inquiry and pursuit kory minor worl architectural portfolio 2010-2015
soma chocolates illume critical heterotopia
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welcome
anachronism
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the cart
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the room of insanity
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the frame and the sea
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accomplishments and aspirations I take immense pride in my work, and truly love designing. Throughout my work and my study I have begun to find my interests reflected through many thinkers, architectural and artistic. The quotes that accompany each project are examples of inspirations that have started to break into the physical world through design.
In 2010, the project Soma Chocolates (displayed on pages 4-7) was chosen by faculty as the second year project of the year. In 2011, I was nominated to display work for Architectural Design and Discourse X. While studying abroad in 2012 I was selected by my professors to recieve the DIS Professional Practice Award for Leadership and Excellence. The Illume furniture concept was runner-up winner of Cal Poly’s 2012 Vellum furniture competition, and two of my projects were featured in ADD XII in 2013. Currently I have been working independently with a colleague out of San Luis Obispo. Our focus has been on the interior and furnishings for the Alissa Bell Press in Los Angeles and prototyping designs for the coming Illume showcase in August 2015.
The title of the pamphlet, “Inquiry and Pursuit” is a summation of my approach to studying. I strive for constant investigation of design, negotiating stable ground from which to jump from again. My developments are apparent in the diverse nature of the projects presented. I will always seek to understand architecture more fully, and I see employment as a fantastic opportunity to do so. This pamphlet’s aim is not merely to attain a job. My passion for architecture has begun to supersede my current abilities, and I crave the direct contact and guidance of those architects who inspire me.
I take immense pleasure in design. I am infatuated with time, space, material, detail, and building experience.
I have completed a Bachelors of Architecture and a minor in Studio Art at Cal Poly San Luis Obispo. Combined I have taken fourteen design studios, five architectural history courses, six architectural practice courses, and seven art studios; all of which continue to be my tools in furthering my understanding of architecture. Accumulated, my major G.P.A. is 3.86.
I am confident in the power of architecture. I have immense passion and ambition for architecture. I am not satisfied. Kory Worl kory.worl@gmail.com 916 214 2617
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But the impersonal utilitarian building is only habitable if behind the satisfied need there stands the symbolic art form that feels the organism... Arthur Korn: Analytical and Utopian Architecture, 1923
SOMA chocolates
783 tehama st. san francisco, CA designed winter 2010 awarded 2nd Year Dean’s Award 2010
This project is a proposal for a small artisan chocolate factory in the South Market area of San Francisco. As an urban infill project, we had to deal with issues of egress, circulation, program, work environment, and light within a twenty-five by eighty foot site.
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The program called for production spaces, packaging, a tasting room, offices, a flavor lab, and a residence. The project focuses on a coexistence of uses on each floor, contact between consumer and chocolate production, and natural light. The architecture is expressed as a dynamic yet stable composition. The project’s structure is exposed, the building is wrapped vertically with the aluminum screen and horizontally with the elevator core/bearing wall, and the fire stair is pushed to the exterior; all while still maintaining a balanced front facade. The volumes are clad in a standing seam aluminum system, which is a crisp take on the horizontal wood stripping of the older buildings around the site.
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north east view
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plan diagram
The project emphasizes natural light in all of the spaces. As the floors gain elevation, they rotate and deform from the 25’x80’ rectangle towards true south for better sun exposure. Light then enters the spaces in two ways, first through skylights opened up by the rotation, and second through glassy penetrations through the concrete bearing wall. Light is also filtered down into the entrance alley via a polished aluminum screen. The detailing of these two components is displayed to the right. The screen disintegrates as it gets closer to the ground, acting as bridge between my project and the existing building next-door. The plans and sections show the interlocking and coexistence of various functions on each floor in an attempt to create visual contact between employees. This visual contact is also important for consumers who travel through the building on tours or for tasting. Wooden screen walls define interior space and combat the noise of machines, while still allowing visitors to comprehend the immense procedure involved in chocolate making.
