absence // essence ecnesse // ecnesba
1
let there be spaces in your togetherness and let the winds of the heavens dance between you.
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Graduating Class of May 24th, 2019 Bachelor of Architecture Final Review Date: May 2nd, 2019 Instructor: David Eccleston + Delia Chaloux Guest Critics: Bill Boxx, Judy Otto, John Mitchell Consultants: Bruce MacRitchie, Christine Beaton (MEP/FP), Amir Mesgar (Structural) Monty Forman, Alan Fried (Envelope) Blake Jackson (Sustainability) Kevin Moriarty, John McDermott, Glen Hoffman (Constructibility)
Hamze Machmouchi, B. Arch
David Eccleston, Degree Project Faculty
Delia Chaloux, Degree Project Faculty
Karen Nelson, Dean , School of Architecture 3
Boston Music Library Memory is redundant: It repeats signs so that the city can begin to exist. In every age someone imagined a way of making the ideal edifice, 1081 Boylston St is the one shaped by its users. The building is Boston’s hotspot: every inhabitant visits it, chooses the premises that corresponds to his desires, contemplates it, uses it, then returns it.
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Foreword Throughout the course of my education, I became fascinated by the transformative ability of architecture specifically in the urban realm. I became interested by the ideas of "personalization" and "customization". Notably, how users could shape their own spatial experiences by allowing them to mechanically control the existence of a space. I can confidently say that this project has been an incredible outlet for me to explore my areas of interest.
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Contents. Section A Antecedents
8
Precedents
13
Site Analysis
19
Section B Exploration
25
Program
33
Concept
39
Narratives
61
Section C Mechanical
68
Structural
70
Egress + Accessibility
72
Fire Protection Systems
74
Zoning i + Code d
76
7
section A
Doppler effect: an increase (or decrease) in the frequency of sound, light, or other waves as the source and observer move toward (or away from) each other. The effect causes the sudden change in pitch
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antecedent
// Antecedent: B3 Hammond Organ + Leslie Speaker
Midnight Special - Jimmy Smith
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B3 Hammond Organ and Leslie Speaker The Hammond organ is an electric organ, invented by Laurens Hammond and John M. Hanert and first manufactured in 1935. Various models have been produced, most of which use sliding drawbars to specify a variety of sounds. Until 1975, Hammond organs generated sound by creating an electric current from rotating a metal tonewheel near an electromagnetic pickup, and then strengthening the signal with an amplifier so it can drive a speaker cabinet. Around two million Hammond organs have been manufactured. The Leslie was originally designed to mimic the complex tones and constantly shifting sources of sound emanating from a large group of ranks in a pipe organ. The effect varies depending on the speed of the rotors, which can be toggled between fast (tremolo) and slow (chorale) using a console half-moon or pedal switch, with the most distinctive effect occurring as the speaker rotation speed changes. The most popular Leslies were the 122, which accepted a balanced signal suitable for console organs, and the 147, which accepted an unbalanced signal and could be used for spinet organs with a suitable adapter. The Pro-Line series of Leslies which were made to be portable for gigging bands using solid-state amps were popular during the 1970s source: wikipedia.org
Generator • Layer • Doppler • Filter
How does it work ?
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B3 Hammond
Leslie Speaker
introduction 11
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precedents
// Precedents: Querini Stampalia | Fun Palace variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence variable | presence of absence variable | variable presence of absence | presence of absence 13
Foundation Querini Stampalia Querini Stampalia was originally a family palace built in Venice during the 16th century that was converted into a small foundation devoted to “promote study of useful disciplines and nation and foreign knowledge” . After a series of damaging floods in the early 1900’s , Carlo Scarpa was commissioned to renovate the ground floor in anticipation of future flooding. The Querini Stampalia Foundation is a powerful reminder of architecture’s capacity to embody particular qualities without being literal. Water is both dependable and volatile. As Cadwell points out, “in Venice, buildings do not spring from the earth – they tether themselves to the mud below, or they hover above it”. source: en.wikipedia.org
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Cedric Price’s “Fun Palace” Fun Palace was a collaborative project between Architect Cedric Price and theatre director Joan Littlewood all throughout the 1960s. It sparked from the need and desire to expose the general public to an ever-changing space that they will design per their use with facilities for dancing, music, drama and fireworks. Central to Price’s practice was the belief that through the correct use of new technology the public could have unprecedented control over their environment, resulting in a building which could be responsive to visitors’ needs and the many activities intended to take place there. Using an unenclosed steel structure, fully serviced by traveling gantry cranes the building comprised a ‘kit of parts’: per-fabricated walls, platforms, floors, stairs, and ceiling modules that could be moved and assembled by the cranes. Virtually every part of the structure was variable. “Its form and structure, resembling a large shipyard in which enclosures such as theaters, cinemas, restaurants, workshops, rally areas, can be assembled, moved, re-arranged and scrapped continuously. source: RE-CP by Cedric Price (2003)
An ever variable structural system
01
Section-Perspective
16
02
Perspective diagramming the program
Perspective diagramming the program
Perspective diagramming the program
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site analysis
// Site Analysis: Academileisure
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20
site diagram, academileisure
e r u s i e L
ic
dem
A ca
Res ide
ntial
ic
dem
A ca
Leisure
Res ide
C omme
ntial
rcial
A historical intersection between Education and Leisure There was a time where Mass. Ave was a vibrant punk rock scene for musicians and artists alike. This musical influence was notably felt when the Berklee School of Music was established in the area in the 1950s. The surroundings of the site showcase an interesting dichotomy between education and leisure. The site is one block away from Newbury Street, the most visited street in Boston but also neighboured by the omnipresence of the Berklee School of Music. An axis can be established to determine the intersection of Mass. Ave and Boylston St as a crucial moment where both worlds meet. This intersection evolved from a vibrant exposed area of leisure and occasional performance to a secluded and private educational area. With 1081 Boylston St, I see the opportunity to reactivate this intersection as an inclusive venue for the people of Boston where artists perform and where the public watches and interact with one another.
