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STUDIES OF RElaTIOnShIptranslation:portfolio of WILLIAM KORCHEKwinter 2014
study: rotation of a a coffee pour
STUDIES OF RElaTIOnShIptranslation:Design results from a careful study of relationships. Successful design forges new ones. In these pages, I present my work derived principally from studying connections inherent in the world [ inspiration to object, object to person, person to building, building to site, site to city, and onwards ]. My designs are often informed by analogs—renderings of relationships. My studies have included fabric wefts and warps [ p. 3 ], my morning coffee habits [ p. 13 ], and the cactus [ p. 23 ]. Understanding those relationships found within is my challenge, is my drive.
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the hand, holding the handle of the tea kettle, rotates from -30º to 20º, draining water into the sink.
the hand reaches, palm up, to the ignition dial, turning 90º to ignite, then down to Hi.
the hand presses down on the lid of the french press, pushing the coffee grounds to the bottom.
pouring0:04.11
igniting0:03.40
pressing0:02.65
free-handingde-constricted coffee making
PACKED into the 2-by-3.5-foot floor area of my kitchen, I need not move more than rotate to make coffee in the morning. 1 POUR out yesterday’s extra water from the tea kettle 2 FILL the kettle with water 3 IGNITE the burner 4 GRIND the coffee 5 FILL the french press 6 POUR the hot water 7 PRESS. The hand is the laborer and a rotation of the wrist or pinch of the fingers completes the actions—body confined—
the viewport shifts to follow the plane of the hand, and my body is free in three-dimensional space. Liberated, the body swings around the plane tangent to the top of the hand, pouring the water with an acrobatic fl ip or igniting the stove with a somersault. The camera is attached to the hand; the hand is at rest. The body orbits the focal point, integrating plan and elevation.
Cross sections are taken in planes parallel to that of the right hand, and aligned with the hand as origin.unt i l
fabric[ation]agri-duct market
habit[at]urban intervention
cactus lighting system
spatial studybody measure
utility tableshelving system
resume
STUDIES OF RElaTIOnShIp
ExpRESSIng RElaTIOnShIp
EnacTIng RElaTIOnShIp
UnDERSTanDIng RElaTIOnShIp
DEFInIng RElaTIOnShIp
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a study of fabric results in this proposal for a facade on Rittenhouse Square in philadelphia. analyzing warps and wefts of a two-over-two plain weave fabric, horizontals and verticals reemerge in a figure-ground relationship on the facade. Viewboxes targeted across the park become balconies. above them, a roof garden leaves a trace of that view for the apartment above.
Three lighting conditions across the floor levels result in a diverse experience at different locations along the facade, and environmental analysis in Ecotect confirms the viability of the design.
The facade on Rittenhouse Square brings the outside in, and the inside out.
fabric[ation]
0 4’ 8’1’ 2’
facade on the park
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inside + outsideThe viewboxes, oriented to specific trees, paths, or buildings, capture views and bring them into the interior of the building. These views are unique for each floor, but also permeate the floor directly above in the form of an inside/outside roof garden. This garden appears to move through the glazing of the facade and bridges the gap between the park and the interior of the building.
across open windows above the roof gardens, tripartite louvers allow for manual control of the light that enters the room. where there is no garden, the opposite condition is present, wherein small openings [ the negative of the louver ] allow in filtered light. Viewboxes serve as a mixing space for the light, which is reflected across the interior space with a light shelf.
relationships
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0 2’ 4’1’ 1’
1 sectional detail through the facade, showing a viewbox and roof garden above.2 section-elevation diagram, showing front elevation, section, and interior elevation [ from left ]
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0 4’ 8’1’ 2’
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1 serial plans of floors of 1825 walnut Street at the facade
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1 serial plans of floors of 1825 walnut Street at the facade
photograph of study model
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1 diagrammatic notation of fabric study, two-over-two plain weave2 analytical model of fabric3 environmental performance of facade, showing the range of lighting conditions.
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15agriduct market
The abandoned Reading Viaduct—an elevated rail line that extends for over one mile in central philadelphia—is the site for this urban farm and cultural center. This remnant of modernity is reimagined and revitalized to bring fresh food to a neighborhood that is sorely lacking.
agriduct market is a new market typology in which the consumer becomes the picker, washer, and collector of his/her own produce. Various outposts across the Viaduct invite the customer to learn about the preparation of fresh food in kitchen demonstration areas, connected directly to the beds of the market.
