JF
JEREMY WALTER FERGUSON ARCHITECTURE PORTFOLIO | 2018
JF JEREMY WALTER FERGUSON
MASTER OF ARCHITECTURE UNIVERSITY OF CALIFORNIA, BERKELEY AUG 2015
MAY 2018
3127 Telegraph Avenue Oakland, CA 94609 8 0 8 . 6 3 9 . 5 0 0 8 fergusonjeremy.w@gmail.com jeremywferguson.com
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education
MASTER OF ARCHITECTURE CANDIDATE | UNIVERSITY OF CALIFORNIA, BERKELEY AUG 2015 - MAY 2018
BACHELOR OF INTERDISCIPLINARY STUDIES IN ENVIRONMENTAL DESIGN | UNIVERSITY OF HAWAII AT MANOA 2013
DOCTORATE OF ARCHITECTURE CANDIDATE | UNIVERSITY OF HAWAII AT MANOA FALL 2008 - MAY 2013
UNIVERSIDAD AUTONOMA DE BARCELONA | INTERNATIONAL BUSINESS ANALYTICAL TECHNIQUES IN MARKET RESEARCH AND BUSINESS RELATIONSHIPS WITH A FOCUS ON INTERNATIONAL AND EUROPEAN CULTURES FALL 2006
experience
UC BERKELEY | DANA BUNTROCK | ARCHITECTURE 160 - INTRODUCTION TO CONSTRUCTION | GRADUATE STUDENT INSTRUCTOR | SPRING 2017 / 2018 SPIEGEL AIHARA W ORKSHOP | 2016 - 2017 | SAN FRANCISCO, CALIFORNIA PRE-DESIGN | 3D MODELING | SCHEMATIC DESIGN | DESIGN DEVELOPMENT
RANDOLPH DESIGNS | 2013-2016 | SAN FRANCISCO, CALIFORNIA PRE-DESIGN | 3D MODELING | SCHEMATIC DESIGN | DESIGN DEVELOPMENT | CONSTRUCTION DOCUMENTS | DESIGN BUILD
DEAN SAKAMOTO ARCHITECTS | 2012-2013 | HONOLULU, HAWAII PHYSICAL MODEL MAKING | 3D MODELING | DESIGN DEVELOPMENT | DIAGRAMMING
NATIONAL DISASTER PREPAREDNESS TRAINING CENTER | 2012 - 2013 | HONOLULU, HAWAII AID IN THE DEVELOPMENT OF ‘HURRIPLAN’ COURSE FOR FEMA | RESEARCH | DOCUMENTATION
KALAHEO CAFE | 2002 - 2012 | KALAHEO, KAUAI BARISTA | WAITER | LINE COOK
PALMS HAWAII ARCHITECTURE | 2006 | LIHUE, KAUAI WEB DEVELOPMENT | COMPUTER TECH | PRE-DESIGN | APPROVALS
skills: software
RHINO3D | AUTOCAD | VECTORW ORKS | REVIT | GRASSHOPPER | VRAY | UNITY | ADOBE SUITE | SKETCHUP | 3DS MAX
skills: physical
MIG & TIG WELDING | SHEET METAL FORMING TOOLS | W OODW ORKING | PHYSICAL MODELING
achievements
UC BERKELEY | CIRCUS | 2017 PRESIDENTIAL V OLUNTEER SERVICE AWARD | HO’OULU AINA ARCHAWAII AWARD OF EXCELLENCE | 2011-2012 GAMMA MU HONOR SOCIETY RECOGNIZING ACADEMIC EXCELLENCE | 2011-2012 AIA HONOLULU CHAPTER SCHOLARSHIP | 2012-2013
date of birth
4.30.1988
nationality
USA
marital status
SINGLE
hobbies
SURFING | BICYCLING | COOKING | PHOTOGRAPHY |
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JF JEREMY WALTER FERGUSON
MASTER OF ARCHITECTURE UNIVERSITY OF CALIFORNIA, BERKELEY AUG 2015
MAY 2018
3127 Telegraph Avenue Oakland, CA 94609 8 0 8 . 6 3 9 . 5 0 0 8 fergusonjeremy.w@gmail.com jeremywferguson.com
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FRAMING THE VOID ACADEMIC
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FOOD BUILDING ACADEMIC
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FLOAT ACADEMIC
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IN PROGRESS ACADEMIC / THESIS
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AESOP SILVERLAKE PROFESSIONAL - RANDOLPH DESIGNS
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AESOP NW 23rd PROFESSIONAL - RANDOLPH DESIGNS
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AESOP WEST END PROFESSIONAL - RANDOLPH DESIGNS
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EXTRACURRICULAR HOBBIES, DESIGN
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LIMA STUDIO SPRING 2017 | ARCH 202 RENE DAVIDS UC BERKELEY
Lima currently exhibits an oppositional relationship between history and contemporary society. Much of the city’s cultural wealth has been consumed by the expansion of the modern urban context. The remaining windows into the past, scattered throughout the city, are known as huacas. These pyramidal structures provide locals and visitors with visual cues into a vibrant past. However, surrounded by boundaries in the form of concrete or metal fences, the huacas have also become desolate voids in the city.
