Matthew Ferguson Architectural Portfolio 2016

M AT T H E W FERGUSON LEED Green Associate O.A.A. Student Intern

MASTER OF ARCHITECTURE PORTFOLIO

matt.d.ferguson@hotmail.com +1 (613) 985-0193 572 Rankin Crescent Kingston, Ontario K7M 7L4

ABOUT ME

The following portfolio contains selected projects from my undergraduate studies at Ryerson University, as well as a sample from my professional work.

I am eager to pursue the vast and enthralling profession of architecture. I believe that great design results from an inherent curiosity in all things, and am keen to expand my skillset, taking on new challenges along the way. I pride myself in my attention to detail and my ability to use high levels of pressure as motivation to produce my best work.

I am currently completing my fourth and ďŹ nal year in the Bachelor of Architectural Science program at Ryerson University.

I have conducted internships with Shoalts and Zaback Architects Ltd. in Kingston, ON, and with SSG Architecture Inc. in Toronto, ON. I sincerely hope that you enjoy the samples of my work enclosed in this portfolio. If you require any further information on myself or any of the projects included, please do not hesitate to contact me.

Matthew Ferguson

CURRICULUM VITAE

CONTACT

MATTHEW FERGUSON matt.d.ferguson@hotmail.com +1 (613) 985-0193

LEED Green Associate O.A.A. Student Intern

572 Rankin Crescent Kingston, Ontario K7M 7L4

EDUCATION

RYERSON UNIVERSITY | TORONTO, ON Bachelor of Architectural Science

2012 - 2016

[In Progress]

EXPERIENCE

SSG ARCHITECTURE INC. | TORONTO, ON Architectural Intern

08.2015 - Present

Schematic design and design development. Resolving issues pertaining to building code, bylaws and accessibility standards as applicable to Ontario and Toronto. Producing construction documentation, site instruction drawings, and tender documents for various college and university projects in Toronto.

SHOALTS & ZABACK ARCHITECTS LTD. | KINGSTON, ON Architectural Intern

05.2015 - 08.2015

Was responsible for the development of several institutional and large scale residential projects from the schematic design stage through site plan approval with minimal supervision. Interacted with clients, engineers and site planners, as well as producing and orchestrating real-time and still visualizations for various projects.

SHOALTS & ZABACK ARCHITECTS LTD. | KINGSTON, ON Architectural Intern

06.2014 - 08.2014

Documented and produced existing condition drawings, developed design iterations and visualizations for presentation. Created interactive 3D presentations for the resolution of design requirements with clients, for university, college, and high schools in the Kingston area.

QUEEN’S UNIVERSITY | KINGSTON, ON Freelance Graphic Designer Produced new logo designs for summer exchange programmes, including several iterations for digital, print, and branding purposes.

SKILLS

AutoCAD, Rhino 3D, Vray, Revit, Photoshop, Illustrator, Indesign, Sketchup, Thea Render, Lumion, Microsoft Office

INTERESTS

Landscape photography, music, autodidactism

PORTFOLIO

https://issuu.com/matthew.ferguson

05.2013 - 08.2014

1.

SHELTER HOUSE

2.

DUNDAS-SHERIDAN LIBRARY

3.

WARMING HUT

4.

TRANSMUTE

5.

SMART FORMWORK

6.

ROOT THEATRE

7.

THE FORM EXHIBITION

8.

PHOTOGRAPHY

9.

PROFESSIONAL WORK

1.

SHELTER HOUSE Fostering Tight Knit Suburban Family by Injecting the Masterplan with Privacy and Intimacy

Winter Win terr 20 te 013 3 In Ins nstructo nst tructo ctor: r: Dr. Le r: Leila ila a Fa Farra rrra ah Softwa Sof t re:: Au tw twa Autoc tocad, toc ad Rh Rhino ino no n o, Vray Vray r y

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SECLUSION IN THE SUBURBS

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Looking to the Outside, Inside to Find Famillial Values and Tranquility

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LV.1

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GARAGE

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MAIN ENTRANCE

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LIVING ROOM

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KITCHEN

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DINING ROOM

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PATIO

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INNER LAWN

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DOCK

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READING ROOM

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BEDROOM

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BATHROOM

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MASTER BEDROOM

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EN SUITE

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ROOFTOP PATIO

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ROOFTOP DECK

Rather than the provision of a hiding place, in this case seclusion and privacy are seen as results of intimacy.

Beyond the tangible relationships to the street and public realms, the home fosters privacy through familiarity and intimacy.

The house becames an all encompassing wooden nest in which shelter may be taken from the cluttered disorder of the public realm.

LV.2

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The Townhouse project became a study in materiality and light. A long, thin site is anked by 4-story townhouses on the East and West. This led to the development of two small masses to allow full daylight penetration from North, South, and courtyard facing fenestration. The Northern volume is offset vertically by 2.4 metres to connect the courtyard with the Northern canal and then pulled back from the Eastern wall to create continuous visual access to the water from the Southern volume.

