Civic_Rooms_for_Rent Publication

2Civic rooms for rent

We would like to extend our deepest gratitude to the following people. Without their generous offering of time, knowledge, and resources, this book would not have been possible.

3Jim CookMarisa federicoMichelle Ho

sarah rubinerica rothschild

Vered Tomlakalexandra Vendetti

Sheraton Boston Hotel

Massachusetts Convention Center Authority

Massachusetts Convention Center Authority

Fairmont Copley Plaza Hotel


W Hotel Boston

Longwood Events

On behalf of Northeastern University,

thank you!

CIVIC ROOMS FOR RENTMEETING HALLS FOR THE 21st CENTURY

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multipurpose rooms for conferences and conventions and competitions and banquets and galas and lectures and debates and weddings and birthdays and funerals and spelling Bs and sporting events and concerts and Starcraft tournaments and religious celebrations and yoga classes and bar exams and cosplay and corporate events and pep rallies and boat shows and bake sales and fi nger painting demonstrations and scrabble games and swing dance lessons and blood drives and model train exhibitions and soirees and lunch-and-learns and book clubs and Twilight saga fan discussions and scout meetings and comic cons and galleries and parties and dances and trade shows and pinewood derbies and parent-teacher conferences and meet-and-greets and graduations and sweet sixteens and debutantes and riding schools and AA meetings and kick boxing classes and workshops and career fairs and emergency housing and etiquette training and brunches and fashion shows and dog shows and science fairs and auctions and college fairs and chess tournaments and start-up religions and personal fi nance seminars and bridal parties and promotional events and holiday parties and protests and more and more...


CONTENTThe work contained within this publication was created

by the Fall 2011 Northeastern University School of

Architecture Graduate Research Studio.

2011 Northeastern University School of Architecture

FACULTY ADVISORTim Love

STUDENTSStephanie Abzug

Bryan Allen

Daniel Belknap

Ximing Chen

Thomas Davis

Casey Hartman

Ashley Hartshorn

Kyle Jonasen

Matthew McCarty

Derrick Nickerson

Saverio Parisi

Chantel Tourigny

Dipti Ved

Tony Wen

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CIVIC ROOMS FOR RENTMEETING HALLS FOR THE 21ST CENTURY

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8Civic rooms for rentfi g 8.1 Christian Science Center, Hall of Ideas.

9Civic Rooms for RentSomewhere between the mob in the street and the codified rituals and deliberations of churches and government bodies, culturally productive face-to-face engagement takes place even with the dominate role of the internet as the primary avenue for informal and open-ended discourse. Today, a wide bandwidth of special-interest organizations, trade groups, professional societies, and hobbyists regularly convene in meeting rooms and function halls mostly embedded within hotels, conference centers, and convention centers.

And yet, despite the instrumental role these rooms play in the evolution of culture (and sub-cultures), their function and attributes have been codified by the real estate industry to such an extent that they are seen as a commodity and not as spaces with specific, memorable, and/or culturally meaningful qualities. In fact, contemporary function halls (banquet

rooms, ballrooms, multi-purpose spaces, etc.) have not been a focus of serious cultural research despite their ubiquity and the considerable resources that are expended to market these spaces to potential audiences.

In contemporary society, the existence of civic rooms for rent is typically driven by other economic factors for example to drive up the demand of hotel rooms, if embedded in a hotel. Often times, new or expanded convention centers are justified by the projection of an increased hotel demand for an entire downtown. In addition, broader economic development arguments justify the business. If, for example, an influential bio-tech conference comes to town, the start-up businesses that are fueled by the face-to-face contact might return to the host city. Rarely, however, is the importance of face-to-face meetings themselves, part of the argument and thus central to the design brief.

The work of the Fall 2011 Research Studio at Northeastern University is only a first attempt to uncover the complex industry that designs, manages, and markets these kinds of spaces. This was achieved in three ways:

1 Through guided tours of conference spaces in Boston led by the people responsible for marketing and operating the spaces.2 By looking at the complex history of multi-purpose meeting spaces - starting with Bostons Faneuil Hall (first built in 1728).3 By analyzing paradigmatic and canonical great rooms - to better understand the architectonic opportunities for meeting spaces beyond their functionality as determined by the codification of the industry.

The publication that follows, while not definitive, combines these three threads of research in order to arrive at more provocative and even polemical position on the nature of multi-purpose function room both as a disciplinary question and within culture. We hope our effort will spurn additional research and speculative thinking.

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TYPOLOGICAL ANALYSIS

Clerestory

NaveAisles Aisles

Apse


BasilicasAs the Roman empire evolved from a monarchy in its early centuries to an aristocratic republic, cities developed the program of public assembly. Romes dense and spatially constricted urban fabric mandated that these spaces serve not just as venues for offi cial political sessions, but that they be large, fl exible, interior spaces used to facilitate business transactions, commercial and legal proceedings, and the general cultural discourse of Roman citizens. The basilica was the quintessential example of this civic building type.

The word basilica comes from the Greek kingly, refl ecting the Hellenization of many facets of Roman Architecture and culture circa 180 BCE. The Romans believed architecture was an art of creating space around rituals. In order to conduct everyday orderly formalities and house a variety of affairs, basilicas were designed to be a single, spacious geometric structure generally consisting of a primary central space, referred to as the Nave, with twin secondary circulation aisles fl anking the long edges. The division between central and side aisles typically manifests as a colonnade or arcade. The tall central aisle provided well-lit, grandiose space for circulation of guests and events. In addition to the spatial sensations characteristic of high ceilings, the stratifi cation could keep heavily occupied spaces cool even during the zenith of hot Roman summers. Often, this central space would extrude an additional story upward, offering a side-light clerestory and room to structure the wide span of the space. The fl anking side aisles provide out-of-sight circulation for servants, and lends the already vast, airy central space additional depth.

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Fig 12.1 Basilica Palladiana

fi g12.2 St. Peters Basilica, Section Perspective

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The earliest example of the basilica was the Atrium Regium, initially designed as a reception hall for Kings of Rome to welcome and address subjects, ceremoniously greet foreign diplomats, as well as other more regimented functions. On days when the building was not in use for foreign embassies, important Roman citizens were permitted to utilize the space for conducting their various mercantile transactions, convenient because of the Atriums proximity to the forum. When the political structure of Rome changed to a more autocratic governance, the building was primarily reserved for providing an architecturally impressive setting for economic transactions.

A Renaissance adaptation of the Roman basilica type, the Basilica Palladiana in Vicenza, shows how clusters of medieval buildings were joined and repurposed as the seat of government with stalls underneath. Purchased in 1222 as a home for the Mayor, the Bissari Palace complex included an iconic watchtower connected to a multi-story courtyard building, as well as two

fig 13.1 Roman Basilica


well-appointed but disorganized adjacent buildings. The structure nearer the tower boasted a ground fl oor arcade through which pedestrians could circulate and merchants could vend goods. The larger second structure had a complex ground fl oor layout and a large meeting hall upstairs, hosting meetings for Vicenzas Council of Four Hundred. Two centuries after the purchase of the palace in 1450, Domenico da Venezia raised the top two fl oors of both buildings and re-organized their facades. The top two fl oors were replaced by the open large-span market and meeting hall found in the basilica today. A century later Andrea Palladio intervened, and added a highly organized and ornate loggia around the fi rst and second level of the complex. The loggia, styled to Michelangelos Giant Order, not only organized the entrances and fenestration of the

fi g 14.1 School of Athens, 1505. Raphael.

structure, but also provided a secondary circulation sequence around the entirety of the meeting room and halls below. This model of a wrapped fl exible program space has endured the test of time, and Palladios keen application of the type stands to further champion its usefulness.

While as a building type the Roman basilica was fi rst designed for a specifi c and somewhat fi xed program; its legacy for interior civic space comes from the adaptability of the grandiose building for many different, non-ritualized functions. Over the arc of Romes history as a world power, basilicas proved to be an invaluable stage for the political, economic and cultural discourse that became so critical to Roman contributions to the Western world.

15fig. 15.1 Basilica of Maxentius.


Guild HallsGuildhalls, a meetinghouse building type, were created during the Middle Ages and were historically used by guilds for meetings and other purposes within their association of craftsmen in a particular trade. The original origin and use of guildhalls can be traced back to Northwestern Europe, where they were prominent in the Netherlands and its surroundings countries, including England. Guilds were at the center of European handcraftsmanship during the Middle Ages. Due to intense apprenticeships, guild members not only learned trade skills, but were also admired by members of their community. Guildhalls were typically located in the center of a city next to other important structures and became a focal point not only during their long history of use, but even today.

