{"id":5753,"date":"2016-11-08T00:00:25","date_gmt":"2016-11-08T05:00:25","guid":{"rendered":"https:\/\/www.consigli.com\/?p=5753"},"modified":"2020-12-09T11:05:49","modified_gmt":"2020-12-09T16:05:49","slug":"how-fine-tuned-knowledge-builds-the-arts","status":"publish","type":"post","link":"https:\/\/www.consigli.com\/how-fine-tuned-knowledge-builds-the-arts\/","title":{"rendered":"How Fine-Tuned Knowledge Builds the Arts"},"content":{"rendered":"<p><iframe loading=\"lazy\" src=\"\/\/player.vimeo.com\/video\/189924016?title=0&amp;amp;byline=0\" width=\"640\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>Fine art, theater and musical performance are all under the bountiful umbrella of \u201cthe arts.\u201d When it comes to building facilities to support these specialty areas though, distinctions\u2014requiring expert knowledge\u2014begin. From meeting standards for atmospherically sensitive exhibit galleries, to flexible stage lighting and finely tuned room acoustics, construction know-how needs to be equally finely tuned.<\/p>\n<p>A look at recent work by Consigli\u2019s cultural facilities teams explores the unique knowledge needed to build three distinctively different arts facilities.<\/p>\n<p>To transform a Renaissance Revival mansion\u2014built in 1927 for the Boston Archdiocese\u2014into a technically sophisticated teaching museum for Boston College, the team used their masonry expertise to integrate sensitive museum systems and a modern building addition.<\/p>\n<p>To turn New York\u2019s oldest surviving theater, built in 1855, into an out-of-the-box contemporary venue for the performing arts, the team\u2019s historic restoration knowledge guided the installation of 21st-century theater systems into a 19th-century building.<\/p>\n<p>And, to assure the new Recital Hall at Phillips Exeter Academy met both its design and acoustical intent, the team built a building information model to coordinate the multi-layered acoustical system, in symphony with the hall\u2019s furnishings and finishes.<\/p>\n<p>To the art of building for the arts, Consigli\u2019s teams bring masterful knowledge.<\/p>\n<h2><strong>Boston College\u2019s McMullen Museum of Art: From Masonry Mansion to Teaching Museum<\/strong><\/h2>\n<p>When Boston College acquired the Renaissance Revival palazzo at 2101 Commonwealth Avenue, it was soon clear this early 20th-century mansion would make the perfect new home for the\u00a0<a href=\"https:\/\/www.consigli.com\/portfolio\/private-colleges-universities\/boston-college-mcmullen-museum-of-art\/\">McMullen Museum of Art<\/a>, the college\u2019s teaching museum. With a permanent collection and regular exhibitions, the Museum\u2019s mission would benefit from the doubling of gallery space the palazzo promised, and a new, much more prominent location on the Brighton campus.<\/p>\n<p>First though, much construction ingenuity was needed to transform this masonry building\u2014built in 1927 for the Boston Archdiocese\u2014into a contemporary fine arts facility. Highlights are impressive\u2014from raising the mansion\u2019s roof two feet without altering its profile, to integrating sensitive interior environmental systems, to assuring the porous brick-and-limestone building would be a watertight haven for art.<\/p>\n<p>The renovation, designed by Boston-based architects DiMella Shaffer, preserved the fa\u00e7ade of the original 23,000-square-foot building, while expanding it with a two-story, 7,000-square-foot glass-wrapped atrium addition, at the building\u2019s eastern end. Today, the atrium is a welcoming entrance beacon, providing access to the palazzo\u2019s first-floor conference facilities and the two upper gallery floors. Visitors have views of Boston and the larger Brighton campus from its glass-clad spaces and rooftop terrace.<\/p>\n<p>The McMullen\u2019s Director, Nancy Netzer, in her online \u201cDirector\u2019s Welcome,\u201d describes what makes the McMullen so special\u2014and why more space was vital. \u201cFrom its inception the McMullen has linked its mission to faculty research across disciplines and methodological frontiers and to sharing new faculty scholarship with a wide audience.\u201d<\/p>\n<p>\u201cWith this building the McMullen joins the ranks of this country\u2019s finest university museum facilities,\u201d said Netzer, at the museum\u2019s opening this fall.