The house and it’s spaces revolve around a central courtyand, a portal to the outdoors which cannot be polluted by public interference. This space is equally suited to private social gatherings for the boisterous family, or to the quiet tranquility desired by an introvert.

NORTH FACADE ACADE

CO OURTY YARD AR FACAD ACAD CA E

SOUTH FACADE ACADE

FORMING LANGUAGE Detailing and Construction Process as a Formation Factor for Aesthetics

Rough board forming creates a negative imprint of the dimensional lumber. Textural imprints act as a memory of construction. Rather than attempting to conceal its birth, the house celebrates it.

The same dimensional lumber is used to form the porous exterior elevations.

These boards which formed the concrete feature walls make up the array of pillars which support it. These wood boards are not an aesthetic choice. It is their virtues that the design celebrates.

As the wood louvres begin to fade and desaturate over time they can be individually replaced by the owner, replacing the single toned facade with a patterned mix of old and new wood.

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A 25 foot wide site (7620mm) allowed for an uninterrupted structural span using W300 structural steel members in the transverse direction. This allowed for free arrangement of rooms and space without need for loadbearing walls.

The beams, ďŹ nished in black, suspend the secondary mass above the courtyard, and contrast the bright, matte ďŹ nish wood cladding.

Dense screens of dimension lumber act as a privacy screen and light diffuser for window walls on the primary mass.

The theme is continued in the rooftop patio and courtyard deck. 2x4 spruce pine ďŹ r is easy to source and encourages the homeowners to actively replace weathered boards, creating a dynamic facade pattern of old and new lumber as the home ages.

Planters with regional plant species and long grasses are located at the bottom of the feature wall in the courtyard, and on the north side of the rooftop patio. The lawn has been intentionally removed from the street and placed within the courtyard to provide a secluded area for both entertaining and relaxing during the summer on a site with dedicated backyard facing onto the water.

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DUNDAS-SHERIDAN LIBRARY Design Identity as a Product of the Language of Detailing, the Constraints of Economy, and the Process of Construction.

Wii ter W Winter Win er 20 2014 14 4 Ins nsstru tr cto to or: r Hit H esh h Doshi Dosh Do sh shi hii Sof Sof o twa warre wa re: Au Autoc toc cad, Rh Rhin ino,, Vrra ino ray ay ay C la Co Col lab a ora ator to ors: s:: Mar Ma cus cu Pa Paris risii

DUALITY Balancing Visual Simplicity with Programmed Complexity.

Little Portugal’s new library demanded a compromise.

Traditional portugese immigrants in the neighbourhood are learning to live with the influx of young professionals into the neighbourhood.

Likewise, the library had to balance its public spaces with the commercial Centre for Social Innovation [C.S.I.] that was a key part of Toronto’s program for the building.

GROUND

2/3

The basement through the third floor constitutes the district library. A branching vestibule allows 24/7 access to the C.S.I. elevator which services the fourth and fifth floors, as well as the coffee shop.

The West volume’s square plan twists and is unveiled by curtain walls to reveal the Library’s open place workspaces. The East volume houses the rectilinear bookshelfs, and the double height fourth and fifth floor lobby for C.S.I. meetings and conferences.

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WALL COMPOSITION

1.

500MM KALZIP ALUMINIUM PANEL

TOP LEFT - WINDOW HEAD

The envelope system for the library

2.

100MM RIGID INSULATION

BOTTOM LEFT - WINDOW SILL

consists of a light gauge steel framed

3.

AIR / VAPOUR RETARDER

TOP RIGHT - PARAPET

backwall, an air/ vapour barrier and 4”

4.

150MM RIGID INSULATION

BOTTOM RIGHT - FLOOR TO WALL

of continuous rigid foam insulation. The

5.

6” LIGHT GAUGE STEEL STUD

exterior finish is a Kalzip aluminum panel

6.

1/2” OSB SHEATHING

rainscreen, with vertical aluminum fins

7.

STRUCTURAL STEEL TOP PLATE

providing the architectural character of

8.

1/2” PAINTED GYPSUM FINISH

the finished skin.

9.

STEEL ANGLE [OFFSET]

DESIGN RATIONALE

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KAWNEER AA5450 HEAD

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25MM DOUBLE LEAF GLAZING

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KAWNEER AA5450 SILL

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100MM LOOSE LAID GRAVEL

Where natural, direct light is desired the

14.

3 PLY BUILT UP BITUMINOUS MEMBRANE

fins terminate to reveal the windows, but

15.

CORRUGATED STEEL DECKING

on the East volume where the stacks

16.

W300 STEEL BEAM

are housed these fins run continuously

17.

