Corin Afzal | Portfolio

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Corin Afzal | Portfolio Master of Architecture M.ARCH Kansas State University

BA English & Studio Art; Painting Truman State University

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Corin Afzal | Portfolio

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Fortune Fades Adobe Photoshop & Image Transfer 2024

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Corin Afzal | Portfolio Master of Architecture M.ARCH Kansas State University

BA English & Studio Art; Painting Truman State University

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Projects 10

Amphibious Siam Bangkok, Thailand A project proposal on amphibious architecture in Bangkok, Thailand with particular interest in public infrastructure and local ecology.

Critical Regionalism & Contemporary Developments in Tropical Architecture Research paper on critical regionalism and its development through tropical architecture, particularly South East Asia.

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The Sculptural Thread An Exploration of Tectonic Sculpturalism Research on architecture as sculpture, a collection of nine buildings positioned as “tectonic sculpturalism.”

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Pavilion at Anderson Lawn Manhattan, Kansas

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Artwork 38

Selection of Art Portfolio

Teaching Portfolio 42

Environmental Design Studio II

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Architectural Design Studio IV

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Changing Spirit Photography & Collage 2025

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Amphibious Siam A Study in Thai-Chinese Vernacular & Amphibious Architecture China Town, Bangkok, Thailand Faculty: Otto Chanyakorn, PAVA Architects Bangkok is underwater, and is sinking yearly because of its shear weight. The city floods every year, and locals have become accustomed to walking and wading through waters that can last up to a month because of the city’s inadequate infrastructure. When designing along the Chao Phraya River, the ethics of building here became apparent, and the flooding that will continue to become worse in the coming decades had to be directly addressed.

Through studying Thai vernacular, as well as other tropical and flooded area’s architectural adaption to extreme weather, the design for Amphibious Siam was born. A laboratory facility studies what is survives while contributing to the community through infrastructure and public space. The existing parking lot along the river is broken up, adding approximately 1,300 sqm of permeable surface, 525 sqm of this being a man made marsh land, water retention infrastructure to hold 840 m3 of storm water.

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To survive is to adapt.

Who Gets Submerged?

Photography & Collage 2025

Cultures across time have pushed vulnerable populations into the water. Bangkok, Thailand is actively sinking and who will be submerged?

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2025: 1 Meter

2030: 1.5 Meters

2050: 2 Meters

Amphibious Architecture

Bangkok Flooding Maps

A simple solution to a complex problem.

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Laboratory Section 5m

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1 Parking 2 Air Quality Wet Laboratory 3 Air Quality Office 4 Conference Room 5 Employee Break Space

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Employee Lounge & Study Soil Studies Office Soil Studies Wet Laboratory Water Quality Wet Laboratory Water Quality Office

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Community Connection, Education, Critical Infrastructure, One Site.

Connect

Collab

A laboratory and research facility that actively studies what it survives.

Learn

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Play

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Layers of Design: Standing seam roof Reflective tin keeps harsh sunlight from entering the site’s interior spaces. Cut outs allow sunlight to enter in vegetation areas, while the vegetation itself continues to shade the ground. Tin reflects surrounding context.

Steel Structure Steel and concrete were chosen because of their durability against pests and longer spans. It is coated in a red rust preventative primer to aid against the high humid environment.

C Laboratories

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Inspired by the craftsmanship of traditional Thai vernacular, the laboratories and collaboration center are clad in teak wood siding and treated to resist pests and humidity damage. The laboratories research water quality (A), soil studies (B), and air quality (C).

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Connection

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The strong central axis pulls the user through the site. On the lower level, the public is led to the Chao Phraya Riverfront.

D Support Space Along side the laboratories are the Collaboration Center (D) and the Learning Center (E).

Terraforming Flood Mitigation

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View of Water Quality Laboratory

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Amphibious Architecture Laboratory Design

1 Mechanical and Air Filtration Systems 2 Office 3 Wet Lab 4 Recycled Blue Barrels Cage

Public Waterfront Re-greening

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Wa t Rd

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Floor Plans 20

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Soil Studies Wet Laboratory Below-Grade Access Elevator Public Dock Wetlands Water Quality Wet Laboratory Soil Studies Office Employee Lounge & Study Wetlands Water Quality Wet Laboratory Soil Studies Office Employee Lounge & Study

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Amphitheater Parking Lobby & Gathering Space Restrooms Water Quality Office Employee Break Space Air Quality Wet Laboratory Community Engagement Center Community Engagement Office Storage Conference Room

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Public Infrastructure + Solution Seeking Research Facility Public Infrastructure flooded during monsoon season and a public space during other seasons.

