Cathy Moore

Address 364 7th

Street, #1

Jersey City, NY 07302

Phone (601) 519-6665 Email cat@catmoore.net

Website www.catmoore.net

Objective

To gain experience full-time starting September 2013

Education

Masters of Science in Architecture, University of Pennsylvania

Advisors: Franca Trubiano and David Leatherbarrow

Thesis: Sound and Space: Properties, Structure, and Movement

Graduation: August 2013

Bachelor of Architecture, Mississippi State University

Study Abroad in Italy, University of Florida, Summer 2006

Graduation: May 2008

Related Skills

Proficient in Word, MicroStation, AutoCAD, PhotoShop, SketchUp

Knowledge of Revit, Excel, Illustrator, FormZ, CSS

Experience in the wood shop

Work Experience

Intern Architect Construction Documents

Burris/Wagnon Architects, P.A.

August-December 2010 on contract basis

Jackson, MS

Intern Architect Schematic Design

Barlow Eddy Jenkins, P.A Design Development

May 2008- May 2010 Construction Documents

Jackson, MS Project Management

3D SketchUp Models

Photoshop Renderings

Intern Architect Construction Documents

Mark S. Vaughan, Architect Detailed 3D SketchUp Models

May 2007- May 2008

Clinton, MS

Intern Architect Construction Documents

Joseph Orr Architects, P.A Specifications

May 2005- July 2006 Bid Meetings

Canton, MS Submittals

Site Analysis

Grants / Awards / Accreditations / Memberships

Departmental Grant, University of Pennsylvania, $8,750

Robert Bradford Newman Medal

For Merit in Architectural Acoustics, 5th

Year Thesis Project

Tau Sigma Delta Bronze Medal

For the most innovative 5th

Year Thesis Project

LEED Accredited Professional (LEED AP BD+C)

American Institute of Architects (AIA) Associate Member

Responsibilities / Extra-Curricular Activities

Teaching Assistant for History / Theory of Architecture

University of Pennsylvania, leading recitations

Research Assistant for Franca Trubiano

University of Pennsylvania

Habitat for Humanity, Jackson, MS

Helped rebuild in Yazoo City after a tornado

Helped rebuild the MS coast after Hurricane Katrina,

Gulf Coast Community Design Center,

construction, design, model-building

Clean-up work in Watanoha after 2011 tsunami

Head/Designer of decorations/puppets, four years

VBS at Redeemer Church, PCA, Jackson, MS

Volunteer work with blind children

TOPsoccer Program, Madison, MS

Travel / Study Abroad

Philippines in May 2012, four weeks

Also Singapore and Thailand

Taiwan/Japan in September 2011, three weeks

Taipei, Wulai, Taichung, Tokyo, Watanoha

Italy in April 2011, two weeks

Cinque Terre, Venice, Florence, Rome, Panicale

Rome in January 2008, studying Urban Design, two weeks

Also Geneva, Zermatt, Vals, Zurich

Italy in Summer 2006, Study Abroad, seven weeks

Also Paris, Barcelona, Vienna, Amsterdam

References

Jassen Callender- jcallender@caad.msstate.edu (601) 354-6480

Stan Wagnon- stan@burriswagnon.com (601) 969-7543

Joseph Orr- jorr@jorr.biz (601) 855-0123

SAMPLE PORTFOLIO Cathy Moore

Chapel Defined by Sound- Page 1 of 45th Year Thesis (Academic)Graphite SketchThe view from the stageshowing showing my intervention’s four concrete walls inside an existing abandoned church in central downtown Jackson, MS.

Chapel Defined by Sound, 5th Year Thesis (Academic)- Page 2 of 4In the piece, I am Sitting in a In the piece, I am Sitting in a Room (1969), composer Alvin Lucier re-corded his speaking voice in his living room and then repeatedly re-corded its playback, thirty-two times, “until the resonant frequencies of the room reinforce[d] themselves,” The end of the piece is completely unintelligible and very musical, as some frequencies of Lucier’s voice were cancelled and others were reverberated through the room. My research sought to document how architecture affects the sound by conducting his experiment in thirteen theatres and rooms in Jackson, MS and recording the results with the plan and sections as well as the calculated reverberation times as shown above. The chart to the right records the resonant frequencies of the rooms.

