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 time working and studying I have begun to find my interests reflected in many thinkers, architectural and artistic. The quotes that accompany each project are inspirations that have begun to break into the physical world via 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 to continually investigate 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 of 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. Its design incorporates issues of egress, circulation, program, work
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environment, and light within a twenty-five by eighty foot site. 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.
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structure is exposed, with the building wrapped both vertically with an aluminum screen and horizontally with a connected elevator core and bearing wall. Its spatial volumes are clad with a standing seam aluminum system: a crisp take on the horizontal wood stripping of the older buildings around the site.
SOMA chocolates
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0.5” IGU with 4” mullion frame 6” x10” secondary beam attached to girder with steel hanger reinforced concrete bearing wall with steel hangers to support 8”x14” beam 16 g. aluminum sheeting
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8”x14” girder 0.5” IGU with 4” mullion frame 2” hardwood deck bolted to steel bracket 3” rigid insulation w/vr
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6” rigid insulation with weather barrier and vapor retarder over 2” hardwood deck
steel bracket bolted to concrete wall
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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
2” rigid insulation with vapor retarder and weather barrier under 1” wood cladding 2-way 4” reinforced concrete slab
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2-way 6” reinforced concrete slab
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SOMA chocolates
Storage Production Cafe Office Tasting Flavor Lab Rescidence long 1
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As the floors gain elevation, they rotate and deform from the 25’x80’ rectangle towards true south for better sun exposure. Light then enters through skylights opened up by the rotation and through glassy penetrations in the concrete bearing wall. Additional light filters down into the entrance aluminum screen. The detailing of these two components is displayed to the left.
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The plans and sections are characterized by an interlocking of functions on each floor. This interlocking allows for contact between the different eenhabitants of the building Interior wooden screen walls define these sapces and combat the noise of machines; hile still allowing visitors to comprehend the immense procedure of chocolate making.
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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 light, users can toss, lean, fit, hang, stow, or mount the lights exactly 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. Restructuring LED technology into a cohesive, designed, and easy-to-use package llume breaks free from conventional perceptions of lighting and reality. Its impermanence allows anywhere to be the canvas. Their simple geometries intensify perception, create immediate atmospheres, and tactfully alter the world before us. Throughout the project computer aided design and rapid prototyping allowed a way to to match and explore large scale manufacturing techniques and potentials.
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 rotating 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.
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3 x 5
3 x 5 x 5
The frames are the final lamp in the Illume 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. To aid these uses they are designed for ease of movement and egalitarian placement. As users alter their placement and change their perspective the frames become a democratic discourse on heiarchy and truth The frames both intensify the world around them through form, and exist as autonomous objects through light.
illume
3 x 5 frame prototype 3
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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
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An end to the division between art and life: Art becomes life. De Stijl: Creative Demands 1922
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
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, a 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.
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 these ideas.
site overview
site analysis critical heterotopia
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site model: complex relationships organize the program and the architecture a. b. c. d. e.
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church chapel NIMBY the wall antagonist dwellings alchemist
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environmental interpretation center
barge docking station
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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
critical heterotopia
reflection yard
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environmental interpretation center (antagonist): A space dedicated to portraying the bulb as a beautiful and useful creation. 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 coops (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.
two connected sets of stones define E.I.C and the chicken coops
barge docking station (the alchemist): Dump trucks deposit construction waste from the city of Albany directly onto the barge. Once full, workers 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 objects left as offerings to others from those who have come before.
water displaced by the dumping slowly fills the community relequary
counseling center (6 of the 7 dwellings): Six dwellings surround the counselor’s quarters to ensure the safety of the 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.
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.
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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. 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
critical heterotopia
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Architecture comes into being when a “total environment is made visible,� to quote the definition of Suzanne Langer. 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 is approximate and these actions could either occur elsewhere, or potentially not at all.
the frame and the sea
two groups of palletsn seporated by steel posts form the room and floor
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the frame and the sea
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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.
anachronism
the architecture displays history and reinforces the urban wall from a distance; then disappears 22
laser cut model mimics the proposed method of full scale construction
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 of 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 from the cafe to the bargaining chamber brings the consumer through the work place of each employee.
anachronism
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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. collides 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
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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. 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. The room of insanity is a receptacle for states of impulsive and overwhelming creativity, disillusionment, and total uncertainty. It confronts insanity with optimism. 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.
pure form model
the room of insanity
collaborative drawing to disvoer/develop concept and form 26
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the room of insanity
turnbuckle cable tensioner 1/8” tensioned steel cable roof rod pivot hook curved redwood joist galvanized corrugated steel 3/4” bent steel roof support roof rod connector plate roof rod release pin 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
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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 connection flange steel stud roof rod connector plate exterior stucco over 1/4” ply
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667 Higuera Steet, San Luis Obispo
the room of insanity
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the room of insanity
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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 a concept developed: the cloud and the machine. This concept set the principles that govern the organization of the space and the objects that reside within it.
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.
The concept displays the duality latent in the space, and in Alissa’s work. The cart is Alissa silent assistant. It pursues her entire process,
concept model
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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
The Cart is a simple construction of wood and metal: its elements support the tasks of the print shop.
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.
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 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 compliment the bent steel strap, aluminum plate flip-up and pink powdercoated bent steel trough.
The constraints of the project, the eclectic nature of the site, and the form of the cart allowed for a large diversity of potential material
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the cart
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aesthetic index 2012-2015
aesthetic index
the shelf of inquiry, 2013 40
forms of play, 2014
aesthetic index
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aesthetic index
collisions, 2012
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twelve spaces, 2013
aesthetic index
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aesthetic index
symbol generation 2015
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kory minor worl
architectural portfolio
2010-2015