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architecture + design Selected Works 2007 | 2013


Emily Korzynski e: p: 860.890.8023 w:

educational background 2011-2013

Graduate School of Architecture | Roger Williams University, Bristol, Rhode Island Master of Architecture


Undergraduate School of Architecture | Roger Williams University, Bristol, Rhode Island Bachelor of Science [Major] Architecture [Minor] Sustainability Studies [Core Concentration] Art + Architectural History


Northwestern Regional High School #7 | Winsted, CT

Jun- Aug |2010

Summer Scholars Program | Roger Williams University Division of Math + Natural Science

Sep 2013 Present

ARCHITECTURAL ASSOCIATE | Tecton Architects, pc., Hartford, CT

May- Aug | 2006- Present


special programs Research with Dr. Rhyne

work experience

June 2013

Daily assignments relate to schematic design, project construction documents and design proposals. Currently pursuing EDAC certification and IDP requirements.

I have worked at this summer camp on and off since high school, starting as a volunteer Counselor-in-training, to a Counselor and most recently as the Art Director

FREELANCE DESIGNER | New Hartford Recreation Commission, CT

Created design proposal for new recreational and senior center building for Brodie Park Campus. Design sketch presented at Recreation Commission meeting.


ARCHITECT VOLUNTEER | Habitat for Humanity, Norfolk, CT Architectural Drawings: Construction Section/ Details

Jun- Jul | 2011


Jun- Aug |2008

ARCHITECTURE INTERN | Dante J. Boffi Design LLC , Avon, CT

Designed and implemented summer camp for children ages 8-12 as a beginner’s architecture/ design skill summer learning program. Specialty camp also included engineering/ science projects as per the camp’s request.

technical proficiency PROFICIENT: AutoCAD | Sketch Up | Revit | Maxwell Render | Adobe Photoshop_Illustrator_InDesign | Microsoft Office | Hand Drafting + Modeling | Universal laser cutting systems EXPERIENCED: ArcGIS | Multiframe | Form Z LEARNING: Archicad | Maya Experienced in both Windows and Mac operating systems

certifications Spring | 2011

LEED- GA | Beginning LEED certification from RWU USGBC

volunteer affiliations New Hartford Farmer’s Market Organization|Friends of the Bakerville Library|Holy Cross Church

other sustainability | graphic design | needlecraft | hiking | tennis | blogging

references provided upon request



Master thesis | Revitalize public | urban | sustainable | masterplan | architecture

Exeter village vision | RI sustainable | mixed use | collaboration | masterplan | architecture

Mill house | Providence adaptive reuse | hand draft

Atrio a la Alhambra | Granada institutional | detail | public

Porsche dealership | RI public |detail

Wall house residential | hand draft

Artist’s community | RI mixed use | adaptive reuse | detail

Larz Anderson Auto Musem public | exhibition

Research facility urban | infill | hand draft

Pedestrian bridge | Bristol structure | detail | collaboration

Concrete firehouse | RI construction | detail

Music school public | hand draft

Mural Efimero | Short Film video | animation | collaboration

Steel cafe | Providence public | construction | detail

Museum for the senses public | hand draft

Exhibition hall structure | detail | collaboration

Recreation center| RI civic | mixed use

Architecture writing architecture theory | design critique | sustainability

Steel sculpture structure | detail | collaboration | folley

Beach rescue | Newport civic | public

Graphic Design Fashion | Print | Volunteer

Mixed use | Boston sustainable | urban | residential

Apartment housing | Boston civic | public

Adaptive Reuse



Mixed Use

Ur Ma Pu Master thesis: REVITALIZE year completed

Fall, 2012


Torrington, CT



Lisa Gray + Alan Organschi

The problem this project most closely deals with is sprawling and placeless urban development brought about by the “auto-based phenomenon” which has largely contributed to the isolation and degradation of rich and diverse cultural landscapes and decentralization of “the city.” Project objectives encompass various programmatic and design-based interventions aimed to revitalize the disengaged urban environment. These intentions will be realized through Master-planning techniques and by the relocation of the University of Connecticut Torrington campus branch within the city of Torrington, Connecticut. Torrington is a city that has been directly affected by economic hardships and sprawling development through the South Central Redevelopment Plan of 1960 and other more recent development planning. The idea of this thesis is

to reclaim a major functional public space that acts as a porous edge, extension and connecting force between two important parks/ open spaces, and a major greenway that runs through the entire city. By relocating the UCONN branch of Torrington to the downtown, it will create a new kind of opportunity for both the city and the school to benefit from each other. The “town center” is a necessary condition in order for the school to be used to its fullest potential. The city will benefit from a more pronounced educational component, and it will also bring new age groups to participate in local activities. Since Torrington is primarily an arts community, and known for the historical Warner Theater and Nutmeg Conservatory, the school would benefit by adding a fine arts program within such an artistically rich area.



