Garrett Jacobs Portfolio

WORK SAMPLES

GARRETT L JACOBS 1

GARRETT L. JACOBS

REFERENCES Tulane University M. Arch B. Arch garrettljacobs@gmail.com

John Klingman - Professor at Tulane University 504-899-2624 jklingman@mac.com

847.502.4495

Jane Wholey - Founder/Director of ReTHINK 504-338-4097 jane@therethinkers.org Kelly Curley - Art Director 504-458-1034 vernonpc@aol.com 2

SELECTED WORKS

STUDIO PROJECTS 4 12 20 26

A School for Watchmakers Global Production Chain - Rose Folk Art Museum Schwegmann’s

DESIGN BUILD 28 32 36 40

Newman School Recess Storypod Sukah 2.0 Weaving

PROFESSIONAL RE-Think Streetcar Terminus Set Design

42 44 46

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A SCHOOL FOR WATCHMAKERS Our awareness of time is most keen when it ends. We experience death as the first end, therefore it is our most appropriate moment to question the power of our memories, and our futures. Stories of the newly deceased are altered slightly with each retelling, an attempt to deal with the shift from present and alive to dead and past. These retellings occur in order to relate the past to the present, influencing our surrounding environment.

Collection of memories, constantly being revised

“The mind reconstructs its memories under the pressure of society”

Maurice Halbwachs

The purpose of this thesis is to highlight the relationship between theoretical aspects of time and experiential qualities of space. The actions of time that are most important for this link are the recollection of the past and projection of the future. Both of these acts are constantly affected by the present, rendering our memories, much like our projections for the future, fallible. If we cannot rely on our memories as static events then we should not have to rely on our memories to find our way around spaces. Each day will involve a new search for the present, unpredictable conditions.

“The past is never dead, it is not even past” William Faulkner

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“My mEmory of whaT

Happened is nOt what happeneD�

John Cage

Acting as a record for the passing of time and its subsequent conditions melting wax was chosen for a facade material. These experiments show how wax could be used as a building component to shade the sun and record the natural conditions, then be recycled, as our memories act on behalf of our present state.

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In order to remain in the theoretical realm, as well as to act as a prototype, this thesis is siteless. A possible foundation floats the building in its own realm. Although the facade renderings show an orientation to the sun, this can be any facade facing any direction. The images are not meant to capture one moment in time but to reveal a process, which the building takes throughout the day, much like our living memo-

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A group meeting disorients an individual, realigning the office pods

Possible floor plan configuration

The exterior of the building is surrounded by a mote to catch the facade material. Recycling the wax and sending it back to the roof.

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Left: This diagram shows the movement of an office pod over the course of a day.

Right: A sectional model represents movement over time.

Right: This sectional diagram shows how the enclosed office pods move to the sun during the winter for the thermal gain.

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Left: The facade is seen as “clean� for the winter months to allow for thermal gain.

Right: A group gathers causing the private spaces to move away focusing attention and space on the large crowd.

Below left: The diagram here tells how the offices pods move to accommodate for gathering crowds creating larger spaces in the building.

Below: These are some possible plan configurations on the 4 floors.

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Above: At the top level of the building a group uses the ceiling of office pods below to have a meeting. The facade melts behind.

Right: A sparse layout of office pods allows for a dynamic space within a rigid structure.

These two perspectives show different conditions of the facade. The external group offices, and the facade melting to shade the summer sun below, and remaining on the roof in the winter allowing sun to heat the building.

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Section with memories of

outside

entry

bound-

passing

communal

private

Above: As larger groups gather the office rooms moves away responding to the larger crowds, dissipating body heat.

Right: Detail of the construction system allowing for 3 axis movement.

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GREENHOUSE PROTOTYPE - A STUDY IN GLOBAL ROSE This studio challenged us to investigate the international rose production industry. We were then tasked to choose an issue or set of issues we witnessed and design a solution. This project focuses on the social and economic inequalities within the rose growing industry in central Ecuador. With an intention to break up the large plantation style farms a small kit of parts was designed for single family use.

These small greenhouse units could accumulate over time with an individuals success. A communal packing, shipping and training center was planned for the center of the sample community.

Replacing the top down company boss, this proposed network would keep the wealth in the producers hands, while reducing the environmental and social impacts of an unequal industry.

