--------- Okay, good evening everybody and thank you all for joining us at a design subcommittee meeting of the Boston Civic Design Commission. Today's date is Tuesday, November 18th, and this is session A of the BCDC design subcommittee. My name is
Seth Ryman, deputy director of design review at the planning department. The planning department continues hosting public meetings in a virtual setting for the health, safety, and accessibility of Boston residents. Before we proceed with the agenda, I am required by the open meeting law to notify the public that
this meeting is being recorded. Please turn off your camera and microphone if you do not wish to be recorded. For the record, uh the following commissioners are present tonight. Uh Commissioner Eastley, Gilly Smith, Karitus, and Manf Freddy. And we are
expecting Commissioner Morris uh to join us. Tonight's agenda will include two presentations from a single proponent team, including the first proposed amendment to the 2024 to 2034 institutional master plan for Wentworth
and an associated building project at 550 Huntington Avenue. Tonight's meeting proceedings will begin with a presentation from the proponent, followed by comments and discussion from the commissioners, and then an opportunity for public comments and finally a discussion of next steps. And
I believe I've elevated uh Matt, Anthony, and Michelle to co-host. Uh team, let me know if there's anybody else you would like elevated. >> Oh, I think that's everybody. Thanks. Okay. This will be the third presentation of the proposed uh first
amendment to the approved IMP and associated project at 550 Huntington Avenue following introductions at the September 9th, 2025 monthly meeting and at the October 21st design subcommittee meeting. As a reminder, commission
procedures roadmapped up to five meetings to review the IMP amendment and associated project. And from the group here tonight, commissioners Eastley, Cautus, Manf Freddy, and Mars were present at the most recent meeting, and we ask that they be prepared to begin
our discussion this evening. To the project team, uh please note that your presentation is limited to a total of 30 minutes for both presentations. uh we'll ask you to start in on the first part of the presentation on the IMP and then maybe pause uh before you jump into
the um architecture portion uh to see if the commission would like to see the whole presentation or like to comment on the IMP at that time. Uh so Wentworth team, I'll hand it over to you. Thank you. >> Okay, thank you. Let me just pull up my
screen here. See? Okay. Everybody see the screen? Okay. >> Yes. >> Yeah. Okay. Great. Well, thank you all for um giving us your time this evening. We're really excited to share some progress um that we made since the last
time we met with with some of you. I think we've um been able to uh incorporate a lot of the uh discussion we had last time that was really fruitful. I think has led to some some good um development in the project. So, um, a brief overview of, you know,
things we're going to touch on, um, tonight. Uh, we'll start off with a little overview of the feedback from both BCDC and the, uh, planning staff to date and how we're responding. We also want to touch a little bit about, um, overarchingly like what makes, um, some
of the things we we're doing and we're proposing unique to Wentworth. Um we're also you know moving from a lot of diagrammatic massing views uh and uh kind of overarching macro scale things into a lot more detail now. So we'll be f focusing a lot uh more this evening on
architecture and materials and I think to the progression of the presentation there'll be there starts to become a little bit of a blend between some of the kind of IMP scale issues and then the specific development of the um Pike residence hall and the associated landscape which is a big part of the IMP
amendment. Um uh when we get to the landscape, we'll be talking about um uh embracing the solar conditions within the uh specifically the western open space and how we've uh uh evolved that design to be more flexible uh also to be more coherent and simple and creating a
singular gesture, creating a magnet for people in the west courtyard and again really thinking about how what we are proposing is uh reflective of Wentworth and its unique uh culture. Uh then when it comes to architecture, we're really uh focusing on the advancement of massing option 8 which we looked at last
time. Um we're uh then really adding a lot of uh development to the ground level ground level facade and how that's uh also the ground level planning is coordinated with the landscape design um and looking at how we uh have simplified the facade of the pike clarifying the
volumes um and in response um comments from commissioners and also from planning staff. Uh and then getting into the uh upper level facade of the building. Um really trying to come up with a simple pallet um that brings a creates a sort of a really crafted uh
material that comes to the ground where it can be appreciated and kind of um be really reflective of Wentworth and their culture of making and construction and also create something that you perceive uh is really interesting on the skyline, but also you discover uh there's more to learn when you uh kind of encounter it
up close. Um, and we're really looking at kind of a strategy of um interweaving and layering uh within the facade um in a way that is reflective of um both Wentworth's culture but also in the way that we're creating community in the building and also introducing some color
and warmth into the material pallet. So um just some overview of uh feedback and discussion that we had at the last subcommittee meeting. I think in general uh most commissioners were supportive of the massing direction that we were moving in with that option eight and the
site planning and there was the bulk of the discussion I think was around uh how to take the open space specifically on the west side of the building between the Pike residence hall and the treehouse and make that the best it can be as an open space going forward. Um there were uh some some questioning of
the massing uh mostly from Commissioner Lubenau and uh Commissioner Eley as well to some degree. Um Commissioner Lubenau asked if there were um other options that were considered last time we really we showed a range of studies that we did in the massing that were kind of in a
very narrow band of refinement. So we've got a little bit of additional context on that. Um, Commissioner Reley had some questions about the canal lever of the building and the kind of um the way that the uh pike facade steps in plan and the way that it met the pike that we will
address. Um, she also had a a comment about maybe calibrating the placement of trees to where there is more sun based on the um shadows of the uh the buildings and maybe locating trees in places that are going to be uh shady uh as a result of those shadows. And that's
something we have addressed. Um, Commissioner Matt Freddy had some questions around u wind mitigation specifically around the northeast corner of the building which we'll talk about. Um, and there was a lot of discussion um around again the character of that west open space and um I think it was a
really rich conversation and there was a lot of discussion around again how to be responsive to where the sun will be, where the shade will be based on the buildings. We be more creative in how we address that. Maybe that means less plants. Maybe that's um you know a less
natural uh landscape. U and could it be fun? Um and also could there be you know color within the landscape and within the building. Um there was some discussion I think commissioner Eastley had some comments about the north south connection and how that could be activated especially with mechanical
spaces uh fronting on the kind of ground level facade in that area. Um there were some um comments from Commissioner uh Codorites about um the east wall of the building and could there be some separation between the glass wall and the solid wall which we will get into.
Um uh Commissioner Morris has some comments about the um striping and the paving and just a broader question of whether the pike could be more creative and the building seeming a bit sterile. I think we had at you know previous meetings the um development of the visuals were pretty uh pretty
conceptual. So we'll have a much um deeper level of um kind of understanding of the building uh and materiality. Then finally there were questions if uh if we can make the physical model available which we did um and hopefully uh that was at city hall and those of you who uh
were able to are hopefully able to see that in person. Um so just before we um talk about some of the specific um evolution of the design, we wanted to touch a little bit on on what makes the project uniquely Wentworth. And I think this came out of uh a lot of there's a lot of really
creative ideas about um the open space last time and being playful and being colorful. Um and it caused us to really reflect on um how we needed to there all the discussions we've had with Wentworth over their culture uh how what their students are like how they express themselves and um and how the both the
landscape and the building should be reflective of their unique culture. So um when we think about what really makes this place Wentworth, we think about their focus on applied technology, their focus on making physical things and craft. And we kind of came to this um idea with them of uh creating a building
that was purposefully bold, that was kind of meaningful in in uh in the way that it's bold, never super superfluous or gratuitous, but sort of very honest um but also bold in its expression. Um there's an idea about uh that we've talked a lot about in the planning and
sort of the the way that the plan is organized with these two offset bars, how the communities are connected between them and that extends also into the expression of the exterior facade of the building. Um and um just as much as the um you know the treehouse uses color
and has a playful texture uh that is you know it's very expressive but it is also expressive of it that institution's own unique identity. So we're really thinking of you know how can we reflect Wentworth's own culture of making a craft and we really really started thinking about this in terms of uh what
we could do with the creatively with the plasticity of concrete as a material uh through utilization of texture and relief and shadow and kind of rigorous um patterning and also in terms of carbon uh sorry this uh reduction I should say here uh thinking about you
know car uh concrete being one of the more carbon intensive materials and thinking how can we create shadow and and a dynamic facade in a way that is also very um thoughtful about minimizing the amount of volume of concrete in the facade. Um and in terms of you know tying these this new building into the
existing context of the campus um you know the I think that concrete pallet is very much in the lineage of uh some of the more modern buildings. We have the very recent CIS building here which in this case is clad in a metal skin but very cool and cool toned. and another uh
kind of modern building on campus, Baby Hall Campus Center. So, tying into that palette, but also thinking of um some warm accents and some uh kind of secondary layer of material in the building that could also pick on some of the warmth and detail of some of the historic buildings on campus, which are
characterized by a warm uh toned brick and also some uh even more rich warm toned uh ornamental detailing in the facades. Um so to just briefly touch on the um uh the topic of the massing studies um that
Commissioner Luvenau had um kind of questioned last time, we just wanted to give a little bit of context that you know on the right hand side is what we were showing last time which was a very fine-tuned narrow band study of different variables within the massing of the buildings. But what preceded all of that uh before we filed the PNF and
had to you know uh hone in on a specific approach were quite a broad study of of other massing uh strategies uh starting of of course with ones that were most in keeping and most in alignment with the 2024 IMP. So a pike residence hall that was in the same location but taller um
maybe it had a different footprint that had a different proportion on the site. It might uh uh create a little bit more daylight and different shadow impact. uh reorienting the building uh as a more singular volume. Um and you can see some of the plant studies that we did here too. So we evaluated all these um and it
really ranged pretty broadly till we got to the um solution which we proposed which are these two offset bars and then again um what we shared with the commissioners who were present last time was um the very detailed kind of calibration of the massing that we did
with planning staff in between um ECDC uh subcommittee the first subcommittee meeting and the second subcommittee meeting which was uh really focused on trying to shorten the length of the building overall north to south but also um increase the difference in the height between the offset bars. Uh so that was
something that we shared um with the committee last time and again this is kind of a a section and plan comparison of what was proposed in the PNF versus uh the option 8 that we've been moving forward with uh which uh add some height to the eastern wing of the building
creating a little more hierarchy between those two pieces of the massing and also shortening the building overall from north to south which had um some good you know sight impacts opened up some uh more ground plane on the north end of the building and and potential for wind mitigation. Uh so there are a lot of advantages to that and that got us to uh
this basic massing which includes uh in the center the pike residence hall with the two uh bars that slide relative to one another in plan with the eastern most bar being uh taller and having uh increased that height difference between them. the uh mass of the Huntington
Academic Building which uh has the kind of lower mass that's aligned with Huntington Avenue and then the upper mass of the building which set sets back uh uh respecting the Avenue of the Arts guidelines. But again, this is also one way that that massing could be realized
in that future uh PIP project. Um and then over to the right is the um uh the residence hall that would be on the center quad and the uh a couple other views from the uh looking northeast and northwest. Um so to talk about the development of
the open space, I'll hand it over to uh Anthony and Meech. >> Thank you, Matt. I'm going to walk through the open space adjustments uh we made to planning for the IMP amendment and then we'll pass it on to Michelle Cwley uh to walk through the near-term landscape that's associated with the ADB
Pike Residence Hall project. Um there were some really really wonderful comments uh and I think it helped us unlock uh the the significant potential for this to be a space of of real significance and certainly in the campus the realm of can landscape and campus
planning uh in the city of Boston. Um, we think these five themes broadly represent the feedback from our last subcommittee meeting. Uh, there has been and continues to be significant discussion about the challenging environmental conditions and the west open space, particularly the limited sunlight in the northern portion and the
anticipated northwest and southwest winds that can at times create an uncomfortable outdoor environment. Uh, there was a a really poignant comment from Commissioner Kim to try and create more coherence. uh she suggested sort of a singular gesture and by commissioner
Garland encouraging us to develop a language for open space. Uh and last uh there was a lot of discussion about um the open space had to do with creating an interest sort of a visual magnet. Space is so interesting that will it will draw people despite the shady
conditions. Uh and and last there was a desire for us to explore what can make this uniquely Wentworth. uh to celebrate the culture of craft, of art, and of making. Commissioner Gardland suggested that we again create this language of open spaces. And then Commissioner Eley made
this mention of her recent trip to Rice um which has these such compelling rooms and it's it's held together with these incredible memorable prominads. In the meeting, I think we we immediately were thinking about the West and Central Quads, which are these three distinct outdoor rooms that are within a language
but are spatially quite different. Um, this was an evolution started with Stu Dawson and Sasaki creating an open plaza in the '9s. And that open square was translated into an idea for what is now a very iconic pavilion by by Thomas Feifer with OJB and then more recently with the evocative sky space by James
Terrell. Together they really create this wonderful cohesive language of open space that is quite complimentary to one another. And so we started to think about next slide Matt. We started to think about um how we could have begin to envision
something like this for Wentworth, a series of open space spaces that have similar spatial intentions but take on complimentary forms. Uh and then Commissioner Eastley made this really powerful suggestion for the tree canopy to to follow the ark of the sun. Uh which we thought was was a a really
great comment. Um because we we have the opportunity for sun in the southern pockets of these these spaces and so why not embrace that? Um, so we've removed we've moved trees in the southern portion uh of the spaces to allow sun to pour in as long as possible. And then we shifted the trees to the north side that's inherently a shady condition.
This led us to an idea about tree shaping space. A grove on one end and a glade in the other. In the east open space, the grove could act as an outdoor room anchoring the north side of an open lawn. And at the western open space, we're really interested in an informal grove that opens up in the center
creating a kind of glade that marks a room open to the sky. Next slide. We've also been looking a lot at shade and and in response uh to the concerns about plant viability uh in these shaded conditions. We've really looked at closely at two precedent landscapes in
New York uh that successfully embrace similarly challenging solar conditions. These are images of teardrop bark uh which is what Michael vanberg referred to as having tremendous shade. The space has a lawn. Uh, but even within the help of three mechanical heliosats to throw
light into the courtyard, the lawn area only gets about 3 and a half to four hours of direct sunlight and the remainder of the park gets less than 3 hours of direct sunlight. And yet the plants are thriving. Um, so we've been looking really closely at the pants plant selection, which is largely based on plants that grow naturally in deep
woodland settings. Plants like Nissas, Sassifras, uh, Helia, Father Gilla. Um, and then and and so I think there's there's real opportunity for us to to to create a planted condition that can thrive. Next slide, Matt. Um, here again, uh, a similar condition
is the woodland flyover section of the Highline that receives less than three and a half hours of direct sunlight. And here they they really relied on a beautifully curated pallet of woodland plants, somewhat uncommon for an urban setting, including an understory of ferns, aronia, viburnum, um, beneath a
canopy of birch, red bud, magnolia. And together, these subc canopy woodland species really thrive in shady conditions and create a rich layered planting experience. So we really think that with a carefully selected pallet of plants, we have confidence that both the trees and the ground plane plants can thrive in the shady conditions.
Go ahead, Matt. We've also looked a lot at wind mitigation. Um we're proposing a series of linear evergreen hedges at the north and south ends to help block the westerly winds that we know are going to be quite dominant here along with marcesscent tree species with an overhead canopy that will hold their
leaves through the winter. And while our wind consultants RWDI are still in the process of actually modeling, uh RWDI has updated their report to note that the tall hedges uh are expected to help reduce the intensity of accelerating winds uh particularly from the west and southwest. And so we're anticipating
this change will really aid in creating a more comfortable space for gathering. Go ahead. We've also lot thought a lot about Commissioner Kim's comment to create a more more coherence um perhaps a singular gesture. And in working with planning staff, we've we've also
recognized that this western open space is not a very large area and that the multiple pedestrian paths to connect desire lines were sort of chopping the space up. So we began to think about the kind of great French landscapes, the Twery gardens and Luxembourg gardens with their really consistent flexible
floor of stone dust. And part of the strength in using that material is that it creates inherent flexibility dayto-day can allow free movement and choice to drag a chair into the sun or into the shade. And it also has the capacity to enable large gatherings as portrayed in this beautiful painting by Manet. Next slide.