T o p o g r a p h y

I n f r a s t r u c t u r e

Greenspace + Coverage

Building Footprints

Campus Plan 1:40

Community Building

Academic Building


Stage Building

Library/ Media Lab

School of Fine Arts

Rec. Center/ Student Union

Shops/ Parking Garage


Masterplan approach | nolli


specialized objects within an existing structure The site of this project is signficantly bigger than the current UCONN Torrington campus, which allowed for a large amount of community-type integrated program, and even the addition of a School of Fine Arts at the branch. The design intention for the school is to become an anchor to the downtown that adds a series of cultural events such as the bike path, the theater, public plaza etc. to weave together the site with the surrounding city.

Through a series of Nolli Map exercises, surrounding building typologies were studied and an overall masterplanning strategy was found. The decision was made to keep the structural system and massing of the current mall building intact because the current massing allowed for definition of the river’s edge. Attempts were made to make this edge more porous where several bridging techniques and pathways were made to and through the site. A specific attempt was

Existing Conditions


N E W C Revised O N D I TMasterplan IONS

CAMPUS PLAN made to continue the dense wall-like typology down from the Main Street along the sidewalk edge of the site, which also helps aids in further defining Coe Park as a separate, yet integrated entity. The program for the campus was inserted in the structural system as specialized objects. General massing at the ground floor was to remain more public and

free, with more private classrooms and offices above, and special objects, like the library stacks and auditoriums to become the objects inserted.

Ground Floor Plan 1/16” = 1’ 1. Lobby/ Event Space 2. Ticket Sales 3. Bar 4. Coat Check 5. Men’s Bathroom 6. Women’s Bathroom 7. Seating 8. Stage 9 Backstage 10. Stage Fabrication/ Workshop 11. Stage Services 12. Workyard/ Delivery 13. Cafe 14. Cafe Kitchen 15. Kitchen Offices 16. Kitchen Classroom 17. Administration 18. Classrooms 19. Break Room 20. Entry 21. Lounge 22. Workshop Classroom 23. Outdoor Amphitheater 24. Outdoor Plaza








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Architectural Scale approach | plan | section



specialized objects within an existing structure The architectural scale component of the thesis represents a highly integrated community/ university space that acts as the gateway to the University and a defining element to Coe Park and the University quad. The building sits at the corner of the site, creating a public plaza fronting the intersection of the streets and Coe Park. It functions programmatically as a theater,, and a stage workshop. It is also connected to the original mall massing by using the first part of the mall as a cafe and public educational center to the art for the public

The building itself relates to the project massing strategy as the theater is treated as an object that sits inside another The theater, delineated by wood, is treated as one mass and sits inside a light and airy glass structure; meant to extend the exterior public space of the plaza and sidewalk to the interior. The back side of the theater is also used as a backdrop for a small outdoor ampitheater where different types of events can be held to engage the rest of the campus from the theater and to bring the public deeper into the site.

4 4 5 9










4 4


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First Floor Plan 1/16” = 1’ 1. Loggia 2. Theater Service 3. 2nd Floor Seating 4. Classroom 5. Media Lab 6. Computer Classroom 7. Faculty Offices 8. Conference Room 9. Study Area 10. Lounge



Ad Mi

Artist’s Community year completed

Fall, 2011


Woonsocket, RI



Martha Werenfels

Inspiration for this design for an artist community in Woonsocket came from the iconic fire doors traditionally found in old mill buildings throughout New England. The idea of a sliding door was translated into a dynamic system in which transformable, or movable walls are attached to the structural system of each building. All the artists, each with his or her different individual needs, are able to create their own spaces based on what they require to work, live and show their pieces. This system is also reflected in the exterior cladding by becoming a metal screen system, arranged to mimic the moving and sliding of the walls located inside. Mixed use elements were also incorporated into the project to enliven the site and emphasize the idea that it has become a true community. Located on site is a cafe, art gallery, non-profit children’s art center, music school and various shops. Addi-

tionally, different apartment types are used, and all incorporate a movable wall space to help define rooms and spaces based on user needs, such as offices, dining and sleeping areas. Materials for the transformable wall system can also be interchanged between, glass, wood, metal, etc.