UGANDA KENYA

ECUADOR ZIMBABWE

A

Global rose production (by country)

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ETHIOPIA

COLOMBIA

A

Farm locations

Rose grading system

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Industry Issues

Chemical Leaking / Testing

Ruined Landscape / Material Pollution

Child Labor / Hazardous Conditions

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$

$$ $$

$ $ $$ $ $$ $$ $ $

$

$ $ $

$

$

$

$

$

$ $ $ $ $ $$ $ $

Unequal distribution of wealth

$

$

TO

$

Commensurate distribution

Kit of parts solution

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FURL

BATTEN (Strengthen)

Left: These diagrams explain how sailing technology was adapted for the utilitarian development of the individual greenhouses. This is to enable one person to operate their own structure. The flexibility is necessary for the delicate flowers to thrive.

Above: An illustration of how to relieve humidity from the greenhouse.

HOIST

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Exploded axon of components

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This diagram zooms in on a local area to illustrate how the network will plug into the community facility. The orbs represent urban green areas, this centers the facility among the possible growing land.

1 2

4 Local flower collection regions. From the individual grows the flowers will go to the community packing and shipping facility.

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3

Individual farms after 1 year The small greenhouses can be adapted for other produce cultivation as well. This produce can be sold at the local facility’s farmers market.

Growth after 3 years

The small structures can be placed anywhere.

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NOLA FOLK ART MUSEUM Sited between the CBD and Warehouse District, this museum mingles with aged industrial buildings and contemporary condominiums. Just the art it houses the Folk art museum portrays an almost confused comfort with its site. Using materials similar to the context, this building gives a new formal twist to the common materials, mixing tradition with new technology.

Having to pass through the dynamic pointed facade one enters into space after space which have some normative qualities, but begin to view the art in an area that takes on a quirky character of its own.

There is an imbedded tension within this building, pulling from the angle above the entry through the spaces to the rear facade. This is representational of the domesticity of folk art, now being pulled out of context and placed into a formal museum.

Artists in residence have private spaces above the lecture hall on the same level as the cafe, encouraging interaction.

Entry Facade

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N Site plan

Site extrusion

Public entry made

Returning to extents

Internal tension articulated

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The floor plans above show the building serves organized to the side while the gallery spaces occupy the core. The major geometrical push at the front of the building is seen on every floor, acting as a constant reminder of the internal tension. There are many ideas in play here revealing the distraction of the art.

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This rendering shows the entry through the angled glass facade. The second floor is reached by walking up a ramp that doubles as a bookstore and display area.

Allowing equal experience for those in wheelchairs.

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Above: This image shows the top floor courtyard next to the cafe.

Right: This detailed section is cut through the angled glass facade, revealing the tension rods on the top floors.

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Above: The gallery space has a dynamic quality similar to the folk art on the walls.

Below: The long section reveals the gallery heights, and lecture hall in back. It also shows the central angled wall anchoring the idea of tension on each floor.

Far left: A detail of the tension rods anchored into the floor plate.

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SCHWEGMANN’S GROCERY

MARIGNY ST.

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Elevation

ST. CLAUDE AVE.

ELYSIAN FIELDS AVE.

Schwegmann’s first establishment opened in 1869 at the corner of Bergundy and Piety in the Bywater neighborhood of New Orleans. The new proposal draws from Creole typologies and incorporates six commercial spaces on the ground floor. This proposed grocery should be welcoming and serve as an entry marker into the New Marigny Neighborhood. A wide, exaggerated entry onto a second floor shopping center will give people an opportunity to view the city from higher ground, an unusual character of the flat terrain. This raised wide porch will also act as a refuge during future floods. Like a proper New Orleans street this open space will be used for celebrations, transactions, and relaxation. The first floor parking will shield the cars from the harsh southern sun while an elaborate water collection system will recycle rainwater and foster fertile raised beds for lush foliage.

The unrated buildings on the block will be replaced by a bold statement of the community’s interaction, a strong suit of the original store. This will also give more employment opportunities for the local residents.

N. RAMPART ST.

N First and second floor plans

View from major intersection

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NEWMAN SCHOOL RECESS Architects Week is an annual design/ build project within the Tulane school of architecture. Volunteers spend a weekend in a design charette with a visiting architect, then team leaders facilitate the construction process, budget, and material runs and coordinate the completion of the project the following week.

For this particular project we decided to combine all four groups to accommodate a larger project for the Newman K-8 school.

The client wanted a seating area for recess and lunch. This design takes advantage of donated pressure treated lumber and created seating, shade and back support in one construction technique.

