ISAAC SOUTHARD Yale University School of Architecture Master of Architecture II 2016 Degree Candidate
Isaac Southard
ISAAC SOUTHARD isaac.southard@yale.edu 108 Dwight Street, Apt. 34 New Haven, CT 06511 484.554.1336
02
Isaac Southard
ISAAC SOUTHARD isaac.southard@yale.edu 108 Dwight Street, Apt. 34 New Haven, CT 06511 484.554.1336
02
Isaac Southard
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TABLE OF CONTENTS 2014-2015 Academic Works
01
Boston City Hall Boston, Massachusetts Edward Mitchell + Aniket Shahane 09-12.2014
Pg. 04
02
Cutting, Bending, Folding New Haven, Connecticut John Eberhart 09-10.2014
Pg. 23
03
Surface, Depth, Aperature New Haven, Connecticut John Eberhart w/Partners Eunil Cho + Karl Karam 10-11.2014
Pg. 30
04
Smart Components: Arduino Workshop New Haven, Connecticut John Eberhart w/Partner Jared Abraham 11-12.2014
Pg. 39
05
Unreal City City of London, United Kingdom Niall McLaughlin + Andrew Benner 01-05.2015
Pg. 43
06
Analytical Drawing: Pilazzo Farnese New Haven, Connecticut Rome Program 03.2015
Pg. 67
07
Writing on Architecture New Haven, Connecticut Carter Wiseman 01-05.2015
Pg. 69
08
The Chair New Haven, Connecticut Timothy Newton 01-05.2015
Pg. 70
Isaac Southard
03
TABLE OF CONTENTS 2014-2015 Academic Works
01
Boston City Hall Boston, Massachusetts Edward Mitchell + Aniket Shahane 09-12.2014
Pg. 04
02
Cutting, Bending, Folding New Haven, Connecticut John Eberhart 09-10.2014
Pg. 23
03
Surface, Depth, Aperature New Haven, Connecticut John Eberhart w/Partners Eunil Cho + Karl Karam 10-11.2014
Pg. 30
04
Smart Components: Arduino Workshop New Haven, Connecticut John Eberhart w/Partner Jared Abraham 11-12.2014
Pg. 39
05
Unreal City City of London, United Kingdom Niall McLaughlin + Andrew Benner 01-05.2015
Pg. 43
06
Analytical Drawing: Pilazzo Farnese New Haven, Connecticut Rome Program 03.2015
Pg. 67
07
Writing on Architecture New Haven, Connecticut Carter Wiseman 01-05.2015
Pg. 69
08
The Chair New Haven, Connecticut Timothy Newton 01-05.2015
Pg. 70
Isaac Southard
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BOSTON CITY HALL / RESONANT CHAMBERS Boston, Massachusetts Ed Mitchell + Aniket Shahane 08-12.2014
01
The studio asked complex questions about the nature of the contemporary city: What is the city? Does the city have a form? What are the city limits? What is public space? With these questions in mind the studio proposed new city halls in Boston Massachusetts using the original 1961 program as the basis for programmatic content. Resonant Chambers reads Boston as a city with a multiplicity of identities and centers. Instead of association with a singular urban context, Bostonians associate identity with the neighborhoods in which they live: Fenway, the Back Bay, Beacon Hill, the West End, the North End, Chinatown, the South End, Bay Village, Roxbury, Dorchester, Allston, Brookline, Jamaica Plain. Each neighborhood exhibits a distinct sense of place and contributes to the decentered nature of the formal city center, Boston City Hall. Resonant Chambers seeks to embody a multivalent and decentered architecture like that of the contemporary city. Furthermore, the proposal aspires to transform the physical framework of the City Hall such that the bureaucratic and political processes integrate with the public realm.
01 Bar Study Models, White Foam, 1”=50’ 02 Boston City Hall Council Rendering
The first move, at the scale of the city, proposes a linear bar building at the eastern edge of the site that shapes a figural space, a square, at the city’s center. The second move, at the scale of the street, fragments the building into a series of vertical “neighborhoods” which correspond with specific programmatic groupings. Courtyards are elevated within the façade between the programmatic “neighborhoods,” just like the way in which City Hall Center exists in the interstitial space between the West End, the North End and Chinatown. The final move within the building is a linear promenade that connects the courtyards, “neighborhoods”, and square to the city at large. By limiting the City Hall to an edge condition, the city center resonants the autonomy and identity of the individual neighborhoods within Boston. By shaping a figural space at the cities center the City Hall allows the people take center stage and the space for civic functions to occur in an otherwise dense and meandering urban fabric.
02
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BOSTON CITY HALL / RESONANT CHAMBERS Boston, Massachusetts Ed Mitchell + Aniket Shahane 08-12.2014
01
The studio asked complex questions about the nature of the contemporary city: What is the city? Does the city have a form? What are the city limits? What is public space? With these questions in mind the studio proposed new city halls in Boston Massachusetts using the original 1961 program as the basis for programmatic content. Resonant Chambers reads Boston as a city with a multiplicity of identities and centers. Instead of association with a singular urban context, Bostonians associate identity with the neighborhoods in which they live: Fenway, the Back Bay, Beacon Hill, the West End, the North End, Chinatown, the South End, Bay Village, Roxbury, Dorchester, Allston, Brookline, Jamaica Plain. Each neighborhood exhibits a distinct sense of place and contributes to the decentered nature of the formal city center, Boston City Hall. Resonant Chambers seeks to embody a multivalent and decentered architecture like that of the contemporary city. Furthermore, the proposal aspires to transform the physical framework of the City Hall such that the bureaucratic and political processes integrate with the public realm.
01 Bar Study Models, White Foam, 1”=50’ 02 Boston City Hall Council Rendering
The first move, at the scale of the city, proposes a linear bar building at the eastern edge of the site that shapes a figural space, a square, at the city’s center. The second move, at the scale of the street, fragments the building into a series of vertical “neighborhoods” which correspond with specific programmatic groupings. Courtyards are elevated within the façade between the programmatic “neighborhoods,” just like the way in which City Hall Center exists in the interstitial space between the West End, the North End and Chinatown. The final move within the building is a linear promenade that connects the courtyards, “neighborhoods”, and square to the city at large. By limiting the City Hall to an edge condition, the city center resonants the autonomy and identity of the individual neighborhoods within Boston. By shaping a figural space at the cities center the City Hall allows the people take center stage and the space for civic functions to occur in an otherwise dense and meandering urban fabric.
