Okay. Good ne good evening everyone and thank you for joining us for a design subcommittee of the Boston Civic Design Commission. Today's date is Tuesday, March 24th and this is session A of the BCDC design subcommittee to discuss Longwood Place Phase 1. If you are
looking for session B of the subcommittee for Bartlett Place Lot C, please go to the BCDC homepage and register for that session instead. My name is Seth Risman, deputy director of design review and executive director of BCDC at the City of Boston 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'm 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. A reminder that as of January 1st, 2026, BCDC no longer accepts live public testimony at design subcommittee meetings. Live public testimony is taken only at a project's introduction.
Therefore, we will not be taking any live uh public testimony tonight. Members of the public who wish to submit comments are encouraged to do so in writing by emailing them to bcdcboston.gov at any phase of the project's review. Comments will be sent to the
commissioners before the next scheduled meeting on a specific project. A reminder uh to all in attendance that the proponent's presentation will be posted to the project's planning department web page and a recording of tonight's proceedings will be posted to
the city of Boston YouTube's channel page. These should be posted by the end of the week. For the record, uh commissioners present this evening are Gilly Smith, Hassin, Karitus, Nagahiro, and Solano.
If any additional commissioners join the meeting, we will read their names into the record. A proposed project at 305 Brooklyn Avenue, Longwood Medical Area, otherwise known as Longwood Place Phase 1, is seeking article ADB entitlements and contemplates the development of
approximately 1,43,000 square ft of residential and commercial uses in three buildings, below grade parking and loading with space for 520 parking spaces, and associated site improvements, including landscaping and public realm improvements on a portion
of a 5.9 acre site in accordance with a previously reviewed and approved master plan which is PDA 134. The commission previously reviewed the Longwood Place PDA development plan which the BPDA board approved on January 19th, 2023.
The PDA sets forth the zoning on the site. The proponent filed a project notification form on PN or PNF for phase 1 on March 13, 2025 and a supplemental information document or SID on February
5th, 2026. Consistent with article 80 and BCDC reform efforts, the planning department is testing meeting limits intended to align the review timelines of the department and the commission. Given the project's size and complexity, the planning department created a five
meeting roadmap. This will be the fourth presentation of the project to the commission following its introduction at the May 6, 2025 monthly meeting and subsequent presentation at a design subcommittee meeting on June 17th, 2025, which focused on elements of the
proposed project's relationship to the approved PDA, urban design and landscape design as presented in the PNF. A second design subcommittee was held on August 19th, 2025, which focused on the building architecture as presented in
the PNF. Additionally, on July 11th, 2025, the planning department submitted to the proponent a request for supplemental information or RSI based on coordinated feedback and consultation with other city departments, stakeholders, the impact advisory group,
and the public. In the request for supplemental information, the city asked for additional information and additional studies, which the proponent provided responses to in their SID submission. Among other things, these requested including additional information on the proposed project's
environmental impacts, including shadow, wind, and glare. The city also requested that the proponent better document their efforts to reduce shadow impact on the emerald necklace within the rules established by the PDA and to look at massing alternatives with the goal of
further reducing shadow impact. This design subcommittee is a double session and will focus on changes made to the project as a result of stakeholder concerns expressed to date, including the proponents responses to some of the requested studies from the
supplemental information document. Since the last subcommittee, one public comment has been addressed specifically to BCDC and that was transmitted to the commissioners earlier today. So, pending any questions from the commissioners, I would like to invite
the proponent to share their screen and begin their presentation. And a reminder uh to the proponents that you have a maximum of 30 minutes to present. I will give you a halftime and a one or two minute warning. And with that, please begin your presentation.
Thank you. >> Okay. Thank you, Seth. Good evening, commissioners. I'm Emily Pereella with Elgus Manf Freddy Architects, joined tonight by my colleagues uh Sasaki, Peard Chilton Architects, and KPF. We're going to talk a little bit uh a brief
review of the BCDC process to date, although Seth pretty much laid that all out. And then we're going to show you, as Seth said, updates to each of the project components, the landscape architecture, the three buildings since we were last before you in August of last year.
Uh, this is just an a graphic representation of what Seth laid out. We were last with you for subcommittee number two in August, and since then, we have been working on our supplemental information filing and responding to those requests.
as a review again, we saw you first on May 6th. Um, and then we had the two subsequent meetings. One in June where we talked about um the the about urban design and the design guidelines and then uh another meeting in August where
we talked about building design and how it is related to the PDA design guidelines. As a quick overview, the project Longwood Place Phase 1 is within the approved PDA. Uh, as Seth pointed out, there are three buildings, two
commercial, one residential. The chart on the left hand side of the screen just compares the metrics, you know, the metrics from the PDA, the approved PDA to the current version. And really what it shows is that R1 is a little bit shorter, the commercial
buildings are a little bit smaller, and overall all of the building floor plates are a little bit smaller than that of the PDA. Again, a quick update on the alternatives that that Seth pointed out that we were asked to study as part of
the shadow reduction and demonstrating that the project does in fact reduce shadow on the emerald necklace compared to the PDA. that there were effectively three studies. Um, one, does the current project reduce shadow compared to the
PDA? We were able to demonstrate that it does by approximately 6.9%. All that information is included in the supplemental information filing. Second, we studied alternative massing that lowered the mechanical equipment screening in some cases eliminated it.
that did reduce shadow on the emerald necklace at the spring and fall equinox at 9:00 a.m. And finally, an alternative massing study that really completely rethought the massing and said, "What can we do? What what are all the things
we can do to try to reduce shadow uh compared to the proposed project?" And so this diagram illustrates how we generated that alternative massing. Um we increased effectively we increase the
width and length of all the buildings to try to make them shorter. Uh so we did all that within the required PDA metrics including setbacks, open space, floor plates and building area. For example, these red arrows are the maximum setback. So, we made the buildings
footprints as large as we could without without um without with while while still complying with those. Um you can also see that we we took in the alternative massing we were able to reduce the heights of the building. That's by eliminating all of
the stepbacks, setbacks, sculpting, faceting and recesses. So just very simple rectangular extrusions. Our calculation method include any shadow in terms of area or square footage that fell within any part of the emerald necklace outlined here in red.