Preserved examples of Dutch guildhalls still exist today and provide the majority of the research and physical examples of this unique meetinghouse typology. In addition to providing a place to meet for persons of the same trade, Dutch guildhalls also contained their offi ces, and hosted their large gatherings. Guilds were a powerful force and were ultimately formed to protect the interests and maintain standards of a particular trade or craft usually within a given area. Through price fi xing and by defi ning their work boundaries to certain areas, they were able to secure their skilled jobs from the threats of foreign professionals. Guilds set out rules for just about every process that involved the skilled craftsmen, leading from their apprentice status, later to journeyman, and fi nally to their title Master. All of these responsibilities that guilds were accountable for impacted their need for meeting space, which is what allowed for the creation of this unique meeting hall.

Occasionally a single hall would be shared amongst the citys guilds. However, usually, each trade would have their own guildhall. Typically they were elaborate buildings that showcased the guilds status and craftsmanship. In Northwestern Europe, an ornate coat of arms above the buildings main entrance detailed the trades defi ning characteristics to the passer-by. Sometimes a gable stone was used to distinguish the buildings owner or profession in lieu of a coat of arms. A common example would show a member of the guild surrounded by the tools of his trade.

The guildhalls were mostly used for meetings of that specifi c trade and sometimes would also serve the surrounding community as well. For example, during the Middle Ages,

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fi g 16.1 Zunfthaus Guild Hall Exterior

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the guildhall of the Merchants Guild also served as an actual commodity market before a separate building type was created for this purpose. More importantly, office space within the hall would house the Deacon, other high-ranking guild officers, as well as the Board of Directors. Guild members would sometimes be called to the meeting hall for larger meetings. The largest room within guildhalls had to serve a multitude of purposes from town gatherings; where chairs would be lined up facing a makeshift stage, to yearly banquet functions that the entire guild would participate in. A room large enough with the ability to serve these various functions was necessary to truly represent the meeting hall quality of that guild, and usually the town within. Some Dutch Guildhalls even contained their own pub and members would often gather each night after work to drink and socialize with other guild members.

Located in Zurich Switzerland, the Zunfthaus zur Zimmerleuten was the Carpenters guildhall. Eight-hundred-and-fifty years ago, the carpenters guild moved into the original one-story wooden guild in the same place. In 1708, over five-hundred years later, the original house was demolished and the three story stone guildhall, that we see today, was constructed. The structure was a relatively simple stone cubic volume, and the building had an open loggia on its ground floor which allowed traffic to move under the hall, as the original guildhall permitted with the imperial roads below. On the second floor, ornate wood ceilings, flooring, and other detailing exhibited the carpenters fine craftsmanship throughout a series of small meetings rooms or offices. On the top floor, the largest meeting space filled the entire floor and was able to hold larger functions for the

fig 17.2 Zunfthaus Interior

fig 17.1 London Guild Hall State Room


guild. In 2007 the building was heavily remodeled after a fi re devastated nearly everything but the original stonewalls, and today it houses a well-known restaurant and banqueting center further extending its role as a social gathering space.

While Dutch guildhalls were typically used to house a single guild as their primary function, across the English Channel, British guildhalls were constructed with the additional idea of containing local government and town meeting space inside. Historic buildings such as the Bath Guildhall in Bath, England, combined both the private use of the hall for its particular trade with administrative duties from the Mayor and other town offi cials. Over time, judicial offi ces and courtrooms often adapted into these historic walls. More typically today, including both the precedents in Bath and Windsor, guildhalls are used more for private functions, civil ceremonies, and other banqueting needs due to their multitude of variously sized meetings spaces and elaborate design.

19fig. 19.1 London Guild Hall City Meeting


Coffee HousesIn the late 19th and early 20th century, The coffee house type as a forum for artists, writers, and intellectuals became nearly ubiquitous across Europe. However, nowhere was this type as infamously distinct in character as in Vienna, where cafs fostered a generational subculture of dissent, conversation, and artistic exchange. Stefan Zweig, a notable writer and committed patron, described the institution:

It is a sort of democratic club to which admission costs the small price of a cup of coffee. Upon payment of this mite, every guest can sit for hours on end, discuss, write, play cards, receive his mail, and, above all, can go through an unlimited number of newspapers and magazines.

fi g 20.1 Caf Griensteidl. fi g 20.2-7 Newspaper Racks.

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The rise of the coffee house and its relationship to literature of the time period can be attributed to the cultural, social, and economic milieu that characterized the late 19th century. Intellectuals at the forefront of modernist thought needed a less formal alternative to traditional meeting places to achieve the comfort they desired, and the prevalent inadequacies of housing in Vienna contributed to the popular instinct for struggling intellectuals to inhabit cafs. Not only were they places to congregate cheaply and comfortably, but they became invaluable hubs of activity within the community. Because of this, the class of patrons extended to wealthy, successful professionals

fig 21.4 Caf Museum, Chairs designed by Thonet.fig 21.3 Caf Museum.

who would occupy the cafs as an extension of their office. Because the quintessential caf was strongly associated with an urban lifestyle, they nearly all were constructed within the constraints of a renovating a retail storefront. Many, like the Caf Central, were renovations of large open spaces that had fallen into disuse. The high vaulted ceilings and large windows of the adapted bank and stock-market building formed a cavernous and flexible environment that was critical to Caf Centrals popularity. Others, like the Kleines Caf, were tiny claustrophobic spaces that demanded careful organization of functions and could only support a select clientele.


The extreme variation in scale and interior conditions of cafe spaces across Vienna engendered an inherent fl exibility of the type; The installation of built in furniture would have been detrimental to the myriad of different social arrangements that cafe patrons cultivated. Freestanding chairs, tables, billiards, and newspaper racks, could freely organize themselves within the spaces to form the hierarchies and adjacencies that were crucial to the exchange of ideas and information. The low lighting of dim alcoves was ideal for recluses and eccentrics who resorted to scrawling away in isolation, while the airy and well lit spaces were unequivocally

dominated by successful artists and writers with reserved tables; a place to be seen. Often within these spaces were staunchly exaggerated boundaries between the corners furnished with billiards tables, large groups of rowdy card players, chess players seeking serenity and small cliques of artists. The lightweight, bent beechwood chairs that became universal encouraged this organizational model. In an era before mass communication, the interaction of disparate social and professional groups at coffee shops proved essential to intellectual progress.

fi g 22.1 Caf Central Interior

23fig. 23.1 Cafe Griensteidl. Vienna, 1896. Reinhold Voelkel.


University ClubsIn 18th century England, the instinct of upper class men to fraternize took the form of members-only private institutions that became known as gentlemens clubs. These clubs, both exclusive and aristocratic in fl avor, provided a private environment for elite socialization and gambling, which was still illegal in non members-only establishments. By the 19th century, however, the gentlemens club model began to augment beyond the circles of upper class Englishmen. With increasingly progressive civil reform, such as expanded voting rights and egalitarian economic opportunity, middle class men began to enjoy more social freedoms and leisure time. Accompanying this movement was the perceived elevation to gentlemen status, ultimately inspiring men to seek clubs that, previously, only the disproportionate population of affl uent men could join.

Because the existing clubs had long waiting lists and were hesitant to welcome these new gentlemen, the newly enfranchised bourgeois began forming their own clubs. In the late 19th century, London had over 400 such establishments. Members common interests in politics, art, sports, travel, literature, armed forces, or a specifi c university characterized many clubs. Some examples in London include the Caledonian Club whose members must all be from Scottish descent and the Travellers Club which requires a specifi c travel requirement from all its members, one of them being that every member must have traveled at least 500 miles from London.

These clubs acted as second homes to their members. They consisted of rooms where men could meet up with friends, play parlour games, get a meal, relax, stay overnight, or even just get away from the women in their life. It was important that the design of the clubs created a place where all their members, especially those with modest incomes, could spend time in grand surroundings, very often much more lavish than the surroundings they were accustomed too. Architects who were designing the most expensive country homes designed many of the clubs; this strongly reinforced the idea of a home away from home.

Fig 24.1 Athenaeum Club. London, England.

