Thomas Ferguson Portfolio by Tom Ferguson

POR TFO

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USON G R E F S A M O H T

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RESUME

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DISPLAY CREATE

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RE-FEST

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CEILANDIA

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PORTAL

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THOMAS S. FERGUSON

CONTACT

tferguso86@gmail.com +1 281 705 1898

EDUCATION

University of Houston Gerald D. Hines School of Architecture Masters of Architecture, 2018 Ensa-V National School of Architecture Versailles Urban Studies Exchange Program, 2017 Purdue University Building Construction Management, 2009

SKILLS

Auto CAD REVIT 3DS Max Rhino Grasshopper Adobe Suite P6 Scheduling

EXPERIENCE

2013 - 2015

Project Engineer, Chevron Phillips Capital Projects 100MM: Preconstruction involving budgetary estimates, programming, site planning, drawing package reviews, zoning, permitting and bid procurement for capital projects

Architect Owners Rep, Chevron Phillips Chevron Phillips Office Space Buildout: 37,500 SF buildout of new interior office space and training facitlities dealing directly with HOK architect and Harvey Builders contractor Chevron Phillips HQ Mold Remediation/Cafe Remodel: Removal of large traces of mold inside cafe walls and remodel of deconstructed areas

2012 - 2013

Project Estimator, WorleyParsons Generated industrial detailed class estimates implimenting equipment lists, P&IDâ&#x20AC;&#x2122;s, discipline MTOâ&#x20AC;&#x2122;s, equipment quotes and major bulk quotes

2011 - 2012

Business Development Coordinator Infrastructure & Ennvironment, WorleyParsons Prepare proposals and bids for prospective work with future clients, assist management in preparing/instituting commercial strategies and analyze current and emerging markets to developing business opportunities

2009 - 2011

Project Controls Specialist, WorleyParsons Montly accounting reporting of project finances, document and routing of invoices and updating PMIS cost systems for accurate reporting

2008

Assistant Project Manager, SpawGlass Construction

2007

Assistant Project Manager, D.E. Harvey Construction

2006

Architectural Draftsmen, WorleyParsons

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DISPLAY CREATE HOUSE Display Create House draws from the essense of the Eames House and is reconstructred to follow a program that cultivates creative thinking, creative living, and a creative life. This framework is rooted in five distinct programming objectives. Stimulation, playfulness, isolation, expression and recharge. These five elements help to generate Display Create House all the while adapting architecture from them. The process of this project in of itself emphasises creative thinking. A creative design process that starts from an idea. That idea is developed through research, inspiration, sketching, models, collaboration and precedence; all of these influences combine to construct the architecture and program of Display Create House.

Precedence Study

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Model Study

Section Study

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Massing / Program Study

Longitudinal Section Perspectives

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RE-FEST RECYCLING MUSIC FESTIVAL RE-Fest represents an adaptive reuse project that seeks to reenergize Papetterie de Nanterre. The 180,000 sqm site has an extensive industrial history that ecompasses multiple buildings. The Papetterie was built in 1904 in a strategic location near to the Seine, which provided the water supply essential to manufacturing paper. and transportation of raw materials. Its operations incorporate buildings that house the various stages of the process to manufacture paper. This process of

manufacturing ultimatley drives the concept of RE-Fest. The process of bringing people to the site draws directly with the manufacturing of paper. By directing visitors through the Papetteire it engages the entirety of the site and allows for specific programming of each building. Activating the site during the day and the night gives even more flexibility and considerations.

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0.2 Nanterre is a city to the west of Paris along the central axis that originates from the center of the city. Along this axis exist iconic monuments to Paris such as Musee du Louvre, Arc de Triumphe, and La Grande Arche. Each monument has a place in time and purpose. Nanterre represents a time of the industrial age of France where most of the factories have been left abandoned.

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EXISTING BUILDINGS

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2 8 5 min

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1 1. Workshop 2.Paste factory 3. Forge Metal Factory 4. Paper rolls storage 5. Paper bags factory 6. Paper Factory 7. PAPER PRODUCTION 8. MACHINERY ROOM

500m

DEMOLITION

3 3

2 8 7 6

1 1. Workshop 2.Paste factory 3. Forge Metal Factory 4. Paper rolls storage 5. Paper bags factory 6. Paper Factory 7. PAPER PRODUCTION 8. MACHINERY ROOM

500m

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Circulation Section Studies

With such a large site circulation was important to be able to access the entirety of the site from above, below, inside and out. Materiality was taken into account as each building had its own sense of place and beauty to be experienced. Finally the relationship with time and circulation gave duality to the site in how it could present varying experiences depending on the time of day.

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By means of a festival the site becomes activated. Wooden pavilions are placed initially throughout the grounds supporting various programs. The key means of circulation is provided by a bridge that penetrates the site from east to west  all the while symbolizing the process of manufacturing by sending visitors through once active factory buildings. From this process waste is collected and stored to be used for new materials. A workshop on site will utilize these materials to   create new forms. 



