kory worl
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accomplishments and aspirations
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drawings
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SOMA chocolates
10 critical heterotopia 16 anachronism 20 the frame and the sea
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Architecture, as with all art, is fundamentally confronted with questions of human existence in space and amentally confronted with questions of human existence in space and time; it expresses and relates man’s being in the world. Architecture is deeply engaged in the metaphysical questions of the self and the world, interiority and exteriority, time and duration, life and death. -Juhani Pallasmaa: Geometry of Feeling 1996
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the kineaesthetic apparatus, 2011
I take immense pride in my work, and truly love studying architecture. Throughout school, my experiences have been both inspiring and frustrating. I have begun to find that my interests in architecture are often divergent from those of my university at large, which has led me to seek out my own inspirations. The quotes which accompany each project are examples of theses inspirations, and attempt to show ideas that I identify with. The title of the pamphlet, “Inquiry and Pursuit� is a summation of my approach to studying. I strive for constant investigation of architecture, negotiating the 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. However, this pamphlet’s aim is not merely to attain a job. My passion for architecture has begun to supersede the ambitions of my university, and I crave the direct contact and guidance of those architects who inspire me. I am pursuing a Bachelors of Architecture and a minor in Studio Art at Cal Poly San Luis Obispo. Combined I have taken ten design studios, four architectural history courses, six architectural practice courses, and four art studios; all of which have been tools for me to further my understanding of architecture. Accumulated, my major G.P.A. is 3.88. In 2010, the project Soma Chocolates (displayed on pages 5-8) was chosen by faculty as the second year project of the year. In my third year, I was nominated to display work for Architectural Design and Discourse X, for which I wrote On the Institution of Architectural Education. In addition, I was asked by professor Marc Neveu of Cal Poly to help him complete a submission for City Vision 2011: Venice; for which our entry was entitled Shity Vision. I take immense pleasure in the act of designing architecture, from theoretical musings to construction detailing. I am infatuated with time, space, material, detail, and building experience. I am confident in the power of architecture. I have immense passion and ambition for architecture. I am not satisfied. kworl@calpoly.edu 45 309703275 http://investigatingarchitecture. wordpress.com
self portrait no. 1, 2010
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tool study: leverage, 2009
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figure drawing: soft and sharp, 2011
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Cal Poly Second-Year Project of the Year 2010 t
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Winter 2010
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site plan
The project focuses on a coexistence of uses on each floor, contact between consumer and chocolate production, and natural light.
interior perspective
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te ha m
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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. The program called for production spaces, packaging, a tasting room, offices, a flavor lab, and a residence.
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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
east street perspective
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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elevations
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tasting g storage
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plans
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.
sections
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Storage Production Cafe Office Tasting Flavor Lab Rescidence
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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0.5” IGU with 4” mullion frame 2” hardwood deck bolted to steel bracket 3” rigid insulation w/vr steel bracket bolted to concrete wall
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8”x14” girder
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6” rigid insulation with weather barrier and vapor retarder over 2” hardwood deck
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8’-6”
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2” rigid insulation with vapor retarder and weather barrier
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west street view
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
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22-way 6” reinforced concrete slab reinforeced concrete footing
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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.
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wall section 9.
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Fall 2010 As for the heterotopias as such, how can they be described? What meaning do they have? 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 The trace is the record of motivation, the record of an action. In this case a “not-classical” architecture begins actively to involve an idea of a reader conscious of his own identity as a reader rather than as a user or observer... Such a reader brings no ‘a priori’ competence to the act of reading other than an identity as a reader. -Peter Eisenman: The End of the Classical, 1984
layers of truth
An end to the division between art and life. (Art becomes life.) -De Stijl: Creative Demands 1922 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. It investigates deception, society, and the individual. 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.
locations and relationships
site analysis
The wall splits the bulb into north and south. The locations and relationships of characters on the bulb are the architectural articulation of the deconstruction.
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enter bulb
discovery
The Characters The function developed as a result of the architecture’s goals. It is a community park, active landfill, environmental interpretation center, and a counceling center for troubled teens. Hints to a ‘functionless’ architecture to the north permeate the wall. (enter bulb)
architectural criticality
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flight
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humility with nature
humility with others
question+search
Environmental interpretation center (antagonist/architectural criticality): A space dedicated to enforcing a strict perception of the bulb as a beautiful and useful creation. Along with placards detailing the past, present, and future of the bulb, the center also contains a cafe and parks and recreation offices overseeing the active landfill. Large suspended stones drift up and down throughout the day, denoting tide. Barge docking station (new alchemy landscape/ architectural criticality): 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. Counseling Center (6 of the 7 dwellings/disgust): Six dwellings surround the counselors quarters in order to ensure the safety of the troubled teens. The teens live in counselor selected dwellings based on their individual issue. Teens are divided into groups of insatiables, lovers, hoarders, watchers, liars, and kakorraphobiacs. The teens work under the counselor at the visitor center and landfill as part of the program. The Wall (flight): 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 is the only entrance to the north.
(discovery) Chicken Coop (nature wedding chapel/humility with nature): The coop exists across a confined 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. Community Reliquary (church of nature/humility with others): 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. ReflectionYard (NIMBY yard/question+search): 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. Dwelling Seven (question and search): 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.
the wall
coop and environmental interpretation center
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Counseling Center Composed of six dwellings and a counselor’s residence, each dwelling is designed to ‘correct’ certain issues. 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 will either solve the problem or drive the inhabitants to the northern side of the bulb.
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Counseling Center, Reflection Yard and Dwelling Seven The structure of the counseling center is one of the elements that punctures through the wall dividing the site. Its beams transform into the reflection yard and finally into the structure of dwelling seven.
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Spring 2012 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 strøget
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. The program contains a public showroom and private administrative offices.
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vestervoldgade
The project focuses on time, space, action, and the use of computers for design and fullscale construction.
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The Facade 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.
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Bargaining chamber collides with main atrium
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. 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.
Offices collides with procession to bargaining chamber
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 piece. There they can sit on it in solitude, and, if they choose, engage in the act of bargaining for the piece’s purchase. 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. 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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Catacombs collides with cafe and main atrium
Cafe collides with main atrium, catacombs and meeting room
Break room does not collide
Meeting room collides with cafe and main atrium
Anachronism is an experiment in computer aided design and production. Thus, digital means of display and a laser-cut model were not out of convenience but rather of design necessity.
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Constructed Summer 2011 What is missing from our dwellings today are the potential transactions between body, imagination, and environment. -Kent C Bloomer and Charles W Moore: Body, Memory, and Architecture, 1977 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 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.
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The frame seeks to create a system of construction based on available materials and legibility. The building is conceptualized around an open system based on shipping pallets; a widely available, standardized, self-supporting unit. It is not an adaptive reuse of unique trash, but instead an easily replicable system of transforming waste into architecture. Each connection is expressed honestly; so honestly that the entire structure offers itself for deconstruction to anyone with two wrenches. These details and identifiable components form the building as a clear de-mystification of architecture. It is not designed to awe, for its focus is not on itself, but instead on becoming a simple companion within a beautifully lonely landscape.
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The frame 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. I consider this project to be my first piece of architecture, for it no longer belongs to just me.
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