traditional sense. We began by designing homes, retail, and mixed-use projects in Boston and beyond. While architectural design deals with the interiors of a space, interior design is a different discipline, one requiring a distinct set of talents and expertise. Over a short period of time, we recognized the power of integrating the two disciplines under one roof. In doing so, we allowed for the delivery of a more cohesive design with a single, concept-driven story. By 2005, H+A had officially expanded to include full service interior design, offering a more holistic client experience. H+A continued to grow, making a few forays into the realm of branding and identity design where the project environments demanded a brand presence. In 2014, H+A launched a branding department, adding a third discipline to the studio.

Four51 Marlborough, a luxury condominium residence in Boston's Back Bay, was our first project that integrated all three disciplines. Built by The Holland Companies, the project is located on historic Marlborough Street with eight individual residences, including a penthouse with a full interior design by H+A. The new building needed a lobby experience and a brand that reflected the rich architectural history of the neighborhood as well as honored the project's contemporary identity. Because the integrated disciplines were working together, the design team's approach was comprehensive.

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25 YEARS, 25 IDEAS.

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Design everything.

PRACTICE SAFE DESIGN. USE A CONCEPT. PETRULA VRONTIKIS

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25 YEARS, 25 IDEAS.

OPPOSITE, CLOCKWISE FROM TOP LEFT: FOUR51 MARLBOROUGH FRONT FACADE; RECEPTION DESK METALWORK; DELFT TILE SAMPLE; DETAIL OF MOSAIC WALL AND RAILING; BRANDING MATERIALS; MAIN ENTRANCE TO THE BUILDING LOBBY WITH A VIEW OF MOSAIC WALL; SKETCH OF FRONT ENTRANCE AND AWNING. ABOVE: VIEW OF LOBBY WITH CUSTOM FURNITURE AND TILE WALL MOSAIC.

Our brand approach for Four51 Marlborough began by researching the history of the Back Bay with the goal to uncover an inspirational story. While reading excerpts from architectural historians, we were intrigued by the numerous mentions of decorative blue Delft tile and similar designs by English manufacturers that lined the entryways and hearths of homes in the neighborhood.

Historically, the tiles featured nautical scenes, pastoral landscapes, nature motifs, and the average man at work, all in shades of blue. Deeper into our research, a poem

by Massachusetts poet Henry Wadsworth Longfellow surfaced, depicting these same tiles: "See! Every house and room is bright/With glimmers of reflected light/...

And Pilgrim flasks with fleur-de-lis,/And ships upon a rolling sea.../Each hospitable chimney smiles/A welcome from its painted tiles." We embraced this idea from color to motif, paying homage to the historic neighborhood and the city of Boston. Inside the lobby, the color story appears in the upholstered furniture and tiled wall mural that scales two walls. The mosaic mural, produced

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Design everything.

in collaboration with Artaic Tile in Boston, is a nod to the historic use of Delft tile, depicting a lithograph of Boston Harbor commissioned by Boston's second mayor. The transformation of this 200-year-old lithograph into a pixelated aesthetic breathes new life into this tradition. The branding also incorporates elements of the architecture; the identity design picked up on the V-shaped geometry of the modern exterior bays and the entry awning.

The architectural objective both at the exterior façade and the interior was to reinforce the character and texture of historic Marlborough Street through its modern reinterpretation of the Back Bay's traditional architecture and materials, such as brick, cast stone, and custom black metal work. “A careful study of the immediate context helped inform our approach to the scale and proportion of the stepped massing and the multi-layered brick façade,” said H+A’s Matthew Manke. “This was detailed as a smooth outer shell that gets pulled away at moments to reveal a deeper, more textured inner layer.”

A focus on detail, depth, and shadow for all materials gives the project a richness and dimensionality worthy of its 19th-century context.

The owner of the penthouse chose to work with H+A on a full interior design of over 5,000 square feet spanning two floors. The material palette of the space works in true partnership with the architecture to reinforce the natural qualities of the building materials, including character-cut wood, stone, metal, and glass. The concept focuses on craft, organic materials, and layered natural textures, such as woven paper carpets, pleated leather, and bleached ash, all of which help to soften the interi

THIS PAGE, FROM TOP: REAR FACADE; TOWNHOUSE ENTRY; LEFT, DETAIL OF BRICKWORK BETWEEN BAYS AT FACADE. OPPOSITE, CLOCKWISE FROM TOP LEFT: PENTHOUSE LIGHT CURTAIN DETAIL WITH DINING ROOM BEYOND; PENTHOUSE ENTRY HALL; STUDY; CUSTOM STEEL STAIR AND LIGHT CURTAIN IN FOYER; MASTER BATHROOM; BEDROOM VIGNETTE.

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25 YEARS, 25 IDEAS.

TO DESIGN IS TO COMMUNICATE CLEARLY BY WHATEVER MEANS YOU CAN CONTROL OR MASTER. MILTON GLASER

or space. The residence features a double-height atrium with a custom light ‘curtain’ installation that illuminates a black steel and glass stair, creating a chandelier effect.

“The light installation was conceived as two volumes slipping past one another, horizontally and vertically, in dialog with the asymmetrical window configuration,” says H+A’s Rebecca Rivers. “Created using hundreds of individual LED diodes, the installation takes on an ethereal quality, allowing it to simultaneously unite spaces and act as a screen or curtain drawing across the space.”

Designing the building’s brand, its expression in the neighborhood, its interior lobby, and a custom residence within demanded we think of design in a broader sense.

A comprehensive design approach and the integration of our three disciplines enabled H+A to ‘design everything.’

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5

Bring the dog to work.

No explanation needed.

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25 YEARS, 25 IDEAS.

Design is personal.

Your client is a creative partner.

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he art of crafting a positive client relationship can sometimes be a tricky one. Yes, it’s great when everyone is communicative and pleasant, but in all honesty, you’ve got to like each other. Throughout our 25 years, H+A has been fortunate enough to forge genuine, lasting bonds with many of our clients that go well beyond the scope of the project.

Not only does this chemistry ease the design process and allow for some fun along the way, but it also reinforces the familial atmosphere of our studio. Believe it or not, we’re interested in what’s going on outside of our scheduled conference calls too. That type of bond transcends any type of business transaction.

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Design is personal, and considering the amount of time a client will spend with you, the personalities should mesh well.

Having a dog helps too..(see idea #5).

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25 YEARS, 25 IDEAS.

Expertise is important, but sometimes you have to pivot.

And it makes you a better designer.

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uch is life; everything doesn’t always go as planned. For every strategic decision bolstered by professional expertise, an unknown variable bursts into view. It’s in these moments that we arguably learn the most. It forces us to think outside the box, follow our instincts, and trust our team members. Throughout our 25 years, we’ve faced moments like these, riddled with unknowns and unwelcome surprises. However, we’ve learned that the pivot itself, the quick recovery, inspires valuable takeaways that we can carry on to future projects.

Here are two examples of our most noteworthy onthe-job pivots from over the years.

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Expertise is important, but sometimes you have to pivot.

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n 2007, the journey began to restore Redwood Hose 8. Located on Historic Hill in the National Historic Landmark District of Newport, Rhode Island, the late 19th-century structure served as a firehouse before it was converted into an upholstery shop and, later, a multifamily residential building. As one might expect, the historic structure was highly valued by members of the local preservation community, causing concerns to arise when plans were announced to restore the space and add a rooftop addition. Because H+A is no stranger to preservation and restoration, challenges were anticipated.

During the early stages of the renovation, multiple structural engineers were consulted to evaluate cracks in the building's brick walls. Exterior and interior cracks didn’t align, indicating that they weren’t of great concern.

Months later, during interior demolition, it was revealed that the mortar used to erect the firehouse over 100 years prior consisted of beach sand rather than quarry sand, and the high salt content caused the mortar to erode over time. As H+A Project Manager Jeremy Robertson says, "The structure was essentially standing by gravity.” This discovery directly affected the project tra-

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jectory, triggering the need for a new design approach.

It became clear that the historic structure had to be dismantled in its entirety to rebuild the foundation. Aided by the expertise of our client, a prominent photographer and the owner of a 3D imaging company, a Faro 880 laser was used to measure the position of over 25,000 bricks, producing a 3D image of the firehouse to guide a precise reconstruction process. With their sights set on the final image, the team faced a mountain of jumbled, jagged-edged puzzle pieces. Weekly site visits were sometimes disheartening, creating a fog of uncertainty over what lay ahead. With an altered plan of action, an optimistic client, and a determined builder, the team soldiered on.

Brick by brick, Hose 8 was deconstructed until the foundation was left exposed. To salvage the original materials, each brick was cleaned and tested for strength by hand, an exhaustive and tedious process. Similarly, 30 pieces of solid granite capstone were marked and stored offsite. It was critical to label each of these pieces correctly to ease the accurate reassembly of the building.

A PESSIMIST SEES THE DIFFICULTY IN EVERY OPPORTUNITY; AN OPTIMIST SEES THE OPPORTUNITY IN EVERY DIFFICULTY. WINSTON CHURCHILL

25 YEARS, 25 IDEAS.

PREVIOUS SPREAD: FP3 IN BOSTON'S FORT POINT NEIGHBORHOOD. OPPOSITE PAGE: NEWPORT FIREHOUSE IN NEWPORT, RHODE ISLAND. ABOVE: TECHNICAL DIAGRAM AND DOCUMENTATION OF EXISTING BRICK COURSING AT THE NEWPORT FIREHOUSE.

To support the reconstructed firehouse, the team opted to pour a new concrete foundation on the inside face of the original rubble-stone wall. In doing so, site excavation and demolition on the tight urban lot was reduced, but this required a thick steel plate at the building’s perimeter to transfer structural loads around the old and onto the new interior foundation. Nearly three years later, the reconstruction was complete and the project was honored with the Doris Duke Historic Preservation award.

While the obvious result was a carefully restored home that met the needs of the client, the project team also left with valuable takeaways. As he reflects on the threeyear journey, Jeremy notes his newfound reluctance to make 'safe assumptions'. He also takes care to pay attention to his doubts – “there is value to that,” he says.

Hindsight aside, the Newport Firehouse is tangible evidence that no project goes exactly according to plan.

In the face of uncertainty, don't panic. Pause, and pivot.

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Expertise is important, but sometimes you have to pivot.

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n 2005, construction began in Boston’s Fort Point Channel Historic District on two 19th-century warehouse buildings. The adaptive reuse project included the renovation of two historic structures as well as the construction of a new, adjacent infill building and a terraced, three-story roof addition. During this time, Fort Point’s pending historic regulations had not yet gone into effect, leading the project team to apply principles from other historic districts in the city. The main objective was to remain contextually conscious. The placement of the roof addition was set back from the historic Congress Street view corridor, while from other key vistas, the addition is visible, establishing its identity and creating what David Hacin refers to as “signature moments” that capture the marriage of old and new.

The opportunity to preserve a piece of Boston’s maritime and industrial heritage certainly topped the list of project goals. From the beginning, renovation plans called for the creation of a cage-like steel structure to support the over 100-year-old walls and floors as well as the incorporation of new support columns from basement to roof. Given the challenging nature of the project, it was crucial for H+A’s renovation and construction plans to be comprehensive and executed accordingly. Even so, there were a series of so-called “mini pivots” that needed to be dealt with on the fly. H+A worked closely with the consultant and development teams to develop detailed solutions, relying on their expertise to remedy potential problems.

