Institute Contemporary Art

INSTITUTE OF CONTEMPORARY ART Building Analysis Project by Margaux Elliott & Adrian Estrada

INSTITUTE OF CONTEMPORARY ART Boston, Massachusets Diller Scofidio + Renfro

Building analysis by Margaux Elliott and Adrian Estrada Arch 341, Fall 2018 Lab instructor: Jeff Ponitz

Cover image: Iwan Baan

TABLE OF CONTENTS 1_Project Summary 2_Place 3_Form and Assemblies 4_Perception and Performance 5_References

1_PROJECT SUMMARY PROJECT DATA Location: Boston, Massachusets Year of completed construction: 2006 Total area: 65,000 sf Total construction cost: $41,000,000

TEAM Client: Pritzker Family sponsored Fan Pier Waterfront Development Lead Architect: Diller Scofidio + Renfro Executive Architect: Perry Dean Rogers and Partners Structure: Arup New York MEP and FP: Arup New York Lighting: Arup London Acoustics: Jaffe Holden Acoustics Theater Consultant: Fischer Dachs Associates General Contractor: Skanksa USA

1.1 Founders Gallery Photo: Nic Lehoux

1.1 Upper Gallery Walkway Photo: Iwan Baan

ARCHITECT PROFILE Diller Scofidio + Renfro (DS+R) is a New York based design studio that was founded in 1981. The studio works to incorporate many disciplines in their work, those being architecture, visual art, and the performing arts. The studio focuses on cultural and civic projects and has experience in urban design, installation art, multi media performance, digital media and print. Currently about 100 architects, designers and reseachers make up the firm, lead by four partners Elizabeth Diller, Ricardo Scofidio, Charles Renfro, and Benjamin Gilmartin. Elizabeth Diller founded Diller Scofidio + Renfro with her current day life-partner Ricardo Scofido. Elizabeth Diller originally studied art in school which was an influence on their early works of art installations. Their dedication to the arts is also one of the main reasons why they as designers are so committed to providing a unique exprerience that values art and the experience that art can bring to people. DS+R design studio focuses mainly on developing urban centers to fit the role of future cities as well as on changing institutions.

Notable works by DS+R include the High Line, the Lincoln Center for the Performing Arts, Hypar Pavillion, The Juilliard School in Tianjin, China, and The Broad. The Broad is also an art museum which is a program similar to the ICA and one that the group specializes in. The design of the Broad’s gallery skylights seem inspired by those at the ICA. The elevator at The Broad is also reminiscent of the ICA’s in a way that it creates a spectacle and an experience out of circulation. The studio is currently involved in two major projects in New York; the renovation of the Museum of Modern Art as well as the Shed, the first multi arts center which further shows their committment to their specialization.

DS+R has been recognized with the first Macarthur Foundation fellowship in the field of architecture, has made Time Magazine’s “100 Most Influential” list, the Smithsonian Institutions 2005 National Design Award, and the Medal of Honor and the President’s Award from AIA New York. Ricardo Scofidio and Elizabeth Diller are both accomplished in that they are both fellows of the American Academy of Arts and Letters and the American Academy of Arts and Sciences. Additionally, they are both International Fellows at the Royal Institute of British Architects.

1.2 DS+R studio; (from left to right) Charles Renfro, Ricardo Scofidio, Elizabeth Diller Photo: Abelardo Morell

1.3 (m) The Broad, Los Angeles, CA, contemporary art museum Photo: Diller Scofidio + Renfro Design Studio

PROJECT BACKGROUND AND DESIGN PROCESS The Chicago-based Pritzker family, sponsors of the Pritzker Architecture Prize and owners of the Fan Pier properties along the Boston Harbor, dedicated the .75-acre parcel for the ICA to be constructed for civic use.

The museum is intended to be a cultural hub for the public to interact.

The ICA is DS+R’S first building designed in the United States. Previous to the ICA, DS+R worked on housing projects, pavillions and installations. The ICA applies to DS+R’s intention to concentrate on the importance of the qualities of site as well as the attention they give to creating an experiential civic space that contributes to the development of changing cities. The ICA takes the site it is on which is the Harbor Walk, and extends it up and into the museum theater which acts to create a sense of transparency between the museum and the site.