02
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BOSTON CITY HALL SITE
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BOSTON CITY HALL SITE
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CHARLESTOWN
CAMBRIDGE
BOSTON URBAN ANALYSIS
F
01
02
G
NORTHEND
WEST END I
1950
A
E
A
L
H
N
BEACON HILL
WATERFRONT
D
D
L
C
C
FINANCIAL DISTRICT
B
K K
G
J I
MIDTOWN
2000
BOSTON COMMON
B
H M
CHINATOWN
J
SEAPORT
BACK BAY SOUTH END
2050
01 Boston City Center chronology 02 Boston Mind Map
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CHARLESTOWN
CAMBRIDGE
BOSTON URBAN ANALYSIS
F
01
02
G
NORTHEND
WEST END I
1950
A
E
A
L
H
N
BEACON HILL
WATERFRONT
D
D
L
C
C
FINANCIAL DISTRICT
B
K K
G
J I
MIDTOWN
2000
BOSTON COMMON
B
H M
CHINATOWN
J
SEAPORT
BACK BAY SOUTH END
2050
01 Boston City Center chronology 02 Boston Mind Map
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INSTANT CITY HALL STUDIES
Concept Models, 1/32”=1’-0”, Paper, Basswood, Foam, Chipboard
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INSTANT CITY HALL STUDIES
Concept Models, 1/32”=1’-0”, Paper, Basswood, Foam, Chipboard
07
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02a
03a
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05a
01b
02b
03b
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06a
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08a
09a
10a
06b
07b
08b
09b
10b
CITY HALL + PUBLIC SPACE PRECEDENTS
01a Boston City Hall (Current) 01b Copley Square, Boston 02a Philadelphia City Hall 02b Rittenhouse Square, Philadelphia 03a New York City City Hall 03b Washington Square, New York City 04a Chicago City Hall 04b Millenium Park, Chicago 05a San Francisco City Hall 05b Federal Building Plaza, San Francisco 06a London City Hall, United Kindgom 06b Trafalgar Square, London, United Kingdom 07a Paris City Hall, France 07b The Centre Pompidou, Paris, France 08a Commune di Venizia, Venice, Italy 08b Piazza San Marco, Venice, Italy 09a Madrid City Hall, Spain 09b Plaza Mayor, Madrid, Spain 10a Tokyo City Hall, Japan 10b Shibuya Square, Tokyo, Japan
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02a
03a
04a
05a
01b
02b
03b
04b
05b
06a
07a
08a
09a
10a
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08b
09b
10b
CITY HALL + PUBLIC SPACE PRECEDENTS
01a Boston City Hall (Current) 01b Copley Square, Boston 02a Philadelphia City Hall 02b Rittenhouse Square, Philadelphia 03a New York City City Hall 03b Washington Square, New York City 04a Chicago City Hall 04b Millenium Park, Chicago 05a San Francisco City Hall 05b Federal Building Plaza, San Francisco 06a London City Hall, United Kindgom 06b Trafalgar Square, London, United Kingdom 07a Paris City Hall, France 07b The Centre Pompidou, Paris, France 08a Commune di Venizia, Venice, Italy 08b Piazza San Marco, Venice, Italy 09a Madrid City Hall, Spain 09b Plaza Mayor, Madrid, Spain 10a Tokyo City Hall, Japan 10b Shibuya Square, Tokyo, Japan
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PROGRAM ANALYSIS
SITE
SITE
774,000 sf (Total) 774,000 sf (Total) 442,000 sf (Actual) 442,000 sf (Actual)
NEW
25,000 sf
NEW BASE 25,000 sf
104,000 sf
BASE BAR 104,000 sf
390,000 sf
BAR
PARAMETERS PARAMETERS
390,000 sf
Floor Height Limits Floor Height Limits 12’ Minimum 12’ Minimum 15’ Maximum 15’ Maximum
Includes: Includes: 226,000 sf Admin Private 226,000 sf Admin Private 84,000 sf Admin Public 84,000 sf Admin Public 39,000 sf Symbolic 39,000 sf Symbolic 39,000 sf “Void” 39,000 sf “Void”
SCALE
SCALE
A
A
B
B
C
C
D
D
E
E
F
F
G
G
Floor Depth Limits 20’ Minimum 50’ Maximum
Floor Depth Limits 20’ Minimum 50’ Maximum
H
H
Floor: 30’x400’ = 12,000 Floor: sf30’x400’ = 12,000 sf = 16,000 Floor: 40’x400’ Floor: sf40’x400’ = 16,000 sf = 17 Floor: 40’x550’ Floor: sf40’x550’ = 22,000 sf = 24,000 Floor: 30’x200’ = 6,000 Floor:sf 30’x200’ = 6,000 sf Floor: 30’x300’ = 9,000 Floor:sf 30’x300’ = 9,000 sf Floor: 50’x350’ Floor: ,500 sf50’x350’ Floor: = 17,500 40’x500’ sf = 20,000 Floor: sf40’x500’ = 20,000 sf = 22,000 Floor: 40’x600’ Floor: sf40’x600’ = 24,000 sf Stories: 32 Stories Stories: 32 Stories Stories: 24 Stories Stories: 24 Stories Stories: 17 Stories Stories: 17 Stories Stories: 65 Stories Stories: 65 Stories Stories: 43 Stories Stories: 43 Stories Stories: 22 Stories Stories: 22 Stories Stories: 20 Stories Stories: 20 Stories Stories: 16 Stories Stories: 16 Stories Height: 380’-480’ Height: 380’-480’ Height: 290’-360’ Height: 290’-360’ Height: 200’-255’ Height: 200’-255’ Height: 780’-975’ Height: 780’-975’ Height: 520’-645’ Height: 520’-645’ Height: 265’-330’ Height: 265’-330’ Height: 240’-300’ Height: 240’-300’ Height: 190’-240’ Height: 190’-240’
ROTATION ROTATION 1
1
Rotation: 90°
Rotation: 90°
2
2
Rotation: 5°
Rotation: 5°
3
3
Rotation: 36°
Rotation: 36°
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PROGRAM ANALYSIS
SITE
SITE
774,000 sf (Total) 774,000 sf (Total) 442,000 sf (Actual) 442,000 sf (Actual)
NEW
25,000 sf
NEW BASE 25,000 sf
104,000 sf
BASE BAR 104,000 sf
390,000 sf
BAR
PARAMETERS PARAMETERS
390,000 sf
Floor Height Limits Floor Height Limits 12’ Minimum 12’ Minimum 15’ Maximum 15’ Maximum
Includes: Includes: 226,000 sf Admin Private 226,000 sf Admin Private 84,000 sf Admin Public 84,000 sf Admin Public 39,000 sf Symbolic 39,000 sf Symbolic 39,000 sf “Void” 39,000 sf “Void”
SCALE
SCALE
A
A
B
B
C
C
D
D
E
E
F
F
G
G
Floor Depth Limits 20’ Minimum 50’ Maximum
Floor Depth Limits 20’ Minimum 50’ Maximum
H
H
Floor: 30’x400’ = 12,000 Floor: sf30’x400’ = 12,000 sf = 16,000 Floor: 40’x400’ Floor: sf40’x400’ = 16,000 sf = 17 Floor: 40’x550’ Floor: sf40’x550’ = 22,000 sf = 24,000 Floor: 30’x200’ = 6,000 Floor:sf 30’x200’ = 6,000 sf Floor: 30’x300’ = 9,000 Floor:sf 30’x300’ = 9,000 sf Floor: 50’x350’ Floor: ,500 sf50’x350’ Floor: = 17,500 40’x500’ sf = 20,000 Floor: sf40’x500’ = 20,000 sf = 22,000 Floor: 40’x600’ Floor: sf40’x600’ = 24,000 sf Stories: 32 Stories Stories: 32 Stories Stories: 24 Stories Stories: 24 Stories Stories: 17 Stories Stories: 17 Stories Stories: 65 Stories Stories: 65 Stories Stories: 43 Stories Stories: 43 Stories Stories: 22 Stories Stories: 22 Stories Stories: 20 Stories Stories: 20 Stories Stories: 16 Stories Stories: 16 Stories Height: 380’-480’ Height: 380’-480’ Height: 290’-360’ Height: 290’-360’ Height: 200’-255’ Height: 200’-255’ Height: 780’-975’ Height: 780’-975’ Height: 520’-645’ Height: 520’-645’ Height: 265’-330’ Height: 265’-330’ Height: 240’-300’ Height: 240’-300’ Height: 190’-240’ Height: 190’-240’
ROTATION ROTATION 1
1
Rotation: 90°
Rotation: 90°
2
2
Rotation: 5°
Rotation: 5°
3
3
Rotation: 36°
Rotation: 36°
Isaac Southard
BAR STUDIES
Bar Study Models, White Foam, 1/50” = 1’-0”
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BAR STUDIES
Bar Study Models, White Foam, 1/50” = 1’-0”
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Elevation Development
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Elevation Development
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MID-REVIEW PRESENTATION
Aerial, 1/50”=1’-0”, Walnut, Basswood, & Acrylic
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MID-REVIEW PRESENTATION
Aerial, 1/50”=1’-0”, Walnut, Basswood, & Acrylic
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01
01 West Elevation, 1/50” = 1’-0”, Walnut, Basswood, & Acrylic 02 East Elevation, 1/50”=1’-0”, Walnut, Basswood, & Acrylic
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01
01 West Elevation, 1/50” = 1’-0”, Walnut, Basswood, & Acrylic 02 East Elevation, 1/50”=1’-0”, Walnut, Basswood, & Acrylic
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01
Street Views, 1/50”=1’-0”, Walnut & Basswood 01 Cambridge Street 02 Washington Street 03 Congress Street 04 Hanover Stret 05 Cambridge Street
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04
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Street Views, 1/50”=1’-0”, Walnut & Basswood 01 Cambridge Street 02 Washington Street 03 Congress Street 04 Hanover Stret 05 Cambridge Street
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03
04
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BOSTON CITY HALL PROPOSAL
Aerial, Final Model, Walnut, Bass Wood, and 3D Print
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BOSTON CITY HALL PROPOSAL
Aerial, Final Model, Walnut, Bass Wood, and 3D Print
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16 Promenade
Courtyards
Cores
Floor Plates
Columns 03 01
Void
Neighborhoods
Square
Landscape
New Existing