And the total results show that the alternative massing actually increases the overall shadow on the emerald necklace, which at first might seem counterintuitive, but you'll see well, we don't have the graphic data, but the graphic data shows basically wider
shadows, shorter, but wider shadows. And when we calculate those quantitatively as shown in this chart, um you can see that for example at sometimes there's a small reduction like at 9:00 a.m. on the spring equinox, but at other times there's a large increase, for example,
at 6 p.m. on the spring equinox. We outline these benefits and challenges of the proposed project compared to the alternative shadow massing. And really, it's it's it's what you would expect. The proposed massing is sculpted, intentional. It's thoughtful about
building um a space between buildings, about about sight lines, about views into buildings as well as between buildings. It's about smart footprints, footprints that make sense for users. And of course, some of the challenges of
of simplifying the massing are longer longer buildings, um less pedestrian connectivity, um and things of that nature. I'm going to hand it over to Philip at Sasaki for a landscape architecture update. >> Uh, thanks Emily. Um, my name is Philip
Dougell. I'm a landscape architect and principal at Sasaki. Um, and I'll take you through the kind of the landscape update since we last spoke. Um, there was a lot of great commentary last time we all spoke and overall the reactions were were were pretty positive and there were many elements in the plan that um,
altogether would create a successful new open space. That said, the ask was to really think about how the scale and proportions of each of the elements interrelated with each other and how the programs expands across the site as a whole. So one of the main asks was to think intentionally about the program
and then think about dispersing that throughout other areas and thinking about the proportion of active versus passive hard versus soft and think creatively about the journey that the open space uh created and how it can reveal itself over time. So if you go to
the next slide. So we basically wanted to really think intentionally about the scale of the main heart. Obviously, these lines around the main heart are aren't hard lines. You don't um experience that uh open space in that way, but to really think about how on
the on the ground plane you move through that space and and what each of those elements should the proportions of what each of those elements should be. So, if you go to the next slide, we thought about this and compared it against some uh open spaces that you can find throughout Boston, some more recent than
others, and they each offer a slight variation of that hard versus softcape, that active programming versus more passive spaces, but each with similar components that provide different experiences. Next slide. And so taking that into
consideration uh as well as thinking about the primary desire lines from the LMA and through the connector as well as along Short Street and through the center of the heart. We really really wanted to ensure people and life were being brought into the center of this open space and ensure that the
pedestrian connections flow through and enliven the space itself. but also think about how with some subtle shifts we could really maintain those uh critical viewsheds and and and and view lines but also enrich that overall experience to
move through a space instead of around them. So this was really an ideal moment to consolidate some of the planted buffers along Brickline. Um as well as expanding the layers of planting within the pocket P plaza and a new gathering glove a grove to mitigate some of the
findings that we that we uh saw were revealed uh in the wind study. So we expanded those planters to create kind of a layered planting expression, but then also were able to expand the lawn in an area that got the most sun in the summer and provide ample outdoor seating
areas for the retail zones without conflicting with any of those key entry points or circulation patterns. So on the left you'll see here last time the last time we met and then on the right hand side you'll see that adjusted plan. Um so there was reconfigurations
of some of those lawns and those water elements. Uh the circulation and grove create kind of a a clear hierarchy of of open spaces. We strengthened the visual connections to key uh architectural elements and entrances while m
maintaining that sense of moving through the landscape. We consolidated one larger lawn for flexible events and programming. Um, we con designed the front porch to in incorporate uh an informal stage looking over that main heart and creating a complimentary
approach between the architecture and landscape elements. We moved some of the hammocks to the pocket plaza between R1 and C2. And we maintain the play space uh in its prominent place in front the front porch to create an area close to seating close to that new retail zone
found on the ground floor of of R1. Next slide. And so through this process process the framed lawn in in total uh increased by 48%. Um but also we also increased a lot of the planting but by
up to 20% um in the in the main heart. I'd also like to highlight a couple of other uh updates including the bike paths along Short Street as well as the reconfiguration of of the bus stops and and blue bags in the furniture zone on Brookline A. Really thinking about how
people are entering the site and kind of the program that is it needs to be intentionally near those those clear visual entry points. Um, and you'll see one of the main uh strategies was to try and maintain a treeline avenue along Brookline within the the the public
right of way. Next slide. And so again, this is back to the previous plan. You'll see um all those elements and and and uh the the previous uh massings of the buildings. If we click to the next slide, you'll see those additional
updates uh and how those changes have kind of affected the overall expression of the open spaces and that relationship between the hard and the soft landscape. We also made some subtle but quite impactful changes in the central connector this between the C1 and C2
building where the paving pattern is reconfigured around key dining areas, entrances and views. And there's a lot of uh collaboration between the the architects and landscape architects on how that ground floor program can spill out into the open space while still
feeling accessible and welcoming. And then along Brookline itself, uh minor updates to the planters to create a direct path from the drop off on Brookline to uh the main entrance of the C1 building. Um, and then now we'll kind
of go through there's a lot of kind of uh elements. We'll go through this red line path moving through the space to kind of just show what that means in terms of on the ground level. But first, I kind of want to bring it back to that heart. This is a visualization of the heart without any of the trees uh within
it. But really, this is where everything comes together. Um, we really thought about those different landscape elements and how the materiality, the color, the texture, the formal and informal seeking seating opportunities really paired with native plantings will create a space
that feels both playful while also being part of a wider unified design. So this is the first step whereby uh C1 on the right hand side looking towards the heart. The LMA is kind of in the distance on the left. We have we have
this clear view into the main heart with the gathering grove and then the front porch behind it. And you'll see those widened sidewalks with some of those informal seating areas to the left. So this creat this clear view into the heart while also creating a a treelined
avenue along Brookline. As you move through Brookline, the planting is essentially kept left low. So you have those views into the park, into the open space, and you can see that activity on the lawn and then the retail behind. You can see along here those plant that consolidated planted
edge now creates this opportunity for informal seating areas along Brook line as well. some of those elements that then repeat itself uh throughout the rest of Longwood plays. As you now move uh towards the entry point from uh the LMA, you'll see with
R1 to the left, uh we now have that much larger, more consolidated lawn that that provides a lot of opportunity to sit in the sun. The path draws you instead of directly through the site, it draws you towards the gathering grove that has flexible seating below it. But then you
can still see through below the canopies of the tree the activity from the carefully craft crafted retail strategy of each of the buildings. This is that kind of uh uh activity and intensity of of those active edges all come together and where each of the buildings play off
each other. As you move around that frame lawn, we create this more of a people watching experience where you can sit along the edge of the lawn and provide places under dappled shade. Uh the reconfigured front porch also now creates a informal
stage and seating edge with a fire pit that really uh expands the space into the shoulder seasons and allows a place for people to sit and look out into the uh the main heart, but then also look from people from the main heart can kind of look on informal programming that uh
opportunity for people to kind of sit on that edge. As you move a little bit further now, we're the front porch. We're under the front porch looking back into the the heart, uh, you'll see the forum to your left and how that that flows from the
forum to this gathering grove with trees. Uh, really creates this this great experience between the architecture and the landscape. In the midground, those reconfigured seating steps and fire pit create a place for people to congregate. And then the
sloped walkway connects between these two spaces creating a kind of a formal seating edge but also a defined cafe zone. We've also introduced some additional se steps within that to create clear uh steps between each of these spaces. But this is the idea of
this with the combination of the trees is meant to create something if you're looking into the heart that feels welcoming but also protected with the tree canopy. So you get that relationship of architecture and landscape uh between the two the different elements.
So as we're stepping a little bit further back looking back at the heart still um you'll see how that balance of all those different elements and those expanded lawns create somewhere you want to walk into but then you can kind of see those clear roots through to the LMA
and the the entrances through into the park. So, it really frames the views, but also allows that sense of reveal and that kind of key uh gathering space, that main lawn in the center of the open space.
As we step a little bit further away now between the R1 and the C2 building, we're looking still looking towards the heart. This is meant to be kind of a more passive space, much greener than it was before. Um, it's really about people moving through here and coming to a
place to relax away from the sunny more active uh main heart. We moved the hammocks into this zone and used them to um activate the edges of some of the pathways, but this is meant to be a very seasonal um zone that has bulbs in the
spring and and uh exciting foliage in the fall. It's somewhere that you can come and relax. And then as we kind of move further away down the connector, um you'll see this idea of that paving pattern and and those different elements from the
seating pebbles on the right hand side to just this transition of interior to exterior. So, this is somewhere there's a lot of collaboration between the buildings and the entry points to kind of create these defined cafe zones uh while still having some of that rich
texture of the main heart express itself uh within the connector. And with that, I'll pass it back to Emily. We're we're going to go into the building designs, but just very quickly, we wanted to outline our urban design thesis, if you will, that we've been
working on since we first saw you. >> And just a flag team that you're about halfway. >> Okay. Thank you. It's about creating a network of open spaces, like Philip just explained, it's about thinking how all of the buildings um essentially find the
right balance between diversity and consistency. And we're doing that with the the way we express the way the the podiums are expressed, the way the buildings create an invitation into the site with the deliberate form, the way they sort of move away from each other
to make that to make those view corridors. And we hope to show you tonight um how they share material pallets and more subtle cues of of consistency. Go to see one. Good evening. Good to see you all again.
I'm Tony Marquesi, design principal with Bicard Chilton and I'm joined this evening with my colleague Adrien Nelson. Um, just a quick recap on some of what we heard last time we gathered with you relative to C1. There was an interesting
discussion about the arrangement of the elements on the facade. And the the long and short of that was to look at the layout of the grid to make it slightly less vertical and a little bit more uh
uh horizontal and square in proportion by reorganizing some of the elements. I think it's fair to say that u several of the commissioners uh were troubled by the uh diagonal bracing expression on the ends of the building. And so we'll
update you on that. And then uh Commissioner Naga Negahiro made an interesting observation kind of uh detailed down at the base comment about the columns being strong holding up the building but feeling like the
storefront was pinching up against that uh those V columns too tightly not allowing enough uh breathing room around the columns. Next slide. So just a quick site plan of C1. Key takeaway here is on
all sides of the building there's active use. Starting in the upper right hand corner with the forum working around to retail that spills into the connector, the lobby off the connecting street and then retail along Brookline. One note
about the kind of uh intimate passageway through the center of the block, the vehicle as a way to meander from Brookline back through to the connector and then onto the emerald green. Next,
and then just an overall sketch about the massing. this idea of cutting and fastening the form. Starting with a big cut on the top to let the sun in, and then a series of uh cuts that slender the building, invite one in, and then
the marker on the broad facade, which marks the vehicle at a at a kind of a broad level throughout the city and then carries down at the lower level to actually create a a kind of a more uh grand opening for that veil. Next,
just the sketch where we started to look at re uh proportioning the grid, adding the additional horizontals, shifting down to shift from a what was essentially a fourstory to a twotory grid.