1. Ground Floor Plan 2. First Floor Plan 3. Second Floor Plan 4. Third Floor Plan 5. South Elevation 6. East Elevation


Ur Mi

Boston Complex year completed

Spring, 2011


Boston, MA



Vincenco Giambertone

The creation of a neighborhood with a sense of place Largely undeveloped, a section of Boston’s South End is currently a blank canvas. Through research and design studies, this studio’s purpose was to recognize site- specific needs, define neighborhood goals, and create a mixed use building that would function as an integral piece among a network of new buildings that would help breathe new life into the area. In preparation for inevitable large-scale and city-like development in the area, design for the building was formulated based on the idea of what a garden building might look like in a city such as Boston. As a triangle lot, the design for this project takes advantage of an inherent opportunity to conserve a certain amount of open and garden space for people who live and visit the city, and will become a more and more treasured amenity as the city grows around it over time.

Two major components make up the design for this mixed use building: a zig-zag like element that connects all areas of the site on street level, and a residential tower that sits as an anchor to the site and contains large open (yet contained) garden areas. The zig- zag element remains for public use, made up of the most natural mateials, wood and plants that connects the site, the shops and open areas to the ground plane. The tower contains all of the building’s residential units and several communal garden areas suspended above the city.

S H O R T S E C T I O N through anchor and residential

S H O R T S E C T I O N with Details

Floor Plans

R E S I D E N T I A L U N I T P L A N S : 1 Bed | 2 Bed | Studio | Loft | 2 Bed with Office

Ma Pu Mi

Exeter Village Vision year completed

Fall, 2011


Exeter, Rhode Island



Edgar Adams

Envisioning a town center for all Due to rapid expansion within a short amount of time, it is not highly uncommon in New England for a town to be without a town center. Exeter is a perfect example of a place that is experiencing growth without having a set development plan for the future. This studio worked in conjunction with the town of Exeter to envision what this new vision could look like. This large project consisted of a thorough analysis of New England towns, housing types, water and waste management, masterplanning, zoning and infrastructure design.


Firehouse year completed

Fall, 2009


Providence, RI


Gary Graham


This project in a lot of ways challenged me to think in terms of design vs. function. Because firemen have such particular needs, certain aspects of design become secondary relative to their necessity. For this design, the apparatus bays became the main focus and most special moment of the building. This translated into having them be located in the center with the program split between formal and informal on either side. A special moment was created by bridging the gap between the public and private sides that passes through the apparatus bay. From here, a connection to the site was finally established from the way modular “fingers� that were staggered based on the specific shape and nature of the site.

1. Long Section 2. Ground Floor 3. Short Section 4. First Floor


Mill House year completed

Spring, 2009


East Providence, RI


Derek Bradford

A developer seeks to convert a parcel of buildings in a former light industrial complex in East Providence into commercial and housing units. Building 9 is a late 19th century brick structure with clear span wood roof trusses and elegant masonry detailing that will be converted into variously sized apartment units. The design proposal for this unit is an interpretation of loft design and an industrial aesthetic.





Photographs provided by:


Crystal Bridges Museum of American Art: A Design for an Art Museum That We Can Believe In Bentonville, Arkansas Architect: Moshe Safdie