The construction of FP3 began with the lowering of the basement floor level and the repair of the existing foundation. Because the basement level would be used for the kitchen of Menton, a Barbara Lynch fine dining restaurant, it was vital to create a watertight enclosure that would accommodate the myriad below-slab piping and plumbing penetrations needed for the kitchen. It was known that the two historic structures were built on driven timber pile foundations; due to the nature of Fort Point’s filled land, the team was concerned about the integrity of the piles. If there was significant water damage, rot would need to be repaired. At the start of the project, it was unknown how many piles were potentially damaged, requiring the expertise of a geotechnical engineer to dig, expose the pile, and repair the damage with fresh wood in a process called “underpinning.” The scope of the damage was approximate and the nature of the job was dangerous, making for a pivotal moment on site to ensure the foundation could accommodate the subsequent renovations.

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Completed in 2008, FP3 is a catalyst in more than one sense. It helped define the Fort Point neighborhood (see idea #14), but it also challenged the way our project team members approach complex projects. In a larger sense, FP3 represents the idea of problem-solving in a way that isn’t obvious or easily taught. “We’re always trying to surprise ourselves,” H+A's Scott Thomson says. Despite uncontrollable variables, the vision for the building remained intact, showing the level of determination necessary to overcome challenges and reach the goals we set for ourselves.

OPPOSITE PAGE: DIAGRAM SHOWING CONSTRUCTION AT FP3, COURTESY OF THE BOSTON GLOBE. ABOVE, FROM TOP: VIEW OF FP3 FROM CONGRESS STREET; FP3 ROOFTOP ADDITION; DETAIL OF PANELING AT ADDITION OF FP3.

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25 YEARS, 25 IDEAS.

8

Have a strong concept.

And know when to break the rules.

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s a concept-driven design studio, storytelling is paramount to everything we do. In our interior design practice, we believe that a strong set of underlying principles and ideas serves as a conceptual road map, guiding the twists, turns, and occasional detours. At the start of each new project, we insist on the establishment of a narrative. “The concepts are the major characters in the story of the project,” notes H+A’s Matthew Woodward.

Concepts are informed by the expectations and aspirations of the client and the heritage of the building envelope, resulting in a curation that honors both. Creating a concept also invests clients in the process, offering a framework that’s accessible to all levels of design comprehension. “Gen-

a character-driven narrative that synchronizes the identities of the client and the home. Our Newton Tudor is a Tudor revival residence, modernized for the busy lives of a couple and their young child. Our Public Garden Townhouse exemplifies a juxtaposition of contemporary and traditional for a bicontinental family, including a curated selection of furniture, fixtures, and artwork that thread the needle of old and new. Four51 Penthouse highlights a relationship between craft and restrained contemporary design in a traditional, hisSince its inception in 2005, H+A’s interior toric context. design discipline has recognized the positive impact of idea-driven design, an ideol- With an initial concept-driven approach, ogy that is evident in the studio’s integrat- each project’s design identity very quickly ed architectural and interior design work. takes shape, and a distinct narrative is born.

The following three projects each embody erating the design concept is one of the most exciting parts of our process,” says H+A’s Jennifer Clapp. “It often starts with broad, overarching ideas and becomes more nuanced and complex. The interaction between these threads makes each project unique whether it be Edwardian curio, Traditional Swiss patterning, or a blend of the two in a modern setting.” Once the concept is developed, it acts as the guiding force behind every decision, ensuring continuity and efficiency.

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Have a strong concept.

The remodel of this 1920’s Tudor style suburban home in Newton, Massachusetts re-imagines a traditional, compartmentalized layout into a more informal living arrangement for a young family. The project included a full architectural renovation as well as the design of all interior finishes, furniture, and fixtures. The materials lend a contemporary feel to the house while respecting its historic-revival identity. Repetition, reinterpretation, and an emphasis on natural materials and hand-made craft inform the integrated architectural and interior design concept.

Color and material choices were based on a study of traditional Tudor architecture and design; contrast stitching, tufted leather, and embroidered fabrics provide visual texture and a handmade feel to the new, contemporary pieces. Modern interpretations of traditional patterning were selected for wallpaper and applied unconventionally throughout the house.

Traditional Tudor for a Modern Family.

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An American and Paris.

The comprehensive renovation of this landmark five-story townhouse built in 1848 included a full scope of architectural and interior design services; the project involved the integration of modern amenities into a complex historic structure as well as the addition of a contemporary penthouse overlooking Boston’s Beacon Hill. The interior design concept focused on the clients, Americans who had been living in Paris for some time, blending Old World European style with a stunning collection of artwork and a Boston Brahmin home.

Stained glass by Louis Comfort Tiffany, original mantels, and historic mouldings throughout the main floor contrast with the contemporary forms of modern furniture, millwork, and artwork. The home culminates in a minimal loft-like penthouse, and the journey from the traditionally restored parlor level up to the dramatic new addition illustrates a carefully balanced progression from ‘historic’ to ‘contemporary’ style.

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Understatement in celebration of craft.

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Four51 Marlborough, a contemporary, luxury multifamily residence designed by H+A, was woven into the fabric of Boston’s historic Back Bay. In the penthouse, Four51's largest residence, The design team faced the challenge of incorporating the clients’ desire for a clean, minimal space into its historic context. The residence’s interior design concept reinforces the natural qualities of the building materials, including charactercut wood, locally-sourced stone, and glass. There was also emphasis on craft, organic materials, and layered textures, such as woven paper carpets and pleated leather. Modest materials like plywood, marble, and blackened bronze are used in custom furniture to create functional pieces of artwork. Design partnerships with textile and wallpaper manufacturers yielded handmade flat weave rugs and stitched, hand-pleated wallpapers that integrate softer details into the home.

Artwork was curated in the spirit of celebrating unexpected materials in abstract ways.

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Embrace Heritage.

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Let history inspire.

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tarting with a concept helps guide the decisions made throughout the process. But, where does the concept come from? Sometimes its something entirely new and fresh, completely unrelated to what existed in the space or on the site before. Sometimes, however, there's an interesting background or compelling narrative grounded in history. That narrative can inspire a design that is entirely new and modern but enriched with meaning (which also makes for a great storytelling device).

We like the analogy of the Time Machine, specifically the one in the story by H.G. Wells, where time travel happens, but in place at a specific location, across eras. In much the same way, the architectural projects we work on are forms of time machines - ones that stay in place, but have an aggregate story over time, and one that can be drawn from for imagining a future. These histories are drawn from and combined with new stories to give an authentic concept to the design. Jordan Lofts, in Boston's South End, (pictured here), once stood as a stable to house the horses which delivered goods for department store, Jordan Marsh. Adapted for use as loft apartments and commercial space in 2016, the lobby is an architectural reinterpretation of a horse stable with nods to open joisting, natural wood, and leather seating, all rooted in the building's use over 150 years prior.

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Embrace heritage.

THIS PAGE, ABOVE, CLOCKWISE FROM TOP LEFT: HALLWAY AT CHANDLER STUDIOS WITH GRAPHICS; A STUDIO ROOM WITH SOUTH END HISTORIC WALL IMAGE; VIEW OF ELEVATED ORANGE LINE IN THE SOUTH END, ABOUT 1970'S. BELOW, FROM BOTTOM LEFT ACROSS: RAW BAR SEATING AT GLASS HOUSE RESTAURANT; ANTIQUE CAMBRIDGE GLASS; CUSTOM STAINED GLASS PANELS AT RESTAURANT HALLWAY. OPPOSITE: VIEW OF DINING ROOM AT GLASS HOUSE, WITH GLASS WALLS AND WALL MURAL.

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WHAT IS HISTORY? AN ECHO OF THE PAST IN THE FUTURE. VICTOR HUGO

Chandler Studios, also in Boston's South End, is a boutique hotel which combined two residential townhouses - one old and one new. The interiors were designed with a nod to the history of the neighborhood, specifically to its modes of transport, lincluding the formerly elevated tracks of the MBTA's Orange Line which dominated its landscape until the 1980's. The black and white photographic murals in each studio and in common spaces, enhance the boutique identity of Chandler Studios connected to its neighborhood.

Glass House Restaurant and Bar was conceptualized as a 'meeting house' in Cambridge's Kendall Square for the area's life sciences and entrepreneurial community. H+A created both the restaurant's design and branding concept as a nod to the neighborhood's visionary identity. The architectural materials, color palette, and custom environmental graphics draw inspiration from the neighborhood's 19th-century glass-making and 21st-century innovation histories. Combined, they create a space that is thoroughly contemporary.

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Ride the trend.

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And know when to let it go.

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n 1991, Lev Glazman and Alina Roytberg opened an apothecary shop in Boston’s South End, offering an array of curated, natural beauty products. Within just a few years, the popularity of the couple’s products had grown, specifically their hand-wrapped ‘Oval Soaps,’ gaining traction that prompted the opening of Fresh’s first franchise store on Newbury Street, designed by H+A in 1994.

Over 25 H+A-designed locations around the world, including individual boutiques and shop-in-shops...

BOSTON NEW YORK SAN FRANCISCO LAS VEGAS CHICAGO DALLAS LOS ANGELES

WEST HOLLYWOOD SANTA MONICA LONDON PARIS HONG KONG SEOUL TAIPEI

PRINTEMPS SELFRIDGES

SAMARITAINE MARSHALL FIELDS

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The synergy between H+A and the owners was undeniable; this had much to do with the couple’s appreciation for design and personal investment in brand decision-making. In the world of retail design, trends move quickly. H+A’s Eduardo Serrate describes the nature of the business as, “You’re late from the minute they hire you,” but in the context of Fresh, he remarks that the overall commitment to design prevailed.

In the early 1990s, the excess and opulence of the previous decade began to evolve. Color hues were subdued and the idea of “less is more” began to take shape. For many retail companies, this wave of carefully curated, minimalist design inspired the development of strong brand identities. Fashion Designer Helmut Lang’s ‘deconstructionist’ philosophy inspired soft, no-frills silhouettes to be molded by the human shape. Innovator Steve Jobs believed the creation of intuitive, easy-to-use products was a core component of design simplicity, inspiring the sleek, simplistic aesthetic of the Twentieth Anniversary Macintosh and, later, the first iPod. Fresh’s branding concept was developed at the dawn of ‘90s minimalism, establishing a cutting edge retail experience that served the brand’s identity as well as its stake in the industry. Packaging was designed to evoke a sense of cleanliness without feeling clinical, ultimately drawing the consumer’s attention to the integrity of the product.

White walls paired with glimmering chrome, signature sinks, and a systematic arrangement of display cases worked together to lend an essence of serenity. Each franchise store honored the brand’s minimalist ideology, but with a sense of character unique to its location.

PREVIOUS SPREAD: NEWBURY STREET FRESH, BOSTON, MA. ABOVE, FROM TOP: FRESH, LONDON; FRESH SUNSET BOULEVARD; FRESH, PARIS. OPPOSITE PAGE TOP LEFT: FRESH, WEST HOLLYWOOD; OPPOSITE PAGE, BOTTOM LEFT: FRESH SPA INTERIOR, LONDON; OPPOSITE PAGE TOP RIGHT: FRESH FURNITURE AND INTERIOR DETAILING.

