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INTRODUCTION
I am interested in utilizing the Waterfront
Hotel, located on Long Wharf, as the basis of a
FALL 1978
series of spacial and formal design explorations.
This project is an extension of work begun, in
Department of Architecture
4.155:
Units:
(A) - Architectural Design: LEVEL III
0-12-8
Instructor:
Prerequisite:
lore Halasz
4.144
A HOTEL FOR THE BOSTON
WATERFRONT
design studio, with Professor Halasz in the fall
of 1978.
For information about program, and
specific issues stressed, please see the course
description and studio program included as an
appendix to this proposal.
In Professor Halasz's studio I found the Long
Wharf site to be a historic location, in a
rich and challenging urban fabric.
I attempted
to respond to the complex urban design problems
generated by the context, but the semester's
time allowance for the project was far too
The studio will undertake the design of
a new hotel on the Boston waterfront.
The site, consisting of approximately
110,9 0 0 square feet, is in an urban
renewal area, overlooking Boston Harbor
at historic Long Wharf, opposite the
now waterfront park, near the financial
district and restored Faneuil sall
markets. The program calls for a hotel
facility not exceeding 400 rooms and a
range of public, semi-public and semiprivate facilities.
The objectives of the work in the studio
aWill
include:
a)confrontation with a design problem having explicit and realistic
constraintsa
b)the formulation of an architectural attitude in the context of
a complex urban site and clientele
*
DOSTOM K
.
c) the exploration of alternative appe
approaches in designing an envir
environment aggregated of predominately 'ssmall cellular' spaces.
The method of studio working will allow for interaction with mechanical,
structural and hotel management consultants,
ar
A related
ae
public and private agencies. The tradition of confroeting several short
sketch probles during the semester will continue.
11,-7rOO44-r
INTRODUCTION
(cont.)
short to complete the development of many
architectural scale issues.
THESIS PROPOSAL
I propose as the basis of my thesis to focus
in on some of the issues raised in Professor
Halasz's studio.
The hotel organization, more
or less as designed, will be used as a framework to explore several specific issues.
In
the interest of clarity I will attempt to
separate these issues.
I do not mean to imply
that I see the overall design process as
limited to these issues.
On the contrary, I
see the design process as an interweaving of
issues, affecting and being affected by many
others.
'
f
ION
EXPERIENCING THE WATER'S EDGE
The site of the hotel is located at the intersection of the two pedestrian paths that are
most evocative of Boston's historic connection
to the sea, and our present, deepening awareness of the harbor area as a public resource.
The "Walk to the Sea," is
a major pedestrian
movement path which leads from Boston's
Government Center, through Faneuil Hall
Markets, and into the Waterfront Park, which
borders the site on its north side.
The site
is bisected by the pedestrian easement that
runs along the water's edge.
This section of
the pedestrian path sees heavy usage due to
the New England Aquarium to the south and the
Waterfront Park to the north of the site.
- P9r'0ITKIAN
ATH Pl#KI4M
(cont. )
EXPERIENCING THE WATER'S EDGE
This thesis aspires to design, as part of the
Hotel, a sequence of public pedestrian environments that will allow and encourage Boston to
interact with and inhabit its water's edge.
This thesis is founded on the premise that
the Boston Waterfront is an important public
natural resource.
The waterfront should be
readily available to the pedestrian and the
range of opportunities to experience this
resource should be expanded.
PHYSICAL FORM OF THE HOTEL
The Waterfront Hotel is a significant
architectural addition to a historic and
dynamic part of Boston urban fabric.
The
N-r~op~4~.-r-ION
7]
PHYSICAL FORM OF THE HOTEL
(cont. )
physical form of the Hotel poses many challenging problems at both the urban and architectural
design scales.
The Hotel as a built environment has to recognize its relationship both to the natural
# P~fl*w %LiYAMOIN MOA&
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landscape of land and water, but also its
position in the larger order of the fabric of
Boston.
Long Wharf is a wharf, and not actual
ground, and the Hotel is, figuratively, if not
t-~1
actually, a boat, as it is built over and in
the water.
The form of the Hotel must recog-
nize this interaction of land and water, built
and natural landscape.