The of the elements creates a uniformed space with a few separate elements.

We also provided planters for the students to garden and space for trash cans to prevent littering. The bench structures are oriented around a gravel yard for play space.

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Left: A raised garden bed is partly covered by a bench which holds a trash can.

Right: The whole project utilized an unused portion of the side yard next to the school. The design flows within the linear lot.

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The site documentation for concrete footings was a new challenge for A-Week volunteers.

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One Crepe Myrtle was planted in the center of the area to provide shade and colour in the future.

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To counter the stiffness of the lumber we added some tree stumps from a recent storm as mobile seating. The stepping of the benches allows children to site in many positions and face any direction.

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STORY POD The Neighbourhood Story Project (NSP) is a documentary book-making non profit in New Orleans. Through writing, interviews, and photography, neighborhood writers create portraits of their places, then edit the stories with the neighborhoods create inclusive and honest publications. Writers of NSP books range from local high school students to social aid and pleasure clubs.

We completed a design|build project in the 7th ward neighborhood as part of a Fall 2009 TCC studio. Working in collaboration with the NSP, we designed an interview space as well as storage and office pieces. The design strategy involves many small components which were easy to fabricate and transport and combine to form several storage walls.

Those walls, backed with a translucent plastic to allow light in, act to partition a more intimate interview space. The goal of the design is to highlight and facilitate the work of the NSP by creating a multifunctional wall to showcase their publications while creating a space for the conversations being collected for future publications.

Detail of the shelf box construction

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Interior condition

Back office

Above: The team rests on the window benches, an important aspect of the design to accommodate for all the required storage. The small project has some interesting details; the back of some boxes penetrates the poly gal panel acting as interior shelves, there are small LED lights within the boxes to illuminate the interior, and the in between spaces in the back office are used as flat files for posters.

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Right: The materials used were chosen to create a warm and comfortable environment. This space is used for interviews dealing with delicate information, the lighting and warmth of the wood aids the homely quality of the intimate space. The translucent connection to the outside space allows the inhabitants to feel connected while maintaining a level of privacy.

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SUKAH 2.0 This is the second instalment of the Sukah build project at Tulane. I helped found the program with a partnership between the Hillel and TSA in 2009.

Since then teams of students gather for a weekend charette to design the structure for the Jewish holiday of Sukot. These temporary structures are scattered around campus and used for holiday activities. Each year three to five teams get to build a structure.

For this specific structure we designed and built an integrated Sukah into the railing of the main university library. Taking cues from the brutalist architecture this Hejduk influenced structure causes people to walk through and offers them a shady spot to retreat, expanding the exclusivity of the intended use.

The images of the sukah are meant to reflect the construction process as part of the finished product.

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Interior

Plan diagram

10’

railing

16’

Construction diagram

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The finished product fit within the library ‘s structural bay, wrapping around the railing.

Contractibility is always an important issue with small design/build projects.

The system developed for this structure allowed us to build panels in our small wood shop and transport them to site in a pickup. The panels then slid together and were screwed into place forming the walls.

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The actual ‘kosher’ part of the structure is the smaller mass with a taller ceiling height. This is the only portion covered by palm fronds.

The formal section is surrounded by a support hall inviting people into the structure revealing a small bench for privacy and rest.

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WEAVING After a short stint working for a local weaver, I was given a loom and have been experimenting ever since. This meditative process forces me to interact with an ancient tool that requires patience and careful planning.

Setting up the loom is almost more fulfilling than the process of weaving itself.

After making many mistakes I am beginning to learn how to set up a “flaw� in the loom to create a tracer within the finished product that can be telling of the initial setup.

The next step is to expand on pieces after they are removed from the loom, adding and unknown element to the art.

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Beginning with traditional rag rugs and place mats, I have moved on to more complex patterning and experimental wall hangings.

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ReTHINK Kids ReTHINK New Orleans Schools is a nonprofit organization that asks and challenges kids to redefine their education. A group of students was interested in architecture so I was approached to coordinate the program. Meeting every other week from Sep. to March I lead lessons on design and facilitated the class in a national design competition. The students designed a wonderful school with a focus on community involvement and environmental awareness.

This process was very meaningful for me as teaching now holds an important role in my heart as well as dealing with children.

A personal challenge to convey design to children was met by the enthusiasm and energy of the youngsters. This motivated me to continue pursuing community involved design.

