An Egalitarian Framework: Comprehensive Design Studio by Matt Miller

an egalitarian framework:

comprehensive design studio studio booklet spring 2021 l matt miller northeastern university arch 5120 + 5220 abigail ransmeier + michelle laboy

table of contents I. introduction

II. structure + site 05 1. context: site analysis

2. framework: structure + movement

IV. active systems + human use 34 5. use: program

6. comfort: active systems + safety 37

7. experience: human use

III. skin + ecologies 17 3. flows: air, water, + light 19 4. face: skin + energy 26

8. uncertainty: future scenarios 53 V. reflection on comprehensive design 54 VI. cited works 55

I. introduction The land surrounding the site (depicted in the diagram to the right) was originally inhabited by the Wampanoag and Massachusett people. After European colonists seized the land from its original inhabitants, the area that would become the Bulfinch Triangle (known then as Mill Pond), was landfilled in the early 1800’s. Charles Bulfinch, the namesake of the area today devised a plan for the new district. Between the late nineteenth and early twentieth century, the Bulfinch Triangle Historic District developed primarily as a commercial area, with a focus in furniture production. At this time, the area also served as a crucial freight railroad junction. Today, the neighborhood is defined by its nineteenth and twentieth century brick character, as well as a slew of reused buildings serving entertainment functions. In this way, it has been both a static site, connected to the land and water, as well as a site constantly being shaped by human hands for good or ill.

Text information provided by Julia Barksdale, Emily Gleitman , and Natalie Hoch. Photographs provided by Julia Barksdale, Emily Gleitman, and Clay Richardson 01

architectural manifesto

For a given architecture, there should be consideration of the life span of the architecture, a larger plan for its existence beyond its initial client. It should endeavor to be made in such a way that it will outlive the original client and its builders and prevent its own destruction. In a similar way, this architecture should be egalitarian in spirit, considering deeply as many interests beyond the immediate parties linked the construction of the architecture as possible. The project should strive not only to not inflict harm on others, but to enrich the experiences of people beyond the specific users and clients of the building. This is not to say, however, that the architecture should be strictly functional and utilitarian, as it should still have a communicative identity of some sort, whether that be experiential or emotional in nature. To achieve this end, an architecture should be disconnected from the ego or ambition of the participants in its creation. The present and future users of the architecture, be it client, surrounding community, or environment should be at the forefront of considerations when making decisions. In this way, it is not governed by any specific dogma but is truly responsive and adaptive to its present and future context. 02

This building should be humble in nature and stature, no larger in size or drawing upon unnecessary systems or technology than it needs to. Decisions that are made in its initial conception in terms of more passive, low-technology considerations will impact the future necessity and desire to include higher and more sophisticated technologies as they are devised in the future. The building should endeavor to not require these potentially unnecessary additions later in its life. Both the manner of design and the life that is enabled within should not be allowed to be conducted in a hegemonic, hierarchical manner. Focus should be placed always on the connections between people that bring them to the same plane of reference as opposed to reinforcing hierarchical social differences. People should feel that they have a say of and control over the environment that they live, work, and play in.

The building, pictured in full on this page, sits at a stout six stories tall and has a primary face onto the slightly quieter Friend Street. The following sections build up this image from the inside out, describing the site and structural conditions, the facade and environmental composition, and lastly the active systems and human use of the building.

II. structure + site Architecture can be thought of as the act of transferring an idea to reality. In this way, all people who live and work within a building are living and working within an idea or expression of some kind. Allen states this plainly by writing that designers of buildings “transform reality by producing new objects or new organizations of matter” (Allen XVII). In this way, when we design an architecture we aim to not only to translate a series of drawings to a physical building but an idea of a particular manner of living to physical reality. In the case of this project, the idea that we are trying to translate and communicate is an advocation for well-loved, and long lasting architecture that strives to serve all who live and work in and around it equally. The question becomes, then, how do we achieve those ends? The first step on the path to the answer, in my mind, lies in the opportunities of the site and the evocation of the building structure which serves as the framework that all other decisions rest upon.

1.context:

site analysis Carol Burns makes a connection between a single building to larger systems of circulation, ownership, and the public realm when she writes that “every site is a unique intersection of land, climate, production, and circulation” (Burns 163). In a heavily constructed urban site rich with context such as the Bulfinch Triangle, the idea of “site connections” extend far beyond the boundaries of our lot, but must begin to engage neighboring structures and organizations as well as the flow of people between them. In any project as well as this one, it is essential to parse through the given social, natural, and physical constructions of the site and identify (based upon a guiding manifesto) which are the most crucial to respond to with the design of this building. These factors, represented on the next pages are incredibly consequential in the overall resulting form and function of the building.

This map, with information sourced from BWSC and FEMA reveals that the site is at risk from potential rising flood levels. Additionally, the wood piles which rely on the groundwater table to resist rot of our neighbors must be protected when considering the below-grade elements of the design. This can, and should significantly impact what uses a designer on this site should direct to the ground and sub-ground levels if the goal of an egalitarian design is primary.

The Bulfinch Triangle represents a noted gap in the patchwork pattern of green spaces scattered throughout central Boston. After all, “site is received as an architectural construct” (Burns 147). In this case, the condition and potential of the received architectural context represents both the lack of green space and the great potential for its integration as a large component of a development. In devising an equitable plan for a building in the Triangle, inclusion of additional public green space can provide a net good not just for the users of this specific building, but the larger Boston community that accesses the neighborhood as well as the ever-present urban flora and fauna.

Per Boston’s zoning code for the Bulfinch Triangle district, a building on this site can swell to 80 feet tall with a 6.0 floor area to lot area ratio. However, this does not take into account the existing delicate, constructed relationship with the windows of the existing building, pictured in the diagram to the left. Although many interpretations of the codes of fire-resisting openings on both the proposed and existing buildings were discussed, it quickly became imperative to not cause an undue negative impact on the windows of the adjacent building, holding off a full 15 feet from their rear facade. In this way, a compromise can be met that allows new construction to reach a successful size as well as not inflict undue harm on the buildings and their users that already exist on the site.