source: https://en.wikipedia.org/wiki/The_Rathskeller
site analysis 21
01 IMAGE OF THE CITY
Ave Mass
C omm
onwea
lth Ave
.
Newbu
r y St
Boylsto
Commonwealth Ave
Pruden
Site
n St
tial
Ave Mass . n Christiance Scie ch Chru
nodes landmarks leisure axis heavy traffic axis
Mas s Av e - Image of the city
02 EDUCATION
Site
performance Venues practice and Rehearsal Rooms music Technology Facilities boston university campus berklee college campus boston architectural college campus - Academics
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axes of voyeurism occasionnal forced perverse
site analysis 23
section B
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exploration
// Exploration: Physics + Expression
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Investigating Texture How to define the essence of a physical phenomenon? How does it physically feel? Throughout the first part of the semester, I was interested in the geometry of sound. Notably, how a phenomenon like the Doppler effect could formally be represented and felt. I have decided to experiment with malleable materials like silicon and clay. I have also tried different incidental techniques in order to see what could showcase the presence of absence but also how to capture motion without moving.
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exploration 27
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Abstract Representation of The Presence of Absence During this phase, I was interested in the abstract relationship between two different objects and how could communicate a sudden change catalyzed by one of the objects in different forms. I have decided to experiment with concrete. It was quite interesting to me how something rigid was once malleable. I have introduced an alien object to this series of objects to capture different moments: motion, action/reaction, presence of absence (or active inlay)
exploration 29
Architectural Interpretation Is there an interplay between sound and space that could occur? In this series of abstract models (1/32 scale), I was interested in defining moments that will influence my decisions moving forward with regards to the big formal gestures. I found the notion of acoustical geometry quite interesting and was fascinated by how I could physically transform and alter a known geometry while keeping traces of its original state.
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exploration 31
32
program
// Program: A Dichotomy
day/night occupancy study
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Different Dynamics Music is spiritual, a fundamental human phenomenon. It possesses this transcendental quality that makes it Intuitively moving. It's a universal language. In this phase of my exploration I was interested in how music would be described to someone that has never heard it. 1081 is, first and foremost, a library. However, in the digital age, one could ask how relevant are libraries today? I decided to explore ways and reforms of making the library a space beyond contemplation and research but rather a space for experimentation and collaboration that will be reactive and dynamic to the user's need. In other words, my library will become a tool for the creator.
essence diagram
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floor to floor programmatic relationship, ink
spatial occupancy and access study PUBLIC
MUSICIANS
RESTRICTED ACCESS
UNRESTRICTED ACCESS
Program 35
spatial matrix: making more space without losing any
36
Examining The Possibility of "Activating" and "Deactivating" Space The intersection of Boylston St and Mass. Ave is vital for me to gather people around the building. A landscape strategy that takes space from my footprint prompted me to a dynamic option where space could appear and disappear throughout the day based on use. Taking into consideration the different program that is required, I began to study ways they could overlap and perhaps have a switch controlled by the users that will turn them "on" or "off ". Based on these programmatic studies, I began considering automated ways to incorporate an architectural element that would respond to both spectacular performances but also demonstration and lectures between people in the field.
Program 37
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concept
// Concept: an incubator for the musician a spectacle for the public
perspective view coming from boylston st
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concept diagram
NT A R E B U EX
RF E P
Y
SH
RY A R IL B
40
CE N A M OR
Formal Relationships Musicians require both exposure and privacy in their creative process. Taking this into consideration, 1081 is a facility that celebrates this dual practice by being both an incubator and a public platform for performances and experimentation. The result is the superposition of both shy and exuberant shapes that are interlinked by a modular stage that works as a spatial on/off switch.
section: space juxtaposition study
perspective: what could a music library?