Next, the before of that where you see the taller grid and note the diagonals at the ends. Next, the current design where that has been reorganized to be a bit more of a I'll call it a universal
grid eliminating the diagonal bracing. Next, a view looking uh along Brook line that uh tapered edge with the diagonals and now next without the diagonals. So the
form kind of wraps a bit more is continuous still some of those slices marking key moments both at within the skyline at the base particularly down where the forum is creating some uh cuts to allow one in and then again a
reminder of the cuts that mark the below uh on the skyline as well. Next, >> Tony, I'm sorry. Could you just go back to those before and afters just quick? They were they were so quick. It would be super helpful just to look at them again. >> After. >> Yeah, before. Yeah.
After. Okay. >> And you can, David, you can see how the grid is a little bit more uh I'll call it universal. >> Oh, yeah. No, absolutely. I just wanted to, you know, it's just super helpful to understand. Thank you.
>> Yep. Next. just a sketch of the ground plane and that those kind of uh looking at the flow around the columns and really the net effect of that was we pushed everything in by five feet or so. You know, before it was it was kind of three
feet, so it was a little bit of a no man's land, not quite wide enough to pass by the enclosure. We wanted to make sure we left enough room. And then another note, uh, pushing and pulling the storefront to C create four distinct
bays that give us a a kind of a a platform or an armature for individual retailers maybe to customize the storefront as it sort of bulges out. Next, just a sketch again of how those bays
could work. You see there's two in this facade and hopefully you do get a sense of how it it's pushed in and invites one in. We have the entrance to the tower at the corner and kind of a nice flow upward very visible.
Next slide. A view of that lobby entrance where you can kind of flow right in. There is a gray change along the site that dips down and then again the vico being marked midblock with a larger kind of
fold in the facade. next and the before and next the after where we've we've kind of slendered the columns pushed it back and
starting to look at a a metal panel more geometric sophet has a nice tiein with the sophet on R1 again David with this idea of reinforcing uh the district etc. Next slide.
And then finally, just a snapshot along uh Brookline where we've created these individual bays. And the idea is as a retailer comes in, they can kind of customize that frame. The ref stays uh a
kind of similar universal wrapping around, but we'll want to have a couple of special moments where if someone wants to add some operability, some signage and awning, we have a kit of parts that they can create some uh kind of special moments on the facade.
And then finally, the view from the heart looking in operability in the facade draw you in. This is where the uh forum will be the public space activity on two levels and then the building takes a dip upward and reaches up a
little bit higher to map on to that waterline that's created in the front porch in R1. So kind of a step up in scale. So those two spaces feel uh comparable in terms of their participation uh on the heart. And also on the ends,
we did push the facade in a bit so you could circulate around that as well. So hopefully that gives you a good sense of the the refinements and uh tweaks that we've made based on your input. And just want to thank you guys for your uh guidance on on making the building
cleaner and just a better participant in the district. And I'll pass it to Anna. >> Hi. >> Hi. Good evening everyone. I'm Anna Lishinsky, design director at KPF. I'm joined today by my colleague Amanda Prince. Uh when we last met with you,
the feedback that we heard was generally very encouraging. The building design uh was seen as rational and well balanced, and it was noted that the energy between C2 and C1 and R1 was working quite well. The area that we were asked to focus on
potentially providing for a grandler gesture at the ground level was the corners uh facing the heart and facing the connector. Next uh so a quick reminder about C2's main uh constraints and opportunities. Uh C2 is located
around along um Pilgrim away from Brookline a little bit behind C1 and it houses the ramps that service the entire project and by doing so it allows us to keep the rest of the ground floor fully programmed and activated uh for the master plan. Uh the south edge of the
plan is chamered and set back uh to reinforce the visual and physical permeability and that's also the corner that we've been studying uh since we met with you last. Uh in terms of the overall building character, just taking a step back for a second, C2 has gone through some major transformations since
we started the entitlement process. It started as a building that has a light color and a singlestory stugger frit and then we added solidity and color to better relate to the adjacent buildings. We then went through kind of numerous iterations of trying to break down the
scale to address the concern um of kind of the mass of the building and also the short walls being mostly glass. Uh in this process we also reduce the depth of the cantal lever facing the heart to minimize the effect of the building.
And ultimately we landed uh with option six which is the option we're looking at today. Uh with a more continuous facade that wraps around the corner and intermediate vertical brakes. We generally think the building feels a lot calmer and more grounded than where we
started. Next uh in this view looking from Brooklyn you can start to see the impact of this adjusted facade. Um on the left is the early building articulation that was dominate dominated by the tube reading uh which ultimately resulted in these large glass surfaces
on both ends of the building. And in the current approach you can see that there is uh kind of a subtle uh grid that uh wraps around the building and it creates a language that we think feels a lot more comfortable with the surrounding. Next uh so diving into the corner
condition. Uh this is a street level view looking from pilgrim and towards the vico at C1. Option one is the previous propose with the carved out space at the ground floor and a balcony on level two. And option two to the
right is um an option that's kind of came out of our conversation with you last time uh which we like quite a bit with opening both levels. So removing the balcony. We think it's a very clear gesture and helps with the visual conductivity. Next,
um these are the same kind of series of sketches, same condition, looking from the vico uh out into that corner. Um in the very early iteration, we didn't even have a terrace. So, it was kind of a progression from one story to two stories with a terrace and then to two
clean stories and then we'll look at some renderings of that. So this is this view uh with the balcony and then the next view is the after opening up that corner having a very clear uh kind of corner condition very clean and really
helping with the visibility. Uh so we like it quite a bit. uh looking from the heart. Um again you can see how the C2 chamfford corner with a two-story reading is creating a really nice dialogue with C1 and it helps us to establish kind of a welcoming building
edge uh looking from the heart and almost like a funnel. It pulls people in into the connector and through the project. Next um this is a view looking from Midblock Road towards the main lobby. Uh in this corner, we chose to treat the corner a
little bit differently and actually let it come to the ground to hold the edge of the building uh to make sure that the building has clear uh front door and presence facing Midblock Road. Next, uh this is a view along uh Pilgrim Road.
um just to show kind of how the building consistently and cohesively traces the same design language into this uh quieter street also to maintain the calmer character of the street. And in the next view, you'll see the kind of south corner where you can see a little
bit of the storefront and the building uh coming together. And you can see how all of these kind of the way it's articulated uh comes together as a very continuous expression between the ground floor and the tower. Next, uh so taking a step back, this is a view from the
riverway. Again, this is kind of the early iteration of the building with the vertical facade articulation. We were picking up the color and materiality of some of the adjacent buildings, but we didn't feel like the scale was working quite well uh at this early iteration.
And then next, this is where we're now. Uh this is the messing with these periodical uh verticals that uh help us to really calibrate the scale of the building to its surroundings. uh it's more kind of simpler, more restrained and we think it has a very nice dialogue
with a residential uh scale of R1 uh facing this direction. And lastly, uh looking at kind of select views of the building side by side, u you can really feel like the back and forth process that we went through during
entitlements, uh I think tremendously helped to evolve C2 into a better building. So, we are very grateful for your feedback and we're looking uh further for more feedback. And with that, I would like to pass it on to the R1 team.
>> And Emily, you got about four minutes left. >> Okay, sounds good. We're the last one. So when we met in August, our takeaway was that the commissioners were generally um felt positive about the building part, but wanted us to study
some very specific things about the heart-facing facade and about the front porch. As a reminder, R1 is a pretty small footprint, about 10,000 square ft. It's maximized for transparency and retail use. The part T is these two
parts. One part facing the heart that you see here and another part that um addresses Brookline a excuse me, Pilgrim Road. One of our main takeaways again was how to make the building feel lighter. Uh that's one of the specific comments we
heard. So we we we took a look at brick facads. We worked harder, you know, or looked harder to to think about what makes brick facades feel lighter. And some common themes are thin vertical elements and ways to create depth and
shadow. So we studied these um as well as greater contrast in material colors. We looked at how to combine different elements to really make the right balance between detail and clarity. And we're really happy with the results.
The direction here is the current direction. It's a combination of more strongly expressed peers with a deeper, more crisp, defined shadow line. It's got stronger articulation, but we've also made the metal darker to kind of shift the perception of the solid to
void ratio. You could see the detail at the top of the building also helps to kind of relieve some of the brick mass and does create a very strong vertical emphasis. We still think the brick is the right color. that hasn't changed since the last time we saw you. Um, but we've made
the bottom of the building, this cornis line, this tray, very, very thin. That was a specific comment. We think it helps to make the overall expression more lifted. We've also looked at the front porch, which I'll talk about a little bit more in detail, but what you can see clearly in this view is that the
color palette of all of the elements in the front porch more closely relate to the pale brick. Ultimately what we heard from you and and what we ultimately agree with is that the column was too distracting and confusing. So we went away. We studied
variations that were much more abstracted. We think our metaphor was too literal. Uh the current direction is much more clear. It's a it's a more authentic expression of the building structure. We've also, it's always been important
that we think of the front porch as a holistic room or space. And so again, you could see the color palette of the column, the ceiling, the panel at the at the storefront, and even this this cornice are more consistent.