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In an attempt to provide more public space, and to emphasize the significance of the past, this proposal re-frames the huaca sites through a series of simple architectural interventions. Each intervention provides sectional variation at its respective site, so as to offer a new perspective on each huaca and the associated pre-Columbian canals and roadways. Eliminating the current boundary at each site, the footprint of each intervention acts as a new, open threshold to allow for free movement and engagement with a huaca. By opening the huaca sites, the structures encourage people to gather and engage with the past. Employing a simple material palette, each architecture becomes secondary to its huaca, providing a subtle window into the richness of the past.
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above site plan oblique right ( 2 images) new threshold to community huaca from intervention far right huaca at eye level bottom section perspective - site
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above intervention framing huaca right ( 2 images) circuit sequence to huaca (highlighting pre-colonial canal system) far right site plan oblique bottom section perspective - site
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FOOD BUILDING FALL 2017 | ARCH 203 RODDY CREEDON UC BERKELEY
The primary premise for the food building was to create an experience of varying sectional spaces. To engage this interest in spatial quality the intent was to use a series of interlocking volumes. Since the site is located on the corner of a busy intersection, traffic flow and context buildings laid the basis for organizational order. With context and varying sectional spaces as a catalyst, the program was separated between public and private and then organized vertically based on the engagement to the street. Areas of overlap create varying spaces for circulation, gathering and viewing. The perimeter assembly, which is the largest volume, is clad in a perforated aluminum panel system. To address light for the food building, the perforated aluminum system is designed to vary from 40 percent open area at the street level, to 70 percent open area at the top where the farm is located. The perforation also aids in airflow through the building and farm, as well as providing a threshold to the street. The perforated aluminum perimeter is finished in white to allow light to penetrate the facade, and the main volumes are finished with GFRC in a similar palette. The hierarchy of spatial arrangement and the perimeter assembly reinforce an ephemeral quality that engages the user with program throughout the journey.
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section | elevationW
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ground flo
oor plan
first floor plan
second floor plan
third floor plan
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transverse section
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longitudinal section
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roof: double glazed greenhouse assembly
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Gutter
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large format GFRC cladding
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perimeter assembly: 3mm perforated aluminum panels, 40-70% transparency, 4” standoff, 3x3” steel tube horizontal members, 2x8” steel rectangular tube vertical supports, paint: white
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4” steel standoff
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floor/roof assembly: large format ceramic pavers,
technical design drawing - section
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1-ply membrane, exterior grade sheathing, 2x runners w/ rigid insulation, 1% slope min, 5” concrete composite floor
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aluminum ridge cap
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framed dropped ceiling, perforated aluminum panel system, powdercoat
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exterior wall assembly: large format GFRC cladding, liquid applied sealing layer, 3/4 “ exterior grade sheathing, 2x steel stud framing, 1” rigid insulation, 5/8” gyp
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rigid insulation
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ground floor dropped ceiling system: suspended semi transluscent polycarbonate panel system, finish similar to gfrc panels
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steel frame, see engineer drawings
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outrigger
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combination kitchen exhaust and make-up air hood
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double glazed sliding window unit
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water supply
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recessed fire sprinkler system
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3” diameter drain
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polished concrete at ground floor
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recessed led task lighting
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interior floor assembly at kitchen: concrete/epoxy flooring system, concrete composite construction
physical model - elevation
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FLOAT SPRING 2017 | ARCH 229 LISA IWAMOTO UC BERKELEY
