CJ MacQuarrie - Portfolio by CJ MacQuarrie

CJ | MacQuarrie PORTFOLIO

cjmacquarrie@gmail.com | +1 512 516 9238 | 4711 Spicewood Springs Rd #263, Austin, Texas, USA 78759-8432

01. Intelligent Building Skin Performance is a balance between technology and design within the skin of a building. Proposed is a operable, double envelope system that improves comfort, reduces energy consumption, and creates a dynamic facade condition on an existing high-rise building in Düsseldorf Germany. The famous Thyssen highrise office building is the focus for this building skin replacement project. The improved building skin is a double envelope system with a pivoting, perforated aluminum shading fins that are controlled by a building management system (BMS). Duration: 1 Semester Instructor: Ulrich Dangel

02. KDNC: Translating Music to Form

This collaborative, experiential installation, initiated by an analysis of music compositions, develops a system for the translation of audible content into a formal, haptic, and kinetic experience. Through data collection, advanced programming techniques, and parametric tools, the components of the music are translated into generators of formal elements. The analysis and integration of each instrument into the composition builds a linear time line that corresponds directly to the sheet music. Team: Kevin Johnson Diana Su Nirav Savjani CJ MacQuarrie Duration: 1 Semester Instructor: Michael Leighton Beaman Critic: Igor Siddiqui Zaneta Hong

03. Sam Houston Circle A house addition perched high above Lake Austin opens to expansive views while offering privacy and many opportunities for indoor outdoor connections. Retaining its relationship with the North Austin neighborhood, most of the modern addition is located to the rear, where an Ipe deck runs the length of the house, offering a secluded area off the guest bedroom, a dining deck, and a balcony off the master bedroom. A wall of glass opens the double height living room to the deck, while a catwalk and open loft enhance the openness of the interiors. Firm: Clayton and Little Architects Team: Paul Clayton, AIA Nathan Quiring, AIA Ken Johnson CJ MacQuarrie Location: Austin, Texas

04. Re-Appropriating Mechanisms

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06.

07.

Furniture Design

De-Construction Tools

Airport City

My additional interests are in industrial/product design. These furniture pieces are explorations within the discipline and are a series of singular and collaborative projects - notably with Ryan Anderson, founder of RAD Furniture, wherein we embarked on an eight-month process to refine many of the pieces Ryan previously designed as well as design new pieces.

A print series exposing the latent forms within everyday, utilitarian tools. Each tool has a rich level of ergonomics and function in its typical operation. By selectively decomposing and reassembling the forms a robustness emerges. The compositional placement is defined by their unique, vector based operation. Duration: 1 week

5.1 Removable Legs 5.2 RAD Furniture 5.3 Mahogany End Tables 5.4 Laminated Plywood Table

International airports typically carry the population of a city in any given week, and are traditionally considered a port for transition. As future travel times decrease through innovation in aircraft technology, air travel will become more efficient and less costly. This increase in passenger volume directly impacts the program, culture and experience of the Airport. The Airport of the future is becoming a destination. A City.

cv 2013

CJ MacQuarrie cjmacquarrie@gmail.com +1 512 516 9238 4711 Spicewood Springs Rd #263 Austin, Texas, USA 78759-8432

Team: Garrett Jones CJ MacQuarrie Duration: 1 Semester Instructor: Vincent Snyder Critics: Michael Hsu, AIA David Webber, AIA Matt Catteral, AIA

Statement of Interest In a time characterized by rapidly shifting technological growth and globalization, opportunities for innovation are emerging at an even greater pace. As designers and makers, understanding our societal role during these shifts is of paramount importance. Our responsibility is significant not only in articulating new legacies through our successors, but critically understanding why and how we are designing, making, and interacting with our global community. We are no longer only responsible for the things we create, but also for the processes that create. There are cranes that build buildings, and there are cranes that build cranes. As a designer, I am interested in developing design processes that introduce iterative, algorithmic, and codec-based techniques into design. These alternative modes of representation are creating ripples in design that are extending material limitations, and creating opportunities for exploration throughout all design trajectories. My interests also include equipping young designers and coworkers to engage our local and global communitiesâ&#x20AC;&#x2122; needs through design, collaboration, and production. CJ MacQuarrie

