1. Benjamin Bedel
Application for Designer Position
Landor – Cincinnati
4 October 2015
To Whom It May Concern,
I am writing to express a sincere interest in interviewing for the open
Designer position, in the fulfillment of which I could provide real and valuable
contributions to Landor. These contributions match the duties and responsibilities
you have listed for this position because of skills gained during my time at DAAP
(Bachelor of Science of Architecture), where I was named to the Dean’s List several
times, and while working for both International and local, non-profit, companies. At
UC, I learned to use regional construction techniques and design influences based on
local color or significant historical references to start every project. This technique
would allow me to translate unique, localized client characteristics into simple
representations of their brand. Knowledge and action are tied, but distinct, and
while working with the world’s largest architecture firm, Gensler, and a New York-
based firm, Frederick Schwartz, I learned the importance of working towards total
coordination with principals, clients, and manufacturers in delivering real products.
At Gensler I was in daily communication with dozens of vendors to produce clear
and comprehensive specification binders for the client. This firm taught me to use
brevity and clarity in presentation, to not only save time, but to also let the central,
precisely edited and crafted, idea shine through. My history of working with
multiple departments to achieve on-time delivery is extensive, and would enable me
to work with multiple divisions at Landor. While creating physical models at
Schwartz I partnered with office management to procure supplies, with designers to
clearly capture their true design intent before manifesting a form, and shipping
companies to ensure safe delivery to India for Frederick’s client presentation.
Finally, I find pleasure and excitement in initial sketch and conceptual design with
a group format, and would give my full effort in contributing to any design session.
Working for Landor would fulfill the interest in working for Landor I have
had ever since seeing your gorgeous window displays, or the amazing and iconic
FedEx logo, with arrow in tow. If I were chosen to be a new addition to your staff at
starting salary, I pledge to work with passion, respectfulness, and dedication to the
client.
Sincerely,
Benjamin Bedel
2. BENJAMIN BEDEL 513.460.3489
benjaminbedel3000@gmail.com
University of Cincinnati - Ohio - Class of 2014
College of Design Architecture Art and Planning
Bachelor of Science of Architecture
Dean’s List
Archbishop Elder High School - Cincinnati, Ohio
Class of 2007 ,GPA: 4.0
Class Rank: 3/265
EDUCATION
EXPERIENCE
Canyon Design Studio - Santa Monica
June to September 2015
Part-time jewelry design and photo editing
Via Vite Restaurant - Cincinnati
January 2015 to May 2015
Host
Saks Fifth Aveue - Cincinnati
September 2014 to May 2015
associate
Frederick Schwartz Architects - New York, NY
Summer 2013
Demanding internship involving office
organizing, site visits, and extensive
computer modeling work.
Gensler Interior Design Intern - Houston, TX
Fall 2011
Four month internship during which I designed
layouts for specification binders and contacted
every supplier retieving samples for
organization. Attended and participated in client
meetings. Was invited back for another term.
Champlin Architecture Inc. - Cincinnati, Ohio
Spring 2009
Produced many drawings for renovation of the
Clifton Cultural Arts Center using AutoCad. Also
supported other projects by sending instructions
to construction firms for preliminary work.
Urban Outfitters - Cincinnati, Ohio
Summer 2008
Responsible for Men’s Department customer
relations and service
COMMUNITY INVOLVEMENT
Students for Ecological Design -
University of Cincinnati
Cincinnati Preservation Association- guide for
historic architectural tours of downtown
Cincinnati and Over-The-Rhine
SKILLS
Adobe Creative Suite, Microsoft Office Suite,
AutoCad, Catia 3D, Sketchup, hand drafting, ex-
cellent hand modeling, 3D modeling, client care
REFERENCES
Professor Mara Marcu
347.515.3407,
Professor Edson Roy Cabalfin
cabalfer@ucmail.uc.edu
General Manager T.J. Snuffin
tj@viaviterestaurant.com
4. LIVE/WORK APARTMENT COMPLEX
Conceived as ‘activity within a courtyard’. The building is composed of five living units on three floors
(four half floor units and one penthouse) along with five workspaces on the bottom plinth. The
wrap-around wall that creates the enclave is given play with a simple pattern, and broken in the rear
with contextually inspired porches. These create beautiful extensions of the living space, integrate the
central structure and the wall while supporting the latter, and give poetic westerly views filtered by the
fire escapes. The circulation of the building is duly complex. Shop patrons enter from the street or along
a tall vertical space on the left. Residents move up a converging ramp on the right, welcomed overhead
with warm light patterns, turn left under their porches and move into a smaller courtyard framed with
balconies. This terminates with the main stair, which culminates in a skylight and rooftop garden.