Concept 41
To make a spectacle Looking back at programmatic requirements, I looked for ways to sculpt both a monumental and functional form that will host performances and public events. Since part of my concept was to radically shift from a rigid box, I have made myself a set of constraints based on program and acoustics. The goal being to rebel with the surroundings while creating a different acoustical setting that will allow phenomenons like the reverb in order to be exploited. step 1: depth, dimension based on program
step 2: wrapping based on constraints
old & new monumentality - Diller Scofidio + Renfro
step 3: acoustical fold geometry based on program
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perspective from boylston st
aerial perspective
Concept 43
To make more space without losing any Because of the smaller footprint of my site (15,253 sq.ft), one of the challenges I had to solve was accomodating for more space when needed during the day without loosing any square footage during the night. My response throughout the semester was to introduce a modular stage that will move where the user need it to be. A tool that allows the users to turn space on and off throughout time.
01
02 01
01
02
02
03
03
03
04
44
a space for investigation
a space for demonstration
01
02
03
Concept 45
a space for collaboration
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site plan
BOYLSTON STREET
Plaz Pla P laz lla aazza
MASS. AVE
pe se r fo as o r m an nal ce are a
first floor plan
second floor plan
Concept 47
third floor plan
fourth floor plan
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OPERA SEATING
MODULAR STAGE
PLAZA
exploded axonometric
Concept 49
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longitudinal section perspective
S DY STU
ROOF R OOF OOFF DE DEC D ECK
CLASSROOM CLASS R OM M
LIBRAR LIB RA Y
LIB I RA RAR ARY A
RECOR REC RECO ECORD EC DING IN N
STUDIO ST U O
MOD DULA ULAR AR STAG TAGEE
C CAFE CAFE/ PERFO ERFORMANC RMANC ANCEE A AREA
SEASON SEAS ASON ONAL PERFROMAN PER RFROM FROMAN ROMANCE CE AREA REA
OPERA SEATING
Concept 51
side elevation
section transversal
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front elevation
FLOOR TO FLOOR HEIGHT:
12'6"
96'
83'6"
71'
58'6"
46'
33'6"
21'
8'6"
Concept 53
coordinated wall section
HORIZONTAL BEARING TUBE 3X5 TUBE CONNECTION CURTAIN WALL ASSEMBLY ALUMINUM MULLION VERTICAL GLAZING FACET
D01
METAL DECKING
INTERMEDIATE SUPPORT
TUBE CONNECTION
VERTICAL GLAZING FACET
D02
BEARING PIN CONNECTION SILL MULLION CONCRETE PILE D03
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glazing treatment strategies // sustainability
Aluminum Cladding _provides privacy throughout the day _regulates natural light
Steel Diagrid Structure + Frosted Glazing _provides exposure throughout the day _frosting regulates natural light without affecting visibility from street
Concept 55
1/32 physical massing model
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1/16 Physical Model
Concept 57
1/16 physical model
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Concept 59
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narratives
// Narratives: perspectives from the users
view from the intersection of Mass. Ave and Boylston St
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Performer Inside my area, space becomes noise. I don’t only hear but see sound. The way the walls and the ceiling undulate shapes a sonic landscape that actually responds to the visual narrative of my composition. Anyone could become a synesthete. I am not only performing for an audience that is enclosed in my space but for the whole cityscape behind me. When I perform, I enter another dimension where space and time collide with motion. We, the performers and audience, become specters of the future.
view from Perfromance Area
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Lay-person I would describe 1081 Boylston as similar to my body. I think with my brain, I feel with my heart, and my vessels carry me. The library is my brain, the stage is my heart, and the vessels are the spaces that complement both the library and the stage. Inside this building, I feel the presence of sound but also its absence. The way spaces are organized takes you through a sonic journey where you not only discover but also physically resonates with sound.
view from Main Entrance
Narratives 63
Researcher The first thing I do when I reach 1081 is to go to the library. I enjoy public spaces because they are in a way pretty intimate. I plan my research there and would go to the electric shop to get my material ready for experimentation. I enjoy the shop because it feels private. All the conversations I have with my pears are pretty enlightening. The skylights also contribute to making the area enjoyable to work in. I also actually enjoy being surrounded by people working on similar things. It feels comforting.
view from Library looking to the Modular Stage
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Librarian Most people describe the library as a quiet space to study and research in but mine isn’t. At 1081 Boylston, my library works as an incubator for minds alike to research, discuss, and study. the space itself is pretty capacious and well lit. The desks encourage social interaction and collaboration because of their spacing. In general, there isn’t a day that passes by without hearing about someone’s exciting projects. I would consider the space itself as a hub where everyone is welcome to interact with anyone.
