BETWEEN
CHAPTER SEVEN
DESIGN EXPRESSION AND
A Community Coworking Space at One Financial Center, Boston. Fa r i d a K . S a d l i w a l a | T h e s i s D e s i g n S t u d i o | Fa l l 2 0 1 5 | A d v i s o r - N e i l M i d d l e to n ( T R O - J B )
F
T H E
D E S I G N
e x t e r i o r v i e w - d ay
S T O R Y
T H E
D E S I G N
exterior view - night
S T O R Y
T H E
D E S I G N
S T O R Y
t h e l i v i n g ro o m (LIBRARy MEDIA CENTER) m b ta - s o u t h s tat i o n
a
CHILDREN’S P L AY A R E A
x p e rfo rm a n c e area
WO R K S H O P S b s ta r b u c k s
y’
y RESTRICTED ACC E SS
cafeteria
n ot i n s co p e X’
N F I RST F LO O R P L A N
T H E
D E S I G N
S T O R Y
The ribbon begins as a structural wall on the first
floor defining the media center/library and then breaks
E L E VAT I O N A
off the ground to envelop the collaboration rooms on the second, while continuing to flow freely through the atrium space.
In association with the library and media center,
workshop spaces have been consolidated on the first floor program – their setup functions as ‘learn and learn’ sessions for users of One Financial Center and other surrounding offices -- during work hours or even after.
The existing Starbucks has been expanded to in-
clude a cafeteria which would help cater to a larger public influx and also become a go-to spot after work hours. The seating flows over into the atrium lobby where it can be re-oriented during small scale performances.
SECTION XX’
T H E
D E S I G N
S T O R Y
The Living Room is based off the ‘third space’ concept. It func-
tions as an open library and gathery space in the hub of a busy financial district. It brings in people who are transitioning between different parts of their day - work to home, waiting for trains at South Station, attending a conference or workshop in the building.
The use of smaller pockets of seating in the space recreates
a more home-like atmosphere - with the use of large floral patterns, oriental rugs, and lamp shades.
T H E
D E S I G N
S T O R Y
The expansion of the existing Starbucks into a cafeteria space
allows for a more interactive first floor environment. It has the potential to turn into a ‘go-to’ spot after work hours.
The use of New England red barn wood on the accent walls ren-
ders this ambiance very different from the rest of the building. Working with metal furniture and low hanging simple bulbs, this experience has changed the modern sophistication in the rest of the building to a raw outdoor episode.
T H E
D E S I G N
S T O R Y
C U B BY R O O M S C O L L A B O R AT I O N L A B S a
C O - WO R K I N G S P A C E
x M E E T I N G RO O M S D E D I C AT E D WO R K S P A C E
b
y’
y
EXISTING CO N F E RE N C E RO O M
n ot i n s co p e
REBECCA’S CAFE (EXISTING) X’
N SECO N D F LO O R P L A N
T H E
D E S I G N
S T O R Y
The co-working space on the second floor incor-
E L E VAT I O N B
porates spaces for an interactive, daily workspace along with dedicated rooms for longer leasing – the layout is referenced from the flow of the ribbon on the lower floor. A cut out on the floor allows for a visual vertical connection between the prime programmatic spaces.
Both formal and informal meeting rooms are laid
out along the existing window façade following into standing stations. Individual cubbies are inlaid on the corridor wall for users who would like a more private working den.
SECTION YY’
T H E
D E S I G N
S T O R Y
c owo r k i n g s p a c e
The Co-Working space on the second level is enlivened by the
use of varying upholstery fabrics for the regular ergonomic work chairs. The layout allows users to work in both a public and private setting. The cut out on the floor creates a visual interaction with the Living Room on the first floor.
The accent color red works with the red ribbon in the atrium
space - tying the whole design aesthetic together.
T H E
D E S I G N
S T O R Y
c o l l a b o r at i o n l a b
The Collaboration labs are cantilevered off the existing balcony,
generating a dynamic ambiance for those who choose to work in it.
The use of brick etched glass reinforces the Boston red brick, but
in a completely inconspicuous manner. Furthermore, the fabrics, rugs, and lighting features work together to create casual and comfortable brainstorming room.
T H E
D E S I G N
S T O R Y
f i rst F LO O R - re f l ect e d c e i l i n g P L A N
seco n d F LO O R - re f l ect e d c e i l i n g P L A N
T H E
D E S I G N
S T O R Y
I N T E R I O R - at r i u m v i e w
u n d e r s t a n d i n g a n d d e s i g n
t h e
t h e s i s
Here I want to share what I have learnt about the thesis process. At the outset, I stated a very definite researched goal based upon my physical observations of modern spaces and their lack of regional relevance. However, as I began to design and work with the building and program, it became clear that my intuitive design abilities and interests moved in quite a contemporary modern expression. While this initially seemed a conflict with my thesis premise, I came to the conclusion that regional relevance can be expressed both literally and abstractly in the same space - which is what I believe I have done. The ribbon is a form in an exploded brick module, the conference room glass pattern also references a brick module, yet both are abstractions. The granite paving, the lamps, rugs, woods, colors are all more literal expressions of New England traditions.