The architectural interventions take the railroad infrastructure and separate from it, displacing its functional ground plane and programming the space underneath. The building becomes a landscape, subtly sloping to link the cityscape with the planted Viaduct.
The main market building, which features a café across all levels, is detailed in the following pages.
urban cultured
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GREEN SPACE AND LEISURE CIRCULATION
ENCLOSED PUBLIC SPACE
MARKET SPACE WITH CIRCULATIONmarket space with circulation
enclosed public spaces
green space with leisure circulation
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macro scale site plan
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B
c
micro scale architectural intervention: site plan
macro scale site plan
ground floor mezzanine level viaduct level
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1 micro scale building sections2 interior rendering at lounge space
3 rendering at outdoor ramp
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c section through interior and exterior ramps
B section through lounge space at all levels
a transverse section showing vertical circulation
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plan/section p5coffee
plan/section p4orientation
plan/section p3orientation
plan/section p2orientation
plan/section p1sleep
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I began by studying the habit of my morning coffee-making, which is confined to a small kitchen. To map the habit, I de-confined the activity: I oriented the “camera” to the plane of the hand. as the hand moves, it appears stationary while the body swings around it. [p. 17] Making
coffee is a means of orientation to the day. My study of that orientation resulted in the shifting planes of my mapping.
In the same way, the habit[at] orients the body to the coffee through a progression of skewed planes that are taken from the
geometry of my mapping. Upon awaking in the morning, light guides you through these chambers, finally leading to a space oriented to the world in x y and z. coffee is made along the way, and finally consumed in the last space. Together, space and coffee establish an orientation to the day.
0 1’ 2’ 4’2’
plan/section p5coffee
plan/section p4orientation
plan/section p3orientation
plan/section p2orientation
plan/section p1sleep
II to p5
T to p5
II to p4
T to p4
II to p3T to p3
II to p2
T to p2
II to p1
T to p1
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plan/section p5coffee
plan/section p4orientation
plan/section p3orientation
plan/section p2orientation
plan/section p1sleep
II to p5
T to p5
II to p4
T to p4
II to p3
T to p3
II to p2
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habit[at]
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[ sleep ][ rise ][ o
rient ]
[ adj
ust ]
[ aw
ake
]
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self + spaceThe habit[at] project is both a study in self and a study in space. Derived from the mapping of my coffee-making habit, the geometries of the space serve programs that transition from rest [ horizontal plane ] to coffee-making [ vertical plane ]. This sequence mirrors the progression from plan to elevation achieved in the mappings, where the body is observed in coffee-making via the plane of hand. [ see studies, p. 17]
Voids track the programmed progression through the space; light helps establish an orientation to the day as the use of the space transitions from horizontal to vertical.
nooks created through the intersection of cubes provide places to rest, linger, or drink coffee as one orients from rest to coffee-making, from sleep to daily activity.
relationships
1 photograph of butter board model with programs labeled2 sequence of renderings depicting voids and movement through the space
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p1sleep
p2 p3 p4 p5coffee
1 representation of voids [ black ], connected to renderings that imitate the rotational sequence of the space 2 study of the geometry as it applies to the mapping
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studies
packed into the 2-by-3.5-foot floor area of my kitchen, I need not move more than rotate to make coffee in the morning. The hand is the laborer and a rotation of the wrist or pinch of the fingers completes the actions—body confined—until the viewport shifts to follow the plane of the hand, and my body is free in three-dimensional space. liberated, the body swings around the plane tangent to the top of the hand, pouring the water with an acrobatic flip or igniting the stove with a somersault. The camera is attached to the hand; the hand is at rest. The body orbits the focal point, integrating plan and elevation. [ cont. p. 16 ]
cross sections are taken in planes parallel to that of the right hand, and aligned with the hand as origin.
mapping
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plan + elevationBecause the “camera” is oriented to the plane of the hand in these mappings, and cross sections are taken in planes parallel, the body loses traditional notions of “plan + elevation.”
as the body swings to pour coffee or ignite the burner, plan swings into elevation—and everywhere in between. This notion is explored further in the habitat, where shifting planes mirror the plan-to-elevation transition.
relationships1
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the hand, holding the handle of the tea kettle, rotates from -30º to 20º, draining water into the sink.
the hand reaches, palm up, to the ignition dial, turning 90º to ignite, then down to Hi.
the hand presses down on the lid of the french press, pushing the coffee grounds to the bottom.