The architects describe the relationship between this project and the site as “a performace [that begins] as the [curtains come down].” The building is designed to conceal itself throughout the interior and to mask the exterior view in order to showcase what the building is really about; showcasing the artwork.

The architects had difficulty in finding a balance between the building and the site. The architects wanted to let the site in but still create intimate viewing areas for showcasing the art on display. The design works to both provide a dynamic center for civic purposes as well as an intimate space for individuals to interact with contemporary art. The public part of the building was designed outwardly, from the ground up, while the more intimate gallery viewing spaces were designed inwardly, from the sky down. The building is designed to create in and out views of the site in order to balance the concept of intimate and public spaces and to create variation in lighting. The ICA also requested for all gallery space to be located on a single floor. This request would exceed the buildable footprint of the site. As a result, DS+R proposed extending the public realm of the harbor walk into the site in exchange for cantilevering the gallery volume over the site line which is how the ICA got its form.

We very much like the idea of blowing out the walls of the theater to the context.”

—Elizabeth Diller

1.4 Conceptual Diagram, integrating the site with the building to create public space Diller Scofidio + Renfro Design Studio

1.5 Design Goal: extension of the building footprint shown through the cantilevered media lab Photo: Iwan Baan

1.6 Design Goal: transparency between interior and exterior shown through the theater Photo: Iwan Baan

PROJECT SITE The ICA sits on the Harbor Walk in Boston, Massachusetts. The Institute of Contemporary Art is the first new museum to be built in Boston in 100 years.

The museum sits waterfront to the Boston Harbor providing scenic views to the north and west sides of the building. The openness of the site was one of the influences driving the concept of the building. The surface of the Boston Harborwalk is taken up and into the building welcoming the public to interact and reflect in the intimate spaces created on the interior, while still feeling a part of the surrounding site and the city. The harborwalk is also used to create the theater seating on the interior to further create a correspondance with the site.

The Harborwalk defines the public spaces of the building. The materiality of the Harborwalk is weaved throughout the building defining the boundaries between public and more intimate spaces. The architects wanted the walk to be pulled up through the building forming a public viewing stage, then the theater seating, and then out to form the ceiling of the exterior public envelope.

1.7 Site sketch showing transportation connection and pedestrian access Diller Scofidio + Renfro Design Studio

1.8 Entrance from the back side of the Harborwalk Photo: Iwan Baan

MASSING AND CONFIGURATION

Massing Model

view from Northeast

Offices Gallery

Theater Media Lab

B

Third Floor

Fourth Floor

Theater support

A

Bookstore Lobby Harborwalk

First Floor

Section A

Second Floor

Section B

DIAGRAMS

Composite Diagram

Program

Wood Envelope

Thermal & Mechanical Systems

Circulation

Structure

Glass Curtain Envelope

Energy

Egress

2_PLACE WASTE

ENERGY Vermont Electric Power Company

Essex Power Services Inc.

Boston Water & Sewer Commission

Masssachusets Bay

Landfill

John J. Caroll Water Treatment Plant Trash Waste

John J. Caroll Water Treatment Plant

Quabbin Reservoir

WATER REGIONAL RESOURCES The ICA gets most of its energy from the Vermont Electric Power Company. The Vermont Electric Power Company feeds its power to Essex Power Services Inc. in Boston, Massachusets which then gets inputted to the ICA. The ICA gets its water from the Quabbin Reservoir which gets transported to the Boston Water & Sewer Commission. Waste from the ICA flows to the John J. Caroll Water Treatment Plant which goes back to the Boston Water & Sewer Commission. Alternatively, the waste flows to Nut Island Screening where it gets filtered and then to the Deer Island Treatment Plant where it might end up back into a tunnel and into the Massachusets Bay.

2.1 Aerial view of Boston Harborwalk showing the ICA

0’

Photo: Google

CONTEXT The ICA is located on a waterfront urban area. The building sits right at the edge of Boston’s 47 mile Harborwalk. The main street is situated to the south side of the building, which happens to be the back side of the building. Surrounding buildings include the World Trade Center in Boston, Bank of America Pavillion, and many other small businesses and parks.