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Lastly, the relatively tight street pattern coupled with adjacent midheight buildings creates a condition in which full solar exposure will not be guaranteed at all times. With this in mind, techniques such as atria should be deployed to ensure that its users can share equally in the naturally abundant resources of light and air today as well as into the future. Abutting on the next page, the ground-floor site plan represents synthesis of many of these site considerations. The building is held off from the adjacent neighbor to balance the success of the new and the old. A primary face on Friend Street is prioritized to be able to utilize the small portion of the site to give back a “pocket park” to the community. This green space extends to both sides of the building through street trees and pavers. A rectangular structural grid also provides opportunities for atria and inter-floor openings to allow the natural light and air in short supply on the site to disperse freely through the building.

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site plan at ground floor 1/16”=12”

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1. friend street entrance (primary) 2. canal street entrance (through park) 3. access to fire control, sprinker control area 4. lobby 5. vertical circulation cores 6. public stair, open to third floor 7. loading and storage area 8. pervious paved access way 9. grassy park surface 10. native flowering herbaceous plants to support pollinators 11. shade-tolerant american holly for winter interest and urban wildlife shelter 12. shade-tolerant american hornbeam for bird habitat and food source 13. electrical control closet 14. rainwater collection cistern

2. framework: structure + movement When we live and work within buildings, they become a framework over which we drape our lives. In this way, our lives augment buildings through an additive approach. In the same way, we expect to be able to change these frameworks as our lives change in the future to further accommodate this integration. Therefore, it is important to create buildings that can adapt, change, and be added to with as much ease as possible. This is one way, in my opinion, to push back upon the concern that Fannon, Wiederspahn, and Laboy raise that often “human experience” is reduced to “single dimensions” (Fannon et all 29). If a building can be made in a way that it serves as the rich and inviting background of our lives, it cannot diminish human experience in this way and will only serve to enrich it.

A gridded structural system of heavy timber columns and beams was selected as a primary gravity structural system and defines the gravity support of the project. This was also done in order to craft an adaptable system in which any current or future inhabitants will be able to understand and envision themselves using. Deplazes states that “a complicated construction cannot be adapted to changing conditions as easily as a simple one.” (Deplazes 295) Heavy timber construction provides an easy to understand, easy to adapt regular structure that in the short term will allow double-height atria openings in the floor or enclosure. The grid can also be exploited by future users of the architecture to redefine these inter-floor openings by either creating further connections or sealing the initial connections off. This gravity system is augmented by lateral support cores also constructed of mass timber (cross-laminated timber panels) to create a holistic structural material pallette.

axonometric diagram of gravity and lateral system 1/8”=12”

Moreover, the biophilic qualities, material connection to the invisible constructions of the site (the history of nineteenth and twentieth century construction), and carbon sequestration of heavy timber wood all lend themselves to a long-lasting and well-loved building material. In this way, the primary structural support systems integrates ephemeral qualities such as occupant health and future change as well as crucial present concerns such as structural support and environmental performance.

lateral stability study model 1/8”=12”

The two cross-laminated timber vertical cores provide the brunt of the lateral resistance of the building. This was important, as it served an integrated approach to lateral resistance by utilizing the system of vertical circulation that was already required in a multi-story building to be included and prevented a potential inefficiency by utilizing elements of the building that already exist.

kg CO2 eq per square meter

3,000

baseline studio building

2,500 project building

2,000 1,500 1,000 500

city of boston target

0 -500 -1,000

a1-a3. production

a4-a5. construction

b2-b4. use

c1-c4. end of life

d. afterlife

lca phase of life

6 stories (with no basement) 80’ height heavy timber construction with clt clt vertical cores steel piles on reinforced concrete footings long lifespan (at least 60 years)

proposed design has only 9% of the baseline lifetime building impact, normalized to unit area

7 stories (with full basement) 80’ height steel construction with composite metal decking concrete vertical cores steel piles on concrete footings short lifespan (20 years)

a-d. total

The notions of “humbleness” that are embedded within the idea of an egalitarian building as well as concepts of additive frameworks are reinforced by the life-time global warming impact comparison between the proposed building and the largest, most bombastic (in terms of size) steel building that can be built per zoning on the site. Each building is roughly the same size, and the related square size corresponds to its relative global warming potential. A large, decidedly not humble proposition boasts an impact several times larger than a smaller, more focused intervention. In response the target of 500 kgCO2/m^2 set by the city of Boston for this project’s RFP, as well as in the desire to further integrate timber into the building, typical CMU circulation and lateral support cores were replaced with cross-laminated timber cores. This increases the integration of mass timber in the building, using it for as many structural components as possible and minimizing the up-front ecological impact of the building as much as possible.

phase 1 integrated systems drawing (exploded axonometric) 1/16”=12”

These strategies regarding siting and structure begin to develop a proposed building that is a hybrid between a building of specific spaces and the “open-ended qualities [that] engender multiple organic possibilities” (Moe 20) which are described by Kiel Moe when discussing the pipe laboratory of the Salk Institute. An additive approach to the integration of systems upon this static, enduring framework allows those systems to be changed, added, or discarded as needed without the larger form of the building needing to be altered significantly.

III. skin + ecologies In Carol Burns’ essay High Performance Sites, she writes that a “building is conceived not as an object but as a set of processes interacting within and across the processes of the site.” (Burns 305) This sentiment became central the strategies of integrating the environmental flows of light, air, people, and precipitation in the composition of the envelope of the building. When seeking to eliminate or reduce the potential harm and negative impact of a building, the flows of these natural site processes should be able to continue as unimpeded as possible. This is demonstrated on the flow diagram for this project on the following page, in which these flows find discrete pathways through and around the building to continue on their way in a manner similar to their natural course. This, in my mind, is a crucial practice to consider when further integrating a building into its context.

flow section diagram 1/16”=12”

3. flows: air, water, + light Although the concept of “weathering” is one that I explore later in this section through cladding, I was inspired by the writings of Leatherbarrow and Mostavi in ways to redefine what “weathering” and “weatherproofing” may mean in buildings. Weathering, a temporal process of change by nature, was defined, by them, as an element that is “both the process and the object through which this [weathering] process is controlled and allowed to make manifest.” (Leatherbarrow, Mostavi 16). In this way, exterior elements such as plant communities and flows of water can be encapsulated by the envelope of a building, becoming the controller and the stage of a “weathering”, which works in concert with the environment, as opposed to a “weatherproofing” which wholly rejects it. Rem Koolhaas was once quoted by Jeffery Kipnis in regards to the work of Herzog and de Meuron posing the question: “is architecture reinforcement therapy or does it play a role in redefining, undermining, expanding, erasing...? [...] Does every situation have a correct architecture?” (Kipnis 25) I believe that the reinforcement and support of existing conditions is essential to the composition of an egalitarian architecture. For a building to begin to enrich lives and systems, it must support the continuation of life and flows on a site instead of imposing a new, top-down order that does not reflect the existing life of the site.