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IT’S ALWAYS ABOUT TIMING. IF IT’S TOO SOON, NO ONE UNDERSTANDS. IF IT’S TOO LATE, EVERYONE’S FORGOTTEN. ANNA WINTOUR

In the wake of Newbury Street’s success, the owners tapped H+A to design their first flagship store in New York City. Located on Madison Avenue, the ‘sleek’ aesthetic of the store was influenced greatly by the product packaging. Dark woods, gray tiled flooring, and bright white countertops were selected to complement the products. Paired with lighting and music, the consumer was drawn in and encouraged to engage and experiment.

As the millennium approached, industry trends evolved and Fresh continued to grow. In 2000, the brand was acquired by Moët Hennessy Louis Vuitton (LVMH), a luxury goods conglomerate, and began toe xpandi ts presence across the Atlantic to Paris and London. This led to the introduction of European details in keeping with the brand’s identity, such as polished stone and curved hardware forms. Each store was designed to capture the dis-

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tinctiveness and spirit of its location. Over the next ten years, H+A went on to design over 25 Fresh stores and shop-in-shops in major cities around the world, including Los Angeles, Hong Kong, and Seoul. Some design elements transformed in order to accommodate modern updates, such as the elimination of millwork overhangs and the replacement of freestanding lamps with track lighting.

In the wake of their acquisition, Fresh relocated their brand headquarters to New York City and began a restructuring period.

In the world of retail design, success is sometimes fleeting. Stores close, locations expand, and brands change.

Designers should know it’s the nature of the business.

“It’s hard to see something you worked on be torn apart, but it goes with the territory. It shouldn’t be emotionally charged,” David Hacin says. However, the rate of change that happens in retail only invites more opportunities for design. H+A has since helped other brands to prototype their retail concepts and storefront locations.

THIS PAGE, TOP: FRESH, 3RD AVENUE, NEW YORK CITY. THIS PAGE, BOTTOM: FRESH, NEWBURY STREET ENTRY, BOSTON. OPPOSITE PAGE: FRESH, SAN FRANCISCO.

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THIS PAGE, ABOVE: A.T. CROSS RETAIL PROTOTYPE IN CAMBRIDGE, MA. BELOW: A.T. CROSS INTERIOR. TOP RIGHT: STYLE LAB DESIGN MEETING WITH DAVID HACIN, JENNIFER ANISTON AND TEAM. BOTTOM RIGHT: LIVING PROOF MERCHANDISE WALL IN THE STYLE LAB. OPPOSITE PAGE: STYLE LAB SEATING AND MERCHANDISING.

A.T. Cross, an American company known for its fine writing instruments and stationery hired H+A to design a Cambridge, MA location. Later, H+A designed prototypes for shop-in-shop layouts that were deployed in duty free locations around the world.

H+A also designed the Cambridge laboratory and headquarters for Living Proof, a beauty products company notably co-owned by actress and spokesperson Jennifer Aniston. With a later expansion, the company conceived of the Living Proof Style Lab, a flexible prototype retail and salon space. Reinforcing the ‘Scientist tested, Stylist approved’ product concept, the space was designed for customers to try haircare products, and meet with stylists who give personalized consultations on products.

What’s the ultimate takeaway? Recognize the distinction between design for the ages and temporal design. The trends and changes of retail are like the tide - they'll continue to keep rolling in. Don’t be afraid to ride the wave all the way to shore.

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Set the stage for art.

It's not all about you.

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esigners think of their work as an art. Yet many of the most successful projects are designed to highlight the art of others. Over the years, H+A has designed many private residences for clients with impeccable taste and impressive collections of work by world-renowned artists.

Equipped with a design philosophy that recognizes good design as a gestalt in which the whole is greater than the sum of its parts, setting the stage for art comes naturally. Beyond private residential spaces, opportunities abound for the inclusion of artwork in public and commercial spaces as well, creating vibrant visual anchors for communities at large.

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THE ESSENCE OF ALL ART IS TO HAVE PLEASURE IN GIVING PLEASURE. DALE CARNEGIE

THIS PAGE, CLOCKWISE FROM TOP LEFT: MOVEABLE ARTWORK PANEL AT BEACON STREET PENTHOUSE 2; JOHN KOGA SCULPTURE & WENDY ARTIN WATERCOLOR AT PUBLIC GARDEN TOWNHOUSE; BOSTON COMMON TOWNHOUSE; UNION PARK TOWNHOUSE; SOUTH END TOWNHOUSE; CHRISTINA WATKA WALL INSTALLATION AT MARLBOROUGH STREET TOWNHOUSE; TARA DONOVAN INSTALLATION AT PUBLIC GARDEN TOWNHOUSE.

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THIS PAGE, CLOCKWISE FROM TOP LEFT: EL ANATSUI WALL-HANGING AT PUBLIC GARDEN TOWNHOUSE; TRIBAL ART COLLECTION AT BEACON STREET PENTHOUSE 2; GRAPHIC CANVAS WORK AND SCULPTURE AT FOUR51 PENTHOUSE.

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Artfully eclectic.

In 2009, H+A worked with Boston Home Magazine to design the Concept Home at FP3. Located in a duplex penthouse, the eclectic space was the result of collaboration with a dynamic group of local vendors and artisans, celebrating contrast and reuse.

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THIS PAGE, CLOCKWISE FROM TOP LEFT: CUSTOM-DESIGNED WALLPAPER AND DOOR GRAPHICS FOR GLASS HOUSE RESTAURANT AND BAR; JULIAN OPIE DIGITAL ARTWORK AT SOUTH END TOWNHOUSE; GALLERY HALL WITH ART INSTALLATION AT NORTH END LOFT; CHILDREN'S ARTWORK GALLERY IN FAMILY ROOM AT NEWTON TUDOR. OPPOSITE PAGE: CUSTOM CURATED WALL INSTALLATION BY H+A OF FOUND LETTERS IN DINING ROOM OF FP3 CONCEPT HOME.

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After a full interior and exterior renovation of IDEO Cambridge in 2017, this former garage and office building façade was made into a fresh architectural canvas for French artist Eltono to realize this vibrant mural on two façades.

25 YEARS, 25 IDEAS.

Visibility and vibrance.

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Get to know your colleagues.

C They're interesting people.

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omfort and trust play a huge role in producing creative ideas, solving complex problems, and collaborating effectively. Our studio culture is a direct result of the relationships we nurture with our teammates. However, it’s important to note that these organic relationships are fostered by our efforts to really know one another. This doesn’t just automatically happen from an open floorplan or a focus on professional collaboration. This comes from sitting down across from someone at lunch and asking how their daughter’s dance recital was. This comes from a studio collage of pictures and objects that illustrate the interests of each of your colleagues. This comes from remembering birthdays, swapping travel stories, or setting aside the last Swiss truffle because you know it’s their favorite kind (or maybe that’s just an H+A thing…). Truly caring about what’s going on in the heads of your teammates and how it makes them feel, is genuinely impactful.

25 YEARS, 25 IDEAS.

...AND HERE'S WHAT WE'RE TALKING ABOUT LATELY. CULTURE + ISSUE NO. 6

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What we’re into right now at H+A

LOOK

Ogunquit Museum Ogunquit, ME

Katherine Small Gallery Somerville, MA

This exhibit at the Met in New York City highlights the influence of Catholic ritualist on the fashion world. If you aren’t convinced of the cultural significance of fashion throughout history, Heavenly Bodies will change your mind.

[Eduardo Serrate]

The Ogunquit Museum of American Art is celebrating its 65th anniversary this year. The museum was conceived

by American artist Henry Strater and built by architect Charles S. Worley Jr, opening its doors to the public in 1953. Beyond its permanent collections and temporary exhibitions, take a walk around the beautiful grounds with modern sculptures overlooking the coastline. Pick a beautiful day for it! [Jennifer Clapp]

This gallery opened in Somerville in 2018 to encourage affordable collecting as a way for designers to learn about their field. Exhibits feature design ephemera and focus on the graphic design of 'things that are usually overlooked' like books, movie tickets, candy wrappers, stamps, etc. The gallery operates as both a space for large and small exhibits and offers a handful of books and posters for sale.

[Scott Thomson]

Omnibus, podcast

Mindful Listening, meditation

Kiasmos, duo

Omnibus is an encyclopedia reference of strange but true stories compiled as a time capsule for future generations. It’s a great way to learn about random interesting things you would never otherwise know about.

[Christine Rankin Manke]

Mindfulness is a way of quieting the noise in our heads by being present in the current moment. Enjoy the free guided meditations and podcasts offered by the Mindfulness Awareness Research Center at UCLA: marc.ucla.edu [Hillary Faccio]

In the electronica genre, this is a minimalist yet sophisticated and moving collaboration between Icelander Ólafur Arnalds and Faroe Islander Janus Rasmussen.

[Rob Clocker]

Heavenly Bodies: Fashion and the Catholic Imagination, Metropolitan Museum of Art

LISTEN

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Into the Raging Sea, nonfiction Written by former Boston Home Magazine editor and H+A muse, Rachel Slade, this is the gripping story of the doomed ship El Faro, which sank and killed all aboard in a storm of nature and corporate incompetence. Painstakingly researched and detailed, this brilliant best seller is a New York Times Editor’s choice. [David Hacin]

READ

Log, seasonal print journal Founded in 2003, Log is an independent journal on architecture and the contemporary city. It presents criticism and commentary in a literary format. It is designed to resist the seductive power of the image in media while identifying and elaborating the central concerns of architectural thinking and production today. A carefully crafted compendium of essays, interviews, and brief "observations," Log provides an ongoing international platform for the exchange of ideas, both bearing on and emanating from architecture and the city. [Michelangelo Latona]

What You Get, The New York Times Every week, The New York Times Sunday Business section offers a very brief and condensed look at three different real estate listings from across the country, all within the same price range. Included with the property photos and description is a run-down on property taxes and association fees, allowing dreamers to better appreciate the Boston housing market (or not!). [Jeremy Robertson]

Z: A Novel of Zelda Fitzgerald, biography This biographical fiction by Therese Anne Fowler chronicles the lives and destructive love of Zelda Sayre Fitzgerald and her husband, The Great Gatsby author F. Scott Fitzgerald.

The novel dives deep into F. Scott’s emotional dependence on his wife as it discusses his liberal borrowings from her diary and his discouragement of her work to be published under her own name. Recently, Amazon made the novel into a 10-episode series, starring Christina Ricci and David Hoflin.

