amanda moschel portfolio
DESCRIPTION
Collection of works 2005 - 2010TRANSCRIPT
CONTACT
Amanda Moschel519 Riddle Rd. Apt. 1Cincinnati, OH 45219
EDUCATION
UNIVERSITY OF CINCINNATI | CINCINNATI, OHIO
Master of Architecture expected June, 2012
UNIVERSITY OF ILLINOIS | URBANA-CHAMPAIGN, ILLINOIS
B.S. Architectural Studies, May 2009
Participant in the 2007-2008 Study Abroad Program in Versailles
Gargoyle Architecture Honors Society, member
James Scholar Honors Program, member
Architecture Advisory Committee, member
Selected art work on display at Krannert Art Gallery in Champaign
Recipient of the Frank M. and Jennie B. Long Travel Scholarship
EXPERIENCE
UNIVERSITY OF CINCINNATI | TEACHING ASSISTANT | FALL 2010
Assisted Professor Elizabeth Riorden with undergraduate history course spanning ancient to
medieval architecture
JOHNSTON MARKLEE | LOS ANGELES, CALIFORNIA | WINTER + SUMMER 2010
Built and developed study and presentation models
Created and developed 3D models and renderings
Selected material palette for a home renovation
Designed graphics for large scale installations
DLM ARCHITECTS | SKOKIE, ILLINOIS | SUMMERS 2006 + 2009
Prepared schematic design and design development drawings
Edited construction documents for various projects including scientific laboratories, office
renovations, well houses, athletic centers, and shared public properties
TIMOTHY MORGAN ASSOCIATES | LINCOLNSHIRE, ILLINOIS | SUMMERS 2007 + 2008
Developed construction documents, BOMA calculations, presentation boards
Drafted and edited architectural drawings and construction documents
PROGRAMS
AutoCAD, SketchUp, Revit, Rhino
Adobe Photoshop, Illustrator, InDesign
iRender, Kerkythea, Microsoft Office
ACADEMIC TIMELINE
8 SPACE
THE BATH HOUSE
L’ÉCOLE DE CUISINE
CRANBROOK WELLNESS CENTER
EXPO MILANO
METAL / JEWELRY WORK
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EXPO MILANO 2015
Arch 713
Fall 2010
Professor Edson Cabalfi n
University of Cincinnati
The theme of the 2015 Milan Expo is “Feeding the Planet/Energy for Life,” and the parameters of the studio focused on an
integration of branding, architecture, and graphic design. I chose to look at a subtheme of solidarity and coming together
for my design of the US Pavilion, which brought my research towards the sustainability of food production and transportation
today at a global scale. The project mission is to educate visitors about America’s contribution to food in the world and to
leave them feeling inspired with an understanding of American interdependence and a sense of being part of something
bigger than themselves. The average age of the world population is over forty, and developing a different set of values and
new perspectives on the world. They are looking to feel connected to something spiritual. At the US Pavilion, people will feel
a sense of lightness from a thinness of materials and technologies. A ubiquitous fi ber optic canopy constantly reinforces the
theme of interdependence and connectedness and places an emphasis on mutual dependency and solidarity. Visitors will be
educated about where food comes from in America and where America sends food. Visitors will learn and feel that America
is both an internally and externally cooperative nation, and part of a larger network. This will connect America with something
meaningful and global, and demonstrate a movement away from a super power and towards a piece of a larger whole.
interdipendenzaIL PADIGLIONE DEGLI STATI UNITI D’AMERICA
E X P O M I L A N O 2 0 1 5
EAST ELEVATION DAY TIME
EAST ELEVATION NIGHT TIME
EAST ELEVATION DAY TIME: INTERACTIVE MAPS
0.1 queuePeople prepare to enter the exhibit. Visitors are encouraged to
interact while waiting through installed games and a fi ber-optic
wrapped queue gate.
0.0 introduction + greeting
0.2 interconnection listSignage displays, maps and lists where in the words the exhibit
has traveled to and been displayed after the Expo. This is an early
example of interconnection.
0.3 personal electronic device handoutIntroduces electronics and how to use them. Language setup and
symbol customization. Handheld devices set a futuristic mood and
will allow for interaction with various digital exhibits. Interactive
puzzles and games in queue will offer an opportunity for new users to
adapt to the interface.
