We first brainstormed some ideas for the box, thinking about the many different ways that it could be evolved. We thought about its shape and what it could potentially represent, I thought of anything from Santa’s bag of presents to covering the entire box with playing cards. After coming up with a good list of ideas I met with Sarah and Jessica to finalize the design. The idea that made the most sense to us was transforming the box into a toy train since the Toys for Tots logo is a train and because toys trains are classic toys. We created a rough sketch of what the train would look like and a general color scheme and I soon got to work on figuring out how big the extra pieces would be; I kid you not, I even used SOH|CAH|TOA!

After getting all the math work out of the way, the fun part was next. Jessica, Sarah, Caitlin and I used foam core and cut all the pieces, the front grill of the train, wheels, wheel gears, lights, smoke, and a smoke stack. We wanted the train to look metallic so we bought 3 cans silver spray paint and in between cutting the pieces, we went out to our roof deck, and sprayed it. That must have been a sight to see: four of us out there (in the cold) to avoid getting the paint blown back at us. It’s safe to say it was a bit of an experience. With everything cut out we were ready to go and put everything together, but with the box drying, we played a bit of a waiting game.

Finally, by the end of the day, the box was dry and the last think that needed to be done was to draw on the box black lines to make it look as if the train was made out of smaller sheets of metal that were screwed in. I will say, I was pretty impressed by how well Sarah and I could draw little circles, no stencils needed! And then came the glue, the wheels, the grill, smoke stack and the most exciting, the lights were quickly assembled creating our beautiful toy train!

By the next day, our Toys for Tots box was overfilling with toys donated by all of my coworkers. There was makeup, a guitar, stuffed animals, kitchenettes, trucks, a foosball table, dolls, puzzles, cards, arts & crafts, a basketball, soccer ball, football, the list goes on and on. I was touched at how generous everyone was.

The moment came to bring the box over to the Allsteel Showroom where they were hosting the Design Your Own Box competition. Sadly, ours did not win but we are still extremely proud of it. It was a lot of fun to be a part of this and to see all the other boxes designed by other firms.

Fast forward … I’m sitting in my overly comfortable reclining auditorium seat and the show begins. Facing the audience at a panel table are four senior leaders representing Biotech and Pharmaceutical firms, all of which had been recognized as “best places to work”. For the next hour and a half, they discussed what that title means to their firm and how they live up to it. Time and time again, the panel hits home a few words that describe their culture and internal operations, and I couldn’t help but notice that they were applicable to firms in any industry:

• TRANSPARENCY
  It’s all about keeping everyone in the loop on every level. Everyone knows what everyone else is doing.

• NON-HIERARCHICAL
  Check your ego at the door. We are all on the same team with the same goal and everyone has something to offer to one another. (Aka, there is no “I” in “Team”…)
  

• COMMUNICATIVE AND HONEST
  For better or for worse, it’s critical to be both of these. If you have an idea, say something. There are no bad ideas. If something isn’t working or could be problematic, raise your voice and opinion. Don’t wait until it’s already problem. Be willing to dish it … but also take it.

• STREAMLINE
  Cut the fat. What processes don’t work? Where is time being wasted? Are negative thoughts and outlooks clouding the productivity of the group or team? Find the problem areas and address them head-on. This goes back to communicating and being honest with yourself and your team.

• DRIVE
  Allow yourself to learn from others. No doubt, there are other team members that are smarter than you, and that’s a GREAT thing. Their perspective will challenge you and foster your personal and overall team strength and growth. Don’t be afraid to make mistakes. Ultimate success is not achieved by a back seat driver (no pun intended). Grab the wheel and hit the gas. (Again, no pun intended …)

All of these words and concepts go hand in hand –regardless of the industry or firm type. These biotech/pharma firms want their advances and drugs to go commercial –  at MPA, we want to build structures and design beautiful spaces! Although the panel was sure to throw in a technical word here and there that of course was way over my head, I realized that seemingly unrelated industries have a lot more in common than meets the eye.

Although I’m unable to provide each person’s insights from the panel that evening, I am able to reiterate my portion of the presentation by providing some tips and tricks for creating and submitting “powerful proposals”.

The following 8 cheesy phrases help me to remember the overall goals of proposals.