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Closely following the English precedent, New York City university clubs developed in response to cohorts of university alumni seeking a place to congregate. Three clubs by McKim, Mead, and White, the Metropolitan Club, the University Club, and the Harvard Club, depict the crux of this type. Built at the

turn of the 20th century, these clubs were entirely based on college affiliation. The continuing commitment to academics is shown through the large, comprehensive libraries and rare art collections.

Fig 25.2 Harvard Club. McKim, Mead, and White.fig. 25.1 University Club. New York, New York. McKim, Mead, and White.


The programs are very similar to the English clubs, but where English clubs only contained one room for the entertainment and reception of guests, the university clubs of New York City usually included at least three large multi-purpose spaces. The typical fl oor plan consisted of large rooms on the perimeter connected by a main hall with a grand staircase that lies on axis with the entrance. The resulting infi ll spaces house the service spaces for the building. Many of the rooms have a strong relationship between plan and section, where high ceilings and fl oor to ceiling windows reestablish the feeling of grandeur but domestic scaled elements such as fi replaces and small furniture groupings still allow for intimate gatherings.

The interior fi nishes and ornament are strongly infl uenced by the Italian Renaissance while the general arrangement of the furniture has more resemblance to a grand salon. Ample budgets are expressed in the interior designs where marble, mosaics, wood, leather, and lavish textiles create a luxurious backdrop for the social activities of the members of these elite clubs. Surfaces show the architects attention to detail; beyond the sumptuous materials are carvings, gilded surfaces, and murals that give each room an impressive feeling a grandeur. The decor is composed of dark and rich colors, which speaks to the masculine tone of the institution.

27fig. 27.1 Metropolitan Club Library. New York, New York. McKim, Mead, and White.


Stock ExchangesThe history of stock exchange buildings is largely the evolution of a safe secure and bounded precinct. An exchange is when commodities, goods and stocks are traded between merchants and consumers. The concept of an exchange building developed in response to the need to house trading in a safe and centralized manner. The exchanges can be categorized into three architectural types: Open-court yards type, community center type, and restricted urban type.

The early, open-court-yard type centralized the exchange of goods. This type was later modifi ed to enclose the central courtyard space. This modifi cation led to the community center type. This type consists of at least one large room used for primary exchanges encompassed by smaller spaces for secondary exchanges. The scale of the community center type allowed it to be used as event space for larger city functions.

The third type is a restricted urban type; this form is restricted by the surrounding density of the urban fabric. This type allows for a more privatized exchange privy to investors and stockbrokers. The design of these exchanges was based around a central trading fl oor or pit where traders sell and buy assets. In order to communicate in these settings a system of shouting and hand signals was developed, this was known as the Open Outcry. The rules tended to differ between trading fl oors, but the purpose of hand signals remained important.

fi g 28.1 Chicago Stock Exchange, 1893. Louis Sullivan.

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Two examples of the open-court yard type are the Royal Exchange in London (1667) and the Amsterdam Exchange (1608). Towards the beginning of the 17th century both London and Amsterdam started becoming centers for mercantilism and they needed sufficient spaces to accommodate this shift. Both of these exchanges were based around the idea of a large open court yard surrounded by a loggia that allowed for a centralized exchange. Merchants set up stands both in the court yard and in the loggia. The loggia had a second level which provided a more private atmosphere for the wealthier merchants. The exchanges only had one entrance to control the flow of people into the exchange.

Eventually there was a shift away from the open-court yard exchange because merchants needed more protection from the elements, which led to the establishment of the community center type. An example of the community center type is the Amsterdam Exchange. The building was designed by H.P. Berlage in 1901. Berlages concept for the exchange was to design a building testifying to the urban community. The building contains 3 trading halls (Commodities exchange, grain exchange and stock exchange), shipping exchange, chamber of commerce, offices for brokers, telegraph room and a caf. The

plan for the building was based off a square grid of 3.8m. The commodities exchange was the largest of the 3 halls at 45.6m x 22.8m. The commodities exchange also seconded as a venue to host large city functions. The grain exchange and the stock exchange were both 38m x 19m. All 3 great halls were triple height spaces with glass ceilings. The arcades surrounding the great halls provided intimate spaces for minor exchanges. The second and third floors contained offices for the stockbrokers and these offices overlooked the triple height exchange floors.

fig 29.1 The Amsterdam Exchange


An example of the restricted urban type is the Chicago Stock Exchange Building. The building was designed in 1893 by the fi rm of Adler & Sullivan. Designed as a thirteen-story offi ce building, the Stock Exchange building stood as an eloquent example of the contributions of Dankmar Adler and Louis H. Sullivan to the formation of the tall, metal-framed commercial building. For the architects, designing the Stock Exchange presented a unique opportunity with a functional requirement of a large, unobstructed room to be devoted for trading; located on the second and third fl oors is a two-story Trading Room. The Trading Room was designed for

a special purpose: trading; this required freedom of movement and the requirements of a large volume of space, combined with enough intimacy to make the human voice readily heard without amplifi cation.

For the design, the architects fully integrated structure and function with creative architectural forms and unparalleled ornamental detailing. The architect elected to design, a large terra-cotta semi-circular arch portal, three bays wide and two stories high to call attention to the main entrance, while the remainder of the ground fl oor are occupied by shops. The faade of the second fl oor was combined with that of the third fl oor into a two-story arcade to represent the double height Trading Room and an adjacent banking space from within to distinguish the importance of the space within the building.

fi g 30.1 Chicago Stock Exchange Trading Room

31fig. 31.1 Chicago Stock Exchange, 1893. Louis Sullivan.


Convention Centers and Exhibition HallsBefore the onset of mass communication, with which instant transmission of information is possible, the trend of globalization was cultivated within the framework of conventions and expositions. As nations industrialized and the accessibility of international travel increased dramitically, the instinct developed to gather as a global community and share in new discovery. These gatherings were focused on recent developments in trade and famous for their exhibitions of new technological inventions. Imagine walking through the massive halls of the Crystal Palace (fi g 32.1) to lay eyes on the latest kitchen appliances or learn about ground breaking advancements in agriculture. These world expositions were the forum in which scattered progress was brought together.

fi g 32.1 Crystal Palace. London, England. Joseph Paxton.

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fi g 32.2 Convention Hall Project Collage. Meis Van Der Rohe.

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Convention centers and messehalles, German for exhibition halls, have a long history dating back to the conservatories of the early 19th century. While convention centers and exhibition halls evolved from conservatories, some of the technology implemented in them can be traced back to other building typologies such as train stations, factories, and market halls. The most important technological advance in the evolution of convention centers was the introduction of cast-iron. Cast-iron beams and columns were introduced in factories in the late 18th century. By the early 19th century, this technology was implemented in the first glass conservatories of 1815 and 1817.

Before the use of cast-iron, conservatories were made of stone and glass. Iron allowed for much larger bays than stone, and iron faades allowed for thinner members than stone. This resulted in a large hall uninterrupted by columns and more natural light than ever before.

The earliest exhibition halls were similar in form to market halls with a large, rectangular hall in the center and two aisles flanking the halls long edges. In markets, these aisles would be occupied by market stalls, but in exhibition halls and conservatories, these aisles were left open.

fig 33.1 Chicago Convention Center. Mies Van Der Rohe.


The development of exhibition halls owes much to the tour of world exhibitions beginning in 1885 in Paris. From Paris, the international exhibitions traveled throughout Europe stopping in London, Paris for a second time, and Vienna before traveling across the Atlantic to the United States. The fi rst international exhibition held outside of Europe was the Philadelphia Exhibition of 1876. The international exhibitions were the home to exhibition halls of increasing size and grandeur.

While modern convention centers and exhibition halls vary widely in terms of form depending on their size and site, a tall, central hall fl anked by smaller meeting rooms and service spaces remains one of the most common hall types. This basic form allows for ample daylighting along the perimeter, clerestory windows between the shorter side aisles and tall central hall, and easy access for service trucks.

35fig 35.1 Boston Convention Center. Rafael Violy Architects.


Meeting Halls

fi g. 36.1 Faneuil Hall. Boston, Massachusetts. Charles Bulfi nch.

fi g. 36.2 Old South Meeting House. Boston, Massachusetts. Robert Twelves.

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S In spirit, English town halls were the 18th century contemporary equivalent of the Roman Basilica. They had the common purpose of housing business and legal activities, but most notably served as a multipurpose space for for various civic and cultural functions. In addition to famousy productive town gatherings, meeting halls housed art shows, performances, exhibits and festivals.