north west view
Storage Production Cafe Office Tasting Flavor Lab Rescidence
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0.5” IGU with 4” mullion frame 6” x10” secondary beam attached to girder with steel hanger
16 g. aluminum sheeting
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reinforced concrete bearing wall with steel hangers to support 8”x14” beam
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8”x14” girder 0.5” IGU with 4” mullion frame
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6” rigid insulation with weather barrier and vapor retarder over 2” hardwood deck
2” hardwood deck bolted to steel bracket 3” rigid insulation w/vr
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2” rigid insulation with vapor retarder and weather barrier
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2’ perforated 16g aluminum stripping clad to a typical glulam frame
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2” rigid insulation with vapor retarder and weather barrier under 1” wood cladding 2-way 4” reinforced concrete slab grade
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2-way 6” reinforced concrete slab reinforeced concrete footing
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steel bracket bolted to concrete wall
detail section
I like to think that my work can return criticality to the viewer as a tool for negotiating and re-evaluating the environment. Any situation or object can be made relative and negotiable if you insist that your engagement sequence is a necessary component of the process. We could say that your engagement destabilizes truth, turning into an individual experience. Robert Irwin: Take Your Time, 2007
What is missing from our dwellings today are the potential transactions between body, imagination, and environment. Kent Bloomer and Charles Moore: Body, Memory and Architecture, 1977
illume
lighting line designed and fabricated 2012-2015 cal Poly ‘vellum’ furniture competition runner up 2012
Illume is a line of furniture dedicated to the manipulation of space through light. By providing a quick and effective interface for LED technology, users are free to toss, lean, fit, hang, stow, or mount the lights as they see fit.
Modern individuals are are confronted with environments that are over-lit and overstructured. Our streets, our plazas, and our homes do not allow meaningful or impactful interaction. Illume challenges this paradigm. Illume is a system for the quick and effective use of light to alter environments. Its impermanence alows anywhere to be the canvas. Their simple geometries intensify perception, create immediate atmospheres, and tactfully alter the world before us. Restructuring the advances of LED technology into a cohesive, designed, and easy to use package llume breaks free from conventional perceptions of lighting and reality. Their simple geometries intensify perception, create immediate atmospheres, and tactfully alter the world before us.
infastructure for creative interaction
illume
The bar, either battery operated or with a 25’ coil cord, ranges from 18” to 6’. It features durable urethane endcaps and is available with a multitude of differnt kinks and bends along its length.
The stand is a 48” tall floor lamp. On its base are three knobs which control the amount of red, green, or blue light which the lamp emits. Users tune the light according preference and situation.
as volume
as plane
The frames are the final lamp in the line. Through different size rectangles they investigate space, perception, and movement. They can be assembled to delineate the planes of a spatial volume, or can be exploded and used individually to highlight objects, moments, details, or perspectives. They can be arranged to organize perception, or as a series of spatial markers. They are are designed for ease of movement and egalitarian placement. The frames become a democratic discourse on heiarchy and truth as users alter their placement and change position. The Frames both intensify the world around them through form, and exist as autonomous objects through light.
in composition
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bent 1� steel tubing leg 1/8� laser cut steel flange turned oak handle aluminum and leather electrical box extruded aluminum LED housing extruded PVC lens
As for the heterotopias, how can they be described? We might imagine a sort of systematic description .... as a sort of simultaneously mythic and real contestation of the space in which we live. Michel Foucault: Of Other Spaces, 1967
An end to the division between art and life: Art becomes life. De Stijl: Creative Demands 1922
critical heterotopia albany, CA designed fall 2010
Critical Heterotopia is a project focused on architecture, culture, and nature. It is an attempt to critically examine the relationship of each system to one another using the Albany Bulb, an old construction waste dump in the San Francisco Bay, as its site. The result is an architecture fostering humility with others, humility with nature, and search. The search for truth is an important concept in the design. The architecture seeks to aid in the act of deconstructing social and environmental layers that separate truth from the individual.
site overview
The program is composed of seven characters designed to work in cohesion with one another. The characters are: the antagonist, the new alchemy landscape, 7 dwellings, the wall, a nature wedding chapel, the church of nature, and the NIMBY (not in my back yard) yard. The wall splits the bulb into north and south. The locations and relationships of characters on the bulb are the architectural articulation of this deconstruction
site analysis
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complex relationships organize the program and the architecture a. b. c. d. e.