<\/p>\n<p>To build the much-needed museum, Consigli\u2019s team brought the in-house masonry expertise required to raise the roof, seal the exterior masonry walls so they would become the air-barrier needed to maintain the museum\u2019s sensitive interior environment, and build the glass atrium into an existing exterior wall. When finished, that limestone exterior wall had become an interior wall, and a visual transition between the contemporary design of the addition and the palazzo.<\/p>\n<p>Consigli\u2019s Project Manager, Adam Gordon, fresh from renovations for the Boston Museum of Fine Arts, brought Boston College (BC) his expertise in fine arts facilities.<\/p>\n<p>Gordon explained some of the challenges, \u201cTo renovate a masonry building like this, with its monolithic exterior masonry walls and low deck-to-deck heights, into the environment fine art needs, we need to understand the existing building really well. We knew BC wanted to maximize the ceiling heights in the galleries.<\/p>\n<p>\u201cAs soon as we finished the gut demolition of the second and third floors, we did a laser scan of the building. This scan was the foundation for our building information model. It helped us really nail down the routing and how to fit a modern day infrastructure into the building\u2019s historic framework.\u201d<\/p>\n<p>One important discovery from the scanning was the clarification of the roof\u2019s rib spacing. From the scans it was clear that the drawings were off by a foot for each rib. Where the team thought there was an open bay in the roof\u2019s structure\u2014available for the installation of the new mechanical, electrical and plumbing systems\u2014the way was blocked by a very solid roof rib.<\/p>\n<p>\u201cBuilding scans are like GPS\u2014they help us figure out the best routes for the miles of conduits and piping we need to install for new environmental and utility systems,\u201d Gordon said.<\/p>\n<p>And, to assure that the team was using the best material to create an air-barrier on the inside of the masonry exterior walls, experimentation was needed. \u201cOnce we had all the interior walls demolished and it revealed the masonry on the inside, we went through a series of mockups with the architect and with our water-proofer to come up with a product that would work in these conditions,\u201d detailed Gordon<\/p>\n<p>An intriguing part of the project was raising the original roof by a full two feet, the additional space needed for the galleries below and the infrastructure systems that would maintain their temperature and humidity levels.<\/p>\n<p>Consigli\u2019s Project Engineer, Pat Gildea, explained this process, his favorite part of the project. \u201cBefore we could raise the roof, we needed to dismantle and remove the roof\u2019s stone parapet. Imagine needing to take down a fence of stone pillars\u2014and then put it back together. That\u2019s what this was\u2014except we were three stories up. To do this we first cut the parapet into slices, and then had a crane\u2014which we set on the roof\u2014move the stone sections to the ground. Next, we labeled and stored them, until it was time to reinstall. Once we finished building a steel structure into the walls to support the raised roof, we rebuilt the parapet. It looks exactly the same.\u201d<\/p>\n<p>Now, the two main exhibition galleries built within the mansion\u2019s second and third floors significantly enlarge the Museum\u2019s previous temporary exhibition space. The Daley Family Gallery\u2014a 4,800-square-foot space\u2014is on the second floor, while an open-plan sculpture gallery on the third floor leads to the 925-square-foot Monan Gallery. All internal walls on both the second and third floors were removed by Consigli and replaced by eight-foot and ten-foot high movable gallery walls, at widths ranging from two, three and four feet, allowing the spaces to be tailored to each exhibition. The building\u2019s first floor was renovated into modern conference facilities, while restoring its original interior finishes, from wood work panels and marble floors, to its early 20th-century light fixtures, which were repaired and reinstalled.<\/p>\n<p>Some of the team\u2019s work was literally artful. Consigli\u2019s team oversaw the first installation of dramatic artwork from the McMullen\u2019s permanent collection, a three-paneled stained glass work by 19th-century glass artist, John La Farge. Standing eight feet tall and two-and-a-half-feet wide, the triptych, originally created for Roxbury\u2019s All Saints Unitarian Church, has a preaching Christ in the center panel, while panels of St. John the Evangelist and St. Paul grace either side.