>> Just to let you know, you're about halfway. And um commissioners, since uh the Wentworth uh team uh updated this since the draft that we saw, there's not a sort of natural dividing line that I thought there was between the IMP and and the ADB. So I might suggest uh we
let the team continue if you all agree. >> Sounds good. Objection. Okay. Uh, and another quick precedent, uh, Novartis by in Basel by Peter Walker. Again, a really lovely example of how a singular gesture of a stone court with a cohesive canopy can create
a really wonderful outdoor room and a strong node for a large urban campus. Um, pairing this with movable furnishings and a sculptural visual anchor in case of water feature, it really creates a year end year round draw. And so, we're really excited about the potential for a broad stone dust court to create the programmatic flexibility and the visual coherence. I
think that we're all aspiring for just a few more precedents. We're really inspired by Commissioner Kim's uh comments about creating a visual draw and encouraging fun so that even a shady open space, there is some something exciting that creates a draw year round. And we think there's an opportunity to
use custom unique to Wentworth illuminated furniture that can create that draw. Um we think we can create something that is complimentary to the illuminate benches uh in the plaza on the west side of Massart so that they are in some ways part of a family. all supporting the goal of building coherence. Uh there was
also a comment about overhead canopies and again this kind of desire for a singular gesture. We think that creating a large iconic circular seating area could help create this visual magnet and help shape a a sort of a secondary space within the western courtyard. And last I think we've we've also been
thinking a lot about the culture of Wentworth and its kind of legacy and identity of around craft and making. We've talked to faculty and we we see a real opportunity to use the open space as a platform for making and the display of studentled projects. From temporary pavilions to construction mockups,
there's a real opportunity to put the kind of academic learning on display and for students to take ownership of their space. This is their backyard and with admissions as part of the building program, it also in in many ways is a front door, an opportunity for for first impressions about the culture of
Wentworth. Um, so we'll share some thoughts about how these pre presidents are are starting to inform the open spaces and the changes in the plans. We quickly wanted to walk you through changes we made in response to comments from both planning staff and the BCDC. On the left shows the open space in our
very first meeting. And the plan on the right uh was our second BCDC meeting that began to embrace the solar condition and lean thematically toward a civic garden in the western open space with broad social terraces embedded within and below a continuous canopy. Uh, in response to comments, we adjusted
sidewalks, added additional sidewalks to follow pedestrian desire lines. We added a new terrace outside of Mass Art to allow for more connectivity, engagement with Mass Art. And we shifted social terraces south to capture more sunlight. Um, next slide, Matt. And then after uh
the feedback from last meeting, um we made a number of really big adjustments and have completely redesign the West Open space entirely. And we're really excited to sort of reposition the idea uh from a garden to a courtyard that is flexible, active, and vibrant year round. We'll enlarge this plan shortly,
but broadly in the proposed changes, we proposed uh the south ends of the open spaces be open to the sun. And in the west open space created a broad flexible so stone dust surface that allows for more seating and more free choice to move chairs and tables around. You can also see that we've adjusted the BU
building building massing which Matt will go through in more detail to address comments about the shear wall to more directly connect and engage the east and west directions. And along the pike, we've calibrated the active seating areas to create what we think will be a really comfortable space space to be uh while shifting the building
massing so there's a more optimized relationship to the pike. And last to the north, we've reduced the amount of pavement uh and expanded planting areas. Zooming out, we've also redefined or refined the northern portion of the of the the project area, reducing pavement,
expanding planting and tree canopy and adjusting the path geometry to create clear, more direct circulation. Next slide. And zooming back in for a little bit more detail, we really want to highlight the updates to the building massing, which Matt will walk through. Um, we've
really focused on reshaping the ground floor to create greater visual paracity and stronger physical connections to both the east and west open spaces. Uh, significantly improving the relationship between indoors and outdoors. We've also simplified the south facade at ground level while maintaining active seating
areas that engage directly with the pike. You'll also notice we've completely reinvisioned the western open space um to create more of more cohesive environment. one that emphasizes flexibility. Um, framed with this large stone surface framed by shade tolerant perennial plantings. At the northern end
of that west courtyard, we're envisioning a loose and formal grove of trees that opens at its center to create a welcoming clearing and framing this space as a concept for a substantial circular bench that both activates the glade and defines its edges. And we see this as kind of an ideal location for
displaying studentled work, bringing energy and creativity directly into the heart of the landscape. And last to the east, we're excited about the opportunity to create a comp complimentary open space that is larger, sunnier, and defined by a broad open lawn for an informal activity anchored by a social grove to the north. And as
we shared at the last meeting, this eastern space has, we think, the potential to support a really wide range of programming from quiet study to performances that spill out onto the lawn, accommodating a really quite a full range of of student life activities. And then last along the pike, we've done a lot of work to
simplify and to create more cohesive experience that repositions the pike to be both a path and place. And later in the presentation, Matt will walk through a series of eye level views that will really help describe the landscape. And now I'll quickly pass this to Michelle Cwley, who will discuss in more detail the near-term landscape improvements
associated with the ADB project. >> Um, good evening. Um I just want to quickly show uh some since there'll be existing buildings along uh where um the to the north uh west are the existing
dorms and then to the east is the existing power plant and Kingman Hall and Wilson Hall. Um, so in the interim before the east can be built, we are along that north uh south path. We are
actually pulling this whole thing as a parking lot right now. And so we are pulling uh some of that asphalt away from the existing buildings and putting transplanted trees that are currently um along the pike in the parking area. Um
we also then have about 48 bikes uh over um like 24 bike racks along uh Kingman Hall there. And then uh moving to the uh west we have a bike uh shelter for about
120 bikes. Um and those are that is going to also be um act as a screening um between the service yard and the um the west courtyard. And we are improving
uh the path uh between mass uh tree mass art treehouse as well as existing Rogers Hall um in the interim before that new building is going on. I believe the rest of it um Anthony touched on. And I just wanted to show you guys the first phase.
So we'll kick it to Matt. >> Great. Thanks. Okay. So in conjunction with the ground floor plan and the relation to the landscape, there's just a little bit more detail on the uh interior aspects of the ground floor plan and some of the things that u between meeting one and
today's meeting that have evolved. Um, like I said, we'd heard a lot of uh comments both from Commissioner Eastley and also from planning spa staff about um maybe simplifying the facade as it meets the pipe, which we have we think is actually a great improvement. Also, in kind of creating a clearly
identifiable identifiable volume for dining, we've moved the uh entrance to that dining around to uh be entered off of that um west open space. Also pushing out the facade on the lower two stories in that area, the transparent um curtain wall. Uh same thing on the east side.
Again, uh kind of pushing out the plane uh a plane change between those uh glass volumes and the more opaque residential floors above. Uh we've also added an entry point to the bike room uh on the east side and also significantly uh redistributed mechanical equipment so we
have um uh more potential for activation along this north south connection. And specifically also as we widen this area, we also kind of reorganized the interior program. As you can see, compared to what we had before, these are facult uh resident director offices here. So now we have an active circulation space that
connects with the bike room. It also creates room for seating along the window line there. And of course shortening the building overall, pulling back the extent of the mechanical spaces as well as uh the loading area that we had previously. Um, so we'll now focus on the building
exterior and I'll try to keep moving because I know Seth pointed out we're kind of running the clock's running down. Uh but um again focusing back on um some of the things that we're really looking to reflect in the culture of Wentworth in the building design that idea of being purposefully bold um being
kind of thoughtful impactful and sophisticated focusing on uh craft and making and really also reflecting the way that we're connecting communities within the buildings and uh and uh incorporating that into the design of the exterior of the building. So um they're fundamentally two different um
lang kind of building material languages in the building. Uh the orange represents the very transparent student common spaces and the white on the right are the more uh solid um student rooms. And just to keep it in context too, this is going to be a passive house building.
So that really informs a lot of the uh approaches we take to how we detail the envelope and um and uh the way the building kind of pushes in and pushes out. So, uh, those common spaces are really about transmitting the warmth of the interior to the exterior. Um, and then cladding the, uh, residential
volumes with a a facade that is reflective of the community makeup, but also, uh, the sculptural, uh, and, uh, finely crafted nature of concrete. So, we've been looking a lot at um how to incorporate different uh types of relief that could be really dynamic and responsive to the sun moving around the
sky and create a really dynamic presence on the skyline. And again, reflecting this idea of the kind of alternating types of social spaces in the building that induce a sort of movement up and down to create different scales of community connections. and how that is reflected in the exterior facade of the
building is sort of interwoven uh continually overlapping kind of vertical connections between uh between the floors. Um if we look we have a get this to play here. There we go. uh an animation just kind of looking again at the way that the relief in the building can be
responsive to the movement of the sun and shadows and create a really uh sophisticated uh but dynamic facade and some uh references to that again on the left hand side to the campus buildings CIS and baby hall and some
examples of what we're looking at in kind of a narrow band of uh concrete uh tone all in the very light end of the spectrum. There's a couple local buildings here. Steuart Street being relatively recent, a very light, slightly warm toned concrete and Holt Hall, which is a Cambridge Crossing. The
EF residence hall also has a nice uh very, very light gray tone to it. Um there's also this um uh Australian building that we quite like that has a very delicate kind of textural faceting to it. Um and also a warmth to the color. And of course uh um many are I'm
sure familiar with the Pirelli Tire building that has a very uh kind of sculptural texture to it as well. But then also I think with talking with uh planning staff um about introducing some color and warmth into the building and really looking at how that could be uh kind of a secondary element that also
kind of takes the warmth of the interior and brings it to the exterior bit. Also ties in with again some of the historic buildings with their warm tone brick and these kind of more sculptural um detail elements within the historic buildings. Um so we have a couple uh kind of
traditional elevations of the building with it. You can see the the uh difference in height being quite substantial between the east wing and the west wing. This is the treehouse in the distance here. Uh as we come around to the south side of the building, the uh stack of social
spaces that make their way up the east wing uh on that side. And again, we're really looking carefully at the interior ceiling and the lighting of those spaces because you're really going to be looking up at those and seeing the uh ceiling surfaces inside and really want to transmit the color and warmth of the interior to the exterior of both ends of
the building. The north facing facade is culminated on the top uh the taller tower on the east side with a special uh student commons and multi-function space on the top that really accentuates the top of the building. And then coming back around to the side of the building
that faces uh the uh treehouse and the uh courtyard and that being the wing that is lower uh in respect to that open space. Um zooming in a little bit of detail on the uh typical module of the pre-cast facade. We've really tried to make the the windows of the rooms as
large as they could be within again with the passive house uh uh design uh factors but also looking at how we can create um textural contrast between in the relief and threedimensional uh nature of the panels without making the panels too thick to really keep the um
volume of concrete on the lower end of the spectrum with respect to embodied carbon. So, and we come back down to this is an elevation looking at that east uh I'm sorry, north south connector between Rugles and uh the Pike on the left hand side. This is the twotory um
uh commons and admission space that's very transparent. It looks out to that future uh east open space. And then as you move your way to the right on the ground floor are the uh is the bike room and then the second floor are uh resident director apartments in those
windows. So as we uh you know really look in at how that material comes to the ground, we really want to make this very beautiful textural uh element something that one can appreciate again kind of at the macro level on the skyline in the city but also make it something quite tactile that people can
walk up and experience and kind of discover something of a greater level of detail that might be surprising up close. Um so last time you know many of the comments I think um were based on the kind of nature of graphics that we had which are really massing based and very diagrammatic and now we're moving
on to much more illustrative um hopefully immersive experiential u types of views to really communicate um both the building architecture and uh the landscape that Anthony and Mish have talked about. So, um, this is a view of that north south connector looking north towards Ruggle Street. And we're looking
at whether it's a metallic, uh, color that is incorporated into the curtain wall and to these, uh, kind of liners and jam projections of the, uh, first and second floor on the east and the west sides as a way of sort of interweaving along with that kind of greater theme of the building, weaving
those materials together. >> And you're a little bit over time here, so try to I know this is the good stuff, but uh, try to keep it going. >> Yep. Sure. So, we'll just do a quick kind of walk around the walk around the building here in a uh kind of scene by scene. So, we're right next the the
treehouse is to our left right here. Huntington is right behind us. We're just kind of entering the pike. Again, this was a character of the views and I think just in context of comments about the canal lever and the stuffed nature of the uh the pike facade previously in contrast to um more detailed
representation of that. So, the west open space that Anthony and Beach were describing over here to the left. Um, the dining uh transparent volume over here and then beyond a singular volume for the student commons. Swinging around looking north into that open space where there's a clearing closer to the pike
where there's an opening in the tree canopy and more sun where there's uh more sun based on the shadows from the buildings and then towards the back uh more density of planting in that shady area. uh really being responsive to um and I think some really great dialogue we had last time with commissioners also
extending out that dining volume into uh the open space to create a break in the uh uh the plane of the wall but also really articulate uh clearly the volume of the dining which is a two-story space and quite transparent. Um taking another detailed view within that um within that
west open space really looking at the flexible um ground plane that Anthony was describing. uh a lot of uh uh flexibility for seating um the entry to the dining coming off to activate that space. Uh the incorporation of kind of a warm warm color into the curtain wall
and making its way up into the residential windows above. Uh we have maintained the canal lever uh that was discussed last time and hopefully I think it feels a little more integrated now with this kind of higher level of representation of the building. Um and looking from uh this is from coming from
Huntington Avenue looking south to the pike. This is where uh Anthony was describing this moment in the landscape uh in that uh kind of grove of trees and this is not a permanent structure but this is a standin for that place for uh student installations. So you imagine many architecture schools and design
schools have a culture of making physical things whether it's a a material mockup or testing something and that could be something that becomes part of the identity of Wentworth and a way of activating on a rotating basis uh the space. Uh so coming in with the pike I think we've really had a great
conversation with staff and commissioners that really calibrate the relationship between the kind of thoroughfare where you walk through the pike and this interstitial zone between kind of the walking zone and the building to really make an active transition zone and really activate the edge of the pike and also that kind of
interior exterior relationship between the dining and the student commons. So this is the entry to the student commons with a simplified volume that's just that whole volume is the commons. I think is much more clear. Um and again looking back this is what we were looking at last time and uh the way we
simplified the volume incorporated materials that kind of warmth on the exterior and on the interior the scale of the transition zone between the walking part of the pike and the uh commons. the view back towards um up towards Rugles with this projection of the lower
two stories out to the east creating a really nice zone for both circulation and for seating along the window line there which will really help activate that connection uh and the uh um kind of um calibration or the relationship between the uh uh east side of the those
commons and the open space of the east open space um those kind of working together and this one just looking from the inside out to just try to understand you we're really focused on this transparency in the activity both uh inside and outside and the layering from uh inside the building to this
interstitial space to the kind of walking zone of the pike. Uh this looking back towards Huntington Avenue and then finally uh a view back from Museum Road on Huntington Avenue with the massing and material of Pikros and it's all on the left and obviously the uh treehouse to the right. And that
concludes our presentation. Uh thank you Wentworth team. And as I hand it over to the commissioners, I just want to note that uh Commissioner Mars joined us uh just about a minute or two after uh the proponent started their presentation. Um so uh Linda and
commissioners, please. >> Thank you for that great presentation. I was um I was at the last meeting as Seth mentioned, so I'm happy to add some comments. First, I just wanted to compliment the
team. Um, it was great to actually see all of the comments on one page that we had made at the last meeting and then to go through systematically through those comments. Um, that was at least very helpful for me. Uh, I'll start with
some of the comments on open space since um, Anthony, you and me kind of started us off a little bit there. I feel like the cadence of open space is so successful. The one thing that wasn't part of the presentation but is
definitely part of the experience of open space is that pocket park that's just like creeping off the the left hand side of the slide here. That pocket park really anchors Huntington Avenue. And as
you come up the pike, you know, having crossed over or walking along the sidewalk of Huntington, it does definitely form a gateway to the pike. And I think that in combination with I think the glade and the and the grove as
you're coming along the pike um is is just terrific. Um, on the glade itself, I really appreciate that a portion of that is programmed or programmable and that that installation
is something that's reflecting the Aaron, you know, whatever is being studied on campus. And I love the idea that that's a rotating piece or could be a rotating piece. Um, I love the idea now that the seating is much
more organic. I was just picking up on one of the principles that you had, you know, crafting the future, which to me to me includes, you know, baking in as much flexibility as you can, which is easier to do in the landscape than the
buildings often. And so I like that this organic or flexibility, you know, begins to find a home in the landscape both with the installation and even with the seating. Um, I also like the idea that
the open space is beginning to play visually with um almost widening the pike. And what I mean by that is that um that you have
kind of a kind of a depth perception now of of those two courtyards, the glade and the grove and that lawn panel really becoming part of the pike. And I think there could be some more done with that. Um maybe there are more apertures
through kind of the lawn panels or shrubs that come from the pike to really allow you to think about the pike almost um you know incorporating a portion of those two courtyards
for the um building. I really like um the simplification of the facade and the forms along the pike and really appreciate you taking another look at the north south corridor.
I think my concern last time we met was that it would be a very it would feel like a very long expanse and so both architecturally as you're thinking about almost shadow boxes on those lower windows and then actually wrapping
around that student commons that that feels really successful and I think even bringing that um kind of pedestrian into what's happening within the building color does that activity ity does that program does that. I think that'll be
successful in the short term and in the long term as those buildings get replaced. Just a couple of other quick uh quick comments. Um I really appreciate you
repositioning the entry to dining. The reason I like that is and and it may need to be celebrated a little bit more with a little more color because I think it might get hidden within the landscape, but I the reason I like that where you have that arrow pointing in
from the west courtyard is that it begins to engage that west courtyard into the daily activity of your um students, faculty, and staff. you know, instead of just keeping them on the pike, they now have to actually go
through that courtyard, engage in the courtyard, enter the building from that side. And I think that that will create an energy in the courtyard that you might not have otherwise. So, um, a few other comments, but those are the the high level. I think that
it's really, um, really improved and appreciate you listening to our comments. Katherine, I see your hand up. Thank you. Good evening. Uh, thank you, Commissioner Eley. Um, I definitely want
to double click piggyback on all the things that you talked about. Um, one thing I I want to share is that if I were to take a drone and go straight up uh from the center, it it feels like more of a completed story
um that the Wentworth story like it's there. I get it now. the every decision that has been determined, you know, given our feedback is showing up more um to tell the story of your students and the history both past, present, and the
future. And I deeply appreciate the consideration of how that is showing up and all the the design choices um uh the glade and the grove. I I love the concepts all together. I love the following using the trees to following the the the pattern of the sun which I
think is absolutely beautifully genius. Um and I think it allows for curiosity uh for anyone walking through those spaces to to um um explore what more uh is around the corner or behind a tree or whatever the case is. So I really do
appreciate that. Um the second part um that I think was probably my my favorite part um is around the exterior wall. Um it's so suggestive of um the many directions you can take just from the
building alone. There's all these different kind of suggestive arrows that are happening that I think is absolutely phenomenal in the design um that I think will play into um uh the kind of options and choices that that students or anyone
experiencing these spaces um can explore um both subconsciously and consciously. So, I just want to lift those up. >> Thank you, Katherine. Kathy, >> great. Thank you. Um, I agree with everything my fellow commissioners have
just said and congratulate you on the further development of this plan in a way that I think is as expressive of the the the goals you set out in ex in in capturing a Wentworth um uh
culture or um uh a a unique expression of of the both the campus and the college. Um, I think the the one the the the things that I I really want to call out partly to compliment and and encourage is the degree to which you're
using color. I know that that I appreciate the your description um and the um relationship of of your your pallet choices um in in terms of what exists on the campus already and how the
campus um legacy has invol evolved um but I think in the places where you're showing punches of color both inside and out um are really enlivening um in a lot of ways now that we're seeing more of the building coming around um as well.