02
Axis + Orientation
Urban Wall
01 View from Quincy Market, Final Model, 1/50”=1’-0”, Walnut, Basswood, & 3D Print 02 View from Faneuil Hall, Photograph Collage 02 Axonometric
Isaac Southard
16 Promenade
Courtyards
Cores
Floor Plates
Columns 03 01
Void
Neighborhoods
Square
Landscape
New Existing
02
Axis + Orientation
Urban Wall
01 View from Quincy Market, Final Model, 1/50”=1’-0”, Walnut, Basswood, & 3D Print 02 View from Faneuil Hall, Photograph Collage 02 Axonometric
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02
01
01 N-S Section Through Cafe & Subway 02 N-S Section Through City Hall
N 0’
32’
64’
128’
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02
01
01 N-S Section Through Cafe & Subway 02 N-S Section Through City Hall
N 0’
32’
64’
128’
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US Internal Revenue Services
LNI
Congress Street
JFK Federal Building
Holocaust Memorial
Lobby
Kiosk
Lobby
North Street
Licenses Reception Gallery
Cafe
Faneuil Hall Marketplace Subway Entry T
Lobby Faneuil Hall Samuel Adams Statue
Building
Cambridge Street
Samuel Adams Bar
Lubin & Meyer PC
Tedd’s Tobacco Shop
Tedd’s Tobacco Shop
Court Street
Tremont Street
Site Plan
Ames Boston Hotel
N 0’
32’
64’
128’
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US Internal Revenue Services
LNI
Congress Street
JFK Federal Building
Holocaust Memorial
Lobby
Kiosk
Lobby
North Street
Licenses Reception Gallery
Cafe
Faneuil Hall Marketplace Subway Entry T
Lobby Faneuil Hall Samuel Adams Statue
Building
Cambridge Street
Samuel Adams Bar
Lubin & Meyer PC
Tedd’s Tobacco Shop
Tedd’s Tobacco Shop
Court Street
Tremont Street
Site Plan
Ames Boston Hotel
N 0’
32’
64’
128’
C B
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A
19
25’ 25’
of the Mayor
1 30’
2
3
Department of the Mayor 4 Neighborhood Meeting Room
5
02
01 Sky Lobby 6
Library 7
8
Public Works Department 9
10
11
City Hall Stage
12
14 13
15
16 Public Contact Department
17
Auditorium
18
19 Sky Lobby
20
Canteen
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22
23
City Council Chamber 24
01 Promenade Plan, +64’ 02 Typical Office Floor
N 0’
16’
32’
64’
C B
Isaac Southard
A
19
25’ 25’
of the Mayor
1 30’
2
3
Department of the Mayor 4 Neighborhood Meeting Room
5
02
01 Sky Lobby 6
Library 7
8
Public Works Department 9
10
11
City Hall Stage
12
14 13
15
16 Public Contact Department
17
Auditorium
18
19 Sky Lobby
20
Canteen
21
22
23
City Council Chamber 24
01 Promenade Plan, +64’ 02 Typical Office Floor
N 0’
16’
32’
64’
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SECTION MODEL
Section Model, Walnut, Basswood, Cardboard, White Card, & 3D Print, 1/16”=1’-0”
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SECTION MODEL
Section Model, Walnut, Basswood, Cardboard, White Card, & 3D Print, 1/16”=1’-0”
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Boston City Hall from Subway Entry
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Boston City Hall from Subway Entry
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Boston City Hall Square from Stage
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Boston City Hall Square from Stage
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CUTTING, BENDING, FOLDING New Haven, Connecticut John Eberhart 09-10.2014
01
Cutting, Bending, Folding explores aesthetics and form through an iterative feedback loop utilizing digital programs and physical models. 3D designs in Rhino are output, digitally cut, then assembled through bending and folding by hand. Digital to analog to digital back to analog. The process is cyclical. My project employs the hexagon as a base geometry through which formal variations are explored. Lofting, splitting, twisting, rotating, and other procedures are performed. The final assembly is constructed piece by piece out of a total of thirty nine individual cutouts. Each cutout is numbered and assembled in order. The piece suggests an architecture, a structure, or a variated topography. This project could be continued at larger scales and with more robust materials. It could be a roofscape, it could be a series of rooms lit from above.
01 Assembling Units 02 Final Assembly
02
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CUTTING, BENDING, FOLDING New Haven, Connecticut John Eberhart 09-10.2014
01
Cutting, Bending, Folding explores aesthetics and form through an iterative feedback loop utilizing digital programs and physical models. 3D designs in Rhino are output, digitally cut, then assembled through bending and folding by hand. Digital to analog to digital back to analog. The process is cyclical. My project employs the hexagon as a base geometry through which formal variations are explored. Lofting, splitting, twisting, rotating, and other procedures are performed. The final assembly is constructed piece by piece out of a total of thirty nine individual cutouts. Each cutout is numbered and assembled in order. The piece suggests an architecture, a structure, or a variated topography. This project could be continued at larger scales and with more robust materials. It could be a roofscape, it could be a series of rooms lit from above.
01 Assembling Units 02 Final Assembly
02
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OPERATIONS
Hexagon
Array
Hexagon x 3
Shift X
Loft
Shift Y
Scale
Split
Loft
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OPERATIONS
Hexagon
Array
Hexagon x 3
Shift X
Loft
Shift Y
Scale
Split
Loft
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Cut-Outs
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Cut-Outs
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ASSEMBLY
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ASSEMBLY
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PROTOTYPE
01
01 3D Model 02 Assembled Form
02
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PROTOTYPE
01
01 3D Model 02 Assembled Form
02
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SURFACE, DEPTH, APERATURE New Haven, Connecticut John Eberhart w/Partners Eunil Cho + Karl Karam 10-11.2014
01
Surface, Depth & Aperature was a crash course in large format CNC milling and 3D printing. The final product was to be a 24”x24”x4” tile incorporating both processes. Pattern, light, connection, and fabrication were key issues to consider. The piece was to be 3D modeled in Rhino utilizing the Grasshopper plugin. My partners and I were interested in using simple polygonal shapes that mutate across a surface. We were also interested in using a grid to register the transformation. I lead the development of the milled portion of the model utilizing Rhino and Grasshopper. I worked with my partners to assist in the 3D printed portions of the model and the concepts for the renderings.
01 CNC Mill 02 3D Model 03 Concept Rendering. New York, NY
02
03
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SURFACE, DEPTH, APERATURE New Haven, Connecticut John Eberhart w/Partners Eunil Cho + Karl Karam 10-11.2014
01
Surface, Depth & Aperature was a crash course in large format CNC milling and 3D printing. The final product was to be a 24”x24”x4” tile incorporating both processes. Pattern, light, connection, and fabrication were key issues to consider. The piece was to be 3D modeled in Rhino utilizing the Grasshopper plugin. My partners and I were interested in using simple polygonal shapes that mutate across a surface. We were also interested in using a grid to register the transformation. I lead the development of the milled portion of the model utilizing Rhino and Grasshopper. I worked with my partners to assist in the 3D printed portions of the model and the concepts for the renderings.
01 CNC Mill 02 3D Model 03 Concept Rendering. New York, NY
02
03
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CONCEPTS
Base Geometry
Transformation
Field
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CONCEPTS
Base Geometry
Transformation
Field
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PROGRAMMING
1. Associate Surface with Point Field, Use Slider to Define # of Points
2. Subdivide Surface into Point Grid
(Line Command for Graphic Representation)
6. Field Input (Generates Polygons)
8. Generate Variable Polygonal Field
02
01
1. Associate Surface with Point Field, Use Slider to Define # of Points
2. Subdivide Surface into Point Grid
(Line Command for Graphic Representation)
6. Field Input (Generates Polygons)
8. Generate Variable Polygonal Field
10...