[Anna Durkin]

Civil, new journalism initiative Information online can feel overwhelming and, worse, untrustworthy. Civil is a new company that has big dreams of saving quality journalism. It is optimistic and complex and exciting. They even have a constitution! If it works, it could be something to really celebrate. While you’re at it, check out the Civil newsroom and podcast ZigZag about a women-owned company that has big dreams of its own. www.civil. co [Jennifer Clapp] ISSUE NO. 6

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Babylon Berlin, series

WATCH

This Netflix period drama takes place during the Weimar Republic and follows a police inspector, Gereon, and aspiring police inspector Charlotte during a rough era in German history when Berlin became inhabited with new thinking, new art, theater, music and journalism. In the show, 1929 Berlin can seem eerily similar to current times. Tom Tykwer’s series has fantastic acting, an engaging storyline, and a truly inspiring soundtrack. [Jeremy Robertson]

Force Majeure, film A 2014 nominee for Best Foreign Film, the Swedish director Ruben Ostlund has crafted a harrowing drama that’s as unpredictable as it is hard to watch. A young family goes to the French Alps on a ski trip, and they experience an event that makes them question their marriage, and their lives. It’s a must see…especially for skiers! [David Hacin]

American Animals, film Flying under the radar is this true crime movie about four college-aged boys who attempted an art heist in 2004. The inclusion of documentary footage from the actual offenders and their families, reminds viewers that the events were real and had a major impact on many people. The film is fun and exciting, but the documentary moments and brilliant performances by the two main characters show what it takes for someone to decide to steal a million dollars worth of art... and whether it’s worth it. [Aimee Epstein Norton]

Big Time, documentary Big Time follows Danish architect Bjarke Ingels during the course of seven years (2009-2016), through several landmark projects, and during his struggle to finish his biggest project so far. The film offers a glimpse into Ingels's creative process as well as the endless compromises that his work entails, including the personal and professional travails that inevitably accompany career success. [Matthew Arnold]

Moulin Rouge, The Musical, theatre Reopening Boston's Emerson Colonical Theatre, Moulin Rouge is a spectacular (spectacular!) performance based on the 2001 Baz Luhrmann movie, incorporating new music from recent years. The set design is extraordinary, over the top, and lush, while the talent and musical numbers are as exceptional as they are fun. The show's Boston opening signaled the exciting revival of the city as a 'tryout town' for pre-Broadway shows before they reach New York. Catch this one on Broadway. It surely makes the cut. [Emily Neumann]

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Foxy, Montréal, Québec It’s hard to go wrong when dining in Montréal but Foxy definitely stands out as a great dining experience. Foxy is incredible service bringing diners wood-fired dishes coupled with excellent drinks and wine list. Set in a hip interior in the Griffintown neighborhood, this is a must-try on your next trip to Québec. [Russell Higgins]

EAT

Chilacates, Boston's South End/Mission Hill Chilacates is a Mexican fast food place that has been an inescapable indulgence for those in Jamaica Plain. They're expanding, and will be open on Shawmut Avenue in the South End, with yet another location at the H+A-designed Tremont (1480-1482 Tremont St) located in Mission Hill. [Eduardo Serrate]

Trillium Brewing, Canton, MA If you’re a fan of Trillium Brewery, but frustrated with their inability to serve samples or full pours in their Fort Point location in Boston, check out their new patio space in Canton, MA! It’s dog and kid-friendly, and large enough to comfortably meet a group of friends. They have quite a variety of brews available including fruit slushie-topped sour beers which are perfect on a hot day. [Aimee Epstein Norton]

Taste Wine Bar + Kitchen, Downtown Boston This wine bar bills itself as an urban tasting room, and promotes its educational tastings and classes so wine enthusiasts can sip and explore their way to being afficionados. Awarded by both Boston Magazine and the Improper Bostonian with 'best of Boston awards in 2018, this is not only one of Boston's Best Wine Shops, but the food and intimate gathering atmosphere makes it a must try. [Michelangelo Latona]

Yellow Door Taqueria, Dorchester, MA This sweet neighborhood gem, across from the historic Baker Chocolate Factory in Dorchester, is taco heaven. Its hipster atmosphere, reasonable prices and unbelievably delicious tacos get our vote for best in the city. No dessert served? No problem. Go next door for another local institution: The Ice Creamsmith! [David Hacin]

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Masterlist online

Recollective Vintage South Boston

Marine Layer Newbury Street, Boston

Since 1901, McMaster-Carr has been the standard industrial design reference book of the Western Hemisphere. The 3,500 page catalog is sent only to established customers with very limited distribution, making it a coveted and respected resource.

Masterlist highlights some favorites online, offering a curated list of timeless pieces, available directly from McMaster-Carr. www.masterlist.co [Michelangelo Latona]

Recollective is a vintage oasis, serving up quirky collectibles and garments galore. Located in South Boston, the shop offers a curated selection of clothing, décor, and artisan-made items. It was also deemed 2018 Best Vintage Clothing by Boston Magazine.

Have a browse through their brimming rack of screen tees or check out their latest selection of vintage leather bags. www.shoprecollective.com [Anna Durkin]

Marine Layer is a clothing store that started in San Francisco, selling the most amazingly soft clothes made 'responsibly' by ethical and sustainable factories in the US and overseas; they come in over 25 custom fabrics and fibers. Home of 'Everybody's favorite tee', check out their comfortable t-shirts, pants, dresses, accessories, and other leisure-wear for guys, girls, and kids.

[Tae Shimamoto]

Fully online

Radnor New York City

Present and Correct online

The idea behind Fully is that movement is good for your body, and that when you move, you are fully engaged, present, and alive.

Specializing in a curated selection of affordable and beautiful furniture designed for working, Fullly sells standing desks, chairs, and accessories that are ergonomically designed for keeping the body agile while at work. www.fully.com [David Hacin]

A new collection housed under the name Radnor brings together furniture and accessories in the model unit of the newly built Bryant in New York.

The collection includes hand-crafted pieces by New York and New England makers that celebrate natural materials and production. Visitors can see every form, material, and detail in perfect balance as Radnor founder Susan Clark tells the story of each collaboration. [Dorothy Deák]

Present and Correct is a celebration of design items, from stationery and gifts to books, prints, and ephemera. P&C opened its virtual doors in 2009, and calls itself a 'place for our own designs, things we love by other designers from around the world & vintage items which we discover around Europe, and sometimes further afield.' www.presentandcorrect.com [MIchelangelo Latona]

25 YEARS, 25 IDEAS.

Salt Flats, Uyuni, Bolivia Vast and insanely white, the Salt Flats in Uyuni, Bolivia are probably the most otherworldly natural landmark one can visit. Almost the size of Connecticut, when this ocean of solid salt gets some rain, it turns into a giant mirror. It's worthy of any adventurous traveler's bucket list.

[Eduardo Serrate]

EXPLORE

Sorolla Museum, Madrid, Spain The Museo Sorolla, featuring the work of Spanish artist Joaquin Sorolla (1863-1923), is an artist’s house museum, with his collection of paintings displayed in his own live/work environment. Explore the painting studio, living spaces, and garden of this gracious early 20th Century residence and get lost in the dynamic brush strokes of Sorolla’s portraits and landscapes. [David Tabenken]

Zsolnay District, Pécs, Hungary Zsolnay is a porcelain manufacturing district in Pécs, Hungary. Located here is the factory that, to this day, produces decorative ceramics famous to Hungary and throughout Europe. Cathedrals, institutes, and museums all over the country are topped with colorfully glazed Zsolnay tiles.

[Dorothy Deák]

Salone del Mobile Milano, Italy Held every spring in Milan, the Salone dei Mobile is the world's largest furniture and design show and runs concurrent with the city's Design Week. Beyond the vast exposition outside of the city center, exciting exhibitions happen throughout the city, including the streets of the Design District around MUDEC, the city's new museum of culture. Every designer should go once in their life. [David Hacin]

Turf Houses, Iceland Born out of a need for alternative materials given Iceland’s lack of wood, turf houses offered superior insulation in a freezing climate. Stepping into an original turf house in Iceland gives a visitor an immediate surprise. It’s not the rustic yet hardy construction, though impressive - it is the deafening silence one hears as soon as the door shuts. Only a few remain in the country but they are worth a visit to celebrate the settlers’ ingenious work. [Jennifer Clapp]

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” [For H+A] tradition and innovative thinking are not mutually exclusive.”

INTERIORS MAGAZINE

PHOTO ©MICHAEL STAVARIDIS

Over 70 design awards for Architecture, Interior Design, and Branding.

www.hacin.com

Find the good in your bad luck.

I

n any profession, not all opportunities come to fruition. However, not all is lost. Sometimes the opportunity results in a redirected path. In 2010, H+A was involved in the conception of “Neighborhood 3,” a mixeduse, self-sustaining community at the western end of Lulu Island, a new neighborhood of Abu Dhabi, in the United Arab Emirates. The man-made island, constructed of reclaimed sand, is considered a shared national resource, offering a range of hospitality, residential, and commercial opportunities. The plan featured a strategic focus on ensuring environmental, economic, and social sustainability for the next 20 years. Working in collaboration with Sasaki Associates, an international interdisciplinary planning and design firm, H+A assisted in the design of housing prototypes conceived as a catalyst for future growth and development. Ultimately, the goal was to develop a Master Plan to be presented at Cityscape Abu Dhabi, the UAE capital’s annual real estate investment and development event.

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It's an attitude.

While the project was never realized, working with a firm like Sasaki was valuable to H+A, widening the scope and diversity of our professional experience beyond the United States. “They were very well-seasoned in this kind of international, far-reaching work,” H+A’s Scott Thomson says.

“That was a new milieu for us.” The completion of Lulu Island led to additional collaborations with Sasaki, such as the Arnold Worldwide/Havas Headquarters in Downtown Boston and a city-sponsored competition to create a development plan for Monument Waterfront in Troy, New York.

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THIS PAGE, FROM TOP: PLANNING PHASE OF LULU ISLAND COLLABORATION WITH SASAKI; INTERIOR RENDERING OF MULTIFAMILY HOUSING UNIT ON LULU ISLAND; HOTEL DESIGN FOR LULU ISLAND. OPPOSITE PAGE: TOWER DESIGN FOR ACCORDIA PARTNER'S SUBMISSION TO BOSTON'S WINTHROP SQUARE COMPETITION/COLLABORATION WITH SHOP ARCHITECTS.

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In 2016, H+A partnered with SHoP Architects and Mikyoung Kim Design to propose a design for 115 Winthrop Square, one of six submitted proposals for the site. The design comprised a 57-story tower with 188 condominium units, a 280-room hotel managed by Starwood Hotels and Resorts, and what would have been Boston’s first public observatory deck and restaurant on the 56th and 57th floors. Additional proposed amenities included a black box theater, a civic and community space, and commercial space. Overall, the design aspiration was to create a slender, elegant structure to fit the context of Downtown Boston without overwhelming the site.

While our development team was not ultimately selected to move forward with the project, it gave us an opportunity to work with a globally-recognized design team. “I admire SHoP's work. It was interesting to see how their team was structured, how they approached design, and how they executed,” H+A’s Scott Thomson says. Part of the process included presenting ideas to the public for commentary as well. H+A’s Joshua Lentz notes the importance of distilling your design concept for those not as familiar with the language of design. "It's our job to generate the best solutions," he says, "but if they aren't presented clearly or fully comprehended, the design understanding may veer from the intended focus." Needless to say, this opportunity provided valuable insight and inspired new design ideologies that will benefit the team’s approach to future projects.

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Find the good in your bad luck.

ABOVE: RENDERING FROM 2008 PARCEL A STUDY. RIGHT: SEAPORT SQUARE MASTER PLAN PROPOSAL, 2010. OPPOSITE PAGE, FROM TOP: 2008 PARCEL A STUDY ELEVATION AND PLAN; 2010 PARCEL A INNOVATION CENTER STUDY ELEVATION AND PLAN; 2010 INNOVATION CENTER RENDERING, PRECEDING DISTRICT HALL.