The architectural design of these town halls often varied from one another since they served as symbols and icons for specifi c cities and their local governments. Typically, town halls were two story buildings with large, open interiors to accomodate large crowds. Bostons Old South Meeting House, built in 1729, is a quintessential example of this building type and has been an important gathering place for nearly three centuries. Originally a Puritan meeting hall, The Old South Meeting House is now a museum by day and available to rent at night, continuingthetradition of a multi-purpose, social venue.

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Bostons need for meeting space only increased towards the middle of the 18th century, and in 1742, Faneuil Hall was created as a downtown market and meeting hall, providing a central gathering space for the residents of Boston to carry out a range of activities. The building has hosted activities as diverse as concerts, spelling bees, debates, lectures, and award ceremonies. Meetings at Faneuil Hall are credited with inspiring

the doctrine of no taxation without representation, as well as other pivotal moments in the American Revolutionary.

Rectangular in plan, this multi-story building was designed with an open ground floor with its second and third stories housing a double height great hall. A gallery surrounds the great hall, metered into bays by pilasters and Palladian windows. Above the

fig. 37.1 Old South Meeting House Interior

gallery, on either long side of the hall stand the mezzanine balconies, used originally for women and servants and today offer a clear view of the hall and its focal point. In the 19th century, more space was needed to better accommodate Bostons growing ranks of merchants, shoppers and visitors, so in 1826, Faneuil Hall was expanded to include the large Quincy Market structure, built in the popular Greek revival style. The contemporary status of Faneuil hall as one of Bostons most recognizable attractions attests to the cultural reverance felt by Bostonions and vistors alike.


fi g. 38.1 Old South Meeting House Interior

39fig. 39.1 Meeting at Faneuil Hall

674

room

s ins

ide ho

tels415 rooms outside hotels

owned b

y Harvardby BU

other owners


Civic Rooms of BostonLooking for a space to host your next event? Boston offers quite a selection. According to the Greater Boston Convention & Visitors Bureau, the City has 1,089 civic rooms for rent.

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City of Boston

2,745 1,900

2,976

3,723

33- 0 x 131- 0

33-0 x 131- 0

84- 0 x 60- 0

72- 0 x 39- 0

134- 0 x 28- 0

57- 0 x 28- 0

Old South MeetingHouse

Faneuil Hall

Christian Science CenterHall of Ideas

60 State Street

The W Hotel


Apple Store

Museum of Fine Arts320 8 16

Scale: 1/64" = 1'-0"

64ft

7,012

5,720

4,0502,462

55-

0

104- 0

48- 6

50-

9 62- 0

48-

0

60- 0

45-

9

34- 10

82-

6

100- 2

70-

0

120-0

111

-0

50- 8

38-

0

2,874

1,198

2,069

4,32713,320


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Civic Rooms of BostonAs an active urban center, the City of Boston offers a wide range of multi-purpose rooms located within a variety of building types. Our architectural research team investigated some of the cities most famous civic rooms to better understand the inner-workings of these spaces. The commercially available rooms of these buildings, including meeting spaces, banquet halls and ballrooms, are highlighted to compare areas and proportions.

2,745 1,900

2,976

3,723

33- 0 x 131- 0

33-0 x 131- 0

84- 0 x 60- 0

72- 0 x 39- 0

134- 0 x 28- 0

57- 0 x 28- 0

Old South MeetingHouse

Faneuil Hall

Christian Science CenterHall of Ideas

60 State Street

The W Hotel


Apple Store

Museum of Fine Arts320 8 16

Scale: 1/64" = 1'-0"

64ft

7,012

5,720

4,0502,462

55-

0

104- 0

48- 6

50-

9 62- 0

48-

0

60- 0

45-

9

34- 10

82-

6

100- 2

70-

0

120-0

111

-0

50- 8

38-

0

2,874

1,198

2,069

4,32713,320

x 131- 0

43

60 State

16,725 SF

16,983 SF

15,328 SF

14,520 SF24,544 SF

13,320 SF

16,004 SF

10,101 SF

10,488 SF

12,994 SF

10,115 SF

10,346 SF

10,744 SF

8,614 SF

9,680 SF

8,200 SF

8,529 SF

8,147 SF

5,104 SF

5,104 SF

5,104 SF

5,104 SF

5,104 SF

6,922 SF

6,726 SF

5,841 SF

7,524 SF

7,316 SF

5,488 SF

5,633 SF

6,048 SF

5,758 SF

6,426 SF

5,546 SF

5,616 SF

5,330 SF

5,046 SF

5,720 SF

5,415 SF

3,060 SF

3,096 SF

3,018 SF

3,000 SF

3,364 SF

3,364 SF

3,320 SF

3,244 SF

3,364 SF

3,364 SF

3,513 SF

3,570 SF

3,364 SF

4,050 SF

4,242 SF

3,987 SF

4,680 SF

4,699 SF

4,021 SF

4,320 SF

4,332 SF

4,682 SF

3,936 SF

3,680 SF

3,800 SF

3,416 SF

4,074 SF

4,104 SF

4,425 SF

4,368 SF

3,600 SF

4,482 SF

4,200 SF

3,574 SF

3,825 SF

3,419 SF

3,710 SF

3,465 SF

3,364 SF

3,364 SF

3,364 SF

3,364 SF

3,364 SF

2,745 - 5,000 SF 5,000 - 8,000 SF 8,000 - 15,000 SF 15,000 - 513,000 SF

Meeting Rooms

Ballrooms

Banquet Rooms Grand Ballrooms

Exhibition Rooms

513,729 SF

118,000 SF

38,770 SF

36,900 SF 37,750 SF

44,600 SF

23,868 SF

37,590 SF

BCEC Exhibition

FairmontCopley Plaza

BCEC 254

BCEC 259

Hynes 210

BCEC O52

Sheraton Constitution

Seaport Plaza

Seaport WTCConcourse

Park Plaza

Four Seasons Event

BCEC 104

BCEC 107

BCEC 153

BCEC 156

BCEC 157

BCEC 160

SeaportWater Front

Marriott Copley E

Park PlazaTerrace

Hyatt Regency

BCEC 206

BCEC 257

Westin Water Front

Hynes 311

Best WesternLongwood

Holiday Inn Beacon Hill

Langham

The Liberty

BCEC 109

BCEC 162

Seaport Complex

Omni Rooftop

Park PlazaGeorgian

Courtyard Tremont

Hilton Back Bay

Millenium Hotel

Fairmont Copley Plaza

Seaport WTC Harborview

Seaport WTC Cityview

Harbor Hotel Wharf

Harbor Hotel Atlantic

Marriott Copley F

Marriott LongWharf Garden

Radisson Carver

MFA

BCEC 210

Royale Concert

Renaissance Water FrontSheraton Republic

SheratonIndependence

Colonnade

Holiday Inn

RenaissanceWater Front Atlantis

Ritz Carlton

Taj Ballroom

BCEC 102

BCEC 151

BCEC 204

BCEC 252

Taj French

Westin Water Front

Hynes 312

Seaport Hotel Lighthouse

Courtyard Marriott Tremont

Four Seasons

Intercontinental

MandarianOriental

Radisson

Westin Copley

BCEC 205

Sheraton Grand Ball

Sheraton Back Bay

Hynes 302, 304, 306

MarriottLong Wharf

Park Plaza Imperial

Intercontinental

Westin Copley

Westin Water Front

Marriott Copley

Park Plaza Exhibition

Westin Copley American BCEC Grand Ballroom

Hynes Grand Ballroom

Hynes Exhibit A

Hynes Exhibit B Hynes Exhibit C Seaport WTC Commonwealth Hall

Seaport WTC Complex

Marriott Copley

Marriott Copley

60 State

4,327 SF

3,723 SF

5,104 SF

Scale: 1" = 160'

Faneuil

Old South

2,976 SF

2,745 SF


Civic Room MatrixThis is a handful of Bostons rentable civic rooms, 95 to be exact, ranging from the famous Old South meeting house at 2,745 SF to the Boston Convention & Exhibition Center at 513,729 SF.