1.  IN IT TO WIN IT.
   It’s easy to receive an RFP and simply begin creating a response. It’s natural for us in marketing to just jump right on and say “ok, let’s start,” which means it’s also easy to forget the point of this: WIN. Your goal is not [only] to get the proposal out the door, it’s to win the project. Every win increases the success of your firm. A successful firm means a better reputation and potentially a fatter wallet. So don’t just meet the minimum requirements of the RFP: wow them.
2. OBEY THY “MASTER”.
   Have a master template with master pages. RFPs are always coming in, and you may have several responses with the same deadline. Don’t recreate the wheel every time, have a boilerplate ready to go (only as a starting point). Obviously you have to customize each proposal to the project/client, but you don’t have to rewrite every word every time.
3. HOUSEKEEPING.
   “A place for everything and everything in its place.” Keep your files streamlined, updated, and easy to find. Headshots have a home. Project photos have a home. Content has a home. Don’t proofread a proposal at the 11th hour and find that Joe Shmoe’s resume reads 10 years of experience when he actually has 15 years. Keep your content updated. I suggest reading all project descriptions and resumes twice annually to see what can be updated, and what is obsolete.
4. 4MB.
   Make sure the files you send are less than 4 megabytes. Unless you are going after public work, your potential client is likely requesting a PDF. The majority of corporate email servers will not accept files higher than 4 MB, which means your proposals could bounce back. Given the number of beautiful architectural photos in your proposal, you may find the file size jumping to 10, 20, even 30MB at its highest quality. You must get it down to 4MB to be safe. To do this, play with the PDF’s compression settings. Remember, 300dpi is the standard for printing while 72dpi is for onscreen.
5. ONE LOOK OR TWO?
   Chances are, your proposal will have multiple sets of information: YOUR firm, and your consultants. Do you redesign the consultants’ information? TWO LOOKS: My personal opinion is that your consultants are their own company, and should keep their own brand. It also takes a tremendous amount of time to lay out your own materials, so don’t spend precious time before a deadline laying out the materials of other firms, especially since they may not want you to. ONE LOOK: Others might feel that you are unified, and your materials should appear as if they are coming from one cohesive team. I say if you feel this way, think about time versus strategy. If you have time and you think the client might like this better, go for it.
6. FIRST IMPRESSION.
   The cover. It’s the first thing your potential client will see, yet it’s often an afterthought for us. Do you use a standard/boilerplate cover, or a customized cover? Again: time vs. strategy. Use a standard cover if you have left it to the last minute. But if you have time, create something totally custom (this doesn’t mean putting another client’s work on your cover). For brochures or qualifications packages, use something boilerplate.
7. BLOOD :: SWEAT :: TEARS
   The three things that often happen during the proposal production process. It’s all about time … do you have enough to meet the deadline? Full bleed pages to be trimmed down vs. standard printing … we know which one is prettier, but do you have time? During the proposal production process, you have so many little details about this package running through your head; do whatever you can to minimize confusion during the printing process. Maybe you have an 11×17 printout that need to be included in the middle of your 8.5×11 proposal: create a placeholder for that page. Once you bind your books, LOOK AT THEM. Make sure YOU catch any errors before your boss or the potential client does.
8. RULE OF TEN.
   When considering your overall layout, keep the number 10 in mind:

10-point font size.
Your proposals should be readable; the general rule of thumb is to have a 10-point font for your body text (unless you are using a large font, then you can use 9-point). The older generation finds this to be too small. However, a larger font makes it difficult to fit everything you need on a page. My colleague has a good trick for convincing your boss this is a standard font size: throw down the New York Times in front of them, and remind them this is what the industry considers standard. Also make sure your leading is a few point sizes above your type size. This helps with white space.

Use [at a minimum] 10% white space.
Don’t overwhelm your audience with too much text, tables, graphics, or photos. Leave room for their eye to have a break. This is especially important in the fee section of your proposal (we all know, this is the most important section!). Make sure you call-out headings and totals. Make it easy for them to read, and don’t scare them with enormous tables.

No more than 10 photos per page.
I personally believe this is too many, but in some instances, I have witnessed 10 photos in one spread and it works. Just make sure you have a couple dominating photos.

To prepare for Bobby’s introduction that evening, I did a bit of research and found that Bobby has led an amazing life in sports and in baseball. He came up through the Dodgers organization, which at the time was regarded as one of the better talent evaluation systems in all of Major League Baseball. This was after being a standout high school athlete in his home state of Connecticut, the only three-time All-State football player in Connecticut history. Sports Illustrated magazine named him one of the best athletes of the 20th century from Connecticut.

He played in the majors throughout the ‘70’s and into the early ‘80’s. He coached and managed in the majors, winning the UPI award for American League Manager of the Year in 1986 as manager of the Texas Rangers. He later became the first American to accept a manager position in the Pacific League of Japan for the Chiba Lotte Marines, and in a second stint in 2005 led them to their first Pacific League pennant in 31 years and the Championship.

Bobby then went on to become one of the more recognizable baseball analysts for ESPN. If you watched and listened to him enough, as I have, you know that Bobby Valentine is opinionated, occasionally a bit hot-headed, and extremely knowledgeable about the game. As a die-hard Red Sox fan, I have to say I approached my introduction with a mixture of high regard for his resume and absolute bafflement over where he had taken my Red Sox.

Understand that I don’t blame him entirely for the team’s miserable season. The starting pitching has stunk (what the heck is wrong with Jon Lester), there have been many injuries, and the players acquired in past years have not jelled with their teammates or frankly with the fans (nice working with you, Carl Crawford and Adrian Gonzalez, enjoy L.A.). Without a doubt, there are a few things Bobby could have better executed.  Do you openly embarrass your current starting lineup by saying it is the weakest September roster in the history of baseball? Probably not. Do you openly question the commitment of a guy (Kevin Youkilis) who will walk through a wall to help his team win? Not if you want him to contribute. And do you leave a pitcher in who is rapidly imploding, all the while never bothering to get a reliever warming up? You shouldn’t, if you enjoy your job.

When Bobby arrived at the MBC event, he waded into the crowd gathered in the Hawthorne Lounge of the Hotel Commonwealth, a short pop fly from Fenway. I found Bobby to be an amazing storyteller, he really lit up the crowd by relating tales of all his stops throughout baseball. He showed a few of us the alarmingly large bump on his shin, the result of an old (and poorly treated) baseball injury. He related how life as an ESPN analyst really is as cushy as it appears.