I just want to talk very quickly about the the the storefront at the front porch here. It's three stories. retail at level one but active uses not residential units on two and three. We think the lighting will be the same. We think the expression will be the same.
And then the singlestory podium um it's expressed as a step down from the more primary part of the building that comes to the ground. And this is a step uh kind of a step down to uh mediate that scale between the the the taller part of
the building and the the retail or the um open space. We wanted to be really intentional too about this ceiling and something that was interesting and and and unexpected but not overly complicated with ample opportunity for lots of different types of lighting. And
you wanted us to show you very specifically about how the column lands. It's always been our intention that the column lands in a way that does not interrupt openness of the public realm. It doesn't impede the cafe zone or circulation. And these are some of Sasaki's views that that show this
informal stage and this soft um stepping stones that kind of soften that that elevation change. A view from the front porch to the heart. Back around on Pilgrim Road, we have you know the the the expression here is a little bit
different. It's red brick which we think is not only contextual but also very legible in terms of a residential building. Uh again maintaining transparency and active uses and a softer edge even on Pilgrim where the building entry is have
has a much different scale and feel and frontage than the front park the front than the front porch and the main heart on Brookline. We also brought some information on building materials. I know we're running out of time, but the story here is that
we think of these as a an underlying cue to the three buildings consistency. It's something that they all share. It's the same color of glazing, the same specification as uh to the greatest extent feasible. a pallet of masonry materials or masonry like materials that
are warm and have have a consistency as well as complimentary metal tones in the buildings uh framing and and mullions. I I'll stop there. We did bring an update of our distance views which you've seen before. Um but I'm happy to
stop here and and go to questions or whatever we need. Seth? >> Yeah, commissioners please jump in. I know that was a lot of information and we felt cuz everything was so interconnected it made sense for one large presentation but I'm sure there's going to be a lot of questions to go
back to uh different sections of the presentation. So please >> I mean Seth I raised my hand. I'm happy to go first if you want. Um >> please. >> Oh okay great. Um
wow so much work. Um, and so much obvious collaboration here. Um, so I I want to just kick this off by my comments at least by saying I I really really appreciate um a lot of the uh
effort that has gone into this. I think that um the um the changes to I'll start with the architecture. the changes to see one uh feel really elegant and um help make that sort of signature
sculptural uh gesture a a lot uh clearer. Um for me a big part of my comments was just I thought there were so much going on that clarity between the parts was something that I was um you know uh focused on. Um, I also want
to uh compliment um uh the KPF team on uh the uh very significant changes that you made to the expression of the skin. I think this view from the riverway. Thank you for pulling that up. This view
was something that I was, you know, quite concerned about just because I recognized that the other side of the project could handle a really um different sculptural uh uh uh you know, almost kind of commercial quality, but
that there needed to be some kind of sensitivity to the buffering uh and the residential character and the uh not just um on the side, but actually on the other side of the riverway. Okay. And I think that you've struck just the right
balance here. This feels really good to me in terms of the the scale of the existing elements, the the stacking that you've done that that feels um again well scaled to the community. The relationship, the much clearer
relationship between R1 and uh C2. Um and uh I I think Anna the uh opening of that corner um uh the double height opening of that corner was also um really helpful. One of the things that I was I'll just try and go quickly. Yeah.
The um one of the things that really also I was struck me is that in between C1 and C2 which it might have been a landscape view uh that you were looking down the the the passage there. Um I I think that this was the first time that
I looked at this and the relationship of the piece there was there's a lot of difference between the three buildings but there's a real cohesion about the relationship of the architecture the scale of the elements as as uh I think Emily you were saying the the
materiality the colors of the materials and so forth. this this feels cohesive to me. And even though this is quite urban and steep uh relative to uh uh you know other parts of this part of the
city um the the fact that there's now more aireriness uh around the the braces Tony that you mentioned um and the the articulation of the storefronts in C1 against something a little bit cleaner and more neutral in C2 um feels uh very
Nice. Um on R1, I think um again, Emily, uh the uh the studies that you did about how to treat the brick differently and the fact that the the the verticals in a sense open up to the sky there does feel
much better to me um rather than as as it felt a little heavy uh for me as well as the simplification of the tree if you will. um that also uh with all the other bracing and um all the other sort of big
structural moves that are around the site, I now feel a a sense of difference but commonality between them that I appreciate. My comment, my only comment really, um, is that, uh, the
facade behind the tree, if you will, um, uh, which I see that you're trying to really animate with multiple levels of of retail, but I feel like this sort of screen of, let's call it, red masonry
that is between the riverway and and this plaza, it feels feels a little um like I wish there was a little bit more of the red um behind the brace. Um I know you're trying to open this up for
um for for retail and the night view was very helpful, but to really understand that volume that you have, the gray volume on the tree as being something that is sitting in front of something else. I think that at the pedestrian
Yeah, exactly. In there. I I I I I'd love you to uh sort of study that a little bit more. Um and and so that the pedestrian who maybe doesn't have the benefit of this much larger view of the project as we do can understand the that
relationship of the one thing sitting in front of the other. So that's that's an architectural comment about u you know relatively minor relative to all the things that we've talked about. That's something that I I think could maybe uh
warrant a little bit more study. And lastly, I'll I'll I'll obviously defer to my landscape colleagues, but I'm really happy to see the much larger um uh green space um the the bigger lawn and um your presentation was excellent.
I thought the p the perspectives and everything were very helpful. It really gave me a much better sense of the scale of this space, which is very considerable. But um you know it was very cut up um before and I think that the fact that you've sort of shifted
some of these paths to give a hierarchy to this you know so-called main heart um has uh really helped warm me up um to this um to this uh landscape as a as a
real kind of park. Um so in general I guess I would say I think that enormous progress uh has been made and I think that you've pulled off that thing which I was very concerned about at the beginning which is the buildings feel different. There is a variety between
the buildings but the relationship uh between them the the things that tie them together are much clearer. Um, and I I appreciate very much the materiality comment, knowing that the glass colors are going to be tried to be coordinated and stuff like that because although that seems subtle to many people, that
really can be very jarring in real life. Um, so I'm I'm really encouraged by what I see here and I'm really grateful to the team for um um uh indulging this
indulging us on having this kind of more holistic conversation between um the parts. That's all I got. >> Shauna, please please jump in unless the team has anything they want to respond with.