CONCEPT / RECYCLED ARCHITECTURE Concept





 CONCEPT / RECYCLED ARCHITECTURE CONCEPT / RECYCLED ARCHITECTURE  

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

 A FESTIVAL MADE BY ITSELF

CONCEPT / RECYCLED ARCHITECTURE

  



  

 A FESTIVAL MADEA FESTIVAL BY  MADE BY ITSELF ITSELF   A FESTIVAL MADE BY   ITSELF  



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

 







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 



   

       

   

CONCEPT / RECYCLED ARCHITECTURE    

    



   



   





   





 



GROWING FESTIVAL

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 

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   

WOODEN      STRUCTURE     WOODEN WOODEN PAVILIONS AS A SKELETON       STRUCTURE STRUCTURE     WOODENAS A SKELETON PAVILIONS AS A SKELETON PAVILIONS        STRUCTURE     PAVILIONS AS A SKELETON   

  

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

       

  

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Wooden Pavilions

CONCEPT / WOODEN PAVIL

USE : MARKET DIMENSIONS : 344 sqm QUANTITY : 11 USE : MARKET MaTERIAL : WOOD DIMENSIONS : 344 sqm QUANTITY : 11 MaTERIAL : WOOD

USE : ROTATING DOORS DIMENSIONS : 13 m QUANTITY : 7 DOORS USE : ROTATING MaTERIAL : WOOD DIMENSIONS : 13 m QUANTITY : 7 MaTERIAL : WOOD

USE : ENTRANCE RAMP DIMENSIONS : 275 sqm QUANTITY : 1 RAMP USE : ENTRANCE MaTERIAL : WOOD DIMENSIONS : 275 sqm QUANTITY : 1 MaTERIAL : WOOD

USE : ART GALLERY DIMENSIONS : 62 sqm QUANTITY : 31 USE : ART GALLERY MaTERIAL : WOOD DIMENSIONS : 62 sqm QUANTITY : 31 MaTERIAL : WOOD

USE : EXPERIENCE DIMENSIONS : 4 sqm QUANTITY : 100 USE : EXPERIENCE MaTERIAL : WOOD DIMENSIONS : 4 sqm QUANTITY : 100 MaTERIAL : WOOD

USE : STAGE DIMENSIONS : 640 sqm QUANTITY USE : STAGE: 4 MaTERIAL : WOOD DIMENSIONS : 640 sqm QUANTITY : 4 MaTERIAL : WOOD

CONCEPT / WOODEN PAVILIONS

USE : ROTATING DOORS DIMENSIONS : 13 m QUANTITY : 7 MaTERIAL : WOOD

USE : ENTRANCE RAMP DIMENSIONS : 275 sqm QUANTITY : 1 MaTERIAL : WOOD

USE : GUINGUETTE DIMENSIONS : 290 sqm QUANTITY : 1 MaTERIALs : WOOD +FABRIC

USE : BRIDGE DIMENSIONS : 750 m QUANTITY : 1 MaTERIAL : WOOD

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Festival Process

CONCEPT / PROCESS CONCEPT / PROCESS

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RECYCLED ART EXHIBITION

Festival Map

RE’FEST

RECYCLING MUSIC FESTIVAL

CERCLE STAGE

INDOOR STAGE

ATM

CENTER STAGE FRONT STAGE

ATM

ENTRANCE ENTRANCE

TICKETS

ART GALLERy

INFOS

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BIKE PARK

DISABLE ACCESS

BAR

MOVIES

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RESTAURANT

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FIRST AID

ATM

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TOILET

WATER REFILL

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FestivalEntrance

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Festival Interior

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CEILANDIA URBAN STUDY An exchange program brought me to Brasil to study for one month. Brasil as a country is extremely diverse and covers a large area. Ceilandia is a city located in the interior near the capital, Brasilia. Its creation was to alleviate the shanty towns surrounding Brasilia in the late 1960â&#x20AC;&#x2122;s. It represents a direct response from the government to relocate the poor

into over 17,000 lots outside the city. The layout interested me in its rational approach and subsequent irrational responses over time from my findings. The color and textures are beautiful and encompassing. A sense of time fills every inch of the community, degradation is in full effect. The city feels as if it was built in What I have examined are four

Urban Layout

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Typology Locations

Commercial

Residential

Resdential Parry Wall

Residential Border

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Commercial Typology

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Residential Typology

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Resdential Parry Wall Typology

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Residential Border Typology

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PORTAL Whether day or night, rain, sun, or 150-mph hurricane wind gusts, the Port of Houston Authority operates 24 hours a day, 365 days a year. The University of Houston Graduate Design Build was tasked by the Port of Houston to provide a new Entry Canopy at the main public entrance. Our design team met the demands of the Port while remaining a symbol of prosperity and progress. The project consisted of schematic design, detailed design, fabrication and final erection of the

steel canopy. The design was based on site parameters and client response. The canopy overhang covers the most frequently accessed areas of the security checkpoint. Two formal columns in compression support the bulk of the structure while slender pipe-columns in tension anchors itself from upward forces. Four steel trusses cantilever the load above the lanes.

Entrance Analysis

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Final Model

Model Study

Structural Design

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1 Rear â&#x20AC;&#x153;tensionâ&#x20AC;? columns and middle â&#x20AC;&#x153;compression columns are first placed in piers. 2 Back span trusses are then attached to the columns. 3 Contilever span trusses connect to back span trusses via a connection plat. 4 Composite steel beams span between the trusses. 5 A composite deck assembly is inserted between the composite beams. 6 Wood ceiling, electrical conduit and led lighting is installed last.

Structural Details

Fabrication

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Final Installation Portal Entry