planting plan diagram 1/16”=12” 4

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1. American hornbeam (carpinus carolina) attracts butterflies and moths that serve as food (along with nutlets produced by tree) for: American Goldfinch, Evening Grosbeak, Northern Cardinal, Northern Mockingbird, Rose-breasted Grosbeak, Ruby-throated Hummingbird, and Wild Turkey (Exploring Birds). 2. American holly (ilex opaca) provides winter interest to humans, as well as a food source for several birds and mammals. More importantly, it supports pollinators in the spring and winter shelter for birds and small mammals (Tara Wildlife).

3 . Assorted native flowering plants to support pollinators, to be run as a small community garden. 4 . Handcart & pedestrian access route to building.

american holly

american hornbeam

native flowers, such as new england aster In establishing a pocket park to give much needed green space back to the community, a consideration for urban wildlife was essential as well, as humans are not the only inhabitants of the urban landscape in need of green space for shelter and delight. This also represents a certain kind of “humbleness” in architectural design, as there are no accolades from the non-human client in providing shelter for wildlife. This is reinforced by Nan Ellin that “sensitivity to people and the environment translates into work that often does not call attention to itself.” (Ellin 63). These quiet revolutions and interventions are nonetheless essential.

The storm-water management strategies in the building have stemmed from two equal desires. The first, I have already eluded to: the natural flows of the site should be allowed to proceed as best as possible. In an idealized sense, water should flow from the sky and infiltrate into the water table through the ground. Thickened zones on the north and south facades will be able to transmit water from the roof to a storage cistern. From here, water can either be recharged through dry wells into the local water table or be rerouted for irrigation in the building’s interior. This system ties into the second desire: to create a natural connection between the exterior “pocket park” described on the previous pages and an interior irrigated garden. This serves the goal of tying together the exterior and interior landscapes in one moment at the base of the central atrium that users of the building can utilize as a magical space that blends interior and exterior together. This architectural moment can then serve as a conceptual “joint” and serve as a “coordinated [element] of visual and tactile sensation” (Frascari 506) that binds together interior and exterior perceptions. The drawing on the following page further depicts these interactions between inside, outside, vegetation, and water and highlights this moment.

stormwater and vegetation section 1/16”=12”

section and corresponding elevation 1/8”=12”

In Contingent Behaviors, Michelle Addington posits that many buildings adopt an environmental conditioning strategy of creating a “manufactured rather than mediated environment.” (Addington 13). This challenge, coupled with my desire to create an equalized architectural experience for all, guided the natural ventilation strategy of the building. Localized control over both operability (flow of air) and shading (flow of light) allows users in any part of the building to customize the degree of their interaction with the exterior conditions on a pointby-point basis. This is augmented and backed up by effective cross-ventilation proportions on the top and lower floors of the building and stack ventilation of hot air through the operable skylight glazing at the top of the central atrium. Comfort is more complex than a simple temperature number. Reducing the human body to “a passive component, an ancillary element whose energy exchanges are wholly determined by the superposed active element” (Addington 13) should be avoided. In creating the ability for more direct localized control, the human body can perhaps be made to be the protagonist of the building experience. This notion is one that, in my mind, should be considered on every project as buildings are, after all, for people.

These concepts of the integration of light, air, and water are made evident to the public most on the rear, Canal Street face of the building. The pocket park draws in human and animal life, and as visitors ascend through the natural air and light of the building they are reintroduced to plantings on the third level gathering space.

4. face: skin + energy Buildings are daunting objects, culturally, financially, and environmentally. It is essential, therefore, that care is taken in the way we make and think about our built environment. Early buildings were so costly that “the effort involved in making anything - a city, a house, a piece of furniture - was too significant to waste.” (Burns 298) In making anything in the current day, this attitude should be carried forward. Buildings should be thought of as precious, and desired to be preserved and be able to be preserved. Nan Ellin refers to objects that fit this description as “jewels that respond to the needs and desires of specific communities.” (Ellin 67) A key way that this love can be engendered in the users of a building is through the material expression of the building. The experience of the material expression of a building begins at the facade, described in the following section.

In my goal of providing equal and equitable access to light and air throughout the building, I thought much about the possibilities that exploiting a grid vertically can serve, especially in the case of a preliminary non-profit program. Alejandro Zaera-Polo writes that “the building envelope is the border, the frontier, the edge, the enclosure, the joint: it is loaded with political context.” (Zaera-Polo 195) It became apparent that qualities of the envelope communicate values just as much as other aspects of building design. Large generous openings equally spaced, with even operable apertures between communicates, in my opinion, the values of openness and equity among users of the building. In this way, no floor of the building is prioritized over any other and notions of vertical social hierarchy can begin to be dissolved between users. Weathering steel was chosen to comprise the outermost layer of the rainscreen facade for two reasons. Firstly, it presents a novel experiential material for the neighborhood that still provides a coexistent palette when juxtaposed with the brick character. Secondly, it is a durable material that will grow and change in texture over the course of its life. This notion was also influenced by Leatherbarrow and Mostavi, in which “creation in this sense is the work of an architect and builder anticipating the work of the elements.” (Leatherbarrow, Mostavi 17) Lastly, this panelized cladding also serves as the material link between the new building and the palette of the neighborhood, creating a new language for the site that remains in dialogue with its context in color and texture if not material. This texture is complemented by layered plantings, both on the Friend Street primary entrance as well as in the pocket park accessible from Canal Street.

friend street elevation 1/16”=12”

side elevation 1/16”=12”

canal street elevation 1/16”=12”

operates with roughly 20% of the energy use intensity potential to generate 31% of the yearly projected energy on-site benchmark median building 25,117 ft^2

roof has potential to output 96,770 kwh/yr

consumes 494,106,630 kbtu per year has an energy use intensity of 196.7 kbtu/ft^2 per year