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Above: The school design placed the classrooms on the exterior. All the rooms were terraced allowing for auditorium seating and easy wheelchair accessibility.

Below: A student presents the model at a regional competition.

The model

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STREETCAR TERMINUS 1/4” STEEL PLATE BETWEEN PERLINS

ALUMINIUM FRAME FOR POLYCARBONATE SKYLIGHT

Commissioned by the RTA and a city council woman to design a much needed shad structure, Professor John Klingman hired me to aid in the design and documentation process.

Our task was to create a simple, durable form that complements the historic streetcars and provides protection from the elements to passengers as they are waiting.

We made sure the forms and materials chosen were durable and would require little maintenance. The powder-coated steel finish of the structure not only resists deterioration but also vandalism.

The lower pitched roof extension overlaps the streetcar top, providing rain protection for passengers, while the upper surface has solar-powered panels that provide nighttime LED lighting for the shelter, an important factor in passenger safety.

3”x3” STEEL CHANNEL ROOF DRAIN

2”x4” STEEL TUBE ROOF PERLINS ROOF PERLINS

ROOFING

48’

13’4” 8’5”

19’3” 13’3” 7’ 4’ 6”

44

SHORT ELEVATION

LONG ELEVATION

28’ 6”

5’ 1’

10’

3”x14” STEEL TUBE ROOF GIRDERS

METAL SHEET SINGLE WELT JOINT ROOFING

PHOTOVOLTAIC ROOF PANEL

This rendering shows how the dynamic roof will provide shade and seating for waiting and boarding passengers. It also reveals the structure from different vantage points.

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SET DESIGN:THE CAMPAIGN Working as a set designer on feature films was a revealing process. Working on buildings with one facade, or only a finished interior was a new way of thinking about space. Designing to accommodate large cameras and other equipment was also an interesting task. Laying out plans within the confines of warehouses or existing parking lots proved to be a challenging exercise. Collaborating with the set builder was a special experience as well as the rapid turnaround. Walking in a project that was drawn only a week before was a treat. The pace of the industry sped up my production skills and honed in my drawing abilities.

I learned a lot of interesting tricks and techniques from walking around the stages that could have application in other fields.

Tasked with many sets at the same time as well as graphic work and files for CNC mill work, the film offices allowed me to stretch my multitasking and organization skills.

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Marty’s house on stage

The Brazil like qualities of a stage set.

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DIMENSIONAL BACKING

44'-8"

10'-0"

DAY BLUE LINEAR DIM. 22' X 225'

14'-0"

DIMENSIONAL BACKING 31'-6 1/4"

18'-6"

TRUSS @ + - 27'1"

AS 5' TALL WOOD FENCE

8' DIA. X 10' - 12' TREES

801 THAYER ST.

ROSTRUM @ +10"

44'-7 1/2"

6'-0"

MARTYS HOME ON STAGE

NEW TRANSLIGHT 16' X 50'

TRUSS @ + - 27'4" PIPE @ + - 25'7"

PIPE @ + - 25'7"

'-0

"

13'-0"

10

44'-6 1/2"

ROSTRUM @ + 21"

8'-0"

BACKING TRACK 70'

BACKING TRACK 70'

NEW TRANSLIGHT 16' X 50' 48'-4"

10'-0"

TRUSS @ + - 27'1"

44'-11"

44'-3"

44'-3"

44'-3"

45'-1"

44'-9"

Above: A digital model of the set was used to show the director camera angles as well as the grip and electric crew how to wire the set.

Right: This stage plan shows how the sets are balanced together in one space.

Set Name

MARTY'S HOME

Drawing Description

STAGE SPOTT Location

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801 THAYER N

4 7/8"

1/4"

2 1/4"

MOLDING TO CONCEAL WILD WALL BREAK WM 386 (KLUMB) 1 1/16 X 2-1/4 DISCUSS WITH ART DIRECTOR BEFORE PURCHASE

1'-6"

Left: The interior elevations were as detailed as a typical home, while the structure was left to discussion.

Below: Being built for the camera equipment the finished product was convincing, however the machinery still seemed foreign.

RIDGE BEAM CUT TOP EDGES TO MATCH ANGLE OF RAFTERS

CROWN MOLDING WM 49 (KLUMB) 9/16 X 2 3/4 (OR EQUIVALENT) BETWEEN CEILING RAFTERS

10

2 1/4"

7"

10

7°

7°

7'-2"

5'-4"

11'-3 5/8"

2'-0"

5'-2"

5'-2"

2' X 5'2" OPENING

1'-9"

1'-6"

8'-0"

LIVING ROOM ELEVATION A

2'-10 3/4"

3'-0"

O.C.

