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INSIDE-OUT

ARCH 2020 - Landscapes of Human Inhabitation

SKETCHING, DRAWING, AND IMAGINING

Jorge Pizarro | Spring 2018

A COLLECTION OF PRIOR STUDIES

G a r r e t t Ve r c o e

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This initial exercise was used as a means for understanding the domesticity of a home. A plan , section, and section perspective were created as a means of better visualizing the ways in which I, as a designer, live. The space was examined from my own human scale, analyzing how I and my roommates use the space.

SKETCHING AND RESEARCH

D R A W Y O U R O W N L I V I N G S PA C E

RECORD THE SPACE

EXERCISE 01

Garrett Vercoe | Professor Pizarro | Jan. 28, 2018

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PLAN

DRAW THE SPACE

B

A Garrett Vercoe | Professor Pizarro | Jan. 28, 2018

INVESTIGATING DOMESTICITY OF THE APARTMENT: PLAN 1:40

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SECTION PERSPECTIVE

DRAW THE SPACE Garrett Vercoe | Professor Pizarro | Jan. 28, 2018

INVESTIGATING DOMESTICITY OF THE APARTMENT: SECTION A 1:30

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SECTION

DRAW THE SPACE Garrett Vercoe | Professor Pizarro | Jan. 28, 2018

INVESTIGATING DOMESTICITY OF THE APARTMENT: SECTION B 1:40

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This secondary exercise was an exploration in the ways people live in tight spaces. Rather than using already made plans and sections of a sailboat, I decided to research how a couple actually used their sailboat, the Gwenn A Du. From these pictures I created plans and sections for the boat, while using measurements of similar ketch boats for reference. In these drawings I explore the domesticity of a space not many actually live in.

RESEARCH

LIVING ON THE SMALL GWENN A DU

RECORD THE SPACE

EXERCISE 02

Garrett Vercoe | Professor Pizarro | Feb. 4, 2018

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SECTION

DRAW THE SPACE 4000 MM

2000 MM

1850 MM

950 MM

Garrett Vercoe | Professor Pizarro | Feb. 4, 2018

GWENN A DU: A DOMESTIC SPACE AFLOAT

1:40

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SECTION PERSPECTIVE

DRAW THE SPACE Garrett Vercoe | Professor Pizarro | Feb. 4, 2018

GWENN A DU: A DOMESTIC SPACE AFLOAT

1:20

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PLAN PERSPECTIVE

DRAW THE SPACE

12,800 MM 3,000 MM

6,100 MM

600 MM

450 MM

3,000 MM

750 MM

3100 MM

750 MM

450 MM

4000 MM

750 MM

4000 MM

Garrett Vercoe | Professor Pizarro | Feb. 4, 2018

2400 MM

GWENN A DU: A DOMESTIC SPACE AFLOAT

1:40

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EXERCISE 03

INITIAL DESIGNING OF THE SPACES

In this two week exercise I simultaneously designed two buildings that met very different criteria. The first building was a 1200 sq. foot one-floor multi-generational family of 6 where one or more of the members are visually impaired. The second house is a 5 story 1200 sq. foot residence for Benedictine monks who have given a vow of silence. In approaching this exercise, I started with handrawing and watercolors to capture the atmospheres of the places that I wanted the inhabitants to feel.

RESEARCH/HAND DRAWINGS TO SCALE

D E S I G N I N G V E R T I C A L LY A N D H O R I Z O N TA L LY

Garrett Vercoe | Professor Pizarro | Feb. 4, 2018

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The vertical building focuses on maximizing introspective and extrospective behavior. Each monk has a floor to himself. 2/3rds of this living space is sanctioned for normal living amenities. The other third of the space is separated so that the monk can engage in private prayer. The monk’s room serves as his space for introspection. Surrounding these rooms is a spiraling staircase where the monnks can go to look outward. The monks can often be seen walking up and down the steps in a loop while praying the Hail Mary. The fifth floor space was created to be a chapel where the monks can congregate during their non-silent hours, inviting the local village to also enjoy the space and pray in congregation. Created from a simple timber framing system, the form of the building is in the shape of a teardrop to spatially orient the inhabitant towards the cross. The windows seem random from the exterior but are carefully positioned to create a divine sense of space from the interior without creating disruptive glares.

x1

x4

THE ASCENT: A VERTICAL MONASTERY PLANS 1:50

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THE ASCNET

All Drawings at 1:50 Garrett Vercoe

SECTION

THE ASCENT


AXON

THE ASCNET THE ASCENT: A VERTICAL MONASTERY AXON

1:40

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ELEVATION

THE ASCNET THE ASCENT: A VERTICAL MONASTERY ELEVATION 1:50

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SECTION

THE ASCNET THE ASCENT: A VERTICAL MONASTERY SECTION 1:50

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PERPSECTIVE

The horizontal building is designed without the assumption that the inhabitant can see. Because of this, the building focuses on the phenomenology of the other four senses. This is achieved through the thick quartz stone walls, where there is a contrast of polished and rusticated surface. An inhabitant is always able to put out an arm and brush their fingers along the stone walls. So as to not bump into things, almost all of the amenities of the house are voided directly into the wall. To sit down, go to sleep, or cook dinner, you must enter the walls. From this you might get the chance to feel the vibrations of sound in the place, or feel the earth beneath you. Light is introduced to the structure in precise but small shafts to direct the user to important spaces. Outdoor courtyard spaces are created by the shifting of rooms to make space within the overall rectangle.