300MM X 150MM STEEL CHANNEL

over the windows to prevent glare and

18.

WEEP HOLE W/ DRIP EDGE

overexposure of the books to direct

19.

ARCHITECTURAL FIN STRUCTURAL CONNECTION

sunlight.

20.

THERMALLY BROKEN HORIZONTAL GIRT

where the perceived porosity of the

21.

100MM POLISHED CONCRETE FINISH

building depends on the viewing angle

22.

400MM OPEN WEB STEEL JOIST

in relation to the fins.

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ARCHITECTURAL FIN

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ALUMINUM PARAPET CAP

This also creates a condition

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3.

WARMING HUT Catalyzing Play and Warmth in the Midst of the Frozen Tundra

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1 1/4” EXTRUDED PLEXIGLASS TUBE

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1/2” PLYWOOD

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2” X 4” SPRUCE PINE FIR

4.

RUBBER STOPPER

5.

1” EXTRUDED PLEXIGLASS TUBE

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TRANSVERSE ELEVATION

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LONGITUDINAL ELEVATION

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PERSPECTIVE PLAN

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COLD WARMTH Using the Cold Elements of Winter to Radiate Warmth and Foster Playfulness.

Based on the colloquial nickname “Winterpeg”, our proposal embodies the spirit of the snowy city. The sliding acrylic pegs encourage visitors and sightseers to interact and leave their mark on the installation. The facades will bear the marks of playful name writing, as well as the splayed outline of overly enthusiastic skaters.

The central fire casts a warm glow onto the yellow interior, inviting passersby to dethaw their fingers by the warm hearth. Meanwhile the white exterior walls reflect icy landscape surrounding the hut.

During the day the clear pegs make reference to the icy river, breaking up the visual form of the hut with transparency and reflection.

However on cloudy days, and when the sun’s light dissipates, the acrylic tubes will burn bright with the fire’s reflected glow. When the gloom of winter reaches its peak, the hut will glow warm and bright as a beacon, beckoning hikers, skiers, and skaters to seek shelter within.

4.

TRANSMUTE Exploring an Open Dialogue Between Cold and Warmth

F ll 2015 Fa Fal 1 15 IIns nstr tru ru uct cto cto tor: Vi Vincen Vin cent Huii cen Sof oftwa t re twa re: e:: Au Autoc utocad, toc o ad, ad d Rh hino no, Vray no no, ray,, Pho hotosh hot o ho os osh op p Co Col Co olllla lab abor ora ator tors: s: Kav avvosh osh Ma ale lec ec cki ki

“TO CHANGE FROM ONE NATURE, SUBSTANCE, FORM, OR CONDITION INTO ANOTHER”

THE ICE CUBE Tur urnin nin i g the the h Phy Physic sical sic al Tra ansm muta u tio on of Watter and an Ic Ice e into n a Bea Beachf chfron chf ron nt Wint Wint inter er Refuge Re Ref uge

FLOOR PLAN

Surrounding the life guard stand, the melted pocket of shelter is encased by a frozen geometric cube. It’s presence on the beach will be felt as both a foreign object, and a familiar one.

While its cubic exterior contrasts the fluid snow drifts and pockets of footprints, the white polystyrene reflects the crisp white surface of frozen Lake Ontario. On the inside, smooth contours carved into the cube reveal the warm centre. The polystyrene acts as a perfect insulator against the cold winds of the beach, and ensures that the contoured seating will be a comfortable retreat from harsh lake conditions during even the coldest months of the winter.

ELEVATION / SECTION

The apparent cause of this melted haven within the monolithic ice cube is the radiant red lifeguard station at its centre.

Once you have warmed yourself in its centre, climbing the station yields an unobstructed view of the wintery beach.

5.

SMART FORMWORK Reinventing Industry Methods in Hopes of a Brighter Future

Fall 2015 Instructor: Vincent Hui Software: Autocad, Rhino, Vray Collaborators: Alborz Razavitousi

WASTE NOT Combating Environmental Waste and Pollution Through Industrial Innovation Traditional methods for forming freeform concrete panels involve 3 stages of waste. A CNC mockup, a resin mold and its formwork. None of these are reusable.

Our parametric system for prefabrication allows for the generation of reusable curvilinear forms, adaptable for any shape required. Its implementation will result in large savings on labour, materials and time for fabricators, as well as project stakeholders.

Poured Concrete After curing, a near perfect finish can be achieved. The result is a smooth surface free of defects or blemishes. For structural purposes, fibre reinforced concrete can achieve incredibly thin and complex sections using the Smart Formwork process with ease.

Electrorheological Membrane The integral component of this concept is a surface membrane containing electrorheological fluid.

When subjected to an electric field it stiffens into a semi-solid, creating a smooth, firm surface for concrete formation. Upon the removal of the electrical stimulus, the membrane reverts to it’s natural fluid state, ready to be used again.