THERE ARE NO MISTAKES. ONLY OPPORTUNITIES. TINA FEY

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2008

2010

In 2008, H+A was enlisted to advise on the development of the Seaport Square Master Plan, drawing upon strong insight into the City of Boston’s public approvals process. To jumpstart growth in the Seaport District, the design and approval process was expedited for three of the 23-acre development’s smaller parcels. In coordination with ADD Inc. (now Stantec), H+A designed a mixeduse retail, office, and condominium building on Parcel A, taking the project through the Schematic Design Phase and engaging with the Boston Redevelopment Authority.

The larger Seaport Square Master Plan was approved, but Parcel A was sold to a new developer who hired a new architect with a specialization in hotel design. Today, Parcel A is the site of the Envoy Hotel.

“It’s challenging to put in extensive effort to create a design for a new project, begin to take it through the public approvals process, and receive accolades, but ultimately have the project sidelined,” H+A’s David Tabenken says.

However, not all was lost. H+A’s work on the Seaport Square Master Plan and the design for Parcel A led to the opportunity to design District Hall, a pivotal project for the studio and the City of Boston at large.

25 YEARS, 25 IDEAS.

2008

THE PARCEL A STUDY

East Elevation

SEAPORT SQUARE PARCEL A - PRELIMINARY CONCEPT DESIGN

THE PARCEL A, SEAPORT SQUARE INNOVATION CENTER STUDY

SEAPORT SQUARE INNOVATION CENTER

2010

DECEMBER 10, 2010

2010 Site Plan

THE 2010 STUDY LED TO THE FUTURE DESIGN AND DEVELOPMENT OF DISTRICT HALL IN 2013.

TURN THE PAGE TO SEE MORE...

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hen it comes to unchartered territory, it takes the right team, the right vision, and the right attitude to achieve success. In our experience, a successful project in a new neighborhood is not necessarily the biggest or most expensive. It's surgical and thoughtful, establishing the tone of the neighborhood. It also helps to have a visionary developer with optimism to spare.

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District Hall was the first building completed in Seaport Square. It was also the first freestanding, city-sponsored innovation center of its kind in the country. In terms of classifying its project type, some are left scratching their heads. Is it a civic building? Is it an exhibition center? At H+A, we like to say it’s all of the above and more.

While the intention was to create a fostering environment for innovators to

meet and exchange ideas, District Hall has grown to become a multi-purpose community center where students study, runners hydrate, and professionals socialize.

In 2011, H+A was selected to design District Hall (see #13, Find the Good in Your Bad Luck). Development delays created cynicism in the minds of many, but the availability of real estate

25 YEARS, 25 IDEAS.

Define a new neighborhood.

It helps to be first.

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Define a new neighborhood.

was attractive. “It was seen as kind of a gold mine for everyone involved,” H+A’s Scott Thomson said. There was excitement around the opportunity to design a catalytic building on undeveloped land. “Working in a city, we’re usually so constrained in physical ways,” Scott notes.

“There’s a building right next to you or the whole damaging-the-neighbor’s-property issue. None of that was there with District Hall.”

Despite District Hall’s position as the smallest project in the Seaport at the time, its impact has surpassed all expectations. “It planted another stake in the ground and captured the imagination of the people who used it,” says David Hacin. H+A's Matthew Arnold adds, "In a neighborhood that has seen more growth in five years than most anticipate in fifteen, it’s great to see our project in the center of it all with doors wide open to the community."

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FP3 is located in the Fort Point Channel Landmark District (FPCLD), a site said to be Boston’s largest, most cohesive collection of late 19th-century and early 20th-century industrial loft buildings, created almost entirely by the Boston Wharf Company. In the mid-1880s, the developer filled the land along the South Boston shoreline, laid streets and alleys, and erected buildings designed by only two staff architects. The majority of the buildings, including the two utilized in FP3, were loft structures for warehousing and manufacturing.

In the late 1970s, industrial businesses began to vacate the area, leaving room for artists in search of affordable studio space. The energy of the neighborhood evolved as local artist communities began to form, though still lacking the presence of a residential area.

In 2004, developer Berkeley Investments acquired a portion of the Fort Point Channel neighborhood. President Young Park envisioned a bold transformation for the area, including the conversion of two historic structures and a vacant lot along Congress Street to create condominiums, offices, and restaurants. “Young had a vision about how to transform these underused buildings into something really exciting,” says David Hacin. “It was nice for us to work with someone who was willing to take a chance, a risk architecturally and a risk commercially, because it was an untested location.” While FP3 wasn’t the first residential building in Fort Point, it made a strong statement about the neighborhood’s potential and set the tone for future development.

OPPOSITE PAGE, CLOCKWISE FROM TOP LEFT: VIEW OF DISTRICT HALL FROM ADJACENT PARK; INTERIOR 'STREET' OF DISTRICT HALL FROM NORTHERN AVENUE TO SEAPORT BOULEVARD; SEAPORT BOULEVARD FACADE; AERIAL VIEW OF DISTRICT HALL IN THE SEAPORT NEIGHBORHOOD. THIS PAGE, FROM TOP: FP3 VIEW FROM A STREET IN BOSTON'S FORT POINT NEIGHBORHOOD; FP3 AND THE BOSTON SKYLINE BEYOND; STREETFRONT OF FP3 ENTRY AND GALLERY SPACE ALONG CONGRESS STREET.

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Laconia Lofts was the first new live and work artist space built on the East Coast in a century. Completed in 2000, it was also the first significant new construction in the industrial area of Boston’s South End, anchoring the Washington Street commercial district and the Harrison Avenue arts district.

THIS PAGE, FROM TOP: SOWA NEWSLETTER FEATURING LACONIA LOFTS AS AN ICON OF THE NEIGHBORHOOD; VIBRANT THAYER STREET ACTIVATED BY GALLERY AND ARTISTS' SPACES, WITH LACONIA LOFTS IN VIEW BEYOND; GALLERY AND OFFICE SPACE STREETFRONT ALONG WASHINGTON STREET. OPPOSITE PAGE: PENTHOUSE LOFT SPACE AT LACONIA LOFTS.

In 1995, developer Jack McLaughlin of Laconia Associates submitted a proposal for Laconia, proposing a loft building with units reserved for artists at subsidized rates in an effort to restore the displaced South End artist community. McLaughlin was known as a creative crusader of sorts. Previously, he worked on the renovation of the Brickbottom building, a former food warehouse facility in Somerville, and Artist Tenants of the South End, an artist live and work space in the Harry the Greek building on East Berkeley Street. In the case of Laconia, it was clear that McLaughlin truly believed the South End had potential to grow and thrive. He had even purchased one of the lofts in the building for himself, showing his deep support of the project.

When H+A was hired to design Laconia, the team was thrilled to work on a pivotal project of that scale. In some ways, it was a gamble for all involved. However, in the face of the South End’s urban grit, McLaughlin’s vision prevailed. “I think it’s great that those kinds of developers are attracted to firms that are younger, cheaper, nimbler, and willing to go for the ride,” says David Hacin.

In the year 2018, Laconia’s tower looks out over the vibrant South End, enjoying the view of a neighborhood still evolving.

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Small actions add up.

Incremental urbanism creates change.

WORDS BY DAVID TABENKEN

I

first became aware of Hacin + Associates about 20 years ago. I had been living in the South End for several years and perhaps had seen mention of the firm in the neighborhood weekly. I recall stumbling on some images of the firm’s work while wandering the halls at 46 Waltham Street during South End Open Studios, an annual event that offered both residents and visitors a rare peek into the neighborhood’s artist community.

After meeting a friend of a friend who was working for the firm, I began to pay more attention to the local projects H+A was doing; in moments of reflection about my own job at a larger architecture firm working on mostly outof-state projects, I was drawn to the idea of doing work in my own city and in my own neighborhood. Several years later, when the opportunity arose to make a change and join Hacin + Associates, I jumped at it.

When I moved from a Tremont Street studio apartment into my current South End condo off Washington Street in 1999, the South End was on the verge of its next wave of revitalization. The Washington Street corridor had not yet been transformed as part of the City’s Main Streets Program, and remnants of the abandoned elevated railway, vacated in the 1980’s, still dotted the street. Widened brick sidewalks, street trees, and new pedestrian scale lamp posts were still years away.

At the time, my new home was adjacent to a vacant lot and abandoned building on one side and across the street from another non-descript, boarded up building—

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the view was bleak. I soon learned that a developer had plans for the building facing mine—it was, in fact, the oldest pair of brick townhouses existing in the South End and the renovation was being designed by Hacin + Associates. By 2002, it was transformed into the preservation award-winning Porter Houses, one of H+A’s earliest adaptive reuse achievements.

Although H+A had previously renovated numerous South End townhouses and was concurrently designing new ground-up buildings in the neighborhood, the Porter Houses was H+A’s first completed project that outwardly reshaped a small portion of a South End street.

It marked the start of our visible incremental impact throughout the neighborhood. As part of the developer’s original plan, H+A also designed a new construction condominium building for the adjacent vacant lot – The Carriage House. Though the design was ultimately never realized, the site has since been filled by a crisp, modern condominium building, completed in 2018 by our friends at Utile, Inc. As the swath of the South End along Washington Street was recognized for its rebirth in the mid-2000s, we began to reflect on the collective impact of the individual projects that H+A had completed in the neighborhood.

Based on our range of adaptive reuse and new construction projects, we were recognized as having a major role in this revitalization. Our work included a growing collection of multi-family housing developments with hundreds of residences of varying types: mixed-income condominiums at the Columbia and Saint George, artist live/ work housing, market rate lofts, and ground floor retail at Laconia Lofts, new loft condominiums at 27 Wareham Street, historic preservation and a modern addition of luxury condos at The Savoy, skip-stop apartments at 160 East Berkeley, and affordable SRO units for non-profit Project Place.

In addition to these street-defining projects, H+A executed a variety of smaller scale interventions, including two new retail locations for the South End Buttery Market and Café, the Joe Wexx Dog Recreation Space in Peters Park, and Myers + Chang restaurant. More recently, we have continued to add to the neighborhood with new hotel suites at Chandler Studios, residential condominiums in the renovated Jordan Lofts building, and a new mixeduse retail, office, and residential building called The Fac-

PREVIOUS SPREAD: RENDERING OF THE FACTORY AT 46 WAREHAM STREET. OPPOSITE PAGE: AERIAL VIEW OF LACONIA LOFTS; TOP: PORTER HOUSES; BOTTOM: TOWNHOUSE RENDERING FOR 590 TREMONT STREET IN BOSTON'S SOUTH END. ISSUE NO. 6

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tory at 46 Wareham Street. Was this collection of projects part of a grand Master Plan? No. When David Hacin started the firm at his dining room table in the South End 25 years ago, his first project was, in fact, a house for his sister in Arizona. However, as David grew invested and developed relationships in his adopted neighborhood, projects began to materialize. As the firm and its body of work grew, H+A demonstrated a commitment to the community and, in turn, earned the trust of our neighbors. With each subsequent design challenge, we embraced the belief that every urban project, large or small, impacts the public realm and contributes to the success of a neighborhood. While the work of some design firms is more widespread, dispersed across the country or around the globe, we feel fortunate that much of H+A’s work has been primarily concentrated in one geographical area. Whether by choice or by luck (or a combination thereof), our body of work has made a palpable impact on our South End neighborhood and the City of Boston.