After the informalities, it was time to introduce Bobby. I decided the best approach for me was to give him a welcoming introduction, to accentuate the positive, and let others ask the tough questions. He started by giving us his view of the team. Despite all he has gone through, he is remarkably positive about the future of the Red Sox. This MBC event was just after the big trade that sent Carl Crawford and Adrian Gonzalez to the Dodgers. He spoke about the great opportunity the team has to remake itself, with all the freed-up salary represented by those guys.

Someone in the crowd asked what the biggest difference is between managing in New York and Boston. Bobby’s responses focused on reporters, and didn’t sugar coat the answer: Boston writers ask far fewer intelligent questions, whereas the New York writers are more astute, more informed about the game. His example: some nitwit Boston scribe asks after every game: “Tell us about your pitcher’s mindset tonight.” Huh?

Bobby was clearly miffed with certain Boston baseball writers who reported that he had been late to a recent game, did not have adequate time to prepare, and cost the team a win. He was actually hurt that the writers had not even bothered to figure out what had happened: the Sox were playing in Oakland and Bobby’s son (who he had not seen in months) was flying in; when Bobby went to pick him up, the flight was delayed, putting them in terrible rush hour traffic. He actually made it to the game in plenty of time. He seemed most hurt that the writers didn’t even ask why he was delayed, or what the occasion was. That will happen when your team is 15 games under .500.

The award for Top Question of the Evening has to go to Steve Hassell of Columbia Construction. Steve asked Bobby to confirm the events when he, as manager of the Mets, was thrown out but returned to the dugout in disguise. Before asking about this, Steve donned a set of fake eyeglasses with an attached mustache. After he stopped laughing, Bobby allowed that, yes, that may have happened.

If you talk with Bobby for any amount of time, one clear impression is that he values young talent much more so than veteran experience. In that way, he is a lot like a teacher. He seems to relate better to the players who are coming up, and maybe need some guidance in order to blossom. No one asked the big question: “do you think you will be back as Red Sox manager next year.” If he had been less warm, funny, and entertaining, someone might have. But, he is Bobby V., a fairly big deal in the game, and we treated him with the respect he deserved.

LET’S MEET THE TEAM

• Tim Bailey, AIA, LEED AP BD+C  |  MPA
• Jane Sullivan, LEED AP  |  MPA
• Dianne Dunnell-Bois, IIDA, LEED AP ID+C  |  MPA  |  Model
• Katie Bertolli, LEED AP, IIDA  |  Haworth
• Christina Bertolli  |  Model
• Francine Buck  |  Haworth
• Tiffany Hubanks  |  Environments at Work  |  Model
• Kathi Bailey  |  Seamstress

IIDA CONCEPT: ICONOGRAPHY. OUR CONCEPT: THE CHINESE DRAGON.

By July we had locked down our concept: The Chinese Dragon. It didn’t take long to notice similarities between Haworth’s product, Kvadrat “Cloud” (an acoustic wall and ceiling treatment) and the physical characteristics of a dragon. We knew right then and there that we were on to something good.

We recently completed a “Cloud” installation at a client’s office, shown in the photo above. The scale-like shapes  have some of the same abstract characteristics of the scales of a dragon. That being said, the history of the Chinese Dragon was an easy connection to the fashion show’s theme, Iconography.

Tim turned to his sketch pad and emerged  with amazing sketches of  three outfits we eventually constructed: representations of the dragon’s head, body and tail. Although each dress would be stylized individually, the three would come together as one, to create an overall composition.

MAKING THE OUTFITS

We had our concept, sketches and chosen materials. We enlisted the help of Tim’s mom in New York, a fantastic seamstress.  We meticulously measured each model, and sent the final measurements to Tim’s mother. The dress “shells” were sown in New York and shipped to us in Boston. Once in our hands, we applied Haworth’s “Cloud” tiles to the shells.

We secured a few mannequins and a little real estate in the back of MPA’s office.

With just over a month left to the big event, the Haworth/MPA/Environments at Work team worked feverishly, stapling and hot gluing like there was no tomorrow. And somehow in the mix of it all, we found ourselves practicing walking in four inch stiletto shoes!

THE DAY OF THE FASHION SHOW

October 13, 2011. It started like any other work day, but by lunch time, we had to transform … into runway models! To kick off the transformation, we headed to Tribe where we got our hair and makeup done.

We arrived at the Westin Hotel and made our way to our suite where the dresses awaited us. We passed by our competition and their entries getting ready, there were some AMAZING outfits!

Practicing “our walk” down the hotel corridors with guests passing by, we channeled our inner model. And even more so, in our suite, we tried to master the model “I don’t give a *%#$” stare by watching other models on the TV.

Being so busy, the time flew and we were starving! We DID NOT DARE eat anything in fear of getting it on the dresses. We made it this far, no need to ruin my modeling career with a little stain!

Swallowing my hunger, I put my game face on and was ready to hit the music/runway. As we made our way behind the stage, passing our competitors, everyone seemed to be in awe. Not only was this the first time that we were revealing our masterpieces, but Haworth’s cloud material was making a huge entrance as well. Having been a newer market material and item, the cloud really came as an element of surprise, thrilling those who witnessed it, further fueling our inner model excitement.

HITTING THE RUNWAY

Backstage, projected on a large screen, all the models eagerly watched as over 300 people took their seats and waited for the event to begin.