pouring0:04.11
igniting0:03.40
pressing0:02.65
free-handingde-constricted coffee making
PACKED into the 2-by-3.5-foot floor area of my kitchen, I need not move more than rotate to make coffee in the morning. 1 POUR out yesterday’s extra water from the tea kettle 2 FILL the kettle with water 3 IGNITE the burner 4 GRIND the coffee 5 FILL the french press 6 POUR the hot water 7 PRESS. The hand is the laborer and a rotation of the wrist or pinch of the fingers completes the actions—body confined—
the viewport shifts to follow the plane of the hand, and my body is free in three-dimensional space. Liberated, the body swings around the plane tangent to the top of the hand, pouring the water with an acrobatic fl ip or igniting the stove with a somersault. The camera is attached to the hand; the hand is at rest. The body orbits the focal point, integrating plan and elevation.
Cross sections are taken in planes parallel to that of the right hand, and aligned with the hand as origin.unt i l
pourthe hand rotates from -30º to 20º
ignitethe hand reaches palm up and turns 90º before turning back
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1 representation of voids [ black ], connected to renderings that imitate the rotational sequence of the space 2 study of the geometry as it applies to the mapping
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29urban intervention
Based on the habit[at] study, this design intervenes on a staircase leading from the city grid to a park along a river in philadelphia. as the habit[at] deals with orientation, so too does this project orient visitors from the speed of the city to the leisure of the river walk.
From the bridge, visitors enter the stairs in a space upright. as they progress towards the river, the floor plate shifts, sloping to orient them to the programs of the river.
habitat in the city
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Inspired by a part-to-whole relationship found in the structure of the cactus [p. 28 ], this lighting system features a charging hub (that acts as a sconce) from which lighting elements can be removed and function as flashlights
or lanterns, depending on orientation. a telescoping mechanism focuses the beam of light to function as a flashlight when needed, otherwise the device is a lantern. The project is designed as an urban intervention for a university
courtyard. These lights trigger nighttime programming of the courtyard space.
a cactus segment can survive detached from its body. with rain, it will sprout roots and grow.
cactus lighting system
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1 individual lights gathered in a charging hub / sconce2 individual lighting element as lantern, front, and flashlight, back3 aluminum parts and light bulb, left, assemble on a single acrylic shell— glue free.
part + wholeTogether, lighting elements charge in a half-spherical arrangement that serves as a sconce. charging is by induction—weather safe.
Independently, these elements are removed from the hub and used as flashlights or lanterns.
One positions the light with the wider end pointed up, and the telescoping mechanism focuses the light beam to the path ahead.
One finds a place to sit or rest and orients the light intuitively with the wider end down on a surface. The telescoping mechanism recoils and the light becomes ambient.
Functional parts comprise a working whole. Separated from the whole, the parts work independently to continue the function of the whole [ light ] while adapting to specific needs.
This relationship is found in the cactus. [ studies, p. 28 ]
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[ alu
min
um p
arts
+ li
ght b
ulb
]
[ acrylic unibody shell ]
study of cactus as enclosed light; study of cactus as protected sponge
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studies
The cactus is highly evolved to gather, store and protect water with high efficiency. If any part of the cactus becomes severed, it can sprout roots and grow into its own plant at the next rainfall. My prototype is a storage unit composed of smaller storage units [ a box made of boxes ] symbolizing the part-to-whole relationship inherent in the organism.
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analog
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1 caD drawing of prototype: storage unit comprised of smaller storage units.2 Images of bristol board prototype
previous Spread:1 hand analog drawing of cactus: cactus as beacon of light, with removable parts. 2 hand analog drawing of cactus: cactus as geometrically enclosed sponge
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These caD drawings analyze lighting conditions, framing conditions and overlapping planes in the stairwell of the Fisher Fine arts library at the University of pennsylvania [ a building designed by Frank Furness ].
when an initial photographic study yielded flat results, I took to a fish-eye lens to capture the depth of the space. The caD drawings further explore what was discovered in the photographs, examining relationships within the space. They also
consider the light that enters the space and shadows that are cast on building elements.
Rising up the stairwell, one peels away information, piercing thresholds.
spatial study
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curve + orthogonal when flat photographs didn’t reveal the true depth of space evident in this stairwell, images taken with a fish-eye lens did. The curves created by the wide-angle lens expose posterior space when the orthogonals cannot. The curve becomes a better way to represent the right angle in this exercise.