P R E S E N T A T I O N
S H E E T S BETWEEN
BETWEEN AND
A Community Coworking Space at One Financial Center, Boston. Fa r i d a K . S a d l i w a l a | T h e s i s D e s i g n S t u d i o | Fa l l 2 0 1 5 | A d v i s o r - N e i l M i d d l e to n ( T R O - J B )
T H E S I S
S T A T E M E N T
T E R M S
The architectural philosophies of the 20th and 21st century reflect a designer’s intellect and respond to a technological element while undermining the needs of the common man in a contemporary society.
P O E T I C
I am for messy vitality over obvious unity. I include the non sequitur and proclaim the duality. Robert Venturi, Complexity and Contradiction in Architecture
S T A T E M E N T
Withered leaves fall Some red, orange, some still green; This city is blue and gray.
1.
O F
C R I T I C I S M
To design an environment that functions as a platform for innovative minds of the society to unleash their creative geniuses.
S E L E C T I O N 1.
C R I T E R I A
S E L E C T E D
Location – The site should be located in a commercial hub environment of the city,
whereby it is accessible to resources needed by the intended users and can become a landmark in the existing setting.
2. To design a space that brings about a sense of kinship to its users.
2. Transport Accessibility - The location should be easily accessible to public trans-
3. To achieve through this design, a space with elements that are easily understood by the non-design community (also known as the common man or bourgeois society)
portation and parking facility – users of the shared working spaces and public amenities
4. To design a space that is an confluence of avant-garde and vernacular values
open space in order to create a greater impact on the surrounding site.
5. To create a space with design elements that resonate its functionality. 6. To create a space coherent with its surrounding and context – respect the genius of the place.
are likely to travel by the MBTA.
3. Accessible Foreground – Entrance to the building should be flanked by a large
S I T E
The triangular Atrium space houses a 90 ft tall glass-roofed lobby. The first and second floor have partial public access while the remaining stories are offices, home to a number of law firms, Certified Public Accountants, and financial services companies. The building was designed and built during the heights of Post-Modernism. The structure could be considered a perfect example of the office building genre – linear and rigid in form, glass facades, high-rise. The site is one of the prime locations for a commercial development in the Financial District of Boston, which makes it suitable to create opportunities for co-working environments.
4. Building Type – An office building would be compatible to the program ideas and user space.
5. Architectural character – A high rise International or Post Modern construction would be a suitable vehicle to mold interior design ideas that are relevant to the thesis, as the building itself would be a product of the avant-garde form and will provide opportunity to test opposing design ideas.
P R O G R A M
S T A T E M E N T
A correlative design idea for this thesis is a space that encompasses A N both a co-working space and a cultural plaza that allows the population of today to thrive in a modern world without the loss of distinctiveness or the human chronicles. Including a civic space in such a design program would help to understand the interspatial relationships of private and public zones and create a suitable vehicle to explore a holistic design.
I N T E R M E D I A T E
The program looks towards creating an environment which has the scope to reflect the current needs of a bourgeois kitsch in an avant-garde envelope.
Area / Room Name Entrance Lobby and Reception Co-working Spaces Dedicated Work Rooms Conference Room A Conference Rooms B Management Offices Silent Work Rooms Collaboration Labs Telephone Rooms / Booths Public Performance Space Library & Media Center Workshops Children’s Play Area / Day Care Restrooms Locker Area Cafeteria
CPTY
Area (sq.ft.)
No. of Rooms
Total Area (sq.ft.)
15 8 4 8 6 1 1 6 1 30 50 30 2 60
600 750 500 270 190 120 40 200 17 800 2100 1000 500 130 55 675
1 2 2 1 1 3 3 2 1 1 1 2 1 3 1 1
600 1500 1000 270 190 360 120 400 17 800 2100 2000 500 390 55 675
Total Room Area Circulation (25%)
10977 2744.25
Total Area
13721.25
I D E A ?
7. To create a space that allows for casual community interaction in an open and holistic atmosphere.
6. Spatial Layout – An open floor plan with the possibility of varying divisional layouts
8. To incorporate in the said layout definitive areas where cultural networking and diverse programming will draw people together.
7. Lobby + Atrium Space – A double or triple story entrance lobby space to create
unrestricted by structural systems.
a more welcoming ambience.
9. To conceive an interior environment that uses design elements and materials which are sensitive to regional context.
8. Proximity to an Urban Park – Taking into consideration Olmsted’s ideas for urban parks as rejuvenation centers for the working population, proximity to a small or large public park would prove beneficial for thesis study and reflect on its relationship
P A R T I
&
C O N C E P T
The overlay of the ripples created by the disturbances of the design ideologies and the program needs, on to the rigidity of the structural building, shows the interference of the waves as conscious amalgamation required in design philosophies to work with the current corporate and co-working identities. The main idea behind infusing contextual and vernacular materiality to the modern / contemporary building envelope is to bring back a sense of F A M I L I A R I T Y (contextual kitsch/comfort) – humanizing the global architectural language to relate to the Boston population.
with the building.
