Cathy Moore RA Architect Portfolio

Education: Masters of Science in Architecture, University of Pennsylvania, Philadelphia, PA
Advisors: Franca Trubiano, David Leatherbarrow
Thesis: Sound and Space: Connections with Structure, Movement, and the Senses
Graduation: August 2013

Bachelor of Architecture, Mississippi State University, Starkville, MS
Study Abroad in Italy, University of Florida, Summer 2006
Thesis: Lucier Performance Hall
Graduation: May 2008

Work Experience: Registered Architect; Jonathan Schloss Architect; June 2018- present; Tribeca, New York, NY; Registered Architect; Holzman Moss Bottino Architecture; February 2017- June 2018; FiDi, New York, NY; Registered Architect; Superstructures Engineers + Architects; October 2013- February 2017; Trebeca, New York, NY; Intern Architect; Burris Wagnon Architects, P.A.; On Contract Basis; Jackson, MS; Intern Architect; Barlow Eddy Jenkins, PA; Aug-May 2010; Jackson, MS

Related Skills: Proficient in Revit, AutoCAD, Photoshop, SketchUp, Word, Microstation; Knowledge of Excel, InDesign, Illustrator, FormZ, HTML; Experienced using tools in the wood shop and building physical models

Grants, Awards, Accreditations, Memberships: -Registered Architect since October 2014
-LEED Accredited Professional (LEED AP BD+C)
-Departmental Grant, University of Pennsylvania
-Robert Bradford Newman Medal for Merit in Architectural Acoustics (Thesis Project)
(click HERE for website)
-Tau Sigma Delta Bronze Medal for the Most Creative and Innovative 5th Year Thesis Project

Leadership, Extra-Curricular: -Volunteer Team Leader for Habitat for Humanity for the last five years: Staten Island, Brooklyn, Queens
-Backpacking the Appalachian Trail in sections, 40% completed
-Community Group Leader, Redeemer Presbyterian Church, New York, NY
-Teaching Assistant for History / Theory of Architecture, two semesters, University of Pennsylvania
-Research Assistant for Franca Trubiano, two semesters, University of Pennsylvania
-Disaster Relief Volunteer Projects: Yazoo City, MS, Watanoha, Japan, GCDC in Biloxi, MS

Travel, Study Abroad: -Hundred Mile Wilderness in July 2018, one week: Abol Bridge to Monson, Maine; -Scandinavia for two weeks in May 2016: Copenhagen, Malmo, Klippan, Stockholm, Helsinki; -Philippines for four weeks in May 2012: Also Singapore and Thailand; -Taiwan/Japan for over three weeks in September 2011: Taipei, Wulai, Taichung, Tokyo, Watanoha; -Italy in April 2011, January 2008, July 2006: Vicenza, Cinque Terre, Venice, Florence, Rome, Panicale
Geneva, Zermatt, Vals, Zurich, Paris, Barcelona, Vienna, Venice, Amsterdam

References: Upon Request

There seems to be two methods in design-- one mostly intuitive and the other based on theory or a system of boundaries. I've seen both of these create great architecture and I know that both require hard work-- the first towards significance and coherence and the latter towards beauty and something greater than the system. From my experience, great architecture is created through a mix of the two methods, for intuition without thinking is empty and thought without intuition isn't any better in reality than it is on paper-- it can't be great.

I prefer the more theoretical approach, because it is fascinating to me-- different ways to think about architecture yield different forms-- new, fresh, interesting forms. A simple set of boundaries can create an infinite amount of designs and the amount of simple sets are infinite as well-- simple sets like limiting oneself to a single material or to certian rules for generating form or to one methodology in a design process. This is why architecture will never become old or dry for me-- I feel like I'm playing-- like a child-- when I'm exploring architecture in this way and then applying the boundaries to the very last detail, inside and out. This is what architecture really is. And the more I stay within a simple set, the deeper I delve into architecture, rather than skid across the surface.

One type of approach that interests me now is using laws of nature to define and flesh out something beautiful. This idea is what my thesis project centered on-- defining materials, surfaces, and shape with acoustical boundaries. Keeping to any set of boundaries often lends integrity to a design-- it gives the designer something to fight against, which shows up in the work. This residue is what keeps the building interesting and new for years, imparting different types and levels of meaning to users. This is the "something greater" mentioned above that systematic design has to work hard for. These things are all the more so when the boundaries are already beautiful and complex. Gaudi helped to inspire this-- for example, the way he used weights on strings to define Sagrada Familia's arches not only gives it structural stability, but a natural beauty left over from his process. Mark West's flexible fabric membrane construction is the contemporary version of this-- his forms are generated by structural forces, but the results seem to transcend that fact.