ISAAC SOUTHARD isaacsouthard@gmail.com 129R Bainbridge Street, Philadelphia, PA 19147 +1.484.554.1336
CONTENTS
NEW U.S. EMBASSY ISLAMABAD
PIER-SPACE
MORE THAN A SOUP KITCHEN
PIAZZA SAN MARCO
LEGS
COMMUNITY PAVILION
LIGHT BOX WALL
FOLDED CEILING
CULTURAL FLUENCY THROUGH MATERIAL DIALOGUE
ENVISIONING THE DELAWARE WATERFRONT + FESTIVAL PIER
PREFABRICATED WOOD SHELTER FOR THE HOMELESS
FORMAL, SENSORY + AESTHETIC BEHAVIORAL ANALYSIS
FRAMING THE COLLEGE OF MEDIA ARTS + DESIGN
SALVATION ARMY KROC CORPS COMMUNITY CENTER
A GALLERY DISPLAY OF DETAIL + PATTERN
MORGAN HALL STUDENT RESIDENCE, TEMPLE UNIVERSITY
Type: Date: Place: Size: Cost: Critic: Team:
Academic, Thesis 06.2010 - 06.2011 Islamabad, Pakistan 1,500,000 sf / 85,000 sf N/A Rachel Shade N/A
Academic, Masterplan + Venue 01 - 06.2010 Philadelphia, PA 590,000,000 sf / 200,000 sf N/A Patrick McGranaghan N/A
Academic, Competition 01.2011 Philadelphia, PA 40, 000 sf N/A Independent N/A
Academic, Research 07.2009 - 12.2009 Venice, Italy 90,000 sf N/A Steve Bonitatibus N/A
Academic, Design-Build 03 - 06.2007 Philadelphia, PA 530 sf $6,000 Jack Dundon ZN, RA, RW, PH, AS
Professional, Envelope 09.2009 - 02.2010 Philadelphia, PA 4,500 sf $1,500,000 Daniel Kelley AS, BP
Professional, Installation 09-10.2013 Philadelphia, PA 32 sf $1,000 Christine Marsal SS, DC
Professional, Interior 07.2011 - 01.2013 Philadelphia, PA 70,000 sf $185,000,000 Daniel Kelley PA, BP
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NEW U.S. EMBASSY ISLAMABAD CULTURAL FLUENCY THROUGH MATERIAL DIALOGUE Type: Academic, Thesis Date: 06.2010 - 06.2011 Place: Islamabad, Pakistan Size: 1,500,000 sf Masterplan / 85,000 sf Chancery Cost: N/A Critic: Rachel Shade Team: N/A This project emanated from personal friendships with Pakistanis and a desire to better understand the contemporary sociocultural relationship between the U.S. and Pakistan. The embassy typology was carefully selected after considering the existing intercultural building prescedents in Pakistan.
Central to this thesis were three questions:
New U.S. Embassy Islamabad is the result of a self directed year-long senior thesis project. The project consisted of a comprehensive research phase, a site masterplaning phase and the design of the central building, the Chancery. Iterative concept models made from plaster, resin and wood informed the design process.
Issues of ideology, identity, tradition, domesticity, language, value, gender, and simultaneity influenced the conceptualization and formalization of the project. The language and relationship of materials became the central focus of my research and design.
CONCEPT MODELS
1. How can material facilitate cross-cultural dialogue? 2. In what way can the private process of diplomacy be made transparent? 3. Can civic space be transformational in an environment of fear?