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truth nature community deception culture
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church chapel NIMBY the wall antagonist dwellings alchemist
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environmental interpretation center
barge docking station
counseling center
the wall
The wall divides the bulb into north and south. Objects and rest benches penetrate the wall. Individuals exit via the path along its edge. Through it are the only openings between north and south.
chicken coop
community relequary
reflection yard
(enter bulb)
(discovery)
environmental interpretation center (antagonist): A space dedicated to portraying the bulb as a beautiful and useful creation. Here a version of the past, present, and future of the bulb are detailed. The center contains a cafe and parks and recreation offices overseeing the active landfill. Large suspended stones drift up and down throughout the day, denoting tide.
chicken coop (nature wedding chapel):The coop exists on a small island across an enclosed area of bay water. Four buoyant stones float on the water’s surface above underwater footing walls; obstructing the ability to swim to the coop at any time but high tide.
barge docking station (the alchemist): Dump trucks deposit construction waste from the city of Albany directly onto the barge. Once full, workers will move the waste via crane into the segmented bulb expansion zone. Water displaced from added dirt and debris is pumped out by an offshore windmill.
community reliquary (church of nature): The reliquary is a physical catalogue of the past, present, and future of humans and the bulb. Underground glass walls reveal the bulb’s true construction (waste), while glass shelves house innumerable objects left as offerings to others from those who have come before.
counseling center (6 of the 7 dwellings): Six dwellings surround the counselors quarters in order to ensure the safety of the troubled teens. They live in counselor selected dwellings based on their individual neurosis: insatiables, lovers, hoarders, watchers, liars, and kakorraphobiacs. The teens work under the counselor at the visitor center and landfill as part of the program.
reflection yard (NIMBY yard): All those looking for a place to express themselves are welcome here to create in the presence of each other and of nature. Here personal reflections become physical and communal, destined for the community reliquary.
Counseling Center Composed of six dwellings and a counselor’s residence, each dwelling is designed to ‘correct’ certain neurosis. The organization is based on Jeremy Bentham’s panopticon prison, in which the ‘guard’ can see all inmates, but no inmates can see the ‘guard.’ Since inmates cannot see when the tower is occupied, they begin to self regulate their behavior. Each dwelling is designed as a confrontation with the specific issue of the inhabitant. The relentless pressure either solves the problem or pushes the inhabitants to the northern side of the bulb. Dwelling Seven: This serves as a habitation for those who wish to live on the northern half as they question and search through nature and each other. It allows itself to be constructed and inhabited as its users see fit. counseling center right: NIMBY yard and dwelling seven
Architecture comes into being when a “total environment is made visible,” to quote the definition of Suzanne Langer. We have seen that this is done by means of building which gather the properties of the place and bring them close to man. The basic act of architecture is to understand the vocation of the place. In this way we protect the earth and become ourselves part of a comprehensive totality. W. J. Richardson, quoted by Christian Norberg-Schulz: The Phenomenon of Place 1976
the frame and the sea
central californian coast designed constructed installed summer 2011
The Frame and the Sea is a built architectural project conducted by myself and other students along the central coast of California. The site is characterized by massive sand dunes that cascade into the ocean. It cannot be seen from any trails, and is only visible from the ocean. The project focuses on site, space, detail, and imagination. It consciously contains no disclosures about its origins. In this way, it opens itself up to speculation and imaginative discourse. Its anonymity and apparent lack of function only embellish its mystery.
The frame seeks to transform space into place. Where nothing existed previously to differentiate this spot, the structure attempts to create a place: a physical locality grounded within the landscape through architecture. By distinguishing itself in such a way, the project reveals this location as an offering to house a multitude of events, experiences, or moments. Without the structure the place doesn’t exist and these actions could either occur elsewhere, or potentially not at all.