So I I encourage that and and and um complement that because I think it it does um help to to contrast uh with exactly the the other um uh tonalities
and and other um colors that that you're showing um from the campus's own evolution. Um, and then I I really I'm glad you're on this because I think we're seeing a little bit of the the texture choices on the building. I I really like that. And I think there's a
parallel between the the tracking of of the sun with the tree canopy and the ability of the building to also have its own um expression at different times of day, different times of the year. Um, in complement with that, I think this
stands to to be a really interesting um uh building as as as you see it at different times of the year and day um on the campus and be a a sculpture of its own and on the matter of sculpture.
love the um the idea of encouraging student work on the campus itself as a matter of of um practice and and ongoing um engagement. So I I think that that's that really offers an extraordinary
opportunity for ongoing student engagement but also the dynamism that comes with that um for the purposes of of next generation inspiration to next generations. Um so thank you um really appreciate this presentation. I it's
it's evolved in great directions and um really has come a long way. >> Thank you. Thank you, Kathy. David. >> Yeah. Again, I I I'm going to repeat uh what um my colleagues have said. Um I'll
try to keep it short. Uh this is an excellent presentation and a lot of progress. I'm I'm and I I think I'm saying much of what uh Linda said, but um I really appreciate the way you re plan
the whole ground floor um in order to push the enclosed spaces away from the perimeter and pull the pull the common spaces out to the perimeter. uh and let
the the open space on the west kind of flow through the base of the building to the the future open space on the east. I think that um uh I think it'll be really really successful. I think the building is um the whole plan is really
successful at at the ground level. Um, and uh, this is this is a really nice this is a really nice story in this drawing that you have on the screen right now. And the idea that those those uh, I guess that's um, south and west
and east walls kind of disappear and and the the ground plane flows through um, with these peninsulas of activity that that uh, exist inside the building. I I think that's all really nice. I I um so
I I congratulate you. You've made a lot of progress here. I think what you know reminding us of a a set of moves or studies that you made um I think really about a month ago um was
really was really a good idea. The building has gotten significantly shorter in the north south direction. And one of my greatest fears was that this was going to be a very um
long wall in you know as as for a pedestrian coming uh walking on the pike east or not so much from west to east because you've already got a big building there but from east to west um and in a way almost
a barrier I think sliding the the legs um um closer together. Um I think you reduced in the last move 25 ft and I think overall you reduced significantly more than that. I do I I
have one one I don't know question challenge um um suggestion um to continue to think about and and that is that it is stole from a
from a a view corridor point of view a big building when you look at it like this and its footprint it's not uh it's actually two slender buildings that slide past each other in a quite elegant way. Um, and I I don't want to
complicate the building because I think what um what Kathy just said a few minutes ago um was also right on target. But I do I do wonder about the
the very regular um fenestration above the ground floor, the first two floors of the building. Um, I think you you've just done such a great job at the at the uh at the ground
level, at the pedestrian level, and wonder what other opportunities there are above. And and and on the same idea of expressing, exposing, celebrating those places in the building above where
students come together. um and you you kind of and I don't know because I don't know how that how really how that happens but but um are there those places in the building that could um
just articulate the common the community uh made up of a floor, two floors, three floors come together in some sort of way. um uh that that um takes the energy that you've really generated at the
ground plane and and brings it up the building. But I I thank you for this has been um you've you've come back every time with really thoughtful um um responses to our questions and and explored them and and made the made the
plan better and made the building better with each meeting. So, thank you. >> Thank you. Thank you David Shauna. >> I was able to take my little five minutes in I had to step out for a call. Um so thank you very much for the
presentation. This is I haven't seen this in I didn't see the last meeting. So it's it's a really significant significant change I think particularly in the overall um open space and and spatial organization and I I agree um actually if you can go back to the plan
just for for a second um for a couple of the comments but but I I don't know if you changed the Huntington academic building or not the massing of it um but I think that the way that the open space is working kind
of normalizes it much much better. I I do agree with my colleagues. I love the the glade and the grove very very much. I also like the pushing and pulling of the spaces while you're holding the line on the pike. You're not quite holding a static line on the pike and I think that's very very nice. The little
shifts. Um and I actually and the color and and texture is is really really beautiful. There's there's a couple things that I do have um questions or or things to to work further on as as you go ahead with with the you know this
very lovely project. I with respect to the stone dust I have a couple of hesitations. One of them is snow removal. Um and and there's something elegant about the plan about these subtle lines
that you have that um you know that diagonal line coming across. Um so you know and I don't know what you're if you're thinking that that would be paving and you know maybe an exposed aggregate that matches the stone dust or something but I think that is is
something to think about the Oh okay. Um, but the the I I think thinking about the snow removal part because of the the the long-term long-term maintenance of the of the stone dust. I also think that the and this is a good view to stay on
for my for most of my other comments. I think that um I think we need to think about the project in the winter, not just because of snow, but because of the the richness of the experience. And the stone dust is
pretty quiet, which is totally fine. It's very elegant, beautiful material. Um but I think we also have to imagine the space without the student installation because it may never happen. And so one thing that um when when you're looking when we're looking
at that building facade, you know, that we've looked at so many times tonight already, the that sort of beautiful textured facade with the color, I think that the bench has to have that richness to it. It has because it has to be the thing that stand is really the only
object in the space, particularly in the winter. So it for it to have a beautiful co light pol possibly colorful but went you know went identity. So it it not a sc doesn't necessarily have to be a
screaming identity but something that can hold the space. Mhm. >> Um and the other thing, let me see. Um yeah, the other other small thing that I
was thinking about and I I think just the plain path the path could also be richer too. This this path going through, but the other thing from a from a planning perspective is leaving this open space and wanting
to go to the west. I think that it's likely that people are going to be cutting through, you know, that because if if you go back to the plan on the pike if people are because if they're cutting back to their dorm or they're going to I think it's really likely that they're not going to go
right to the corner of the building and go back down the pike. I mean, so I think either we're making you're making it a significant block so that it's not possible to do it or you're cutting a little path through the other end actually. Oh, down here. >> Yeah.
>> Oh, southwest corner. Okay. >> Yeah. Yeah. Just just moving through that. So, so either cutting it through or blocking it, but I think it has to be one or the one or the other. >> Um and then and then the other thing, and I don't know if this is on you or on Mass Art, but I don't think that the
floor is at the same grade as you are. >> Yeah. So, >> it is slightly It is slightly higher. Yeah. >> Yeah. Might be quite a bit higher. Well, I don't know what grade you're at, but I I know that it was quite a bit higher than the parking lot, like a footer and a half or something. Um, maybe. So, how
that actually impacts, you know, I think you since this is primarily your space, I think you would want to control if if that actually does happen, what that um what that connection actually is, whether you build it or you know, they build it. But
>> yeah, >> but overall I think I think Oh, and could we actually just look at the o the connection to to Rugles um the the zoomed out more? >> Yeah, find that. Here we go. >> Maybe the one that Meech was talking about. >> So, is this the one that Meech was
talking about with the transplanted trees or >> No, I think that was in great zooming in on Yeah, let me go back to the uh the phase one condition. Hold on a sec. Here we go. >> Yeah. Yeah. Okay. So, I did actually I I very much like these trees. So, this is
just the temporary condition. It can't be uh before the new dorm comes, but I very much liked these trees and these gardens kind of stepping through. And then when it when we go back to the overall, you know, the the one that goes
all the way to Rugles, >> I was hoping that there could be that that connection could go further. doesn't have to be exactly the same thing, but this doesn't feel it feels like it's still falling apart as soon as you get into you're kind of pulled in a
bunch of different directions. It's a little bit jumbly. And if there could be this this elegant connection that that continues all the way through to to Rugles in some way, even it's even if it's pulling you over to the other side in front of Worth Hall, but something
that really takes you the whole way to Rugles instead of, you know, just part way. Yeah, >> but o overall I think it's a it's really it's really um an exciting project. Congratulations. >> Great. Thank you.
>> Thank you, Shauna. Um since we have a little bit of time, I wanted to to follow up on something that David mentioned. It was on my notes as well and that is just about the um
looking at each of the elevations of the Pike res hall if we can. You guys have really like inspired the poetry of this today for me. So I'm thinking about your project now in terms
of this craft and invention and the idea that right nothing nothing nothing in this construct is static and so craft and invention is is impacting the way that that shadows and movement are coming around the building
with the sun and they're impacting the way that that's happening with the landscape. I kind of really like the idea that that's singing with with the Wentworth mission. Um, but I wanted to get a better understanding of how the different facades
either express the sun arc or are kind of being designed or the facets are are changing. I think the facets are changing depending on what elevations we're looking at. And I just am curious about the story behind that. >> Sure. Yeah, I can explain that a little
bit. Um, and also to some of David's comments, I think the the room the to your question about the u variety or lack of variety in the windows um, Commissioner Rafrey, I think the all the rooms basically all that uh, one per
floor or per wing are doubles and they're, you know, they're laid out in a pretty specific way that the the window the furniture lays out on either side of the window in a way that's, you know, um, pretty uh, pretty uh, strict. Um we have looked at like I said trying
to make in the overall window to wall ratio with the passive house requirements of trying to make proportionally inside the room the windows are actually fairly large um for the size of the room but they are they are very regular. So we really kind of focused on um the articulation of these
you know this kind of faceted surface that connects and creates kind of different different readings depending on how you um look at it. However, so on the basically the east and east and west elevations you get the sort of raking sun of you know the early morning sun that will really rake and and make those
shadows come alive on this face and also the the tower or the the wing beyond and then similarly in the afternoon this this these facads will kind of calm down in terms of that they won't be getting direct sunlight but then the the west facing ones will but then the ends of the buildings uh which don't have or
basically these are the you know uh this is the end of the corridor right here so facing towards the pike. Uh this is the window at the end of the corridor. So at every corridor, you can see out both ends of the building on the residential floors, but there are no windows in the rooms on the ends. Uh and the the pattern the sort of the kind of
overlapping um kind of three floor overlapping weaving pattern gets sort of simplified on the end. So it does kind of wrap the corner and the same threetory module turns a corner but it becomes sort of simplified um as a way of sort of um creating some contrast
between some smooth smoothness. There's sort of this um kind of um uh layer of or kind of interlacing of this more subtle pattern. So when you look at the corner you see a very textural face on the one side and a a contrasting smoother face but still has that same
kind of triangulation that um moves between it. But then on the so each wing has a series of lounges. Uh the east wing the lounges face south towards the pike. So that's this sort of warm color that's making its way up here. And that's where, as I was describing, we're
really thinking of the inner warmth that we transmitted through through lighting and through the interior materials and thinking of some architects I remember talking about like the Sebrums building in New York. Walking down the street, you're really looking at the ceiling and the composition of the ceiling and the lighting near the window line and how
that is like the, you know, the another facade of the building. So, you're going to be really seeing that looking up from the pike and seeing the repetition of the ceiling up there. So that's something we're really working we're talking about a lot today, the design of that ceiling that you see through the glass. And then there is in the center
volume here, which is a simpler one, which is really the core that has the stairs and the elevators, but facing south there, there is a um window in the elevator lobby there as well. Um, so when you come around to the north side, it's the same um kind of uh smoother but
still kind of triangulated end, but then we cap that off the the taller portion with um this very tall curtain wall um at the U student commons and event space at the top and then we're concealing the mechanical equipment at the top of the
building. So we've extended the facade up to conceal that. So this is an opaque area but we're trying to created the same kind of unified system. So it feels like kind of one gesture and it's partially transparent and partially opaque. Um and again this is the corresponding uh typical floor level
lounges that face the north side as well. Um so there is sort of you know the the long sides have the texture and they get the raking sun the you know low morning and low afternoon sun and the ends get the kind of contrasting uh kind of smoother
um uh treatment. And um and then so as we zoom in on you know the actual panels we've been talking to multiple manufacturers or fabricators but really understanding their capabilities in terms of relief what kind of resolution or how how big the you know elements have to be to get the concrete to fill
it consistently and stuff. But really looking at that as um a very repetitive but but really finely calibrated um uh sort of uh detail that makes it way around the building. >> Yeah, that's really helpful. Thanks for walking us around the the building.
Okay, so the essentially the east and west facades that have the raking light or have the opportunities for raking light are the ones that are most faceted. >> Mhm. So, I'm curious about the northish
and southish facades and how those would be experienced at night >> because I think what's going to be interesting is that the faceted sides, east and west, are going to have a lot of daylight interest and then they're going to kind of glow from the inside
>> at night because students are going to be in the rooms and using those those rooms and lights. But I guess I'm still trying to understand what will be the experience on the north and south since you have some spaces like the common spaces highlighted and those will have a
kind of interesting interior glow at night. But then there are other parts of those facades that will be quite blank and dark. >> Yeah. Yeah. So we didn't highlight this too much. We're kind of sticking with the kind of ground level experience here. You can sort of see this is the
ceiling and we're still working on the you know many of the interior elements both on the ground ground floor and up above. But you can sort of see this is one of the um student commons that faces south towards the pike where we're looking at a combination of you know a solid portion of the ceiling that then gets peeled back and painted a color. They get a little bit more height that
we can also illuminate and that'll be something you'll see um both on the the side facing the pike and also facing to the north. And those will happen. And one of the ideas we're looking at is um when you see that transparency in the light that that same idea of these
alternating uh amenity or common spaces that there's just a different pair of types every other floor. So it's a sort of ab pattern could also be reflected in the lighting that you see through the glass. So it would be sort of make its way you know every other floor it could alternate in a way that's also reflective of the sort of variety um
that's happening inside. If there's, you know, you can sort of see it over here, too. Um, this view from sort of, uh, into the landscape on the east side, you can start to see the, excuse me, um, the comments there, too. And certainly, if you look up, you'll see those repeating
up there. Um, but yeah, it's true that on on the residential sides, you know, you'll get the um, you know, the typical residential because it's not an office building, it probably won't have like the whole floor has the lights turned on. You'll get kind of, you know, very animated, right? um every different
lighting levels and different colors and posters and blankets hanging on the walls and all the things. That's one of the things I really like is you know if you create a sort of a very orderly container then you can have the vibrancy of like everybody's individual expression within it within the kind of >> the container for chaos.
>> Yeah. Exactly. You know, if the container has has some calmness, it can, you know, it doesn't feel overwhelmed by the but that's what really animates things, you know, the the individuality of the students, the colors of lights they have, the things they hang on the walls, all, you know, they one has a desk lamp, one has a ceiling lamp, and you'll just get, you know, that kind of
residential and because every room has one window, it's really going to be quite a variety of, you know, the lighting in the evening. >> And on the north side too, Matt, can you? >> Yeah. So, the north side that facade up again. >> Yeah. Yeah. So if you come back here, this is the again the ends of the corridors right here.
>> So it's a little more blank, right? We're reading this properly. >> Yeah. And it is I mean these are quite you know this is quite narrow. I mean this it's if you look at the width of or the depth the width of the north face of the treehouse. It has a different type of unit has suites which I believe which have bathrooms inside. So it's a wider
building even though sort of got a little bit of a a split in it. But the the width of this is pretty narrow because the there are shared restrooms as so every room is basically you know beds, desk, wardrobe. So that the this end is quite slender. Um and then this
is the stack of uh commons that are facing the north as well. So those will have that same kind of transparency the lights on. We're really you know designing the ceiling that you'll see inside on the on that side as well. So, I would just say um as you continue to develop
this, particularly the north side, you know, this is the side that's going to be read from the Avenue of the Arts. >> Mhm. >> And creating as much of visual interest for this side, knowing that we're looking at kind of
the end of a stair core here. Um I think I think would be would be great be kind of maybe a next step to kind of look at and refine. >> Sure. just sorry >> I just wanted to follow up on on something. You don't have to show it.
Um, but I think in and you probably arguing this already, but in your studies, I think getting the color of the treehouse in at the same time as you're >> studying, >> you know, you probably started to look at that already, but >> yeah. And I think that's where we look at I mean, there's the in in Wetentworth's color palette of their
brand identity. They have this really kind of golden golden rod color which is quite nice and goes really nice with concrete. But it's also that if we go that you know the there's the paint color of that kind of golden rod or the more like lighter brass tone or I'm sorry not brass bronze tone that you
know we're looking at the two alternates for the window frames. But both of those I think have a nice complimentary color palette to the treehouse which we've kind of you know muted or subdued in this in this particular rendering. But the warmth of those materials, I like we've always from the very beginning thought like how are these things going
to be in dialogue on the skyline and the idea of like having the predominantly colorful um you know uh treehouse on the one side and then this one that in that kind of inverts the color. It's more neutral but it has like accents of color versus being the majority of it being
color. So there's sort of a nice hopefully a nice dialogue between those two on the skyline. Um but to your um comment uh Commissioner Eastley I think yeah we we do have a little bit of work to do I think on the kind of center element here and I think also recognizing that this is the side of the
building that's will not get the raking light you know the the south end will get very you know much more vertical light than the sides but this side will be you know um will not have that kind of characteristic to it. So um that's something we' definitely be you know
looking at further as this evolves. It's tricky because you don't have you don't have a place to put a good back back door, back facade, right? You don't have a back of house. You don't. And so you have this building in the round and this happens to be the the view that I'm
concerned about because it's your most public view >> from Huntington. And so, you know, what what cleverness can you incorporate to maybe minimize the idea that we're looking at the staircore? >> Mhm. >> And maximize the sculptural quality or
draw your eye back to where the student rooms will be. Anyway, >> yeah. Well, I think there's in some of the views we had in the previous meeting where we kind of we had a few views moving along Rugles and you see it sort of as as your perception. So, this is one particular point of view. you're actually looking kind of diagonally
because you're seeing the grid map. Yeah. >> Yeah. So when you when you're actually, you know, as you move to the left to the other side of um Huntington, for example, or along Rugles, you're going to see kind of both facades at the same time, you'll start to see the the textured, you know, the textured side
and the and the smoother side coming together. So, you know, we can always um bring back or, you know, bring up to the same level those some of those other views because it is is a very, you know, as you say, there's no back, but it's also something you're always moving around, right? >> Um so, this is, you know, just kind of a
point in time of something you'll be moving along, whether you're walking down the street riding a blue bike or or on the tea here. >> Yeah. Because you're not ever orthogonal. >> Yeah. >> Um I don't see any other commissioner hands. Seth, do we have any public
comment? >> Yes. So, let's switch over to that um before we talk next steps. So, a reminder that starting January 1st, 2026, the commission will limit live public commentary to the project's introduction. Members of the public
interested in submitting comments to the commission are encouraged to do so in writing by emailing them to bcdcboston.gov at any phase of the project's review. However, until then, we continue to take live public commentary during subcommittee meetings. So, at this time,
we invite any members of the public in attendance who wish to contribute public comments to raise your digital hand and I will call on you. If you're calling in by phone, dial star9 to activate the raise hand function and star six to mute unmute yourself. Please state your name and any relevant project affiliation
information and please keep comments to two minutes. And not seeing any raised hands. So last call for public comment. Uh not seeing any uh commissioners. I
will close the public comment period uh and turn it back to you all for discussion of next steps uh and also ask for uh any sort of uh very clear uh direction to give the proponent as they
uh prepare for the next step. >> So Seth, I'm hearing pretty broad support from commissioners attending tonight for this direction. Um, I know that we could do another subcommittee, but I guess I would
put a um suggestion on the table that um that might be better, you know, time better used working with the planning department getting the proponent team ready for the full commission meeting. I I think we've heard a little
bit about um landscape, particularly Shauna's comments about imagining kind of what wintertime and maintenance means for coloration and detailing and ground
materials. I think we've heard a little bit of comment for um thinking about kind of all sides of the building. And um otherwise I think that there were
some you know smaller things and I was watching Matt and Anthony taking good notes throughout this so I think you've got a lot of those recorded. Commissioners, any any other kind of bold ideas that you'd like the team to work on and
and also whether you would support having them shift to the full commission as their next meeting. >> I um I gave most of my comments or I gave my comments and I think I think I think the team I suspect heard them. Um
but so I would support I would support it going to the full commission. I I I support it going to full commission as well. I do think your comments, Linda, about the especially the north, but al the north and south
the those the slender proportions which are really quite wonderful. Um but maybe feel the least developed of the exterior envelope. Uh and um I I would encourage them. I'm sure they are working on that.