330,179 kbtu/yr 13 kbtu/ft^2/yr

w 41.7 kbtu/ft^2

average, comprises 21% of total facade

These ideas of skin and face also translate to the preliminary energy usage of the building. “Manipulation of land features, building forms, and exterior materials take the climate into consideration in order to get the most out of a site and building fabric” (Burns 305). Operable well-shaded apertures, well insulated walls, vertical and rooftop photo voltaic panels and controllable shading conspire together to try to drive the energy consumption of the building as low as possible in comparison to the average benchmark building.

n 41.9 kbtu/ft^2

average, comprises 29% of total facade

e 41.4 kbtu/ft^2

average, comprises 21% of total facade

s 43.8 kbtu/ft^2

average, comprises 29% of total facade

average: 41.55 kbtu/ft^2 translates to 1,043,611.35 kbtu/yr

All of these ideas discussed in this section are brought together in the integrated drawing on the following page, which brings together the opening, ventilation, water, and energy strategies of the project at a single corner.

horizontal shading

“punched” windows

large opening

solid wall

consumes 40.5 kbtu/ft^2/yr (20% of baseline)

consumes 50 kbtu/ft^2/yr (25% of baseline)

consumes 42 kbtu/ft^2/yr (21% of baseline)

horizontal shading

slatted shading to further reduce glare lightshelf to reduce glare near exterior wall and bounce light user-operated shading

user-operated shading on entire window

triple-glazed low-e glass

phase 2 integrated systems drawing (peel-away axonometric) 3/32”=12”

IV. active systems + human use Our primary goal in the process of design in this project is the creation of a functional and adaptable system of architecture that brings life and joy to the inhabitants of the building and precludes demolition through the inherent qualities of its physical composition and experiential performance. This has been a guiding principle in the composition of the structure and facade systems of the building. This principle also remains consistent for the integration of the active systems of comfort and safety as well as the introduction of a specific initial program of use. Richard DeDear writes in Alliesthesia that “individual preferences and aversions are so diverse that individual control may be the only meaningful regulatory response.” (DeDear 114). In the inclusion of use and life into the building, I aim to expand the comfort-focused notion of individual control and customization that DeDear discussed to include aspects of usage as well, to empower users of the building through perceptible control over the nature of the built form they live, work, and play in.

5. use:

program In an interview with Amanda Reeser Lawrence, Ana Miljacki, and Ashley Schafer in Praxis, Bernard Tschumi described the relationship between the architect, program, and the building as thus: “a program is never neutral. [...] As an architect, you need to have an agenda.” (Miljacki et all 11). In this way, in the arrangement of the given program of Hope Kitchen, I aim to enable the celebration of the teaching and performative aspects of the act of preparing food instead of reinforcing the typical servant/ served relationship Western society often has between those that consume and those that prepare food. The sketches to the left illustrate these aims, with the production of food being celebrated as one of the most important functions of the building.

mech foundation offices (b)

classrooms and teaching spaces (e)

fundraising and event space (a-2) training/test kitchen (a-2)

lobby (a-2)

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teach

learn

teach

gathering work cooking gathering

mech

buisness incubator space open working, computers (b)

Before describing the specifics of the building’s active systems, it is important to determine where each of Hope Kitchen’s desired spaces would be located within the building, and how they would relate to each other. In his Notes of the Adaptive Reuse of Program, John McMorrough writes that “program should be understood as a conceptual structure, inhabited and renovated by numerous architectures and their attendant ideologies.” (McMorrough 3) In this way, centrality of the kitchen space is granted celebratory and performative qualities by both its location and the glazing that allows views and light. Throughout the rest of the building, the ideology of equality and communication is supported by organizing activity around an atrium that allows unfettered visual communication between floors, down to the fundraising space at its base. This is also important, as this arrangement will also hopefully preclude future, more hegemonic or hierarchical use by the same or a different organization. After all, the manner in which we build represent “habits of building that characterize a people” (Moore and Wilson 215), so it remains important to engender those effects that are deemed desirable. 36

6. comfort:

active systems + safety While writing about the visual display of information, Edward Tufte remarks that “design devices and gimmicks cannot salvage failed content.” (Tufte 136) This notion is translated to the integration of the active systems of environmental comfort and life safety through their subservience to the control and primacy of the human occupation. In this project, these systems are integrated functionally and humbly, and in all cases give the human actors of the building the self-determination over the specifics of when and how they operate. In this way, they take a backseat to the life contained within the building, and do not seek to carry the performance of the building on their back. The building does not seek to hide beyond the veil of technology, but aims to be high quality, successful “content” first that is then augmented by devices that are humbly expressed and not hidden, leading to easy understanding of their use and function by the occupants that control them and are effected by them.

lifesafety scheme section 1/16”=12”

atrium smoke exhaust fan system in clerestory north wall

B occupancy: 7,930 ft^2 (144,000 ft^2) allowed

ducting in rear corner wall cavity

E occupancy: 7,930 ft^2 (102,000 ft^2) allowed

1hr min retractable fire barrier around atrium activates on when sprinklers trigger

dampers at each floor level and between adjacent occupancies

1hr min barrier required between use types a-2/e and b achieved through (1) layer of type-x gwb on each side of wood-framed wall or through fire-rated glass partition

A-2

1hr min barrier required between use types a-2/e and b achieved through 7-ply heavy timber clt floor