Complete Research Chart(rectangle indicates extent of chart above)

Egan #- Corresponds to the material in list in RF- Resonant Frequency Standard- test by Dave Woolworth

Architectural Acoustics by David Egan BG- Background Lucier- Lucier’s piece, reconducted

KEY

KEY

R ResonantQ QuietF FuzzyO Overtone

Adjustable One-string InstrumentI modeled this instrument after my old flower press. It is made from oak plywood, four threaded rods, eight hex nuts, four wing nuts, a guitar wire, two wire clamps, and various containers. The botThe bottom piece of wood can be adjusted up and down, so that I can clamp different containers between the two pieces of wood and test the different sounds of the plucked strings with different materials and volumes.

Stainless Steel Tin One-String InstrumentThis instrument’s pitch varies widely depending on how one holds and presses on the tin.

Wooden Box One-String InstrumentThis instrument’s pitch varies depending on whether the box is opened or closed.

Stainless Steel Bowl One-String InstrumentWhen the string is plucked, the sound of the bowl mixes with the sound of the string.

Bamboo One-string InstrumentThis instrument was interesting in the way it diffused the sound in the front and focused the sound in the back because of its shape

Chapel Defined by Sound, 5th Year Thesis (Academic)- Page 3 of 4I also built several one-stringed instruments to study how the form, material, and surface affects the timbre of the plucked string. Apart from the materials‘ absorption coeficients, I also found that the flimsines of the sound board greatly affected the sound.

Chapel Defined by Sound, 5th Year Thesis (Academic)- Page 4 of 4As I finished my experiments, I chose As I finished my experiments, I chose to renovate an existing, abandoned church in downtown Jackson, MS

First Christian Church. I limited my scope so that I could focus on defining architecture with principles of sound alone. My final design incorporated Lucier’s method the most. The four solid concrete walls which fill the nave of the church act as Lucier filters for one to four female singers in the existing balcony: the audience on the other end hears a less intelligible song with some frequencies cancelled and others resonated, very much changing the original song to a very Lucier-like sound through architecture alone.The smooth concThe smooth concrete walls create a very reverberant and narrow environment, so that the voice bounces

around many times before reaching the audience’s ears and making the words much less intelligible. The walls are distanced so that standing waves are created for certain frequencies. The ceiling between the walls is made of a convex stainless steel sheet, brazed to tiny bronze rods, inspired by Richard Water’s Waterphone. The standing waves hit the brass rods, which sympathetically vibrate, adding another timbre to the singers’ voices.Each Each bay traps a different set of frequencies of standing waves so that a singer can utili ze one certain bay

or all three. A composer might create a song just for this building, knowing which notes resonate and which are cancelled. Each area on the walls are at least four times in height and width of the size of the wavelength that they are designed to reflect. This limits which frequencies the church is big enough to allow. With more time, the concrete walls would also have helmholtz resonators, tuned to absorb certain frequencies and alter the music even more. Each bay is designed to precisely reflect four octaves of three specific notes on a scale.

Cross Section Longitudinal Section

Floor Plan(A) Existing Nave

Interior Elevation for the Wall in the Key of Bb/g Creates standing waves for Bb, C, and G

Interior Elevation for the Wall in the Key of C/a Creates standing waves for C, D, and A

Bb/g

A C/a

10’ 5’ 1’

10’ 5’ 1’

Chapel, Spring 2009 (Professional)- Page 1 of 1

St. Dominic Hospital in Jackson, MS

Chuck Barlow and Brian Cabunac at Barlow Eddy Jenkins, P.A.

Among other eAmong other events, the chapel held the Dominican Sisters’

daily services. Their singing voices were recorded and a digi-

tal acoustical model was built to simulate their voices inside

the space. Drawings were created

at different phases in the design

process, so details vary.