01. Intelligent Building Skin

Performance is a balance between technology and design within the skin of a building. Proposed is a operable, double envelope system that improves comfort, reduces energy consumption, and creates a dynamic facade condition on an existing high-rise building in D端sseldorf Germany. The famous Thyssen high-rise office building is the focus for this building skin replacement project. The improved building skin is a double envelope system with a pivoting, perforated aluminum shading fins that are controlled by a building management system (BMS).

Standing

Sitting

Floor plate

The pivoting fins mitigate solar gains depending on their rotational position. Material selection is then used to fine tune the performance levels. Studies evaluate paint (white or black), tempered glass with an opaque duo-tone pattern, and perforated aluminum seeking to optimize interior thermal values and appropriate the buildingâ&#x20AC;&#x2122;s external appearance. The fins are perforated with a performative aggregation pattern based on interior views.

50%

100%

02. KDNC: Translating Music to Form

3:01 3:01

2:55 9 2:4

2:55

2:4

7 2:3 2:49

2:43 weezer - say it ainâ&#x20AC;&#x2122;t so

2:37 mozart. symphony no. 25 kv183, 1st movement

In order to emphasize the relationship between the music and its formal outcome, the comparison study pulls from two distinct genres: alternative— Weezer’s “Say It Ain’t So”— and classical — Mozart’s Symphony No. 25 kv183, 1st Movement. Each song becomes the unique generator of a comprehensive form. The various instruments in each composition are overlaid, resulting in a fractured cylindrical form that reflects their localized tensions, volumes, and frequencies. Pauses in the music manifest as interregnums that articulate porosity, and instrument densities produce a formal staccato defined through varying spatial constrictions and releases throughout the composition. The classical composition, with its dense layering, produces a formal composition of

monolithic and robust forms with veracious cohesion. In contrast, the alternative song is edgy, disjointed, and irregular; its surface undulates with peaks and disparities between thin and thick elements. The algorithms allow for manipulation of the formal output via scalar transformations in the X, Y, and/or Z coordinates for analysis and production purposes, while maintaining constants such as song duration. This also permits the designer to tailor the algorithm’s result to fit a desired scale while preserving the formal relationship between the model and the data. In this instance, the form is proposed for a human scale, allowing users to walk through the articulated cylinders. The affects produced by the forms become the focus as the user progresses through the installation.

form diagrams

initial output

extracted edges

structure diagram

structural grid

transverse structure

lofted interior form with averaged curves

longitudinal structure

lofted exterior form

differenced form

structural intersections

final structure

interior negative space

composite differenced form

exterior shell form

The result is a provocative and interactive translation of the traditional experience of music. It proposes new methods of parametric and algorithmic authorship and allows the user to engage and experience music architecturally.

03. Sam Houston Circle

A house addition perched high above Lake Austin opens to expansive views while offering privacy and many opportunities for indoor - outdoor connections. Retaining its relationship with the North Austin neighborhood, most of the modern addition is located to the rear, where an Ipe deck runs the length of the house, offering a secluded area off the guest bedroom, a dining deck, and a balcony off the master bedroom. A wall of glass opens the double height living room to the deck, while a catwalk and open loft enhance the openness of the interiors. Project was featured on the 2008 AIA Austin Homes Tour.