This notion of incremental urbanism—that small actions add up—continues to apply to our work beyond the South End: on Beacon Hill, after a handful of interior renova-

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OPPOSITE PAGE, CLOCKWISE FROM TOP: THE BUTTERY ON CLARENDON STREET; CHANDLER STUDIOS; BERKELEY COMMUNITY GARDENS; JORDAN LOFTS ON HARRISON AVENUE. THIS PAGE, TOP RIGHT: 601 ALBANY STREET APARTMENTS; BOTTOM RIGHT: JOE WEX DOG RECREATION PARK. ABOVE, CLOCKWISE FROM TOP LEFT: 27 WAREHAM STREET; EAST BERKELEY STREET LOFTS; ST. GEORGE APARTMENTS; THE SAVOY ON WASHINGTON STREET. BOTTOM: ENTRY AT THE MARAIS APARTMENT BUILDING.

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PJA

IDEO Cambridge No.2 State Park

Living Proof HQ

IDEO Cambridge No.1 Glass House

170 Charles Hotel

Arnold | Havas HQ

Lafayette Lofts The Hooper Mansion

Fresh Newbury

Four51 Marlborough Flour Bakery + Cafe Chandler Studios

Peter’s Park + Community Garden

Myers + Chang Project Place Gatehouse

The Buttery Market Laconia Lofts South End Buttery

East Berkeley

Jordan Lofts

H+A 27 Wareham Douglass Park

The Savoy 46 Wareham

The St. George + The Columbia

Porter Houses

601 Albany Street

The Tremont

Longwood Row

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tions, we completed the first new construction townhouse on the Hill in decades. We are currently watching an H+A-designed hotel rise on Charles Street. On Mission Hill, our second multi-family apartment building is being erected along a previously underutilized block at 1470 Tremont Street. Nearby in Lower Roxbury, our apartment project at 150 Camden Street redefines its street as construction is under way. In Allston, 116 apartments in two adjacent developments will soon redefine a block between Brighton Avenue and Gardner Street. We are excited to see the impact of this new work and are eager for more opportunities to shape the public realm in these neighborhoods and beyond.

Can this model of impactful, geographically concentrated work be replicated by others in other locales? It doesn’t hurt to try: be committed to your community, think broadly about the impact of even the smallest intervention, build trust so that with each subsequent project you can do more, and push yourselves to be open to all types of projects, even beyond your comfort zone.

District Hall

FP3

Allen & Gerritsen

Fifteen years after joining Hacin + Associates, as I traverse the ten blocks from our office to home, I’m fortunate to see a dozen of the firm’s projects dispersed across the neighborhood. At the same time, it’s very satisfying to see the work of other architects taking shape around us, redefining full blocks, and bringing new life to the outer reaches of the South End, knowing that H+A played a key role in this continued incremental urban transformation.

GREAT THINGS ARE DONE

BY A SERIES OF SMALL THINGS BROUGHT TOGETHER. VINCENT VAN GOGH

MAP ILLUSTRATING PROJECTS BY H+A IN BOSTON'S SOUTH END NEIGHBORHOOD AND BEYOND.

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16 Tell your own story.

And do it in your own way.

S

torytelling guides the work we do at H+A, whether it’s through a concept, a material story, or branding.

In the case of this magazine, storytelling is crucial. Often times, when a project is published, there is so much more left to say about the work than what makes it into print. When we started H+ Magazine, the intention was to create a space to tell those stories more thoroughly and to feature ideas that may not lend themselves to traditional press. We also wanted to highlight people and things that we found interesting, inspiring, and fun. Here we are,

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six issues later, with a publication that has helped us to expand our branding department as well as engage new clients and collaborators. One of the best surprises of this project has been the discovery of untapped creative energy by simply stepping away from our desks for impromptu photoshoots, interviews, and writing assignments. In fact, we’ve found that our efforts to force a different kind of creativity and focus apart from our everyday tasks have improved our work as a whole. You never know where telling your own story can lead.

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To see our full catalogue of H+ Magazine, visit www.hacin.com/h-magazine/

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Move onward and upward.

Literally.

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taircases are one of the most technical aspects of interior architecture. When it comes to appreciation of detailing and materiality, architects and designers find innumerable ways to reinvent the staircase over and over with new expressions. H+A is no different. Here are a few of our favorites.

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THIS PAGE, CLOCKWISE FROM TOP LEFT: LACONIA LOFT EAST; LACONIA LOFT WEST; STAIR AT PUBLIC GARDEN TOWNHOUSE; NEWTON TUDOR STAIR; OAK AND GLASS STAIRCASE AT BEACON STREET PENTHOUSE 2; OPPOSITE PAGE: RENOVATED HISTORIC STAIRCASE AT BOSTON COMMON TOWNHOUSE.

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IT IS GOOD TO FOLLOW ONE'S OWN BENT, SO LONG AS IT LEADS UPWARD. ANDRE GIDE

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OPPOSITE PAGE, CLOCKWISE FROM TOP LEFT: DETAIL, PUBLIC GARDEN TOWNHOUSE STAIR; DETAIL OF MOUNT VERNON TOWNHOUSE; RESTORED FIREPOLE AT NEWPORT FIREHOUSE RESIDENCE; VIEW DOWN STAIR AT CHESTNUT STREET TOWNHOUSE; VIEW UP STAIRCASE AT ZERO MARLBOROUGH; SPIRAL STAIR AT BOSTON COMMON TOWNHOUSE; NEW CONTEMPORARY STAIR DETAIL AT BOSTON COMMON TOWNHOUSE. THIS PAGE, CLOCKWISE FROM TOP LEFT: NEAKAHNIE HOUSE STAIR; RENOVATED HISTORIC STAIR AT PUBLIC GARDEN TOWNHOUSE; OAK AND GLASS STAIRCASE AT MOUNT VERNON TOWNHOUSE; CHESTNUT STREET TOWNHOUSE STAIR.

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18 Know that preservation means many things.

Preserve, adapt, revive.

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T

he word “preservation” in architecture means protecting a historic structure from unwanted change, either by restoration or careful interventions. Sometimes it requires not intervening at all in order to maintain cultural heritage. We believe in a broader view of preservation that includes adapting a historic building for modern use or building a completely new building on a historic site, reviving the character of a neighborhood.

Over the past two decades working in a city rich in historic architecture like Boston, H+A has surgically intervened in projects of each kind.

The Porter Houses on Washington Street in the South End (see idea #15) was H+A’s first venture into historic preservation in the traditional sense. More recent projects, such as Four51 Marlborough and our Chestnut Street Townhouse, however, are completely new, modern buildings constructed in historic neighborhoods. Built on one of the last available parcels in Boston’s Back Bay, Four51 Marlborough repaired an iconic street by infilling a site where an ill-fitting, one-story building stood for many years.

Applauded by preservationists, the project is noted as a contextually appropriate, sensitive design in a historic district. Our Chestnut Street Townhouse was similarly a new infill project. Upon the demolition of the existing unlivable home, the Beacon Hill community feared that a modern structure inappropriate to the neighborhood would be built in its place. The final design referenced the idiosyncrasies of the original building, creating a façade that helped repair and enhance the street. In both cases, by listening to the communities and historic commissions, each project blends in with quiet respect without losing its own contemporary identity.

OPPOSITE: NEW CONSTRUCTION, CHESTNUT STREET TOWNHOUSE IN BEACON HILL. THIS PAGE, FROM TOP: REAR FACADE OF CHESTNUT STREET TOWNHOUSE IN BEACON HILL; NEW CONSTRUCTION, FOUR51 MARLBOROUGH IN BOSTON'S BACK BAY.

Other adaptive reuse projects combine both preservation of existing buildings and new construction. FP3 in Boston's Fort Point neighborhood (see idea #7) and Jordan Lofts on Harrison Avenue (see idea #15), are both examples of this approach to adaptive reuse. Working with these historic

H+A'S SPECIAL TALENT LIES IN ABSORBING WHAT'S LOVELY AND WORTHY OF PRESERVATION FROM OUR URBAN CONTEXT AND DISTILLING THOSE ELEMENTS INTO HANDSOME NEW ARCHITECTURE. RESIDENTIAL DESIGN MAGAZINE

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structures, the design teams created entirely new interior renovations for residential living and commercial space.

Retaining much of their historic façades, contemporary additions enhance modern-day use and also complement the existing building, while creating additional value for the building owners.

Similarly, our project at 110 Arlington street, currently under construction, adds a modern two-story penthouse addition on top of a historic three-story building. This creates a distinct new image for the building. On a smaller scale, our Public Garden Townhouse benefitted from raising its steeply sloped roof facing a private street to gain additional living space, light, views, and an expanded roof deck, while preserving the public face of the house under the strict watch of the Beacon Hill Architectural Commission and Friends of the Public Garden.

As we aspire to respect and rethink existing historic buildings, a broad view of what defines preservation enables us to create modern buildings of our time.

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THIS PAGE, TOP: DETAIL OF ADDITION AT JORDAN LOFTS IN BOSTON'S SOUTH END. THIS PAGE, BOTTOM: RENDERING OF 110 ARLINGTON STREET IN BOSTON. OPPOSITE PAGE: AERIAL VIEW ABOVE PUBLIC GARDEN TOWNHOUSE ADDITION, OVERLOOKING THE PUBLIC GARDEN AND BEACON STREET.

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Turning a new corner...

Under construction through 2019.

A New Hotel on the Hill

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19 Set the stage for food.

Even if it's takeout.

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ver the past 25 years, we've designed many kitchens and gathering places where food brings people together. In private residences, our kitchens have ranged from the functional spaces fit for a chef, to the most contemporary designs for clients who rarely cook at all. And for those who don't cook, the restaurants and cafes we've worked on are designed for atmosphere and comfort, but let the gathering and the food take center stage.

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PREVIOUS SPREAD: LACONIA LOFT EAST KITCHEN. THIS PAGE, TOP LEFT: MOUNT VERNON TOWNHOUSE; BOTTOM LEFT: FOOD PLATING INSPIRED BY MINIMALIST ARCHITECTURE (FROM ISSUE #4); ABOVE, CLOCKWISE FROM TOP: BOSTON COMMON TOWNHOUSE; SOUTH END TOWNHOUSE; BEACON STREET PENTHOUSE 2; ATELIER 505 PENTHOUSE; BEACON HILL CARRIAGE HOUSE. OPPOSITE PAGE: LACONIA LOFT EAST KITCHEN.

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OPPOSITE PAGE: PUBLIC GARDEN TOWNHOUSE; BOTTOM, CLOCKWISE FROM TOP LEFT: BEACON STREET PENTHOUSE 1; BEACON STREET RESIDENCE DINING AREA; NEWTON RESIDENCE; NEWPORT FIREHOUSE; BOTTOM: NORTH END LOFT. TOP RIGHT: FOOD PLATING INSPIRED BY TUDOR ARCHITECTURE (FROM ISSUE #4); BOTTOM RIGHT: NEWTON TUDOR RESIDENCE.

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And as for the takeout...