60 State

16,725 SF

16,983 SF

15,328 SF

14,520 SF24,544 SF

13,320 SF

16,004 SF

10,101 SF

10,488 SF

12,994 SF

10,115 SF

10,346 SF

10,744 SF

8,614 SF

9,680 SF

8,200 SF

8,529 SF

8,147 SF

5,104 SF

5,104 SF

5,104 SF

5,104 SF

5,104 SF

6,922 SF

6,726 SF

5,841 SF

7,524 SF

7,316 SF

5,488 SF

5,633 SF

6,048 SF

5,758 SF

6,426 SF

5,546 SF

5,616 SF

5,330 SF

5,046 SF

5,720 SF

5,415 SF

3,060 SF

3,096 SF

3,018 SF

3,000 SF

3,364 SF

3,364 SF

3,320 SF

3,244 SF

3,364 SF

3,364 SF

3,513 SF

3,570 SF

3,364 SF

4,050 SF

4,242 SF

3,987 SF

4,680 SF

4,699 SF

4,021 SF

4,320 SF

4,332 SF

4,682 SF

3,936 SF

3,680 SF

3,800 SF

3,416 SF

4,074 SF

4,104 SF

4,425 SF

4,368 SF

3,600 SF

4,482 SF

4,200 SF

3,574 SF

3,825 SF

3,419 SF

3,710 SF

3,465 SF

3,364 SF

3,364 SF

3,364 SF

3,364 SF

3,364 SF

2,745 - 5,000 SF 5,000 - 8,000 SF 8,000 - 15,000 SF 15,000 - 513,000 SF

Meeting Rooms

Ballrooms


Exhibition Rooms

513,729 SF

118,000 SF

38,770 SF

36,900 SF 37,750 SF

44,600 SF

23,868 SF

37,590 SF

BCEC Exhibition


BCEC 254

BCEC 259

Hynes 210

BCEC O52


Seaport Plaza


Park Plaza

Four Seasons Event

BCEC 104

BCEC 107

BCEC 153

BCEC 156

BCEC 157

BCEC 160

SeaportWater Front

Marriott Copley E

Park PlazaTerrace

Hyatt Regency

BCEC 206

BCEC 257

Westin Water Front

Hynes 311



Langham

The Liberty

BCEC 109

BCEC 162

Seaport Complex

Omni Rooftop

Park PlazaGeorgian

Courtyard Tremont

Hilton Back Bay

Millenium Hotel




Harbor Hotel Wharf


Marriott Copley F


Radisson Carver

MFA

BCEC 210

Royale Concert



Colonnade

Holiday Inn


Ritz Carlton

Taj Ballroom

BCEC 102

BCEC 151

BCEC 204

BCEC 252

Taj French

Westin Water Front

Hynes 312



Four Seasons

Intercontinental

MandarianOriental

Radisson

Westin Copley

BCEC 205

Sheraton Grand Ball

Sheraton Back Bay

Hynes 302, 304, 306

MarriottLong Wharf

Park Plaza Imperial

Intercontinental

Westin Copley

Westin Water Front

Marriott Copley




Hynes Exhibit A


Seaport WTC Complex

Marriott Copley

Marriott Copley

60 State

4,327 SF

3,723 SF

5,104 SF

Scale: 1" = 160'

Faneuil

Old South

2,976 SF

2,745 SF

60 State

16,725 SF

16,983 SF

15,328 SF

14,520 SF24,544 SF

13,320 SF

16,004 SF

10,101 SF

10,488 SF

12,994 SF

10,115 SF

10,346 SF

10,744 SF

8,614 SF

9,680 SF

8,200 SF

8,529 SF

8,147 SF

5,104 SF

5,104 SF

5,104 SF

5,104 SF

5,104 SF

6,922 SF

6,726 SF

5,841 SF

7,524 SF

7,316 SF

5,488 SF

5,633 SF

6,048 SF

5,758 SF

6,426 SF

5,546 SF

5,616 SF

5,330 SF

5,046 SF

5,720 SF

5,415 SF

3,060 SF

3,096 SF

3,018 SF

3,000 SF

3,364 SF

3,364 SF

3,320 SF

3,244 SF

3,364 SF

3,364 SF

3,513 SF

3,570 SF

3,364 SF

4,050 SF

4,242 SF

3,987 SF

4,680 SF

4,699 SF

4,021 SF

4,320 SF

4,332 SF

4,682 SF

3,936 SF

3,680 SF

3,800 SF

3,416 SF

4,074 SF

4,104 SF

4,425 SF

4,368 SF

3,600 SF

4,482 SF

4,200 SF

3,574 SF

3,825 SF

3,419 SF

3,710 SF

3,465 SF

3,364 SF

3,364 SF

3,364 SF

3,364 SF

3,364 SF

2,745 - 5,000 SF 5,000 - 8,000 SF 8,000 - 15,000 SF 15,000 - 513,000 SF

Meeting Rooms

Ballrooms


Exhibition Rooms

513,729 SF

118,000 SF

38,770 SF

36,900 SF 37,750 SF

44,600 SF

23,868 SF

37,590 SF

BCEC Exhibition


BCEC 254

BCEC 259

Hynes 210

BCEC O52


Seaport Plaza


Park Plaza

Four Seasons Event

BCEC 104

BCEC 107

BCEC 153

BCEC 156

BCEC 157

BCEC 160

SeaportWater Front

Marriott Copley E

Park PlazaTerrace

Hyatt Regency

BCEC 206

BCEC 257

Westin Water Front

Hynes 311



Langham

The Liberty

BCEC 109

BCEC 162

Seaport Complex

Omni Rooftop

Park PlazaGeorgian

Courtyard Tremont

Hilton Back Bay

Millenium Hotel




Harbor Hotel Wharf


Marriott Copley F


Radisson Carver

MFA

BCEC 210

Royale Concert



Colonnade

Holiday Inn


Ritz Carlton

Taj Ballroom

BCEC 102

BCEC 151

BCEC 204

BCEC 252

Taj French

Westin Water Front

Hynes 312



Four Seasons

Intercontinental

MandarianOriental

Radisson

Westin Copley

BCEC 205

Sheraton Grand Ball

Sheraton Back Bay

Hynes 302, 304, 306

MarriottLong Wharf

Park Plaza Imperial

Intercontinental

Westin Copley

Westin Water Front

Marriott Copley




Hynes Exhibit A


Seaport WTC Complex

Marriott Copley

Marriott Copley

60 State

4,327 SF

3,723 SF

5,104 SF

Scale: 1" = 160'

Faneuil

Old South

2,976 SF

2,745 SF

45

Information provided by the Greater Boston Convention & Visitors Bureau, Inc.

47

TACTICS AND STRATEGIES


CHANGING SPACES

49

Large, rentable, civic rooms must be fl exible.Some spaces have changed hands and uses many times over the course their life. Some change uses every night.

During fi eld trips, our studio visited some meeting places whose adaptability left a little to be desired. The minimum standard for a dividable room is the use of Air Walls which slide on tracks and fold into closed pockets when not in use. But several Great Rooms go the extra mile with beautifully executed Architectural solutions to this need.

First we will look at two notable spaces that can change on a dime. After those, we see two more spaces that have changed over time...

Function

Circulation


In addition to stunning panoramic views of Boston Harbor, the various confi gurations of the function rooms at Sixty State Street are key to the venues commercial success. The operational strategy is a careful consideration of scale and proportion; the long, contiguous, narrow space, organized along the perimeter of the building, can be subdivided into up to fi ve separate event spaces with conventional doors instead of costly air walls.

SIXTY STATE STREETFUNCTION SPACESSkidmore, Owings & Merrill. Boston, Massachusetts, 1977.

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fig. 51.2

fig. 51.1

fig. 51.3 fig. 51.4


dining and dancing 280 People Ceremony/Theatre 225 People

fi g. 52.1 fi g. 52.2 fi g. 52.3

53

reception 500 People Conference Table 200 People

fi g. 53.3 fi g. 53.4

0 16

1/32 = 1-0

64328

N


Although programmed as a place of worship, the Church at Vuoksenniska shares its congregational space with the surrounding community as a venue for social functions. The body of the church can be divided with the operation of sound proofed, undulated concrete partitions. This enables the church to host additional meetings and activities without visual or acoustic disturbance.

CHURCH AT VUOKSENNISKAAlvar Aalto. Vouksenniska, Finland, 1959.

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55

1 Open - Opencapacity for 800

2 Open - Closedcapacity for 520

3 Closed - Opencapacity for 260

4 Closed - Closecapacity for 260

fi g 55.2 Church interior. Through the use dynamic partitions, the interior space can be sectioned off into three parts to respond to the changing programmatic needs.

fi g 55.1

Old South Meeting HouseSection

0 16

1/32 = 1-0


Old South Meeting House is one of Bostons oldest landmarks. After nearly three centuries, the legendary meeting space is now a revered symboland contemporary forumof dissent and free speech, most famously hosting the meeting that inspired the Boston Tea Party. Over the course of its tumultuous history, the Old South Meeting House has evolved in a politically barometric fashion from a Puritan meeting house (1729-1760s), to a riding school for British soldiers (1775-1776), a Civil War recruiting station for Union troops (1861-1865), a US Post offi ce (1874), a museum (1877-1900), and is now both a heavily visited historic site and a popular venue for meetings and lectures (1900-present).