04. Re-Appropriating Mechanisms

“Only the tractor sheds of corrugated iron, silver and gleaming, were alive; and they were alive with metal and gasoline and oil, the disks of the plows shining. The tractors had lights shining, for there is no day and night for a tractor and the disks turn the earth in the darkness and they glitter in the daylight… But when the motor of a tractor stops, it is as dead as the ore it came from. The heat goes out of it like the living heat that leaves a corpse…for the tractor is dead. And this is easy and efficient. So easy that the wonder goes out of work, so efficient that the wonder goes out of land and the working of it, and with the wonder the deep understanding and the relation.” John Steinbeck, The Grapes of Wrath

A machine can enhance our experience of making. Created in summer of 2010 for an Independent Advanced Studio, two drawing machines infuse wonder and a sense of place into the drawing process. Instead of divorcing us from an understanding of “work,” the machine makes it all the more evident, by heightening the physical and sensorial aspects inherent to the labor of drawing. Using hand cranks to operate rotating gears, each operator of the drawing machines creates a unique drawing. While the two machines differ in their gear composition, speed, drawing armature device, and drawing output, they are comprised of the same essential components. Two primary gears move the drawing armature. Nested within them, secondary gears contain holes for

attaching drawing armatures in various configurations to customize output. The first drawing machine produces lengthy arcing forms that appear to be hollow or tubular. The second drawing machine produces complex Möbiuslike forms that combine moments of amorphous curvature with sharp focal points. Both create a highly spatial layering of foreground, mid-ground, and background line work. From afar, the drawing appears machine- or computergenerated, but closer inspection reveals defects and squiggles that are reminiscent of freehand drawing. The beauty of the drawings lies in these imperfections and “human” characteristics. They also subvert our expectations about the acute calibration of machines and the precise results they produce.

This method of authorship reveals the relationship between the user, the process, and the drawing artifact. The drawing machine sets up a specific framework for the memory to operate within, a framework that emerges out of a multifarious relationship between the constraints imposed by the machine, the user’s customization of the machine, and contextual contingencies that arise during the process of creation. The machine draws a parametric shape determined by the user’s choice of a set of pin locations. The physical turning of the crank gear over an extended period fatigues the user and makes him or her aware of the labor involved in creation. Fatigue causes variation in the speed of the rotation and affects line weight. The drawing is also affected by unconscious decisions made by the user as a result of sensorial stimulation while operating the machine. The decision to stop or rest mid-operation is indexed by a higher concen-

tration of ink at this location on the drawing. The cranking also creates sensorial stimulation: visual and aural, through the repetitive clacking of the cog teeth and the sweeping run of the pen across the page. The intricate layering and counter-rotation of the transparent gear system provide visual stimulation. The densely nested, transparent gears entertain the user and encourage curiosity during the production of the drawing. All of these phenomenological components contribute to the creation of a vivid memory. Unlike an automated, “push-a-button” process, this method of creation allows the user to become engaged with the machine and re-instills a sense of wonder into the work. As a tangible artifact of memory, the completed drawing serves as both a souvenir of the experience and an index of the creative process.

Spatial gears

Further studies of gearing systems and mechanisms led to exploration of three-dimensional or spatial gears that beget notions of habitation. Dynamic in nature, when the gears are put into motion the interactions of each cog create undulating surfaces, and manipulate light.

05.1 Removable Legs

A clamping table leg. Slender, robust, and rigid. Each is water-jet cut from 14 ga. steel, and bent with six simple folds. These were designed and used to support the drawing machines, but have application as a work top, office desk, or small hall table. The legs are durable and portable with their nesting shape and could be used in disaster relief situations. A special thanks goes to Mike Worthington at The Center for Electromechanics for his generosity in opening up their fabrication facilities, and to Ken Johnson of Clayton and Little Architects for sharing his metalwork expertise in this collaboration.

Transportation

Fold Order 5 1

6 3

Synthetic Rubber Coating

Assembly

05.2 RAD Furniture

I embarked on an eight-month process to refine and apply Lean Concepts to many of the stock pieces offered by RAD Furniture. Throughout the process I designed jigs and templates to expedite production, and also designed and developed a flat-pack option for the Perforated Table design (image on right). This reduces shipping cost and time in transit. Special thanks goes to Ryan Anderson, founder of RAD Furniture for the opportunity to design and collaborate on these projects.