The Custom's Tower, located inland to the
southwest of the Long Wharf, was, in the
(cont.)
PHYSICAL FORM OF THE HOTEL
past, Boston's landmark to the water's edge.
The water's edge has long ago retracted under
the fill of several of Boston's no longer
existant hills.
The Custom's Tower is now
land-locked, inland of the expressway and
no longer evocative of the sea and Boston's
historic sense of itself as a port city.
In this thesis I suggest that the Waterfront
Hotel might act as a landmark, and would,
once again, inform Boston of the location of
its water's edge.
The Hotel is an organization of hotel
functions, supported by retail, recreational
and public facilities.
Its highly public
uses contrast vividly with the intensely
private nature of a hotel room.
The physical
form of the Hotel must speak, understandably,
PHYSICAL FORM OF THE HOTEL
(cont.)
about its many inhabitants, but it also must
clearly express a collective identity that
establishes the Hotel as a memorable place.
DESIGN TOOLS
In the interest of clarity, I would like to
define three of the principle design tools
that I will employ in the design exploration
of my thesis:
1.
References/Principles from Precedent.
2.
Analogues.
3.
Extracting from Context.
By endeavoring to explain these three means
of approaching the design separately, I do
not mean to imply that the process of utilizing
INT~P~4er pH
(cont. )
DESIGN TOOLS
these methods is a linear one or that they are
the only tools that I will use.
On the contrary,
I see the design process as an interweaving
with these methods as major threads to create
an architectural expression that is as rich
and associative as possible.
REFERENCES/PRINCIPLES FROM PRECEDENT
The first design tool that I will describe in
this proposal is that of the references, which
might also be called a principle from precedent.
References/principles from precedent are in
many ways similar to analogues, but for the
sake of clarity, I will present them separately.
The vital distinction for me as a designer is
that while an analogue is a design metaphor that
T OP./NY
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REFERENCES/PRINCIPLES FROM PRECEDENT
(cont. )
is evocative of connections or associations,
analogues can be found anywhere in the environment.
The analogue is an emotional response,
a gut reaction, to the world around us that
has an architectural implication, while the
reference is an examination of built precedence
to gain an understanding of how one might
approach a similar condition.
In examining precedent for such principles, I
will look to the work of specific architects
such as:Frank Lloyd Wright
--for his use of building as an extension
of ground.
L. Kahn & A. Aalto
--for their use of natural light.
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REFERENCES/PRINCIPLES FROM PRECEDENT
(cont.)
A few specific buildings I will look at might be:
La Tourette by Le Corbussier
--as an example of the relationship between
the individual cell and the collective.
Portland Open Space Network by L. Halperin
--a carefully scaled series of pedestrian
experiences.
Many other precedents will be folded into the
design process as the process begins to evolve
and take on direction and life of its own.
I
mention the above only because they are obvious
examples.
ANALOGUES
An analogue, simply stated, is a metaphor.
It
describes some set of qualities or associations
liv
that would be difficult to describe any other
way.
They help to make connections between
the physical world, and the world of gut
reactions.
I will use analogues to help me
get as close as possible to the essence of
my own images and help me to project possible
transformations of those images into physical
forms.
I
will do a series of initial analogue
studies and develop and enlarge connections and
associations that might have associative implications to the physical form of the Hotel.
EXTRACTING FROM CONTEXT
A third example of a design tool is a process
of abstracting design information from the
surrounding urban fabric that I will call
extracting from context.
,MItg1
(cont.)
EXTRACTING FROM CONTEXT
I believe that the most successful built additions to a strong historical fabric are in some
way abstracted from that fabric.
These new
pieces speak of their place in present time,
utilizing modern materials and construction
and yet in their composition they pay respect
to their older neighbors.
In order to intervene as a designer in a particular context, it is necessary to understand
the existing physical fabric that makes up that
context.
Examples of individual threads of
this fabric include:
At the urban scale:
distribution networks
open space patterns
directionalities
11EXTRACTING FROM CONTEXT
(cont.)