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1 situational measurement of the stairwell, with light conditions2 photographic sequence of an ascension through the stairwell
3 bas relief depicting a framing condition in the study
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43body measure
In this study of the surface of the right hand, lines and creases are triangulated and mapped in plan view and left elevation, without the outline of the structure of the hand. Surface and structure are explored analytically.
Represented above and in a photomontage [ p. 37 ], water fills the surface as the hand is opened and becomes a measuring tool to analyze topography, exposing details of the structural form. The surface — the lines of the hand — suggest the structural form and even inform it. The water exits the hand through valleys of the lines.
triangulation
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1 sequence of the right hand opening, carrying 6ml of water.2 photomontage showing an elevational view of the right hand opening, and the shape of 6ml of water in the hand.
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surface + structureThe idea of this study is to represent surface in the absence of structure. In the hand drawings, lines and creases are mapped to reveal cues as to where the structure lies: the relationships between lines and their order reveals the position of the hand as well as the general shape. This idea is most clear in the sequence of 5 drawings representing the right hand opening [ left ].
The shape that water takes when held in the hand also reveals the impact surface has on structure. Dynamic patterns in the shape of the water volume in the hand show the voids created by the creases in the hand, which impact the structure of the skin.
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The table is designed for placement under a drafting table to keep tools organized and accessible.The organization of the table is tailored to personal needs, designed to fit my selection of instruments and arranged for ease of access.
14’’ x 19’’ x 21’’
utility table
personal storage
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Individual triangular or rhomboidal units are connected magnetically in various arrangements to shelve books and other collections. constructed with walnut frames and aluminum joints, the shelves can be easily disassembled. They can be arranged and rearranged to fit specific spaces or collections.
Magnets are fitted on the interior side of each walnut panel.
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1 a rhomboidal unit of the shelves2 various arrangements of shelving units3 example of finished walnut and polished joints4 detail of walnut and aluminum joint
shelving system
collected collections
resumewIllIaM kORchEk526 S. Bronson ave.los angeles, ca 90020
SKILLS
• Highly skilled in both Windows and Macintosh operating systems• Expert in Rhinoceros; Autodesk AutoCAD and Revit; Adobe Creative Suite, AfterEffects, and Audition• Proficient in Spanish; Limited knowledge of French
EDUCATION
• BAinArchitecture;MinorinLandscapeStudies• CumulativeGPA:3.8;Summa Cum Laude• Studiesincludesixarchitecturestudiocoursesandseveraldesign-relatedelectives• Honors:Dean’s List [2011-2013];RecipientofWendyEvansJosephTravelingScholarship[2012,Japan]• StudyAbroad:UMBAUSchoolofArchitecture,Vienna,Austria[2011]
University of pennsylvania, philadelphia, pa 2009-2013
• Valedictorian• VicePresidentofthestudentbody• EditorofThe Student Voice [schoolnewspaper];earnedASPABestHighSchoolPaperAward
The Buckley School, Sherman Oaks, ca 2005–2009
WORK EXPERIENCE
• DevelopedandimplementedfromstarttofinishtheinteractivemedicaltextbookBasics of Pediatric Anesthesia;HelpedwithpublishingtoiTunes
• WorkedwiththeauthortodevelopacustomizediBookformat
• WorkedtofulfillcertificationoflargehighschoolprojectwiththeDivisionoftheStateArchitect• Engagedinconstructionadministrationforpublicuniversityproject• AssistedwithLEEDaccreditationoncompletedproject
lead graphic Designer, Basics of Pediatric Anesthesia, philadelphia, pa
Intern, Ehrlich Architects, culver city, ca
2012–2013
2013–present
• HelpedprepareforanimportantNewYorkgalleryshow• Assistedinconstructionofartwork
assistant to artist Robyn O’neil, los angeles, ca 2011
• Inchargeofwritingstyleandspellingandgrammarfortheindependentdailypaperattheuniversity• Oversawteamoffourassociatesandseveralassistants• RecruitedlargegroupofstudentsasCopyAssistants• Oversawstyleguideforthenewspaper
copy Editor, The Daily Pennsylvanian, philadelphia, pa 2010
• WorkedoncrewofMoneyballfilm• Helpedtoinsurecontinuityofthesetdecorationwiththetimesettingofthepicture
production assistant in Set Decoration, Sony pictures Entertainment, los angeles, ca 2009
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