>> So, um I'll jump in then. So first of all I do want to start with the very beginning of the presentation and thank um thank you for the overall summary of the environmental concerns and the reduction of the shadow. I I know of course you're sitting you know this is a
sensitive neighborhood sensitive issue for a number of of the neighbors and um and I know you're sitting within within your envelope but um any going forward any further reduction of course would would be appreciated. Um, so I just want
to start with that and then move into the more specific uh presentation. So we can zoom to the landscape overall landscape site plan. I also like David um really appreciate the development of
the landscape when when I had seen it a couple of meetings ago. I felt I felt maybe actually even in the same way that that David was talking about the architecture pieces were all sort of toss kind of vying for attention. I felt that the different landscape elements
previously were all vying for attention more almost um you know kind of theme park a little bit you know at a very very different scale and now I think there's quite a beautiful calmness and integration keeping all of the um excite
keeping all of the elements but composing them in a way that it's just easy um you know you stumble upon these water features you stumble upon the hammocks the I think the porch feature is is very very nice and and one of the things um well and I also really
appreciate the perspectives and the um the detail given to tree species thinking through the way that the bike path itself is kind of hidden in in the forest. Um the pocket plaza which is really more of a pocket park I think is al also seems to have a very lovely
naturalistic feel to it. Um the thing that that I actually from an architectural and landscape perspective, one of the things that's most striking to me is this tree metaphor is carrying
into all of the buildings. the when just thinking of the way that the structure is coming down in all of the buildings, it's almost as if you know kind of this this or this structural character of the articulation of you know the tree
itself, the R1 tree, but then the the big V-shaped tric tresses and also the articulation of the columns in in C2. I think it's really quite a sort of beautiful metaphor also with the with the cutouts so that you feel like you're
moving between the trees, between the columns. Um, and so I think that's actually quite quite a lovely thought. Um, I but on that thought I actually do have some some detailed questions. Not not
that I'm expecting answers, but the the problematic of how you will address the accessibility questions that'll inevitably come up about bumping your head because what there's a beautiful simplicity to to these elements and and
I think so I think that's something you know I don't expect a magic solution but I think that that is will be a challenge. Um I the other the thing that I
am still not sold on is the articulation of the central connector. I I think that the landscape issues or the landscape elements along there don't seem to be of the the scale and simplicity of the rest of the project. I don't know what the
solution is currently, but but again, I think I I think the the little water features that are popping out of the ground, if this is a successful space, are just going to be super problematic because people are going to be moving back and forth and walking into the water feature and the kids running
around. Um, so I don't know if it's doing a few smaller gestures, maybe playing with water in a way that is that is more simple and larger with a few strong simple gestures within this connector instead of a whole bunch of
little smallcale things. So, so I think just thinking about that from a landscape perspective is um is important. And then um personally, could we go to the R1 um the R1 sort of tree
view? I love the underside at night. But there and but in the day it almost feels more like a waiter carrying a tray. And I don't I think it's almost there, but it's not quite there. the way
that the column in the could you split to the day image that the that the that the columns and the underside um are are interfacing with. So I I think that in addition I I hadn't thought about it but there is a a calmness that um that I
think could could happen behind that a little bit um the the area that David was talking about. I'm a little uncomfortable about the horizontal striping ending. There's a lot of there's a lot of visual noise behind this sort of beautiful sculptural
gesture. And so thinking, you know, if it if the horizontal of the the brick elements is an important thing, is there a way that that can carry over just to simplify or, you know, that that panel? But I think there's just this this
vertical is so strong as and then there's just too many lines going on. So, but I think it's I think it's quite a a beautiful gesture and I agree that the project has um come from a little bit uncomfortable to
really exciting and wanting like I want to be in this space. I'm not so sure about being in the connector space, but I definitely want to be in this this hard space. Um, the one question that I had about C2 is what is actually going
on on Pilgrim Road because it's a pretty like what is that? Is there is that there's a screen that looked like it had a fingerprint pattern on or what what what is that that yellow? >> I can answer that. Uh, so um along
Pilgrim there are zones. Maybe looking at the plan would be helpful, Emily. there is um a small area that is dedicated to um like temporary bike parking or has the possibility of being
uh on-site bike parking. Um and then the rest of it we're working through. We kind of have the framework of the language of the peers that we know want to come down and we're looking at different options of introducing um part part of these areas are going to
be mechanical screens but uh we we just want to make sure that the language is kind of consistent and and comfortable. Um but but these are roughly the proportion. So it's about onethird of the space right now that is kind of curved in a little bit.
>> So I think that's an extremely long facade to not and I'm not talking of to to sort of be leaving to we're hoping that we'll develop it mech into mechanical screens or bike parking. I'm
not talking about animating it with like with real activity, but I think I think it's an important facade to for us in the next meeting to really understand what it is and how is that a good experience and not feeling like it's
back of house. It will be back of house and we we understand that. But there's there's there's you know the the articulation and detailing of that facade is is important. Um, and so understanding what the materials are,
exactly what you're planning to do there, I think is is is very important because I I don't I'm I don't have enough knowledge to be comfortable with it and and it does concern me that it hasn't been considered as as an
important um important pedestrian experience. And um but in general I'm I'm I'm really happy with the the development of the project. >> So thank you. >> No one has their hand raisers jumping
in. So actually David, I see your physical hand, not the digital one. >> Yeah, I'm not sure how I'm missing the digital hand, but uh >> no worries. uh >> and and this is meant to be more of a conversation, so folks should definitely feel free to jump in.
>> Okay. And um yeah, I would uh reiterate or the sentiments that both Sean and David had mentioned. Um I think there's been a lot of progress. Unfortunately, I've only been in one out of the meeting and I know that there's been a lot of evolution over time. So, just congratulations on the continued
evolution to this point because I think it's been significant. I remember in uh reviewing some of the videos in the early days where David Hassin was uh mentioning, you know, wanting to see and really understand how these really, you know, these three architects are really
working together with Sasaki to create this ensemble of buildings that are kind of working together. And then Emily had mentioned, you know, the common lifting of the buildings, which I think is a very really, you know, really reads through in the success of the ground
plane. I think these buildings are quite large and the relief that you're providing this two uh three story uh lifting at the base is I think very successful and really inviting people in. Um one of the things that Tony had mentioned was you know these buildings
you know working together as an ensemble and you anno uh more uh restrained because of its relationship with C1. And I think all of these things kind of come together with that success, Emily, in the diagramming of the overall site and drawing these
horizontal lines around the site that kind of wrap in and start to tie the the scales together very subtly I think is very effective. uh C1 uh Tony had mentioned. I think Mimi was the one that was questioning the diagonal bracing and the expression of that on the facades.
And I think uh with the resolution, it's become much more crisp and clean and simplified, which I appreciate very much. I do appreciate the uh giving the V bracing a little bit more breadth and uh being able to walk around them because I think the ground plane as it
comes down to Longwood uh is really the beneficiary of that kind of transition and the scale transition there. Um, I think C uh two as well. You know, one of the most visible uh locations is along the uh the park. And the idea that
you're going to be able to see this as a quiet kind of backdrop, I think is is very effective and tying it in with the colors. I think the it's nice to see uh Anna's uh kind of progress and how the idea evolved because I think by the time you got to the uh number six version of
it, it was very clear with the intentions. I think that was very good. Um I do like the parti for um um Emily's building R1. I think the idea that you have this masonry building uh
on one side kind of grasping that uh lighter uh proportion uh lighter material I think is very effective. Um I think some of the things that she had mentioned last time were the sculptural corners uh you know maintaining that uh
uh tree column is being honest. Uh the verticality I think is good. The contrast of colors I think is very effective. Um, I did ask last time that uh because of such a heroic move at the
ground plane, the expectation of something fantastic as a as a a programmed space or something I think is warranted for this particular location. I think when you're coming down Longwood and you're turning the corners or you're coming through the the space, especially
at the end of the axes of the um the corridor between the C1 and C2, it's delivered onto this location. And I think the promise of what happens underneath this building is so important to the success of this overall master plan because the heart is kind of that
beating piece. But I think this physical vertical move really does need to deliver and to David's point that backdrop of the facade I think of the two masses coming together uh is really important. I am one of them that uh had
mentioned this last time because I struggled with the idea that the the masonry was sitting on top of the tree column and it felt like the brick was more bearing and the weight of it was a concern for me. And I think Emily, your moves to lighten it up and make it feel
a lot thinner with the darker spandrels was very effective. I might ask you to maybe consider that really thin uh proportion next to the vertical brick pilaster to go to metal as well to make it even lighter. I still think I'm I'm a
little challenged by it being masonry and sitting on top of this tree column. Um and I think, you know, if it were all metal, it might be more effective. I do think it might be too much in relationship to C1. So, I'm just wondering if that one thin little um
piece next to the window might be considered, you know, metal as well. I think that will really lighten it up as well. So, that's just a suggestion, but I think it's come a long way. I do like the delineation of the verticality and the contrast between the uh the brick
and the um on the back. Uh I think Laura uh had had some really interesting comments about the tree column which I think I'll let her uh comment on that but um just uh its position in the particular uh public realm its
relationship in the center of the uh the storefront. Um but all in all I think a lot has evolved over time and uh congratulations to the team for you know bringing it all together. I know it's
not easy to have three, you know, architects working so closely together. So, the idea that the ensemble has really come together, I think is very effective. So, thank you. >> Laura, please jump right in.
Um, I have to say that this is just such a great example where both the building and the landscape both kind of leaned in and locked together.
