Absence // Essence

absence // essence ecnesse // ecnesba

1

let there be spaces in your togetherness and let the winds of the heavens dance between you.

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Graduating Class of May 24th, 2019 Bachelor of Architecture Final Review Date: May 2nd, 2019 Instructor: David Eccleston + Delia Chaloux Guest Critics: Bill Boxx, Judy Otto, John Mitchell Consultants: Bruce MacRitchie, Christine Beaton (MEP/FP), Amir Mesgar (Structural) Monty Forman, Alan Fried (Envelope) Blake Jackson (Sustainability) Kevin Moriarty, John McDermott, Glen Hoffman (Constructibility)

Hamze Machmouchi, B. Arch

David Eccleston, Degree Project Faculty

Delia Chaloux, Degree Project Faculty

Karen Nelson, Dean , School of Architecture 3

Boston Music Library Memory is redundant: It repeats signs so that the city can begin to exist.

In every age someone imagined a way of making the ideal edifice, 1081 Boylston St is the one shaped by its users.

The building is Boston’s hotspot: every inhabitant visits it, chooses the premises that corresponds to his desires, contemplates it, uses it, then returns it.

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Foreword Throughout the course of my education, I became fascinated by the transformative ability of architecture specifically in the urban realm.

I became interested by the ideas of "personalization" and "customization". Notably, how users could shape their own spatial experiences by allowing them to mechanically control the existence of a space. I can confidently say that this project has been an incredible outlet for me to explore my areas of interest.

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Contents.

Section A Antecedents

8

Precedents

13

Site Analysis

19

Section B Exploration

25

Program

33

Concept

39

Narratives

61

Section C Mechanical

68

Structural

70

Egress + Accessibility

72

Fire Protection Systems

74

Zoning i + Code d

76

7

section A

Doppler effect: an increase (or decrease) in the frequency of sound, light, or other waves as the source and observer move toward (or away from) each other. The effect causes the sudden change in pitch

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antecedent

// Antecedent: B3 Hammond Organ + Leslie Speaker

Midnight Special - Jimmy Smith

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B3 Hammond Organ and Leslie Speaker The Hammond organ is an electric organ, invented by Laurens Hammond and John M. Hanert and first manufactured in 1935. Various models have been produced, most of which use sliding drawbars to specify a variety of sounds. Until 1975, Hammond organs generated sound by creating an electric current from rotating a metal tonewheel near an electromagnetic pickup, and then strengthening the signal with an amplifier so it can drive a speaker cabinet. Around two million Hammond organs have been manufactured.

The Leslie was originally designed to mimic the complex tones and constantly shifting sources of sound emanating from a large group of ranks in a pipe organ. The effect varies depending on the speed of the rotors, which can be toggled between fast (tremolo) and slow (chorale) using a console half-moon or pedal switch, with the most distinctive effect occurring as the speaker rotation speed changes. The most popular Leslies were the 122, which accepted a balanced signal suitable for console organs, and the 147, which accepted an unbalanced signal and could be used for spinet organs with a suitable adapter.

The Pro-Line series of Leslies which were made to be portable for gigging bands using solid-state amps were popular during the 1970s source: wikipedia.org

Generator • Layer • Doppler • Filter

How does it work ?

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B3 Hammond

Leslie Speaker

introduction 11

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precedents

// Precedents: Querini Stampalia | Fun Palace variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence 13

Foundation Querini Stampalia Querini Stampalia was originally a family palace built in Venice during the 16th century that was converted into a small foundation devoted to “promote study of useful disciplines and nation and foreign knowledge” . After a series of damaging floods in the early 1900’s , Carlo Scarpa was commissioned to renovate the ground floor in anticipation of future flooding.

The Querini Stampalia Foundation is a powerful reminder of architecture’s capacity to embody particular qualities without being literal. Water is both dependable and volatile. As Cadwell points out, “in Venice, buildings do not spring from the earth – they tether themselves to the mud below, or they hover above it”. source: en.wikipedia.org

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Cedric Price’s “Fun Palace” Fun Palace was a collaborative project between Architect Cedric Price and theatre director Joan Littlewood all throughout the 1960s. It sparked from the need and desire to expose the general public to an ever-changing space that they will design per their use with facilities for dancing, music, drama and fireworks. Central to Price’s practice was the belief that through the correct use of new technology the public could have unprecedented control over their environment, resulting in a building which could be responsive to visitors’ needs and the many activities intended to take place there. Using an unenclosed steel structure, fully serviced by traveling gantry cranes the building comprised a ‘kit of parts’: per-fabricated walls, platforms, floors, stairs, and ceiling modules that could be moved and assembled by the cranes. Virtually every part of the structure was variable. “Its form and structure, resembling a large shipyard in which enclosures such as theaters, cinemas, restaurants, workshops, rally areas, can be assembled, moved, re-arranged and scrapped continuously. source: RE-CP by Cedric Price (2003)

An ever variable structural system

01

Section-Perspective

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02

Perspective diagramming the program

Perspective diagramming the program

Perspective diagramming the program

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18

site analysis

// Site Analysis: Academileisure

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site diagram, academileisure

e r u s i e L

ic

dem

A ca

Res ide

ntial

ic

dem

A ca

Leisure

Res ide

C omme

ntial

rcial

A historical intersection between Education and Leisure There was a time where Mass. Ave was a vibrant punk rock scene for musicians and artists alike.