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$53,000,000,000 DEPARTMENT OF STATE FY2010 EXECUTIVE BUDGET www.usaid.gov
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U.S. PAKISTAN IMMIGRATION 2011 (www.wikipedia.com)
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$664,000,000,000 DEPARTMENT OF DEFENSE FY2010 BUDGET: www.defense.gov
EMBASSY ENTRY PERSPECTIVE
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JINNAH MAUSOLEUM, KARACHI (SINDH), 12.19.2010
PHASE 5 HOUSING, KARACHI (SINDH), 12.20.2010
HAZARA TOWN (BALOCHISTAN), 12.10.2010
QUETTA (BALOCHISTAN), 12.11.2010
URBAN STREET, ISLAMABAD, PAKISTAN, 12.15.2010
INDUS VALLEY SETTLEMENT
SECTION, HAZARA TOWN, BALOCHISTAN, 12.08.2010
RESEARCH + TRAVEL During December of 2010 I visited a number of cities and landscapes throughout Pakistan, including: Karachi (Sindh), Quetta (Balochistan), Ziarat (Balochistan) and Murree (Punjab). I also toured the existing U.S. embassy in Islamabad, the capital and centralized location of all foreign embassies in Pakistan. The primary focus of my research was to document and analyze cultural traditions, social structures and environmental variation. Architectural studies included survey of: vernacular building methodologies, material use, transparency and scale in both urban and rural developments.
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EMBASSY ANALYSIS The existing U.S. Embassy in Islamabad is located within the Diplomatic Enclave adjacent to the Capital. Surrounded by foreign Embassies, the site occupies a highpoint with views of nearby Lake Rewal and the Margalla Hills. Because of these qualities and out of respect for foreign relations, this project quietly assumes the reuse and redefinition of the existing site.
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Diplomatic Enclave Capital Lake Rewal Islamabad Park Faisal Mosque
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DIPLOMATIC ENCLAVE, ISLAMABAD, PAKISTAN 7,200’
ISLAMABAD, PAKISTAN 40,000’ H
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The masterplan for New U.S. Embassy Islamabad seeks to redefine the site by manipulating natural edges, aligning structures with geographical features and connecting interior and exterior civic spaces.
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Constructed in the 1960’s by GBQC Architects, the spaces and buildings of the original masterplan have long outgrown their original design. The need for additional space combined with outdated technology and infrastructure demanded a new approach to the Embassy masterplan. A comprehensive programming phase was undertaken prior to masterplanning to establish the needs of users, including: U.S. citizens, diplomats, armed forces, employees and Pakistani citizens. Issues of security, access, circulation, enclosure, landscape, sustainability and egress impacted the final program. This phase is not depicted in this portfolio.
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01 U.S. Embassy 02 Kazakhstan 03 Britain 04 Iran 05 Saudi Arabia 06 Canada 07 Nigeria 08 Turkey 09 India 10 Germany 11 Spain 12 Switzerland 13 Japan 14 Egypt 15 France 16 Azerbaijan 17 Islamabad School 18 China 19 Poland 20 Diplomatic Housing 21 Iraq 22 Russia 23 Bulgaria 24 Saudi Arabia 25 Qatar 26 United Arab Emirates 27 South Korea 28 President House 29 Senate of Pakistan 30 Supreme Court 31 National Library 32 Parliament Lodges 33 Pakistan Broadcasting
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Civic Space Destinations
EXISTING U.S. EMBASSY SITE PLAN 840’
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SITE ORIENTATION DIAGRAM
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Standard 10 Acre Embassy Site Compound Perimeter 100’ Setback
Civic Space Destinations Axis Rawal Creek 100’ Setback
STANDARD EMBASSY DESIGN REQUIREMENTS
NEW EMBASSY PARTI
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Baseball Field
Rawal Creek
Ambassador’s Pool Bio-Swail
Marines Ambassador’s House Private Parking Pavilion Cogeneration Plant Employee Housing
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Separate entry points serve each building: U.S. and Pakistani citizens enter the Consulate on the southeast side, diplomats and Embassy employees enter the Chancery on the west side. The architectural promenade of each building reveals its opposite and the landscape between.
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The Chancery and Consulate are foci within the masterplan. The buildings form an axial relationship with the primary landforms of Islamabad: the Margalla Hills to the north and Lake Rawal to the south.