At the architectural scale:
building as frame or wall
bay sizing
entry conditions
material usages and meanings
rhythms of building sequences
rhythms of spacial sequences
Z
NTMOPt.-ION
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FALL
.978
Department of Architecture
4.155:
Units:
Instructor:
Prerequisite:
(A) - Architectural Design: LEVEL III
0-12-8
Imre Halasz
4.144
A HOTEL FOR THE BOSTON WATERFRONT
The studio will undertake the design of
a new hotel on the Boston waterfront.
The site, consisting of approximately
110,900 square feet, is in an urban
renewal area, overlooking Boston Harbor
at historic Long Wharf, opposite the
new waterfront park, near the financial
ATLANTIC
district and restored Faneuil Hall
AVSN4ME
7-..
-
markets. The program calls for a hotel
facility not exceeding 400 rooms and a
range of public, semi-public and semiprivate facilities.
The objectives of the work in the studio
will include:
a)confrontation with a design problem having explicit and realistic
constraints;
b)the formulation of an architectural attitude in the context of
a complex urban site and clientele;
c)the exploration of alternative appr
approaches in designing an envir
environment aggregated of predominately 'small cellular' spaces.
The method of studio working will allow for interaction with mechanical,
structural and hotel management consultants, user groups and related
public and private agencies. The tradition of confronting several short
sketch problems during the semester will continue.
LONG WHARF HOTEL
Level III Design Studio
Halasz
Fall.1978
2,1
INTRODUCTION
A.
In General
The Boston Redevelopment Authority is offering Parcels A-6
and A-7 for development of a hotel. Parcels A-6 and A-7
combine to form one of the most important sites in the
Downtown Waterfront. At the head of historic Long Wharf,
the site defines the southerly edge of the award winning
Waterfront Park, and is directly adjacent to the Gardiner
Building (the Chart House Restaurant) and the so-called
Custom House Block, both historic buildings. The site
borders the "Walkway to the Sea," a major pedestrian movement system which leads from Boston's Government Center,
through the Faneuil Hall Markets, and into the Waterfront
Park and Long Wharf.
Architects and developers submitting proposals for A-6 and
A-7 must respond to the complex and critical urban design
parameters of the site:
1.
The site has, literally, no "front" or "back."
All sides
have high visibility, and good pedestrian access.
2.
The proposal must accommodate the Aquarium M.B.T.A.
station. This provides direct access to Government
Center and to Logan Airport.
3.
The easterly end of the site directly abuts the small
scale historic buildings on Long Wharf.
4.
The westerly end of the site is adjacent to Atlantic
Avenue, a major north-south service road, and the
elevated Central Artery beyond.
5.
There is an easement between the A-6 and A-7 portions
of the total site. This easement accommodates a subsurface water line, sewer, Edison lines and a grade level
pedestrian and visual link from north to south.
6.
A portion of the site contains the massive basement slab
of an earlier warehouse which was demolished. The
economics and design impact of reuse versus removal
should be carefully studied. The slab location is shown
on the attached Delivery Parcel Plan.
7.
B.
Public access on the north side of the parcel will be
provided.
The Downtown Waterfront-Faneuil Hall Project
The Downtown Waterfront-Faneuil Hall Project is a federallyaided urban renewal project covering approximately 104 acres
of land in downtown Boston. The project area is favorably
located in the heart of the city, being adjacent to the new
Government Center on the west, to the city's business and
financial district on the south, to the thriving residential
community of the Nortn End on the north, and to Boston's
harbor on the east.
The primary objective of a renewal plan is to change the
character of an area from a blighted, deteriorated and economically obsolete area to an attractive and viable district of
residential, office, hotel and general business uses supported
by recreation and other public facilities.
To attain this goal, a comprehensive program of public and
private activities has now been undertaken involving the
demolition and clearance of deteriorated buildings, the installation of new streets,- utilities', pedestrian ways and
recreation areas, the landscaping of open spaces, the development of new private buildings and the conversion and
rehabilitation of desirable existing structures.