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Entry Gallery Exhibition Space

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The Sculptural Thread An Exploration of Architectural Tectonics Manhattan, KS Academic Advisor: Chad Schwartz For a moment suspend your disbelief, and imagine any architectural work could be transported to a sculpture park without considering ethics, cost, and transport.

The Sculptural Thread was sited in the Ashokan Reservoir, north from New York City, because of its closeness to a major capital of art and architecture, but disconnection from urban context. The works are dispersed along a created path towards the lake, each expressing a sculptural expression in architecture, gesture, abstraction, and or immersion.

The forest acts as the white gallery wall, placing the architectural works outside of their original context. The intension of minicking the gallery’s white wall is not to neutralize the work, but contrast with it. There is no such thing as a nuetral gallery. The main architectural design component, the entry gallery, was designed in this vein of logic, utilizing stone and wood to convey forest as contrast for visiting artworks.

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Sculptural Thread Site Plans Ashokan, New York 50’

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Entry Gallery Sequence Richard Serra Serpentine Pavilion Junya Ishigami The Twist BIG One, Two, Three Sol Le Witt House to Watch the Sunset Not Vital Prostho Museum Research Center Kengo Kuma The Oak Room Andy Goldsworthy Twilight Epiphany James Turrell The Blur Building Diller Scofidio + Renfro

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Gesture 2

Abstraction

Immersion

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One, Two, Three Sol LeWitt 1979

Sequence Richard Serra 2006

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The Twist Bjarke Ingles Group 2019

A Collection of Architecture as Sculpture

Sculpture

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House to Watch the Sunset Not Vital 2005

Serpentine Pavilion Junya Ishigami 2019

The Oak Room Andy Goldsworthy 2009

Twilight Epiphany James Turrell 2012

Pavilion

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Prostho Museum Research Center Kengo Kuma 2019

An Entry Gallery and nine works of architecture are organized in an outdoor sculptural garden, connecting Ashokan Reservoir’s waterfront to the town and hiking trail.

The Blur Building Diller Scofidio + Renfro 2002

Building

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Forest as Gallery Taking the buildings from their original, mostly urban context and placing them in the midst of the Ashokan Reservoir forest acts as the white gallery wall. This is not intended to be neutralizing, but contrasting to the original context.

The Ashokan Reservoir’s forest was planted with invasive species of trees in the early 1900’s.

These trees are now sixty to one hundred feet tall, densely populated, and falling down. Placement of the sculpture park in this location allows for careful deforestation to aid in the local ecology.

Serpentine Pavilion Section 5

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Access is carved from Ashokan to the lake front in order to create green ways for flora and fauna, as well as safe passage of visitors. The existing bike and hiking trails are extended to the lake front.

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Primary Path Section

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Secondary Path Section

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Entry Gallery Entrance A. Canopy B. Forest Cover A.

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C C. Forest Floor

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Entry Gallery Exhibition Space

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1 Extrusion

2 Division

At a peak of Ashokan, a massive stone wall extrudes towards The Blur Building on the lake below. Materiality calls to surrounding stone.

3 Stack

The mass splits at the peak to form entry.

Programmatic elements stack on the other side of the mass.

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4 Nest Gallery nests inside, compressing museum below.

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The Pavilion at Anderson Lawn Manko Design Competition Nominee RFP: Enhancing Outdoor Spaces Submittal Manhattan, KS Academic Advisor: Grant Alford The Pavilion of Anderson Lawn was inspired by a study of architecture through film and the subjective grid form utilized by several architects and sculptors. The grid montages and divides views of Anderson Lawn while reflecting the surrounding context. The form asks for participation from viewers, allowing for experiential projection onto its form.