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MASTERPLAN
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MASTERPLAN E-W SECTION 64’
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MASTERPLAN 250’
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MASTERPLAN N-S SECTION 100’
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CHANCERY
CONSULATE
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THE CHANCERY The Chancery is the hub of activity at the embassy compound. An event hall, auditorium, meeting room, restaurant and the ambassador’s office are centrally located within this structure. This organization allows the building to open and present transparent facades to sheltered areas of the embassy. Due to its public nature, the Chancery becomes the identity of New U.S. Embassy Islamabad. Reinforcing the site axis, the building parti is a clear diagram of served and serving spaces. Serving spaces are located in two parallel bars which flank a central atrium and the public program. The parallel bar parti of the atrium further enforces this diagram.
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PLAZA LEVEL PLAN 32’ 01 Reflecting Pool 02 Lobby 03 Light Hall 04 Multi-Purpose Hall 05 Terrace 06 Meeting Rooms 07 Lecture Hall 08 Restaurant 09 Ambassador’s Office
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LOBBY + LIGHT HALL
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LOWER LEVEL PLAN 140’
SECOND LEVEL PLAN
THIRD LEVEL PLAN
ROOF GARDEN PLAN
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CHANCERY SECTION PERSPECTIVE 32’
STRUCTURE + MATERIAL Smooth formed post-tensioned concrete is juxtaposed against rough board formed concrete. Textural contrast emphasizes the material character of the building parti. Interior materials consist of: luminous onyx from quarries in Balochistan, perforated metal screens, panelized walnut bay windows and shear fabric scrims. The pallette sources vernacular materials from Pakistan and high-performance assemblies from American manufacturers.
SHEAR WALLS ISAAC SOUTHARD
COLUMNS + BEAMS
POST-TENSIONED SLABS
ONYX PANELS + WOOD SCREENS
FABRIC DIFFUSERS + DRAPERY 08
DIALOGUE New U.S. Embassy Islamabad is a building that serves two cultures and two sets of objectives simultaneously. It portrays an image of the United States that it is at once idealistically democratic but at the same time responsive to its cultural context. As a concept, it empitomizes the dialogue that is possible between Pakistanis and Americans.
CAST PLASTER + PINE SITE MODEL
Concrete Structure
Wood Framed Bay Windows
Unitized Curtain Wall
Galvanized Steel Sub-Frame
Operable Screens
WEST FACADE DIAGRAM ISAAC SOUTHARD
CHANCERY PLAZA PERSPECTIVE
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PIER-SPACE ENVISIONING THE DELAWARE WATERFRONT + FESTIVAL PIER Type: Academic, Masterplan + Venue Date: 01-06.2010 Place: Philadelphia, Pa Size: 590,000,000 sf Masterplan / 200,000 sf Concert Venue Cost: N/A Critic: Patrick McGranaghan Team: N/A Philadelphia’s Delaware waterfront district exists as a transient thoroughfare connecting the eastern edge of the city. Historically, the waterfront was a major center for industry and trade during the 1800’s. Waterfront piers and a scattering of brick warehouses are the only remnants of that era yet they still define the river’s edge today. This project seeks to reinterpret the pier as a form for connecting the city to the Delaware waterfront. As a two semester assignment, the project was divided into two phases: a site analysis and masterplanning phase, and a design phase for an urban space and building within the masterplan.
FESTIVAL PIER MODEL
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The site boundries were established during the first phase and extend east to west from the Delaware River to the western side of I-95. Spring Garden Street and the Ben Franklin Bridge establish the northern and southern boundries respectively. For the second phase of the project, I focused on the existing concert venue at Festival Pier. An assessment of the existing venue was undertaken and an entirely expanded program conceived. The model below represents the primary design elements of Festival Pier: a new performance theater, an outdoor concert venue and a connection to the proposed elevated river walk.