Light-Weight Perforated Table

The prototypes for this series of indoor/ outdoor tables are built for durability, but the associated weight of the table inhibited portability. I refined the design of the tables to reduce the weight of this table by 50% by utilizing coldrolled steel and thinner profile sizes. The design became a refined balance of structural performance while maintaining the original design durability and intent. Photos by Ryan Anderson

Eco-Resort Desks and Tables

In collaboration with Kelly LaPlanteâ&#x20AC;&#x2122;s Austin-based interior design firm, RAD developed several adaptations of its designs for an eco-resort on the Caribbean island of Dominica. The pieces utilize Resysta, a durable composite material (rice husk, salt, mineral oil) for the surfaces. The custom desk was designed to include a mesh drawer under glass. The scope was comprised of 11 desks, 10 dining tables, 11 stools, and 1 coffee table. Photos by Ryan Anderson

Hilton Hotel Tables

The walnut tops for these Gensler specified custom-versions of the Classic Dining Table are currated to allow the grain and hues of the wood to transition across the seams. These tables are now in Hiltonâ&#x20AC;&#x2122;s new Lounge in downtown Austin. Constructed of raw steel and walnut, all tables are counter-height with varying top dimensions, and each is fitted with adjustable feet.

M-Line Benches and Chairs The furniture for M-Station, a residential complex in Austin, Texas, began as a thesis project for JP Rysavy during his final semester as a graduate architecture student at the University of Texas. The initial idea became a commission for Ryan and I to design and build the 19-piece project which utilizes an assortment of steel rod profiles and bent perforated in-fill that can be extruded to different lengths. All pieces were powdercoated and bolted into place. Photos by Ryan Anderson

05.3 Mahogany End Tables

A set of two end tables take on a hybrid Modernist/Craftsman appearance through a more reductive and transparent operation. Similar to the coffee table, the legs are now reduced to a light right angle that exposes the apronâ&#x20AC;&#x2122;s intricate mortise/tenon and spline-miter connection. An asymmetrical opening in the tabletop exposes the underlying connection and allows the leg to sit flush with top surface.

The end tables are produced from African Mahogany, as a cost effective and an environmental substitution to its relatives, Honduran and Caribbean Mahogany; both at the cusp of being exhausted as a commercial material. African Mahogany produces dark ribbons that create intricate compositions throughout the material and over time it will become a dark, rich red as it oxidizes.

05.4 Laminated Plywood Table

A coffee table that accentuates the connection of the leg to the tabletop through a reveal around the top of the leg. The tabletop then sits on an apron, joined into the leg with a mortise and tenon connection. The top of the leg sits flush with the tabletop and expresses a floating appearance, with no visual connection between the two. The coffee table is composed from a spectrum of different grade plywood, more specifically, repurposed drops and fall-offs (scraps) from cabinet and fabrication shops around Austin. The laminations run in the long direction to visually extend the length of the table and contrast the monolithic legs.

The apron becomes a unique accent color to fit the personality of the individual or the room where the table is placed. Choose from any color in the spectrum or go with the natural wood grain to complement the table.

06. De-Construction Tools

wired-rotary drill

pneumatic nail gun

jigsaw

07. Airport City

Site Analysis: Sydney, New South Wales, Australia Sydney offers a unique global position for the ‘Airport of the Future’. 12-24 hours away from many international airport hubs, Sydney could directly benefit from future hyper-speed flight. Sydney’s current international airport, located in Botany Bay, has plans for expansion to accommodate a growing population and larger passenger volume, as well as, substantial airport infrastructure, creating ideal conditions to foster the Airport City program. Here, Airport City will take the form of a hyper-speed international terminal. The Southeast fields of the airport grounds contain a large number of infrastructural threshold conditions. General Holmes Drive, a very active highway, bifurcates the site and tunnels below the current runways, which extend into Botany Bay on two separate peninsulas. The collision of transit systems of land, air, and water, presents an opportunity for Airport City to fully integrate with the infrastructure of the site.