<\/p>\n<p>Consigli met with artisans from Serpentino Stained Glass Studio after the studio completed the restoration of the La Farge masterpiece, to coordinate the glass panels\u2019 new back-lit exhibit light box, being built by Consigli\u2019s carpenters. Next, the team worked with the fine-art handling firm Artex, on the work\u2019s installation. A four-hour process placed the artwork in the atrium lobby, where the three 150-pound panels now stand sentinel, greeting visitors with their luminescent presence, 24 hours a day, 365 days a year.<\/p>\n<p>In addition to the newly opened McMullen, our current roster of arts projects includes other exciting expansions, among them our work for Wellesley College. In support of the college\u2019s music and fine arts programs, we are busy with the renovation of the Jewett Arts Center, a notable mid-century modern building designed by architect Paul Rudolf. The home to Wellesley\u2019s fine art and music departments, this comprehensive renovation is also adding 8,000-square-feet to the studio arts facilities and 4,000-square-feet of new instrumental rehearsal space. The renovation is designed to handle current and future technology, from digital imaging to film, to sculpture to music, supporting students and faculty in whole new ways to see arts and communication, sound and light. Who knows what will be possible?<\/p>\n<h2><strong>Hudson Opera House: Black Box, Out-of-the-Box<\/strong><\/h2>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-5757\" src=\"https:\/\/www.consigli.com\/wp-content\/uploads\/2016\/10\/Hudson-Opera-House.jpg\" alt=\"hudson-opera-house\" width=\"700\" height=\"466\" srcset=\"https:\/\/www.consigli.com\/wp-content\/uploads\/2016\/10\/Hudson-Opera-House.jpg 560w, https:\/\/www.consigli.com\/wp-content\/uploads\/2016\/10\/Hudson-Opera-House-300x200.jpg 300w, https:\/\/www.consigli.com\/wp-content\/uploads\/2016\/10\/Hudson-Opera-House-225x150.jpg 225w, https:\/\/www.consigli.com\/wp-content\/uploads\/2016\/10\/Hudson-Opera-House-350x233.jpg 350w, https:\/\/www.consigli.com\/wp-content\/uploads\/2016\/10\/Hudson-Opera-House-525x350.jpg 525w\" sizes=\"(max-width: 700px) 100vw, 700px\" \/><\/p>\n<p>The historic restoration of the <a href=\"https:\/\/www.consigli.com\/portfolio\/museums-cultural-institutions\/hudson-opera-house\/\">Hudson Opera House<\/a>, a tricky gut renovation of a 161-year-old masonry theater, is creating a performance venue with all the contemporary flexibility of a black-box theater\u2014but in a gracious 19th-century space, instead.<\/p>\n<p>Originally built in 1855, and now part of Hudson\u2019s Historic District, the Opera House has a dramatic presence on bustling Warren Street. The final and most significant phase of multi-phased renovations, the project includes the adaptation of the performance hall for modern use, creating an intimate theater, with flexible seating for 300. When the renovation\u2014designed by Preservation Architecture\u2014is complete, both the Opera House\u2019s proscenium stage, and the larger, flat-floored hall itself, will be available as performance and seating space, providing opportunities for many creative productions. These will be able to range from traditional stage productions, to theater-in-the-round in the 40-foot-tall hall,\u00a0, 70-foot by 100-foot hall, and everything imaginable in-between.<\/p>\n<p>Project Executive Scott Cruikshank gave a succinct overview, \u201cIt\u2019s a pretty spectacular building. It\u2019s big, it\u2019s tall, it\u2019s historic, it needs a lot of intricate structural work, and with its street-edge setting, there\u2019s no staging area. Three sides of the building run from sidewalk to sidewalk, and its fourth side edges a 5-foot-wide alley.\u201d<\/p>\n<p>Along the way, Project Superintendent Dave Caswell and his team have tackled just about everything: addressing complicated excavations and shoring conditions inside and outside on the shoe-horned site, coordinating with the town, installing steel-plate repairs to centuries-old timber trusses, providing a design-assist role for the lighting design, to assuring that the abutting businesses and neighbors\u2014including one who recently invested $1.5 million into their property\u2014don\u2019t experience problems.