The music was blaring, the crowd was getting louder with excitement. And that’s when the nerves kicked in, especially in Katie’s sister in-law. The adrenaline started flowing but I just told myself to focus on our routine and perfecting my model walk … in my four inch heels.

We made our way to the steps leading to the catwalk and were signaled to quickly stand behind the shadow screen and strike our pose, awaiting the signal to make our entrance. Then, one by one, we were queued to make our way around the screen and make our debut.

As I made my way around the screen I was blinded by the lights and of course, my shoe got caught in the floor seam. Thankfully, I did not trip and tried my best to keep my “model face” on as I walked down the runway. However, keeping the “model face” was harder than I could have imagined considering as I strutted my stuff, all I could hear were my friends and colleagues screaming, “Work it, Dianne!” … How could I not laugh at that!?

We made our way to the end of the runway and struck our final pose for the judges. And in that moment, even at the end of the runway, all I could hear was hooting and hollering.

After the show, , attendees approached us to get a closer look at the detailing and only then did they reassure us that everything we imagined, created, and modeled, was 100% worth it.

When the crowds died down and the music faded, I slipped out of “model mode” and back to reality because then all I could think of at that point was getting my shoes off (man, they were digging into me!), going the bathroom (which I needed to do even before we took the stage!) and getting something to eat – IN THAT EXACT ORDER!

Back in my day to day clothes, and flat shoes, it was time for the after party where we ate, drank and danced the night away! … A super ending to my day as a super model.

To watch an amazing video of the entire process, click here!

The barge uses ballast in its hulls to control the amount of freeboard (how much of the barge floats above the waterline) it will have. The freeboard has to be carefully controlled to a predetermined dimension due to the constant access that must be had by all from the ships docked around the barge.

In order to transport the barge from the Quincy shipyard (where it was built) to the Fort Point Channel in Boston, enough ballast had to be installed to keep the barge level. Once the barge was in place, work to complete the barge building began. In the process of continuing construction, weight was added in the form of additional wood framing, mechanical equipment, roofing and siding. That additional weight could never be evenly distributed, and as a result, the barge began to list, or tilt, with the front (fore) of the barge lower than the rear (aft).

Many of us noticed this as we watched the project from our office windows. Someone said: “Hey, that barge is out of level! Isn’t that a problem?” Everyone directly involved in the project was well aware: walks up and down the barge told the story. To their credit, Suffolk had already anticipated this. The question became when to correct for level. Suffolk wanted to install additional ballast  in the form of concrete, pumped into the barge hold. Suffolk wanted to do this as soon as possible since the longer they waited, the more  difficult it became. Pumping concrete is a messy business.

We questioned the structural engineer: how much will be the building weigh when complete? We soon realized that structural engineering does consider weight when designing a foundation, but only with healthy safety factors. Those safety factors would create too great a building weight and not enough ballast. The answer came from the marine designer: wait until the building is mostly complete, with most of the components installed, then place ballast.

This meant that, for a short period of time, the barge would remain out of level. Because they were building on an unlevel plane (the barge deck), Suffolk devised a way for the trade workers to establish “plumb” and “level” without benefit of normal layout tools such as a level or a laser. As a work- around, it was decided that the barge deck would act as a reference plane. Anything intended to be plumb had to be built perpendicular to the deck. Anything level had to be built on a line exactly parallel to the deck.

The framers constructing the second floor wood frame on the barge built large-scale squares (a square is actually a right-angle triangles used to confirm 90-degree alignment) that they could use to ensure their walls were perpendicular to the finish deck. The framers finished the roof structure having used only squares, tape measures and a bit of trigonometry to confirm the building is, in fact, square. Following behind them are several other trades that will, in short time, realize that their tried and true levels and reliance on lasers won’t be of use while they build on “uneven ground.”

The Pier Building

The Boston Tea Party Ships and Museum will commemorate an amazing historical event with the use of exhibits and a very sophisticated audio/visual system. Exhibit cases and merchandise racks are all to be fabricated so that they look antique. HTA had, from the beginning, planned to design and build many of the exhibits and display cases. There was no question they could do it. They had done this many times at several of their other museum sites across the country. HTA wanted MPA to design a building that was essentially a white interior box. After that was complete, HTA would come in to complete the project by installing exhibit cases, moving electrical components to fit the layout and installing projection screens, video components, finishes and other fittings. The original design drawings, inherited by MPA, are consistent with this.

The problem was: Boston is different. The local building inspector from the City of Boston Inspectional Services Department would expect to see everything in place before they would issue an occupancy permit. Exhibit cases can define, or block, the egress path. Added elements, such as screens or fabric wallcoverings, had to comply with stringent local fire codes for flammability. While other locales across the country might allow someone without a license to install electrical wiring and place architectural moldings, local unions in Boston would not be happy.

BP knew this better than anyone. Early in the process of reactivating the project, BP argued for a more complete interior design. This meant that MPA had to work with HTA to accelerate the design of the components that would be fabricated. We also transferred some of the work in their scope of services to MPA’s. For example, instead of wainscoting panels to be installed later by HTA, they were included in the project millwork scope.