186’

372’

558’

744’

WIND ROSE

N

W

E 40 MPH 35 30 25 20 15 10

WIND SPEED (MAX) MPH RH TEMP.

S

HOURS

PSYCHROMETRIC CHART

RELATIVE HUMIDITY

100%

80%

60%

.024

.020

.016

.012

HUMIDITY RATIO

.018

.008

.004

10

20

30

40

50

60

70

80

DRY-BULB TEMPERATURE ( OF)

90

100

110

CLIMATE ANALYSIS AND RESPONSE Boston has a Koppen-Geiger classification of CFC which is warm temperate as a general climate. Precipitation as fully humid and temperature as cool summer. In general Boston has a humid continental climate, which can be characterized as moderate summers and long winters with cold but clear weather, and a temperate climate.

Consistent precipitation occurs with the humid climate of the area, there is never a dry period. Also with the ICA location along the Boston Harbor winds that generally come from the harbor side on the North front side of the building can affect the climate.

The ICA uses double pane glass to maximize passive solar gain, however it does not maximize on the south facade glass. As a museum it does depend and uses a lot of its own internal heat gains through the visitors. It does not however protect against the wind that will come from the Habor because the direct connection into the building from the boardwalk does not create a barrier for the wind.

SUMMER SOLSTICE ALTITUDE: 71.1 DEGREES SUNRISE: 5:07AM SUNSET: 8:24 PM

WINTER SOLSTICE: ALTITUDE: 24.3 SUNRISE: 7:09 AM SUNSET: 5:15 PM

Northwest view Photo: Google

3_FORM AND ASSEMBLIES

Gallery Space Media Lab Theater Bookstore Dining Staff (Offices / Dressing Rooms) Classroom Lobby

PROGRAM The ICA is a total of 65,000 sf. It consists of more intimate gallery spaces, a performing arts theater, a media lab, a restaurant, bookstore, administrative offices, and education and workshop facilities. The first floor is considered the common room and contains the Putnam Investments Plaza and the public viewing space to the harbor. The first floor contains the lobby and dining area as well as a loading center. The education center features The Bank of America Art Lab which is a workshop and classroom space and the Paul and Phyllis Fireman Family Digital Studio on the second and third floors. The Barbara Lee Foundation Theater is a 325 seat theater on the second and third floors that is created through the extension of the grand staricase. The media lab or mediatheque is a digital media center that is suspended below the cantilevered box and above the entry level, on the third floor. The gallery space sits atop the more public spaces and cantilevers over the water below.

The upper level gallery space is divided into east and west partitions to create a more intimate viewing space closed off from the harbor views.

3.1 Upper Level Gallery Space (18,000 sf ) The fourth floor upper level space solely consists of open gallery space that is partitioned by moveable walls in the east west direction and the cantilevered media lab.

Photo: Iwan Baan

3.2 Second Level Performing Arts Theater (5,300 sf ) The second level also contains several dressing rooms, storage rooms and offices along with the lower portion of the theater.

Photo: Iwan Baan

3.3 Public Spaces, Harbor Walk The first floor consists of a lobby space, dining hall cafe, bookstore, bathrooms, mechanical space, and a loading dock.

Photo: Iwaan Baan

Floor 1: Wood pilings connect the harborwalk below, while open web steel joists make up the flooring system with steel columns making up the vertical structure

Floor 2: Open web steel joists make up the flooring system while steel columns make up the vertical structure

Floor 3: Open web steel joists make up the flooring system while steel columns make up the vertical structure

Floor 4: Open web steel joists make up the flooring and roof system while steel columns make up the vertical structure. Mega trusses are used to support the large cantilevered gallery box.

STRUCTURE The museum gallery spaces are column free with moveable partition walls and an operable skylight system.

Concrete flooring makes up the gallery spaces. The main building structure consists of the use of steel. Large mega trusses that are silohuetted behind the transclucent exterior walls make up the structure on the upper level cantilevered gallery box which allows for the column free gallery space. The builidng also uses a glass curtain wall system for the lower floors and the entrance hall to the gallery space. The use of an open web joist system in the galllery integrates with the skylights and mechanical systems.