OLD SOUTHMEETING HOUSERobert Twelves. Boston, Massachusetts, 1729.

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100 Seats 100 Seats

25 Seats 25 Seats

Museum ExhibitsMuseum Exhibits

88-0

61-9

12-014-0 14-0

10-6

8-6

10-6

16-3

16-0

32160 4 8

1/16 = 1-057


Old sOuTH MeeTInG HOuse Changing Spaces

During British occupation of Boston, furniture and pews are completely cleared to accommodate the spatially demanding program of a riding school.

fi g. 58.1 fi g. 58.2 fi g. 58.3

Built-in furniture for sorting mail is installed and the mezzanine is repurposed for administrative tasks.

Open 361 days a year as a museum and historic site on Bostons Freedom trail, the Old South Meeting House is restored to its original layout.

1775-1776 Riding School for British Soldiers

1874 United States Post Offi ce

1900 -Present National Historic Museum Forumfor Free Speech and Meetings

Coat Check

Round Table

Buffet Station

ServiceEntrance

Main Entrance

Museum

Exhib

itsM

useum E

xhibits

59

Riding School for British Soldiers United States Post Office Cocktail / Dinner Option

Trading Room Banking Room Service Space

2nd (Main) Floor Plan of Chicago Stock Exchange Building

0 128643216

1/64 = 1-0


On the 2nd fl oor of the Chicago Stock Exchange building, the freedom of movement implied with the trading of stock was accomodated with the design of a large, fl exible, day lit room. This room, engineered expressly for the purposes of trading, negotiated the lofty spatial requirement of hosting swarms of traders with the stipulation for acoustic intimacy. Since its construction, the use of this room has successfully responded to the evolution and technological advancement of the stock exchange.

CHICaGO sTOCk eXCHanGe TradInG rOOMAdler & Sullivan. Chicago, Illinois, 1893.

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2nd (Main) Floor Plan of Chicago Stock Exchange Building

Banking Room

Service Space

Trading Room

63-3

97-0

64-0 x 77-9

Trading Room of Chicago Stock ExchangeFloor Plan / Reflected Ceiling Plan

0 16

1/32 = 1-0

64328

61

Trading Room Floor Plan Trading Room Refl ected Ceiling Plan


fi g. 62.1 fi g. 62.2 fi g. 62.3 fi g. 62.4

CHICaGO sTOCk eXCHanGeChanging Spaces

Focal point of space is towards the offi cers rostrum. Investors shout and gesture to purchase or sell stocks.

Trading room with designated stations for investors to purchase and sell stocks in a particular sector.

Merchants are seated with the focal point of space towards the offi cers rostrum. Stocks are not being traded.

The trading room is reconstructed and preserved at the Chicago Art Institute for use for banquets and fund-raising events.

Stations

Focal Point of Trading room

Investors

63

64Civic Rooms for Rent

CIRCULATION AND POCH

65

Keeping large, rentable public spaces functioning smoothly requires signifi cant planning.

Some of the institutions we visited were extremely protective of their Back of House. But Architecture students are experts at espionage. We examine in this section some of the most effective circulation and poche spaces at an informative variety of scales.

function space Pre-function space Circulation spaceLarge Room ProgramMeeting HallsActive Space

The Destination

LobbiesFoyersCirculation Eddies

Gathering Space

HallwaysCirculation CoresStairways

Getting There


Movement through a structure to its interior function space plays a key role in the success and fl exibility of an establishment. Routes serve a variety of user groups, sometimes even a number of unrelated groups simultaneously.

The lucid promenade into the building contrasts with the mysteriously serpentine routes within. This is a tactic to keep an occupant focused and intellectually present; foregoing anticipation of the circulatory experience. Initial visitor entry occurs in a long, straight corridor, whereas gallery circulation relies on the careful consideration of threshold between rooms, avoiding hallways between.

CIrCulaTIOn

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BeYeler fOundaTIOn

fi g. 66.1 Thermal Baths. Peter Zumthor.

67

Upon entry along the front of the church, worshipers are guided in a lengthy procession to the spaces rear before entering the nave. As worshipers move down the hall, they have the option of fi ltering into pews by way of small, visually curious openings.

CaTHedral Of OurladY Of THe anGels

The Copley Plaza Hotel has four different function rooms all of which are linked to a pre-function space. Since there are multiple pre-function spaces the hotel is able to host more than one event at a time.

faIrMOunT COPleYPlaZa HOTel


The Hall of ideas can be accessed by two different entrances. One entrance leads directly into the hall while the other takes the visitor through a lobby space which could function as a pre-function space. The entrance that leads into the hall puts the visitor in the center of the room and could be perceived as a more celebratory entrance. The second entrance is into the side of the room and could potentially limit the experiential aspect that one would gain from entering into the center of the room.

Faneuil Halls space is unique because it forces the visitor up a fl ight of stairs and into the space. This grandiose entrance heightens the experience of the space.

Hall Of IdeasfaneuIl Hall

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The W Hotels function space is removed from the public eye because it is on the second fl oor. The main lobby space acts as a pre-function space for four separate function spaces.

W HOTelThe convoluted circulation of the bath house engages the sensation of dislocation, key to the bathers experience of relaxation. Circulation twists and breaks down, denying bath goers clear direction to a return path. This perceptive technique prioritizes immediate stimuli, and dematerializes the conventional process of passage.

THerMal BaTHs

1 2


Large interior programs require signifi cant support. Service space accounts for a large percentage of building footprints, and the physical relationship between these zones and the rooms they furnish is crucial.

POCH sPaCe

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E The Beyeler Foundations back wall poch space is held away from the gallery areas along a single loaded corridor. This simple strategy offers the gallery space geometric clarity and regularity.

In a museum, where support staff does not need to interact with program space frequently, it makes sense to prioritize the openness of the galleries and keep the program completely separate from the back of house.

BeYeler fOundaTIOn

Served Spaces1. West Gallery Space2. East Gallery Space

Secondary Program and Public Circulation

Service Program Spaces

Service Non-Program Spaces

Elevator CoresStair CoresPrivate ChapelsChanging Rooms

Poch space, available to the public

fi g. 70.1 Ronchamp light scoop. Le Corbusier.

KitchensOffi cesStaff Corridors Staff Elevators

Active, functional poch space

ClosetsStorageShaftsMechanical

Inactive poch space

Dimensions:

1

1

2

5

43

71

Semi-private chapels line the entry halls, carved out of a thick wall. Incoming church-goers catch a glimpse of the hall within, by way of the narrow slits in the poch that divide the chapel spaces.

The far wall of the chancel offers space for an administrative suite and some storage for the clergy.


Served Spaces1. Congregation Space

The Copley Hotel also requires signifi cant program space, but instead of clumping service space together the hotel distributes space as needed throughout the fl oor adjacent to the large program spaces they serve.

There is also a complex network of passages in the basement level allowing service staff and goods to travel out of sight.

faIrMOnT COPleYPlaZa HOTel

Served Spaces1. Ballroom Suite2. Wedding Suite

3. Central Room4. Oval Room5. Oak Bar

11

2


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kunsTHaus BreGenZ

Served Spaces1. Exhibition Space (4 Floors)

Also rendered as spaces carved out of a thickened wall, Ronchamps chapels engage their immediate context and break down the edges of the central space. This reading is enforced by the thick window wall to the south.

rOnCHaMP CaTHedral

Served Spaces1. Interior Congregation Space2. Exterior Congregation Space

1 2 3 4

8

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21

73

A signifi cant need for poch space in a hotel often requires a large service space footprint. The W Hotels meeting room suites require kitchens, offi ces and space for diverse accommodations ranging from party hats to tables to lighting to dance fl oor pieces.

W HOTel

Served Spaces1. Major Prefunction2. Meeting A3. Meeting B4. Meeting C

5. Minor Prefunction6. Meeting D7. Meeting E8. Ballroom9. Hotel Spa

Bathers wander out from the prefunction spaces at the top of the plan and enter any number of pools and rooms further into the bath. The transition between pre-function and function is broken down, easing the occupant into the controlled environment.