Our third project for Joanne Chang's Flour Bakery and Café is part of a BioMed Realty life sciences campus in Cambridgeport. Designed with a fireplace and comfortable seating, the cafe serves as a much-needed spot for the community to relax and eat with friends and coworkers.

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OPPOSITE PAGE, CLOCKWISE FROM TOP LEFT: FOOD PLATING INSPIRED BY JAPANESE ARCHITECTURE (FROM ISSUE #4); MYERS + CHANG RESTAURANT; GLASS HOUSE RESTAURANT AND BAR; GATHER RESTAURANT AT DISTRICT HALL. THIS PAGE, CLOCKWISE FROM TOP LEFT: FLOUR 4 ON CLARENDON STREET; THE BUTTERY ON SHAWMUT AVENUE; THE BUTTERY ON CLARENDON STREET; FOOD PLATING INSPIRED BY VICTORIAN ARCHITECTURE (FROM ISSUE #4).

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20 Give the younger generation a voice.

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They matter.

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WORDS BY TAE SHIMAMOTO

T

he H+A team believes in empowering the next generation of designers. Over the past 25 years, the studio has developed relationships with local collegiate programs like Northeastern University to offer current undergraduate and graduate students a unique internship experience in our 25-person studio. The team philosophy is that all members bring something to the table. Interns are no exception. Here, interns are purposefully incorporated into design decisions, brought on site visits, and invited to client meetings.

In doing so, interns build on their education and play an active, valued role in projects. Every semester, both the interns and H+A are equally eager to learn from each other. Interns are actively included within their project teams, blurring the line between an educational role and a design professional. The intention is to equip students with a voice that makes an impact, and to apply what they have learned here to their schoolwork, future careers, and to making a difference in their communities.

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During my time at H+A I was taught with compassion and kindness, and constantly inspired by the passion and excellence that surrounded me. I was encouraged to pursue everything that came my way with H+A’s characteristic carefully considered and playful enthusiasm, and felt honored to work on a number of projects I could pour my heart into. Far more than a job, H+A gave me a new home and a new family.

CYRUS DAHMUBED, 2017

I've grown so much as a designer because of my experience at H+A. From day one, my project team trusted me with a significant amount of responsibility and always encouraged me to speak up and share my ideas. I learned a lot in school but it was H+A that made me confident in my design skills.

SRISHTI GOYAL, 2016

H+A peeled back the many layers that make up an architectural project, from the beginning of the design process through to the site visits, graphics detailing, and post occupancy surveys. I benefited most from the firms consistent effort to introduce me, young & inexperienced, to more mature architectural concepts.

JONATHAN LEVINE, 2015

I will always remember my coworkers at H+A. Everyone I worked and interacted with pushed me everyday to be better than I was the day before. All of their guidance and warm energy made me feel like an important member to the team.

I’m so thankful for having the opportunity to work with such talented people.

ALLBERTRAND PIERRE, 2017

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H+A provided me with a unique and wonderful environment for real world design experience. I was always encouraged to push my designs to the limit and I never felt afraid to join the conversation. My time spent working on H+A-style projects solidified my passion for architecture.

TAE SHIMAMOTO, 2018

At H+A I felt a great deal of inclusivity as a young designer.

I felt fully utilized putting a lot of different skills to the test.

Being involved in high level design studies and client meetings really made me aware of the complexity of real world projects.

CALEB HAWKINS, 2016

My experience at H+A was geared towards much more practical applications than anything I would’ve been able to work on in school. I left having gained a better understanding of not only the design and construction industries, but of who I want to be as a designer.

KATHRYN PLATT, 2018

During my time at H+A, I felt so empowered because of the tools, skills, and support my colleagues gave me that I took on every task I possibly could. The roles I was given made me feel like an integral part of the design team, which made it an absolute joy to walk into work every day.

LUKE VISCUSI, 2017

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21 Be patient.

Good work takes time.

WORDS BY ELIZABETH DAME

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he building design and construction process, from concept to completion, is long. Although a neighborhood resident may only see a 14-month construction process, that project was likely in the works for one, two, or even three years prior. And the finished product is likely far from where it started on Day One of the design process.

Buildings – and therefore architects – are constantly being pushed to change in different areas by varying forces during the design process. Site context, community input, city review, client direction, budget adjustment, program expansion, material cost, conflicting systems, our own design vision, etc. With such a complex network of influences, the need for iteration, an ability to adapt, and patience in the face of curve-balls are all-important.

By the time a project is having its ribbon-cutting ceremony, it’s likely already lived 50 lives, shed 49 skins, and taken years of personal commitment from a broad team of designers and engineers. The process of design is rewarding, but also challenges how well we can think longterm while simultaneously making incremental everyday decisions. Each designer must understand that we can’t hold too tightly to every idea, and that the end result will benefit from our flexibility. Most of all, designers must have the skill of patience.

As we mark our 25th year, H+A has a number of projects underway, some of which illustrate the various factors that demand that we have patience and accept the sometimes arduous process to get to the gratifying moment when a design is fully realized and complete.

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Be patient.

City Approvals Boston is a historic city that is conscientious about the impact of development. New projects must be presented to the Boston Planning & Development Agency for design review and approval in a process that varies in length. For the Gardner Street portion of the larger Packard’s Crossing project, we worked to balance the project’s design goals, the owners’ program requirements, and the city’s needs to produce an approvable design that satisfied everyone, requiring patience and stamina on all sides. “It’s the architect’s role to balance out any competing forces during this stage between abutters, clients, zoning, and design goals,” H+A’s Jeffrey Brown says. “How well we thread through these competing interests determines the pace of the approvals and the design integrity of the project.”

Unexpected Conditions During site excavation at Douglass Park, we were surprised to discover a buried brick gas tank which had not been located on any city plan or civil survey we knew of.

We believe it would have been used when much of the South End was still underwater, before being filled and developed from the 1830’s to 1870’s. The construction schedule was adjusted for the time it took to come up with and to execute a work-around, and we all needed to accept that pause in progress. The experience reminded us of how digging in historic Boston always has the potential for surprise!

Scale and Scope

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The Packard Crossing project reimagines a full block in Allston. Working with builder-developer The Hamilton Company and landscape architects Ground Inc., we divided the two buildings and extensive landscaping into different phases to make the workload more manageable. "For each phase, it was important for us to have a consistent team of designers," H+A's Michelangelo Latona says. "This worked well internally and provided continuity for the project." Undertaking a project at the scale of urban design can truly define a design team’s life for several years, and requires a patient long-term vision.

THIS PAGE, FROM TOP: 83 GARDNER STREET FACADE; DOUGLASS PARK DEVELOPMENT AT 150 CAMDEN STREET; PACKARD CROSSING PHASING DIAGRAMS.

25 YEARS, 25 IDEAS.

Technology Longwood Row on Mission Hill preserves the front shell of a historic Roxbury puddingstone townhouse and is situated beside a second one on Tremont Street. H+A incorporated an intricate masonry design giving a nod to the complex historic stonework next door without replicating it. Using Rhino and Grasshopper design softwares, we wrote a script for a 3D modeling program to experiment with brick rotation and knitted brick corners, requiring very patient model work and challenging our program skills. "There's a certain responsibility needed with this type of technology," says H+A's Russell Higgins. "If you're not taking the time to work things out, you could run into trouble in the long run."

Collaboration and Joint Vision The Tremont on Mission Hill was one of the first housing projects of its scale in this triple-decker neighborhood; the client and H+A's team had many thoughtful conversations about what style of architecture this building should be to help define Mission Hill’s future. It takes many different team members to create a building, and sometimes not all teammates agree on the design direction. H+A's Aimee Epstein Norton notes, “It’s the architect’s role to respond to the urban context, the community and the client, but it’s also our responsibility to build something reflective of the present time that encourages growth and progress in the future.” It's important to listen to the different approaches, manage the expectations of the team, and work towards moving ahead together effectively as one.

THIS PAGE, TOP LEFT DOWN: SCREEN VIEW OF SOFTWARE TECHNOLOGY USED FOR BRICK PATTERN DESIGN; DESIGN DEVELOPMENT PROGRESS FOR LONGWOOD ROW AT 1470 TREMONT IN BOSTON'S MISSION HILL. ABOVE: THE TREMONT AT 1486 TREMONT STREET IN MISSION HILL.

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Learn from other disciplines.

You'll think bigger.

P

rofessional development and continuing education for most industries typically involves staying on top of the latest research, standards, and trends, and learning from both exciting breakthroughs and epic disasters within one’s field. In practice, this bank of knowledge not only keeps us up to date, but helps us when solving similar problems. However, inspiration and innovation can come from many, often unexpected places. At H+A, we’ve found that some of our best ideas are drawn from thinking outside the traditional boundaries of our disciplines and learning from other industries and professions.

WORDS BY DARIEN FORTIER How would an editor tell this story? How would a fashion designer compose this palette? How would a furniture maker think through that detail? How would a tech startup structure this team? How would a photographer critique this view?

How would a chef use this kitchen? How would an advertising executive pitch this concept? How would a diplomat mediate this contentious situation? When considering a design problem, marketing strategy, or organizational approach, channeling the mindset of professionals from other disciplines challenges your approach and helps you think bigger.

This is why we love working with our clients, fabricators, and builders who bring a specialized perspective to the table, why we study diverse topics, and why we make time to travel and explore. If you can see value in time spent outside your field and approach each situation with an inquisitive and investigative eye, every collaboration and new experience can be an opportunity to discover lessons you can apply to your profession and expand that bank of knowledge. Don’t be afraid to think unconventionally. You may find the brilliant solution you are searching for is right in front of you, just perhaps where you're not typically used to looking.

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Have fun at work.

Creativity requires play.

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H+A: A Timeline

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1993 David Hacin is asked by his sister to design a home for her family in Scottsdale, Arizona. David quits his job to start a new design studio.

H+A: A Timeline.

The evolution of a design studio.

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1993 Hacin and Associates is founded in David's dining room in Boston. Without Associates.

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1994 H and A moves to its first studio (shared with sculptor, Sam Tager) on 46 Waltham Street in Boston's South End neighborhood.

1995 Pinnacle Peak residence is completed in Scottsdale, Arizona. Wins our first Boston Society of Architects (BSA) Housing Design Award.

1996 H and A completes office of Claire-Garrett in New York. Wins our first BSA Interior Design Award.

1997 H and A begins work with cosmetics company Fresh on their first New York location on Madison Avenue.

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H+A: A Timeline

1998 H and A begins construction of Laconia Lofts. The mixed artist/ market concept is widely covered by the national media, including The Wall Street Journal, The New York Times, and The Boston Sunday Globe.

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1999 H and A moves to 522 Harrison Avenue in Boston's South End neighborhood.

2000 Laconia Lofts is completed and residents move in, including David and his husband Tim Grafft.

2001 East Berkeley Street Lofts is completed, the first skip-stop apartments built in Boston in a generation.

Wins BSA/American Institute of Architects (AIA) award. Hacin and Associates becomes 'H+A'.

2002 Laconia Loft East is published in Metropolitan Home, H + A's first national magazine design feature. First office mascot, miniature schnauzer Oscar, is born in Sterling, MA.

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2003 David is invited to join the Boston Civic Design Commission, Boston's design advisory panel for projects impacting the public realm.