PHILADELPHIA
MASTERPLAN 500’
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MASTERPLAN AERIAL
FESTIVAL PIER CONCEPT MODEL
ANALYSIS + MASTERPLAN The adjacent site analysis diagrams represent the layers of urban conditions studied during the masterplanning phase. The diagrams below represent the design response to the existing conditions and the reinterpretation of the pier form.
EXISTING / NEW
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Residential Commercial Institutional Industrial Mixed-Use Vacant Recreational Landmark
Nouth Bound Traffic Sorth Bound Traffic Bus + Metro Stops New Corridors Ferry
FIGURE GROUND
GREEN SPACE
ACCESS + CIRCULATION
USE TYPE
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FESTIVAL PIER As a reinterpretation of the existing pier forms, the parti of festival pier consists of a series of elongated planes extruded as landforms from the base of the pier. Depending upon adjacencies, the edges of the pier erode into the river or shear vertically into space. PROGRAM + PIER
Itinerary of Public Spaces:
SPLIT + LIFT
PROJECT + INTEGRATE
CONNECT + REVITALIZE
01 Theater + Venue Plaza 02 Concert Venue Terrace 03 Elevated River Walk
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FESTIVAL PIER PARTI DIAGRAM
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PLAN + SECTION 16
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THEATER LEVEL 55’
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PLAZA LEVEL 55’
01 Columbus Boulevard 02 Festival Pier Lobby 03 Rehearsal Room 04 Roof Garden 05 Theater 06 Stage 07 Amphitheater 08 Lawn 09 River Walk 10 Pier Lookout 11 Projection Folly 12 River Steps 13 Delaware River 14 Plaza 15 Restaurant 16 Terrace 17 Lobby
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SECTION 55’
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MORE THAN A SOUP KITCHEN PREFABRICATED WOOD SHELTER FOR THE HOMELESS Type: Academic, Competition Date: 01.2011 Place: Philadelphia, PA Size: 40,000 sf Cost: N/A Critic: Independent Team: N/A The John Stewardson Memorial Fellowship in Architecture is an annual ten day design competition held between the schools of architecture in Pennsylvania. For the 110th competition, the project brief challenged students to address cultural, social and environmental aspects of a new center for an organization serving the homeless population of West Philadelphia. The fellowship asked for visionary proposals that encourage empowerment and leadership among the guests and illustrate the organization’s mission statement: “more than a soup kitchen.”
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Specific design requirements in the project brief included: amenities for 100 “clients, response to urban site relationships, integration of sustainable systems and the use of wood as the primary building material. More Than A Soup Kitchen seeks to dignify an underserved demographic and unify the haves and the have-nots of West Philadelphia through a shared dining pavilion and community courtyard. My competition entry was awarded 4th place.
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COMMUNITY Located adjacent to the 40th & Locust intersection, the site plan is composed of two rectangular buildings forming an L-shape. The parti reinforces the existing space to the east of the intersection and creates an intimate courtyard within. The courtyard functions as a market and exterior dinning room in warmer weather.
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THE PORCH The porch is an architectural typology prevalent in the neighborhoods of West Philadelphia. Porches provide natural, comfortable gathering spaces and strengthen the character and identity of the community.
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HOMELESS The roof form is central to the image and concept of home. It protects, shades and defines a space within which people can gather. Here, a series of glulam beams form the roof. The free span of the members allow for a column free floor plan.
CONTEXT 40th & Locust is a hub for activity. Predominently commercial, the area is marked by the signage of grocery stores, coffee shops and other places of business. The shelter meshes with the context: the graphic “shelter” is scribed into the wood fins hung from the facade.