9. Opportunity to discuss contrasting avant-garde and kitsch ideas.
S E L E C T E D
S I T E
Location – One Financial Center, Boston MA 02111 Building Profile - Class A Office Tower No. of Floors – 46 Year Opened – April 1984 Architect – Jung | Brannen (now known as TRO-JB) First Floor Net Area 34436 sq.ft Area utilized on first floor - 10250 sq.ft Area utilized on second floor - 5750 sq.ft
One Financial Center has the potential to become an interpretive center for Boston – to be able to link the history of the city to its contemporary and innovative planning styles.
March - 10:30 am & 4:30 pm
June - 10:30 am & 4:30 pm
September - 10:30 am & 4:30 pm
December - 10:30 am & 4:30 pm
C OWO R K I N G S P A C E
V I E W - at r i u m
C O l l a b o r at i o n r o o m s
V I E W - e x t e r i o r d ay
L I V I N G RO O M VIEW - exterior night
CAFETERIA
A Commun Fa r i d a K . S a d l i w a l a | T
P R E S E N T A T I O N
S H E E T S BETWEEN
BETWEEN AND
A Community Coworking Space at One Financial Center, Boston. Fa r i d a K . S a d l i w a l a | T h e s i s D e s i g n S t u d i o | Fa l l 2 0 1 5 | A d v i s o r - N e i l M i d d l e to n ( T R O - J B )
RECEPTION
t h e l i v i n g ro o m
m b ta - s o u t h
a
(LIBRARy MEDIA CENTER)
CEILING HT. 12’0”
s tat i o n
trellis HT. 11’0”
CHILDREN’S
x
P L AY A R E A
CEILING HT. 14’0”
WO R K S H O P S
b
S TA R B U C K S
CEILING HT. 14’0”
CEILING HT. 12’0”
CEILING HT. 12’0”
p e rfo rm a n c e are a
e l e vat i o n a
trellis HT. 10’10”
scale - 1/8” = 1’ 0” CEILING HT. 13’0”
CAFETERIA CEILING HT. 12’0”
y’
CEILING HT. 14’0”
y
V I E W - T H E L I V I N G RO O M CEILING HT. 11’0”
CEILING HT. 12’0” CEILING HT. 14’0”
RE ST RI CT E D ACC E SS
N OT I N S CO P E x’
f i rst f lo o r re f l ect e d c e i l i n g p l a n scale - 1/16” = 1’ 0” LEGEND R E C E S S E D D OW N L I G H T
WA L L WA S H ( R E C E S S E D )
RECESSED LINEAR
p e n d a n t d ow n l i g h t
N
SECTION xx’
F I RST F LO O R P L A N
scale - 1/8” = 1’ 0”
scale - 1/8” = 1’ 0”
VIEW - CAFETERIA
x C U B BY R O O M C O L L A B O R AT I O N
C O - WO R K I N G S P A C E
CEILING HT. 10’6”
LABS CEILING HT. 10’0”
a CEILING HT. 10’6”
MEETING RO O M S
CEILING HT. 10’6”
x
CEILING HT. 10’0”
D E D I C AT E D WO R K S P A C E
CEILING HT. 11’0” CEILING HT. 10’0”
e l e vat i o n b
b
scale - 1/8” = 1’ 0”
V I E W - C O L L A B O R AT I O N L A B CEILING HT. 10’0”
O P E N TO B E L OW
CEILING HT. 10’0”
y’
y
V I E W - C OWO R K I N G
EXISTING CONFERENCE RO O M REBECCA’S CAFE (EXISTING) N OT I N S CO P E x’
seco n d f lo o r re f l ect e d c e i l i n g p l a n scale - 1/16” = 1’ 0” LEGEND R E C E S S E D D OW N L I G H T
WA L L WA S H ( R E C E S S E D )
RECESSED LINEAR
p e n d a n t d ow n l i g h t
N
seco n d F LO O R P L A N scale - 1/8” = 1’ 0”
SECTION yy’ scale - 1/8” = 1’ 0”
V I E W - C o l l a b o r at i o n l a b
A Commun Fa r i d a K . S a d l i w a l a | T
f i n a l
p r e s e n t a t i o n
The handout and stand were attempts to convey my design ideas in an exclusive manner to the audience. The clear acrylic inscribes “between avant-garde and kitsch� while the handout contains the thesis abstract. The model was an abstracted version of the new designed spaces in white, while the main tower is restricted in black.
f i n a l
p r e s e n t a t i o n
i t ’ s d o n e ! ( W I T H N E I L M I D D L E TO N , T H E S I S A DV I S O R )