INVISIBLE ARCHITECTURE PERSPECTIVE ARCH 2020_SP 2018_THE LANDSCAPES OF HUMAN INHABITATION_HOUSING INSIDE OUT_WASHINGTON D.C.

INVISIBLE ARCHITECTURE

INVISIBLE ARCHITECTURE


INVISIBLE ARCHITECTURE

OVERALL COMPOSITION

GARRETT VERCOE

INVISIBLE ARCHITECTURE

1:100

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SECTION AND PLAN

INVISIBLE ARCHITECTURE INVISIBLE ARCHITECTURE PLAN AND SECTION 1:50

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SECTION\

INVISIBLE ARCHITECTURE INVISIBLE ARCHITECTURE SECTION 1:50

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This exercise posed the interesting challenge of creating an aggregate of spaces vertically where less than 200 square feet of the structure was allowed to be touching ground level. For this exercise I began my process by designing a single room. This room I envisioned would allow an inhabitant to look upwards and talk to a person above , or look below and be able to converse to another person. From this central idea of vertical porosity, the form of the building was created organically by always maximizing the openness between vertical space. The second focus of the project was the materiality of the space, where the structure of the walls was an important aspect to the space’s atmosphere. For planning the space, I used a composite of working models, joint diagrams, collages, and a interaction diagram of the first room of the building.

DESIGN

THE MUSHROOM

VERTICAL POROSITY

EXERCISE 04

Garrett Vercoe | Professor Pizarro | March 4, 2018

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SECTION PERSPECTIVE

VERTICAL POROSITY Garrett Vercoe | Professor Pizarro | March. 4, 2018

ROOM INTERACTION DIAGRAM: SECTION PERSPECTIVE 1:20

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AXON

VERTICAL POROSITY

Joint and Material Axon

Metal Joint System

Wooden Mulligan Framing

Corrugated Plastic Shell

Wooden Lattice Columns and Connecting Beams

Garrett Vercoe | Professor Pizarro | March. 4, 2018

MATERIALITY BREAKDOWN: AXON 1:25

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ELEVATION

VERTICAL POROSITY MATERIALITY: SIDE ELEVATION 1:50

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ELEVATION

VERTICAL POROSITY MATERIALITY: FRONT ELEVATION 1:50

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ELEVATION

VERTICAL POROSITY MATERIALITY: AXONOMETRIC 1:100

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PLANS

VERTICAL POROSITY

TOP LEVELS

MIDDLE LEVELS

BOTTOM LEVELS

FIRST FLOOR

PLANS OF SPACES

1:75

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SECTION

VERTICAL POROSITY LIMINALITY OF EXTERIOR AND INTERIOR: SECTION 1:40

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SECTION PERSPECTIVE

VERTICAL POROSITY Garrett Vercoe | Professor Pizarro | March. 4, 2018

FLOW OF SPACE: SECTION PERSPECTIVE 1:40

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SECTION PERSPECTIVE

VERTICAL POROSITY Garrett Vercoe | Professor Pizarro | March. 4, 2018

SHIFTING OF PLANES: SECTION PERSPECTIVE 1:50

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For this exercise I was interested in how stairs can create a form of typography. Rather than starting with the stair as a single unit, I began the design process with stairs as a large aggregate. Beginning with a grid of 160 feet by 160 feet, I created a parametric operation that turned the stairs into an urban landscape defined by varying heights of structural columns. From a technical standpoint, three forms of stairs were designed to connect pillar to pillar. The language of this project was determined by solid volumes, where the concrete structure shows a strong repetition of visual elements, but allows for inhabitation and activity from the spaces between with open function. The project was expressed from two perspective, one from the far away aggregated and another from an upclose detail of activity.

RESEARCH

D E S I G N I N G A M U LT I - S T O R Y S TA I R

DIAGRAMMING THE SPACE

EXERCISE 04

Garrett Vercoe | Professor Pizarro | Mar. 25, 2018

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AXONOMETRIC

AN URBAN TOPOGRAPHY Garrett Vercoe | Professor Pizarro | Mar. 25, 2018

UP-CLOSE AXONOMETRIC 1:50

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SECTION

AN URBAN TOPOGRAPHY

1 0’

5’

42 ’

1 / 25 ” = 1’ 0 ”

Garrett Vercoe | Professor Pizarro | Feb. 4, 2018

ELEVATION AND DIAGRAMS

1/25” = 1’0”

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EXPLODED AXONOMETRIC

AN URBAN TOPOGRAPHY Garrett Vercoe | Professor Pizarro | Mar. 25 , 2018

EXPLODED AXON 1/25” = 1’0” ARCH 2020_SP 2018_THE LANDSCAPES OF HUMAN INHABITATION_HOUSING INSIDE OUT_WASHINGTON D.C.


PLAN

AN URBAN TOPOGRAPHY

160’

5’ 10’

Garrett Vercoe | Professor Pizarro | Mar. 25, 2018

URBAN TOPOGRAPHY - PLAN 1/25” = 1’-0”

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SE CTION

AN URBAN TOPOGRAPHY Garrett Vercoe | Professor Pizarro | Mar. 25, 2018

TECHNICAL SECTION 1:50

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Profile for Garrett Vercoe

Experimental Small-Scale Studies in Housing Development  

A book consisting of my work from the first two-thirds of UVA's ARCH 2020 studio.

Experimental Small-Scale Studies in Housing Development  

A book consisting of my work from the first two-thirds of UVA's ARCH 2020 studio.

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