3.4 Construction Photo showing the mega trusses making up the column free, 16’ tall upper level gallery space Photo: http://www.archboston.com

3.5 Construction photo showing the glass placement Photo: http://progressivereactionary.blogspot.com/2005/12/thats-wrap-ica-in-progress.html

Wood “Ribbon” extends from the Harborwalk into the buildings envelope and interiors

ENVELOPE: WOOD RIBBON Part of the exterior envelope is a mix of steel and wood. This is represented on and all around the building as the “ribbon” connecting the building to its site. The wood material was chosen in order to represent the continuity of the site on, around, and even inside the building. The cladding is layered on top of a steel structure that is for the most part concealed behind double-pane transparent and transluscent glazing and the exterior wood cladding.The wood ribbon extends to the interior of the building making up the ceiling of the theater further connecting the building to its site and becoming and extension of the Harborwalk

3.6 Wood Cladding connected the building to the harborwalk Photo: Iwan Baan

We very much like the idea of blowing out the walls of the theater to the context.”

—Elizabeth Diller

Sawtooth skylights Translucent glazing “Gallery Box”

Transparent curtain wall

ENVELOPE: GLASS CURTAIN WALL Glass was mostly used as cladding for the building in order to create a sense of transparency between the building and the site. The facade faces a northwest axis towards the harbor. Glass cladding is mostly found on the perimeter of the building. The gallery space sits atop the main public entry space and is more concealed by east and west partitions and translucent glazing. The theater is fully glazed with vertical planks of transparent glass on the north and west faces. The facade consists of an alternation of transparent glass, translucent glass, and opaque metal that help to frame views of the harbor. The building is mostly made up of glass. The interior walls are used to conceal certain parts of the program from the open views.

3.7 Translucent upper gallery box

Photo: https://bendheim.com/project/institute-contemporary-art/

3.8 Transparent lower level glass facade

Photo: https://www.boston-discovery-guide.com/ica-boston.html

4_PERCEPTION AND PERFORMANCE

ENERGY AND DAYLIGHTING PERFORMANCE To meet the target EUI for the 2030 80% reduction goal, this building would need to achieve an EUI of 12 kBtu/ft^2/yr.

The energy analysis showed this project was heating dominated and over lit. Because this project is a museum, it most likely uses a lot of lighting even when not needed to highlight the art in the museum and in the more intimate spaces of the building which adds to the heating load. This building was designed to be rather open to the views of the Harbor which influenced the main material choice, double-pane glass, which wraps all around the building. The building mainly relies on the large north facing cantilever as well as the stair case that wraps around the front and side of the building to provide for shading. The building also relies on active heating and cooling systems to keep the building warm in the colder months and to keep the museum cool in order to preserve the condition of the art on display. The lack of proper insulation also explains why the building is heating dominated. The mediatheque center which is equipped with computer stations that can display digital artworks is also a main contributor of the energy usage in this building.

The energy analysis indicated that this building was mostly well lit. The daylighting analysis showed that the bottom levels are more lit than the upper level. This was due to the fact that the upper level, although there are skylights, is better shaded by channel glass and interior walls which prevent light from reaching fully into the upper level exhibit spaces. The bottom floors are more open to light and are only shaded by the upper level cantilever as well as the wrap around staircase. The upper level gallery level is illuminated by diffused daylight filtered by a scrim below the skylight system.

Energy Model N

Daylight Model N

Main mechanical system is stored above the roof because there is no basement

Other components of the main mechanical system are centrally located amongst the lower floors of the building

THERMAL AND VENTILATION SYSTEMS The ICA utilizes mechanical heating and cooling systems to maintain human comfort and health. The building gets cold due to the existing climate conditions and the wind that gets taken in to the building from the harbor.

Thermal comfort and ventilation are achieved through a combined system. Because the building is mostly made up of steel and fixed glazing there is a lot of heat loss which causes the building to require heating. A lack of proper insulation and heavy operable glazing calls for cooling systems to be utilized throughout the building to provide thermal comfort and to ensure that the art pieces on display are properly cared for. The mechanical systems are located through the center of the building and are carried to the roof of the building in one centralized box. The roof is utilized becuase the building does not have a basement due to the harbor. These systems are placed in the same central core as the circulation spaces which works in concert with the building organization. Mechanical system processes are carried from the top off the building to the bottom.