0.4 fi ber optic canopyThe canopy represents and reinforces web imagery and is the
manifestation of interconnectedness. The striations vary in height and
density, and literally wrap around exhibit components. The lights will
draw the eye upwards, and separate sky from ground with ethereal
imagery and a visual network.
1.0 from where does our food come?
1.1 from where?What fruits and vegetables does the US produce? From where
do we get our food? Maps and buttons engage visitors with the
exhibit because they require multiple people to operate and this
reinforces the concept of interdependence. The interactive maps use
touchscreen technology and connect to the users’ handheld devices
for more distant input.
1.2 from where??How does this information relate to the meat industry? Who does
US meat and dairy feed? How does US produce and grain feed
livestock? This critical, but rational, look at the meat industry sets a
state of transparency for the United States.
1.3 to where?Who does US produce feed? What produce is exported? Through
what methods is it preserved? Where does the produce end up?
What foods are preserved and what are the methods? Interactive
maps and buttons function similarly to exhibit 1.1.
1.4 to where??To what causes is US produce contributed? What foods are offered
in times of global disasters or emergencies? The exhibit explores
the large scale effects of US food production. Interactive maps and
buttons function similarly to exhibit 1.1.
2.0 how do we get our food?
2.1a introductionExplains the role of transportation to the food industry. Introduces
food tiers and cooperative interaction. Reinforces the idea of
interdependence at several scales.
2.1b sustainabilityCritically examines the sustainability of food transportation. Is it
socially responsible to maintain a diet of globally diverse foods?
Offers transparency and an objective look at the detrimental side
effects of the freight transportation industry.
2.1c cultureDescribes the cultural benefi ts of the diversity of food and the delivery
system. Offers transparency, an optimistic view, and potential
justifi cation of the existing paradigm.
2.2 - 2.6 interactive maps 1 thru 5How are foods transported? Where are they going? Ten interactive
fl oor projections (1.8 m x 5.5 m) answer these questions about fruit,
vegetables, grains, fi sh, and meat through different games and visual
displays. There are two maps for each category. One exclusively
regards the US, and the other presents a global perspective.
3.0 where does our food come from?
3.1 distribution pointVisitors are directed to one of three theaters. Handheld devices
explain directions and ticket information. US Expo employees are
available to offer assitance.
3.2 loungeRest areas available to visitors before entering the theaters. Furniture
glows and reinforces light imagery. US Expo service staff will
expedite drink and raw food orders.
3.3 theaterTen minute fi lm, with transformative potential, creates a strong
sense of interdependence. Features imagery of coral, webs, sand
and stone. River stones represent the part to a larger whole. Each
theaters seats 45 patrons.
3.4 kitchenSpace is organized into four zones: fruit and blended beverages, wine
and mixed drinks, raw food preparation, and cleaning.
4.0 memory garden
4.1 pavilion exitVisitors emerge from the darkness of the theater into light.
Employees facilitate the return of the handheld electronic devices.
4.2 gardenRock garden transitions visitors from the zen of the fi lm to the busy
main axis. Reinforces a sense of interdependence by engaging river
stone from fi lm as a solid object. Visitors are encouraged to take
an engraved river stone with them, which engages them with the
site and makes a memory that connects the United States with the
concept of interdependence.
0.1 queue: interact ive games
0.1
0.3
1.1
1.2
1.3
1.4
2.1a
2.2
2.3
2.4
2.5
2.6
2.1b
2.1c
3.1
0.2
3.2
3.2
3.2
3.3
3.3
3.3
4.14.1
4.2
4.2
CIRCULATION
ZONING
Food Transportat ionInteract ive Exhibit
Food OriginsInteract ive Exhibit
Second FloorSmal l Theater
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Lounge + Wait ing Area
Queue ( featur ing integrated gaming)
Memory Rock Garden
Kitchen
Interact ive Exhibits
Passive Exhibits
Kitchen
Rest Area
Queue
Exit
CURATORIAL PLAN
1.1 exhibit : interact ive maps
Hinged fi nger joints will allow container panels within the volume to be removed and reattached. They will also allow the detached panels to fold and create more fl exible display spaces. Steel pin will stiffen joints when reattached to the main container.