ENVIRONMENT
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PLAN + SECTION 32’ 01 40th Street 02 Locust Walk 03 Porch 04 Courtyard 05 Dining 06 Kitchen 07 Social Services 08 Administration 09 Dormitory 10 Mail 11 Rain Gardens 12 Cistern 13 Campus Steam Supply
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Several sustainable features serve the building: UPenn’s steam supply is utilized for heating, tall Sycamore trees provide shade throughout the summer, vertical wood fins control the east and west sunlight throughout the winter months and the roof of the dining hall collects rain water for use in garden and seating planters. 11
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DORMITORY
PLINTH
LANDSCAPE
DINING HALL
01 Green Roof 02 Hybrid-Wood Roof Deck Panels 03 Interior Partitions 04 Hybrid-Wood Floor Panels 05 Structurally Insullated Wall Panels 06 Hybrid-Wood Frame 07 Unitized Curtain Wall 08 Fire Stair
01 Cast Concrete Porch 02 Ramp 03 Glass Entry Vestibule 04 Outdoor Waiting 05 Concrete Curbing 06 Recessed Slab for Brick Pavers 07 Locust Walk
01 Cistern 02 Reclaimed Wood Benches 03 SubFloor HVAC Distribution 04 Light Pole 05 Mailbox Wall 06 Reflecting Pool 07 Planter Box 08 Bench 09 Garden
01 Standing Seam Metal Roof 02 Stormwater Inlet 03 Composite Wood Decking + Insulation 04 Roof Joists 05 Structurally Insullated Wall Panels 06 Curtain Wall 07 Glulam Beams 08 Post + Beam Shear Wall 09 Vertical Wood Fin Panel
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MAPPING LEGEND
PIAZZA SAN MARCO
90’ BEHAVIORAL SETTINGS Day Night
FORMAL, SENSORY + AESTHETIC BEHAVIORAL ANALYSIS Type: Academic, Research Date: 07.2009 - 12.2009 Place: Venice, Italy Size: 90,000 sf Cost: N/A Critic: Steve Bonitatibus, Patrick McGranaghan Team: N/A The first part of this research project consited of a three week study abroad tour in Italy during the summer of 2009. I spent time in Rome, Florence and Venice with a group of students studying significant architectural monuments and urban spaces. The product of this tour consisted of a collection of field sketches, watercolors, writings, photographs and drawings.
PUBLIC/PRIVATE Private Residential Public Commerical Extension Public Institutional Extension LEDGIBILITY + IMAGE Edges Paths Districts Nodes Landmarks
Extended study of the behavioral settings of Piazza San Marco was conducted the following fall. Maps and diagrams of the formal, sensory, symbolic and aesthetic provided the content for the descriptive analysis.
VENICE
ROME
Piazza San Marco
NAPLES
ITALY
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Cannaregio Santa Croce San Polo Dorsoduro Guidecca Castello San Marco
Canals Piazza San Marco Piazza Local Churches + Scuolae
SESTIERI OF VENICE 5000’
SESTIERI SAN MARCO 660’
Santa Maria della Salute Basilica San Giorgio Maggiore
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BEHAVIORAL DIAGRAMS
COMPARATIVE ANALYSIS
SYMBOLIC
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SENSORY
VENICE
RADBURN
PRESENT DAY
PHILADELPHIA
BRASILIA
TACTUAL Wind Path Sun Path Shadow
Italy Population: 60,000 (2004) Area: 4.5 sq miles Density: 10,909/sq mile
New Jersey Population: 3,100 (2009) Area: .24 sq miles Density: 4,090/sq mile
AURAL People Pidgeons AROMA Food Cafe Fish
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12th CENTURY
FORMAL
Pennsylvania Population: 1,540,351 (2009) Area: 135 sq miles Density: 10,721/sq mile
Brazil Population: 2,606,885 (2009) Area: 2,204 sq miles Density: 1,129/sq mile
EVOLUTION
Piazzetta San Marco Riva Degli Schiavoni Piazza San Marco
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“The evolution of the form of Piazza San Marco itself is shown in the three plans (above), demonstrating that the space design over this period was the result of a long series of ”agonizing decisions” constantly aimed at perfecting the sqaures. The transformation between drawings two and three, in which the whole south wall of the square has been torn down and replaced a few feet farther south (thus disengaging the old campanile from the buildings at its base and allowing it to rise free from the space around it), shows the degree to which public action was geared to purely aesthetic means.” Bacon, Edmund. Design of Cities. New York: The Viking Press, 1974 (105)
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Lagoon
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LEGS FRAMING THE COLLEGE OF MEDIA ARTS + DESIGN Type: Academic, Design-Build Date: 03 - 06.2007 Place: Philadelphia, PA Size: 530 sf Cost: $6,000 Critic: Jack Dundon Team: Zach Newhard, Ryan Andrulewich, Ryan Weir, Patrick Hoffman, Andrew Sternberg This project began as a competition to design a small scale structure in front of Nesbitt Hall, home of the Westphal College of Media Arts and Design. The competition posed the following design problems: shelter for a bus stop, shelter for a bike rack, a gesture towards the entrance. Design constraints consisted of: a $5,000 project budget, an occupiable area limited to the upper and lower levels of the entry plaza, twelve feet of clear space centered on the stairs for vehicle loading and a sloping concrete sidewalk.