The Ships

Three ships will be docked around the barge. They will be replicas of the three ships involved with the original Tea Party: the Beaver, the Dartmouth, and the Eleanor. Two of the ships, the Beaver and the Eleanor, are under construction at the Gloucester Marine Railway, the oldest, continuously operating shipyard in the United States. They are being built under the direction of Leon Poindexter, who is a master shipbuilder with a specialization in the reproduction of period ships and boats. He built the ships that were used in the film “Master and Commander”, as well as many other films. We visited the shipyard in Fall 2011 to see the ships’ progress and found they were using traditional techniques that would have been used by shipbuilders in the 18^th century to construct the original ships. The hulls were being planked by hand, with each plank carefully cut and fitted by hand. Seams were waterproofed with traditional materials and tools.

When the two ships are ready, they will be towed by tug from Gloucester to Boston, with masts waiting for them on a flatbed truck in Boston. Once the ships are moored, their masts will be placed by crane into the mounts. Leon and his team will then begin to set the rigging on the ships, which should be an interesting process to watch. Once complete, the ships will be a big part of the Tea Party site. They will help to educate about what conditions were like aboard those ships. They will also be an important visual part of the experience, as lighting installed on the ships will illuminate the masts and rigging at night, adding a new attraction to the Boston waterfront skyline.

The third ship, the Dartmouth, is planned to go under construction in Gloucester sometime in 2013.

Updating the Construction Documents
Boston Properties (BP) asked us to review the drawings and update them based on the new code requirements (the code changed following the initial issue of the drawings in 2007). After capturing these changes, we analyzed the envelope assembly for optimum performance, scrutinized material and product selections appropriate for a high-traffic environment, and redesigned the lighting systems and controls to capture efficiency and longevity through the use of various LED products. In the years since the drawings were first completed, building technology continued to evolve. We wanted the building to take advantage of the latest technology in order to save energy and help the building survive the elements.

Since a high performing envelope is a critical element, especially for a museum home to historic artifacts and high-tech audio-visual displays, we had to take the waterfront location into consideration when analyzing the envelope assembly. Our review included the selection of materials, thermal performance, and constructability. Simultaneously, we had to work inside the confines of a building design that had undergone intense scrutiny by various city agencies prior to obtaining approval to build.

This project had two unique issues that we had to address:

1. With one structure moving continuously up and down (due to the tides) while the other is fixed in place, we had to ensure accessibility requirements were met. Our solution was to provide two pairs of long sloped gangways with access to both levels, so that one of the two will be always meet the maximum allowable slope. Once at the barge, building visitors and staff can use the elevator to access the other levels.
2. The barge is essentially a large floating metal box. It remains afloat by keeping water from filling the hold. Let’s say, in a worst case scenario, that the new project catches on fire (since it had already suffered two in 2001 and 2007.). When attempting to extinguish the fire, the Boston Fire Department would have to spray the barge building with fire hoses, making it difficult to control where that water goes. Most of a fire hose’s spray would run over the building and off the side of the barge, however once the walls are compromised, the water would collect in the lowest point (in this case, the elevator pit) until it reaches the point of overflowing. To minimize the amount of water that could possibly collect, we subdivided the barge hold by constructing watertight compartments around the three access points (two sets of stairs and the elevator). We also added submarine-type doors that will allow water to collect in only a small area surrounding the elevator shaft.

We realized in this initial process that picking up the design from another firm was going to be extremely difficult, since we did not have the ability to speak with the original designer, nor were we provided the research and background every architect develops over the course of a project. We worked diligently to understand the site’s was intended function in order to allow us to think like the original architect. Drawings were completed in November 2010 and issued to the owner (BP and Historic Tours of America [HTA]) so that bidding could begin.

Construction Begins
Following the bidding process, Suffolk Construction was selected to build the project. Witnessing the construction of any project on which you worked is fun, but with the Tea Party right outside our door, this feeling was enhanced since we could constantly view the progress. Due to its unique nature, the Tea Party construction is full of very interesting operations. For example, one of the first construction activities was the removal of existing wooden pilings to make way for the installation of new pilings that would support the pier building. After a large construction barge (complete with crane) was floated into place, the marine contractor began removing piles by grabbing them with a huge, crane-hung jaw that pulled and vibrated the old pilings out of the mud and muck at the bottom of Fort Point Channel – it was amazing to watch.

We had all wondered how the pilings for the pier building would be placed accurately, given the constant motion of the ocean surface, which moves the floating barges. The marine contractor’s solution involved installing temporary pilings supporting a network of temporary steel beams. From the beams, the contractor could accurately lay out the pile locations and then use that platform to assist with the actual driving of piles. Once all the permanent piles were driven, the temporary piles and network of temporary beams were removed.

The Barge is Constructed
While work on the pier building moved ahead on the site, the barge was under construction far from the site. The Tea Party barge is an unusual shape and size for a barge. As a result, it had to be custom constructed. On a drydock at the Quincy shipyard, Suffolk’s marine subcontractor built the barge out of steel plate and other shapes. HTA, BP and MPA, as well as Suffolk, regularly visited the Shipyard to assess progress. All of us felt totally at sea (pun intended) doing this. Each of us can walk a construction site and immediately assess how far along the project is, even if we had no familiarity with the project. A barge is something else all together. In November 2011, the barge was completed and launched into the ocean.