After panels are detached from the containers, the overal volume will need to be stiffened. A bolted joint like this will be removable, and leave space for panels to be reinserted.
Theater Container Volume
Extra Vert ical Components
Extra Horizontal Components
Combine to Create New
Spaces
Make a Div iding or Display Wal l
Fold to Create Int imate Display
Sett ings
Concept Detai l Concept Detai l
CRANBROOKWELLNESS CENTER
The Cranbrook Wellness Center attempts to interlace the seasonal richness of Michigan, the culture of Cranbrook, and
Cranbrook’s relationship to the fabrication industry of nearby Detroit with an architecture meant to inspire mental well-being
through texture, light, and color. The Cranbrook Art Academy has a rich history of handcrafts, and this lends itself to a set
of woven imageries which dictate the schematic design and are apparent at several different scales throughout the project.
The program is divided into seven bays, or strands, which are knit together by a transition space that runs in the opposite
direction. Spaces which require more privacy are placed along the north side, which is guarded by trees, and spaces with
a more public nature are strung along the Grand Allée. The envelope is composed of masonry cavity walls which block
east-west light and connect to precast hollow core roof and fl oor slabs, which provides a cavity through which the building
systems can be threaded. Gridded aluminum frames enclose the north and south sides, and allow for different insert
materials, arranged in a basket weave pattern, that are dependent on variables such as light and privacy. These windows
are operable, and allow for open air in the warmer months which can circulate up and through skylights which line the entire
corridor. Brick, which is commonly found as a wall surface at Cranbrook, is now composed as a fl oor material arranged in
a series of traditional crochet patterns and painted in various two-tone color schemes, which engage the colors of seasonal
site foliage against the highly textured, white, plastered masonry walls which capture shadows and create a canvas for the
seasons to change.
S / E / C I + II
Fall 2009 + Spring 2010
Professor Terry Boling
Professor Karl Wallick
University of Cincinnati
Roof Movement + Precast
Hollow Core Slabs provide
structure and an existing
cavity for systems to circulate
MEP/ Systems movement
through structural cavities
MEP/ Systems mesh
Masonry cavity bearing
walls allow for threading of
systems mesh
Transition Space weaves
organizational strands
together centrally and in three
directions
Organization, based on
program, building is divided
into seven “strands” or bays
Envelope, aluminum frames
allow for different insert
materials which follow a
weaving motion
Finish material is painted
brick in crochet patterns
Section Perspective
WIN
TER
SUM
MER
Model Perspective Bay Model Interior
Model Site Plan
Solar Gain Natural Ventilation Pathways
10” Precast Hollow Core
Slab with reinforced concrete
topping
CMU Cavity Bearing Walls
Precast Hollow Core Slab -
sits on foundation
Poured Concrete Foundation
Walls, below grade
pp g
Window Frames
Glass + Insulated Frame Inserts
Window Frames
PRIMARY STRUCTURE
SECONDARY STRUCTURE
TERTIARY STRUCTURE
SECONDARY STRUCTURE
PRIMARY STRUCTURE
PRIMARY STRUCTURE
PRIMARY STRUCTURE
10” Deep
8” Deep
8” Deep8” Deep
10” Deep8” Deep
10” Deep8” Deep
8” Deep8” Deep
10” Deep
8” Deep
ROOF DETAILScale 1/2” = 1’
1. White copper fl ashing
2. Plaster, outer layer
3. Plaster, backing layer
4. Roof Membrane, White
5. 2” Rigid Insulation
6. Vapor Barrier
7. 8” Rigid Insulation
8. 3” Concrete Topping Layer
9. 10” Hollow Core Slab, 8’ width
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ROOF DETAILScale 1/2” = 1’
1. White copper fl ashing
2. Parapet
3. 3” Rigid Insulation, ridged for drainage
4. Plaster, backing layer
5. Plaster, outer layer
6. 8” Rigid Insulation
7. Vapor Barrier
8. 3” Concrete Topping Layer
9. 10” Hollow core slab, 8’ width
10. CMU 8 x 8 x 16
11. Cavity, 1’ wide, mechanical chase
12. Mesh
13. Adhesive Layer
14. 1” x 3” Aluminum studs to fur out wall
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OUTSIDE
CAVITY
INSIDE
EXTERIOR INSULATION FINISHING SYSTEM
GROUND DETAILScale 1/2” = 1’
1. Cavity space
2. CMU 8” x 8” x 16”
3. Masonry ties
4. 3/8” Mortar layer
5. 1” x 3” Studs, fur out
6. Backing plaster layer, 1/2”
7. Finish plaster layer, 1/2”
8. Finish fl oor, face brick
9. 10” Hollow Core Slab
11. 3” Rigid Insulation
12. Poured concrete foundation
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TYPICAL SOUTHERN FACADE
Lower operable glazing to
allow light and cool air in the
summer
Insulated panels; amount of
SF can be adjusted based
on spatial variables
High windows allow well
shaded light and open in the
summer
Deep overhang designed to
allow direct gain in the winter
and block the high summer
sun
Arch 374
Spring 2008
Professor Alejandro Lapunzina
University of Illinois
The École de Cuisine is located in Paris’ 15th arrondissement on a site which had to incorporate an existing tree and park.