3
3. Define Attractor Point
4. Calculate Distance Between Attractor Point and Grid Point, Divide
generate topograhy using grasshopper
01 Grasshopper 02 Rhinoceros
5. Divide Distance by Factor to generate # of Polygon Sides
9. Slider Defines Size of Polygon Radius
3. Define Attractor Point
4. Calculate Distance Between Attractor Point and Grid Point, Divide
generate topograhy using grasshopper
5. Divide Distance by Factor to generate # of Polygon Sides
9. Slider Defines Size of Polygon Radius
10. AREA FOR FABRICATION!
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PROGRAMMING
1. Associate Surface with Point Field, Use Slider to Define # of Points
2. Subdivide Surface into Point Grid
(Line Command for Graphic Representation)
6. Field Input (Generates Polygons)
8. Generate Variable Polygonal Field
02
01
1. Associate Surface with Point Field, Use Slider to Define # of Points
2. Subdivide Surface into Point Grid
(Line Command for Graphic Representation)
6. Field Input (Generates Polygons)
8. Generate Variable Polygonal Field
10...
3
3. Define Attractor Point
4. Calculate Distance Between Attractor Point and Grid Point, Divide
generate topograhy using grasshopper
01 Grasshopper 02 Rhinoceros
5. Divide Distance by Factor to generate # of Polygon Sides
9. Slider Defines Size of Polygon Radius
3. Define Attractor Point
4. Calculate Distance Between Attractor Point and Grid Point, Divide
generate topograhy using grasshopper
5. Divide Distance by Factor to generate # of Polygon Sides
9. Slider Defines Size of Polygon Radius
10. AREA FOR FABRICATION!
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OUTPUT LINEWORK
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OUTPUT LINEWORK
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OPERATIONS
01
02
03
04
05
06
01 “Baked” Vectors from Grasshopper 02 Extrude Primary Vectors 03 Boolean Negative 04 Scale 05 Extrude Soft Edge Minor Vectors 06 Final Boolean Subtraction
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OPERATIONS
01
02
03
04
05
06
01 “Baked” Vectors from Grasshopper 02 Extrude Primary Vectors 03 Boolean Negative 04 Scale 05 Extrude Soft Edge Minor Vectors 06 Final Boolean Subtraction
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01a
01b
02a
02b
OUTPUT MODELS
01a Top Mill Rhino Form 01b madCAD Top Mill Tool Path 02a Bottom Mill Rhino Form 02b madCAD Bottom Mill Tool Path
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01a
01b
02a
02b
OUTPUT MODELS
01a Top Mill Rhino Form 01b madCAD Top Mill Tool Path 02a Bottom Mill Rhino Form 02b madCAD Bottom Mill Tool Path
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3D PRINT GEOMETRY
Base Polygon
Loft & Manipulation
Abstracted Polygon
3D Forms for 3D Printer
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3D PRINT GEOMETRY
Base Polygon
Loft & Manipulation
Abstracted Polygon
3D Forms for 3D Printer
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MILLED FOAM + 3D PRINT ASSEMBLY
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MILLED FOAM + 3D PRINT ASSEMBLY
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PROTOTYPE SCREEN RENDERING
The Seagram Building, New York, NY
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PROTOTYPE SCREEN RENDERING
The Seagram Building, New York, NY
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SMART COMPONENTS: ARDUINO WORKSHOP New Haven John Eberhart w/Partner Jared Abraham 11-12.2014
01
Arduino Workshop explored the potential for interactive architectural installations combining innovative material assemblies and smart components. The course intent was to create designs for specific interior spaces or universal architectural applications. There were no limitations placed on materials, scale or type of smart components to be used. However, emphasis was placed on simple input/output strategies so that the design of the architectural assemblies could be as complex as possible. The workshop required developing and writing code for an installation and a budget limited to two hundred dollars.
01 Paper Mockup 02 Arduino Installation, Detail Photograph
My partner and I were interested in the work of Erwin Hauer and Iris van Herpen. Their work, while distinct in its material qualities, employs complex three dimensional patterns and interwoven continuous surfaces. We appreciated these qualities and studied their work as precedents for our installation. As can be seen in the photograph at left, we used simple paper mockups and experimented with various aperatures, shapes and incision patterns to achieve a dynamic play of light and shadow on and between two planes.
We were drawn to the idea of window screens as a potential universal architectural application and wanted to challenge the normative notion that screens be both static and non-graphic. Our installation utilizes photo-sensors and a basic script to control a 180-degree servo motor. We designed and built an armature that held all of the components and controlled the degree of rotation and thus percentage openness of the screen. For the final installation we used orange taurpaulin fabric and a tangent die machine to cut the perforations and incisions in the material. The installation was installed in a window in Rudolf Hall.
02
Isaac Southard
39
SMART COMPONENTS: ARDUINO WORKSHOP New Haven John Eberhart w/Partner Jared Abraham 11-12.2014
01
Arduino Workshop explored the potential for interactive architectural installations combining innovative material assemblies and smart components. The course intent was to create designs for specific interior spaces or universal architectural applications. There were no limitations placed on materials, scale or type of smart components to be used. However, emphasis was placed on simple input/output strategies so that the design of the architectural assemblies could be as complex as possible. The workshop required developing and writing code for an installation and a budget limited to two hundred dollars.
01 Paper Mockup 02 Arduino Installation, Detail Photograph
My partner and I were interested in the work of Erwin Hauer and Iris van Herpen. Their work, while distinct in its material qualities, employs complex three dimensional patterns and interwoven continuous surfaces. We appreciated these qualities and studied their work as precedents for our installation. As can be seen in the photograph at left, we used simple paper mockups and experimented with various aperatures, shapes and incision patterns to achieve a dynamic play of light and shadow on and between two planes.
We were drawn to the idea of window screens as a potential universal architectural application and wanted to challenge the normative notion that screens be both static and non-graphic. Our installation utilizes photo-sensors and a basic script to control a 180-degree servo motor. We designed and built an armature that held all of the components and controlled the degree of rotation and thus percentage openness of the screen. For the final installation we used orange taurpaulin fabric and a tangent die machine to cut the perforations and incisions in the material. The installation was installed in a window in Rudolf Hall.
02
Isaac Southard
40
ITERATIONS
Scheme 01 - Front
Scheme 01 - Back
Scheme 02 - Front
Scheme 02 - Back
Scheme 03 - Front
Scheme 03 - Back
Scheme 04 - Front
Scheme 04 - Back
Scheme 05 - Front
Scheme 05 - Middle
Scheme 05 - Back
Scheme 04 - 08, Grid
Isaac Southard
40
ITERATIONS
Scheme 01 - Front
Scheme 01 - Back
Scheme 02 - Front
Scheme 02 - Back
Scheme 03 - Front
Scheme 03 - Back
Scheme 04 - Front
Scheme 04 - Back
Scheme 05 - Front
Scheme 05 - Middle
Scheme 05 - Back
Scheme 04 - 08, Grid
Isaac Southard
41
INPUT / OUTPUT STRATEGIES
01
01 Components 02 Arduino Code
02
Isaac Southard
41
INPUT / OUTPUT STRATEGIES
01
01 Components 02 Arduino Code
02
Isaac Southard
42
INSTALLATION
01
01 Screen Prototypes 02 Screen Detail
02
Isaac Southard
42
INSTALLATION
01
01 Screen Prototypes 02 Screen Detail
02
Isaac Southard
43
UNREAL CITY / HOUSE OF THE PEOPLE City of London, United Kingdom Niall McLaughlin + Andrew Benner 01-05.2015
01
Unreal City explores the notion of a city without a conventional identity, without those elements that constitute its place, landscape and traditional means for constructing the built environment. Even its people and financial structures are unreal, its population is migratory and its financial structure thrives off of the surreal movement of international trade. Unreal City proposes an autonomous City of London within London and within the United Kingdom as a devolved political structure, not unlike the Scottish reformation and other recent movements for devolution. Unreal City looks at the possibility of forms of architecture that can construct public meaning in the context of an autonomous global city. The studio questions the universal language of twentieth century architecture and looks for new representative potentials in architecture. The question is not of finality but of temporality, of doing and undoing, of testing and shifting. Building is seen as a “ritual act analogous to the everyday habitation, the rhythms, cyclical repetitions and irregularities that determine the social life of buildings and cities.” (Brief) This studio is looking at new political structures for representation. The problem is to design a quasi-mini-parliament building on a small site in the City of London. The first half of the studio explored “artifacts,” or small models that each represented qualities of temporality, construction, material, and meaning. The second half of the semester, and this portfolio project, looks at the design of the political institution itself. The artifacts I represent on these pages explore notions of latent systems of control, material meaning, memory, weathering, human presence, interactive formwork, and other temporal qualities of materials and processes. The studio at large is studying, like the evolution of cities themselves, iterative processes, repetitive acts of doing and undoing, trial and error, and testing, shifting and rehearsing.