view from Opera Seating looking into Modular Stage
Narratives 65
section C
66
appendix
// Mechanical + Structural + Egress + Accessibility+ Fire Proofing + Code //APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX// APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX// APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX// APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX// APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX// APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX// APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX// APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX// APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX// APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX// APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX// APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX//APPENDIX 67
longitudinal section showcasing mechanical systems
CHIMNEY S LE DUCT SING DUCT CENT CENTRAL RAL A AIR COND CON ITIO ITIONING NING
AIR INTAKE
RADIAN AN NT COOLING
VAV VAV V
VAV VAV V
VAV VAV AV
VAV VAV VA
BOI O ER OIL R
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chilled water
hot water or steam
RADIAN I NT HEAT ATING ING
GROUND GROU N ND SOUR URCE CE PUMP UM
Mechanical: sustainable passive and active system In order to regulate temperature and keep it underneath 1000 ppm, I have decided to combine two distinct systems: an all-water system that utilizes hydronic convection in order to generate radiant heating and cooling in the library volume. For the bigger performance space, I have opted for an all-air system. To dispense cool and hot air, I have placed an accessible air dispenser in the top part of my core. In the library volume, the rooms are equipped with VAVs in order to generate cool air during the summer. Fresh air intakes will be located on the side of the building because of the turnpike.
axonometric Xray
SINGLE DUCT CENTRAL AIR CONDITIONING
HOT WATER OR STEAM
CHILLED WATER
BOILER
Appendix 69
axonometric showcasing the different structural strategies
LATERAL LOAD BEARING CORES
"DIAGRID" SPACE FRAME SYSTEM BRACING
STEEL POST
W12 X 14
W12 X 14
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Structural My concept's philosophy translates into my structural strategy. There are two separate self-supporting systems. The Library volume is a steel frame made of W12x14 I-Beams spaced each 25'. The Performance volume, on the other hand, is a steel diagrid space that is constituted of a superstructure made of steel posts and a space frame substructure. All lateral loads are supported by steel bracings and the cores.
Appendix 71
EGRESS (STAIRS)
EGRESS (STAIRS
+ ELEVATOR)
axonometric showcasing the two means of egress
Egress + Accessibility There are two main means of egress (pointed out in red). To get to each floor, people with disabilities will take the elevators located in the library volume
LEGEND
DISABLED PATH
ABLED PATH
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basement plan
floor plan
second floor plan
third floor plan
fourth floor plan
Appendix 73
axonometric showcasing the location of the smoke exhaust
SMOKE EXHAUST
74
Fire Protection Systems Smoke Exhaust + IEBC 804.2 Automatic sprinkler systems. Automatic sprinkler systems shall be provided in accordance with the requirements of Sections 704.2.1 through 704.2.5. Installation requirements shall be in accordance with the International Building Code.
Appendix 75
// Zoning + Code
SITE PLAN Scale: 1” = 60’ * Note: This site has a Groundwater Conservation & the Restricted Parking overlay
Zone
LOT SIZE minimum sq. ft.
LOT AREA minimum sq. ft. for each additional dwelling unit
LOT WIDTH minimum feet
FLOOR AREA RATIO maximum
HEIGHT OF BUILDINGS
stories
feet
USABLE OPEN SPACE minimum
FRONT YARD minimum
SIDE YARD minimum
depth feet
width feet
REAR YARD minimum depth feet
H-3
none
none
none
3.0
none
none
100
15
0
20
B-2
none
none
none
2.0
none
none
none
0
0
0
DISTRICT USE
S
R
H
L
B
M
I
W
Library
A
A
A
A
A
A
A
C
F
Community Center Building
A
A
A
A
A
C
C
C
F
Local Retail Business
F
F
F
A
A
A
A
C
F
A = Allowed, C = Conditional, F = Forbidden
76
MER
Appendix 77
SITE | BUILDING CODING REQUIREMENTS Section 303 Assembly Group A
Table 504.3 | Allowable Building Height In Feet Above Grade Plane
Table 504.4 | Allowable Number of Stories Above Grade Plane
78
Table 506.2 | Allowable Area Factor
Table 1004.1.2 | Maximum Floor Area Allowances Per Occupant
Appendix 79
SITE | TYPE OF CONSTRUCTION
80
Appendix 81
82
view looking at modular stage from performance area
view looking at modular stage from top floor
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Thank you to the Boston Architectural College for allowing such great platform to take place. I will forever be grateful for the support this establishment has given me. Special thanks to the facutly. Notably, Yoonjee Koh, Peter Atwood, and Mark Rukamathu for inspiring me and pushing my critical thinking forward. //
Mother, this is for you. Always.
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aerial view
86
87
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