Zumpthor breaks the poch into units, and deconstructs the back wall of the space. This affords the spa program a sense of boundlessness.

THerMal BaTHs

Served Spaces1. Extroverted Bathing Zone2. Introverted Bathing Zone


NATURAL LIGHTING

75

We found that many of the conference spaces available in Boston do not live up to the high standards of daylighting we studied from successful projects around the world.

Meeting rooms are often buried deep in the heart of a larger leasable building, and tend to rely on artifi cial lighting for tasks and ambience.

A critical component of a quality space is access to natural light. Each following example of interior space shows a great way to do it right.


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Casa del fasCIOThe main space of the Casa del Fascio features a glass skylight which allows natural light to fl ood into the building. The interesting shape of the skylight allows the natural light to constantly penetrate the space regardless of what time of day it is. Natural light permeates into the building from the whole faade as well. The faade is punctured with large openings that are placed in a rigid and rational way to allow this light to penetrate into each room within the building.

In the case of the Cathedral, the great room is the nave. The nave offers no views of activities happening on the street level outside. Instead, the cathedral offers views of the blue, Los Angeles sky through openings located along the tops of walls and ceilings. Light is diffused through alabaster windows and light scoops on either side of the nave. Two chapels fl ank the nave, one on each side. The Chapels receive diffused light through thin, alabaster panels that separate the chapels from the nave. The skylights and translucent window panes provide the name and chapels with an abundant amount of natural light.


77

An ingenious system of skylight allow natural diffused light to penetrate the interior space of the trading room. With beautiful leaded glass panels that are mounted on the perimeter of the ceiling of the second fl oor trading room, the artistic glass acted as a skylight surrounding the four walls of the room letting natural light to grace the interior space during daylight hours.

CHICaGO sTOCk eXCHanGeSince the church can function as a whole and as three separate parts there are three different lighting strategies for each part of the space: The main service space has windows on the upper part of the east and west walls. The middle space has windows on the east and west walls. The back space has windows on the east and west walls as well as a window on the north wall.

CHurCH aT VuOksennIska


Conceived as a daylight museum, the glass facade or skin, diffuses natural light into a three foot wide light pit. From here the light passes through a second layer of glass set atop the perimeter walls into a space above the interior ceiling. Finally diffused daylight reaches the room through glass ceiling tiles. A unique artifi cial lighting system is available when natural light is not or if additional light is desired. Specially designed pendulum lamps hang above the glass ceiling and are controlled by an exterior light sensor. The artifi cial light is still diffused through the glass ceiling tiles which can be dimmed individually or together.

kunsTHaus BreGenZ

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G The Faneuil Hall meeting room is a double-height space, with windows on two stories letting in light on the North and South walls. The East and West walls are windowless; however, opening the large doors to the stair hall on the East side allows high-quality morning light to penetrate the entire space. At night and during Winter periods when natural light is less available, interior luminance is supplemented by sconces and overhead lighting. Overall, Faneuil Hall is not the best example of a successful lighting strategy contained in this chapter.

faneuIl Hall

58-0

52-0

79

The Museum of Fine Arts, with its enclosure of all glass and its use of light refl ective surfaces, is a bright and open space. The use of translucent glass and adjustable louvers on the ceiling are not very successful for the abundance of light that enters though the walls greatly reduces their effects. The green houses that border two sides of the atrium bring a natural element to the space but still allow light to bounce from the existing building into the atrium.

MuseuM Of fIne arTs


THRESHOLDS

81

Architecture could be conceived as the act of dividing the inside from outside. Many projects have found a way to celebrate this interesting relationship.

The most successful thresholds employ dynamic sensory transitions between spaces, rather than a simple door, entrance, or step. In the city, one constantly experiences these changes.

Sometimes we meet inside, sometimes we meet out, or sometimes just in the halls. A really great space links these all together, dematerializing exterior walls.

Extension of Floor Plane

Extension ofDividing Wall


The Beyeler Foundation uses an exterior pool to identify the entrance and to visually expand the interior space to the ex-terior. The extension of the structural walls into the pool, the extension of the ceiling plane into a roof overhang, and the mirror image of the interior expressed on the surface of the water all contribute to creating a feeling of one space. The glass, free of horizontal mullions, virtually disappears.

Beyeler Foundation

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Mussolinian concept of fascism as a house of glass into which everyone can peer gives rise to this wholly faithful interpreta-tion: no encumbrance, no barrier, no obstacle between the political hierarchies and the people. In addition, the distri-bution of rooms around the hall is the consequence of the greater or lesser hierarchical dependency of the departments on the Federal Secretarys offi ce and the frequency of their relations with the public.

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Casa del Fascio


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IP A single staircase allows the Clergy to ascend to a single exterior balcony. The small, solid door does not let in any light, and serves only as a passageway to the extrior. The balconys small scale is exaggerated as it sits under the heavy and oversized roof.

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The glazing surround all function spaces of Sixty State Street provide panoramic views of the city and the harbor. As one moves through the separate function spaces, the experience changes as different views of the city are seen.

Sixty State Street

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Careful material coordination can help to make a Great Room truly great. In one sense, the physical surfaces of a space are the closest interface to its occupants. There are many strategies for choosing a material pallette.

The sleekest spaces we visited in Boston such as the Apple Store actually require the most upkeep, as the clean and minimalist material choice highlights the accumulation of dirt. From a hospitality standpoint, the high-maintenance of rooms like these may outweigh the value of their aesthetic appearance.

A new level of interest and beautys achieved, with attention to detail and color. Here well explore some materials of note, without which these spacesd be duller.


CIVIC rOOM MaTerIals

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LS Interior design choices are an important factor in great rooms. The Apple Store (2008), Museum of Fine Arts Shapiro Family Courtyard (2010), Hall of Ideas (2002), Fairmont Copley Plaza Hotel - Oak Room (1912), and Faneuil Hall (1805) are all located in Boston, illustrating extremely different interior designed spaces that function as great rooms. Material choices relate to the desired character as well as the time period the space was designed.

fi g. 88.5 Museum of Fine Artsfi g. 88.2 Apple Store

fi g. 88.1 Faneuil Hall fi g. 88.4 Oak Room - Copley Plaza Hotel

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The elegant use of interior finishes of the Oak bar evoke the resemblance to a British officers club. The extensive use of dark wood in the gilded coffered ceiling, wall panels, openings, furniture and railings creates a sophisticated atmosphere that takes one back into the year of 1912.

Oak BarFAIRMOUNT COPLEY PLAZA HOTEL

fig. 89.1


aPPle sTOreBOSTONThe Apple Store in Boston represents the signature minimalist style of the brand with high attention to detail. The store has a sleek ambience, which resembles the products sold within the store. The translucence store has the signature glass grand stair in the center of the space. The building consists of a variety of glass, stainless steel, fi ne-grained siltstone fl ooring, white fi xtures, light wood countertops, and fl uorescent lamps. The material glass appears on the front faade, staircase, skylight, guardrails and the front door. Stainless steel is visible on the front faade structure, the ceiling, door handles, handrails, and the hardware attachment knobs. Apple maintains a elegant clean look through material quality.

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The Hall of Ideas is a neoclassical hall built in 1934. Located on the first floor, it is used for talks, concerts, and presentations. The lighting in the room, consisting of arch uplighting, ceiling downlights, sculptural globe hanging lights, and the fountain sculpture centerpiece, creates a dynamic and dramatic interior space. The first and second story colonnades create the feeling of a larger and more open interior.

Hall Of IdeasCHRISTIAN SCIENCE CENTER

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sHaPIrO faMIlY COurTYardMUSEUM OF FINE ARTSAs part of the new Art of the Americas Wing at the Museum of Fine Arts, Foster + Partners created a modern space within a Beaux-Arts structure. The slate fl oor covers the entire courtyard fl oor, a neutral pallet that complements the original stone and the modern materials. Metal grilles act as a mediator between the slate fl oor and the glazing, and also hide functions within certain columns. The glazing allows a visual connection between the courtyard and the original building, ensuring an open feel for the courtyard. One original brick facade is revealed, keeping a physical connection between the spaces. The ceiling consists of opaque panels, letting in plenty of ambient light for this expansive space.