It was designed with construction in mind. Prefabricated carbon fiber dowels allow for its slender members while remaining structurally sound. A reflective glazes roof reflects the sites slope in angle, while continuing the grid and context into another dimension of space.

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Sections Through Film The study of architecture and film occurred , concurrent to studio, in a seminar. Specifically, how directors utilize architectural spaces and operative language to intensify emotional experience. With focused study on the frame and montage, and the subjective form of the grid, The Pavilion at Anderson Lawn’s design came into fruition.

Film Frames & Collage Stalker (Top Left), Paris Texas and Asteroid City (Top Right), 8 1/2 (Bottom Left), Playtime (Bottom Right) 2023

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Floor Plan 15

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A subjective form to initiate public inhabitation.

The grid called a “formless form” (Fujimoto), “a-moral, a-social, and a-establishment (Le Witt), or “anti-object architecture (Kuma) montages perspective and lures participation from outside or in.

Study of montage in film inspired the subjective grid to take shape. Each bar acts as a “cut” splicing space, view, and memory.

Seeing is itself subjective.

Anderson Lawn, Kansas State University 10

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Section AA 5

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Subjective Form

Subjective Perspective

Subjective Object

Grid Vs Void

Site Response

Scale

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Roof Connection 1 2 3 4 5 6 7 8 9 10 11

Carbon Fiber Square Tube 25x25x762mm, Tapping Diameter 1/2 in.

Coupling connection 1/2 in.

Welded Screw Connection Threaded Bar 1/2 in.

Flat Washer M16 Spring Washer M16 Jam Nut M16 Custom 3D Print Carbon Fiber Glass Bolt Outer Diameter 2 3/4 in., Inner Diameter 1” Neoprene Gasket Outer Diameter 2 3/4 in., Inner Diameter 1” High Reflectivity Glazing 1/2 in.

Onsite Epoxy to Glass Bolt Connection

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Grid Connection Ground Connection 12 13 14 15 16 17 18

T Connector Web Thickness 1/4” Reinforcement Nut and Washer M14 Jam Nut M16 Flat Washer M16 Threaded Bar 1/2 in.

Concrete Foundation 8 in.

Cast in Place Anchor Depth 6 in.

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Designed with universal assemply in mind.

The Pavilion at Anderson Lawn was submitted to a design build contest on Kansas State University’s campus. Prefabricated pieces allow for a small construction team and time frame.

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Prefabricated Joint (Above) 1 2 3

Coupling Connection, 1/2 in., Tapping Diameter 1/2 in.

Prefabricated Vertical Connection w/ Epoxy Prefabricated Horizontal Notch Connection w/ Epoxy

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Carbon Fiber Dowels Prefabricated “Cap” Custom 3D Print Carbon Fiber Glass Bolt Top High Reflectivity Glazing Custom 3D Print Carbon Fiber Glass Bolt Bottom T Connector, Web Thickness 1/4in.

Slot for T Connector Connection

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Wanderer Acrylic On Canvas 58” X 48” 2019

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Artwork

Lost Acrylic on Canvas 24” x 48”

Quarantine Acrylic on Canvas 36” x 48”

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Fortune Fades Photoshop, Colored Pencil and Image Transfer 4” x 6”

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Fortune Fades Photoshop, Colored Pencil and Image Transfer 4” x 6”

Fortune Fades Photoshop, Colored Pencil and Image Transfer 4” x 6”

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Kate Carson

Morgan Erickson

Niko Kleeman

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ENVD II Student’sWork Environmental Design II View + Light Students were tasked with designing a View Station at Rocky Ford Recreation and Fishing Area in Manhattan, KS. This View Station’s “program” required the design to revolve around a major and minor view, rest areas, an interaction with light, and a conscious ground condition.

A particular focus on designing through section drawings as a tool, and not just a form of representation was central to the project, as well as the generation of “quality space.” First year students grappled and discussed what this truly means, and how to achieve it through precedent studies of small, impactful projects.

Students were given a large site with sometimes, complicated topographical conditions. They then chose their specific site locations, orientations, and general square footage based on their desired major and minor views. Focus on architectural framing of these views and the intended experience was crafted and iterated for a period of two weeks.