5.
6. WORLD STAGE DESIGN ENTRY
While working for the Know Theatre of Cincinnati, I
designed a theatre-in-the-round made from completely
recycled materials, including sod-covered walls built from
used automobile tires. The competition was located in
Wales,UK, and since this nation possesses the highest
per capita amount of used tires, I envisioned a reuse for
several thousand.
7. PSUEDO-VERTICAL ENVIRONMENT
This formative studio challenged me to explore parametric design as a
tool for creating unique and tesselated environments. Located in New
York’s Lower East Side, straddling the High-Line, this tower serves as a
comprehensive center for the treatment, cure, and remembrance of the
HIV/AIDS epidemic. A system of ten ferris wheels serve as circulation
throughout the multi-programed complex, and hanging gardens provide
unique parkland to fill the body. This project gave me experience in
laser-cutting, Catia software, and 3D printing.
8. SKETCHING
Previous Page: “European City with Many Churches” 11’’x 8.5’’
Below: facade design for a baroque church 4’’x 4’’
Far Right: explorative sketches of high rises
14. The literary center serves as a residence for a visiting author,
a meeting place for him/her to exchange with the public while
a project is underway, and a gallery space for the author’s
theory and writings to be displayed and borrowed. The
program divides the spaces accordingly along a spectrum
from totally public, the central courtyard, to totally private, the
author’s apartment at the rear of the structure. Circulation is
marked by a tall entry column (which does much to control
heat) and a ramp set below sidewalk-level skylights. The
largest space, a reading room, is totally below grade, and
can be seen at left.
15. D.A.A.P. COURTYARD REDESIGN
Project to transform barren and uneven courtyard. Final program uses terraces,
ramps, and stairways to divide and level the space, along with slices, slants, and
a stage to give it some jazz.
Context:The east stair to the left would descend away from the
viewer in the photo below, parallel to the wall surface on the far left.
16. CINCINNATI WINERY
Project program called for landscaping research, park precedent studies, winery typology research and visits, site conditions study (rain, sun
exposure, soil studies, fog, drainage, frost), and other research to inform the land and building’s design. My inspiration was found in the sensuous curves and
hills of the site, the ancient symbolism relating grapes with femininity, vineyards as cultivating the fruit of the earth, and lips, breasts, eyes, and grapes as
feminine and life-giving forms. The structure is placed on the tip of a prominent ridge, with the vines leading up to it. It crowns the fertile mound of the fields.
Other features I would like to note are the spherical entry space, half concrete and half glass, emerging from the green roof that slopes down and around it,
meeting the plaza and the front door. The concavity of this space is bridged to allow access to the main part of the structure, which is built above grade but
covered so that the landscape appears seamless. The space is divided around a central stair and hall, and cupped around a courtyard composed of three
circles. The outdoor space is accessed from a bar/dining room to the right, an office to the left, and the aforementioned stair head on. There is also a kitchen
and retail shop with a curved glass wall/shelf between it and a large bottle storage room. Within the courtyard is a ‘Y’ shaped stream that cascades down over
a stepped land feature into a pond. Also in the courtyard are two suspended gazebos (shown in section below) designed with planters sheltering their full height
and made of steel columns. The two southern-most walls of the building are cut by large verandas, accessible only from inside, allowing unbroken views of the
valley.The processing level below is cut into the hill, and accessed by a continuous tunnel which passes under the courtyard. Its largest feature is a circular
barrel storage room.
20. Winery Site Map
1 Entry from road to right, through White Birch Forest
2 Turn in road placed to give direct view across prairie towards the
folly. This area is the highest elevation of the site.
3 Turn through wood and along ridge towards the building.
4 Building with parking, guest areas, and grape processing areas
placed at end of ridge, with landscape sloping down from it
5 Large crescent of rose plants
6 Vines planted in areas of greatest sun exposure
7 Forest of Sierra pines and dogwoods at lowest elevation
8 Collection pond at low point
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22. This structure is placed adjacent to an historic Native American Indian
mound complex and houses researchers. Suspension wires lift the building
above a surrounding flood plain. The entire outer surface would be vine-
covered and trees would grace the verandas’ and rooftop garden’s corners.
23. NORWOOD ARTS
THERAPY CENTER
Set in a formerly industrial area,
this factory-style complex is
designed to help residents heal
themselves through creation. The
large white panels blocking the
facade are removable, so that
artists can decorate the building in
pieces over time.