North ElevationCross Section

Photo, South Facade (Tom Joynt Photography)

South ElevationCanopy Model10’ 20’

A South Elevation

A

BC

B West Elevation

C Perspective

Plan

Screen Design, Spring 2009 (Professional)- Page 1 of 1

Department of Physical Facilities

University of MS Medical Center in Jackson, MS

Worked with Chuck Barlow at Barlow Eddy Jenkins, P.A.

Schematic Design (unbuilt)

Existing trailoExisting trailors with a new stucco finish and free-standing

screen walls. They are placed in a pin-wheel pattern around

the trailors and are made up of a brick lower wall, steel tube

columns, and an upper wall finished with EIFS.

Private Library Project, Spring 2007 (Academic)- Page 1 of 4

21 1/2” x 14“ Graphite Drawing

Wall/bookshelf made of concrete formed by four different shapes of rotatable metal

formwork, each with a 3x3 grid of 12"x12" wedges. A stainless steel slot for a book

occurs at each valley.

Theatre / Private Library Project- Page 2 of 4Spring 2007 (Academic)Renovation of Ground Floor of 200 North Congress in Jackson, MSUsing certain arbitrary rules, I converted the visual rhythm oof the fenestration (from left to right in the image) to auditory rhythm for both the existing building and each of my iterations using piano composition scomposition software, so that I could test each design. The score shown behind the images is the music for my final design.

Existing Building

Montage

Theatre / Private Library Project- Page 3 of 4Spring 2007 (Academic)The plan shows the existing circulation for the floors above in gray. I designed the north half of the floor as the theatre and the south half as the library, which is where I mostly focused.(A)(A) The concrete wedge bookshelf wall can be seen in every room in the library.(B) The line perspective below shows the lobby as one enters the library. The wall in the background shows the concrete wedge bookshelf wall (A). (C) The other line perspective shows a reading room.(D)(D) I designed another type of bookshelf in which books can be stored optimally: on their spine. The drawing to the right shows its cross section. The book is placed by lifting the lid, pulliing the spring’s handle and dropping it onto the glass below. A lamp underneath shines on the spine, so that the mirrors at the bottom can reflect it onto the translucent paper beside the boobeside the book.(E) The reading room that is rendered on the next slide

A

A

A

A

E

Book Room Manuscript Room

Lobby

Reading Room

Lounge/Sun Room

Reading Room

Reading Room

Theatre

Lobby

B

C

Theatre Entrance

Library

D Bookshelf

Ground Floor B Lobbby C Reading

Theatre / Private Library ProjectSpring 2007 (Academic)- Page 4 of 4Reading Room, 16”x19” Vine Charcoal Drawing

The leThe left wall shows the concrete wedge wall. All surfaces shown are made of concrete. Beyond the columns on the right is a daylit lounge area.

Sketches in Panicale, ItalyPage 1 of 1April 2011 (Personal)Via Virgilio Ceppari

“Quasmerelda,” Fall 2007 (Academic)- Page 1 of 1In collaboration with Katie Lightsey and Lara Eley60” Paper Mache Model, 9 viewsAAt the end of The Hunchback of Notre Dame, Victor Hugo writes (presumably about Esmerelda and Quasimodo in the crypt), “about a year and a half or two years after the events with which this history concludes...were found two skeletons in a single posture...When those who found the skeleton attempted to disengage it from that which it held its grasp, it crumbled to dust.”AAfter creating non-literal 18” paper mache models of Quasimodo and Esmerelda, we combined them into one large model, with the intent that they were so visually engaged, that one couldn’t be tor n from the other without destroying both of them, and yet each still had very different readings, depending on angle of view.

Concrete Sign Project- Page 1 of 1Fall 2007 (Academic)In collaboration with Candis Carroll and Kirby Davis24” x 48” x 2” concrete sign and bent hose clampsIt is It is based on my original design. Candis and I bent most of the letters, Kirby and Candis built most of the formwork, and Kirby found a small company to pour the concrete.