One of the things that I appreciate, and I don't think I could have had this comment until I saw it, is that by pushing in and giving more room to the um columns under the building, you've
kind of enlarged the landscape without really taking away from the buildings themselves. the the way that those um uh upright columns
work is just magical, I think. Um so I appreciate that. That's definitely the, you know, the true we always talk about landscape as being unifying. Well, here I think it's the building and the
landscape at work unifying. Um, so we'll start with the the main heart. Um, I'm so happy to see that you've thought about how people can move through this
space in different ways. And even though uh you used to have this sort of straight path through which you know kind of gave it all away before you entered the space and having shifted
really pretty gently right these um these spaces has made the lawns uh significantly different and pushing the hammocks uh further out I think helps to to add a lot of um activity to those
areas. We talked a lot about that. Um one thing I'll say about the main heart is um I can draw, right? I this is my my ability. Yay. Is that where this all
comes together, I think could use a little more work. And and here's why. It has to do with like the proportion of all the noses coming together are kind of similar. And I wonder if you want to
give a chance and I'm just picking one. It could be any of them. A chance to have it really really open up at the crossroads. um so that people could stand in the middle of the cross crossroads and chat
without you know really affecting any flow. So that's that's kind of a minor thing. Um hang on I'm looking at my notes. Um, I always seem to say this with every
landscape, but I think that there's a a real missed opportunity with topography. So, you have this central corridor that is just flat as flat can be, and it's lovely. And so why not think about the
main heart area as having some topography that kind of holds in the outer realm of this. So, I'm not really talking about cutting off any of the spaces, but more, you know, how can you
start to think about topography as as, you know, delivering some of those um some of the movement that is so beautiful in landscapes. Doesn't have to be much, but I think in the next iteration, it would be
important to think about that. Um, I don't know why, but almost all the projects we see have just absolutely flat planes. Um, so that's just a personal um issue for
me. Um, let's see. Oh, let's go to the corridor. Could we look at the the I want to come back to this plan, but could we look at the perspective that shows R1 at the end?
>> Sorry, I had the wrong button. I agree with Shauna that those water features I I just don't know that you need them. You know, there's now that you have um what I'll call the you know
the trees kind of going up and the buildings push back. Um I don't know that you really need those. There's such a cleanness about this. But this is a fantastic view.
Um, and then go back to the planned if you don't mind, Emily. But looking the other way is just so dead. Like you've thought about this so much. It's just great. But if you're in this
space and you're looking this way, I think you need to think about how the landscape can can provide the other bookend that this needs. So what is happening here? You have the space, right? And I don't know what this
building looks like, but you you have or will look like, but you have this space to play with, right? I don't think you need to really stuff landscape in the center. The only thing I would say is you need more you need more seating. And
I don't know whether or not those chairs and tables are related to the the um retail bot or cafes whatever bottom floor or if those are just added so that anybody can use them. But I think you
need more more chairs or more benches or something or your your um seating pods. So think about that. You want people to linger, right? So give them a place to linger. Um,
and there's one other thing in the mid block. Oh. Um, I wanted to talk about this and all that you've done at the corners to kind of
let views through. The views are so much better now, right? The building has really shifted to give a type of prominence to the ground plane that they
all sit on. And I I think it's at times it's really just breathtaking. Um so I I appreciate that a lot and and yet it doesn't feel overwhelming. Everything just feels like it flows in and out of
the base of the buildings. Um if we can talk about R1 and I'm happy to see some advancing on the tree that holds up that that building. Um, and I also feel like it now kind of
connects to the other um columns, the V's that hold up the other buildings. But I I will say that there's still there's a heaviness about this that you
don't mean at all. And I'm I'm wondering if you need like to make that plaza really rich or like what else could happen spatially in there that's not just the
buildings, it's not just the column, but how does the landscape kind of scoot under there? And it's tricky because, you know, plants really don't grow without water or light. It's been proven. Um,
so I I don't there's something just still a little off for that. And I don't know if it's as David said, it just feels still a little too heavy or if it's the color of the coll. I don't know. There's something just not quite
hitting home for me there. Um, oh, I wanted to ask about the shadows in the corridor. Is that place going to be cold in the winter time? I mean, every place is cold in the winter time, right? But I know that you've done wind studies
and we've heard that um the wind is actually not so tough in that area, but even in the summertime, like I haven't seen your sun studies, but I would imagine that that central connector is in shadow all of the time.
Is that right? It's not entirely in shadow. South the north is sort sort of this way. So there are times when the sun penetrates into the connector. Now, as you said, um you know, it is it is
urban and and and and you know, uh a tall space, but we don't I can What's the best way to show you the shadow studies? I could I'm happy to pull them up now or we could we
could send them as a follow on only because I can't remember off the top of my head when the sun when this central connector is in sun. Um but I do know that it does get sun. >> Seth, would that be okay? I'd love to see those and I think others would too.
>> Yeah, I mean it does get it does get some sun. Again, I can't quite remember exactly how. And that's kind of why even the planters that you see are located at where they are. So they at least, you know, they get some sunlight because of the way they're positioning the buildings, especially with the car the carving of the C1 building that allows
more light into the connector as well. We we kind of really tried to shorten the length of just plain hardscape as much as we could. >> But, you know, it's not really that long. How long is the building? with the
>> the length of the corridor. >> The the narrow part of the corridor is approximately 70 ft and then we have the flares on either side of it. >> No, I'm sorry. I'm talking about um the long axis of the corridor.
>> It's around like 240 in length from >> 240. Yeah. >> Oh, see that's nothing. You can walk that pretty fast. I'm not really worried about this feeling like it it's a canyon >> um as much as I am like keep landscape
out of it so you don't have this struggling landscape that's just >> so sad when that happens you know and >> then somebody ends up paving it in a really awful way um so uh shadow
>> yes and and Laura I can certainly uh forward uh the commission the pages from the document right uh that's already on the website that has those shadow studies so you can take a closer so everybody can take a closer look >> I think early on we realized uh you know
we were concerned about the thermal comfort of this area um and uh you know the wind uh tunnel was a little surprising frankly to us uh in which you know it showed that based on where the wind was coming from that one of the buildings blocked most of it and it was
not a as an accelerator like we thought it was going to be uh in that area and I think we've at least at the city been focused on recognizing that you know this is an area that will be in shade most of the time um so how do you create
a successful you know uh pedestrian um corridor right that that would be in shade right and what are the design elements you know of the buildings and what are the design elements of the landscape that could be used to enhance Right. Right.
>> Okay. >> Okay. So, what we've done is uh we created an animation. So, it might be I'm thinking it's a little easier than flipping through. But can I just
bear with me? I'm sorry. I'm trying to get this to where I can see everybody still. Will this work >> because you want to see our expressions? >> Well, I don't know. I just it >> or we can use the shock and awe emojis.
>> Okay. Um, so I'll just just to kind of orient you. We're starting with spring equinox. We'll go to summer solstice and then kind of go from there. >> Got it. >> Okay. So, we're at 10:00 a.m. 11:00 a.m.
Um, I should point out wherever you don't see color is where >> there will not be new shadow. Um, >> but I'm realizing in this moment I don't know that we're I don't know that we have a a specific sun study for you uh
right now, if that makes sense. >> Yeah. Yeah. So this focuses on more the net new shadow, not total. Um, >> got it. >> Some some of the existing shadow is being abated, is being
>> um is being eliminated because we're not replacing buildings there. So there's existing building here and that casts a certain amount of existing shadow here. So, this is you can get a sense of the
shadows, but I don't know if it's exactly what you're looking for, Laura. And we could we have that and we we could get it to you. >> Well, Emily, actually, one of the things Thank you. One of the things that this is raising for me um now that I see the
shadow cast by uh the adjacent building um the school building um the name of which escapes me. >> Windsor school. >> The Windsor School. Thank you. Um, you know, in looking Well, I don't want to uh go off of what I don't want to
diverge from what Laura was saying, but I I want to come back to the the space under the tree at some point and talk about where that terrace is and and why it's there and what if it was somewhere else and, you know, um, especially with
regard to the shadow study. So, Laura, I don't know if you still were had more comments. I didn't want to >> I just had I just had one thing and it's only because we haven't talked about it before. Um and that is if you could go
back to the plan Emily >> Emily. Oh, there you are. >> Okay. the plan >> which is what is happening here? What is that? What's that space on the ground?
So, this is a column right right here. And then have we seen I think I there was a perspective that maybe looked this way. >> There is that's the entry. There is I can go to that perspective. That's the entry to C1. And there's you can see a
bit of a grade change there. So, let me go to that. >> I see. I see. I think in this view um it shows it well that that corner of Brookline and the midblock road that's actually where the
site dips the most. Um, >> and in order for the the lobby to meet that higher midpoint between C1 and C2, >> we chose to keep the lobby fairly level.
>> I don't want to speak for Phil, but the landscape that you see uh in front of the building, I think does a nice job of kind of collecting that topography and softening it a bit. So this is all sloped down basically.
>> Yeah. >> Yeah. This the road slopes in both directions and we wanted to ensure that the grade change through the vehicle through the central connector from C1 to C2 was was as um you know free flowing
as possible. So obviously but the we have to gather grades somewhere else. And so what this shows is this is kind of you know the main entry to the C1 building. There is a a ramp on this side and actually a ramp up from the parking and drop off on that side. So you have these more civic steps in the middle,
this planted slope between and then on either side uh an accessible ramp up to that main entrance. >> Got it. So now you give me topography. >> Yeah. >> Yeah, there is some topography in I completely agree with you, Laura. I
think in those those those planting areas, I want to kind of sculpt those to make that space feel like you mentioned. Um I think >> held right. >> Yeah. Kind of stepping through into something and protected in a in a just
an elegant way. It's something we we'll definitely explore. >> Great. >> And in terms of the building entrances, we did we did like coming in off the corner sort of being drawn in. There is another entrance uh kind of uh in
dialogue with C2's entrance and at the connector there that's really where the envision the drop off is envisioned. So in between that what we'd like to see is a is a nice seating area uh both inside the lobby and then outside the lobby.