<\/p>\n<p>The Opera House\u2019s Executive Director, Gary Schiro, who has been working hand-in-hand with Consigli\u2019s team, noted the many challenges the building offered, from the fact that the building overall did not have any modern mechanical systems, or that the theater space had not been updated in decades. \u201cThere were no, absolutely no mechanical systems up there, no systems at all. No mechanicals, no sound equipment, no lighting. So to figure out how to integrate all that into the space without hardwiring it completely and just turning it into a utilitarian black box, was really important to us. We have a beautiful 19th-century performance hall and we wanted to retain as much of that as possible. And that\u2019s what Consigli is making happen. We will have terrific flexibility. We will be able to have performances in-the-round, on the stage, we\u2019ll able to present in a great variety of ways.\u201d<\/p>\n<p>Schiro noted with great appreciation the insight Caswell and his team have brought the project, \u201cThey are such excellent problem solvers, and they are helping us save money all the time. We are enormously grateful to have Consigli on the project. Consigli are such great partners.\u201d<\/p>\n<p>In addition to developing what is in essence a contemporary black box space\u2014though without the black paint and with a lot more history to it\u2014 the opera house restoration includes almost every front-of-house and back-of-house space: the 40-foot-high performance hall, the proscenium stage, the mezzanine, five dressing rooms, a lighting and sound booth, the \u201cGreen Room,\u201d accessible restrooms, exterior masonry repointing, restoration of the building\u2019s 20-foot windows, and the 20-by-20-foot addition for the theater\u2019s first-ever elevator.<\/p>\n<p>Meanwhile, the team has uncovered remnants of the Opera House\u2019s history, in all shapes and sizes. From the missing woodwork of the theater\u2019s long dismantled ceiling oculus (now being restored), to playbooks, tickets and posters, like ghosts of theater past. The team was excited about one find in particular\u2014found in the attic\u2014the building\u2019s original \u201ctopping-off\u201d construction celebration branch, still attached to a truss, complete with an ancient ribbon. Caswell, while marveling at the longevity of this piece of construction history, also spoke in great appreciation of what was also in the attic, the timber trusses, \u201cThe truss set-up is amazing to me. To be able to have a full length truss, 70-feet-long, from one tree, that is pretty cool.\u201d<\/p>\n<h2>Phillips Exeter Academy\u2019s Recital Hall: Sound Results<\/h2>\n<p><a href=\"https:\/\/www.consigli.com\/wp-content\/uploads\/2016\/10\/PEA.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-5758\" src=\"https:\/\/www.consigli.com\/wp-content\/uploads\/2016\/10\/PEA.jpg\" alt=\"pea\" width=\"700\" height=\"445\" srcset=\"https:\/\/www.consigli.com\/wp-content\/uploads\/2016\/10\/PEA.jpg 555w, https:\/\/www.consigli.com\/wp-content\/uploads\/2016\/10\/PEA-300x191.jpg 300w, https:\/\/www.consigli.com\/wp-content\/uploads\/2016\/10\/PEA-236x150.jpg 236w, https:\/\/www.consigli.com\/wp-content\/uploads\/2016\/10\/PEA-350x223.jpg 350w, https:\/\/www.consigli.com\/wp-content\/uploads\/2016\/10\/PEA-550x350.jpg 550w\" sizes=\"(max-width: 700px) 100vw, 700px\" \/><\/a><\/p>\n<p>\u201cFor a facility like this, we really have to understand the acoustical intent, as much as the aesthetic intent. And there are times when the needs of the acoustical design override what the architect might want,\u201d explains Project Manager Travis Kirby, describing the complexity of Phillips Exeter Academy\u2019s new Music Center addition, which opened this fall.<\/p>\n<p>Acoustical design requires building in a way that can be, to say the least, atypical. With walls that can\u2019t be perpendicular because of acoustical needs, to complex ceiling, wall and floor systems that require extraordinary coordination and construction sequencing, the team has stayed on its toes\u2014and come up with a host of creative responses to the project\u2019s demands. Our first project with the New Hampshire-based independent school, the hall was designed by Boston architects William Rawn Associates to accommodate the growing music program. A 12,000-square-foot addition to the campus\u2019 <a href=\"https:\/\/www.consigli.com\/portfolio\/museums-cultural-institutions\/phillips-exeter-academy\/\">Forrestal-Bowld Music Center<\/a>, it incorporates a recital and rehearsal hall for 250 people, a music media and technology center, four practice rooms, and a musicianship studio, where students learn to mix and produce audio recordings.<\/p>\n<p>\u201cWhat you don\u2019t see, we get to see when it\u2019s going in \u2014 that\u2019s what\u2019s cool. Most will never realize what makes it work acoustically, though certainly they will appreciate it, when they are in the building,\u201d said Kirby, detailing what goes into building the acoustical design intent.