A-2

A-2 occupancy: 11,006 ft^2 (60,000 ft^2) allowed

To support the division of uses throughout the building as discussed previously, the first series of systems are those that protect human life in the event of a fire emergency. Uses are separated from each other through rated heavy timber floors and rated partitions. The exterior fabric of the building is protected to 2 hours using type “x” gypsum wall board assemblies. The entire building is protected by a wet-pipe sprinkler system. In the event of a fire emergency, deployable fire and smoke barriers protect the upper floor plates from the risk of the atrium (which exhausts smoke through a fan at its top). Dampers are also present in the ducting of the lower floors to prevent smoke from traveling between adjacent uses in the event of an emergency. This approach is flexible and adaptable to a wide variety of potential emergency events that can be triggered through both life and the kitchen use within the building. In this way, it “embraces uncertainty and relinquishes predictability and control” (Laboy and Fannon 48) in favor of a system that is ever-present but recedes into the background to be called upon when required. 38

section perspective: active mode 1/16”=12” This section perspective diagram depicts the overall active comfort system scheme in an “active” capacity during a colder winter month. The lower two floors, being more focused on movement or high activity such as in the kitchen space are serviced by a system of ductwork with constant air volume space delivery grilles. This ensures a consistent level of ventilation and comfort for these activities. Although redundant, radiant piping is present in the raised floor (albeit tapped off) to accommodate potential future need for it. Above, the uses of the building are less specific, as it is likely that Hope Kitchen’s amount and nature of office and classroom space will change often over the course of their 99-year lease with the city of Boston. To this end, these spaces are serviced by decentralized facade units that provide heating, cooling, and ventilation with maximum local occupant control. These spaces are also augmented by a radiant system in the raised floor. This flexibility at a local level helps safeguard against the capitalist impulse of “consumption, discarding, and reinvestment” (Abramson 160) and allows the building to potentially serve as a model of an alternative practice. 39

section perspective: passive mode 1/16”=12” This section perspective diagram describes the function of the building in “passive” mode during a shoulder season condition. The building can turn off and rely on natural ventilation through cross and stack effects enabled through operable glazing and a central atrium. This ability also allows more instances of the line between interior and exterior conditions being blurred further. This blending allows for serendipitous moments of environmental delight as described by DeDear as an “alternate concept of thermal pleasure [that] is a shift away from controlled air temperature as the only comfort parameter.” (DeDear 114) It is important that a building should be able to take advantage of these qualities as often as possible both for sustainable reasons as well as the happiness of its occupants, and have a suite of active systems to rely upon as a back-up when it becomes impossible.

level 2 single line lifesafety, plumbing, and active systems diagrams 1/16”=12”

smoke/carbon detector

smoke damper between floors and spaces typical 1’-6” x 2’-0” supply/return ducting duct riser connects to rooftop mechanical plant with smoke dampers at each level exposed and hung from ceiling, painted dark with cav terminals at space delivery points

A-2

electrical control panel

kitchen range hood exaust riser to rooftop to prevent grease fires with smoke dampers at each level radiant piping just below walking surface for future use, tapped off in current scheme

2hr exterior wall through fire-retardent wood framed infill with members and total assembly thickness over 6” between heavy timber structural frame encased by (2) layers of type x gwb on each side complys with IBC 602.4.1 1hr partition between buisness and assembly spaces through (1) layer of type-x gwb each side of fireretardent 2x6 stud wall or 1-hour rated glazing fire alarm pull in egress stair

floor region with access to electrical outlets and/or data access

smoke damper in mechanical air system between floors and spaces

suspended wet sprinkler system, painted dark and hung from ceiling standpipe for sprinkler in large cavity created by exterior wall, connects to pump on first floor and fire access control panel potable supply water for plumbing fixtures waste water path for plumbing fixtures horizontal travel of plumbing lines in raised floor cavity below radiant system vertical travel of stormwater to external cistern (see site plan) and/or level 3 garden irrigation (see level 3 use plan)

These plans diagram the distribution of active systems of comfort and life safety elements on the second floor of the building, which is an arrangement typical of the first two floor of the building. Uses are divided by rated partitions, and active ceiling systems such as a sprinklers and smoke detectors are present. This floor, along with the one below it, has a system of ducting that delivers conditioned air and recycles interior air when active. This duct has a riser in the rear corner of the building that connects to a rooftop mechanical plant. The kitchen space is served by this system as well, but has its own dedicated exhaust for equipment such as range hoods. This floor also has an inactive radiant system in the floor to accommodate future use. 41

levels 3-6 single line lifesafety, plumbing, and active systems diagrams 1/16”=12” smoke/carbon detector 2hr exterior wall through fire-retardent wood framed infill with members and total assembly thickness over 6” between heavy timber structural frame encased by (2) layers of type x gwb on each side complys with IBC 602.4.1

smoke damper between floors and spaces duct riser connects level 1 and 2 duct system to rooftop mechanical plant with smoke dampers at each level exposed and hung from ceiling, painted dark with cav terminals at space delivery points electrical control panel

1hr partition between buisness and assembly spaces through (1) layer of type-x gwb each side of fire-retardent 2x6 stud wall or 1-hour rated glazing

decentralized facade heating, cooling, and ventilation fan coil unit with heat exchanger

radiant piping just below walking surface to augment heating capacity of decentralized units

fire alarm pull in egress stair

floor region with access to electrical outlets and/or data access ceiling fans on levels 5 and 6 augment atrium stack effect on top two levels to maintain negative air pressure and interior air flow

B or E

2hr retractable fire and smoke barrier deploys during fire emergency to protect occupied floor plate from atrium. smoke in atrium exhausted through fan at clerestory top

suspended wet sprinkler system, painted dark and hung from ceiling standpipe for sprinkler in large cavity created by exterior wall, connects to pump on first floor and fire access control panel potable supply water for plumbing fixtures waste water path for plumbing fixtures vertical travel of stormwater to external cistern (see site plan) and/or level 3 garden irrigation (see level 3 use plan)

59’-0” egress path of travel to either vertical egress core

These plans diagram the distribution of active systems of comfort and life safety elements on the upper floors of the building. Active ceiling systems such as a sprinklers and smoke detectors are present and distributed around the open atrium space that is protected by deployable curtains (see earlier section for details). This floor, along with those above it, are conditioned by decentralized facade units and a radiant system in the raised floor. This accommodates local control in the present as well as future flexibility if the needs of the space change. Also in the raised floor is a section in which floor electrical outlets can be accessed without getting in the way of the radiant system.

phase 3 integrated systems drawing (section perspective) 3/32”=12”

7. experience: human use All of these active and passive systems of structure, comfort, and protection ultimately serve as backdrop to the human use of the building, the protagonists of the architecture without whom the construction of the building would be a fruitless endeavor. John McMorrough writes that “program is that which comes before [...] and after [...] the architect.” (McMorrough 8) It is this primacy of the program as use that is so essential. Often times the involvement of an architect ends after occupancy begins, but those occupants or others will (hopefully) live and work within the architecture in perpetuity. It is important, then, that the building engenders uses that “sustain [...] usefulness and meaningfulness throughout its life, for its inhabitants, for its community, and for society.” (Abramson 169)

level 2 perspective (at kitchen)

level 2 use/access plan 1/8”=12”typical stair diagrams 48”

access and use plan 1/8”=12”