Formal Constructs The formal construction of Airport City draws upon familiar airport design inspirations such as the airfoil wing profile and the cylindrical geometries of the aircraft fuselage, while re-imagining what the characteristics of these components might look like as the form of the aircraft continues to evolve. The future of aerodynamics indicates a more singular aircraft body. The wing and fuselage are not envisioned as individual components but are becoming blended. Airport City is a formal exploration of this blend. An architectural section cut through the â&#x20AC;&#x2DC;look-out pointâ&#x20AC;&#x2122; of Airport city is demonstrative of the airfoil profile, while a section cut through the concourse takes the shape of the typical aircraft fuselage. The form of the space between these two profiles is a continuous blend from one form to the other.

TYP. FUSELAGE CROSS SECTION

TYP. AIRFOIL CROSS SECTION

BLENDING PROFILES

Preliminary collages (across) are created to envision how Airport City might develop as a collision of transit systems. The inherent qualities of the site make it apparent that the airplanes need to have a transparent interface with the vehicular, pedestrian, and watercraft systems. For this reason, the secure portion of Airport City is lifted off of the ground, allowing the airplanes to taxi freely underneath portions of the concourse and alongside General Holmes drive. Positioning the concourse above the aircraft allows for a unique perspective for the passenger, who now descends into the aircraft for boarding.

Formal Constructs The “Knot,” (right, figure 1) bridges over General Holmes Drive and is the spatial separation between the secure and non-secure spaces of the airport. The void below contains the baggage/service space. Locating the space below grade allows the baggage and equipment to move uninhibited from the ticketing area to the planes. Preliminary formal studies (across, figure 2) show interactions between the interior spaces and the structural ‘X’ columns originating from the sub-grade baggage/service space of the concourse.

Programmatic Constructs The program fosters all aspects of life that might exist within a city (e.g. entertainment, healthcare, shelter, finance, consumption, and religion). A luxurious amount of space is allocated to the non-secure portion of Airport City for commercial shopping and concessions. A five-star restaurant at the Northern region of the airport is given a separate entrance helping to develop Airport City as a destination. The third and fourth levels contain healthcare and cosmetic surgery facilities, fitness center, and worship spaces, while the fifth level houses a full service casino, hotel, and lookout area over Botany Bay. The culture produced in Airport City is not generic, but also non-site-specific. It is an icon, and a culture all its own. It is an amalgamation of transit systems, perspectives, microprograms, and people. Airport City is a global enterprise.

East Elevation

West Elevation

Structure and Components The structure of Airport City is comprised of a tube space frame to achieve the long cantilevered spans between columns and for spanning across General Holmes Drive. Within the web of the space frame is a heat formed acrylic light-scoop that channels the light into the space. There are two inserts: the top insert being larger and more complex, and the interior insert which is shallow and removable. The plenum of the space frame and the flexibility of the acrylic scoops allows for ease of installation and repair of insulation, mechanical, and lighting systems. The exterior is a double-glazed system fixed directly to the space frame.

Assembly

CJ MacQuarrie

4711 Spicewood Springs Rd #263, Austin, Texas, USA 78759-8432 | cjmacquarrie@gmail.com | +1 512 516 9238

S kill S ets

Project Management | Austin & San Antonio, TX

Software Proficiencies (Mac + PC)

• Designed and managed small to large-scale design projects. • Managed office Interns’ performance and progress. • 2D design to 3D virtual project development. • High and low-level production versatility.