01 Artifact Tools 02 City of London, Bank Intersection, 1:100m, 3D Print
The core issue at the root of the artifacts is the question of fabrication. “‘To fabricate’ is to make by skill and labour, or by assembling parts or sections, but also to devise a legend or a lie, to fake or forge a document.” (Brief) As a studio each artifact and student explores the unspoken conversation between physical things and intellectual concepts, the things within things. Drawings, models, writings, readings are all forms utilized for exploration in Unreal City. My artifacts range in scale from the scale of the hand to the scale of the full size human. Things you can hold and things you can be within. They explore the interactions that happen between the hand, the eye, and the mind through primarily analog based techniques. The artifacts explore the material properties of lead through folding, bending, and of plaster through casting, formwork making. These materials and processes ultimately lead to concepts that I employed in my first studies for a political assembly space. The City of London is a curious place. Originally it was a Roman settlement in the 1st centur AD and has maintained the limits of the stonewall that was constructed for defence up to the present day. As a political entity it is older than the United Kingdom and London proper. It exists in a somewhat devolved condition already with its own mayor, its own City Hall, its own council chambers, its own voting regulations, and its own police force. The political structure of the City of London is complicated. It originated as an organization of livery halls that derived laws and rights for the citizens. Today, voting is split between the citizens and the financial corporations in the City of London, 1/4 of the votes go to the 9000 citizens, 3/4 go to corporations.
My project explores this underrepresented constituency, the citizens of the City of London, the Unreal Citizens. As a minority they lack a physical structure for representation yet occupy the roughly mile diameter circumference of the city limits. As a base typology my project explores the Town Hall, a small public building constituted by simple spaces: a meeting chamber for committee gatherings, an outdoor hall for public speeches, small meeting rooms, miscellaneous offices, and a tower for looking back onto the city itself. Located at 1 Queen Victoria Street, my site occupies a significant plot of land at the heart of the City of London and on top of a busy tube entrance: Bank. The site is triangular and surrounded by historic structures on all sides. Located on the north is James Stirling’s 1 Poultry, to the east is George Dance the Elder’s Mansion House (the home of the Mayor), to the south its Christopher Wren’s St Stephen Walbrook Church of England, and to the west is Sir Norman Foster’s new Bloomberg Place (form New York Mayor Bloomberg’s world headquarters). A building of some significance (Grade II Listed) currently exists on the site, the Magistrates Court. Originally designed for the National Safe Deposit Company as a bank by John Whichcord, it was built in 1873 but underwent significant interior renovations in the 1980’s when it was converted into a courthouse. My project explores the memory of both real and imaginary elements of the existing building by incorporating fragments, a subterranean steel vault as well as using parts of the existing facade as formwork for new building. As a small site public space is limited. However, by lifting the mass of the building above grade a large hall is created accessible to the public from both the subway and sidewalk. The remaining spaces around the Town Hall become appropriated and incorporated into the ensemble.
02
Isaac Southard
43
UNREAL CITY / HOUSE OF THE PEOPLE City of London, United Kingdom Niall McLaughlin + Andrew Benner 01-05.2015
01
Unreal City explores the notion of a city without a conventional identity, without those elements that constitute its place, landscape and traditional means for constructing the built environment. Even its people and financial structures are unreal, its population is migratory and its financial structure thrives off of the surreal movement of international trade. Unreal City proposes an autonomous City of London within London and within the United Kingdom as a devolved political structure, not unlike the Scottish reformation and other recent movements for devolution. Unreal City looks at the possibility of forms of architecture that can construct public meaning in the context of an autonomous global city. The studio questions the universal language of twentieth century architecture and looks for new representative potentials in architecture. The question is not of finality but of temporality, of doing and undoing, of testing and shifting. Building is seen as a “ritual act analogous to the everyday habitation, the rhythms, cyclical repetitions and irregularities that determine the social life of buildings and cities.” (Brief) This studio is looking at new political structures for representation. The problem is to design a quasi-mini-parliament building on a small site in the City of London. The first half of the studio explored “artifacts,” or small models that each represented qualities of temporality, construction, material, and meaning. The second half of the semester, and this portfolio project, looks at the design of the political institution itself. The artifacts I represent on these pages explore notions of latent systems of control, material meaning, memory, weathering, human presence, interactive formwork, and other temporal qualities of materials and processes. The studio at large is studying, like the evolution of cities themselves, iterative processes, repetitive acts of doing and undoing, trial and error, and testing, shifting and rehearsing.
01 Artifact Tools 02 City of London, Bank Intersection, 1:100m, 3D Print
The core issue at the root of the artifacts is the question of fabrication. “‘To fabricate’ is to make by skill and labour, or by assembling parts or sections, but also to devise a legend or a lie, to fake or forge a document.” (Brief) As a studio each artifact and student explores the unspoken conversation between physical things and intellectual concepts, the things within things. Drawings, models, writings, readings are all forms utilized for exploration in Unreal City. My artifacts range in scale from the scale of the hand to the scale of the full size human. Things you can hold and things you can be within. They explore the interactions that happen between the hand, the eye, and the mind through primarily analog based techniques. The artifacts explore the material properties of lead through folding, bending, and of plaster through casting, formwork making. These materials and processes ultimately lead to concepts that I employed in my first studies for a political assembly space. The City of London is a curious place. Originally it was a Roman settlement in the 1st centur AD and has maintained the limits of the stonewall that was constructed for defence up to the present day. As a political entity it is older than the United Kingdom and London proper. It exists in a somewhat devolved condition already with its own mayor, its own City Hall, its own council chambers, its own voting regulations, and its own police force. The political structure of the City of London is complicated. It originated as an organization of livery halls that derived laws and rights for the citizens. Today, voting is split between the citizens and the financial corporations in the City of London, 1/4 of the votes go to the 9000 citizens, 3/4 go to corporations.
My project explores this underrepresented constituency, the citizens of the City of London, the Unreal Citizens. As a minority they lack a physical structure for representation yet occupy the roughly mile diameter circumference of the city limits. As a base typology my project explores the Town Hall, a small public building constituted by simple spaces: a meeting chamber for committee gatherings, an outdoor hall for public speeches, small meeting rooms, miscellaneous offices, and a tower for looking back onto the city itself. Located at 1 Queen Victoria Street, my site occupies a significant plot of land at the heart of the City of London and on top of a busy tube entrance: Bank. The site is triangular and surrounded by historic structures on all sides. Located on the north is James Stirling’s 1 Poultry, to the east is George Dance the Elder’s Mansion House (the home of the Mayor), to the south its Christopher Wren’s St Stephen Walbrook Church of England, and to the west is Sir Norman Foster’s new Bloomberg Place (form New York Mayor Bloomberg’s world headquarters). A building of some significance (Grade II Listed) currently exists on the site, the Magistrates Court. Originally designed for the National Safe Deposit Company as a bank by John Whichcord, it was built in 1873 but underwent significant interior renovations in the 1980’s when it was converted into a courthouse. My project explores the memory of both real and imaginary elements of the existing building by incorporating fragments, a subterranean steel vault as well as using parts of the existing facade as formwork for new building. As a small site public space is limited. However, by lifting the mass of the building above grade a large hall is created accessible to the public from both the subway and sidewalk. The remaining spaces around the Town Hall become appropriated and incorporated into the ensemble.