12”

The second floor of the building is rich with activity and life. The test/training kitchen is a celebrated, performative space with access to light through its glass 48” 7” partitions as opposed to treating it like an industrial space, tucked away from view. The kitchen is also in dialogue with the incubator space along the southern 12” facade, which takes the form of an open media center small food-related companies can take advantage of. This arrangement supports the mental well-being of those in the kitchen, as it elevates them to the primary function of the building as opposed to an accessory element. 12”

walk-in storage/refridgerator lounge

training/test kitchen

8’-0”

36” door (typ)

For those with functional limitations to their mobility, there is always at least 48” of space to navigate enlarged bathroom around partitions and furniture. There is a passenger 1/4”=12” elevator located at each side of the floor plate as well as a gender-neutral accessible bathroom.

10’-0”

10’-0” 4’-0” 4’-6”

grab bar 56”

42”

glazed kitchen wall supports mental health by allowing daylight to penetrate into warkspace

gender-neutral single bathroom

12”

buisness incubator/media space 4’-2” 24”

48” 32” grab bar

72”

42” 17”

19”

12”

30” by 48” floor space gender-neutral bathroom accessible for those with functional limitations

114”

48’-0” travel between elevators

level 3 perspective (at atrium)

level 3 use plan typical stair diagrams 1/8”=12”

48”

access and use plan 1/8”=12”

12”

The third floor of the building contains the fundraising and exhibition space of the foundation. Guests at 48” 7” events circulate up through either the elevators or the large public stair (plan bottom left) and pass past the kitchen, arriving at the base of the central atrium. Ban12” quet tables large or small can be arranged around the interior plantings which support biophilic and occupant mental health through connection to nature.

wc soft seating/lounge wc

For those with functional limitations to their mobility, there is always at least 48” of space to navigate around partitions and furniture. There is a passenger elevator located at each side of the floor plate as well enlarged bathroom as a gender-neutral accessible bathroom. Additionally, benching is1/4”=12” built into the planting bases for those that cannot stand for long periods of time or those that simply need a physical rest.

planters have integrated seating to provide moments of rest

36” door (typ)

10’-0”

fundraising/exhibition space

grab bar 56”

42”

gender-neutral single bathroom

12”

24”

8’-0”

interior garden provides biophilic reactions in building occupants

48” 32”

soft seating/lounge

grab bar 72”

42” 17”

19”

12”

30” by 48” floor space gender-neutral bathroom accessible for those with functional limitations

114”

48’-0” travel between elevators

upper level perspective (at offices)

levels 4-6 use plan 1/8”=12” typical stair diagrams 48”

12”

The fourth through sixth floors of the building are similar in nature, with either open or partitioned office or classroom space organized around a central atrium. 48” 7” Partitions, when they appear, are lowered to maintain air movement above while still allowing for the privacy of those within. 12”

access and use plan 1/8”=12”

small classroom

12”

open office

36” door (typ)

enlarged bathroom 1/4”=12”

10’-0”

cable rail fall protection for lifesafety and those with vision limits 4’-0” corridor condition at tightest point

grab bar 56”

42”

gender-neutral single bathroom

12”

24”

48”

grab bar 72”

conference

42”

open office

12”

30” by 48” floor space gender-neutral bathroom accessible for those with functional limitations

114”

88’-0” travel between elevators

open office

enlarged bathroom and stair diagrams 1/4”=12”

typical stair diagrams 48”

12”

These drawings enlarge both the typical stair dimensions and the bathrooms present on each floor. I found it important to earmark both bathrooms, not just the MAAB compliant one as gender neutral to allow for building users of all varieties to, as Valerie Fletcher says, “live in the way in which they want to”. Bathroom use is a segment of everyone’s day in which dignity and ease of use are essential components. One bathroom is designed specifically for those with limits to their mobility, or young children. The other is slightly more compact, but still has accessible features such as clear space in front of the sink and grab bars.

access and use plan 1/8”=12”

48”

7”

12”

36” door (typ)

enlarged bathroom 1/4”=12”

Stair dimensions are consistent and predictable throughout each string to prevent tripping. Runs and landings are also wide enough to accommodate multiple users.

10’-0”

grab bar 56”

42”

gender-neutral single bathroom

12”

24”

48”

grab bar 72”

42”

open office

12”

30” by 48” floor space gender-neutral bathroom accessible for those with functional limitations

114”

All of these elements conspire to create a building that is rich with use, defined by the activity and life of its human protagonists. This life is supported in the present and allowed to change into the future by a humble but ever-present series of active life safety and comfort systems. Ideally, this flexibility and focus on the autonomy of the user will preclude the building from obsolescence, creating “enduring qualities that enable the temporal to flourish.” (Laboy and Fannon 48) In the short term, joyous moments such as the circulation path from street to atrium pictured above will create positive relationships between people and architecture that will manifest as stewardship. In the future, an adaptable set of physical and systematic frameworks will be easily used and reused for as long as possible by future occupants.

8. uncertainty: future scenarios “The only thing that makes life possible is permanent, intolerable uncertainty: not knowing what comes next.” (LeGuin) Although it is impossible to truly know what the future holds, we can take solace (or fear) in the fact that change will occur. An architect is not a sorcerer that can preordain the future, and a building is not a static entity. The same life that gives purpose to architecture is also the fastest to change. Therefore, the best way to prepare for this uncertainty in a building is through flexibility in order to accomodate and enable as many futures as possible. The sketches depicted on this page represent a few imaginaries of what different changes to the building and context could occur over the next 99 years. For example, there may be a moment in which flooding causes the first floor of the building to be abandoned, moving the location of the line between exterior or interior (figure 1). The atrium space could become infilled, or even expanded upon, growing and contracting as the needs of the citizens of Boston change in the future (figure 2). Floors can be compounded to make spaces with larger heights (figure 3), or additional openings can be made in the building as laws, codes, and context changes (figure 4). Regardless of future conditions, the physical and conceptual framing system for this project creates opportunities in which the building can be physically modified as the myriad needs of the future become known over time.