The renewal of the project area has already returned this
section of downtown Boston to its former position of economic
importance and will contribute substantially to further revitalization of Boston. The redevelopment plan, involving
more than $200,000,000 has resulted in optimum land uses,
increased property values and the stimulation of private
initiative and investment. The renewal of the waterfront,
replacing rotting piers and decaying structures, long dormant
and neglected, has reopened Boston's "window on the world."
The conservation and rehabilitation of many existing buildings
of historic and architectural significance will insure the preservation of the city's historic link with the past and - with the
recreation and marine facilities proposed in the area - will
provide a focus of interest for the residents of Boston and a
tourist attraction to the thousands who visit the area each
year.
C.
Parcel History
This parcel was considered as part of the Boston Waterfront
Residents' Association, Inc., et ali vs. Carla Hills, et ali,
U.S. District Court, District of Massachusetts, No. 72-1157,
an environmental law suit which has been settled by
"Stipulation and Agreement" (a copy of which can be reviewed
at the Authority). The maximum controls established herein
and by the urban renewal plan resulted from that litigation.
Previous redevelopers have been designated for these parcels
but have been unable to comply with the requirements of
their designations. Their inability to meet Authority requirements has resulted in the Authority terminating their designations.
-
E.
An environmental impact statement (a copy of which can be
reviewed at the Authority) has previously been undertaken
by the Authority for these parcels and its preparation has
been held to comply with the Massachusetts environmental
statute, Chapter 30, Sections 61 and 62.
Criteria for Selection
ky the
.R.A,
The overriding standard to be employed by the Authority in
judging development proposals is the determination of maximum benefit to the city. This will be judged in terms of
economic impact with respect to tax income and long-term
economic strength, as well as benefits to the surrounding
area and the impact of the development proposal on the
downtown as a whole including the proportion of new convention and tourist business which would be attracted to the
City as a result of the development.
Major areas of evaluation include:
B.
1.
Use of the site, scope and quality of rooms, restaurants,
public space, and amenities such as pools, tennis courts,
etc.
2.
The design concept, with emphasis on its sensitivity to
its surroundings.
3.
The demonstrated experience, financial strength and skill
of the developer, his consultants and his architect.
The Long Wharf Area
1.
Long Wharf - for many years one of the busiest wharves
in the city, it was the site of the British evacuation of
Boston during the Revolution and is listed on the
National Register of Historic Places. Now, together with
the Waterfront Park, the wharf itself will provide public
open space so that Boston's waterfro'nt can be enjoyed
by all the people.
2.
The Gardiner Building (Chart House Restaurant) a 3
story brick structure which directly abuts the easterly
boundary of the A-6, A-7 parcel.
The building was
probably constructed before 1848 and lies within the
National Register Historic Area.
C.
3.
The Custom House Block - completed in 1848, it is an
outstanding example of Greek Revival architecture. Also
within the National Register Area, the building has
been rehabilitated with shops and professional offices on
the ground floor, and other offices and apartments
above.
4.-
The Waterfront Park - located just north of Parcel A-6,
In a
A-7, the park was opened to the public in 1976.
short time, it has become one of the most intensely used
open spaces in the city. The design, by Sasaki
Associates in conjunction with the BRA's Urban Design
staff, has won several national awards and the northerly
edge of Parcel A-6, A-7 must sensitively interface with
this park which is intensively used even at night.
Ground level activity within the building should be open
and inviting to pedestrians.
Site Development Program
1.
Site Data
a.
b.
2.
Location:
Parcel Area:
Long Wharf and State Street
Approximately 110,900 square feet
Permitted Uses
General Business, General Office, Transient Housing.
3.
Parcel Controls
a.
Maximum permitted height: The Urban Renewal
Plan sets the maximum height for Parcel A-6 at 150
ft. and for Parcel A-7 at 85 ft. However, with the
combined parcels, it is strongly recommended that
the maximum height at the westerly end of the site
not exceed the height of the adjacent 'Telephone
Company Building (approximately 135 ft.), and that
at the easterly end it not exceed the height of the
Custom House Block building (approximately 57 ft.).
These maximum heights do not include elevator
penthouses, stair towers or other mechanical equipment.
b.'
Maximum permitted F.A.R.:
4.
C.
Minimum parking spaces:
Interior parking
not to exceed
225 spaces shall
be provided
d.
