The Vitruvian Van

Non-Toxic Materials

the van is LEED-certifiable and built using only high quality natural and non-toxic materials like reclaimed hardwood, stainless steel, tung oil, and F1 wool felt. healthy for the traveler, responsible for the environment.

Hand-Crafted

deliberately and expertly hand-crafted over 1000 hours of research, design, wood-working, and finishing. nearly every item in the van was custom-manufactured including brackets, hardware, cabinetry, and lighting.

Natural Design

beyond sustainable materials, the van’s layout and cabinetry were ecologically designed using the natural geometry of the driver’s body, to create a living space that feels intuitive, spacious, and satisfying.

Natural & Non-Toxic Materials

Having worked in the construction trade in the past, I knew building materials could be very toxic, especially if they aren’t handled properly. Insulation, adhesives, and paints can be particularly bad for you, especially during the construction phase, but can also off-gas carcinogens for years.

Knowing that I’d be sleeping in this small, enclosed box and bringing this tiny dwelling to some of the most pristine environments on Earth, it seems especially appropriate to limit the number of toxic, chemically-processed materials in the build. But, I wanted to go a few steps further. Could I build this van using ONLY natural and non-toxic materials.

The answer was yes, but it wasn’t as cheap, or easy as those DIY van build videos you’ve watched on youtube. I spent the better part of four months researching materials, learning about manufacturing processes, and sustainable building best practices, before ordering my materials and starting the build phase.

I looked to LEED certification criteria to guide my build, but wherever possible I went above and beyond the highest requirements. If the US Green Building Council awarded certification to vehicles, the VITRUVIAN VAN would easily obtain its highest platinum level certification.

Custom passive insulation

One of the most significant challenges of building the VITRUVIAN VAN out of only natural and non-toxic materials was sourcing appropriate insulation. If you’ve done some van-building research you’ve probably seen lots of people use regular pink or yellow fiberglass insulation and more recently many people are looking to spray foam and its planar cousin foam board, which is made of either Polyisocyanurate (PolyISO), Extruded Polystyrene (XPS), and Expanded Polystyrene (EPS).

Unfortunately each of these chemical foams have their individual detriments which make them less than ideal for your health and the environment, with the most popular variety, PolyISO, the foam off-gasses HFCs that are more than 1,000 times worse than CO2 as a greenhouse gas. You may have also seen people using shredded denim or pulled sheep’s wool. Both of these are great options for stationary houses, but on a bumpy road tend to settle overtime. Denim can attract moisture which can degrade the material and provide a home for mold, and wool, while much more durable, also eagerly wicks moisture, and when trapped in a wall can lead to mold and rust.

After many, many hours of research and I was able to source a renewable, 100% natural and biodegradable closed cell foam board that repels moisture, breathes, and inhibits mold, mildew, and insects. I then adhered perforated, recycled aluminum to the surfaces of the board and built a floating, double-wall. This design is entirely eco- and human-friendly, insulates as well as chemical foams and also blocks out ALL radiant heat generated by the metal of the van exterior.

on & Off-Road performance

Part of the purpose of the VITRUVIAN VAN is to get me out into the wilderness for photography and art projects. In the past I have traveled and adventured in SUVs and Subarus with four-wheel-drive and I knew that I needed the van to be just as capable. The only factory four-wheel-drive system available on a van in the United States is on newer model Mercedes Sprinters. These are rear-wheel-drive vans that can engage font, independent axles after coming to a stop, and can also be shifted into a low gear for steep descents and inclines. These start new around $50,000 and you’d be lucky to find a new or used on for sale anywhere in the US.

The alternative is spending $15,000-$20,000 on an aftermarket conversion from Sportsmobile, Quigley, U-Joint or other third part outfitters. Again, you’ll be lucky to get a spot in their production schedule, and could be waiting a year or more. Oh, and many outfitters ONLY accept new vans. Your last option is to buy a used van that had previously been converted. Or is it…

General Motors actually built all-wheel-drive versions of their two vans, the Safari/Astro and the Savana/Express for a few years in the early 2000’s and stopped entirely in 2014. Again, these in good condition are incredibly rare, but after four months of searching across the country I was able to find a great deal on a 2010 GMC Savana with full-time all-wheel-drive. This means that even when I’m driving on the highway, I’m getting the stability and performance of four powered-wheels, unlike EVERY other 4x4 van. While I don’t have the option for low-range, the van is already geared low as a truck, and my model also came with the G-80 automatic locking rear differential, which actually makes my factory van more versatile than any of the above options, balancing performance evenly between on-road and off-road.

convertible space

I learned years ago, long before building this van, that living in a small space meant that everything needed multiple uses. As mentioned frequently on the design page, I endeavored to create adaptable s p a c e for a changing set of conditions and needs. In doing this, I am able to be more flexible in the use of the van. If I am going for a very long adventure, perhaps I will carry more power storage or water. If I am going for the weekend, perhaps I would rather fill those spaces with gear and equipment.