Um but but show us progress when they come back to full commission. >> Kathy or Katherine, thoughts about next steps? >> Um I'm in complete agreement that it's ready to go to full commission.
>> Thanks. >> Yeah, I would agree. I think that um there's been a lot of change since the last one that that this team has taken to heart. I think the the subtle but um important critiques that have been
suggested I think shouldn't get in the way of them moving to a full commission. >> Thanks, Katherine. All right, I think we have um clear direction. >> Yes, and um planning staff will
certainly work with the proponent on all of the comments offered here tonight. And hearing no additional comments at this time and in lie of a formal vote. Uh commissioners, it is my understanding that the project is recommended for final consideration and recommendation by full commission. There are no formal
provisos at this meeting because there is no vote occurring. But I think all the comments here tonight uh will be very useful as the proponent team continues to develop this and and bring it back to you uh for full commission.
>> Sounds good. And with that, we we look forward to that day uh hopefully sometime soon. And uh thank uh the proponent team for your time, members of the public who attended uh and commissioners as always uh for your time. >> Yeah. Thank you all very much. >> Thank you.
>> Thank you all very much. Great. >> Thank you. >> Thanks everybody. Good evening. Part: 2
All right, good evening everyone and thank you all for joining us for a design subcommittee meeting of the Boston Civic Design Commission. Today's date is Tuesday, November 18th and my name is Christina Rico, executive director of the BCDC. The planning department continues hosting public
meetings in a virtual setting for the health, safety, and accessibility of Boston residents. Before we proceed with the agenda, I'm required by open meeting law to notify the public that this meeting is being recorded. Please turn off your camera and microphone. If you do not wish to be recorded and um just
for the minutes, commissioners Garland, Hine, Love, Lubanau, Nagihiro, and Solano are present. Tonight's agenda will include presentations for projects at 151 Cambridge Street, West End, also known
as the West End Library, and 434 Jamaica Way uh Street, Jamaica Plane, also known as the Roger Bowfort. Tonight's meeting's proceedings will begin with presentation from the proponent followed by comments and a discussion from the commissioners and
then an opportunity for public comments and finally a discussion of next steps for each project. Uh so we do that cycle two times. Uh it's going to take me just one quick second here to promote all of the folks who are presenting for um the
West End Library. Uh actually it would be super helpful to me if anybody from that team who needs to be promoted if you could just raise your digital hand and I'll go I'll go ahead and uh promote you. Um okay.
So Megan, I've made you a presenter. Nathan, I've made you a presenter. >> I'm sorry, Christina. I'm gonna say it out loud because I can't find my little raised hand thing. >> Okay, that's okay. >> Sorry. >> No, that's very helpful. >> Gigi, I've made you a presenter. And
then is Crystal joining us? Crystal, I'm sorry about this. I'm the only facilitator. Thank you folks for your patience. Okay, so a quick preamble. This will be the second presentation of the proposed
project to the commission following an introduction at the March 4th, 2025 monthly meeting. As a reminder, commission procedures recommend no more than three meetings to review uh the ADB application. To the project team, please note that your presentation will be limited to 15 minutes, and I'll give you
a twominut warning when you're nearing the end of your time. And with that, I invite the project team to begin whenever you're ready. Great. Thanks, Christina. Um, Nate, if you can go ahead and share. Awesome. Okay. Good evening,
commissioners. My name is Megan Oltonorf. I am a design director at Mass Design Group and tonight we'll be presenting the updated design for the West End uh library site development at 151 Cambridge Street.
I'm joined by our development partners POA and Cass Capital as well as the AO the architectural team and G2 collaborative the landscape architects. We will review what we heard from you last time, how we've responded, look at
materiality in the library facade, and G2 will present updates to the landscape and site design. Um, here are some quick stats on the program. The project is 14 stories, uh, grounded by a two-story public library
podium with 12 residential stories above. Uh, there will be 119 new units of affordable housing. We've worked very closely with Boston Public Library to increase the size of the programmable uh library space slightly. However, none of
the other programming elements on this slide have changed since March 4th when we saw you last. So, first I will recap what we heard at the last BCDC. Um, so at the March 4th BCDC, we heard
that commissioners were concerned that the offcenter overhang was visually competing with nearby historic buildings. Commissioners sought greater legibility of the library, so it was more distinctive from the rest of the building. Commissioners wanted to better understand how the facade design relates
to the transitional context. And finally, commissioners were excited about the concept of the public plaza space between the library and the Otis House. And since that March 4th meeting, the design team has met with various city
agencies at least 10 times, carefully balancing the needs of these various stakeholders from the city to develop the updated design and streetscape that you'll see today. Uh POA has also been in close contact with historic New England. next door at the Otis House um
to make sure that we're communicating with them and uh working with them especially uh around this public plaza space between our buildings. So then uh we will go ahead and look at
how we've responded in the updated design. Uh so we've m we've really wanted to maintain the project mission which we presented on March 4th to rebuild so social infrastructure in the west end and we've maintained the following goals which were kind of our
primary goals to relate to the diverse scale and layered histories of the built fabric from large-scale institutional buildings to adjacent historic buildings. We uh are prioritizing the location and expression of community spaces both in the building and
surrounding site. And our goal has been to create distinct expressions for massing elements to help break down the scale and reinforce an idea of constructing a fabric with different pieces coming together. So on the next slide, as the project uh
has progressed through the design process, the team has uh really strived to maintain the constructibility and affordability of the project which has resulted in the material selection uh evolving over time. At the residential tower frame, the material has
transitioned from terracotta to brick and now to ACM. Inherently the texture of the residential frame has evolved with this change in materials as well. Um we felt the prior color scheme didn't read as successfully um with the
necessary alteration of material and texture. The current color scheme however acknowledges the materials uh properties and texture while achieving a similar design intent to the previously uh proposed. So, the revised color
scheme, we feel like it fits really well within the transitional context while subtly contrasting its historic neighbors. The front tower features a light warmer gray tones and the rear tower mass uh features burgundy tones
relating to the proposed brick you see at levels 3 through five. And then here is kind of another view um an oblique view of before and after. And just uh really quickly a heads up on these two renderings. Um in the second
rendering, we've removed the trees for clarity. Um because the original rendering was was a photoshopped uh image from a photo. So the we are not reducing the amount of trees that you're seeing between these two renderings. Just want to make that really clear that
they're just um removed for clarity on the second one. Um, so we've made additional adjustments to the design based on your feedback and feedback from city agencies. The library is now a distinct expression grounded with a stone facade and ample glazing. This
two-story volume has been pulled south, eliminating that front overhang at levels 3 through 5 that was there before. The mid-rise brick volume relates to historic neighbors, but has a clear clear forwardinking approach to detailing and finish of the masonry.
We've maintained the side overhang as it allows for a larger, more usable public plaza. We believe it enhances the connection between the library and the Otis house and it also allows for a clearly delineated residential entry zone that feels open and safe separate
from the library entry. And then on the next slide, um I think these renderings really illustrate that the building fits appropriately into the West End's transitional context.
So moving on uh to materiality. Uh, like I said, we we've revised the color scheme of the tower to create more contrast between the building and its neighbors while maintaining a level of regard uh for the Otis House and Old
West Church. We're proposing a mix of ACM metal profile panels and uh brick warm gray t uh or excuse me, and burgundy tones of brick. On uh the next slide, we've just got
some precedent photos uh of kind of the tones of metal and brick that we're looking at. And uh as I mentioned before, our goal is to kind of contrast our neighboring buildings. So, we've selected this burgundy brick colors to
really pick up on the secondary tones found in the Otus House mix rather than mimicking its primary red tone. And now, uh, we'll go ahead and zoom in a bit more on the changes we've made to the library facade. Um, we've worked really painstakingly
with Boston Public Library to develop a facade that gives the library the civic presence that it really warrants. In an effort to make the library stand out along Cambridge Street, we've pulled its facade south. It's now proud of that brick mass at levels 3 through five
above. We've also increased the amount of curtain wall, boosting transparency and welcoming visitors into the building. We've shifted uh the brick materiality proposed in the previous scheme to um excuse me, we've shifted
the materiality of the library facade from the brick to a contrasting um limestone. And then here in on the next slide is a view of the library from the southwest. The pocket park you see uh there on the
left is now an outdoor reading room uh private to the library accessed only from the library interior. On the next slide, uh you'll see a view from the southeast, uh where the residential entry is kind of recessed on the eastern side of the
library adjacent to the new public plaza that Gigi will speak to later in the presentation. And then uh here's a view from the east kind of taken if you're standing in front of the Otis House uh looking west
down Cambridge Street. And then, as I mentioned before, we're now proposing a limestone facade for the library uh to really make it stand out. We've also adjusted some of the proportions of the brick horizontal
banding at levels 3 through 5 to better relate to the revised uh cornis line of the library. And in order to address some concerns about the durability of the facade, particularly where it meets the ground,
we've introduced a granite building base um kind of in contrasting tones for the base of the library facade and the planters and integrated seating into these elements. And we'll continue to work uh with the library on these
seating elements and also to design a fence that allows for visual connection from the street without being able to be climbed, which was very important to them. And then um on this slide, we've like I said, we're working with the library on
signage and the canopy design. And we've included some uh precedent images here kind of illustrating that design intent. And then on the next slide, we've got uh kind of an image of the library facade color palette. So, in addition to the
limestone, we're proposing a dark bronze for the curtain wall and a canopy that would tie in with the colors on the tower volume above. Um, and like I mentioned, we're proposing kind of these two tones of granite, uh, which would be
achieved by different finishes. So, a lighter tone at the base of the limestone library facade and a darker tone at the pocket park plinth and the planters. And then finally, to understand the
various scales at the sidewalk level, we've created this uh section through the library pocket park uh looking east towards the library entry. Um, we really see the pocket park fence as an opportunity to introduce a custom artful
element, potentially tying back to the library's mission or the Weston's history. And we'll continue to work with uh BPL on that exact design. And so I will pause here and pass it over to Gigi to present the updates we've made to the
landscape and streetscape design in greater detail. >> Great. Thank you, Ma Megan. Um, nice to see you all this evening. Um we will start with a um site diagram that we showed you back in March but wanted to um revisit just so that everybody is
understanding the kind of various um zones of the landscape the different um uses that we're um addressing in our design um including the uh accessible open space that's on the east side of the building but the the top side of
this page with a service vehicle access that goes all the way to the back of the site for maintenance vehicles and then the realm of the library along Cambridge Street as well as of course the public way sidewalk and the furnishing zone out by the by the street. Um the next slide
please Nate is our plan in its current condition that shows again the overall site. Um and uh in the next slide we'll zoom in a little bit. We're going to flip everybody around uh so that we can zoom into the front of the building. And
really, this slide is just uh to help everybody understand the the circulation that we're um dealing with in terms of access to the library. The sloped walk that goes along the face of the library, that's the accessible entrance to the
library with the residential access um right behind that. And then there are various other ways to get to the front door of the library. Uh you can see with those orange arrows um the uh pink marks are just highlighting where we have bike racks out on site and of course the blue
arrows towards Cambridge Street are the general um flow of pedestrian traffic that we have along the street. Um and then the next slide um just turns the trees back on. We had those turned off on the previous slide so that everybody can see uh where we are getting um
planting um in on the site and um we're really trying to maximize the areas that we can we can plant. Next slide. So this was the plan that you saw back in March and uh some of the
things that we heard um were about um questions about material pallet and we are continuing to to evolve that um we'll show you that in a minute but that you know the hardcape materials need to continue to evolve with the building
pallet uh and also to help um understand the kind of different zones and uses across the site. Um, we heard about large format pavers um and uh eliminating the disappearing steps that you see um between the library entrance
and the street and also just um an ask to further investigate um planters and where we were engaging planters with the building or not. Um so the next plan neat thanks um here is where we are
today and um we are um you know that we haven't we haven't picked a product so to speak for paving but we are working with large format pavers u near the entrance to the library and a smaller format paver that appears in the um
shared open space because that needs to be uh able to accommodate um vehicles And um we are um sorry I just got something stuck in my throat. Um anyway so uh the areas that
are with the larger format papa are defining where the entrance to the library is and the entrance to the residential tower. Uh next slide please leave. Uh these are just some images. Uh so you can see where we uh are thinking in terms of um
unit pavers and material precedent. You know where we are with character um benches on the lower part. Um looking at granite benches. um how they integrate with the facade of the building and the granite plinth that
Megan mentioned and then having some wood bench elements and some potentially stacked bench elements in the open space that's on the side of the building. Um >> the flag to the proponent team on time. >> Okay, I'll be quick. Uh this is the view
that you saw a few minutes ago, similar to what Megan showed, but uh we have the street trees turned back on on this so you can see um a more kind of uh whole picture. Um and straight ahead uh is how you would get into the library on the
sloped walkway. Okay. Shared open space. Um as Megan said, we're in continued conversation with Historic New England and the folks at Otis House um as they develop their plans. Um, we wanted to show you what an interim condition would look like since we're on a different schedule than they are. Um, so we took a
section cut so you can see that the uh, Otis House is higher than our site and so this interim condition um, holds their existing grades that they have um, across into our site. And then uh, the next slide, Nate, is a potential future
condition. We're not um you know the design of that has not happened yet. Um but just looking at how you could integrate this space to make one full space which is what we hope for. And here's a section of how you could negotiate that grade change to help
support the the program of the open space. We do just a quick note we do have a series of program diagrams uh that we for time didn't include in this presentation but we'd love to talk about those with you during discussion. And I
think I may have eaked it all out. Um, thank you everybody and we look forward to some discussion here. >> Perfect timing. >> All right, commissioners, anyone want to get us going? >> Um, sure. I'll jump in. Um thanks uh
team for the presentation. Um I would say generally um I I I'm personally I'm much more pleased with the in fact the original design uh that that was part of the uh the earlier
submission I think back in March. I feel like um looking at this image here uh I'm seeing almost three separate architectural languages uh the previous to me appeared to have a much more unified
um therefore simpler uh more resolved approach to the the massing. Uh, and I I I always applauded uh the the previous because it it felt like there was much more of a harmonious um feeling between the program relationship and and the
facade, meaning the housing uh on on top even though you have that sort of middle middle zone uh element that's protruding. Uh cladding it in the same material to me always felt unified and felt um together. and then having a distinctive quality at the base uh fel
felt right because there was a program shift and I think you were also trying to uh better respond to the Otus house which is lifted uh above the grade plane a bit. Um, so I would I would certainly encourage a little bit more. Um, I I
really actually strongly encourage looking back at what what worked in the previous design that really unified things together and hoping that uh that that there can be a balance uh struck there. I will say, however, that I do appreciate the limestone base here. I
think there's a softness, there's an elegance to it. I like the vertical offsetting of the materiality that you're showing between the large windows. Uh I there's a lot that I like about the base of the building um with the library, the signage, the uh
strength of the architectural canopy uh and how that really speaks to the public realm and will draw people in. I can imagine that being a phenomenal space that you can see into day and evening. Um, and then the the top of the building uh being something that's a little bit
more set back but but but resolved. And by resolved I mean unified in its materiality expression. Um, I would say if you could just go to slide 19 for a second. Um, give me a second while I get out of here
to get to the right slide. Um, I can I can just keep you going. I mean, I've I've already mentioned the the the limestone with the uh >> with the red brick in the in the previous uh scheme, and so I'm I'm wondering how much that can tie in. Uh I do like the residential entry being set
back and how there's an integration with the public realm uh streetscape and just being very clear about what zones are public and what zones are private. I think that's more important than ever on this site because uh I I do understand
that there is uh a site security uh concern or at least there's a concern that um has been expressed uh by the public and I I'm curious by the proponent and I'm not looking for the answer now but just something to follow up on is how does the site become
transparent and open and inviting while also managing doing a good job at managing uh security from some of the things that have happened on the site or may happen around the site. Um, how can the site by its architecture and by its
signage and visual cues and tools um security tools uh become uh both a transparent accessible place to be walkable, inviting, but also safety and security. One point along that line is the reading garden that you're showing
in the landscape. I saw that there was an arrow going from the building out to the reading garden, which I was encouraged to see. So therefore, I wonder if you're thinking about some sort of a picket rail fenced condition from the street. Uh that would allow the
library some ability to manage how that reading garden uh comes about and and the usership of it. Um again, just to help mitigate some potential security uh concerns. Um, I think I would also add I liked the
and I forget what slide it's on, but one of your landscape slides showing the commitment and investment to the unit pavers in that in that uh public realm space even in the vehicular drive. I think that sends a strong message to the pedestrian that this is a pedestrian
space versus a large strip of what could have been asphalt. Um, I like the gentle nod with the ballards, which probably could be lit, but giving clear signs to where pedestrians can get in and out of their apartments, uh, versus where vehicles go. Um, but my last comment
does bring it back to a concern about vehicles. Um and and what I would really love to learn more perhaps at the next meeting about how you plan to manage what is a very busy street with trucks, deliveries, cars, the routine nature of
that. It seems to be like they're coming in one way and then backing out on the street. I didn't see in the site plan, the ability for a three-point turn or some ability to turn the car around to just put the driver and the pedestrian in the safest uh condition possible. Um,
I know I said one more comment, but if there's Do you have one shot of the facade upper that shows the detail where you have the punch window and I think three layers of offset brick and uh a
contrasting material there. Uh, are you talking about the the tower facade or the facade facade? The tower facade. Okay. >> Yeah. >> I don't think we have a zoomed in >> just even your very first image. The
elevation would be fine. Um, and it might be hard to uh see here, but I would be curious to understand a bit more about that layering that you're showing. And in fact, is that achievable? What I mean by that is the
dimensions of the depth seem to be rich and very attractive. Uh, I I love it when facades can give that much depth, but I but because I'm seeing brick and full depth brick and sort of knowing what's behind that, seeing three or four layers of significant offset before you
get to the window itself, um, leads me to think that's a fairly thick wall system. Uh, so again, I want to believe in it. I just would hope that you could provide a bit more clarity on on is that the real depth we're going to get or in the end, would there be a fraction of of
that amount of depth? is I think the play on depth and shadow and the feeling that the windows are deep into the facade is a is a character-defining element of the facade and I just want to understand if that's in fact achievable. Thank you
>> Megan. You can feel free to respond if you have any questions or the design team can. This is meant to be a conversation. Um and if you don't David has seen is up next but go ahead. Um, yeah. So, I think Nate, if actually if
you want to go to slide 47, um, I might have hidden it, but I think if you click on it, you'll see. Yeah. So, so this is something we already did adjust once and and these are old colors, so we we did not update the
colors for this presentation. Um, but you can see kind of the the after is what we're looking at today. So the idea is that it's really only one it's 8 in depth there of brick and those three
that appear to be layered are actually really just in the same plane at an at an angle stacked at the bas on the bias there. So this and again this is this is really just a sketch. So once we get into design development, we'll further develop this and and you know, we have
been working a little bit with our structural engineer already. Um, thinking about how we're going to relieve the brick, where the angles are going. Um, but hopefully this gives a little bit more clarity into what as to what we're showing in the rendering there. >> Yes, it does. And I I applaud the
craftsmanship. Um, and so I'm happy to see that you're thinking about it. Appreciate that. Thanks, Jonathan. David Hatine. >> Uh, thank you, Mimi. Um, uh, I was, uh, not present, I don't believe, at the fir
the when this was first presented, so I'm I'm really seeing it for the first time, and I, I want to make my comments in that spirit. Um overall I think it's a very very nice project and um and a lot of uh nice development
especially on the expression of the library as a more prominent feature on the street. Um I understand um how uh through the the value engineering process the pricing process um you would
have landed on ACM for the upper floors. Um, that being said, I I also very much appreciated the initial scheme where there was I I believe um uh brick detailing top to bottom uh or at least
it appeared to me to be that way when you first presented it. But recognizing that that may not be possible, um I I'm I have a a couple of questions, comments if you could go Megan to the overall view. Thank you. Um
uh thanks. Um I it was very you know again seeing this for the first time I didn't realize at first that there was this uh larger mass um that was uh behind the building and that the light gray uh ACM portion was nested uh
between the exactly that was nested between those two pieces. And that's helpful to understand. Quick question. The the uh high-rise portion of that, is that ACM as well? Um is it just the brick corner that is is in the masonry?