Figure 4 Figure 1

Figure 2

Figure 3

V. reflection on comprehensive design

kg CO2 eq per square meter

This underscores a large takeaway from this process of an accelerated deep dive into a comprehensive architectural design process: the importance of belief and agenda on the part of the designer. It quickly 3,000 became clear that there are a nearly infinite amount of variables to consider when manifesting a building. It is at best folly and at worst vanity for a single entity to think that they could ever successfully2,500 2,000 integrate all of these concepts and spheres of knowledge on their own. Therefore, the input of others must be considered. We went through this process during the studio experience through workshops1,500 and reviews with external consultants from relevant fields of experience. The manifesto, the guiding set1,000 of principles and goals for a project becomes crucial in this process as it is the filter that ensures that the 500 different ideas being fed into a project all are brought to bear to complete the same task. 0

-500 This ties into a large take away for me that was reinforced several times by Michelle Laboy during lec-1,000 tures: it is often more important to know what one does not know than what one knows. There is often a notion of the architect as the prime decision-maker and a singular repository of knowledge. We are at times inadvertently funneled into this manner of thinking in design studios as the path of development a project takes is often personal, as we as a singular entity make decisions and drawings to describe our idea. The feedback from others I received during this project encouraged me to try to stay humble, and let my own preconceived notions about the path of a project go in favor of the expertise of others.

Nan Ellin wrote that “sensitivity to people and the environment translates into work that often does not call attention to itself” (Ellin 63), which speaks to me as the reduction in the primacy of the architect as the singular deciding force. Even when ideas discussed in desk critiques and consultant workshops resulted in large changes to the building, each made the project more successful when folded in (Figure 1). Although we have all been working largely on our own during this semester, these collaborative relationships that I believe often do (and should well into the future) make up the heart of architectural practice are more important than ever. The architect then can perhaps be the one that recedes out of the spotlight when needed and serve as the “joint” between expertises. This idea was confirmed by the work on this project that would not of been possible without relying the expertise of others.

Work on this project deepened my understanding of the challenges and true nature of sustainability in the design practice. The true impact architecture has on sustainability beyond simple energy use, to me before this experience was a slightly nebulous concept. Work creating life cycle comparisons of both our projects and more typical projects coupled with reading investigations into the cultural and financial frameworks that gave rise to an incredibly wasteful architectural culture (Figure 2) greatly illuminated this for me. Wilfried Wang wrote that ”the change in global climate is not caused by financial or technological factors alone and will not be solved just through financial or technological solutions. Global 3,000 climate change results from the realities of Western, post-industrialist, capitalist culture. It is embedded 2,500 in unsustainable lifestyles.” (Wang 1) These two ideas coupled together underscores the impact that the 2,000 capitalist modes of architectural production and construction that Western architects practice beneath is one that we must be cognizant of, engage critically, and resist as best we can when developing a guid1,500 ing agenda for our practices. 1,000 kg CO2 eq per square meter

Throughout the work on this project, the importance of a guiding manifesto or set of principles that a designer adheres to has consistently proven its worth time and time again. At first a mere assignment, I found myself returning to and expanding upon my manifesto time and time again whenever faced with a new decision, element, or issue to incorporate into the project. For example, when the time came to begin to drape additive systems of active comfort and life safety onto the project, it was only natural to explore systems that provided maximum control and customization by users based upon the conceptual ideas I had already been exploring in my manifesto. This reinforces that “as an architect, you need to have an agenda” (Miljacki et all) and the goals for a project should be clear. In my project, I made it my agenda early on to create an “egalitarian” building, and spent the course of the project trying to make as many equitable decisions as possible at each phase.

500

The entirety of the semester and the cumulative work on this project in and of studio itself teaches the lesson baseline building 0 of architectural process as a largely additive process. The one doing the adding must have a set of project building -500 criteria as to what to add (and I believe we must fight to make that criteria as broad as possible) and be in dialogue with others at-1,000 all timesa1-a3. to ensure that their own preconceived notions about the patha-d. oftotal a d. afterlife production a4-a5. construction b2-b4. use c1-c4. end of life project are not limiting it or even harming others. Moving forward into future projects and practice, we will be buffeted from all sides by competing interests, entities,lcaand that all will pull us in differing phase goals of life city of boston target directions. Successfully navigating this will be a trial-and-error process, but I believe that this process has taught me to develop a strong set of principles to guide decision making, but also to not adhere rigidly to what I think that I may know and to be open to leaning on the lived and learned experiences of others to create architecture.

a1-a3. production

a4-a5. construction

b2-b4. use

c1-c4. end of life

lca phase of life

6 stories (with no basement) 80’ height heavy timber construction with clt clt vertical cores steel piles on reinforced concrete footings long lifespan (at least 60 years)

proposed design has only 9% of the baseline lifetime building impact, normalized to unit area

d. afterlife

6 stories (with no basement) 80’ height heavy timber construction with clt clt vertical cores steel piles on reinforced concrete footings long lifespan (at least 60 years)

a-d. total

proposed design has only 9% of the baseline lifetime building impact, normalized to unit area

7 stories (with full basement) 80’ height steel construction with composite metal decking concrete vertical cores steel piles on concrete footings short lifespan (20 years)

Figure 1: Myriad facade options studied based on feedback of both Abbie and consultants that being open to and receptive of when paired with a guiding agenda resulted in a much more successful elevation than before

Figure 2: Relative graphical sizes of carbon impact for two buildings of the same size and use, but one reflecting a more thoughtful arrangement of materials and the other creating using maximalist capitalist principles underscores the importance of the decisions a design team can make

city

VI. works cited

Miljacki, Ana, et al. “2 Architects 10 Questions on Program Rem Koolhaas + Bernard Tschumi.” Praxis, vol. 8, 2006, pp. 6–15.

“Exploring Birds: Birds Attracted to Hornbeam.” Exploring Birds, 2020, www.exploringbirds.com/ posts/birds-attracted-to-hornbeam.

Referenced texts:

Moe, Kiel. “Extraordinary Performances at the Salk Institute for Biological Studies.” Journal of Architectural Education, vol. 61, no. 4, 16 Apr. 2008, pp. 17–24.