The main feature of many vans is the bed, and the VITRUVIAN VAN is no exception. When you open the barn doors on the side, you are greeted by a 5-way convertible dinette. You can easily seat two to four people around the large, free-floating walnut table, or slide the seats out to fit four to six.

When it’s time to relax after dinner, I can drop the walnut table down from its custom bracket to form a large couch with massive views out the side doors. After sunset, I can lift a cushion to reveal a hidden cedar chest holding all my bedding, transforming the couch into a generous single bed. Again, with a quick slide of the seat areas, and the placement of a leaf, the bed extends another 10.5”, cantilevering the living space and creating a cozy bed for two. All the hardware was 100% custom made, and can be converted in less than a minute.

architectural design

The advancement of the vanlife movement has put unfamiliar tools into the hands of many adventurers, and the results are impressive. Folks familiar with the DIY movement will be familiar with the ‘bed-over-gear-garage’ floorpan, or the ‘rear-dinette-and-facing-couches’ design, or most famously, the Westfalia-style rear futon and front dinette layout.

There are obvious benefits to each style, but with the exception of, perhaps, the Westfalia-style, they are designed to bring the comforts of home to the van. Your van might feel like a small condo, but was the space utilized as fully as possible? Was it designed like a stationary home, or like a van that will bump down the backroads?

The VITRUVIAN VAN was designed as a van, not as a house. Every dimension was considered for ease of movement, visual flow, and practical use. Further, it engineered to withstand the twists and bumps of backroad travel. Everything is built from 2x3s and held together with excessive amounts of torx screws and space-grade adhesive.

The Golden Ratio

Every design choice in the VITRUVIAN VAN was made by employing this universal, mathematical ratio of ideal proportionality. Whether I was determining the dimensions of my table, the placement of cabinetry and handles, the height of my seats, or the spacing on the shiplap walls: every chosen number was calculated using this ratio.

The rule of two thirds. The fibonacci sequence. Mathematical fractals. All these things rely on the universe’s ratio of proportions: the golden ratio. The ratio is an irrational number like the more commonly known 𝜋 or pi and is symbolized by the greek character 𝜑 or ‘phi’. Whereas pi defines the relationship of the width of a sphere to its circumference, the golden ratio defines the spatial relationship between connected objects in space.

It seems to illustrate a natural breaking point in the ‘design’ of the universe, where objects give-way to one another, allowing optimal distance while maximizing proximity. The ratio can be seen in breaking ocean waves; the expanding spiral of a sea shell; or in the twist of our own DNA and even our milky way galaxy.

Since I was personally going to live in this space, I determined a cascading set of numbers derived from my own height to use in the layout and creation of the interior space. In this way, I intended to create a naturalistic 'nest’ and employ the same universal design principles that would intuitively motivate any plant or animal in the creation of their own s p a c e in nature.

If you’re like me, it’s hard to wrap your head around how the golden ratio is even a thing. I found this video helpful: Numberphile - The Golden Ratio: The Most Irrational Number

Minimalism

By its nature, living in a van is minimalistic. There simply isn’t room for extra things. However, I noticed a growing desire in the vanlife community to include more and more of the features of a traditional American home: indoor showers, full kitchens, plumbing, and storage for lots of clothes and big toys. I wanted to separate myself from that trend because I felt those luxuries could potentially distract me from the purpose of living small and nomadically: to engaging with the world outside, and reflect on my lived experience.

In creating the VITRUVIAN VAN, I intentionally limited the amount of my storage space to hold things, and instead prioritized living space. However, in doing so, I also labored to ensure that storage was easy to access and designed and optimized for diverse cargo.

For example, instead of building a dedicated power supply cabinet, I created a space that could be a power cabinet… or not. I designed the space to fit the largest removable battery pack currently on the market, and wired universal hookups so that I, or a future owner, could choose whatever power system they needed for any given adventure. If they found they didn’t need to fill the entire space with 300 AH of batteries, they could use the space instead to hold books, a box of tools, or a few gallons of water.