Whether through literal or phenomenal transgression, architecture is seen here as the momentary and sacrilegious convergence of real space and ideal space. Bernard Tschumi: Architecture and Transgression, 1976
anachronism
copenhagen, DK designed spring 2012
Anachronism is an architectural proposal for a furniture showroom in Copenhagen Denmark. The urban-infill site lies on a large pedestrian street, and is conceptualized to be a showcase store for contemporary Danish Furniture Design.
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The program contains a public showroom and private administrative offices. The project focuses on time, space, action, and the use of computers for design and full-scale construction. The proposal takes the form of its facade directly from the past. The relief is modeled to be the same as the neo-classicist building that had stood on the site before. The relief of the old facade was superimposed onto the buildable volume and then deconstructed into a series of vertical sections perpendicular to the street. The relief is then apparent as one moves down the street, while also becoming a completely transparent facade when viewed directly. In this way, the architecture reinforces the urban wall of the street at a distance, while also standing out as one approaches it. When constructed, the sections become computer-cut steel plates, guaranteeing precision and accurate form recreation.
The steel plates of the facade are the structural matrix for the interior functions. They hold the vertical loads while the flooring elements provide lateral bracing.
piece. There they can sit on it in solitude, and, if they choose, engage in the act of bargaining for the piece’s purchase.
Due its construction, the architecture can compose space to any form. With this freedom, it attempts to address three issues. It concentrates on the act of sitting, the consumption based model for contemporary design, and spatial collision.
The architecture also addresses consumerism and fashion. From the main atrium, customers can view the chairs of the past that are trapped within the architecture and exposed to the elements. This is the catacomb. The decay of these chairs is visible throughout the entire building.
In order to focus on sitting, consumers can view the chairs for sale in the cafe/display room, but are not allowed to touch or sit. Customers who chose to further investigate the furniture will be taken to the “bargaining chamber� where they will be met by their
Finally, the architecture attempts to provoke interaction and consciousness through the collisions of its spaces. For example, the procession to from the cafe to the bargaining chamber brings the consumer through the work place of each employee.
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a. break room: free private space for employees: does not collide b. bargaining chamber:enclosed space where the consumer is allowed to sit in the furniture and bargain for its final price: clides with main atrium c. offices: intimate space for administration of the showroom; collides with path to bargaining chamber d. meeting room: axial space for discussion between employees; collides with main atrium e. catacombs: gridded series of spaces for the storage and decay of chairs which have gone out of production; collides with main atrium f. cafe: a public leisure space for viewing the available furniture, it expands to form the main atrium; collides with meeting room, catacombs, and bargaining chamber
Creative people can live with anxiety, even though a high price may be paid in terms of insecurity, sensitivity, and defenselessness for the gift of the “divine madness.” They do not run away from non-being, but by encountering and wrestling with it, force it to produce being. They knock on silence for an answering music; they pursue meaninglessness until they can force it to mean. Rollo May: The Courage to Create, 1975
the room of insanity
san luis obispo, CA designed and constructed spring 2013
The room of insanity is one of twelve spaces designed by Kory Worl, Paul Schumacher, and Matt Shara in their “residence in architecture.” Through these spaces they worked to discover and define their spatial and idealogical similarities; transitioning the findings into full scale built space. The room of insanity is a receptacle for states of impulsive and overwhelming creativity,
disillusionment, and total uncertainty. confronts insanity with optimism.
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Ideation began with each individual developing their own formal models and narrative. Collaborative work then centered around creating a collective definition, and working to find a site for the eventual architecture. Sited at both the final thesis show inside Cal Poly’s Chumash auditorium and again in downtown San Luis Obispo, the final form emerged through collaborative hand drawing and computer modeling. The room rests on a raised timber base. It requires commitment to enter: one must ascend the room’s fifteen foot ladder to access the interior volume. Once inside, there is room to ventilate, express, articulate. The walls catalogue these actions and slowly, over time, begin to thicken.