Maximum number of rooms:
395
Ground Floor Restraints
Any proposed structure will have no "front" or "back"
because of its critical location. Therefore, the program
for the lower floors of ...e building should be structurt
so as to encourage maximum transparency and pedestrian
penetration along all facades.
It should also be pointed out that the development team
(when chosen) will have to work closely with the M.B.T.A.
to insure proper integration of the Aquarium station
within the project.
5.
Massing
The general massing envelope of A-6, A-7 has been
worked out over a number of years as a result of work
by the BRA Design Section, a court-mandated community
review, and various other historic and environmental
reviews. As a result, interested developers and architects must realize that their ultimate programmatic requirements for the building may be secondary to the
establishment of an acceptable massing envelope.
The following urban design guidelines must be followed:
a.
At its westerly end, the building should not exceed
the height of the existing Telephone Company
building. In some way, the massing must then
"step down" so that, at its easterly end, the building is harmonious with the Gardiner Building and
the Custom House Block.
b.
The major sight line from Richmond Street in the
North End, across the park, to the Gardiner
Building and Custom House Block must be main-
tained.
C.
The pedestrian easement between A-6 and A-7 (see
attached drawing) must be open to the public at all
times. This easement must be at least 20 feet in
height. Building elements above this easement
should be kept to an absolute minimum width so
that the easement is as open as possible.
d.
6.
To be most compatible with the traditional wharf
building, the building mass of A-6, A-7 should be
simple, with the major circulation elements contained
within the basic envelope.
Materials
The building must be masonry and must be compatible
with traditional waterfront materials. Paving treatments
must also be sensitively handled.
8.
Vehicular Access
It is strongly required that vehicular access into the site
be from State Street.
2.2.
AREA REQURIEMENTS
800 people x 12 sq ft per person
( , 2 toilets;& , 2 toilets)
Ballroom:
Pre-assembly area for Ballroom:
Restaurant:
25% of 10,000
300 people
(., 3 toilets; &, 3 toilets)
10,000 sq ft
2,500 sq ft
7,500 sq ft
Cocktail Lounge: (holding room for restaurant) 125 people x 20 sq ft per person
2,500 sq ft
(should be near kitchen)
Coffee Shop:
60-70 x 20 sq ft per person
1,400 sq ft
) Can be split
Kitchen (Central)
Kitchen Support Facilities )
Total Kitchen:
3,000 sq ft
2,000 sq ft
5,000 sq ft
Roof-Top Cocktail Loung
a. Interior: 150 people x 20 sq ft
b. Terrace:
c. Support Facilities: '., 2 toilets;
C5,
3,000 sq Et
1,500 sq Et
1 toilet, 1 urinal
(1,000 offices
Lobby: (Include a lounge and bar for 40 people and office
(Four elevators, plus 2 service elevators, as needed
Function Rooms for 400 people x 20 sq ft per person
8,000 sq ft
(this is a variety of room sizes)
Guest Room sizes:
(80-90% are 400
(20-10% are 550
luxury suite
7
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"When I go to Boston, I go naturally straight
through the city down to the end of Long Wharf
and look off, for I have no cousins in the back
alleys. The water and vessels are novel and interesting. What are our maritime cities but the shops
and dwellings of merchants, about a wharf projecting into the sea, where there is a convenient
harbor, on which to land the produce of other
climes and at which to load the exports of our
own? Next in interest to me is the market where
the produce of our country is collected. Boston,
New York, Philadelphia, Charleston, New Orleans,
and many others are the names of wharves projecting into the sea. They are good places to take
in and to discharge a cargo. Everybody in Boston
lives.at No. so-and-so, Long Wharf. I see a great
many barrels and fig-drums and piles of wood for
umbrella sticks and blocks of granite and ice,
etc., and that is Boston. Great piles of goods and
the means of conveying them, much wrapping-
paper and twine, many crates and hogsheads and
trucks, that is Boston. The more barrels, the more
Boston. The museums and scientific societies
and libraries are accidentals. They gather around
the barrels, to save carting."
From Henry David Thoreau, Journal V1,
December 25, 1853.
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