4.1 Rooftop Mechanical Storage Photo: Peter Vanderwarker

4.2 Mechanical lighting system in the theater Photo: Peter Vanderwarker

Elevator Experience stairwell

Entrance Harbor entrance

Vertical circulation is centralized in the center of the building. Horizontal circulation wraps around the building allowing the

CIRCULATION The ICA is designed so visitors enter the building upon arriving through a platform that is integrated with the Harborwalk. Circulatory elements are located towards the middle and back of the building in order to ensure that the public spaces are more exposed to the views. The elevator sits in the center of the building and has clear views to the harbor, almost appearing as a glass room. The elevator is its own experience in its self. It is 165 sf and faces the harbor view as well as the main public spaces of the building. It doubles as a freight elevator to transport large works of art. The main staircase sits centrally in the building as well, and is adjacent to the elevator.

Upon arriving at the building, visitors are brought up and into the building through a grand staircase that is integrated with the harborwalk site and that wraps around the building. If visitors do not want to enter by walking up the grand staircase they can enter from below the staircase into the lobby and shop area on the first floor.

Vertical Circulation in the building connects to horizontal circulation in the building rather smoothly. Most of the main circulation systems are centered in the building allowing easy access to corridors and the open upper level plan.

4.3 Elevator View to the harbor Photo: Iwan Baan

Exits

Experience/exit stairwell

Exit access

Exit discharge

Exit discharge

EGRESS AND FIRE LIFE SAFETY The building has two entrances/exits. The building exits onto the street on one side and out onto the Harborwalk on the other. This system is separate but also combined from the experiential version of the circulation system as their are additional staircases on either side of the building away from the central staircase and elevator. Their are two other egress staircases in addition to the main staircase, since part of the building is separated for staff offices. This ensures occupant safety on both sides of the building and allows for space to exit through the back and the front of the building.

4.4 Fire-rated stairs in the center of the building Photos: Nic Lehoux

5_REFERENCES BIBLIOGRAPHY Amelar, Sarah. “After Punching Holes in the Fundamental Concept of Museums, Diller Scofidio + Renfro Actually Creates One: A New Building for Boston’s Institute of Contemporary Art.” Architectural Record, vol. 195, no. 3, Mar. 2007, p. 108–115. EBSCOhost, search. ebscohost.com/login.aspx?direct=true&db=bvh&AN=598115&site=ehost-live.

Diller, Elizabeth., et al. Flesh: Architectural Probes. New York, New York: Princeton Architectural Press, 1994. Print.

Diller Scofidio + Renfro Design Studio. “Institute of Contemporary Art.” Accessed October 1, 2018. https://dsrny.com Dimendberg, Edward. Diller Scofidio + Renfro. London: The University of Chicago Press, 2013. Print. pg. 161-169.

Incerti, Guido., et al. Diller + Scofidio (+ Renfro) The Ciliary Function Works and Projects 1979-2007. Milano, Italy: Skira Editore S.p.A, 2007.

Print. pg.174-185.

“Institute of Contemporary Art / Diller Scofidio + Renfro.” Arch Daily. June 28, 2018. Accessed October 1, 2018. https://www.archdaily. com/897150/institute-of-contemporary-art-diller-scofidio-plus-renfro “Institute of Contemporary Art / Boston: About: Our Building.” Accessed October 1, 2018. https://www.icaboston.org/about/our-building “Institute of Contemporary Art.” Architect’s Magazine. July 17, 2012. Accessed October 1, 2018. https://www.architectmagazine.com/projectgallery/institute-of-contemporary-art-318 Silver Howard. “ICA Boston designed by Diller Scofidio + Renfro.” Vimeo. March 16, 2009. Accessed October 1, 2018. https://vimeo. com/3680801

IMAGE CREDITS Cover image: photograph @ Iwan Baan Incerti, Guido., et al. Diller + Scofidio (+ Renfro) The Ciliary Function Works and Projects 1979-2007. Milano, Italy: Skira Editore S.p.A, 2007. Print. pg.174185.

Back image: photograph @ Nic Lehoux Dimendberg, Edward. Diller Scofidio + Renfro. London: The University of Chicago Press, 2013. Print. pg. 165.