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portal subtraction 1” cypress deck 1.5” redwood joist 2.5” redwood beam 1/2” steel bolt connection cypress exterior leg flange redwood leg core cypress interior leg flange
1/8” tensioned steel cable turnbuckle cable tensioner roof rod pivot hook curved redwood joist galvanized corrugated steel 3/4” bent steel roof support roof rod connector plate roof rod release pin
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CNC cut interior pannels fabricated steel fire ladder steel ladder rest rear volume CNC cut 1/2” plywood cap CNC cut 1/2” plywood rib steel stud steel stud connection flange roof rod connector plate exterior stucco over 1/4” plywood sheating
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portal subtraction 1” cypress deck 1.5” redwood joist 2.5” redwood beam 1/2” steel bolt connection cypress exterior leg flange redwood leg core cypress interior leg flange
1/8” tensioned steel cable turnbuckle cable tensioner roof rod pivot hook curved redwood joist galvanized corrugated steel 3/4” bent steel roof support roof rod connector plate roof rod release pin
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CNC cut interior pannels fabricated steel fire ladder steel ladder rest rear volume CNC cut 1/2” plywood cap CNC cut 1/2” plywood rib steel stud steel stud connection flange roof rod connector plate exterior stucco over 1/4” plywood sheating
The hogan, or mud hut, of the Navahos of New Mexico and Arizona, is constructed on the plan of the Navaho image of the cosmos. Every beam and joist corresponds to an element in the ‘great hogan of the all-embracing earth and sky.’ And since the soul of man itself is regarded as identical in form with the universe, the mud hut is a representation of the basic harmony of man and world, and a reminder of the hidden life-way of perfection. Joseph Cambell:
The Hero with a Thousand Faces, 1949
the cart
for the alissa bell press los angeles, CA designed and fabricated spring 2014
Three stories above the sidewalks of North Broadway in Lincoln Heights Los Angeles is the new location of the Alissa Bell Press. From the site, the program, and the client we have developed a concept: the cloud and the machine. Through this concept we have come to understand principles that will govern the organization of space and the objects that reside within it. The concept displays the duality latent in the space, and in Alissa’s work. The cart, our first intervention, is Alissa silent assistant. It pursues her entire process, from design, to loading
and cutting paper stock, to inking the press, to shipping the final product. As a stand-alone object the cart embodies duality through the relationship of its parts and materials
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white-washed redwood top 1/4” aluminum plate flip up walnut legs 9/16” steel bar handle 1/4” bent steel strap
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16g. bent steel trough 1/2” hardwood ply shelf 3” locking caster 9/16” axel salvaged flywheel
The Cart is a simple construction of wood and metal: its elements support the tasks of the print shop. An extendable surface caps the cart for both material transport and work support. When collapsed, the cart moves easily between zones of the print shop. When extended, the surface grows from 30� to 48� becoming a mobile table, bar or island station A trough is suspended beneath the work surface, bent to facilitate the immediate storage of useful tools and paper supplies. A shelf below the trough stores objects, keeping the above elements free and open for the immediate needs of a fluctuating work process. The constraints of the project, the eclectic nature
of the site, and the form of the cart allow a large diversity of potential material configurations. To seek out the material palette most exemplary of the concept, we created multiple sample compositions. These focus on texture, pattern, weight, color, and an internal balance of resonanence and tension. The materials utilized are as folows: steel strap, painted steel sheet, aluminum plate, cypress, redwood, oak (white and red), walnut, mahogany, alder, plywood, OSB, and MDF. The final material palette become clear through multiple iterations and compositions. Walnut for the legs, whitewashed redwood for the top surface, and a black laquered hardwood ply for the shelf. These variables complimented the bent steel strap, aluminum plate flip-up and pink powdercoated bent steel trough.
aesthetic index artistic experiments 2012-2015
the shelf of inquiry, 2013
forms of play, 2014
aesthetic index
29
aesthetic index
collisions, 2012
29
symbol generation 2015
aesthetic index
27
aesthetic index
twelve spaces, 2013
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the shelf of inquiry
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