Custom Piston Heads The support bed is fixed to a matrix of hydraulic pistons which give the overall shape to the formwork.

They allow for variations in surface and scale, depending on the size of the matrix and the piston sizing.

Hydraulics ensure ease of use, long-term durability and ease of maintenance. Custom gel heads reduce friction on the membrane and distribute loads evenly.

Fixed Hydraulic Piston Base The pistons are linked to a console for data to input using CAD or integral software. Data points are translated into hydraulic pressures to generate the form required.

6.

ROOT THEATRE Reinventing A Typology Through Design Manifesto

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BACK TO NATURE Craf Cr afti af ting ti ng g Mem emor o ab or able le Perf Pe rfor rf orma or manc ma nces nc es by Re Remo movi mo ving vi ng Soc ocia iall ia Cont Co ntex nt ext. ex t.

In the city, context and expectations shape the audiences experience in performance spaces.

For the artist to truly craft their performance, the music venue must be removed from the context of human society. The root of human musical experience is in nature, in the bird’s song and the sighing of trees.

The Root Theatre is symbolic of a return to roots. The artist is removed from visual communication with the audience, sheltered by copper tubes dug into the earth. Above these ‘roots’ hang copper canopies which complete the conceptual form of this metallic tree.

The canopy reflects the directional resonances of the musician below, diffusing them throughout the clearing while imbuing them with a metallic resonance.

7.

THE FORM EXHIBITION Emphasizing the Complexity of Design by Exhibiting it in Relation to it’s Divergence from Primitive 3-Dimensional Shapes

South Elevation

Roof

Fall 2015 Instructor: Ivan Martinovic Software: Autocad, Photoshop

Lvl 5

The final exhibition floor exhibits the dome. A heightened sense of grandeur and awe is created by the convergence of circular walls on a single point overhead.

BUILDING THEORY Delineating Design Process Through the Divergent Process

Lvl 4

The second exhibition floor exhibits linear space.

Straight walls converging on a vanishing point exhibit create a sharp contrast between wall and floor.

Lvl 3

The first exhibition floor exhibits limitless space.

Continuous cyclorama walls in the middle of the floor plate create spaces devoid of hard edges or shadows.

The Form Exhibition is a showcase for architectural forms and ideas.

It first makes architectural design approachable by relating architectural case studies to common spatial and geometric roots. The exhibits then use these common ancestries to celebrate their differences.

On one level it is an exploration of design as a divergent process from 3-dimensional tropes. On another, it is a collection of physical spaces, best understood by experiencing them.

Lvl 1

As a container for 3-dimensional forms, the Exhibition called for pure massing, it’s translucent glass skin rejecting dimensionality. The aerogel which fills its glass envelope at times reflects, and at times refracts light.

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The result is a building which celebrates both the complexity and simplicity of architecture. The experience of architectural space is intuitive to us. However the design of these spaces can be almost esoteric.

8.

PHOTOGRAPHY Exploration in Composition and Ephemeral Spaces

Summer Sum mer 2014 2 14 20 Nik kon D31 D 00 0

DOCUMENTING THE EPHEMERAL A te At emp m ti ting to Ca ting C pttur ure e Em Emottio Emot iona onal nal na an nd Sp pat a ia al Re Reso Reso sona na nanc anc nce in the he Sti t ll Im mag age e Fo orm rmatt.

During the summer of 2014, a friend and I embarked on a two-week journey to Iceland. We forsook hotels for our tents, and buses for a station wagon. Our goal was simply to circumnavigate the country. Along the way we ate and drank with local ďŹ shermen and farmers.

From Reykyavik to the arctic circle and back, we were witness to the spirit of the nation.

During this time period I produced a photo essay with the hopes of documenting the stoic grandeur which had drawn us to Iceland.

The essay become a documentation of the ephemeral beauty of the landscape.

NĂĄmafjall Mountain

DALVIK

JÖKULSÁRLÓN

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PROFESSIONAL WORK Gibbard Factory Lofts

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CORNER UNIT

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AERIAL VIEW

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TOWER ELEVATION

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SITE PLAN

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INDUSTRIAL LOFTS H ri He rita tage ta ge e int n o a Pa arrtt of Canadian n Futu Fu turrre tu e es

I was tasked with developing the design for a new masterplanned residential project on the existing Gibbards Furniture Factory.

This involved extensive correspondence with clients, engineers, site planners and realty agents, as well as being responsible for producing design, zoning, and site documentation, as well as visualizations for the schematic and design development phases.

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Based on the historic Gibbards Furniture Factory in downtown Napanee, I developed the loft tower and surrounding townhouses to reect the industrial heritage of the site, as well as to not impose on the existing buildings.

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matt.d.ferguson@hotmail.com +1 (613) 985-0193 572 Rankin Crescent Kingston, Ontario K7M 7L4