Okay. >> That's right. Yep. Just just that uh volume at levels three through five. And it does kind of turn down uh to level one. Yep. It's kind of obscured by the Otis house there, but that's the area where we're proposing kind of the brick frame.
>> Yeah. To totally understand. And I think the way you're handling that detailing looks very nice to me. I guess my uh two comments, one um that are both aesthetic, so you can take it or leave it. Um, I think that um the the the the
richer um sort of uh purpley brick, which um uh I I initially years ago thought was not necessarily a good compliment to red brick, but as your president image reveals, uh came around to the the the idea that actually that
can be a very rich and contemporary um uh backdrop to uh the traditional red brick building. Um, I'm I'm okay with that change even though there is something reassuring and pleasing about the color scheme on the left. Um,
however, I I wonder if um the contrast, the level of contrast between the uh light gray volume and the uh richer tones uh in the building is perhaps is a little too sharp and is actually
taking me into the uh language of the hospital architecture and the buildings down the street uh uh and even some of the government buildings a little bit too much. I mean, I recognize that this is a transitional area and there's a
real mix of architectures here, but um uh again, I wonder if the other thing about the lightness of it is that it's in my mind emphasizing uh the new condition that we have, which
is less glazing. you know, the that it's there there there appears to be, you know, broader panels of blankness, if you will. And I wonder if that was just darker um more of a a bronzer tone um
that um was maybe a similar value to the uh rear of the building. um that that sharpness of contrast, and I know you're trying to make this look like an assemblage, but that that sharpness of contrast might help alleviate even some
of the concerns that Jonathan just expressed about the unity or the of of the whole whole complex. Uh in using that uh purpley brick, we actually had a lot of luck with um dark uh dark
mullions, dark bronze, you know, etc. And so that's something that I think would be relatively easy to look at if you haven't already and um might be something to consider. Lastly, um a very nice uh precedent image on the masonry
um portion of the project. If you could go to that slide. Um uh yeah, that's the building on the left is the one I'm is ours. So I'm thinking of it just that dark gray um the dark gray uh bay. um is something to maybe
think about something just a little darker. Um but if you No, there's another slide next. Um uh you know with a limestone slide. Um yes, thank you. Um I really like the the
choice of material here and I really like the precedent image. Um, and I'm wondering if um that strength of the limestone as it supports the um the the the item B
there, the cross piece, uh feels really solid and then it's completely eroded at the corner and that feels a little counter to the materiality of it to me. I I wonder if there was uh a more
masonry where where that that tiated piece really looks like it rests on some assemblage of masonry which it does on the right hand side but less so on the left hand side unless I'm missing something. So, um it's just about the
balance of the expression of of uh blocks of masonry, if you will, um in that zone that I I know you're trying to create as much transparency into the library as possible, but it it feels a little bit like that piece is kind of
hanging out in space to me. Do you understand what I'm talking about? The left above where it says BPL >> at the canopy. >> At the canopy. Yeah. just feels like that piece of masonry is kind of like hanging out there with a big piece of brick and a big piece of building landing on it. And I know there's
columns inside, but I feel like maybe when I look at the uh material choices on the lower right where the mass where the limestone really feels like it's it's supporting something that um maybe
there's an opportunity there to rethink that. So, those are two truly material oriented comments, but um uh I'll leave it there. >> Thanks, David. >> And Marie, >> I'll jump in. I will do my best to to
build upon my colleagues comments. So, I was at the March presentation and as I recall, uh, our comments about better distinguishing the library had more to do with, um, sort of helping the
increasing the legibility of it being a public building and the entrances. Uh to be honest, I was surprised to see the changes you made and the changes in color because I do think that detracts from the overall character of the
initial proposal. So I would um you know I would encourage you and I also share um David's concerns too that the the change in not only materiality but color does remind me of institutional buildings. And then the fact, I don't
know if we discussed this before, but the fact that there's sort of the the grouping of two floors on the upper levels further emphasizes that to me. And I think something that I always I I think about in terms of urban design and
sort of what signals that something is a residential building versus an institutional building. And and granted you are navigating a very challenging site here, but I just um really find that the scale and texture of the the
what's now that um I can't quite what's now the darker, you know, that you have the base where the library is and then you've got the threetory segment and then the tower. I think the threetory segment does a better job of communicating that this is a residential
building. Um, going back to that precedent image that David referred to that that is a um, one of his firm's buildings, I think the other thing I have mixed reactions. I'm not sure I share my colleagues um, reactions to the the change of material for the the
library as a whole, but I do think there's something to be said about precedents and even in the adjoining historic building about how do we um integrate more than one material. I think we are in an era right now where the architecture we are leaning towards a more modernist holistic approach and I
think there's an opportunity to maybe integrate stone in the base of the building in the library in a very contemporary way that signals that this is an entrance this is a public space and then let the tower uh be simpler and
then I think the third piece I believe or the third question I'd raise is a a concern about finding the entrance to the residential tower power. I think that's also a key piece in urban design is how do we find the entrances to each of these buildings and then also the
consideration of um some of the safety concerns that have been raised by um at least one member of the public and the adjoining area. You know, how do how do I as a visitor or resident of the building find that entrance and distinguish it from the the library
entrance? Thank you. >> Thanks, Anmarie. Um, I'm gonna pass it on to David Nagahiro, but again, Megan and design team, feel free to chime in if you have any comments you'd like to share. >> Um, this is I would share a comment
really quick. Hi, my name is Crystal. >> Wait, I are you part of the design team? >> No, I'm I'm the developer. Um, my name is Crystal. I work with Preservation of affordable housing. I'm the project manager. Um if it's okay just to
interject just want to share a little bit about our security plan. Um I know this is something that we have discussed in the community meetings that we've had. Um it is an evolving plan. Um we have welcomed all the feedback that we've received. Um I know uh Colin had a
comment in the chat and it's something that we've heard in the community meeting that we had prior. Um but we are working on the draft security plan that we have presented to some of the community stakeholders in the area um that we will incorporate. Um it is an evolving plan as I mentioned. It will
involve you know cameras at every angle of the building along with um the building being managed and supervised during the on hours by our management team and then during the off hours by a security guard. Um we do have an actual plan that we're putting together um
where we've incorporated the crime prevention through environmental design methods um that our landscape architect has been working with our security consultant on to try and um use the design itself to try and enhance the security measures from the open space
plaza. uh without necessarily setting up barriers along the site or um harsh fencing to keep that open to try and keep that open feel a little bit because you know the library is a public space. Um but we are trying to keep it as controlled and as safe as possible uh
not just for the residents for the community and anyone that you know wants to use it and go into the library. Um so just wanted to talk a little bit about that because this is a design meeting so we didn't get a chance to incorporate that in here. Um, but it is in the works and wanted to let the commissioners
know. >> Michelle, thanks. Thanks for that. Um, I I do think that we want to keep our comments focused to design. So, I'm glad that you you noted that. Um, but let's pass this on to David Nagahiro and then we'll talk about um any open space
issues and how the design can help with the security concerns raised. >> Okay. Well, thank you. Uh great presentation uh Megan and Gigi I think uh Megan I I'm going to apologize in advance um because I think there may be
a little bit some conflicting u you know direction but you know I wasn't uh fortunate to be at the first presentation but I did watch the entire video and the presentation that you gave before and you know one of the comments I remember you know an Marie made and
Bill Ron made was that it was a very very good presentation very clear um Bill was very uh complimentary to the materiality and the beautiful kind of combination of materials. And so I just wanted to say that at the outset and to
that end, you know, I think that there's a a clarity and simplicity and understated elegance of the first scheme that I think it feels like it's a little lost in the second scheme only because their materiality is so contrasted. You know, there's something about the brick
that comes down from Beacon Hill and kind of washes over that whole area. And when it crosses the street, it makes this really interesting abrupt change to very commercial. And I think your original scheme uh kind of created the spirit of a lot of that Beacon Hill
brick, which I feel is a little bit lost in the other other option. And I and I was probably one of the people that maybe liked the kind of the projection of the uh the second uh the third, fourth, fifth stories because of its
scaling uh delineation or that datam line that it created with in conjunction with the Otus house which I think was very effective and it then it set itself back and I don't I understand wanting to put the the um the library forward but I
feel like in the the rendering on page 10 that you have here that it feels very applied because it's so uh thin in comparison to the setback and because it's a contrasting material. It just feels like it's very thin in its
relationship to uh the weight that it's carrying that um you know David was mentioning. So I'm not sure I agree with the idea of the limestone. I do like the idea that it has its civic presence. That's not what I'm But I do think that
because it's such an a thin setback, it feels like it's applied and it's not quite doing what the the original masking strategy did. Um, and especially on the top where you really change the material as it went up. I do think that
if you could find a a complimentary color that worked with it, uh, your detailing, I think, is is going to be very beautiful. And um I just think that the the the left-hand side had a little bit more um understated elegance to me
and the other one is a little bit screaming for attention with the different contrasting materials. So that's um Gigi's comment. Uh and then on the materiality uh the iron spot bricker that you identified, the purple tone I think is really beautiful. Um, I think
that because it does have that uh silverly uh kind of quality to it, when the light hits it, it will feel very much lighter than it it appears as that kind of deep eggplant color. So, I like that material contrast a lot. Uh, GG's plan, I think, was very nice in that it
does uh address the Yotas House. Um I I the I was on the preservation alliance board which was in the Yodas house for for many years and the idea that you're actually we we would use the side entry as the entry into the building. So that kind of a public realm space I think is
going to be very important. I know there's a lot of service elements with you know servicing a a residential building and a library with uh bringing in books and that sort of thing. I don't know how you deal with that uh one-way kind of uh dead end of the access to
that street, but I do think there's some really important uh and and it doesn't help that the front of the Otis house has the uh brick wall or the stone wall which kind of blocks a lot of the visual connectivity between the two. But um I
do think that you're such a skilled um architect and I I think that uh many of these uh these moves that I had mentioned I think in the original uh concept I think uh might be a little bit stronger. So I apologize for uh maybe uh
contrasting some of the comments but I I do think that uh there's something very beautiful about what you had created. >> Thanks David. Um Laura, I'm going to pass it on to you. But Christine, I see your hand is raised. Are you giving us a time check or
>> time check noticing the number of um participants we have and there might be some interest in public testimony. >> Okay. All right. We'll pass it on to Laura. >> Could we go to a site plan? Um I think 3132 maybe.
And then could we see the previous one? So by by pushing the building out, which I think is right in terms of its presence, you've made the landscape have to do much harder work. In other words, the landscape is now kind of the base of
the building. It feels that way. And so I I would um go to one of the perspectives that shows the entrance that and and I think the landscape has a has a different role now particularly at the front door where you have that
sloped ramp that is um giving you accessibility. But I wonder about whether or not that needs to be sloped um in contrast to the building or whether or not it should just be drawn across and made into
something much more simple. Um and maybe there's a way to put um well actually I want to talk about the entrance. So if you don't mind, let's go back to the plan. You know, one of the great things about
libraries um is that there's this sort of grandness um and entry into them. And previously you had steps that wrapped around. Um and I'm I'm questioning
this as to why we need why you need steps on the west side. And one of the reasons I'm mentioning that is I I don't understand the privilege of that and I would rather see that in a much more
generous set of steps into the front entry. The the width of the steps at the front feel just a little bit um cramped to me. It doesn't give a lot of breathing space around the building. and
you've gone to great lengths to really provide an aireriness to the the library facade. The the other reason um for my um concern about the west steps is I
think about that library and what I'm going to see outside and that corner that glass corner is so important and to basically get a view uh out to the bike
parking feels a little um harsh. And I wonder if you wouldn't rather give up that space to some green. So I'll I'll just make a a you know, is there a way for you to put landscape between the
interior courtyard, the reading um room that the library is doing outside. Get rid of those steps and then find a way to provide another layer of landscaping that you see that together
with the courtyard and the front you start to see those collectively and it starts to feel like a landscape like the like the building is kind of held by something. And you know, I'm a landscape architect, but I think there's nothing
better, excuse me, than being able to look outside particularly beautiful um contemporary buildings um and see landscape. You know, you just don't get to do it in the city. And so, here's the here's the chance to kind of thicken
that experience. So, I could think you could give yourself a lot more real estate by by eliminating those steps and then looking at what happens between the public walk and that square area. I mean, if you look at the dimension of
it, it's pretty big relative to um this the spaces on the east side, right? If you could pick that up, you'd realize that it's as wide, if not wider, than many parts of that. So, um, but I think I think that more development of the
landscape and how it complements the the facade. Um, I'm also um c can you go back and forth between the two plans one more time? Thank you.
So, um, you have the classic issue in cities, which is how do we service buildings, and I understand the need to leave this lane open. I'd love to hear a little bit about the service, not so
much in depth about um why you have to have service there. I've looked at the context plans. I think I get it. Um, but how a a how a truck comes out. Does a truck back out? You know, what what time of day
does that truck um show up? How many trucks show up? Um, in other words, how busy is that lane going to be? I'm also feeling like the the landscape has become a little more peacemeal on
that side and that in order to hold that kind of open space that you need to thicken um or combine some of the green spaces, the plants will be happier when you do that anyway. And I don't think it's a you know particularly bad to have the
bikes um you know grouped together. um you know it's it's a known known factor in the um in the world of downtown biking and likewise I don't know I couldn't see what happens on the
vestibule but going into the building but again I I think that you ought to look at landscape as you are entering that so I'll let you respond to the um service if someone could >> Yeah so I can um just a couple things
Laura Thanks for those comments. I think the um the steps at the front um are have presented a real challenge and I uh you know we we want >> Yeah, exactly. because of the existing sidewalk slope that already exceeds 5%.
So we're um you know I think you're you're reading our minds you know from the the initial the last plan you saw that had a much kind of wider broader gesture. um and that that's uh you know
really changed now that that uh that stair has gotten more narrow. So um we should continue to grapple with that. And I think the the west stair um has primarily been about um keeping that
space to the west not being a kind of deadend nook um and keeping pedestrian traffic flowing through through there. I think you're right. would be great to have um some green there. It is, you know, for a site that has all these challenging circulation roots, you know,
where you can have a kind of eddy space that can be green, I think is really uh critical. So, um we'll definitely revisit that. Uh as far as the service goes, um and Crystal, you should interrupt me at any point, it still continues to be a bit in flux. Um the
idea is that that that service lane is not used uh overly regularly. Um that uh we can show I don't know whether Nate you can um spin really quickly to a couple of the program diagrams that um the library van actually we've been
working with the city on this and the library van actually does not go into the back space. It actually has a mountable curb. um we're trying to keep most everyday services out of that space. Now, I say that with the big
caveat um of the trash um pickup is still very much in debate about whether um the trash trucks would pull into the space and have to back out. Um this diagram shows a moving truck which would
be scheduled through PO's management team uh would actually pull forward on the Cayman Street and back into the site to then pull out forward. But again that would be a scheduled you know not an everyday event. Um, I think really the biggie is trash and whether that is um,
you know, trash bins are brought out to the curb and the trash truck comes very early in the morning and pauses on the street and loads there or whether the trash truck is pulling into the site. Um, and there are, you know, arguments
um, for for both that we're hearing from all over the place. Um, so that's still a that's still a bit of a question mark. Sorry, I don't want to speak out of turn. Just want to note that the the trash we we have had some comments about
it being you know ensuring that it doesn't pile up because you know there's some other um issues with rats etc that could uh come up. So we have been exploring the daily trash pickup and then we have re-engaged our traffic engineer as GG mentioned to look at the
uh scenarios uh based on the comments that we've received so far. So um we we are still evaluating that trash scenario that GP just presented um along with others. Just wanted to note that. >> Could we go to the plan um that shows uh
the space at the Otis next to the area we were just talking about? And I I I heard you um Gigi that this is in um in flux and I really hope
we don't have to take up that space with circulation and I get the accessibility issue but um I think if if you could you know find a partnership with Otis to make that plaza
feel much more connected to both buildings so that both of them have a um bonus of that space and different ways that they can use it. Um I I think one could really enliven the other. So
things that are being done by Otis and things that are being done by the housing and the library really have a home um a green home that they can um work in. I know you don't control that space, but I would really encourage
um the proponent to to work carefully with them to enhance your own space because it's it's pretty um it's pretty grim um on the, you know, on the Otus side. Um
and then one one last thing, can we get more street trees? Um, I'm unsure about why there are so few, but maybe maybe there's something, you know, utilities or something going on there.