1.1: photograph @ Iwan Baan “Institute of Contemporary Art / Diller Scofidio + Renfro.” Arch Daily. June 28, 2018. Accessed October 1, 2018. https://www.archdaily.com/897150/ institute-of-contemporary-art-diller-scofidio-plus-renfro 1.2 photograph @ Abelardo Morell 1.3 photograph @ Diller Scofidio + Renfro Design Studio Diller Scofidio + Renfro Design Studio. “The Broad.” Accessed October 1, 2018. https://dsrny.com 1.4 photograph @ Diller Scofidio + Renfro Design Studio Incerti, Guido., et al. Diller + Scofidio (+ Renfro) The Ciliary Function Works and Projects 1979-2007. Milano, Italy: Skira Editore S.p.A, 2007. Print. pg.174185.

1.5 photograph @ Iwan Baan “Institute of Contemporary Art / Diller Scofidio + Renfro.” Arch Daily. June 28, 2018. Accessed October 1, 2018. https://www.archdaily.com/897150/ institute-of-contemporary-art-diller-scofidio-plus-renfro 1.6 photograph @ Iwan Baan “Institute of Contemporary Art / Diller Scofidio + Renfro.” Arch Daily. June 28, 2018. Accessed October 1, 2018. https://www.archdaily.com/897150/ institute-of-contemporary-art-diller-scofidio-plus-renfro 1.7 photograph @ Diller Scofidio + Renfro Design Studio Incerti, Guido., et al. Diller + Scofidio (+ Renfro) The Ciliary Function Works and Projects 1979-2007. Milano, Italy: Skira Editore S.p.A, 2007. Print. pg.174185.

1.8 photograph @ Iwan Baan “Institute of Contemporary Art.” Architect’s Magazine. July 17, 2012. Accessed October 1, 2018. https://www.architectmagazine.com/project-gallery/ institute-of-contemporary-art-318 2.1 photograph @ Google Earth Google Earth Institute of Contemporary Art Aerial View 3.1 photograph @ Iwan Baan “Institute of Contemporary Art / Diller Scofidio + Renfro.” Arch Daily. June 28, 2018. Accessed October 1, 2018. https://www.archdaily.com/897150/ institute-of-contemporary-art-diller-scofidio-plus-renfro 3.2 photograph @ Iwan Baan “Institute of Contemporary Art / Diller Scofidio + Renfro.” Arch Daily. June 28, 2018. Accessed October 1, 2018. https://www.archdaily.com/897150/ institute-of-contemporary-art-diller-scofidio-plus-renfro 3.3 photograph @ Iwan Baan “Institute of Contemporary Art / Diller Scofidio + Renfro.” Arch Daily. June 28, 2018. Accessed October 1, 2018. https://www.archdaily.com/897150/ institute-of-contemporary-art-diller-scofidio-plus-renfro 3.4 photograph @ http://www.archboston.com 3.5 photograph @ http://progressivereactionary.blogspot.com/2005/12/thats-wrap-ica-in-progress.html 3.6 photograph @ Iwan Baan Dimendberg, Edward. Diller Scofidio + Renfro. London: The University of Chicago Press, 2013. Print. pg. 161-169.

3.7 photograph @ https://bendheim.com/project/institute-contemporary-art/ 3.8 photograph @ https://www.boston-discovery-guide.com/ica-boston.html 4.1 photograph @ Peter Vanderwarker https://www.mimoa.eu/projects/United%20States/Boston/Institute%20of%20Contemporary%20Art,%20ICA/ 4.2 photograph @ Peter Vanderwarker https://www.icaboston.org/about/about-barbara-lee-family-foundation-theater 4.3 photograph @ Iwan Baan “Institute of Contemporary Art / Diller Scofidio + Renfro.” Arch Daily. June 28, 2018. Accessed October 1, 2018. https://www.archdaily.com/897150/ institute-of-contemporary-art-diller-scofidio-plus-renfro 4.4 photograph @ Nic Lehoux “Institute of Contemporary Art / Diller Scofidio + Renfro.” Arch Daily. June 28, 2018. Accessed October 1, 2018. https://www.archdaily.com/897150/ institute-of-contemporary-art-diller-scofidio-plus-renfro