Abramson, Daniel M. “Obsolescence: Notes Towards a History.” Building Systems: Design, Technology, and Society, by Kiel Moe and Ryan E. Smith, Routledge, 2012, pp. 159–170.

Moore, Steven A., and Barbara B. Wilson. “Architectural Production and Sociotechnical Codes: A Theoretical Framework.” Building Systems: Design, Technology, and Society, by Kiel Moe and Ryan E. Smith, Routledge, 2012, pp. 212–228.

Addington, Michelle. “Contingent Behaviors.” Energies: New Material Boundaries, by Sean Lally, John Wiley & Sons, 2009, pp. 13–17.

Tufte, Edward R. “The Fundamental Principles of Analytical Design.” Beautiful Evidence, by Edward R. Tufte, Graphics Press, LLC, 2014, pp. 125–139.

Allen, Stan “Introduction: Practice vs. Project.” Practice: Architecture, Technique & Representation, by Stan Allen, Routledge, 2008, pp. XIII-XXII.

Wang, Wilfried. “Sustainability Is a Cultural Problem.” Harvard Design Magazine, vol. Spring/ Summer, no. 18, 2003, pp. 1–3.

Referenced Images:

Burns, Carol J. “High-Performance Sites.” Site Matters: Design Concepts, Histories, and Strategies, edited by Carol J. Burns and Andrea Kahn, Routlege New York and London, pp. 297–310.

Zaera-Polo, Alejandro. “The Politics of the Envelope.” Log, 13/14, 2008, pp. 193–207.

https://www.brighterblooms.com/products/ american-holly-trees

Life cycle analysis information obtained from:

https://www.gannett-cdn.com/presto/2019/12/31/PSTC/814cb194-3eed-499797ab-92ae56198551-IMG_2116.JPG

Burns, Carol J. “On Site: Architectural Preoccupations.” Drawing, Building, Text: Essays in Architectural Theory, by Andrea Kahn, Princeton Architectural Press, 1991, pp. 147–167. DeDear, Richard. “Revisiting an Old Hypothesis of Human Thermal Perception: Alliesthesia.” Building Research & Information, vol. 39:2, 22 Mar. 2011, pp. 108–117. Deplazes, Andrea, and Alois Diethelm. “Structural Issues: The Relationship Between Interior Structure, Loadbearing Structure, and Infrastructure.” Constructing Architecture: Materials, Processes, Structures, by Andrea Deplazes, Birkhäuser, 2018, pp. 295–302. Ellin, Nan. “Integral Urbanism: A Context for Urban Design.” Integral Urbanism, by Nan Ellin, Routledge, 2007, pp. 63–77. Fannon, David, et al. “Dimensions of Use: From Determinism to a New Humanism.” ENQ: The ARCC Journal for Architectural Research, vol. 15, no. 1, 2018, pp. 23–41. Frascari, Marco. “The Tell-The-Tale Detail.” Theorizing a New Agenda for Architecture: An Anthology of Architectural Theory 1965-1995, by Kate Nesbitt, Princeton Architectural Press, 2008, pp. 500–513. Kipnis, Jeffrey. “The Cunning of Cosmetics.” Constructing a New Agenda for Architecture: Architectural Theory 1993-2009, by Krista Sykes, Princeton Architectural Press, 2010, pp. 22–28. Laboy, Michelle, and David Fannon. “Resilience Theory and Praxis: A Critical Framework for Architecture.” Enquiry: The ARCC Journal, vol. 13, no. 1, 2016, pp. 39–53. Leatherbarrow, David, and Mohsen Mostafavi. On Weathering: The Life of Buildings in Time. MIT Press, 2001. Le Guin, Ursula. The Left Hand of Darkness. Ace Books, 1987. McMorrough, John. “Notes on the Adaptive Re-Use of Program.” Praxis, vol. 8, 2006, pp. 102–110.

Athena Impact Estimator and Payette Kaleidoscope tool

Energy analysis information obtained from: Berkley Lab COMFEN, EPA Energy Star Portfolio Manager, NREL PVWatts Calculator

Technical codes consulted: 2018 IBC, 2019 ASHRAE, Boston Zoning

Other miscellaneous resources: Ching, Francis. Building Construction Illustrated 4E. 4th ed., Wiley, 2008. “Decentralized Ventilation.” Trox, Trox Technic, www.trox.de/produkte/dezentrale-lueftung-4e462efac6b14df2. Allen, Edward, and Joseph Iano. The Architect’s Studio Companion: Rules of Thumb for Preliminary Design. 5th ed., Wiley, 2011. Lechner, Norbert. Heating, Cooling, Lighting: Sustainable Design Methods for Architects. 4th ed., Wiley, 2014.

“American Holly: Native Plant of the Month.” Tara Wildlife, 30 Nov. 2016, www.tarawildlife.com/ american-holly-native-plant-of-the-month/#:%7E:text=Wildlife%20Uses%20of%20American%20 Holly&text=Wild%20turkey%2C%20quail%2C%20 and%20songbirds,will%20feed%20on%20the%20 nectar.

https://garden.lovetoknow.com/trees/hornbeam-trees https://hgtvhome.sndimg.com/content/dam/images/grdn/fullset/2014/11/17/0/5007_118.jpg. rend.hgtvcom.616.440.suffix/1452646499301. jpeg https://nature.mdc.mo.gov/sites/default/files/ styles/centered_full/public/media/fall-colors/ New_England_aster_painted_lady_STL_9-27-17. png?itok=-6zvUUcK https://i.pinimg.com/originals/0f/c7/af/0fc7afd1563eec5c52d610699bd6e893.jpg

Reviewers and consultants: David Ferdman, Paxton Sheldahl, Peter Wiederspahn, Sam Batchelor, Rufei Wang, Pamela Cabrera, Emily Wettstein, Shir Gale, Jay Siebenmorgen, Jagan Pillai, Erik Hegre, Michael Cook, Mohammed Ismail, Awino Awino, Abbie Ransmeir, Michelle Laboy, David Fannon

Lewis, Paul, et al. Manual of Section. Illustrated, Princeton Architectural Press, 2016. Jstryker. “How to Estimate Water Useage Required for an Irrigation System.” Irrigation Tutorials, 6 Sept. 2014, www.irrigationtutorials.com/how-to-estimate-water-useage-required-for-anirrigation-system.