>> There's a little bit of that. We also we have the it's barely on the screen on this image, but on the left there's a crosswalk that we're receiving. Um, which is why there's nothing to the left of the two trees. And to the right, um, where it feels like we could fit one
more tree is actually where the library van, um, pulloff spaces. Um, got it. >> And so, uh, that has kept us, uh, at the two, which when you don't see the library van on, it looks like you really want one more in there. Um, but, uh, we
have to allow for the turning of the van to not be backing up, um, to be able to pull forward up into that curb spot and then pull back off forward. >> Yeah. And I I have to wonder about this lonely guy right here >> on the left. Yeah.
>> So maybe when this starts to be something else, it can >> it can jump back into that. >> It can be incorporated. It doesn't feel like it's an outlier. >> I think that's I do want to >> I want to ask a question about this loading thing which if if you don't
mind. So um is there is there a larger uh plan where where we see the the loading dock? um uh access that you could pull up. Um it may not be >> you had a drawing that showed where it
extends deeper into the plan. I don't know if it's a full plan. >> Yeah, that 28. So the the there's a gate um you can see there's a fence, David, and a gate midway. >> Yeah, I guess so. I I'm I'm sure you
explored this, but I'm I'm just going to say that um I I'm concerned as a fairly significant uh I I believe this is a rental apartment building. Um that moveins are going to be much more often
and more frequent than something that can be arranged, you know, early in the morning. Um, and I wish that there was a way for a box truck at least, um, to
pull all the way in, back into a loading dock as a three-point turn, pull out and pull straight out onto Cambridge Street. Um, without backing back on to Cambridge Street. Um, I I see there's trash and
fire pump and transformers and all kinds of things in the way. Um, and I'm sure you're trying to hold on to as much space for the library as possible, but I would be worried about that. um uh just in the long-term operations of the
building. I think that um it's very very hard to control moveins um to the minute and um I wish there was a way I I understand that big trucks that might not be possible but if there was some way for
trash or whatever to be reconfigured so the transformer could slide down or something so that a box truck could at least get 2/3 of the way in and then do a three-point turn to get out. That would be great. But um I suspect you've
looked at that. >> Anyway, >> we we have we yeah we have. Um but I I definitely understand your concern and your comment and um you know once we engage more with the utility provider
maybe we'll find out that we don't need as large of a space. But for now, we really have to follow their guidelines um and assume worst case scenario uh with Eversource and and you know, we know that they're not very flexible. >> No, Eversource is always a worst case
scenario. Um but uh I I hear you. I'm just just think about that because I I know it you're not going to get that perfect threepoint truck turn thing, but if there was some way to maneuver a
vehicle, imagine one person is backed all the way in and then another truck pulls in not knowing, you know, I it's just the logistics of that worry me. >> Yeah. And I will agree with that wholeheartedly. That is an incredibly
busy stretch of Cambridge Street with that entrance into Whole Foods and the doctor's, you know, office. It it it's almost impossible today to navigate that little stretch in front of the OD's house. So, I do think that that >> will just add to that pressure. But
going back to uh you know, Laura's comment about the reading room, I really do support that idea. I I was very concerned about that reading room garden or what um I think that's how the reading garden right now it just doesn't
feel like it would be a nice space and while you could design a beautiful fence it it really does feel like a barrier and if there was a way to layer on a landscape on the public side of what could still be a barrier to understand the need I think that would really
soften that condition that I don't think it's just a nice grill that's actually would make that transition. I do think there needs to be some landscape buffer. I I also would like for you guys to address the lighting. I think the site lighting is going to be absolutely
critical in this design to understand, you know, the safety concerns and to make people feel comfortable about uh how the lighting supports the landscape. Um, and I don't know if that requires just lighting diagrams or a night rendering, but I do think that's
something that you need to bring the next time that we actually meet. And then I I know we're really tight on time, so I have two comments on if you can go to the before and after. I like David believe I was not at the last presentation. Apologies that I was. I
really don't think I uh commented. I want to see the side by side uh of the renderings of the buildings, the previous design and the current proposed. >> Yeah, it's page 10.
>> And so what I notice um if you can go to the side rendering especially, I think that's this. So what's really successful about the original design is that you can read the frame of the double height
volume and you can read the frame of the lower stacked volume very clearly because the inset panels were light and contrasting from the overall frame. I think that's what you've lost in the new pallet. Um, I think that that lightness
of the frame has just become more tone on tone that it's hard to distinguish frame from infill. And so, you know, I understand you're exploring the different colors. I I think the contrast
uh might be more in the inset panel to frame than it actually is volume. It's just um what I think is so successful about the previous version and the actual tone. I definitely think if we're talking about iron spot that gets too
dark, it might be a little bit too dark, but um I I do think that some of the materials we're showing are can be handsome. And then the last thing I will if we go to a view of the library and
the smaller stack there's a rendering or almost an elevation. I do think that that offset's a little bit tenuous right now. If you go to the previous slide and so I'm a little bit in agreement with David Nagahiro that it's it's not quite
flush. It's not quite forward. It's just too tenuous. And so if you could think about that relationship more, I understand that the program might need to increase, but that banding is so thin at the top that it's not really helping
distinguish like you want the limestone to feel like can hold the weight of the other building. And the rendering of the limestone stacking separate from the, you know, floors three through five is really a
strong idea. And I want to make sure that that doesn't get lost because that's a double structure or condition that you're talking about. And so in DD that shifting and that stacking I think could be really elegant if if you're
able to um get that shift to work >> and that sheerness in in you know elevation. If if I could just make one small comment on what Mimi just brought up, I'm glad you showed this slide or brought this to light back. Looking
again at the image on the left, I think there's something really clever about the relationship that you have where the library is set in and the volume above is somewhat projecting out because it it offers like an extended residential
canopy on Cambridge Street that brings your eye back to where the residential entry is. So even though the residential entry itself is set back a significant way from the face of the library, there's an architectural move that actually can bring you back there. It
creates a great sophet uh opportunity. Uh I and and I think also the way that the left side is grounded more to to David's comment. Um so all that to say, I would I would actually encourage the the massing relationship that you show on the left, but perhaps with the
integration of the of the limestone. And I personally think that would be something worth trying and seeing uh how that would look. >> All right, Christina, I think I don't see any other hands, so maybe we need to
see if we have p public comments. >> Excellent. A reminder that starting on January 1st, the commission will limit live public comments to the project's introduction. Members of the public interested in submitting comments to the commission are encouraged to do so in
writing by emailing them to bcdcboston.gov at any phase of the project's review. At this time, we invite any members of the public in attendance who wish to contribute public comments to raise your digital hand and I'll call on you. If you're calling in by phone, dial star9
to activate the raise hand function and star six to mute and unmute yourself. Please state your name and any relevant project affiliation information. And please keep your comments to two minutes. And commissioners, I just wanted to read since I I don't see hands raised at this
moment, and I'll give folks some more time to do so. We did receive a comment in the chat from Colin uh that I'm just going to read out loud very quickly here. Um so Colin Zik says, "This is Colin
Zik, president of the Beacon Hill Civic Association. I have a 6 PM meeting and want to comment and it appears I will not be reached in time. We will send a letter as well, but reiterate the public safety concerns with seating and the driveway. in seating. This is an area that attracts negative behavior
encampments and the seating as shown does not discourage that. A security guard will not solve this design flaw. And for the driveway, having trucks that serve the building back out to Cambridge Street into pedestrian bikes and motorized vehicles is not a safe solution.
Um and he uh comments further that he will appreciate that there's a security plan but plans can change and not be funded or implemented. The design is permanent and proper design can reduce the need for security as such design issues that implicate security should
not be passed over on the promise of an as yet finalized or funded security plan. And I just want to confirm that folks are in fact able to raise and uh use their their hand functions that the
reactions are I've not inadvertently somehow turned off a setting that I was not supposed to turn off. Okay, I see Megan has raised her hand. Okay, thanks Megan for that. just giving me some peace of mind. Appreciate it. Okay,
so commissioners, I'm gonna go ahead and close the comment period and then uh invite you to discuss next steps. >> Right, commissioners, I think we have to make a decision here. Do I have any thoughts? I think we talked a lot about
materiality and color palette. I think we talked about um definitely the ground um you know the open space um entrance to the building uh the pocket park on
the left hand side or reading garden um >> well >> I just want to know if there's any you know what we're thinking in terms of we have to make a decision does this go to the monthly full commission meeting or come back subcommittee.
>> Well, I know Mimi that that the hope is that this could be uh handled by the proponent uh in such a way that they would come back to the full commission for a vote having made changes. I believe that would be their third meeting if I'm if I've got that correct.
Um, and on some level, uh, so much of the discussion was about materiality that I I I believe that the proponent could work with the staff to try and, uh, refine those issues. Um, recognizing
that we had strong feelings about it. Um, uh, on the subject of the the the ground plane and the transportation issues, I mean, I'm assuming that that's also being worked out with the the that that has to satisfy the transportation department and and all those loading
issues, which I must say I'm concerned about. So it really in that in my mind it becomes more about the the discussion of uh the the from a public realm point of view that issue of the the
fenced off area the some of the comments that Laura made about the landscape and uh ultimately the relationship of the BPL facade to the building above it. And you know, I given the changes that were made between the first and the
second, it seems to me very possible that they could satisfy all of those things with internal conversation and then come back to us. But then again, maybe not. So, I I um I I just kind of put that out there um to elicit more
thoughts and comments from other commissioners. >> Yeah. May >> Oh, go ahead. May I just interject really quickly? Um, so a lot of the the uh comments on the streetscape, the
landscape, the the reading garden for the library and they're actually designing the reading garden space. Um, a lot of the comments were kind of things that we've we've talked a lot about with BPL. they were very
opinionated and we have worked really closely with them to make a lot of these decisions and um and I think that they feel really good about where the design is now. Um another thing just a small
comment on like the pocket park for instance you know they they have to have a 6ft high fence from that lowest level that anybody could step up to. So, if we raise a planter bed there, we're going to have to raise the fence and that's
kind of a non-negotiable for them. Um, I think that, you know, bringing back like the stair that wraps the corner, I know for sure is something that is not um that's pretty non-negotiable. Um, so there's so there are certain things that
um that we've just we've really worked closely with them. So, I just want to be really clear about that that um some of these things we we simply just can't change based on the prior meetings that we've had with the city.
>> Yeah, Megan, that's helpful to hear. Um I do think some of those decisions are still remain problematic, but um maybe Megan Richards will bring some light to the situation. You're muted, Megan.
>> Oh, Megan, let me promote you to co-host. So, sorry. >> Lizzie is better at this than I am. Go ahead. >> Okay. Thank you. Um, yes, I would just reiterate these are obviously you guys are all aware this is a ve so sorry, Megan Richard, the senior urban designer
for the planning department. Um and this is a very complicated review process in that when you have a project that h is has a city you know library that has the library and public facilities department involved in the review and have opinions
and feedback and um we also because it's affordable housing have design review staff as well as planning department design review staff and you guys so um I think many of the comments we have been coordinating We have regularly scheduled
um coordination design meetings with all of the city staff involved um as well and much of the kind of public realm security concerns from the library like have been raised at these meetings and so um you know I think we really both
myself is here here tonight to hear your feedback and making sure that we are incorporating your comments into our feedback that we give as the planning department design feedback back. Also, Eva Germaine from Mo is here um listening so that we are, you know,
really trying to make sure that we as a city are coordinating this feedback together. So, I just wanted to reiterate, I know Megan mentioned it, but I just wanted to support her that we, you know, this it has been um really complicated and complex, but we are doing our best working together to get
through it and make sure that we are trying to find the best solutions possible. I'll I'll just say since I made the comment about the corner is one of the things that's different about this scheme is that corner wasn't there before that kind of floating corner. So
I I do think it's important you've got talented designers. There are a lot of ways to skin this. I I truly believe that. Um and so I I think that um
hearing but we're I'm happy that you're actually kind of charged by that to start a discussion about it. So um we'll leave it in your hands, but you know I think we've all given you some pretty
solid comments. >> I I also want to chime in here, Laura and Mimi. I think um as many folks have mentioned here, this is an incredible project. It's one of our first um projects where we're delivering both public assets and housing on top. We did
the Chinatown library with you guys and now this is sort of the second one and we've learned a lot along the way. I think to Megan's point, there's been a lot of stakeholders here that we're all trying to sort of appease as part of this process. I do think that a lot of the comments um that I heard both from
David and from um well both David's and from Ann Marie and you Mimi um focus on a lot of the materiality here and I think those are things that we're working through and I think we can come back to you with some additional um study and work and refinement on that
front. Um, and then I think Laura, to your point on the landscape and how to tie this together, I think Gigi got some really good feedback and I think let's see what we can explore with the library to see what's possible there. I think you raised some really excellent points. Um, but you know, we want to keep this
project moving in a um expeditious way. One of the things I was at one of the public meetings um this past week and one of the things we heard from members of the public was like when is this going to be built? you know, and we don't hear that often here in the planning department. Um, folks excited
about a development project. And, um, so many people see the extraordinary benefit coming along with this. And these are, you know, important details. Um, but I think things that, um, we have great talent on this side um, both with the city hall team and the proponent
team to address those concerns and can come back to you with some, you know, neat studies um, that relate to that. And I think Mimi, as you know, we're bringing projects back. Sometimes it may be a little it's not going to be as immediate. So, we'll take our time to make sure that we come back with um
adjustments that really do reflect um some of the feedback we've received tonight. >> Right. And I I I do want to just highlight that this is a really nice project and you know, the material issues will get resolved. I do think you
know the open space will get resolved. So, I don't want to lose that. And and I think what you're hearing us talk about is are really refinements um that can be worked out. And I'm glad that Megan, you know, Richard's chimed in that she's
here and the representative from Mo is here. Um I do think you have a lot of oversight and sometimes that you know even works against the projects but I do want to reiterate this is a very nice project that we are excited to help you
know m move forward and and see realized. Um but we do have to make a decision commissioners and I just want to you know see if we have a consensus about um passing this along
to the monthly meeting with all commissioners reviewing it or >> I'll make a motion if that's what you're looking for. I I'm I'm happy to make a motion given the comments that we just heard um to um have this come back for a
vote for the full commission um um acknowledging that there are uh uh comments about materiality and things relating to the the library that that staff is going to pursue. Um and then of course obviously if if things go you
know if there if if they'd like to come back to us for another subcommittee we're available. Um but if not um maybe um maybe I that's the path forward. >> I mean I think we don't you know procedurally we don't need a motion but
we need consensus u from this group. Um, and I would say maybe what we I should be asking if there is a commissioner who feels strongly about seeing this. Again, I think I'm asking you to chime in and be very explicit with exactly what you
would like to see um at the next round in addition to, you know, the comments that we've talked about already. I support this given given uh I support it given the discussion we've had. I think we all understand the urgency of
moving this project forward. we understand the capabilities of this team and I think this is also a really good opportunity too to we have a a lot of expertise on the planning department staff and I think we you know it it's a
you know a matter of using the best judgment in bringing it forward to the full commission >> likewise. Yeah, I agree with that. >> All right. Uh Laura, I see a nod. Um I'm
hearing consensus that we want to advance this to the next full commission. Um we definitely want to see some of the you know studies that we have mentioned. I'm not going to repeat them again and and we look forward to working with the planning department on
those revisions. Uh and I think that's we're good with this project Christina and we can move on to our next proponent. Great. All righty. >> See you at full commission.
>> Thank you everybody. >> Thank you very much. >> Thank you. You >> if the proponent team of the presenters for 434 Jamaica Street could just raise your hands and I will elevate you to co-host. Uh just a quick introduction
that this will be the second presentation of the proposed project at 434 Jamaicaway Street, Jamaica Plane, also known as Roger Bowfort House, following an introduction at the March 4th, 2025 monthly meeting. As a reminder, commission procedures
recommend that no more than three meetings to review the project. To the project team, please note that uh the presentation time is limited to 15 minutes, and I'll give you a two-minute warning when you're nearing the end of your time. And with that, I will uh turn
it over to the proponent team just as soon as I promote you all to co-host. Thanks everyone for your patience. All right. Can uh
Philipe. All right. I see your hands are still raised, but I've given you co-host abilities. >> Walter Ramos, are you the last person co-host? Great.
Okay. So, with that, I turn it over to you and I'll uh start the timer. >> Thank you, Walter. Go ahead. >> Well, thank you very much for this opportunity to present before the commission. My name is Walter Ramos. I'm the CEO of Roger Communities. We are
165year-old institution and we are dedicated to the well-being of older adults and that being affordable housing and care and so we are very proud of this project that mixes both together that we provide both affordable housing
and memory care for older adults in the city of Boston. So I know we have very limited limited time. We've got some substantial changes to the design here. So I just wanted to say hello and thank you for this opportunity to present to you and hand it over to Phipe. Thank you.