Suffolk decided to construct at least part of the first floor of the barge building in Quincy, before the barge was moved to Boston. In early December 2011, much of the first floor of the barge building had been framed and the barge was ready to be floated into position. Two small tugs pushed the barge slowly out of the Quincy shipyard and up the coastline to Boston Harbor. As the barge approached the Federal Courthouse on Fan Pier, the old Northern Avenue Bridge began to open. Many of us from MPA, along with others from Suffolk, HTA and BP, had gathered on the shoreline and on the Moakley Bridge to watch the barge float in. Ominously, Suffolk had warned all of us that there would be only 6 inches of clear space on each side between the bridge abutments and the barge. We all held our breath as the barge approached that narrow opening. The day was windy, and the barge bobbed in the wind from side to side, but finally made its way through the opening, and into position where it was temporarily pinned in place. Over the following weekend, final pilings were driven through the yokes welded to the sides of the barge. While the yokes and their rollers allow the barge to float up and down with the tide, the pilings keep the barge from moving side to side. The barge was finally moored in place.

Stay tuned for Part 3 where we discuss building the individual elements of this project.

Second, MPA has never worked on a project with the immense historical importance of the Tea Party. This is the event that propelled the Colonies towards the Revolutionary War for Independence from Great Britain. For Bostonians, the Tea Party event is ours. When we go to other American historic sites, those of us who are born-and-raised Bostonians (one of the authors is) can’t help but think of all the events in and around Boston that led to the Revolutionary War: the Boston Massacre, Paul Revere’s ride, and of course the Tea Party. The first time the British were evicted by force from American soil occurred when General Washington trained Henry Knox’ canon on Dorchester Heights down on British ships docked in Boston Harbor. We were the first ones to take on the British at Lexington and Concord. You’re welcome, America.

Finally, the Tea Party Ships and Museum buildings (there are two buildings) are unique in how they are designed and constructed. The Pier building sits on fixed pilings, while the Barge building floats on, well, a barge. As we reviewed the construction drawings, we had to think about a whole set of issues that we never deal with in our normal practice: How will the tides impact accessibility to the Barge building? (in a major way, as it turns out); What will the micro-climate on the water mean for the building envelope? Besides, it’s rare to see your building float into place the way this one did.

What Is The Tea Party Ships & Museum Project?

This will be a new site commemorating the Boston Tea Party of December 16, 1773. On that evening, a group gathered at the Old South Meeting House (on what is now Washington Street) to discuss what to do about the British ships that were docked in Boston Harbor and laden with tea and other commodities. The British had recently imposed a tax on all tea sold in the Colonies. While this tax alone outraged the locals, they were even more outraged that the British planned to sell their tea without tax, thereby undercutting the local merchants. The crowd at Old South was whipped into fervor by Sam Adams and others, and they decided to board the ships and dump the tea into Boston Harbor.

We may think that this is just a quaint historical event, a relic, but internationally the Tea Party is the one event known by virtually all who study early American history. Those of us who work in the area can attest to numerous occasions of being stopped on the bridge by someone asking, with heavily accented English, “Where is the Tea Party?”

The site for the project is located close to the site of the original event, Griffin’s Wharf. It consists of a structure built on fixed piers, situated alongside the Congress Street Bridge. Connected to this pier building via four gangways is a floating barge with a structure built on it. The pier building will house meeting rooms (made to appear like those at the Old South Meeting House where the original Tea Party was hatched), a gift shop, and offices. The barge building will have a museum on the first level and a tavern on the second level. Both buildings have elevators, even the barge building. The elevator will extend to the hold of the barge. And yes, this is the first time we have ever designed a floating elevator.

Docked around the barge will be reproductions of the three ships involved in the Tea Party event: the Eleanor, the Dartmouth and the Beaver. Two of these ships are being rebuilt/refurbished in Gloucester by Leon Poindexter. Leon was responsible for the ships in the film “Master and Commander”, as well as many other films. He is the recognized expert for period ship reproductions. The third ship will actually be built in place in the Fort Point Channel, around the barge.

The Tea Party Ships & Museum Experience

When you visit the Tea Party Ships and Museum, after buying your ticket, you are shown into one of the meeting rooms in the pier building. You are given an identity and a script to read. You will actually be playing the role of one of the original Bostonians who were so concerned with the presence of British tea in Boston Harbor. After your meeting (where, not surprisingly, the group decides to go down to the docks and raid the ships), you proceed down the gangways to the barge where you board one of the three ships, toss tea crates into the water, and then learn about conditions on those ships. Later, you enter the museum for an audio/visual presentation explaining the event and underlying attitudes. The tavern is available above the museum. As you leave the barge, the gangways take you to the gift shop, located on the ground floor of the pier building.

A Brief History of the Project

Many may recall the original Tea Party commemorative site. A small shack sat at the side of the Congress Street Bridge, essentially the same location as the new site. You paid for a ticket at the shack, then you negotiated a narrow gangway to the small, bobbing barge below, where re-enactors led you through a presentation and a reenactment of the Tea Party event. A portion of the barge was covered by a canopy, but the sides were open. In inclement weather, it was not exactly the place to be.

That site was actually created by a local Boston businessman in 1973. In the mid-80’s, he brought on Historic Tours of America (HTA) to manage the property and in 1998, they bought the site. HTA operates similar commemorative sites in Washington D.C., San Diego, Key West, and Savannah. Almost immediately following their purchase, HTA began thinking about expanding the Tea Party attraction.