02
Isaac Southard
ARTIFACT #1: EMBASSY OF CONTROL
Acrylic, Copper Wire, Plywood, & LED Controller
44
Isaac Southard
ARTIFACT #1: EMBASSY OF CONTROL
Acrylic, Copper Wire, Plywood, & LED Controller
44
Isaac Southard
ARTIFACT #2: LEAD BELL
Hand Folded Lead, Steel Bar
45
Isaac Southard
ARTIFACT #2: LEAD BELL
Hand Folded Lead, Steel Bar
45
Isaac Southard
Artifact Installation
46
Isaac Southard
Artifact Installation
46
Isaac Southard
47
ARTIFACT #3: IMPRINT INSTALLATION 01
01 Rear View Showing Instrument Compartment, Lead, Plaster, Plywood & Various Metals 02 Front View Showing Imprints & Casts, Lead, Plaster, Plywood & Various Metals
02
Isaac Southard
47
ARTIFACT #3: IMPRINT INSTALLATION 01
01 Rear View Showing Instrument Compartment, Lead, Plaster, Plywood & Various Metals 02 Front View Showing Imprints & Casts, Lead, Plaster, Plywood & Various Metals
02
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48
01
02
01 Elevation Detail 02 Process Photographs showing various students imprinting lead plates
Isaac Southard
48
01
02
01 Elevation Detail 02 Process Photographs showing various students imprinting lead plates
Isaac Southard
49
ARTIFACT #4: PORTABLE PARLIAMENT
01
01 Formwork 02 Portable Parliament, Plywood, Lead, Plaster & Foam
02
Isaac Southard
49
ARTIFACT #4: PORTABLE PARLIAMENT
01
01 Formwork 02 Portable Parliament, Plywood, Lead, Plaster & Foam
02
Isaac Southard
ARTIFACT #5: TOWN HALL CONCEPT
Town Hall Study Model, Plaster, Lead, and Plywood, 1/16” = 1’-0”
50
Isaac Southard
ARTIFACT #5: TOWN HALL CONCEPT
Town Hall Study Model, Plaster, Lead, and Plywood, 1/16” = 1’-0”
50
Isaac Southard
51
To become the Mayor: Freeman, Alderman, Sheriff, Mayor
Lord Mayor
Heads
RESEARCH
01
02
03
Elect Chair Of
City of London Corporation
Is Current Is Former
Sheriffs (x2)
Court of Alderman
Elect
Liverymen
Approves New Approves New Decides Issues For
Are Current Forms/Is
Members Of
Forms 04
Committees
Forms
Common Councillors (2-10 per Ward)
Part of
Alerman (1 per Ward)
Must Be Elect
Must Be Elect
Electors (Residents & Employees)
Freeman of the City
To become a freeman: Join a Livery Company
01 W.M. Turner, The Burning of the House of Lords and Commons, 1834 02 Joseph M. Gandy, The Bank of England North West Angle, 1796 03 Cecil Beaton, Western Bell Towers of St Paul’s Cathedral, 1940-41 04 City of London Political Hierarchy Flow Chart
Livery Companies (108)
Isaac Southard
51
To become the Mayor: Freeman, Alderman, Sheriff, Mayor
Lord Mayor
Heads
RESEARCH
01
02
03
Elect Chair Of
City of London Corporation
Is Current Is Former
Sheriffs (x2)
Court of Alderman
Elect
Liverymen
Approves New Approves New Decides Issues For
Are Current Forms/Is
Members Of
Forms 04
Committees
Forms
Common Councillors (2-10 per Ward)
Part of
Alerman (1 per Ward)
Must Be Elect
Must Be Elect
Electors (Residents & Employees)
Freeman of the City
To become a freeman: Join a Livery Company
01 W.M. Turner, The Burning of the House of Lords and Commons, 1834 02 Joseph M. Gandy, The Bank of England North West Angle, 1796 03 Cecil Beaton, Western Bell Towers of St Paul’s Cathedral, 1940-41 04 City of London Political Hierarchy Flow Chart
Livery Companies (108)
Isaac Southard
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Buildings Railways Roads Parks Water
London
London
Railways
Cell Phone Usage
Subway and Railway
Cell Phone Usage
London
London
Roads
NO2 Emissions NO2 Emissions
London [City of Lodon]
NO2 Emissions
Roads
London London
London
London
Buildings
Parks Boroughs Wards Political
Political Wards
Buidling Value
Buildings
Green Space
Property Values
Isaac Southard
52
Buildings Railways Roads Parks Water
London
London
Railways
Cell Phone Usage
Subway and Railway
Cell Phone Usage
London
London
Roads
NO2 Emissions NO2 Emissions
London [City of Lodon]
NO2 Emissions
Roads
London London
London
London
Buildings
Parks Boroughs Wards Political
Political Wards
Buidling Value
Buildings
Green Space
Property Values
Isaac Southard
ARTIFACT #6: MID-REVIEW
53
Isaac Southard
ARTIFACT #6: MID-REVIEW
53
Isaac Southard
54
Chamber
Roof Tower +40m
Elevated Sidewalk
01
02
Roof Tower +40m Roof Level +16m
Interstitial Level +11m
Walls
Chamber Level +8m
Plaza Level +0m
RoofUnderground Level +16m Level -5m
Ground Plane
Interstitial Level +11m
Roof Tower +40m
Chamber Level +8m Existing Bank Vault -15m
Roof Level +16m
Plaza Level +0m
Underground Level -5m
Interstitial Level +11m
Chamber Level +8m
Existing Bank Vault -15m
Plaza Level +0m
Underground Level -5m
Cross Section Drawing Key
01 Town Hall, Axonometric 02 Section through Town Hall
0
N
Cross Section Drawing Key
2
4
6
10
N 0m 2m 4m N
0
2
4
6
10
8m [1 : 200]
[1 : 200]
Isaac Southard
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Chamber
Roof Tower +40m
Elevated Sidewalk
01
02
Roof Tower +40m Roof Level +16m
Interstitial Level +11m
Walls
Chamber Level +8m
Plaza Level +0m
RoofUnderground Level +16m Level -5m
Ground Plane
Interstitial Level +11m
Roof Tower +40m
Chamber Level +8m Existing Bank Vault -15m
Roof Level +16m
Plaza Level +0m
Underground Level -5m
Interstitial Level +11m
Chamber Level +8m
Existing Bank Vault -15m
Plaza Level +0m
Underground Level -5m
Cross Section Drawing Key
01 Town Hall, Axonometric 02 Section through Town Hall
0
N
Cross Section Drawing Key
2
4
6
10
N 0m 2m 4m N
0
2
4
6
10
8m [1 : 200]
[1 : 200]
Isaac Southard
ARTIFACT #7: FINAL REVIEW
Site Plan showing proximity of residents to City of London Town Hall
55
Isaac Southard
ARTIFACT #7: FINAL REVIEW
Site Plan showing proximity of residents to City of London Town Hall
55
Isaac Southard
56
DIAGRAMS
Void / Solid
Hall / Vault
Split Levels / Cells
Context / Connect
Isaac Southard
56
DIAGRAMS
Void / Solid
Hall / Vault
Split Levels / Cells
Context / Connect
Isaac Southard
STUDY MODEL
57
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STUDY MODEL
57
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58
CIRCULATION DIAGRAM
08
09
07
05
06
03
04 02
01
10
Town Hall Circulation
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58
CIRCULATION DIAGRAM
08
09
07
05
06
03
04 02
01
10
Town Hall Circulation
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59
##
#
#
02 03 05
04
03 **
*
03
*
open
8500
open
01 04 04
01
open
01
01 02
Plaza Level
Legend 01 Cafe 02 Plaza 03 Kitchen 04 Teller 04 Plaza 05 Steps to Ground Level
Scale N
0
1
2
4
Legend 6
Level One & Two
Scale
01 Gallery 02 Lounge 03 Media Room 04 Shop
[1 : 100]
N
0
1
2
4
Level Five & Six
Legend 6
01 Meeting Room Lobby 02 Meeting Chamber 03 Roof Terrace 04 Support Space
[1 : 100]
Scale N
0
1
2
N
0
1
2
4
6
[1 : 100]
6
[1 : 100]
04
##
#
#
01
05 05 05
04 **
*
06
*
open
01
02
07
03
open
01
03 02 07 02
06
Legend 01 Tube Concourse 02 Artifact Vault 03 Escalators to Ground Level
Tube & Artifact Vault Level
Scale N
0
1
2
4
Legend 6
[1 : 100]
01 Lobby 02 Plaza 03 Steps to Ground Level 04 Poultry Place, Sir James Stirling 05 Queen Victoria Street 06 Walbrook Square 07 Mansion House, George Dance the Elder
Ground Level with Context
Scale N
0
1
2
4
Legend 6
[1 : 100]
01 Lounge 02 Conference Room 03 Auditorium 04 Meeting Room 05 Library 06 Ante-Room 07 Committee Room
Level Three & Four
Scale 4
Isaac Southard
59
##
#
#
02 03 05
04
03 **
*
03
*
open