Museum of Craft and Design Architectural Pavilions - Experiments and Artifacts The design for Float aimed to both adhere to and question the idea of the architectural pavilion. The design grew from the outcome of a traditional nine square grid exercise. The final pavilion was then projected back onto itself in isometric views to arrive at its final panel system. ​ Team Ryan Alexander, Setareh Barimani, Jordan Cayanan, Nicholas Harvey-Cheetham, Laura Cuconati, Barrak Darweesh, Felicia Fang, Jeremy Ferguson, Chengcheng Huang, Kyungmin Hwang, Taewook Kang, Sangwon Kim, Hanwook Kim, Heewon Lee, Ting Tina Lee, Yang Liu, Miguel Nieto, Farida Radwan, Ernest Theurer, Yang Xie, Natalie Yu, Mauricio Zamora Tasks Metal panel fabrication, internal structure fabrication, build and install
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top (left)
above (set of 4)
completed installation
elevation drawings - facade studies showing top and bottom pieces of pavilion
bottom (left to right)
lower (set of 4)
initial tension column test
projection drawings - highlighting oblique projection used to determine layout of aluminum panel system
internal structure & tension system full scale column test tumbled projection drawing 1 tumbled projection drawing 2
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IN PROGRESS
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above
above & right
a proposal for LACMA - site model media: steel, laser cut plywood collaborators: Lee Kuhn
thesis - instruments for perception - #1 media: steel, cherry, aluminum, surface inducer, contact microphone
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AESOP NW 23rd ARCHITECT: JOHN RANDOLPH FEB 2014 - JUNE 2014 PORTLAND, OR
The environment for NW 23rd stemmed from an acknowledgment of Portland’s shipping and logging history. To blend both history and Aesop together, maritime canvas was chosen as the primary material to provide a soft and ephemeral space. Quilted sheets line the walls which blend into a ceiling of taut white ropes. Small accents of steel act as threshold between surfaces and provide areas to hang a simple system of shelves that are also wrapped in the same canvas. A reclaimed trough sink and surgical lamp act as the centerpiece to the experience of Aesop. This allows for a visual engagement both in and out of store. To tie the palate together, a custom LED light fixture above the rope ceiling washes the space with a warm light.
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Tasks: Worked alongside John Randolph to assist in, Schematic Design, Design Development, Rendering, Construction Documents, Construction Administration, Installation of Canvas Walls, Build and Install of LED Light Tube, Build and Install of String Ceiling
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AESOP West End ARCHITECT: JOHN RANDOLPH FEB 2014 - JUNE 2014 PORTLAND, OR
With a continued recognition of Portland’s historical lumber industry, Aesop West End explores a darker approach to its sibling on NW 23rd. The existing space provided a little more room to work with and the ability to pull light through the double-height windows. The use of Douglas Fir is in dialogue with the surrounding context and is finished through Yakisugi, a traditional Japanese method of wood preservation. The material is used throughout to provide visual simplicity. Similar to NW 23rd, West End is focused on a repurposed trough sink that calls to the activity of the store. The patina of the metal merges with the floor becoming a display for the multiple layers of time. In juxtaposition to the sink, a saw-tooth product display system responds to the position of the store and provides movement from front to back. Aesop West End becomes a space rich in both history and experience.
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Tasks: Worked alongside John Randolph to assist in, Schematic Design, Design Development, Rendering, Construction Documents, Construction Administration,
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AESOP Silver Lake ARCHITECT: JOHN RANDOLPH FEB 2014 - JUNE 2014 LOS ANGELES, CA
The design for Aesop Silver Lake took a minimal material palette of Black basalt, Douglas Fir, and lime washed gypsum, to create a tactile environment to embody the Los Angeles Basin. Since the original space was lacking in many areas, the renovation provided a perfect opportunity to bring in more natural light and improve thermal comfort. A new dropped reclaimed wooden ceiling provided space for insulation and mechanical while allowing for an updated skylight that references the works of James Turrell. The sink and Point of Sale extend from the basalt floor system but are positioned obliquely to give movement to the relatively small space. A warm glow emanates from the light tubes and faucet system to wash the space and create a soothing backdrop to the bold materials.
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Tasks: Worked alongside John Randolph to assist in, Schematic Design, Design Development, Rendering, Construction Documents, Construction Administration.
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EXTRACURRICULAR SURFING
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INDUSTRIAL DESIGN
Brought on board to aid in 3d modeling for the DubZero swimfin. Adjustments were made to the ankle strap and foot pocket that fit the needs of David Hubbard and helped to get production back on track.
Photo: Bryce Johnson
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