Planning was well underway when, in August 2001, the site was struck by lightning. It wasn’t a complete loss, but there was a lot of damage. Some repairs were made, and there were plans to reopen until another fire in 2007 completely destroyed the site. By then, however, HTA had an architect and a scheme for a new site. This would consist of a building on piers sitting on the side of the Congress Street Bridge, connected by gangways to a floating barge, with a building on it. The construction drawings were completed in 2007, and then those drawings sat while HTA went about securing funding. It would take HTA years to find partners to help fund the project.

How MPA Got Involved

In early 2010, MPA was approached by Boston Properties (BP) to become architect of record for the Tea Party Ships and Museum project; BP had been retained by HTA as development manager. Given the breadth of their large project experience, Boston Properties was uniquely qualified to help HTA negotiate Boston’s unique regulatory and construction environment.

The original architect, for reasons still unknown to us, had decided not to see the project through construction. BP asked us to review the drawings, update them for new code requirements (the code changed following the initial issue of the drawings) and to evaluate how much work would be required to produce a complete set of construction drawings. Finally, we would observe the project through the construction process. Other than the original architect, the rest of the design team remained intact.

MPA had worked most recently with BP on a major fit-up within their building at Atlantic Wharf, right next door to the Tea Party site. Our own office, located in the Children’s Museum Building, actually looks down on the Tea Party site. When Boston Properties pitched the project to us, they said:  “Just think: short walks for construction site visits!” We jumped at the chance to work on this project due to its historical importance,  and how much a new Tea Party site would mean to Boston and the Fort Point neighborhood.

Stay tuned for Part 2 where we discuss construction challenges and solutions of this amazing project.

The catch: we only had ONE month to collect everything a family would need in a new home … EVERYTHING! So, with only one month to coordinate everything, we hit the ground running!

To get the ball rolling, and to remind people of the commitment we made as a firm, I set up boxes labeled for each room or section of the apartment that would need to be furnished and stocked. With the boxes placed strategically in our lobby, I knew everyone would pass them daily and be reminded of their donation duty. There was no way they could miss ‘em!

As the weeks passed, we watched the boxes began to fill more and more.

While it was great to see that we had all these small items, we also needed to somehow obtain every piece of large furniture for the entire apartment! And that’s where The Furniture Trust (TFT) came in to save the day! If you don’t already know who they are – you need to, because their mission is amazing.

TFT is a non-profit that reinvests unwanted office furnishings back into the community. As a socially and environmentally responsible way of disposing excess office furniture, TFT gives furniture that would otherwise be disposed of to those who are in need. While many of their clients include schools and local businesses, I realized that partnering with them on this Up & Out could turn out to be a great benefit to all involved!

Prior to move day, I accompanied members of TFT to an inventory check at a recently vacated space. That’s where the fun really began! It was like walking into a ghost town. There were signs that life once existed – shoes, clothes, live plants, food, and even personal photos still attached to bulletin boards above desks. Even more alarming was that I was able to claim anything I wanted! I remember asking TFT every time I found something new, “Can the family take this?” and each time I got the same answer, “Yes! Anything you want – it’s yours!” Bless them for being patient and understanding of my excitement!
Roaming the floor I couldn’t believe how many pieces of furniture had great potential for a home environment. All-in-all I walked away with the following items:

• A couch and reclining chair (both from IKEA – they had seen better days, but I knew a quick trip to Ikea for new covers would make these bad-boys brand new!)
• A matching 3-piece coffee table and side table set with glass tops
• 3 different sized tables for the dining room (Don’t judge — we hadn’t seen the apartment yet, and I wanted to make sure we had options!)
• 2 rolling file cabinets with soft seat cushions attached to the top (I thought they would be perfect as a toy storage/seating option in the kid’s room!)
• An Ikea buffet table (This thing was huge! I didn’t know if it would fit, but HAD to take it…)
• White boards and bulletin boards
• Magazine rack
• A floor lamp and a desk/table lamp
• A giant wall clock
• A live plant
• A Bean-bag chair
• A lacrosse stick
• A ceramic Rooster (not kidding!)

To say the least, I got some pretty interesting looks on the Red line as I hugged a giant wall clock and lacrosse stick all the way back to MPA’s office.

After this trip, I realized we were in great shape – now all we needed was furniture for the bedrooms! Que the luck (again!), because Senior Associate John Pearson’s wife works for Circle Furniture. After a few emails and phone calls, we were the proud recipients of a beautiful bed for the mother’s room, and a dresser for the little girl’s room.

Piecing together a few loose ends, I knew we were in the homestretch to the big day and reveal.

With everything we had already accomplished there was still one more critical thing we had to do: we had yet to meet the family. So, with only one week left, we finally got the news we had been waiting for – our Up & Out efforts were going to jump-start a new chapter to the lives of a 25-year old mother and her 3-year old daughter.

When we finally met and sat down with the mother and her daughter at Heading Home’s office, I realized that what she had gone through was so far beyond anything I could have imagined. She explained the physical and emotional toll that homelessness had taken on her. The mother cried as she told her and her daughter’s story. She detailed the fear she experienced as a parent just trying to provide for her daughter, and the feeling of inadequacy while being unable to give or provide enough. With tears in her eyes, she emphasized her simple main goal in life: to be the best parent she could and give her daughter a life that every 3-year old deserves.

In her short 3-year life, this little girl had never had a home to call her own. And now, the wait was over. Now, she was going to have a home, and her own room. I couldn’t have been happier that we were going to be able to give them a home of which they had always dreamed and prayed.