The studio focused on a design process established on conceptual project strategies and an exploration of the architectural
possibilities which spring from that. There was also an emphasis on site insertion strategies, development of a unique
building type, and integration of building systems. My project stemmed from Gestalt theory, which states that the whole
is greater than the sum of the parts. This lent itself to a sort of puzzle imagery, which dictated the schematic design of the
project. There was also an exploration of geometry and proportion, which has a strong relationship to the creation of a recipe.
L’ÉCOLE DE CUISINE
The Bath House is located in Paris’ 19th arrondissement. The assignment focused on developing a medium-scale building
within an urban context, exploring strategies of site insertion, and experimenting with functional sequences, structure, and
materiality. The site is accessible at three sides but at different levels, and has a considerable slope.
The concept behind the bath house looks at the nature of water as something multifaceted, and in turn the building is
primarily concerned with contrast and refl ections. The building is divided into two public and private sections. The fi rst fl oor
of the private section holds the pools on the interior and is surrounded by a shallow pool of water on the exterior. The walls
on the fi rst fl oor are all glass while a granite wall surrounds the building along the perimeter of the site to offer privacy.
“Water is sometimes sharp and sometimes strong, sometimes acid and sometimes bitter, sometimes sweet and sometimes
thick or thin, sometimes it is seen bringing hurt or pestilence, sometime health-giving, sometimes poisonous.... becoming
noisome, laxative, astringent, sulfurous, salty, incarnadined, mournful, raging, angry, red, yellow, green, black, blue, greasy,
fat or slim.... is warm and is cold, carries away or sets down, hollows out or builds up, tears or establishes, fi lls or empties,
raises itself or burrows down, speeds or is still... nourishes at times and at others does the contrary... In time and with water,
everything changes.” - Leondardo da Vinci
THE BATH HOUSE
Arch 373
Fall 2007
Instructor Peter Arbor
University of Illinois
Exploded Axon
Entrance
Lobby
Sunroom
Polished Granite
River Stones
Structure Diagram
Circulation Diagram
8 SPACE
The 8 Space Project was a brief exercise intended as an introduction to spatial programming. There were many
program requirements which needed to be reconciled artistically. For example, one room had to be red, others
had specifi c light requirements, room F and room 8 must be directly related, etc. The steep slope of the site was
also a challenge for students, and solutions were explored in physical and computer models.
Arch 272
Spring 2006
Professor Paul Armstrong
University of Illinois
METAL WORK
The following pieces were produced in 2006 and 2007 as part of the Jewlery/Metals curriculum at the University of
Illinois. My experience in studio art gave me an early appreciated for scale, craft, and detail.
broken typewriter: cold connection broach; brass + copper
bracelet: steel wire + white spray paint
hollow core ring: sterling silver, nickel silver + copper
PROFESSIONAL
EXPERIENCE
The following images are from work completed during the winter and summer quarters of 2010 at Johnston
Marklee in Los Angeles. Projects include a museum, multi-family housing, single family housing, and large format
graphic design installations.