This musical influence was notably felt when the Berklee School of Music was established in the area in the 1950s. The surroundings of the site showcase an interesting dichotomy between education and leisure. The site is one block away from Newbury Street, the most visited street in Boston but also neighboured by the omnipresence of the Berklee School of Music. An axis can be established to determine the intersection of Mass. Ave and Boylston St as a crucial moment where both worlds meet. This intersection evolved from a vibrant exposed area of leisure and occasional performance to a secluded and private educational area.

With 1081 Boylston St, I see the opportunity to reactivate this intersection as an inclusive venue for the people of Boston where artists perform and where the public watches and interact with one another.

source: https://en.wikipedia.org/wiki/The_Rathskeller

site analysis 21

01 IMAGE OF THE CITY

Ave Mass

C omm

onwea

lth Ave

.

Newbu

r y St

Boylsto

Commonwealth Ave

Pruden

Site

n St

tial

Ave Mass . n Christiance Scie ch Chru

nodes landmarks leisure axis heavy traffic axis

Mas s Av e - Image of the city

02 EDUCATION

Site

performance Venues practice and Rehearsal Rooms music Technology Facilities boston university campus berklee college campus boston architectural college campus - Academics

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axes of voyeurism occasionnal forced perverse

site analysis 23

section B

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exploration

// Exploration: Physics + Expression

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Investigating Texture How to define the essence of a physical phenomenon? How does it physically feel?

Throughout the first part of the semester, I was interested in the geometry of sound. Notably, how a phenomenon like the Doppler effect could formally be represented and felt. I have decided to experiment with malleable materials like silicon and clay. I have also tried different incidental techniques in order to see what could showcase the presence of absence but also how to capture motion without moving.

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exploration 27

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Abstract Representation of The Presence of Absence During this phase, I was interested in the abstract relationship between two different objects and how could communicate a sudden change catalyzed by one of the objects in different forms.

I have decided to experiment with concrete. It was quite interesting to me how something rigid was once malleable. I have introduced an alien object to this series of objects to capture different moments: motion, action/reaction, presence of absence (or active inlay)

exploration 29

Architectural Interpretation Is there an interplay between sound and space that could occur?

In this series of abstract models (1/32 scale), I was interested in defining moments that will influence my decisions moving forward with regards to the big formal gestures. I found the notion of acoustical geometry quite interesting and was fascinated by how I could physically transform and alter a known geometry while keeping traces of its original state.

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exploration 31

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program

// Program: A Dichotomy

day/night occupancy study

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Different Dynamics Music is spiritual, a fundamental human phenomenon.

It possesses this transcendental quality that makes it Intuitively moving.

It's a universal language.

In this phase of my exploration I was interested in how music would be described to someone that has never heard it.

1081 is, first and foremost, a library. However, in the digital age, one could ask how relevant are libraries today? I decided to explore ways and reforms of making the library a space beyond contemplation and research but rather a space for experimentation and collaboration that will be reactive and dynamic to the user's need. In other words, my library will become a tool for the creator.

essence diagram

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floor to floor programmatic relationship, ink

spatial occupancy and access study PUBLIC

MUSICIANS

RESTRICTED ACCESS

UNRESTRICTED ACCESS

Program 35

spatial matrix: making more space without losing any

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Examining The Possibility of "Activating" and "Deactivating" Space The intersection of Boylston St and Mass. Ave is vital for me to gather people around the building. A landscape strategy that takes space from my footprint prompted me to a dynamic option where space could appear and disappear throughout the day based on use. Taking into consideration the different program that is required, I began to study ways they could overlap and perhaps have a switch controlled by the users that will turn them "on" or "off ".

Based on these programmatic studies, I began considering automated ways to incorporate an architectural element that would respond to both spectacular performances but also demonstration and lectures between people in the field.

Program 37

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concept

// Concept: an incubator for the musician a spectacle for the public

perspective view coming from boylston st

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concept diagram

NT A R E B U EX

RF E P

Y

SH

RY A R IL B

40

CE N A M OR

Formal Relationships Musicians require both exposure and privacy in their creative process. Taking this into consideration, 1081 is a facility that celebrates this dual practice by being both an incubator and a public platform for performances and experimentation. The result is the superposition of both shy and exuberant shapes that are interlinked by a modular stage that works as a spatial on/off switch.

section: space juxtaposition study

perspective: what could a music library?