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2004 Fresh opens on Sunset Boulevard in Los Angeles and is recognized by the BSA and International Interior Design Association (IIDA) for Interior Architecture and Design.

2005 Robert Campbell, the Pulitzer Prize-winning Architecture critic of The Boston Globe, writes the first of three columns on H+A, including "A Younger Architect Realizes Lofty Ambitions," about Laconia Loft West. H+A launches Interior Design discipline.

2006 H + A moves to 112 Shawmut Avenue in Boston's South End. H+A gets a new identity design with a "Swiss" plus, as a nod to David's heritage.

Hacin's loft has to be one of the dozen best pads in all of greater Boston.

ROBERT CAMPBELL BOSTON GLOBE, 2005

2007 Project Place opens on the site of Boston's original city gate, along with the restaurant, Myers + Chang. The project is reocgnized with the BSA John M. Clancy Award for Socially Responsible housing.

H+A: A Timeline

2008 FP3 opens on the eve of the Great Recession.

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2009 H+A collaborates with Sasaki Associates on Lulu Island, a new neighborhood of Abu Dhabi in the United Arab Emirates.

2012 David is guest editor of a special issue of Architecture Boston magazine, entitled "Change."

Sasaki Associates and H+A officially partner for a three year collaboration.

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FP3 named by the Boston Herald as one of the 10 best Boston area buildings of the decade and wins BSA and AIA honors.

David is named a Fellow of the AIA.

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2014 H+A launches a branding and graphic design discipline and its first issue of H+ Magazine.

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District Hall opens in Boston's Seaport, heralding the start of a construction boom in the neighborhood.

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2015 Newton Tudor wins our first International IIDA award for Private Residential Design.

2016 Walter, H+A's newest mascot, is born in Dallas, Texas and joins the team.

The AIA releases a Boston architectural guide app featuring seven H+A projects.

2017 H+A, now a team of 25 people, moves to 500 Harrison Avenue, in Boston's SoWA District.

IDEO moves into its new headquarters on Prospect Street in Cambridge, MA. H+A is named 'Best New Construction Architect' in the city by Boston Magazine's Best of Boston awards (our 8th BoB award).

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MOUNTAIN LODGE RESIDENCE UNDER CONSTRUCTION IN JACKSON HOLE, WYOMING.

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Keep Evolving.

You're never finished.

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25

Don't forget to say thank you.

You didn't get there alone.

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s mentioned at the beginning of this issue, after 25 years at anything, you learn a few things. One of the things you realize is just how many people will help your cause by way of friendship, collaboration, becoming a client, or simply offering a few kind words of support. It is humbling.

In a culture where making it on your own is too often celebrated over teamwork, it's vital to remember that we all depend on each other in one way or another to achieve our goals, and to cushion our falls along the way.

Truly, even the naysayers and the competition provide a kind of motivation.

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No one succeeds completely on their own, and it should be a satisfying reminder that when you choose to move in the direction of what you believe in most, there will always be people there to take a chance on you, partner with you, share in the milestones, and celebrate the victories.

showcase all of our projects here, but it would have been impossible to do so. Nevertheless, we are grateful for the many ways in which we were able to progress and flourish over the last 25 years thanks to the luck of knowing the many talented, kind, and remarkable people who crossed our path.

H+A is no different. From everyone who has been a member of the H+A team, every builder, developer, consultant, vendor, collaborator, artisan, craftsman, editor, writer, publisher, photographer, mentor, teacher, client, and friend, there are so many names to list that we could never fit them all here. Likewise, we would have loved to

Expressing gratitude for all of the hands that have helped to steer your ship is no less important than having a solid design concept or meeting the challenges of a difficult project. It all matters.

HOUSE LOCATED ON A BLUFF OVERLOOKING NEAHKAHNIE BEACH IN OREGON, COMPLETED IN 2006.

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Thank You From The Editor

What is 25? Young enough to be dreaming about the future but perhaps old enough to understand that only vision, experience, and hard work are likely to get you there.

As we celebrate the 25th anniversary of our start, it is humbling to look back at all of the accomplishments of so many of those whose work fill these pages; architects, designers, contractors, collaborators, and, of course, our visionary clients, especially those like my sister Sherry, whose commission launched my practice. I have been lucky to have had the support of so many and luckier still to have been joined by such an accomplished team of, as it happens, 25 people (in particular, our three Senior Associates, Scott Thomson, Matthew Manke, and David Tabenken). I am of course grateful for the support of my parents and friends and especially that of my husband Tim Grafft, who was there with me when, in the fall of 1993, I quit my job and first set up my drafting table in our heavily mortgaged condo. He was nervous.

So was I. It has been an extraordinary journey of success [and disappointment] that has taken us from humble neighborhood streets of Boston to glamorous shopping streets in Europe. Today, as we head into the future with more talent in our studio and more work under construction than ever before, somehow, H+A still feels like a startup. To keep evolving and adapting for what lies ahead, it has been important for us to reflect on some of the lessons we have learned along the way. We hope that some of that experience may help others who are just getting started in the world of design. Perhaps some of the rest of us will see some wisdom in it as well.

As I write in the opening ‘idea,' I have always needed a reason for why I chose to become an architect; I carried one around in my wallet for years. How has 25 years of practice changed that and what is the common thread that connects it all? Several months ago, I received a text from one of our designers asking me if I had seen Simon Sinek’s TED talk on ‘Starting with Why?' A year or so earlier, another designer had asked me the same question so I finally watched it with interest. In the talk, Sinek cogently explains that how and what we do is much less important than why we do it and he goes on to state that it is the team leader’s responsibility to inspire action by articulating what they believe in and explain the why? After watching the video and almost without thinking, I fired off a quick text back to her. It read: I believe...in the authentic, meaningful, and traditional ‘sense of place.' In response to the homogeneity and standardization that is sweeping the globe, I believe in the local character, materiality, and heritage of a site — be it a home in the Back Bay, a building in a Boston neighborhood, a store in a foreign capital — or any project somewhere else in the world with its own peculiar identity. Why? Design should make you see and remember what you had taken for granted and then teach you to see it in a fresh, new way; creating orientation and understanding out of both familiarity and surprise is powerful. Finally, I believe in telling stories with design. All forms of design. Telling stories about a place, its people, and its layers of history feels meaningful to me. And where there’s a good story, there’s a thoughtful idea.

Here are 25 of them. All of us at H+A hope that you enjoy this special issue of H+.

And, most importantly… thank you.

David Hacin FAIA President and Editor dhacin@hacin.com 150

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PHOTO ©GUSTAV HOILAND/FLAGSHIP PHOTO

David Hacin President

Matthew Arnold Associate

It’s important for any leader to have a strong point of view but equally important for them to be able to listen, defer, pivot and evolve in order to grow with their team.

Design is a process. Occasionally you need to rely on the process knowing that great design comes from iterations. If you don’t take the uncharted journey, you could miss an opportunity to discover something unexpected.

Scott Thomson Senior Associate

Jeffrey Brown Associate

Bloom where you are planted. Be humble in your work. On a tree-lined street of world-class architecture the best design would undeniably be the tree…

I was once told the three aspects to a project are schedule, budget, and quality and you only get two of the three. The goals appear to fight each other; I see a key role of an architect as balancing the three to create a well-delivered project, echoing another trifecta – firmitas, utilitas, venustas.

David Tabenken Senior Associate

Hillary Faccio

A clear concept is important, but also critical is the ability to build consensus and get beyond the disparate likes and dislikes of individuals. Educate your audience, explain your process, bring them along, and the design will be inarguable. But it better be good.

Prioritize the activities outside of work that bring you joy and make the most of them.

The more you get out of your personal downtime the more present and effective you will be at work.

Matthew Manke Senior Associate

Eric Carlson

Draw inspiration from your constraints and view them as an opportunity to make something meaningful.

Design excellence can occur at various scales; I’ve learned that the smallest detail or the broadest concept can produce exciting results. Working in a collaborative environment that shares that excitement is motivating, and has taught me that the exchange of ideas happens across a similar spectrum.

Jeremy Robertson Associate

Rob Clocker

The relationship between Owner, Builder, and Designer is sometimes described as a ‘three-legged stool’, with each sharing responsibility for the project’s success. The only way to ensure individual success is through the team’s success! We view collaboration as our path to success.

Our job is to continually rebuild the human habitat, inside and out. Every design problem is a chance to think about connections – to the project surroundings, to the past and future, to the environment, to people and to ideas. The essence of design is to make these connections feel meaningful.

Jennifer Clapp Associate

Elizabeth Dame

Find time to be mentally quiet. In our world of overwhelming technology, it’s easy to rely on digital tools to find inspiration.

Sometimes the best ideas happen in those moments away from a screen. Turn off the radio and drive. Take a walk without your phone. Break the digital onslaught.

Optimism will see you through most challenges. (Chocolate helps too.)

Eduardo Serrate Associate

Dorothy Deák

We may all have different understandings of one same goal, so when working on a team, defining expectations is crucial.

Specificity, even when something seems obvious, is the best recipe to get on the same page.

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Get excited about the work you want to do and pursue it. Allow yourself to be led by your interests and passions, and you will find yourself deeply engaged in your work, resulting in the highest quality product.

Anna Durkin As a creative professional, it’s vital to find a balance of confidence and humility. Trust your cultivated skills, but don’t shy away from criticism. Sometimes, it’s about relinquishing your pride and stepping out of bounds. These moments shape your perspective and allow for valuable growth.

Aimee Epstein Norton Design is powerful. It shapes how we live, work, interact, reflect. Be patient with the process – this is important work that will affect many people for many years.

LESSONS

learned by Team Hacin + Walter

Darien Fortier

Emily Neumann

Rigor and efficiency should not be the only thing we practice. It’s important to find time to experiment, get your hands dirty, and take chances. Make time for play!

Get comfortable with figuring out how to do things you haven’t done before. That's the entire experience in the creative industry (and a well-lived life, really). If you’re doing good work, you’ll constantly be required to execute new and interesting ideas, and to find fresh ways of doing it.

Russell Higgins

Elena Reinhardt

You’re never as clever as you think you are and you will always run into problems if you forget it.

I once met a sculptor who asked, “What do you gain from worrying?” As a designer, it’s easy to be consumed by the details.

Don’t stress: anticipate and react.

Michelangelo Latona

Rebecca Rivers

Don’t take yourself or your work too seriously. Have fun with what you’re doing and it will show in the product.

Steve Jobs once said, 'When you ask a creative how they did something, they feel a little guilty because they didn’t really do it, they just saw something.' Design is a lens.

It captures, focuses, and translates.

Joshua Lentz

Matthew Woodward

Allow the design process to move you and engage it with a thoughtfulness through a healthy exchange of ideas. Don't lose sight of the larger picture and the clarity of communication. And remember... Don't abstract an abstraction.

Design is an act of storytelling; it’s the stitching together of a narrative of both physical space and of who its inhabitants were, are, and aspire to become.

Christine Rankin Manke

Walter Canine Associate

To quote John Hodgman “be mindful of the work you leave for others.” This might sound simple and obvious, but when put into practice it’s amazing how many opportunities there are throughout the day to be more considerate.

All dogs can learn new tricks...

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idea | īdēə | n.

1 a suggestion, thought, or plan 2 knowledge or understanding about something 3 a belief about something 4 a purpose or reason for doing something