MARKET STREET PERSPECTIVE
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My winning design was inspired by the profile of the retirĂŠ devant ballet pose. Tappering from base to tip like a leg bent at the knee, the symmetrical trusses cantilever over the plaza boldly framing the design school entrance. I managed a team of five to design, document and construct the shelters. We completed the project in one term meeting budget and schedule requirements.
CONCEPT SKETCH
MARKET STREET ELEVATION
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COMPONENT ASSEMBLY 01 Marine Grade Plywood Panel Cut-outs 02 Layered Plywood + 2x4” Trusses 03 Stainless Steel “Shoes” 04 Sub-Structure Components 05 Pre-Fabricated Shelter
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FABRICATION
INSTALLATION
Shelter components were fabricated, assembled and finished in the shop. The controlled environment allowed for a high degree of precision and accuracy in the detailing of the components.
Preassembled components were delivered to the site and installed over three days. The photographs below depict the sequential fabrication and installation process.
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Image Credit: Halkin Mason Photography
COMMUNITY PAVILION SALVATION ARMY KROC CORPS COMMUNITY CENTER Type: Professional, Envelope, MGA Partners Architects Date: 09.2009 - 02.2010 Place: Philadelphia, Pennsylvania Size: 4,500 sf Cost: $1,500,000 Critic: Daniel Kelley (Principal) Team: Amy Stein (PM), Bryce Powell, (PA) Community Pavilion is a structure on the site of the Philadelphia Salvation Army Kroc Corps Community Center, a project also designed by MGA. The project was funded through The Ray and Joan Kroc Foundation. My contributions ranged from conceptual massing studies using Rhinoceros 3D software, to development of a panelized Douglas fir canopy, to the detailing of steel connections and exterior material assemblies.
The design process was iterative and collaborative. Working closely with our structural consultant, CVM Engineers, we developed a steel frame that integrated with the wood cladding components. I continued to implement Rhinoceros to refine structural framing details and the assembly process. I also assisted in construction administration, reviewed shop drawings and oversaw the assembly process.
PLAN + SECTION 32’
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PROCESS
DETAIL
ASSEMBLY
1’-6” 01
COPING + SOFFIT 02
GIRDER + PANEL 03
UNITIZED PANEL 04
BEAM + PANEL
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CONSTRUCTION
PRIMARY STRUCTURE ISAAC SOUTHARD
SECONDARY STRUCTURE
WOOD SUB-FRAME
TONGUE + GROOVE PLANKS 24
LIGHT BOX WALL A GALLERY DISPLAY OF DETAIL AND PATTERN
Light Box Wall is an installation display of firm work focusing on detail and pattern. The display was first presented during a Design Philadelphia open house at MGA. The installation was inspired by artist Nobuhiro Nakanishi’s mixed media artwork titled “The Doors of Perception.” My contibution to the project consisted of developing the design, component fabrication and assembly of the installation.