8500
open
01 04 04
01
open
01
01 02
Plaza Level
Legend 01 Cafe 02 Plaza 03 Kitchen 04 Teller 04 Plaza 05 Steps to Ground Level
Scale N
0
1
2
4
Legend 6
Level One & Two
Scale
01 Gallery 02 Lounge 03 Media Room 04 Shop
[1 : 100]
N
0
1
2
4
Level Five & Six
Legend 6
01 Meeting Room Lobby 02 Meeting Chamber 03 Roof Terrace 04 Support Space
[1 : 100]
Scale N
0
1
2
N
0
1
2
4
6
[1 : 100]
6
[1 : 100]
04
##
#
#
01
05 05 05
04 **
*
06
*
open
01
02
07
03
open
01
03 02 07 02
06
Legend 01 Tube Concourse 02 Artifact Vault 03 Escalators to Ground Level
Tube & Artifact Vault Level
Scale N
0
1
2
4
Legend 6
[1 : 100]
01 Lobby 02 Plaza 03 Steps to Ground Level 04 Poultry Place, Sir James Stirling 05 Queen Victoria Street 06 Walbrook Square 07 Mansion House, George Dance the Elder
Ground Level with Context
Scale N
0
1
2
4
Legend 6
[1 : 100]
01 Lounge 02 Conference Room 03 Auditorium 04 Meeting Room 05 Library 06 Ante-Room 07 Committee Room
Level Three & Four
Scale 4
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10
01
09
02
08
07
06
10
11
07
06
05
09
04
11
12
13
08
05
04
02
01
02
03
03
01
01 Birds Eye / Worms Eye, 1:200 02 N-S Section, 1:100 Legend 01 Tube Connection 02 Artifact Vault 03 Escalator Entry to Tube 04 Plaza 05 Cafe
06 Lobby 07 Surface Tube Entry 08 Queen Victoria Street 09 Atrium 10 Main Stair
Axonometric
Scale N
0
1.5
3
4.5
7.5
[1 : 150]
Legend 01 Artifact Vault 02 Cafe 03 Plaza 04 Lobby 05 Reading Room 06 Conference Room 07 Auditorium
08 Meeting Room 09 Library 10 Meeting Chamber 11 Mansion House, George Dance the Elder 12 St Stephen of Walbrook Church, Christopher Wren 13 Walbrook Place, Sir Norman Foster
North-South Section (#)
Scale N
0
1
2
4
6
[1 : 100]
Isaac Southard
60
10
01
09
02
08
07
06
10
11
07
06
05
09
04
11
12
13
08
05
04
02
01
02
03
03
01
01 Birds Eye / Worms Eye, 1:200 02 N-S Section, 1:100 Legend 01 Tube Connection 02 Artifact Vault 03 Escalator Entry to Tube 04 Plaza 05 Cafe
06 Lobby 07 Surface Tube Entry 08 Queen Victoria Street 09 Atrium 10 Main Stair
Axonometric
Scale N
0
1.5
3
4.5
7.5
[1 : 150]
Legend 01 Artifact Vault 02 Cafe 03 Plaza 04 Lobby 05 Reading Room 06 Conference Room 07 Auditorium
08 Meeting Room 09 Library 10 Meeting Chamber 11 Mansion House, George Dance the Elder 12 St Stephen of Walbrook Church, Christopher Wren 13 Walbrook Place, Sir Norman Foster
North-South Section (#)
Scale N
0
1
2
4
6
[1 : 100]
Isaac Southard
VIGNETTES
01 Queen Victoria Street 02 Artifact Vault
61
01
02
Isaac Southard
VIGNETTES
01 Queen Victoria Street 02 Artifact Vault
61
01
02
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62
01
01 Plaza 02 Walbrook Street
02
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01
01 Plaza 02 Walbrook Street
02
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63
01
01 Lobby / Lounge 02 Auditorium / Conference Room
02
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63
01
01 Lobby / Lounge 02 Auditorium / Conference Room
02
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64
01
01 Path 02 View Towards Bank Intersection
02
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64
01
01 Path 02 View Towards Bank Intersection
02
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65
01
01 Meeting Room / Roof Terrace 02 Aerial View
02
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65
01
01 Meeting Room / Roof Terrace 02 Aerial View
02
Isaac Southard
SECTION MODEL
Lead sheet, plywood, basswood, 3D print, acrylic 1/4” = 1’-0”
66
Isaac Southard
SECTION MODEL
Lead sheet, plywood, basswood, 3D print, acrylic 1/4” = 1’-0”
66
Isaac Southard
ANALYTICAL DRAWING: PALAZZO FARNESE New Haven, Connecticut Alex Purves, Bimal Mendis, Joyce Hsiang 03.2015
Final analytical drawing assigment for the research seminar which preceeds the 2015 Summer Study Abroad program in Rome.
67
Isaac Southard
ANALYTICAL DRAWING: PALAZZO FARNESE New Haven, Connecticut Alex Purves, Bimal Mendis, Joyce Hsiang 03.2015
Final analytical drawing assigment for the research seminar which preceeds the 2015 Summer Study Abroad program in Rome.
67
Isaac Southard
68
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68
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69
WRITING ON ARCHITECTURE New Haven, Connecticut Carter Wiseman 01-04.2015
Assignment 1, Description of a building: “Ghost House” Its presence looms large over the gridded city yet tourists ask time and time again, “Where is it?” Hidden from view it begs to be discovered but its silhouette deceives. Landlocked in the fabric of an old neighborhood, it is both artifact and abstraction. Ghost House is an architecture of both art and history, a landmark that continues the reading of the past. Ghost House is a memorial to Benjamin Franklin and the house he built for himself in 1763 on the same site in Philadelphia. As a memorial it is loaded with historical significance. It reminds us of life during the Revolutionary War, the influential figure of Benjamin Franklin and of course the history of the United States. As a work of architecture, however, its significance is much subtler but nonetheless profound. Ghost House revolutionized how we perceive history and marked a turning point in the design of representative structures. Rather than literally reconstructing historical structures from inadequate historical documents, its constructed silhouette allows the viewer to read his or her own interpretation of what once was, as if to admit the unstable soil on which the foundations of historical reconstruction rest.
Ghost House is part of a larger ensemble of structures, including an underground museum, historical reconstructions, a garden and archeological sites that together are formally known as Franklin Court. The complex of buildings was designed by the firm Venturi and Rauch, now known as VSBA (Venturi Scott Brown & Associates), and opened in 1976 and is part of the Independence National Historic Park in Philadelphia, Pennsylvania. Venturi’s design was quite unconventional for its day, museum spaces were located underground allowing for a substantial public space above ground. The design is a quintessential work of the post-modern era in its imaginative dialogue with both historicist and modernist principles. “Ghost House,” the memorial to Benjamin Franklin’s house, is publically accessible and located at the center of Franklin Court. The structure consists of a highly abstracted (some say minimal) painted steel tube frame that follows the outline of Benjamin Franklin’s original house. The plan of the house is represented in the paving materials of the court, white marble suggests the former location of the interior walls and gray slate the space between. Raised planters and steps of brick and granite provide places for the public to congregate, rest or contemplate. Smooth faced concrete portals are superimposed over the court marking locations of previous archeological sites. The portals are oriented such that visitors can view directly down to the ruins which expose the foundations of the original house. The adjacent entry structures and subterranean museum spaces take the visitor through a promenade of interior spaces demarcated by didactic colors and digital screens.