Concept 41

To make a spectacle Looking back at programmatic requirements, I looked for ways to sculpt both a monumental and functional form that will host performances and public events.

Since part of my concept was to radically shift from a rigid box, I have made myself a set of constraints based on program and acoustics. The goal being to rebel with the surroundings while creating a different acoustical setting that will allow phenomenons like the reverb in order to be exploited. step 1: depth, dimension based on program

step 2: wrapping based on constraints

old & new monumentality - Diller Scofidio + Renfro

step 3: acoustical fold geometry based on program

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perspective from boylston st

aerial perspective

Concept 43

To make more space without losing any Because of the smaller footprint of my site (15,253 sq.ft), one of the challenges I had to solve was accomodating for more space when needed during the day without loosing any square footage during the night. My response throughout the semester was to introduce a modular stage that will move where the user need it to be. A tool that allows the users to turn space on and off throughout time.

01

02 01

01

02

02

03

03

03

04

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a space for investigation

a space for demonstration

01

02

03

Concept 45

a space for collaboration

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site plan

BOYLSTON STREET

Plaz Pla P laz lla aazza

MASS. AVE

pe se r fo as o r m an nal ce are a

first floor plan

second floor plan

Concept 47

third floor plan

fourth floor plan

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OPERA SEATING

MODULAR STAGE

PLAZA

exploded axonometric

Concept 49

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longitudinal section perspective

S DY STU

ROOF R OOF OOFF DE DEC D ECK

CLASSROOM CLASS R OM M

LIBRAR LIB RA Y

LIB I RA RAR ARY A

RECOR REC RECO ECORD EC DING IN N

STUDIO ST U O

MOD DULA ULAR AR STAG TAGEE

C CAFE CAFE/ PERFO ERFORMANC RMANC ANCEE A AREA

SEASON SEAS ASON ONAL PERFROMAN PER RFROM FROMAN ROMANCE CE AREA REA

OPERA SEATING

Concept 51

side elevation

section transversal

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front elevation

FLOOR TO FLOOR HEIGHT:

12'6"

96'

83'6"

71'

58'6"

46'

33'6"

21'

8'6"

Concept 53

coordinated wall section

HORIZONTAL BEARING TUBE 3X5 TUBE CONNECTION CURTAIN WALL ASSEMBLY ALUMINUM MULLION VERTICAL GLAZING FACET

D01

METAL DECKING

INTERMEDIATE SUPPORT

TUBE CONNECTION

VERTICAL GLAZING FACET

D02

BEARING PIN CONNECTION SILL MULLION CONCRETE PILE D03

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glazing treatment strategies // sustainability

Aluminum Cladding _provides privacy throughout the day _regulates natural light

Steel Diagrid Structure + Frosted Glazing _provides exposure throughout the day _frosting regulates natural light without affecting visibility from street

Concept 55

1/32 physical massing model

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1/16 Physical Model

Concept 57

1/16 physical model

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Concept 59

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narratives

// Narratives: perspectives from the users

view from the intersection of Mass. Ave and Boylston St

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Performer Inside my area, space becomes noise. I don’t only hear but see sound. The way the walls and the ceiling undulate shapes a sonic landscape that actually responds to the visual narrative of my composition. Anyone could become a synesthete. I am not only performing for an audience that is enclosed in my space but for the whole cityscape behind me. When I perform, I enter another dimension where space and time collide with motion. We, the performers and audience, become specters of the future.

view from Perfromance Area

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Lay-person I would describe 1081 Boylston as similar to my body. I think with my brain, I feel with my heart, and my vessels carry me.

The library is my brain, the stage is my heart, and the vessels are the spaces that complement both the library and the stage. Inside this building, I feel the presence of sound but also its absence. The way spaces are organized takes you through a sonic journey where you not only discover but also physically resonates with sound.

view from Main Entrance

Narratives 63

Researcher The first thing I do when I reach 1081 is to go to the library.

I enjoy public spaces because they are in a way pretty intimate. I plan my research there and would go to the electric shop to get my material ready for experimentation. I enjoy the shop because it feels private. All the conversations I have with my pears are pretty enlightening. The skylights also contribute to making the area enjoyable to work in. I also actually enjoy being surrounded by people working on similar things. It feels comforting.

view from Library looking to the Modular Stage

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Librarian Most people describe the library as a quiet space to study and research in but mine isn’t. At 1081 Boylston, my library works as an incubator for minds alike to research, discuss, and study. the space itself is pretty capacious and well lit.