P rof es s ion al E x p erien ce

RAD Furniture | Austin, TX

• Rhino + V-Ray | Expert • AutoCAD | Expert • Adobe: Illustrator, Photoshop, and InDesign | Expert • Microsoft Office: Outlook, PowerPoint, Word, and Excel | Expert

Product Development | Research | Production Management | Fabrication

Designer and Fabricator | 04.2012 – 12.2012 • Managed production of steel and wood furniture. Streamlined and optimized production through developed fabrication templates – decreasing parts-to-fabrication time by 30%. Designed flat-pack detail for Perforated Table, validated prototype, and developed through commercialization. Completed 33 custom pieces for a Caribbean Eco-Resort in Dominica within two weeks. Co-designed and fabricated 19 unique, prototype benches and chairs for M-Station Apartments in Austin, Texas.

The University of Texas | Austin, TX

Product Development | Fabrication | Research | Project Management | Graphic Design

Design Assistant | 08.2011 - 12.2011 • Taught first-year undergraduate studio. Developed students’ design vocabulary (visual and verbal) through weekly desk critiques, software and drawing tutorials, and presentations. Graduate Assistant | 08.2010 - 12.2011 • Managed computer and print lab, repaired/maintained fabrication equipment (e.g. ZCorp, 3D Printer, UL Laser Machines, 3D Scanner, and CNC Mill), and taught software/digital fabrication courses. Research Assistant | 03.2011 - 07.2011 • Fabricated and installed operable, solar shading device for performance testing on Thermal Lab façade. Vetted design process resulting in reduction of fabrication costs by 50%. Executed testing of device, compiled retrieved data, and translated data for publication. Teaching Assistant | 08.2010 - 12.2010 • Taught 2D and 3D software (e.g. Rhino, Revit, AutoCAD, and Adobe Creative Suite), conducted reviews, facilitated student progress in studio component of course, presented lecture of 3D Printing techniques and products, and evaluated student performance.

Overland Partners | Architects | San Antonio, TX

Project Management | Intern Management | Marketing | Graphic Design

Assistant Project Manager | 01.2008 - 08.2009 • Worked with the design and production team to produce drawings for the world’s largest, comprehensive homeless assistance center – Haven for Hope in San Antonio, Texas. Participated in all development phases through completion. Master planned corporate headquarter campus for client Zachry Construction. Developed production schedules, coordinated with consultants, completed on-site punch lists, and managed Design Interns’ progress.

San Antonio Christian Schools | San Antonio, TX

Team Management | Curriculum Development

Clayton Levy and Little Architects | Austin, TX

Project Management | Marketing | Graphic Design | Production

Visiting Instructor | 01.2008 - 08.2009 • Taught and developed three high school level architecture courses and two summer workshops. Conducted software tutorials, lead reviews, weekly desk critiques, and lectures. Designed comprehensive curriculum of six semesters of coursework for school. Project Manager | 03.2007 - 12.2007 • Designed Hotel Saint Cecilia in the South Congress District of Austin. Documented historical buildings, produced as-built drawings, procured building permits and appropriation approvals from Austin Historic Landmark Commission, liaison between Partner-in-charge and Client, coordinated with consultants, and produced client presentation graphics and construction documents.

Mann & Mann Architects | Austin, TX

Retail Operations | Project Management | Graphic Design | Production

Maier + Zelter Architects | Austin, TX

Graphic Design | Production

Design Intern | 03.2006 - 03.2007 • Designed and produced Paiva, a women’s multi-channel, athletic boutique for client The Finish Line, Inc. Produced client presentation graphics, vetted shop drawings and produced construction documents. Managed consultants’ progress and coordinated electrical, HVAC, and fire-sprinkler drawings.

E d u cation

Design Intern | 07.2005 - 03.2006 • Produced client presentation graphics, marketing brochures, 3-D models, as-built drawings, and construction documents.

The University of Texas at Austin, School of Architecture Master of Architecture | 12.2011

Texas Tech University, College of Architecture

Bachelor of Science - Architecture | 05.2005

Thank you for your time and consideration.

cjmacquarrie@gmail.com | +1 512 516 9238 | 4711 Spicewood Springs Rd #263, Austin, Texas, USA 78759-8432