Sunday  |  April 1, 2012   |  MOVE DAY!

Having loaded the delivery truck the day before with everything that had been donated and collected – from small toiletries, to toys and books to all furniture – the truck arrived at the family’s new apartment. We knew we only had three hours to get in, set up, and get out: the race was finally on.

The apartment is roughly 650 square feet. Despite its small size, we happily fit almost 25 people in there – all running here and there trying to help in any way they could while preparing the home for the family’s arrival.

I’m not going to lie – I thought we were going to cruise with 25 people helping, but it took the full three hours we had to get the job done! There is so much that goes into getting a first home set up. We cleaned everything, assembled and arranged furniture in each room, filled drawers and shelves with supplies, grocery shopped, filled the refrigerator and cupboards, decorated and applied finishing touches, and cleaned again.

And then, before we knew it, we were in our positions – just waiting for the mother and daughter to walk through the door and realize their new home was all ready for them.

Once the mother and daughter had been shown their new home room by room, we all began to file out. Our job here was done. But just before I walked out through the front door, I turned around one last time only to see the mother holding her daughter in her arms, crying. They were so deserving of a good life and finally they were where they belonged – home.

It was truly a day no one will forget. The ability and power to change someone’s life by contributing your time and effort is such an amazing thing.

Now, April 1st is not just reserved for MPA’s anniversary. It will also forever be the day that this family got a fresh start on a new life in their new home.

To see all the action that took place on the day of the Up & Out, please visit our Facebook album.

My mother, Jodi DeMuth, was diagnosed with Primary Biliary Cirrhosis (PBC) when I was two years old. 

PBC is an autoimmune disease that affects the liver and causes excessive and irreversible scarring over time – often resulting in liver failure or the need for a transplant. For my mom, the disease’s progress has been slow. With the help of some great doctors, most notably Dr. Marshall Kaplan at Tufts Medical Center, she has kept the worst of symptoms manageable and her overall health – and quality of life – fairly good. However, in the last couple of years, things have started to get worse quickly. She’s exhausted all the time. A day with her grandkids or a long night of calls as a midwife, delivering babies, are enough to send her to bed for 48 hours. As she struggles with fatigue, abdominal inflammation, and severe itchiness, among many other side effects, her ability to truly live her life is diminishing.

Jodi’s liver function is rapidly deteriorating. Over the last year, we’ve started to talk more and more about something that always loomed on the horizon: a liver transplant. In September, my mother officially became “listed” as a candidate for liver transplant at Massachusetts General Hospital. After 23 years, it’s kind of surreal that we’re here.

Her best odds of getting a healthy liver and having a smooth recovery come from a live donor transplant. A live donor transplant allows her to have the surgery before it becomes a life or death necessity. When you have a willing donor, it is a great option. And Jodi has not one but eight willing donors–three siblings, three kids, one brother-in-law, and one son-in-law who are all blood type matches. A self-titled “Gang of eight” family members have already inundated the staff at MGH with donor-registration materials.

To this selfless crew, the decision to be considered for donation was not a question, but a necessity in order to see Jodi live and thrive.

Of course, live donor transplant is a major surgery with a difficult recovery for both the donor and the recipient, keeping each out of work for several months. It also takes a financial toll, costing upwards of $600,000 in surgical expenses in addition to ongoing costs for medication and treatment that will last the rest of Jodi’s life.

Even so, it was not a question in my mind to be part of this infamous “Gang of Eight.” I am part of what I consider an elite group including some of the most caring, generous and loving people I have ever been honored to know. It is also important for all of us to make the best of this situation, relying on both humor as well as love to guide us. We find strength in being connected and unified; our entire family is optimistic on what will come about over the course of the next several months. Knowing that there are people that care about Jodi as much as I do is genuinely reassuring. Everyone is looking at the same goal; to see Jodi happy and healthy.

This month, my mother left her midwifery practice in York, Maine for an extended medical leave. After a long career of “catching babies”, she is no longer working as a midwife. Jodi is loved and admired by the many family, friends, and patients whose lives she has touched with her gentle strength, generosity, and presence. A bond between a mother and child is something that she knows all too well. Throughout her twenty years of being a midwife, she has brought life into the world for hundreds of families in the seacoast area of southern Maine and New Hampshire. Jodi has also had three children of her own, as well as two grandchildren. As her youngest child and baby of the family, I can say that she has taught me the world and made me the person I am today; nothing is more important than seeing her receive the same life that she has given me.

My mother expects to undergo surgery in 2012. The “gang of eight” has started the process of a medical work-up to identify the best donor candidate, and family and friends are on the edge of their seats waiting to hear the outcome. As she prepares for her transplant, Jodi is both grateful for the full life she has lived and hopeful for the future.  Jodi is surrounded by a loving and supportive network of family and friends. She is humbled by all that they have done and continue to do to help her fight back and reclaim her life from this disease. 

We have been overwhelmed at the support and positive feedback we’ve gotten from the community. To read an article about Jodi’s story, “Life, Love, Hope: Midwife Needs Liver Transplant” from SeaCoastOnline.com, click here.

To hear from Jodi herself, check out this wonderful and emotional video:

To make a donation, or to find out more about Jodi’s story, visit HelpHOPELive.org

To connect with other adoring fans and supporters, make sure to “Like” Jodi’s Liver Team fanpage on Facebook