The Crystal Bridges Museum of American Art located in Bentonville, Arkansas officially opened its doors on November 11, 2011. The project, designed by architect Moshe Safdie from Safdie Architects was designed with the specific intent to unify the public realm with American art and landscape. The museum was set to house the art collection of Wal-Mart heiress Alice Walton. The design’s integration amidst 120 acres of rolling hills of Arkansas compliments and increases awareness of remarkable natural features the surrounding landscape has to offer. The project consists of a series of 8 pavilions set within a ravine where a series of trails connect surrounding neighborhoods with the museum. The Museum’s assimilation with the landscape has created an inspiring and alluring hideaway in the forests of Arkansas. Whereas other art museums flock to locate themselves in the center of the city “hub,” the Crystal Bridges Museum offers a retreat from busy city life. It seems as though this project was made for Safdie, whose design philosophy centers around architecture that responds to geographic, social and cultural aspects that also respond to changing and modernizing human needs. The design of the museum compliments the architect’s ideals where it was designed specifically to create connections between members of the community, art and nature. One of the biggest challenges designers find in designing museums and other types of tourist attractions is a way to make the trip a non-strenuous activity. We all might relate to the feeling of exhaustion after a long day of touring. However, Safdie chose to separate the functions of the museum into a series of pavilions that are connected to each other, which allows a visitor can take the journey in strides, and makes a connection with nature and landscape an intentional part of traveling through the museum. People are able to experience the building in chapters rather than one long excerpt, and the journey becomes a story rather than one specific event. In conducting a walk through of the complex, the visitor will find a variety in the types of spaces as well as programmatic functions as they move about the museum. Spaces vary in character from more inwardly focused areas to spaces with extensive views to the surrounding landscape. Although the progression from one space to another varies somewhat in character and programmatic function, there is always a continuous reference to nature that makes the journey of meandering through the museum harmonious and refreshing. The programmatic variance of the projects also adds to its list of strengths for another reason. It is not unusual for someone to find themselves a recurring visitor because of the range of activities one can conduct while being there. Whether it is a scenic place to hike with your family, a place to take a class, eat a meal, or read a book, the programmatic variance will keep people coming back for more and will assure a different experience every time.

Photograph provided by:

Letter to the Editor, In response to the New York Times coverage of the Granoff Center at Brown University, Mr. Ouroussoff articulately describes its architectural nature, but is too generous in his praise for the design. Mr. Ouroussoff’s description of the “handsome architecture” of the Granoff Center overlooks the design’s gimmicky nature. Its flashy appearance fails to conceal its various technical flaws, such as exterior “blinds,” which give a voyeur standing outside the Granoff Center at times an unappealing peak into the men’s bathroom. In addition, Diller Scofidio + Renfro’s selection of materials visually consists of dull textures. 90% of the building is blanketed by gray, while the remainder consists of dirty white walls, serving as the only reprieve from a monotony from all the gray. Vibrant color seems reserved for those spaces that are considered the least important, such as the bathrooms and fire stairs. This might make sense if the interior main circulation was also colored, thus prioritizing the circulatory and service spaces, but alas, they too suffer from a dreary palette. The “sameness” of the types interior space is also disconcerting. The floating offset living rooms and studio spaces all seem to come in one size. The living rooms only seem to come in extra small, and studio workspaces only available in big and tall; discouraging different types of interactions, tones and moods that they would be able to facilitate. Had more thought been given to the intrinsic quality of the interior spaces that were created, it is my opinion that the Granoff would have been more architecturally successful. But the architectural resolution of the Granoff lacks true innovation. The uniqueness of its voyeuristic themes quickly fade, leaving a poorly executed design concept at the heart of Brown University. Should one come to expect future university studio buildings that rely on mere gimmicks? Or, is this merely the result of a lack of creativity on the part of DS+R? Possibly, it is merely a product of a relentless pursuit of a realization to an architectural thesis that was never truly grounded. DS+R intended to create an open-environment that would inspire creativity and foster dialogue between students and faculty. Their success in this lies exclusively with the unique culture of the Providence campus, which itself fosters inquisitiveness and social voyeurism. Even for a university, the culture of Brown’s campus is even more strongly committed to sharing ideas, creating dialogue with outsiders, and displaying work. The Center is the first of its kind, which is a true feat. The new building now opens an entirely new dialogue about the intrinsic qualities about its typology that relates architectural design to pedagogical theory. And so, it is my finding that this “Ode to the Granoff” is missing entirely the beauty of the project by omitting its incredibly rich and dense intellectually stimulating themes.

Thank you, Emily Korzynski Roger Williams University

graphic design


Camp Brodie 2013

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Camp Brodie 2013





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Thank you.

Emily Korzynski  
Emily Korzynski  

Portfolio contains selected architecture and design works from 2007 to present day.