>> Thank you Walter. Good evening everyone. Uh Philip Zad de Schaefer. So we appeared before the commission uh earlier in the year and we have gone through significant redesign and re uh um ch change to the scope of the
project. So I think in front of you today there is the project consists of 41 uh affordable housing units previously 71 uh 66 memory care units one to one replacement this has not changed uh 41 now um significant trees
have been retained 10 additional to our previous plan. The parking is now 50 parking spaces, 35 underground garage spaces below the building. And then um we are now in the plan preserving the 1956 legacy building known as the Roger
House uh part of uh this proposal. Everyone knows Roger House from the Jamaica Way. That is the 1956 Roger House that uh will remain part of the proposal. Uh the site is along Bowford Road and
Jamaica Way in Jamaica plane. And as we look closer, Bowford Road is one of the closest connections between Center Street and Jamaica Way. And the site is significantly large. However, there's a small portion of the site that fronts Bowford Road and Bowford Road
constitute the only access to the site. So what has changed? Uh previously in front of the commission we presented a building that was seven stories tall and we heard from the commission that I'll I'll repeat this casually there was too much happening. Uh we've also heard that the three-story
masonry portion of the building uh should be reconsidered that we need to think about a little bit more of unifying elements across the building and maybe the building should be a bit quieter as the street is quiet is a quiet street.
In terms of overall massing the whole site is considered for two buildings. the sevenstory building previously and the six-story building previously. Phase one is what is in front of the commission. However, the overall site is
is being uh presented just so that uh the commission has a and the neighborhood and the community has a uh city has a um a full view of what the intent is there. But this is what was previously and what we've revised right
now is a reduced height uh reduced density preservation of the legacy building, more preservation of trees and an enlargement of the courtyard as some members of the commission have highlighted it being too narrow. and then a reorganization of the service
access to the building and from the building so as to not um uh change much of the nature of of the service delivery right now along we worked over the past several months to really reduce the effect of this
building onto this residential street which is Buffford Road and now you will see that the building in question is the yellow uh massing that you see on the right hand side. Although overall it is a six-story building. The way the massing has been formed, it will appear
in majority as a four-story building along the street. And as we move closer to the building, the upper two stories, level five and level six will disappear behind the mass. Again, this fourstory looking building will will be in line
with what's across the street and a a shorter uh streetscape. And as we look at the corner between Lakeville and Bowford Road, again, the building will appear as four stories uh on the street. And from the Jamaica way as well, given how the massing has been
um re um organized, the building will appear four to five stories at max. We've we've developed also a video to show how this massing will truly appear as four stories as we get closer.
This was a major part of the discussion with the community as well as with the commission. And from the other side as well, as you walk from Jamaica Way into Bowford Road, the building as you get closer to it, more closer to the residential
uh aspect of Bowford Road, the building will appear as four stories. Our phasing strategy remains unchanged to the exception that uh we are preserving the legacy building uh along Jamaica
Way. So phase one will have to happen in the backyard of the current building. Um the building will be erected. The 66 uh residents of the memory care will be moved from the existing facility into the new building.
uh the old building that does not serve uh the the purpose of the future for the client will be demolished and then phase two later on will come in to complete the site. Uh I we chose to start with a sty
strategy just because uh the program of this building is fairly unique. uh it is a three stories of memory care as well as three stories of residential on top. However, a lot of the parameters that are governing the site and the and the
building are really based in what we call dementia positive design. And I wanted to highlight few elements here that have been guiding us for this project in particular. And those individuals the 66 individuals who
would live in the building uh part of the memory care units uh will be confined in majority to that to their homes. Uh so connection to the environment is very important. Creating different types of landscapes that are
of discovery uh have been included in our designs. Uh the notion of familiar elements around the site and in the building are important elements for wayfinding and also a lot of uh effort has been put in to uh allow people to
maintain dignity and independence as they live uh their daily lives in the building itself. Safety is a major concern and who doesn't want to have joy in their lives as we are uh in our uh new home in our new community.
So the site strategy as I said is geared mainly from a the memory care design perspective and that is the site plan of the building. Before we talk about the streetscape, I want to talk about the three different areas that are important
for this program. The internal courtyard within the donut shape building as we call it. This building is only three stories high. The courtyard is on level one and it's fully enclosed and fully safe. So the new design has enlarged the courtyard to allow more daylight to come
in. Uh we have also removed a portion of the building on the top right to preserve mature trees and this allowed us to create another pocket park or outdoor space for the residents of the memory care uh
building. And then on that portion of the building, another type of landscape which is more of a discovery landscape, more a tactile and um and textural landscape and also a journey as people leave their u household and and go down
into a very sloped walkway to get into a different portion of the landscape. This is a greenhouse as well as a connection to that more contemplative and quiet garden in the back. So if you are confined to the first floor of this building because you are part of the memory care household, you will have
access to three outdoor spaces. One that is fully enclosed, one that is of discovery and one is is more contemplative. The outer courtyard is open to the general public and to the community and is designed within phase
one and phase two of the building. And there's a pergola right there or a landscaped element with some topography or or level changes that is intended to create that separation and that safety without using 8ft high PVC fences um
throughout the site. Uh stepping back into the street, this is Bowford Road and the new design has really maintained the width of the sidewalk as a continuation for from um uh the Forbes building next to us. So
the sidewalk continues and really enters the the the the site itself. Uh there is a pedestrian entrance to the building right here through the double door and through the main lobby. And there's a planted buffer between the sidewalk and the building
very much in line with the traditional New England architecture of of what is actually across the street. These uh the buildings across the street are really uh a reflection of of the historic uh town houses and and uh brownstones of
the Backbay and the South End. Part of the revisions is that we have eliminated the driveway that goes between our building and the forest building and we we have concentrated all drop offs and deliveries into inside the
site and around that um parking lot that would help that would serve the visitors and uh anybody who is coming in to get dropped off. Uh the network of pathways also will continue through the front lawn which will be enhanced. However, there's no
new construction that will happen on the front lawn of the site along Jamaica Way. Excuse me. Uh I'll for for the sake of time, I'll skip through these. We have a lot of materials here, but we'll be available for further questions uh later on. So,
this is the streetscape with some uh precedent images uh permeable pavers and raised planters. Uh this is a section through the site in this location here. The secure gardens towards the back uh
um um encapsulated by the pergola walkway that really creates the buffer zone between the public and the private. Some precedent images of this discovery landscape that is fully accessible for the residents of the memory care. And
then we'll move on to the larger lawn uh that is outside for the public. And then some other president images that we are suggesting how this space could be furnished with passive recreation, shaded area and a multitude of uh different uh flooring and
surfacing and um some planting as well for the court. I want to talk about the context analysis and what changed in the building exterior. Uh so our team looked at the immediate
site that is predominantly masonry but a very u diverse kind of types of masonries. We have buildings that span this the the spectrum of 100 years that have been built in the immediate vicinity. But we looked back and uh for
the new design we looked at what constituted truly the historic Austin architecture. So, we abstracted some of those elements such as the bay windows and the archways. And we've looked at also other elements in masonry
architecture, as we call them, the highlights or um the the the insertions of the textures that really transform a field of brick into a rich facade. This one, excuse me. All right. And so
we looked back at the site and we saw a lot of these elements in the building across the street from us. Excuse me. So the building on the bottom right is the Buffford Street condominium which is immediately in front of the site. And
we've we've highlighted again these elements that are based in the historic architecture of Boston. the curved bay windows, the the three partite uh vertical organization as well as a strong base that is highlighted with um
more masonry and more uh detail. As we look at the buildings on site itself in our in on on our site, the historic uh Roger house built in 1957 is a three-story building with uh a very
rigorous repetition of windows and a uh a uh some detailed as they appear on the parking lot. All right. And even when we look at the immediate contacts, the Forbes has that
repetitive motif of a masonry a facade. Although it's a staggered windows, there is a there is a regularity of that building that really guides the larger building. Um I'll skip through that just for the sake of time.
So going back to our volume, our volume has been reduced from sevenstory to a fourstory along Bohford Road with a sixtory behind it. We've we've changed the massing and reduced the impact based on what we've heard from the neighbors
and from the commission on Lockstead and we've enlarged the courtyard. As I've said previously, we've also highlighted the front of Bford Road. We know that this is a special part of the building that just like the different town houses that are across the street from us uh there
is multiple points of entries and there is a special interest there special attention that has been focused on that first floor. So there's special attention on that. Knowing that the building is long, we have also divided it vertically into several segments.
And then we've applied materials. And again to minimize the effect of a larger building onto the streetscape, we've used two different materials. We've used a masonry for Bowford Road. And we've used a cementitious material that reflects the Lockstead Avenue horizontal
siding materials on the back of the building. And we put it overall into the context. Phase one, which is in front of the commission, but also phase two follows a similar approach. um shadow studies to show that the building
really cast a shadow on itself and does not impede uh much on the houses to the north. And then another one for September. I will go through this quickly for the sake of time
and I can come back to this if people have questions. So looking at the building itself um this is the overall massing when we look at it on the uh in terms of facade because of its um multiple programmatic
elements within one volume we want we started by understanding the module the memory care unit module constitute half of the independent living module so this helped us establish the repetition in the building especially along boat.
So, we layer this on into a series of fenestrations and vertical articulation of the masonry. We've highlighted the first floor borrowing the arched language from the across the street and
the historic masonry architecture in Boston. We've also introduced a band across that would um actually punctuate the the the base of the building in relationship to the body of the building
as well as a crown that also has it distinguishes the top of the building uh through some masonry patterns. We looked at the buildings on the side as well and we followed a similar strategy. So this is a study to uh
illustrate the the the the siding part of the building, the six stories if we were to say. And again in a similar way, the building follows a rigorous rigorous rep repetition. Although within each one of these modules, there are some variety
to add some textures and um and um and um textures to the facade. an elevation of Bowford Road. Now, our building right there in the center sits almost as a transition between the larger Forbes building and the smaller
scale on the left hand side. And as we cut a section through the site, uh we can see how the building now relates further to the Bowford Street condominiums and it steps down to the smaller houses along Lockstead Avenue.
um the building uh three-dimensional um bird's eye view of phase one and phase two together explaining the materiality of of the of the the site and highlighting how the courtyard that serves memory care residents has become significantly larger uh follow up
following up the request from the commission and then another view taken from northwest uh of phase one and phase two including uh the legacy the building maintained along uh Jamaica Way.
These are rendered facads uh of our building. You will notice uh predominantly brick and then as we cut the section across the site, the composition between the masonry and the cement sighting, how they sit next to each other.
some more sections through the site explaining the volume of that of of this building and then that's a section through uh the courtyard of which I've explained previously uh the landscape elements of
uh this is a view this is a three-dimensional of view of the building along Buffford road and we'd like to note that uh how the building reflects the um curvature curved natures of the
historic masonry of Boston. We've simplified it, turned it into a regular rhythm and fluted those elements vertically uh to um create an interest in that facade as it
it is a longer facade along the street. You will notice that there are vertical segmentation also and these are the cuts that uh will um uh break down the mass along the sidewalk. Um we've also >> that's 20 minutes Philipe closing in
here. >> Okay, two minutes. >> Great. Thank you. Um we've studied the building in multiple colors of bricks and then we landed in the um darker red iron spot brick. It gives
that beautiful sheen and as the building starts to curve and scallops there's a beautiful reflection of that brick that um that starts to happen. Um, we've here you can see how we've introduced the textural patterns at the between level
one and level two and as the crown at the top of the building and we've introduced a a wood lining to highlight those special elements in the building. Um, I'll skip through that for the moment.
talking about uh the the two parts or the two materials juxtaposed next to each other. The masonry and the siding. The siding taking uh more of the horizontal expression introducing some textural fiber cement panels. However,
in the brick uh masonry has more of the verticality of of the fluted elements uh along the street. um threedimensional view of the corner of Lakeville and Boffort. Um the entrance of the building as I've
highlighted is right here highlighted um enough but still discreetly with that canopy and then a series of arches punctuating the building along the street. This is the vegetated buffer between the streetscape and the building in line with what we have across the
street. how this thick planted beautiful buffer between historic homes and sidewalks happened in Boston. And then another view from the other side from um closer to center street. The Forbes building is on the right hand side and our building is in the center.
Um raised planters and a continuation of the sidewalk as as an urban element from the forest building all the way to the Jamaica way. little closeup of uh this the the the building. You will notice the sheen of the brick that I have mentioned
previously. As the building curves uh it starts to create this beautiful reflection of the light uh as as the module continues. Uh the windows although irregular have some variation because some windows serves uh independent living some windows serves
uh the memory memory care below. So, we've introduced a variety of windows with a deep box to allow for again extra textures and shadows to be cast uh and create depth into uh this facade along both group.
>> Apologies for the further interruption, but that's another minutes >> and that's the last one. Great from Jamaica Way looking at uh the whole complex. Thank you. >> All right, David Hine. Looks like you're
ready to get us going. >> Yes, Phipe, what a great presentation. Thank you very much. >> Thank you. >> Um I love it. Um I I particularly I mean I was not a part I don't again I don't
remember seeing the first um iteration of this project and obviously you've had a lot of back and forth with the community around scale and materiality and it feels like that has been to me a very successful journey.
Um, this feels I I I think the the the massing solution is very very thoughtful and a little bit idiosyncratic, which I really appreciate. Um, I really like, for example, the sort of up and down on this facade um that breaks down that
long facade into um uh you know the kind of uh rhythm that one would see on a historic street of repetitive town houses and so forth, but without the literal without literally um uh recreating that. I find um I will let
the landscape architect speak to the landscape but I um having some experience with memory care um I feel like this is a very thoughtful uh combination of experiences for for memory care include you know the safe
one and then the sort of accompanied journey if you will u to the other spaces and I think that's also created a really beautiful buffer between you and your neighbors who I'm sure have been quite concerned about, you know, how
that that juxiposition would play out. So, I'm very enthusiastic about this. Um, I think that if I had minor comments, it would be about um making sure that like um
just a bit of the creativity that you've shown with the masonry uh could uh creep into the fiber cement uh composition. um particularly um around maybe the top and bottom of
the building um where that's likely to be uh most visible. Yeah, it feels a little abrupt um in terms of the richness and um uh let's call it more straightforward expression. And I understand that you're juggling budgets.
Um but I feel like you could take a tiny piece of the budget for the break portion and shift it over to the fiber cement elements and nothing would be lost. Um, this is again totally uh a
matter of um of uh impression or opinion. I really like the textured brick that you've incorporated above the arches that link to that first window that we're seeing um in the uh in
the view there. I do think that at the top of the building um the the the gracefulness of the curve or the continuity of the curve and the reflectivity that one would experience uh at the cornis is maybe a little bit
compromised by the reintroduction of that texture at the top of the building and gives the impression of a a much stronger peer-like um uh uh view as you're looking down the
street that I see in some of those renderings. When I think of the South End rhythm, for example, um uh the there is a more of an unfolding of a fabric expression at the top and that
richness really shows up at the portals and the doorways and at the street level. Um, again, this is completely subjective remark, but I think that like I I think it might be nice to see a smoother um a smoother expression at
that top. And maybe that's that piece of detail that migrates over to the u the uh other building. But in general, I think if you could go to the site plan for one moment. In general, I think this is a really successful evolution of this
project. and I think will um over time um be um very much will very much fit into and become a part of the JP fabric and um
yeah I mean again this sort of I I think it's wonderful it's a little funny to think of the 1957 building as the historic home but um but I think that the project has gained from it and I think that the that that identity that
th this particular stretch of Boston has from the Jamaica way uh connecting it back to the history. Um you were well served um actually by the requests to save that building which I I presume is going to be repurposed for um the right
programmatic elements. But looking at this site plan, I again the eccentricity of it, the the sense of discovery about it, the the I I I really I think it's great. So I'm I'm I'm all in.
>> Thanks, David. Jonathan, >> thanks. I'm just coming off mute. Um I concur uh very much with uh the comments David highlighted. Um, Phipe, I definitely congratulate you on a comprehensive presentation. I was not uh
available or is not here for the for the first meeting. Um, but your presentation was very methodical. You could tell a lot of thoughts gone into it and by not seeing the first one, I feel like I I know everything I need to know about the project through the the breath of content. So, I really appreciate that.
Um, and I also applaud the amount of change. I had looked at the previous deck and had seen the design and and now seeing this and the sensitivity and the softness and the approach to the overall site. Just a good balance of building
versus open space. Um really excited to see the preservation of the Roger House along with the mature trees. I think that graceful setback from Jamaica Way and the the real, you know, preservation of the low density scale, the very
walkable, pedestrian friendly scale of Jamaica Way is furthered by uh by your preservation move here. So, I'm glad to see that that could happen. There's a lot to like about the architecture. Uh, I really like your your sort of play
on the arches and sort of a modern manipulation, if you will, of the arch motif and how that's been deployed on the new uh facades of the of the phase I think it's the phase 2 um uh building that you have there. Um, I really like
uh if you can go to maybe one of the renderings that you that you showed. um you know back almost a comment that David was making about like the special brick the what I call the the checkerboard pattern of the brick work. Um there is something nice about seeing
that at the base and then as you graduate up perhaps like David said that doesn't exist and it becomes more of a understanding of a punched window and if we if you can think about the cornice expression that might make those punches even even more pronounced um as
>> it's taking forever to get to rendering. I apologize. >> Oh that's fine. as a small detail uh way at the top. I'd be curious to think to see how you're thinking about a coping. Yeah, any of these is fine. >> Yeah. >> Oh, it looks like you have Yeah, it looks like you may have a metal co
coping already uh incorporated there. >> Yeah. >> Um but that's a that's a minor detail that I'm I'm more than sure you will you will get to. Um, and I I really like how you've taken the brick, which is, you know, traditionally a think thought of as a heavy material, and have made it
appear light and fabric-like and almost like with these pleats, uh, happening. It it definitely creates a softness. Um, I also think the a building across the street, uh, it's a nice sort of conversation you're having with that building with the way the curbs work
traditionally and how you're kind of responding to them to them here. Um, I think my probably last comment to for further study would be what I would call the transitional spaces or these like vertical slots. You had some diagrams
where you broke the mass into chunks and you had these vertical slots. I can't tell if those are like balconies or if there I see like these floor ledges coming out. So I don't Yeah, those I don't know if those are but if there's anything that can happen there that I
guess could better respond to the amount of enclosure the rest of the building has where you have these punches. I I just >> I I can't you know I think that's one piece of maybe perhaps articulation for further development. But um like I said, I won't take up a lot of time, but
there's a lot to like and I I applaud, uh the the overall general response here. >> Thank you. Thank you. >> Thanks, Jonathan. And Marie, >> uh I uh was at the previous presentation, so I agree with my colleagues. I'm really happy to see the
reduction in the scale and massing, the adjustment of the materials. I think the the building of Bowford Street really does a much better job of of meeting the neighborhood. Uh, as you continue to develop the scheme, could you go to a
plan? I apologize. I'm looking at a previous draft that was shared with the community. Could you go to a a site plan of the completed all of the phases? >> Yeah. Uh because I I one thing I would really like you to think about and and I too
also really appreciate the the preservation of of the um 1956 building. I um would encourage you to really think about the entrance onto the site as sort of a gateway to the site. I realize you
are balancing a lot of the phasing issues trying to get access onto the site for service, but it uh seems to me this is an opportunity given the nature of the site, the scale of the site to create more of a sense of entry, you
know, and uh an idea of, you know, where do I go as a visitor um to enter the building that's set back here? It just feels a little tight. you you even you angled the piece of the building there
and I'm I'm would imagine this will be developed over time but just would really like to it it feels like the the entrance to the site or the vehicular entrance is sort of shoehorned in and this is just such a interesting convergence of conditions of both
streets and building typologies. I think how you address that will really make a difference um in terms of the you know the overall you know as as David has seen will say the ensemble of of the completed site
>> this thank you the entrance can I respond >> yes go ahead >> this this entrance is very squeezed because we need the square footage of phase one and we are and I wanted to just show that that's how phase one and
existing are going to coexist until the existing gets demolished. So there is the and we're also trying to manage the future phase 2 construction from that very small little access point that we're we're maintaining. We cannot
access the site from Jamaica way as you probably know. So there is a lot of the building is basically left over from what we could do. It's the negative space that has become a positive space of building.