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Vessel Art Exhibition Kristopher Snyder

Arch 404

Professor Afzal

Vessel Art Exhibition is centered on the idea that artworks can function as containers for emotions.

Objects that hold, translate, and store feelings. Each piece begins as an act of emotional deposit by the artist, and through encountering it, the viewer is invited to continue that exchange. The gallery becomes a site of exchange, where emotions move between artist, object, and viewer.

Through exploring folk art, I was inspired by artists' work where the human figure is often composed without concern for proportion, refinement, or technical perfection, and instead embedded entirely with feeling. These works are less of a creative expression, but rather a representation of a vessel for emotions such as fear, joy, pain, comfort, and the ambiguous states that exist between them.

The exhibition is composed of twelve works, arranged across three pavilion spaces: Fear, Joy, and Reflection. These pavilions do not try to categorize emotion, but instead act as a framing for emotional states and atmospheres the viewer moves through.

Across all three pavilions, concrete, steel, and plaster act from a place of neutrality. Diffusing rather than competing with emotional content. The architecture does not seek to express emotion directly, but to hold space for it, reinforcing the idea of the gallery itself as a vessel.

The Fear Pavilion is spatially constrictive and fragmented. Its formwork divides, surrounds, and interrupts, pinning the viewer against columns and limiting visual access to the rest of the gallery. In elevation, suspended arcs compress and dramatize the space, heightening tension and bodily awareness. The architecture mirrors the emotional weight of the works, where emotions like isolation, stress, and internal pressure are conveyed.

In contrast, the Joy Pavilion is continuous and open. Clear sightlines with generous spacing and rhythmic structure allow a sense of community, comfort, and belonging. Here, emotion is expansive and lifting rather than enclosing, allowing the works to operate as points of connection rather than confrontation.

Logic

Ultimately, Vessel Exhibition reframes artworks from the act of making to an ongoing exchange. What begins as an expression becomes a place of storage, allowing emotions to move between bodies, objects, and space.

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Spacial Connection

The Reflection Pavilion is elevated and transitional, positioned between fear and joy both spatially and emotionally. This space is neither intense or celebratory, but contemplative. Through separation, compression from the ceiling, and distance, it allows emotions to settle into ambiguous states that resist easy classification but are still felt.

Pavilion Spaces Fear

Emotion

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Structure Parti

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Exhibition Key Eli Montgomery 4.

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1. Betty - Letta Vanderhoof, Michigan, 1897 2. Untitled - Riet van Halder, Netherlands, 1998 3. Prisoners - Purvis Young, Florida, 1990s 4. Between Two Worlds - Jon Seri, California, 1982 5. Clown - Schoenhut, Pennsylvania, 1910 6. When Toys and I Were One Quilt - Jane Blair, Pennsylvania, 1988 7. Untitled - Michel Nedjar, NA, 1986 8. Boy with Dog and Airplane - Andrea Badmi, United State, 1970s 9. A Basket is Like a Man’s Mind - Thornton Dial, Alabama, 1989 10. Socks and Music - Justin McCarthy, Pennsylvania, 1964 11. Crouching Man - NA, New York, 1970 12. Bath - Victor Gatto, New York, NA

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Joy Gallery

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Movement vs Exhibit Exhibit Spaces Circulation Spaces

Reflection Gallery

Lines of Sight Clear Views Obscured views

Anderson Underwood

Floor Plan Scale 1/8” = 1’-0”

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Fear Gallery

Section A-A’ Scale 1/4” = 1’-0”

Kristopher Snyder

Reflection

Joy

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ADSIV Student’s Work Architectural Design Studio IV American Folk Art Exhibition Students were tasked with designing a traveling exhibition for the American Folk Art Museum’s collection. They began their project by curating a collection of works for their temporary gallery’s concept to be affixed.

demounted within the library’s main body.

The location of the exhibition was at the Central Library in Wichita, Kansas, a historically registered, brutalist building. Students could not design outside of ten thousand square feet and had to carefully choose where to locate their exhibitions within the large library space.

Exhibitions had to be designed to be fabricated and

Each gallery poses a unique concept, material reaction, and spatial generation.

Curated artwork was then placed within the crafted gallery space with particular emphasis on the work and the architecture’s creation of promenade, views, and visitor experience.

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