The desks encourage social interaction and collaboration because of their spacing. In general, there isn’t a day that passes by without hearing about someone’s exciting projects. I would consider the space itself as a hub where everyone is welcome to interact with anyone.

view from Opera Seating looking into Modular Stage

Narratives 65

section C

66

appendix

// Mechanical + Structural + Egress + Accessibility+ Fire Proofing + Code //APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX// APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX// APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX// APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX// APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX// APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX// APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX// APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX// APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX// APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX// APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX// APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX 67

longitudinal section showcasing mechanical systems

CHIMNEY S LE DUCT SING DUCT CENT CENTRAL RAL A AIR COND CON ITIO ITIONING NING

AIR INTAKE

RADIAN AN NT COOLING

VAV VAV V

VAV VAV V

VAV VAV AV

VAV VAV VA

BOI O ER OIL R

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chilled water

hot water or steam

RADIAN I NT HEAT ATING ING

GROUND GROU N ND SOUR URCE CE PUMP UM

Mechanical: sustainable passive and active system In order to regulate temperature and keep it underneath 1000 ppm, I have decided to combine two distinct systems: an all-water system that utilizes hydronic convection in order to generate radiant heating and cooling in the library volume.

For the bigger performance space, I have opted for an all-air system. To dispense cool and hot air, I have placed an accessible air dispenser in the top part of my core. In the library volume, the rooms are equipped with VAVs in order to generate cool air during the summer. Fresh air intakes will be located on the side of the building because of the turnpike.

axonometric Xray

SINGLE DUCT CENTRAL AIR CONDITIONING

HOT WATER OR STEAM

CHILLED WATER

BOILER

Appendix 69

axonometric showcasing the different structural strategies

LATERAL LOAD BEARING CORES

"DIAGRID" SPACE FRAME SYSTEM BRACING

STEEL POST

W12 X 14

W12 X 14

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Structural My concept's philosophy translates into my structural strategy.

There are two separate self-supporting systems.

The Library volume is a steel frame made of W12x14 I-Beams spaced each 25'. The Performance volume, on the other hand, is a steel diagrid space that is constituted of a superstructure made of steel posts and a space frame substructure. All lateral loads are supported by steel bracings and the cores.

Appendix 71

EGRESS (STAIRS)

EGRESS (STAIRS

+ ELEVATOR)

axonometric showcasing the two means of egress

Egress + Accessibility There are two main means of egress (pointed out in red).

To get to each floor, people with disabilities will take the elevators located in the library volume

LEGEND

DISABLED PATH

ABLED PATH

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basement plan

floor plan

second floor plan

third floor plan

fourth floor plan

Appendix 73

axonometric showcasing the location of the smoke exhaust

SMOKE EXHAUST

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Fire Protection Systems Smoke Exhaust + IEBC 804.2 Automatic sprinkler systems.

Automatic sprinkler systems shall be provided in accordance with the requirements of Sections 704.2.1 through 704.2.5. Installation requirements shall be in accordance with the International Building Code.

Appendix 75

// Zoning + Code

SITE PLAN Scale: 1” = 60’ * Note: This site has a Groundwater Conservation & the Restricted Parking overlay

Zone

LOT SIZE minimum sq. ft.

LOT AREA minimum sq. ft. for each additional dwelling unit

LOT WIDTH minimum feet

FLOOR AREA RATIO maximum

HEIGHT OF BUILDINGS

stories

feet

USABLE OPEN SPACE minimum

FRONT YARD minimum

SIDE YARD minimum

depth feet

width feet

REAR YARD minimum depth feet

H-3

none

none

none

3.0

none

none

100

15

0

20

B-2

none

none

none

2.0

none

none

none

0

0

0

DISTRICT USE

S

R

H

L

B

M

I

W

Library

A

A

A

A

A

A

A

C

F

Community Center Building

A

A

A

A

A

C

C

C

F

Local Retail Business

F

F

F

A

A

A

A

C

F

A = Allowed, C = Conditional, F = Forbidden

76

MER

Appendix 77

SITE | BUILDING CODING REQUIREMENTS Section 303 Assembly Group A

Table 504.3 | Allowable Building Height In Feet Above Grade Plane

Table 504.4 | Allowable Number of Stories Above Grade Plane

78

Table 506.2 | Allowable Area Factor

Table 1004.1.2 | Maximum Floor Area Allowances Per Occupant

Appendix 79

SITE | TYPE OF CONSTRUCTION

80

Appendix 81

82

view looking at modular stage from performance area

view looking at modular stage from top floor

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84

Thank you to the Boston Architectural College for allowing such great platform to take place. I will forever be grateful for the support this establishment has given me.

Special thanks to the facutly. Notably, Yoonjee Koh, Peter Atwood, and Mark Rukamathu for inspiring me and pushing my critical thinking forward. //

Mother, this is for you. Always.

85

aerial view

86

87

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