>> Right. Right. Um >> and unfortunately I'm going to have to sign off momentarily and it's so you are much more familiar with the details of the site and I assume that was a piece of it is the negotiation of the phasing uh with it. But I do um anyway that
that's my comment as you continue to develop it. Thank you. >> Thank you. >> Thanks an Murray. David Nagahiro. >> Yeah, I think one of the comments that an Murray had made in the first uh version uh first round was about the idea of it feeling like a campus of
buildings and I think that was very successfully um you know created in this version of it. I think the before it felt like the pieces were a little bit desperate and the spaces weren't pulling together. But I think, you know, congratulations. I I opened your package
honestly and I said, um, here we go. This is this is it. This is really a fantastic solution to listening to I think the feedback. I heard that you had a lot of slides coming into this presentation and you had to pair it back which tells me that you even you looked
even deeper into a lot of the details and took to heart the comments that were made and uh it's a 180 um from where you were before. It's really quite striking and I'm excited to see this um built. Um there's so many good comments that David
had made and uh and Marie and others that I'll just leave it at that. But um you know, one of the things that Mick Young said as well is your uh the idea of wayfinding was very important and the way the building kind of presented itself and I think with the clarity of how the spaces work together now. I
think it has that kind of clarity. So uh very well done. I I'll just keep it short. >> Thank you. >> Thanks David Laura Solano. Thank you for the presentation and this is just so remarkably um improved and I I deeply
appreciate how much you've thought about the landscape and the importance of having different landscapes and I'm curious how people get to these varied landscapes. Um, if you wouldn't mind, I I understand
um how you get to the memory care um garden, but I'm curious about the other the other uh open spaces. So, the courtyard I know is open to the public. >> So, how Yeah. >> Go ahead. You go ahead.
>> Yeah. So, this courtyard here is is open. There's no fencing. So we encourage people walking through the sidewalk to go across to Jamaica Way. This is accessible for you and I going
through JP. This courtyard here is internal to the memory care. So it is the highest security right there. So the doors could remain open at any point of the day in the summertime. People could go in and out uninterrupted. So this is part of the supporting people's
independence as they want to go in and out. Uh this terrace here is of the living room of the memory unit. So this although the community Roger house would decide to um keep it open at all time.
However, it's more on the outer side of of the building. uh some separation is being built on the edges of the property. There's going to be a fence between us and the neighbors, but we're trying to conceal those elements that are usually um what is the
word? Unfriendly like a fence building those multiple landscaped areas within the building frameworks. So uh so if so this landscape is accessible from this
terrace through the pergola going down the meandering path into the greenhouse and then that's a path that takes you into the more contemplative garden. There should there would be a fence here to create a little bit more security for those who access the back that is not
shown on those plans. Uh but that's the extent of the secure memory gardens. This building here is for phase two and it's not part of the the the review at the moment, but this just a simple sideyard. There is an egress uh gate
here that goes by the building and gets you to the Jamaica way. >> Um anything else I didn't answer? >> No. Um I'll ask some specifics. Um, I think, you know, the buildings are so well thought out and the spaces that
they leave behind are really fantastic. And I think the way to start to approach those over time is to think about um programming um and how residents can enjoy more of
the landscape, you know, accompanied by their family. I'm happy to see that there's thought about play. Um that's a really big space that there are a lot of opportunities and I don't know whether or not um there's any consideration
about doing something to that um the space that leads to the Jamaica way um before all of the build before phase two is done. Um it might be worth the investment. I
mean, one of the things that's great about play is that it's an easy thing to watch, right? And I I think that this could be um a little better integrated into into that. And again, I understand
that's future work. Um, I will I will say that um on Bufort Road, the phase one building, I find that landscape in the front to be a bit suffocating.
um and your building is so beautiful that and I understand you're also pulling off you know adjacent landscape but one thing that I'll um I'll say and part of it has to do with safety is making the sidewalk bigger those
planters are big enough that you can really you know take some space off and make that that walkway a little more generous. You know, I also think about, you know, people walking with family, etc., just
like you have shown in this section. Um, there's a there's a lot of uh slope in this as you know, we witness going from four stories on Bufort to six stories
behind. And so consideration of what happens adjacent to the the new facade on the side side area. How does service work?
Service goes into off street. So this was a big discussion with the community. They did not want they were pushing back a lot on uh delivery trucks and and service trash and all this. Right now the community operates everything out of
their parking lot. So we kept it in a similar way although the parking lots reconfigured but right now the drop off areas happen here along this pullup curb. So if I am a trash truck or if I am a delivery person or if I'm an Uber I
I I will come off the road and drop the passengers or the objects that I have off site off road. And then there's a mention of a garage. I I know you're letting the the neighbors park in that
parking space. The garage is in in phase one. >> Garage is in phase one and it's for staff only for the memory care, but also the comm the the the client is opening up of hours the garage for the neighbors. That was uh part of the
discussions. And there is a door here that allows people to come in through a ramp under. And I have a floor plan, but I didn't open it up. >> Yep. That's okay. Thank you for that. And the the only other thing I'll say is
to think about how topography can enhance some of these spaces um in the landscape. Mhm. >> And um as you know, you know, for memory care, having some place that is um
consistent um with some change is really um important. And in the landscape, consider putting a lot of evergreens in honestly just so that it kind of holds the space throughout the the year. Um
and then the last thing I'm going to ask about is um the phasing and what happens to the site during the phasing and um I suspect you cannot give a timeline but would you give it a guess? So as you're showing you know phase one
how long might that stay and what happens to the site? I I can't. So, it's also affordable housing. So, it has to be funded and the funds have to be
provided by the state. >> So, >> yeah, I'm Phipe. I'm just saying like take us through those diagrams. I think you had a sheet that had four diagrams. I just we just want to understand, you know, what time is a big factor in this
project. So phase one which is this shape will built as the first step. It's a six-story building so probably 18 months starting I think 2027 is where we are hoping if we get funded we'll get in the ground.
>> That would be the goal >> right Jeremy? >> Yes and and Jeremy Vieier here uh I can speak to a little bit. I'm a director the director of real estate development at Roger. Um the way we envision is exactly how Philipe mentioned that this
project would be funded. Um about an 18-month construction period at which point we would begin over approximately a a 3 month to four month period. Um once it is completed moving residents over from the existing building to the new building at which point
approximately probably about a twomonth period to remove the existing maybe maybe three to remove the existing at which point the landscaping will be filled out in that interior that uh exterior courtyard I guess I'll call it
that that negative space in the in the uh crook of the arm. Um and then we would be going into uh funding rounds and then hopefully um could get that off the ground you know promptly thereafter. Um
>> so and that timing is still something that much that has to be worked out on exactly how that would look. But um we would like ideally um sometime you know about 6 months after the uh removal of
the other building we could begin on phase two. >> Yep. That's really helpful. Thank you. And do you imagine doing the memory garden? I understand the circulation down there isn't um can't be in place until the arbor is in, but do you
imagine that becoming a space besides the interior courtyard for that duration? Let me let me circle it. >> No, I know what you mean. >> Okay, go ahead. >> We we we don't want to backtrack. What we don't want to do is do a landscape
and then we have to redo it. So I think right now this is the space that the first floor residents might utilize only because also there's a drop between this backyard and the upper level.
>> Oh yes zigzag and the meandering path. So >> is there access this way? >> Uh no. >> Okay. Also because of topography. >> It's topography. Yes. to minimize
excavation. The building is on street level. However, the backyard is six feet below. So, there is a topography difference. >> Yep. >> That we're using for our advantage as well. >> Yep. But I I deeply appreciate the forward thinking about these. I mean,
nothing is better for everybody than landscape, but it's particularly important in these types of facilities. Um, it's coming, right? And um it also um helps families feel like they can
come and really um occupy and be, you know, spend a day with their um family members. So nice project. Looking forward to seeing it. >> All right. >> Everyone is known as Leticia Tormet. She's on our team. She's our landscape
architect. She's >> Hi, Leticia. How are you? Leticia, >> let me just round it out with a couple of comments because I am in agreement with the commissioners. This project has really uh dramatically improved. I you know the massing is um so much better
than we saw the last time. So congrats to the team. I'm really happy about the preservation of the trees in the upper right hand corner of this building. But I do have I think because there's such excitement about this the consistency of
the facade on uh Bowfort Road, I do have a couple of nitpicky comments and it's only I would take it as excitement about helping, you know, push this to the next level. I I I think I might be, you know,
alone in an island. I just think that the concave fluting doesn't really work with the arches on the ground floor. And I just feel like there is something weird about that geometry of the arch and the the the
concave. And you know, I will leave that up to you to think about what that means. But the liner of the wood in addition to the arch and the pattern above, I think those are three move moves that are really just not working
in unison. The arch that you showed on all the, you know, buildings across the way, they actually are are lined with brownstone. They have some structural logic. And I just want you to think about that. I think if you just
flattened that that arch and just had the brick pattern above and lined it with a different material, it might architecturally uh be um more satisfying. Um the the the one uh other
comment that I have is, you know, the alignment of the windows. I I'm curious if this concave is a complete curve or if it's faceted like where the relationship of the windows to the wall
that depth I think is going to be a really important uh relationship to study I would I wouldn't the windows projecting forward of that wall seems a little unsatisfying and so maybe you can give us a little bit more feedback on that.
Thank you for noting this and uh the evolution of our design was at the beginning all concave understanding the complexity of putting a window in a concave wall and how this whole thing relates. So the the place where the windows located is flat
and then you have the brick like two ears sticking out creating that concavity if I were to say the right word. But the pl but the plane where the window is is flat >> u is is not curved and then the window
is inset in it. What you see projecting out is a visor uh for some sun shading and for additional uh texture. >> Philly does the concavity also assist with the sun shading
>> or no? even in a minor way just because it's it's very not severely concave. >> Yeah. I was just wondering if that was part of the technique. >> Yeah. >> Yeah. I I just think the depth of the window would be just, you know, such a
nice addition to the depth that you're already getting from the reading of the the fluting. this the center portion being taller than the rest I think is really useful if it's what you're doing to hide some mechanical equipment. So I think that's
something um I just wanted to note. >> Um I I can see there's like four feet higher or you know some dimension higher than the rest. >> It's higher to hide the sixstory building behind it as well so it doesn't appear. It's it's a little bit of that as well that we have.
>> Yeah. >> Studied. >> I think Sorry, I know you were zooming in on a closer detail. If you want to go back to that, you can. >> No, I just wanted to like really um show that yes, the window because of how the wall composition and the passive house
nature of this building and the brick there the window will be set in and there will be some additional depth articulated through these windows. >> Got it. Yeah, I think that could be really really handsome. And then my last comment is on the, you know, the the
cementitious uh portion on the back. I I kind of I recommend looking at a dark color. I really think that if that volume recedes, um I think it would really nicely complement the brick um you know,
massing that you've articulated on Bo Bowford Road. I really think that that wants to just be elegant and just a deep rich color is is what I think um would be really handsome to to offset this brick facade.
Okay, those are my architectural uh comments to to push this forward. I think we can ask see if there are any public comments. I'm not seeing any more commissioners raising their hands. Christina, >> excellent.
A reminder that starting January 1st, 2026, the commission will limit live public testimony to the project's introduction. Members of the public interested in submitting comments to the commission are encouraged to do so in writing by emailing them to bcdcboston.gov
at any phase of the project's review. At this time, we invite any members of the public in attendance who wish to contribute public comments to raise your digital hand, and I'll call on you. If you're calling in by phone, dial star9 to activate the raise hand function and star six to mute and unmute yourself.
Please state your name and any relevant project affiliation information and please keep your comments to two minutes. Door Fox, one moment while I you co-host Dor, are you able to unmute yourself? Try one more time. Okay, I think I did.
>> Okay, excellent. Thank you. >> All right. Um, my name is Dorf Fox. I live on Bowford Road across from the project, actually a little bit closer um to Center Street than to uh where this
building is. I would look into um well, I do look into the Forbes building, not this building directly. Um, I do want to say that um I appreciate that the applicant has uh downsized the building.
As much as I do like having affordable housing in our neighborhood, I am pleased that it is not as tall and bulky as the prior building. Um, of course, from my own perspective, I think it would have been great if somehow they
could incorporate the sixth floor into the fifth floor. Um, and if it could be at most a five-story building with predominantly looking like a four-story building. I don't know if that's possible or if anybody else is concerned
about that. I am uh much more pleased that there is a brick facade going along Bowford Road and also going around um the other portion of the building. Uh, I feel like this fits in much more with
the neighborhood than, uh, the previous design does. Um, while I'm disappointed that the historic house on Bowfort Road is not being retained, I'm not sure how that would have fit into the design, taking a look at this. And I am pleased
that the applicant was able to uh maintain the 1950s building along the Jamaica Way while also still being able to make a uh less intense building on the rest of the site. since initially it
was stated that it was an eitheror situation. So I'm glad to see that they were able to kind of downsize the rest of the project and retain that uh the 1950s what they refer to as the legacy building. Um I'm still concerned about a
few things. Uh one thing is I was a little concerned when uh it was mentioned maybe there should be less landscaping along Bowfort Road. um living on Bowford Road, I appreciate the fact that Bowfort Road does have um
trees and vegetation and so I'm hoping that there is as much landscaping as we can have along Bowfort Road. Um >> Dory, that's that's two minutes. >> Okay, >> it goes by. >> Thank you so much for your comments. Uh
Sally, one moment while I uh unmute you here and promote you to co-host. Sally, are you able to unmute yourself? >> Mine's un unmuted now, I think. >> Excellent. Go ahead. >> Thank you. I have submitted written comments and a draft um sketch that was
generated out of the neighborhood neighborhood that showed um the capacity of the site which is very large to retain the existing 1956 legacy building and include all of the affordable units that were originally proposed with no
reduction in a series of four-story buildings. So I offer that as an option. I mean I just for the commission to look at as something that could have been done. However, I will say the sense from the presentation that was held on I
think the 12th of November from the I'm speaking only for myself. Um but it it certainly seemed to me like the abutters the rest of my um uh abuing um community was very very pleased as I am to see
this massing and um uh uh the density handled in such a sensitive way bringing back the setbacks closer um you know increasing the setbacks etc. I wanted to um reinforce three things that I heard
from the the commission. I um uh think in terms of what Ann Marie mentioned um I'm sorry to use your first names um that the entrance is is now has two peers a kind of common estate entrance
at the um corner there. I think that the fact that the project has been conceived in a bifurcated way has driven some design decisions which diminish the site and and the tightness of that location
is an unfortunate um side effect of having to um combine both phases of the of the construction. So, the other piece of entrance that I've heard from several people is um concern about drop offs at
the pedestrian entrance on Bowfort, which I think is a little under considered. I think both that that entrance and the vehicular entrance at the courtyard are basically exactly as they were presented to you originally. And if they can have a little more
attention from the commission, I think that would be warranted. Um, >> that was two minutes. I apologize for the interruption. >> I have my I have my comments to you can read them if you like. >> Excellent. I did circulate your um letter. Thank you for submitting it in
advance of the meeting. Much appreciated. Okay. Uh let me just take a quick scroll here through participants and make sure I haven't missed anyone. Okay. So, commissioners, at this time, I see no additional hands. And thank you to uh folks who have stayed so late to
contribute their comments. We appreciate them. >> Need to make a decision. >> I mean, I think, you know, I I think um you know, always thoughtful comments from the general public. Um but I think that uh some of those issues certainly
can continue to be worked out with staff as the project moves forward. Um, so I I would like to um propose that um they come back to the full commission for a vote with any updates that they might
make between now and then. Um but um I also just want to say that it's really um nice to see a project make uh such significant changes and I know that came
at a cost to the um the client and the proponent and I uh Walter thank you for um indulging that process because I think this fits into uh the community in a in a in a in a much
stronger way that will stand the test of time. >> I agree with that. Um I would certainly get behind that and uh appreciate the work. It's a nice nice execution.
>> Yeah, I think we heard a lot of positivity from all of the commissioners. definitely some refinements that can continue to be made especially where you are you know at the stage of the development of the design. Um I think we are ready to advance this
to full commission. Um but I encourage you to continue working on the details and the comments that uh we raise as a commission but some of the public uh comments also that you're receiving. Um, I think, you know, I'm sure you're
noting them and and um and and thinking about how to uh satisfy those comments as well. But I think Christina, with that, I think this is advancing. So, we're going to have a busy next couple of full
commissions. >> Yes. And incredibly, it was dark out when we started our meeting. So, it feels even though it's 7:30, it feels like it's just so much later than it is. We'll have a very full December agenda. Um, and look forward to seeing
commissioners and um, proponents very soon. Thank you everyone. Excellent. >> Thank you. Thank you all. Have a good evening. Take care.