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Type: Professional, Installation, MGA Partners Architects Date: 09 - 12.2013 Place: Philadelphia, Pennsylvania Size: 32 sf Cost: $1,000 Critic: Christine Marsal (Partner) Team: Sarah Savage, Daniel Chittick Made from museum board, the box templates are laser cut, folded together and adhered to a plywood panel with doublesided adhesive tape. The panel hangs from the ceiling above on stainless steel cables. Modified LED lights are inserted into predrilled holes in the plywood panel. An extended team collected images that were printed on translucent paper and inserted into the light boxes. TEMPLATE 2”
INSTALLATION ISAAC SOUTHARD
PROTOTYPES
DETAIL 25
FOLDED CEILING MORGAN HALL STUDENT RESIDENCE, TEMPLE UNIVERSITY Type: Professional, Interior, MGA Partners Architects Date: 07.2011 - 01.2013 Place: Philadelphia, Pennsylvania Size: 20,000 sf Public Lobbies, 50,000 sf Dining Pavilion Cost: $185,000,000 Critic: Daniel Kelley (Principal) Team: Paul Arougheti (PM), Bryce Powell, (PA) The recently completed Morgan Hall Student Residence at Temple University comprises an entire city block and consists of three buildings: a twenty seven story tower, an eight story mid-rise and a three story dining pavilion. The complex houses 1,275 undergraduate students and is a community-engaged, pedestrian oriented, academic and cultural destination in Philadelphia. As the designer for the street and terrace level public spaces, I was responsible for designing the interiors of an academic study suite (01), two public lobbies (02) and three floors of dining spaces (03). As the designer, I integrated mechancial, electrical, plumbing, fire protection, acoustical, audio/ visual and lighting systems.
In addition to these responsibilities, I led a team during the documentation stage and provided oversight during the construction and fabrication phases of the architectural material assemblies. Folded Ceiling is one of the material assemblies I designed for the project. Under the oversight Daniel Kelley, I established the design objectives, architectural concepts and integration of primary and secondary systems as well as the execution of documentation drawings. Additionally, I worked with Renfro Design Group on the lighting design, with Acentech Inc. on acoustical criteria, with Architectural Components Group on the fabrication design and reviewed visual mock-ups & shop drawings.
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TERRACE PLAN 100’
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CEILING CONCEPT RENDERING 26
CONCEPT + PROCESS Prior to developing formal concepts, we established four design objectives: spatial conguity, orient towards campus (Liacorus Walk), warmth and human scale. Diagrams of these objectives can be seen on the following page. To address the design objectives I began with iterative geometry studies (shown at right) using basswood model that I designed and made with the assitance of Doug Abelow, an intern at MGA. Building off of the geometry studies, I developed a series of system sketches (shown at bottom right) to conceptualize the integration of building systems including: lighting, acoustics and panels.
MODEL STUDIES 2’
SYSTEM DEVELOPMENT 2’
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PANELIZATION The ceiling is composed of rectangular and parrallelogram shaped panels. Panels are oriented such that the high points of folds align with light fixtures creating “pools” of light across the ceiling. Light fixtures are located along the wood beams and between panels. The entire system is hung from a grid of unistrut.
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PANELTYPE ELEVATION + CEILING PLAN 2’ ISAAC SOUTHARD
CEILING MODEL 28
OBJECTIVES
CONCEPTS
SYSTEMS
SUB-SYSTEMS
SPATIAL CONTIGUITY
GRID
CONCRETE FRAME
UNISTRUT
ORIENT TO CAMPUS
FRAGMENTED DIAGONAL
MECHANICAL
PLUMBING
WARMTH
FOLDED PANELS
FIRE PROTECTION
ALARM
SCALE
FRAME
LIGHTING
AUDIO/VISUAL
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SECTION 4’
CEILING CAVITY RENDERING
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FABRICATION Image Credit: Halkin Mason Photography
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