>> Yep. Okay, I get it. Thank you. And that's the end of my comments, but it it's just really so um nice to see how hard you all have
worked and I I really thank you for that. >> And I'm wondering if I can uh jump in a little bit here. I did have a chance to review the briefing material that was sent ahead. So the earlier version of this deck with Mimi Love who couldn't be
here tonight uh and sends her regrets. and she did have some comments uh that she wanted to be relayed. Um obviously she did not have the benefit of hearing uh your walkthrough of this material tonight nor uh of seeing the updated
studies, but I think she focused in on on two areas of of interest that she felt could use some you know further development. Uh and uh one of those has already been talked about a lot tonight. it was the sort of front porch and
specifically the wall of R1 uh as it framed one edge of that. uh she didn't have um you know any specific uh you know clear recommendations but I think she felt like it was still very visually jumbled and felt that both the
wall itself and and maybe the articulation of that column um could use a little bit additional uh study uh of how particularly to make the upper two floors a little quieter uh in that
visual composition. And then also I think she was questioning the one-story sort of retail piece off to the side. It wasn't clear if if it was meant to be entirely part of that composition or if because the uh curved brick uh pier was
coming down there if it was something separate and felt that it was a little bit in between being part of it and being separate right now and didn't know if even a subtle plane shift backwards of a foot or so to let that column really read come and come down may help
clarify that this this was a zone that's coming down but been carved out for the porch and then there's this sort of additional um podium off to the side or if it was really meant to be this sort of threetory to onetory face. Um so I think as as the project moves forward
she was looking for some additional information on that. And the other space that she wanted to make sure that was discussed or maybe a little bit better understood was the vico. Uh I know there were some perspectives on and and changes to the building right on uh C1
on how that meets uh Brooklyn Avenue and and the changes there that I think she thought thought were very successful. But really then what is the the nature of that space as you get in a bit deeper um and how does it daylight onto that corridor? What does it look like from
the corridor? Um understanding that you have uh mechanical space on the second floor. So, I think she was interested in pushing a little bit on, you know, are there even a few feet here and there to help give some of that space a loftier feel, but then also regardless of that,
what's the articulation of those uh sides and faces as you're experiencing uh the Vlo. So, Seth, can I um since Mimi mentioned some uh issues with R1, can I piggy back
on to that because I just had some questions for Emily, >> please. >> Um um uh Emily, if you could pull that up. I suspect that you're that you're um uh navigating between program requirements and, you know, architectural
requirements. And I just wanted to ask a couple of questions about that. um uh the terrace that you have over the onestory uh zone there um which you know in my mind I always understood as being where
it was because um yeah that's fine uh being where it was because that was south facing um and that's you know where theoretically the comfort would be is called into question for me a little
bit by the the shadows that would be cast by the Windsor school building. And so I you know you might tell me that you've you know looked at that and and that's all fine. Um and I also understand why that second floor terrace
looking down into the park situation is nice. Um, but you know, I think some of the comments that you're hearing about, let's say, the the the all the activity that's happening behind the tree is really about stuff happening like
directly behind the tree. Um, and I feel like if the if there was a little bit more opacity or a little bit of a different treatment uh where that vertical brick column is and that did come around it was a little bit more solid or you know still obviously I
understand there's retail and so forth, but but that that tree is reading against something and there's real activity that's happening to either side of it. um um then um I I I feel like
that might work uh for your design better. And I I couldn't help but wonder if some of the the uh you know really how viable is that upper level terrace or that upper level retail as opposed to
you know uh just um sort of pairing two sort of glass rooms if you will on you know either side of that. It's just I I I I don't want to, you know, you understand the buildings much more than I do, but I I think that just to so that you're not
>> um going in a whole bunch of different directions. I think what you're hearing a little bit is that that that tree element is this dramatic element that's going to be lit up at night and stuff like that. And it's it's what you see through it. I think that is in a way
kind of creating some confusion. Does that make sense? Absolutely. We've, as you might expect, have had lots of iterations on what the brick fenestration is, if any. Right now, there's hardly any. Uh, so we can go back and revive some of those
explorations about how much brick spandrel, if you will, kind of appears and fills in this uh this part of the facade. I I will just to if it helps to understand this part of the plan the um
the building above mo mostly the building above is organized like this. We didn't bring a typical floor plan but the reason for that is to really shift the building pull it away from the other you know taller buildings maintain as
much perimeter for daylight and views you know kind of maximize this distance. So the the the singlestory podium becomes sort of a secondary element that is a step down I I I would say from the more primary element of the um of what's
really the residential bar above. But >> well I I understand that. I guess my question is if the podium was two stories, you know, um and that was instead of one story, would that give you some flexibility in terms of how you
handled that zone? Is that intended to be like a restaurant space up there? Is that the idea? >> No, it would be it would be terrace space for the residential occupants as some kind of shared amenity space. Let me go to the >> second and third floors are uh
residential amenity. Right. >> Correct. >> So I don't know that those have to be quite so glassy. You know, I think that that um that that's just a a question. It reads to me when I look at this, this reads to me like, oh, this is like a
multi-story retail tenant, like a, you know, Unilo or something. And it's like it's a big retail tenant. I'm not sure that's what you intend. So, I feel like you could sort of solve that problem by better expressing the the requirements
of the of the residential building, by making it feel more like the residential building. and that that section that's on the ground floor really is that very glassy and retail and opens up. Maybe that's that's as simple as that. >> Okay. >> Can you go to the night uh image, the
next one? >> So, what's interesting about this is there's more clarity in this the diagramming of it. Um, you know, David, because I think >> Yeah. Um, with that band going across, there's these datmss that seem to read a
little bit more strongly at night. What I think is clever is the reflection in the glass. I always love the idea that it has this implication that the space is going back into that. So, I think that's and I think the same thing happens with uh C1 uh sophet as well. I
think it's very nicely done. The thing that I I I I kind of heed a little bit of what Laura's talking about with the idea of being able to see the landscapes in the uh from a different vantage point. So I
I kind of like the idea of that terrace. I just wonder to David's point whether that datim is in the right location or not because I I think about going to the A and that space is actually all to the north and under shade and people love
that space. It's it's there's something about how you can occupy that space at different levels that make it very successful. And I'm wondering I I just really with the boldness of this tree structure and this architecture, I just
want this space to have that same kind of presence. I I think I told you last time when I have a buddy coming into town, >> I want to come here to say, you know, this place is so cool. You need to come here and check this out. And it's either with a a program or uh some sort of
landscape or something. So, I'm going to uh challenge you with that opportunity to really make this uh quite a special space because I think the boldness of this move I think is quite unique and I think it warrants, you know, something,
you know, really special. >> Yeah. I don't know who drew what was just drawn, but um I think there is something satisfying about that proportion. And I wonder um Emily if the if that terrace that's looking back into
the space is actually like a a void or maybe maybe it's something that's carved out of something instead of you know um um uh I mean I understand you have this condition where you're trying to release this building on the other side as you
diagrammed it. Um, >> yeah, >> but you know, you could continue that higher line and still have it be like somewhat enclosed, framed. You know, the terrace is still there, but there's a like a framed element that allows you to bring that line up and and and that
might be really dynamic. I I think you should just take a look at that because I agree with David, the the reflection thing is very sexy. Um, but I I think you could have the reflection, but maybe not quite as much of it or something, you know. Um,
and it could be that there's like one really big picture window or something that is going that's a double height window that's into the amenities where there's like some staircase behind it or something. Um, and and maybe that's enough, you know. Um, so just take a a a closer look at that because I think the
reason we're all sort of focused on it is because this is like in many ways the postcard um uh that like this is the selfie that I want to take when I'm so sorry to everyone. I mean there's a lot of selfies on this site, but this is definitely this image is definitely uh
you know very iconic. So um it's important. >> Understood. Thank you so much. I'm just noticing something. What is the relationship of that stage to the um
column base? Are they separate? >> I might have a slightly better view of this, but feel free to chime in. Um Philip and team does this. >> Oh, it is part of that base. >> Yeah. >> Yeah. So we did a we did a a a range of
studies of how this column lands in the landscape and trying to make sure that it um is grounded in something that feels, you know, unified with other elements, but then also >> kind of there there is that grade change between the heart and and the retail.