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Designed in the Federal Style, the materials, decor and colors that make up the interior of Faneuil Hall are relatively simple, allowing a useable back drop for a variety of functions. The majority of the space, including the walls and ceiling are painted white and a light blue-grey. A medley of hardwoods enrich the rooms material and color palette. Detailed moldings, reliefs and columns, also painted white, add depth to the room, while colonial artwork and light fixtures add the finishing touches to the interior.

faneuIl Hall

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CIVIC ROOM GUIDELINES

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Rules of ThumbThroughout our research and first-hand experience visiting leasable interior program spaces, we have been keeping track of recurring issues, complaints, and successful techniques. From these points we have developed twelve rules of thumb for designers approaching this sort of project.

1. Provide more than one pre-function space, with public access routes from each. Where possible, provide multiple public stairs when the space occupies a different level than the entry floor.

2. utilize natural daylight whenever possible for task and ambient lighting. Provide room blackening shades as many programs require complete darkness.

3. disguise access to back of house spaces by providing double doors, indirect circulation paths, or courtesy walls.

4. Consider movable walls to sub-divide large spaces into a series of smaller spaces. Ideally, movable wall systems would include internal doors to allow those spaces to interconnect.

5. Consider paired or doubled partition walls to cut down on sound transmission. This can also create a useful service corridor between program spaces.

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S 6. remember that every space requires a public entrance and back of house access. Subdivided spaces created by movable partition walls must also have ample occupant and service access.

7. Where possible, provide two public access points per space to help manage timing of events and crowd control.

8. Consider including additional room infrastructure such as power points in floor, structural hooks in ceiling, raceways, etc. These increase the use-value of a space significantly.

9. service corridors should connect to furniture storage, food service, and AV equipment to reduce the need to cut through program space.

10. floor materials and fabrics should be calibrated to hide stains, especially red wine and coffee. Light and solid colors should be avoided as they show wear and stains.

11. Highly textured, darker materials in low light conditions do not require cleaning as frequently as do bright, minimalist details in over-lit spaces.

12. light level should be considered as part of agenda that establishes the overall character of the space.


Banquet12ft2/Person

Banquet with Dance Floor16ft2/Person

Reception8ft2/Person

10ft2/PersonTheatre

17ft2/PersonClassroom

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Spatial Requirements

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Boston Convention & Exhibition CenterRoom ft2 Reception Banquet Banquet w/ Dance Floor Classroom Theatre Conference Ballroom 40020 5370 3120 2718 5020

205ABC 8614 1230 700 675 960

107ABC 5104 729 400 420 601

102AB 3364 480 250 253 380

The W HotelRoom ft2 Reception Banquet Banquet w/ Dance Floor Classroom Theatre Conference The Great Room 1900 211 150 86 173

Sixty State StreetRoom ft2 Reception Banquet Banquet w/ Dance Floor Classroom Theatre Conference Great Room 6100 700 530 499 340 440 160

City Side Room 1&2 4327 360 250 200 200 250 100

Harbor Side Room 3&4 3200 420 280 250 220 240 125

Fairmont Copley Plaza HotelRoom ft2 Reception Banquet Banquet w/ Dance Floor Classroom Theatre Conference Grand Ballroom 5720 1100 640 375 800 50

Oval Room 4050 500 330 240 450 40

Ballroom Foyer 2115 450 250 125 250 40

Venetian Room 2025 250 240 125 250 110

Sheraton HotelRoom ft2 Reception Banquet Banquet w/ Dance Floor Classroom Theatre Conference Grand Ballroom 9549 980 576 1050 60

Constitution 6306 550 384 671

Republican 6026 500 366 594 60

Independence 3638 350 210 360 60

Liberty 2440 160 108 184 48

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CIVIC ROOM CASE STUDIES

Our research studio carefully chose each of the following buildings to study and document based on the lessons they have taught us about Great Rooms. We constructed Worms-eye Axonometric drawings to best understand the space as a whole, its enclosure, and its concept of volume. We hope they will be as useful and inspirational to you as they have been for us.

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Apple StoreBohlin Cywinski Jackson

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N The Boylston Street Apple Store functions as much as a retail outlet for the brand as a meeting center for its devotees. It holds free public classes and offers shoppers the Apple experience as much as it does Apple products.

Each fl oor boasts wide, open fl oor space with a glass stair in the center and access to light from the atrium in the center. On the top fl oor, the high ceilings and unobstructed view of the entire fl oor reinforce the brands commitment to transparency and stand as a testament to the vibrant technological culture that they encourage. The open nature of the three fl oors develops a visual dialogue between them. This spatial continuity is achieved in combination by the glassy central atrium and airy window wall at the front, fl oating nearly 10 feet away from the capped ends of the fl oor slabs.


Beyeler FoundationRenzo Piano Building Workshop

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N The Beyeler Foundation is a museum located in Riehen, Switzerland and was completed in 1997. The architect Renzo Piano focused on daylighting strategies by concentrating on the roof design to amplify the quality of natural light. The motif of the plan is expressed through the four structural parallel stone walls. The gallery spaces are energy effi cient, fl exible with movable walls, and proportional. Thermal buffer zones exist within the roof to the west and east facades to maintain thermal comfort. The high quality materials and design techniques create a bright, vigorous ambience.

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Casa Del FascioGiuseppe Terragni

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SCIO Completed in 1936 under the Fascist regime of Mussolini,

the Casa del Fascio was used as the local headquarters for the Fascist party and functioned as a set piece for Fascist rallies. Giuseppe Terragni conceptualized the building as a palazzo centered around a glass covered courtyard, a glass house through which the people could observe their government working. The central courtyard is illuminated from above by a glass skylight and provides a panoramic view of the surrounding offi ces.

Trading Room

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Chicago Stock ExchangeAdler & Sullivan

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E The Chicago Stock Exchange represents an example of a restricted urban type in the architectural and cultural history of exchange building. The building was designed in 1893 by the fi rm of Adler & Sullivan. Designed as a thirteen-story offi ce building, the Stock Exchange building stood as an eloquent example of the contributions of Dankmar Adler and Louis H. Sullivan to the formation of the tall, metal-framed commercial building. For the architects, designing the Stock Exchange presented a unique opportunity with a functional requirement of a large, unobstructed room to be devoted for trading; located on the second and third fl oors is a two-story trading room. The trading room required freedom of movement within a large volume of space and, at the same time, enough intimacy to make the human voice readily heard without amplifi cation. The architects fully integrated structure and function with creative architectural forms and ornamental detailing.

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Church at VuoksenniskaAlvar Aalto

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A The Church at Vuoksenniska, located in Finland, was designed by Alvar Aalto in 1956 and built from 1957 to 1959. The organic shape of the building was derived by the acoustic and visual demands of its services. Vuoksenniska functions primarily as a church but also houses the towns various social activities. The body of the church consists of three parts from which various combinations can be made by the aid of movable, sound insulated partitions that ensure the usability of a multifunctional space. Function and fl exibility illuminate the relationship of the church to its context and its communitys social needs.


Fairmont Copley Plaza HotelHenry Janeway Hardenbergh

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The Fairmont Copley Plaza Hotel, designed by Henry Janeway Hardenbergh in 1912, is centrally located in Bostons historic Back Bay. The entry level and the basement level house banquet rooms that can host a variety of events. The Oak Bar and the Oak Room emulate elegant living rooms reminiscent of a British Offi cers Club. The strategic placement of servant and served spaces for each function space is crucial for the smooth running of all rooms simultaneously.

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Faneuil HallCharles Bulfi nch

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LL Faneuil Hall Meeting House has been a popular and widely utilized marketplace and meeting hall in Boston since its erection in 1742. Often dubbed The Cradle of Liberty, Faneuil Hall witnessed speeches by James Otis and Samuel Adams, and spurred American Revolutionary ideals. Enlarged in 1805 by Charles Bulfi nch, the hall was home to town meetings until Boston was made into a city. Today, the lower story of Faneuil Hall still functions as a marketplace, its middle level houses the historic meeting space, and its upper fl oor is home to the Ancient and Honorable Artillery Company of Massachusetts. The interior meeting hall is a double-height volume with balconies overlooking the space on three sides. It is said that (before the introduction of code related occupancy limits) the room would have once brought together upwards of 800 people. Faneuil Halls most attractive feature as a meeting house is the open fl oor plan where chairs may be confi gured in different arrangements, allowing for ultimate gathering fl exibility in the space.

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Hall of IdeasAnn Beha

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Center in Boston, MA, was built in 1934 and renovated in 2004 by Ann Beha. This neoclassical, 5,500 SF space boasts a double-height interior surrounded by a co

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