AMANDA MOSCHELC O L L E C T I O N O F W O R K S

2 0 0 5 2 0 1 0

CONTACT

Amanda Moschel519 Riddle Rd. Apt. 1Cincinnati, OH 45219

847.912.2691moschel2@gmail.com

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

UP DN

FLOOR PLAN

1:100

SECTION AA

1:100

SECTION BB

1:100

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

Section Perspective

Site : Campus

Open Spaces

Vehicular Circulation

Entry Sequence

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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

Site Plan Concept Sketch

Northeast Perspective

Southeast Perspective

A A

B

B C

C

Section AA

First Floor Plan

Circulation

Structure Diagram Structural Model

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

Parti

PerspectiveModel Perspective

Public vs Private

First Floor Plan

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.

Pine Tree Place, Study Model

En Sully Housing, Presentation Model

Margolin Renovation, Kitchen Rendering

Graphic Design, The DAWN Project

En Sully Housing, Presentation Model

Grand Traiano Art Museum, Presentation Model Grand Traiano Art Museum, Presentation Model