And >> yeah, >> again, also thinking about not having a guardrail and fall heights and all of this. We were very careful about the proportions and the grading of of around the R1 building, always wanting the flow of interior to exterior to work. So what
we what we started to do here was use some of those pebbles and create an informal stage that I can't remember offh hand but I'm trying to pull up about what that area was um kind of the square footage but we we had that element. We explored different
materiality. We wanted to keep it simple and you know then there's the fire pit that's there for the shoulder seasons. There's some seating with backs. There's some seings that you can sit on all sides. Um, and then it just kind of created it felt like it was something
that was was a little bit playful but then also helped to ground that column. Um, and also delineate a change in material. So if you are walking up there is that kind of frame around the the column that hits the ground to kind of
delineate the space as well. Yeah, I'd love to hear from my architect colleagues about that landing on that platform and also the position to the edge of the platform which I know
there's so much design to go on but does that need to come to ground or is it okay that it lands on um
uh step up, I guess. Well, I actually want to just make a comment on that, Laura, because I actually I I'm my concern, as I mentioned before with this and the V-shaped column is what happens when the disability commission hits hard
because there is a be like there's clearly a beautiful simplicity in these branches coming down and the big V-shaped columns coming down >> and maybe it won't be a problem, but if if it is, I think, you know, there's
something in the plan that potentially gives um gives a clue to how this could be resolved. >> Yeah. Emily, can I share my screen a second? >> It lands on. >> Yeah. and and we we carefully that's
kind actually the the edge of that pebble shape is and we again we haven't got right down into the details of every last element but that edge in the plan the landing of the plan was to correlate to a change in materiality for to kind
of create the um you know the um what's the word I'm looking for um kind of the the the railing at the so we don't have a railing around the base because that's something we want we cane detention. So we don't end up with cane detention. And >> this idea of these steps, this is kind
of more of the in front view. And then as you transition around, this is that kind of uh sloped walkway that then, you know, we were saying earlier about this is the view at the end of the um connector when you're looking into the space. So we really kind of thought
about this on as many sides as possible and kind of keeping it >> Yeah. not too fixed, right? >> It may need to be pushed a little bit, but it does give you a language to work with because so that you don't accidentally end up there. Um even if it
became somewhat you know elevated height different you know lower higher than than other parts just it's giving it's giving you something to that allows you to have that contrast between the strong B and the horizontal
and and not have to put the cane detection or something else there. Right. >> Can Can I just get an opinion from some of the other architects about where this column should land? I I honestly
um don't know. So, I could use an education. >> You're talking about from a disability point of view or or >> No. No. right now just like all the other columns kind of land on I'll call
it the ground plane which is you know directly on that right now this rises up out of that I'll call it a platform it's a stage >> yeah no it's an interesting point I mean I wonder if you could solve both
problems with the same gesture if the if the column landed on the ground and the stage pulled away from the column far enough away from it so that you didn't hit your head. You know what I mean? Like it's like so almost like it's
coming down not into a hole but coming into a a void. um then you know maybe it's it's accomplishing what Laura's concern is which is that everything you know kind of hits the ground but the the way that the platform
around it is constructed you know mitigates the um uh the other concern as well >> you know >> um if you go back to a plan that that enlargement plan that you had is is
good. >> Oh yeah, if you would zoom in on that. >> Sure. >> Oh yeah. I mean this is just tough, right? >> Mhm. >> Just tough. So, you know, I don't like to do this, not
just one thing has to shift, right? And I'm just making this up, but other things have to shift, too, right? And I mean, really, you would want the gesture to lead into the building, but I get why
you're doing it and it's leading into the column. That's tricky, right? That's really tricky. That's a tricky grading problem. >> We've we've done many iterations, let me just tell you that. >> Um to try and to try and >> to try and
>> you know create that that integration between the two and how far off does this want to be without breaking up the circulation of the main roots without then shrinking the whole proportions. What we really liked about the heart and the front porch is that it's kind of a
ying and yang of the front porch and the heart scooped into it. So, it doesn't just feel like this one threshold. It feels like you're moving in through a space to another space and then the active retail at the edge. And we've proportionally played around with it a lot. And sometimes the plan geometry
frustrates me, but then you see the view and it works in the view. And so, it's a little bit of a push and a pull pull on that. So it is something we've explored a lot. So, Emily, have you looked at this surface,
this uh this one here, and and considered maybe pulling that out and coming back here? Because I I think one of the things that David had talked about was the idea that
as you're seeing the column through the that facade through the elevation, it it feels very uh flat. here. I'm just wondering if you were able to pull out the the massing a little. It would help transition this kind of idea of how the
masses are looking together like this. >> I It's It feels very flat in here. I I just wonder if there you can gain a little bit more retail. It makes the the underside of the mass when they come
together a little bit more um feeling like that that that base is kind of shifting as the tower shifting because I love your part. I love the part that you created of the the solid with this piece cranking around. I think your diagramming of that was really
successful. I just feel like the base is so the retail here is so truncated. >> Yeah. I just wonder if it would benefit from, >> you know, a little bit more shape here to transition into this mass.
>> We're we're a little bit constrained, frankly. Uh the PDA has a an alignment that the front porch is not supposed to project beyond. And that
>> that red dash line is uh an alignment to the C1 building. So we have not ever breached that line. We have not tried this. I wonder I wonder how we could look at that and and if that would if
there's a way to solve for that. It's an interesting idea. I mean, we're talking about doing that just below the >> Yeah, just below the >> just below because the alignment issue from the PDA, I understand, which it's about that long long axis. But, you
know, I mean, this I don't know. You have to read the letter of the PDA, but maybe it's, you know, some kind of open canopy structure or something. I don't know. you know. Okay. Um >> if you go back to the perspective
um of the closeup, I can imagine that facade not being so uh sorry. Yeah. So flush under there. It feels like if there's a a massing transition
here, it might help that, you know, that face kind of crank around. you feel like it it's a little bit more integrated with the way the the top is shifting. >> Well, listen, I mean, I think we should give you some space to >> Yeah. >> to like, you know, figure this out, but
I I um >> um I mean, it's it's it's a it's it's seven. I I heard I mean a fairly um focused set of issues um >> uh that were had to do with the the back
of C2 um this thing obviously that we've been talking about and in all its various uh uh things associated with it. um uh the the comments of the about the um uh
Mimi's comments about the Viko which we should which we didn't touch on but which we should address um and um and the the I think in particular um you know Laura's comments about the crossing
at the lands of the of the paths and topography and um what else am I missing? I just want to make sure that the proponents have a really focused list because we only have one more meeting and um I want
to make sure that we nail it all. >> Thank you, David, for summarizing my meandering. >> No, not at all. I mean, is that what um Emily and T is that what what you heard or or >> Yeah. The only other thing I'll say is
the end of the um the other end of the corridor, how that's um stopped. >> Right. Right. The view the view not towards the resident but the other way. Right. Yeah. Yeah. That was a good one, too. >> Okay. Well, commissioners, I think
that's some very clear direction um for the team to continue working on as uh they head towards uh what I understand to be the uh last meeting. Unless there are no additional comments and in lie of a formal vote, it's my understanding that the proposed project
is recommended for final consideration and recommend recommendation by the full commission and there's no formal provisos um because there's no vote occurring but I think that summary was great. Of course, this whole session will be available on
YouTube to replay to make sure that the um uh nuances of everything that was spoken about tonight can get uh picked up and addressed for the final meeting. >> That sounds great. Emily, I just want to say, you know, the this issue under the I I want to make sure you don't you don't get hung up with that at the last
meeting. So, you know, to the extent that that um you feel like you've got that covered with staff and so forth beforehand, you know, is great. if there's something to circulate ahead of time that you want, you know, feedback on, I don't know if that's co, you know,
kosher or not, but I I would be fine with that. Okay. >> Just so that it doesn't become, you know, uh, too much of a discussion point at the end. >> Okay. Thank you.
>> Nice job. Yeah, really great great uh progress from from uh I think that the it's obvious the teams have spent a lot of time together. Um and um I know that's as David said that's uh not
always magical but in this case I think uh it it was so >> I mean it was good before now it's great I think. >> Right. >> Thank you so much. Terrific. Well, we
look forward to seeing you at the the last meeting. >> Well, thank you to the team. >> Thank you. >> And thank you to the commissioners. >> Thank you for feedback. >> Hope everyone has a great evening. Thank you all. >> Thank you.
>> Thank you.