As Frank Matero, a writer for the Archaeological Institute of America explains, Ghost House and Franklin Court “offered a revolutionary solution during America’s Bicentennial in 1976 by revealing the site’s historical and aesthetic authenticities through real and exaggerated elements. The result was the construction of a spatial montage that never confuses the present with the past yet allows visitors an openended experience of history, memory, and time.” It is this combination of past and present, historical and modernist references that so successfully reflects “Franklin’s spirit and accomplishments,” as Venturi notes. It is no wonder that the design won the Presidential Design Award in 1984 along with a host of other awards. Ghost House stands as a testament to the subtleties of Post-Modern design which can be interpreted like a text authored by multiple writers.
Isaac Southard
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WRITING ON ARCHITECTURE New Haven, Connecticut Carter Wiseman 01-04.2015
Assignment 1, Description of a building: “Ghost House” Its presence looms large over the gridded city yet tourists ask time and time again, “Where is it?” Hidden from view it begs to be discovered but its silhouette deceives. Landlocked in the fabric of an old neighborhood, it is both artifact and abstraction. Ghost House is an architecture of both art and history, a landmark that continues the reading of the past. Ghost House is a memorial to Benjamin Franklin and the house he built for himself in 1763 on the same site in Philadelphia. As a memorial it is loaded with historical significance. It reminds us of life during the Revolutionary War, the influential figure of Benjamin Franklin and of course the history of the United States. As a work of architecture, however, its significance is much subtler but nonetheless profound. Ghost House revolutionized how we perceive history and marked a turning point in the design of representative structures. Rather than literally reconstructing historical structures from inadequate historical documents, its constructed silhouette allows the viewer to read his or her own interpretation of what once was, as if to admit the unstable soil on which the foundations of historical reconstruction rest.
Ghost House is part of a larger ensemble of structures, including an underground museum, historical reconstructions, a garden and archeological sites that together are formally known as Franklin Court. The complex of buildings was designed by the firm Venturi and Rauch, now known as VSBA (Venturi Scott Brown & Associates), and opened in 1976 and is part of the Independence National Historic Park in Philadelphia, Pennsylvania. Venturi’s design was quite unconventional for its day, museum spaces were located underground allowing for a substantial public space above ground. The design is a quintessential work of the post-modern era in its imaginative dialogue with both historicist and modernist principles. “Ghost House,” the memorial to Benjamin Franklin’s house, is publically accessible and located at the center of Franklin Court. The structure consists of a highly abstracted (some say minimal) painted steel tube frame that follows the outline of Benjamin Franklin’s original house. The plan of the house is represented in the paving materials of the court, white marble suggests the former location of the interior walls and gray slate the space between. Raised planters and steps of brick and granite provide places for the public to congregate, rest or contemplate. Smooth faced concrete portals are superimposed over the court marking locations of previous archeological sites. The portals are oriented such that visitors can view directly down to the ruins which expose the foundations of the original house. The adjacent entry structures and subterranean museum spaces take the visitor through a promenade of interior spaces demarcated by didactic colors and digital screens.
As Frank Matero, a writer for the Archaeological Institute of America explains, Ghost House and Franklin Court “offered a revolutionary solution during America’s Bicentennial in 1976 by revealing the site’s historical and aesthetic authenticities through real and exaggerated elements. The result was the construction of a spatial montage that never confuses the present with the past yet allows visitors an openended experience of history, memory, and time.” It is this combination of past and present, historical and modernist references that so successfully reflects “Franklin’s spirit and accomplishments,” as Venturi notes. It is no wonder that the design won the Presidential Design Award in 1984 along with a host of other awards. Ghost House stands as a testament to the subtleties of Post-Modern design which can be interpreted like a text authored by multiple writers.
Isaac Southard
70
19 LINES / A CHAIR New Haven, Connecticut Timothy Newton 01-04.2015
19 Lines / A Chair is a prototype dining and multipurpose chair. The chair is inspired by the sinuous quality of bones and the solid wood chairs by designers such as Hans Wegner, Ruder NovakMikulic, and Peter Ejvinsson. The Chair could be used in a residential or commercial setting. The chair’s design is composed of nineteen lines which articulate the legs, seat, and backrest. The lines generate surfaces which alternate between flush and convex profiles, creating shadow lines across the primary planes of the chair.
19 Lines / A Chair was designed through an iterative process using small scale study models, freehand sketching, and computer modeling. The chair is made from American Ash. Fabrication of the chair was done primarily through computer numerical control (CNC) milling, specifically, flip milling. Large blocks of Ash were glued together to form blanks for milling stock. The chair is held together with only wood dowels and glue.
Isaac Southard
70
19 LINES / A CHAIR New Haven, Connecticut Timothy Newton 01-04.2015
19 Lines / A Chair is a prototype dining and multipurpose chair. The chair is inspired by the sinuous quality of bones and the solid wood chairs by designers such as Hans Wegner, Ruder NovakMikulic, and Peter Ejvinsson. The Chair could be used in a residential or commercial setting. The chair’s design is composed of nineteen lines which articulate the legs, seat, and backrest. The lines generate surfaces which alternate between flush and convex profiles, creating shadow lines across the primary planes of the chair.
19 Lines / A Chair was designed through an iterative process using small scale study models, freehand sketching, and computer modeling. The chair is made from American Ash. Fabrication of the chair was done primarily through computer numerical control (CNC) milling, specifically, flip milling. Large blocks of Ash were glued together to form blanks for milling stock. The chair is held together with only wood dowels and glue.
Isaac Southard
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CONCEPT
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CONCEPT
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PRECEDENTS
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01 Innoda + Sveje 02 Bellboy by Water Tower Chair 03 La Leggera by Ricardo Blumer 04 Chaise Longue by Paul Kjaerholm 05 Round Chair by Hans Wegner 06 November by Veryeday 07 Coat Rack by Matterdesignstudio 08 Neva by Artisan
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PRECEDENTS
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01 Innoda + Sveje 02 Bellboy by Water Tower Chair 03 La Leggera by Ricardo Blumer 04 Chaise Longue by Paul Kjaerholm 05 Round Chair by Hans Wegner 06 November by Veryeday 07 Coat Rack by Matterdesignstudio 08 Neva by Artisan
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ITERATIVE DRAWINGS
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ITERATIVE DRAWINGS
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ASSEMBLY
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ASSEMBLY
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FABRICATION
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01 Glued block of Ash 02 CNC Milling Roughing Pass, Rear Right Leg 03 CNC Milling Finishing Pass, Rear Right Leg 04 CNC Milling, Front Right Leg 05 Final CNC Mill, Front Right Leg
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FABRICATION
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01 Glued block of Ash 02 CNC Milling Roughing Pass, Rear Right Leg 03 CNC Milling Finishing Pass, Rear Right Leg 04 CNC Milling, Front Right Leg 05 Final CNC Mill, Front Right Leg
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CHAIR PARTS
Rear Right Leg
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CHAIR PARTS
Rear Right Leg
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01 Rear Right Leg 02 Rear Right Leg 03 Front Right Leg
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01 Rear Right Leg 02 Rear Right Leg 03 Front Right Leg
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ASSEMBLED CHAIR
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ASSEMBLED CHAIR
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ISAAC SOUTHARD isaac.southard@yale.edu 108 Dwight Street, Apt. 34 New Haven, CT 06511 484.554.1336
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Isaac Southard
ISAAC SOUTHARD isaac.southard@yale.edu 108 Dwight Street, Apt. 34 New Haven, CT 06511 484.554.1336
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