O.C.

3'-0"

3'-0"

6 1/2" 3'-7 1/2"

3'-0"

BREAK WILD WALL AT FIRST MORTAR JOINT BELOW CEILING RAFTERS

3'-0"

3'-0"

3'-0"

1'-7 1/4"

1'-4 3/4"

2 1/2" BOX RAFTER O.C. 5 3/4"

CROWN MOLDING WM 49 (KLUMB) 9/16 X 2 3/4 (OR EQUIVALENT) BETWEEN CEILING RAFTERS

1" X 6" BASE BOARD + BASE CAP WM 163 (KLUMB) 11/16 X 1-3/8 (OR EQUIVALENT)

USE CHAIR RAIL FOR TOP FACE OF WINDOW SEAT WM 299 (KLUMB) 1 X 3 5/16 DISCUSS WITH ART DIRECTOR BEFORE PURCHASE

USE BASE CAP FOR BENCH FACE BOTTOM WM 163 (KLUMB) 11/16 X 1-3/8 (OR EQUIVALENT)

1.2 3

A

2'-0"

1'-0"

1'-6"

SILL / STOOL FRAME

3 1/2"

CHAIR RAIL TO CAP WAINSCOTING @ 34" WM 299 (KLUMB) 1 X 3 5/16 DISCUSS WITH ART DIRECTOR BEFORE PURCHASE

MOLDING TO CONCEAL WILD WALL BREAK WM 386 (KLUMB) 1 1/16 X 2-1/4 DISCUSS WITH ART DIRECTOR BEFORE PURCHASE

2 1/4"

SOFFIT ABOVE SHELVES 15 1/2" DEEP

1'-3"

8" HIGH DECORATIVE MOLDING TO FRAME BOOKCASE TO BE PROUD OF SOFFIT

3'-3"

2'-6"

2 1/4"

1" X 2" FACE BOARD TO SIT FLUSH WITH DECORATIVE MOLDING ABOVE

6'-2 1/4"

BRICK TO MATCH EXISTING

4'-2"

5'-6 3/8" ADJUSTABLE SHELVES ABOVE CABINET

1/2"

2'-8 7/8" 6"

1'-11 1/2"

3'-0"

5'-9 3/4" WINDOW BENCH TO SIT 1" PROUD OF RESPECTED ELEVATION

3'-4 1/4" OFFSET TO BEGIN WILD WALL

2'-6"

1'-5 1/2"

6'-7"

1'-5 1/2"

2'-6"

1'-10 1/2"

REVISED 9/21/11 Director: Jay Roach Production Designer: Michael Corenblith Art Director: Kelly Curley

3" 1'-1 1/2" TOE KICK

Set Name

Scale

INT. MARTY'S HOME ON STAGE

1.2 3

2'-7”

CHAIR RAIL TO CAP WAINSCOTING @ 34" WM 299 (KLUMB) 1 X 3 5/16 DISCUSS WITH ART DIRECTOR BEFORE PURCHASE

4"

1'-2 1/2"

2'-6"

SILL HIGHT

6"

TOP OF BENCH TO SILL

6"

1'-8"

5 1/2"

3 1/2"

5"

2"

5'-2"

MEASURE MANTLE TO INSIDE OF FINAL BRICK COURSE

Drawing Description

B

INT. LIVING ROOM ELE.

LIVING ROOM ELEVATION B Location

3/4" = 1'

Drawing By

Date

9-21-11

Approved

Garrett Jacobs Set #

Sheet # 130

1

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Miscellaneous Building will always be an important part of my life. From childhood I have been engaged in building with various materials and in many different venues. From models to small decks, concrete stairs, furniture, and even a pizza oven I have been building with my father since I can remember.

It is imperative for architectural designers to build, to understand how to work with materials, and to connect with those who will ultimately execute the designs.

Above: A model built for an architect rehabilitating a church for a local theater venue.

Left: A new staircase was needed for a rotting second floor porch.

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Top: A group project required welding and complex rope weaving.

Above: My father the chef/builder wanted a wood burning pizza oven. After a few cubic yards of concrete and some CMU and brick we had some wonderful pizza.

Top: A custom table for a new building.

Above: This seating area for a local non profit, turns a sunny backyard into a shaded green seating gathering space.

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