<\/p>\n<p>Kirby talks about what the walls, floors and ceilings hide. \u201cPeople go into a recital hall and say, \u2018Oh, this is awesome,\u2019 but they don\u2019t realize that the subfloor is up on four inches of insulation\u00a0and that it is on neoprene pads to give bounce to it. They don\u2019t realize that there\u2019s an inch of acoustical insulation sprayed to the bottom of the deck beneath the seating, to absorb sound. Or that decorative wooden wall slats hide acoustical panels, barrel diffusers and sound dampening curtains.\u201d<\/p>\n<p>The two-phased project benefited from proactive efforts by the team. From valuable site utility investigations that saved time and money, to an in-depth re-working of the mechanical, electrical and plumbing systems, through an intensive building information modeling (BIM) effort to coordinate the recital hall\u2019s ceiling construction, the team\u2019s effort achieved sound results.<\/p>\n<p>In the fall of 2015, the team moved from the site work to the hall\u2019s construction. While the whole building is filled with sensitive systems and details, the recital hall\u2019s ceiling\u2014a decidedly complex affair\u2014is of special note. Kirby describes it, \u201cThe room is 40-feet-tall and at the top, it is exposed steel and decking that is sprayed with acoustical insulation, in the center is duct work, and there is a lot of lighting. All of this is covered with an acoustical \u201ccloud\u201d ceiling that hangs about 30 feet above the floor. \u201cIt\u2019s a suspended grid of six, 36-foot-long by 9-foot-wide curved gypsum panels. We needed to coordinate the structure of these \u201cclouds\u201d. Each needs to be braced five or six times with light-gauge metal bracing. We needed to make sure the bracing would reach the upper deck, and not hit duct work or lighting. Danielle Gray on our BIM team put the bracing shop drawings into the project\u2019s model and we were able to clear up clashes. It was great.\u201d<\/p>\n<p>Kirby noted special team efforts that spurred the project along, from Superintendent Jerry Dorval\u2019s conscientious coordination with the school, to Consigli\u2019s self-perform team\u2019s construction of a concrete foundation that needed to be at a 92.5 degree angle, to the millwork team who built and installed the hall\u2019s dramatic 20-foot wood slat wall screen, \u201cI\u2019ve seen a great sense of pride. Everyone wants a good product out there.\u201d<\/p>\n<p>Exeter\u2019s Senior Construction Project Manager, Mike Searle-Spratt, appreciated the problem-solving skills of Consigli\u2019s Kirby and Dorval, Senior Project Manager Chris Brown and Project Engineer Mike Swett, \u201cThey gave us all the tools we needed to make decisions and keep things going. They did a nice job for us.\u201d<\/p>\n<p>Now, with the new Music Center addition complete and the school\u2019s calendar filling with upcoming performances, Searle-Spratt says, \u201cIt is going over well. Everyone is very, very pleased.\u201d<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Fine art, theater and musical performance are all under the bountiful umbrella of \u201cthe arts.\u201d When it comes to building facilities to support these specialty areas though, distinctions\u2014requiring expert knowledge\u2014begin. From meeting standards for atmospherically sensitive exhibit galleries, to flexible stage lighting and finely tuned room acoustics, construction know-how needs<\/p>\n","protected":false},"author":2,"featured_media":5936,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"inline_featured_image":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"footnotes":"","_links_to":"","_links_to_target":""},"categories":[2],"tags":[],"class_list":["post-5753","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-insights"],"acf":[],"aioseo_notices":[],"yoast_head":"\n<title>How Fine-Tuned Knowledge Builds the Arts - Consigli Construction<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.consigli.com\/how-fine-tuned-knowledge-builds-the-arts\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"How Fine-Tuned Knowledge Builds the Arts - Consigli Construction\" \/>\n<meta property=\"og:description\" content=\"Fine art, theater and musical performance are all under the bountiful umbrella of \u201cthe arts.\u201d When it comes to building facilities to support these specialty areas though, distinctions\u2014requiring expert knowledge\u2014begin. 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