Designing intentional, versatile s p a c e s instead of built-in appliances and cavernous gear garages incentivizes me to take only what is needed and focus my attention outside the van more often. While this van was built specifically for me and my goals as a nomadic writer and visual artist, I believe this design methodology can be helpful for anyone looking to add intentionality and flexibility to their space.

anti-obsolescence

Obsolescence is when something is no longer wanted, even though it may still be in good working order. We can see this as an effect of modern marketing, when new color trends or ‘seasons’ are promoted to consumers as fresh and new, even though the underlying product may be the same or very similar. This can make us feel like we are ‘behind the trend’ or afraid we will be perceived as obsolete too. That fear motivates us to buy something ‘new.’

Corporations even plan obsolescence into their products, and have been since the invention of the lightbulb. If things ‘break’ sooner, people buy more. It’s as simple as that, and it’s something I want nothing to do with. The VITRUVIAN VAN was designed to be repairable, removable, and upgradable.

I achieved this, in part, by creating my walls as panels, applied after the counters were put in, so that they could be removed without disassembling anything. Further, I created flexible spaces for my utilities and storage. As mentioned above in the minimalism section, creating s p a c e for things allows you to both take only what you need, but also allows you to upgrade the van without remodeling.

Playing off the idea of outdated style trends, I decided on a juxtaposing rustic-modern aesthetic. I mixed clean lines, flush fittings, and geometric balance with natural materials, matte finishes, and early American home design to blend the past and present. This builds aesthetic resilience, bolstering the design as tastes and trends change.

If you want to learn more about widespread obsolescence in society, listen to this podcast from NPR: Throughline - “The Phoebus Cartel”  or this video from Veritasium: “This is why we can’t have nice things”

negative space

Connecting easily to the other design focus areas, it was important to me that the van’s interior design notably and artfully incorporate negative space. Generally speaking, negative space is the ‘empty' air space surrounding the positive ‘filled’ spaces, such as walls, cabinets, and seating. Understandably, positive space in compositions are often given significant focus as they usually include the subject. However, negative space provides opportunity for balance and, in a way, defines the boundary and the identity of the positive space.

I approached this build equally, if not specifically concerned with the negative space, which strangely seems to be overlooked in many van and RV builds. I often see layouts where occupants are corralled into a narrow hallway, boxed in by storage, and yet it is the negative s p a c e that we actually live in.

Inspired by the natural proportions of the golden ratio, I sought the golden balance between optimal distance while maximizing proximity. This manifested in low counters, seating and very minimal over-counter storage to allow for vertical space; asymmetrical cabinetry for weight distribution and to encourage a greater sense of width; a free-floating table and cantilevered bed platform to maintain freedom of movement; and visual and physical, obstruction-free passages to the outside.

Negative space inherently allows for adaptation and change where positive space remains largely defined and static. In this way, paying specific attention to the creation and maintenance of negative space supports the project’s goal of designing with nature by leaving room for dynamic movement and growth.

texture & COlor

Creating a living and working space for yourself in an extremely small space means that you will be engaging with the physical space often, using both your eyes and your hands. This posed an interesting challenge. Shinny, smooth materials often provide more durability and washability, however they also tend to create a feeling of cold and sterility — not very cozy.

To combat this, I only used natural materials like wood and felt on the visible surfaces. I also committed to significant coatings research to find the most durable, soft, natural, and matte finishing options available. The cabinets are finished in a rich, matte blue, which evokes productivity, calmness, and stability. This eco-friendly paint was designed for nurseries and is extremely washable and resilient. The counters are reclaimed walnut and finished with a custom-mixed natural tung oil that penetrates the wood creating a waterproof, highly durable finish without changing the feel or natural low-luster of the wood.

The walls are similarly finished with a penetrating, natural white wash, allowing the character of the wood to come through. The ceiling, however, is finished in a medium gloss, toxin-absorbing white paint, which helps reduce odors and airborne chemicals, and also helps prevent moisture incursion from rising steam during cooking and breathe during sleeping. Medium gloss was chosen both for the increased durability and to increases the feeling of height as the white paint reflects light from the windows.

High-grade F-1 wool felt was used throughout the build to add even more softness, warmth, and sound dampening. This highly durable wool felt, in a natural grey and black, is a sustainable, renewable product that adds a luxurious ultra-matte texture. With these textural choices the interior offers overall warmth and softness, while maintaining durability and visual and tactile diversity.