ARCHITECTURE PORTFOLIO
Haley Jeanne Korwan Bachelor of Architecture Student
works 2020 - 2022
This portfolio contains the design work of Haley Jeanne Korwan
Education // Graduation MAY 2025
[2020 - now]
Bachelor of Architecture Rensselaer Polytechnic Institute
Undergraduate
GPA: 3.84 Dean’s Honors List Experience
[2021, 2022 - now]
Anthony Titus Studio - Illustrator Jay Madden Architect - Intern Studio Joseph - Contract Worker
[2021 - now]
RPI SoA “No Place Like Foam / Dancing about Architecture” - Project Manager
RPI SoA Publications Dept.Liaison, Photographer, Archiver RPI SoA Deans Student Advisory Council - Member
Undergraduate Research: with Anthony Titus [2021 - now]
Teaching Assistant: with Adam Dayem
haleykorwan@gmail.com
Instagram: @halkodesign (609) 618 -2055
School Involvement
[2020 - now]
RPI SoA AIAS - Chapter Member
[2020 - now]
RPI Athletics
Winter Track + Field - Team Member Spring Track + Field - Team Member
Skills
Proficient in: Rhino, V-ray for Rhino, Photoshop, Illustrator, Lightroom, InDesign, ArchiCAD, Python, Java, p5.js, model-making.
Has experience with: Grasshopper, Revit.
Awards
[2020 - now]
Rensselaer Leadership Award
[2020 - now]
Awards Review Presenter
Architectural Design Studio 01 Architectural Design Studio 02
Architectural Design Studio 03 Architectural Design Studio 04
[2022]
Rensselaer National Society of Leadership and Success
Awards Contd.
[2020 - now]
NFHCA Academic Team
[2020 - now] Archived Works
Architectural Design Studio 01 Architectural Design Studio 02 Architectural Design Studio 03 Architectural Design Studio 04
Visual Studies 01 Visual Studies 03
HALEY JEANNE KORWAN
CIVILIZED WILDNESS A KINDERGARTEN FOR ECOLOGICAL DISASTER
CIVILIZED WILDNESS
Architectural Design Studio 01 critic: Adam Dayem
A kindergarten for ecological disaster. One which allows students to realize that civilization is not something that exists outside of wildness and that nature and wildness are both cultural constructs. This kindergarten is without corridors and acts as a Palladian villa in terms of circulation. All accidental encounters that occur moving through the spaces cause friction and threaten the way we live as a society. Rather than eradicating the social experience, this kindergarten encourages no peace, no security, and no segregation. Perforations in the façade allow not only for an immediate engagement with nature but also for other species to inhabit the kindergarten. This kindergarten is set back into the post-industrial worlds romanticized definition of nature but looks out on the inherent beauty but ugly reality of a manufactured landscape. ‘Civilized Wildness’, an off-grid project, allows the future generation to realize that they are a part of nature too.
3
1 2 [1] Photograph by Edward Burtynsky, Boa Steel #08, 2005 [2] Hudson River School Painting, Jasper Francis Crospey, View of Greenwood Lake, 1845 4 01 CIVILIZED WILDNESS
[3] top level of rendered horizontal section [4] middle level of rendered horizontal section 4 3 7
[5] long vertical section highlighting oblique as well as the dichotomy of stability and instability [6] short vertical section of kindergarten depicting upper, mid, and lower levels [7] short vertical section of partially enclosed area only accessible by students 5 6 7 8 01 CIVILIZED WILDNESS
8 [8] Photograph of chunk 1/2” = 1’ physical model constructed of bristol paper 11
9 [9 Detail photograph of chunk 1/2” = 1’ physical model constructed of bristol paper 12 01 CIVILIZED WILDNESS
CULTIVATED CHAOS INTERGENERATIONAL CENTER OF TROY, NY
CULTIVATED CHAOS
Architectural Design Studio 02 critic: Anthony Titus
Cultivated Chaos is a structure which serves as a critique of an urban playground by allowing intergenerational communities and the concept recreation to come together to discover or rediscover a connection with seasonality in the city’s public spaces. Rather than eradicating the potential of public spaces throughout all seasons, this intervention allows for youngers and elders to experience and negotiate how seasonal changes of Downtown Troy can be seen as useful and enjoyable, rather than frowned upon or fought against. The face of the building features apertures, containing colored glazing that adds a sense of dynamism and play to the scheme. By bringing together youngers and elders into a place which encourages intergenerational exchange and enjoyment with the seasons through flexible design, accessibility, and transparency, our society’s perception of generational gap and nature in the city’s public spaces change, creating a cultivated chaos.
10 [10] grid lines used to develop paper grid models 13
11 12 [11] painting by Paul Klee, Transparent in Perspective Grooved , 1921 [12] quilt by Creola Bennett Pettway, Half Log Cabin Variation , 1949 14 02 CULTIVATED CHAOS
13 [13] Paper grid model hung to wall to display compression and extenuation 15
[14] plan of intervention in the downtown area of Troy, NY [15] detailed plan of intervention showing stairs for circulation [16] detailed plan of intervention showing stairs for circulation and entry and exit points 14 15 16 17
[17] section of intervention in the downtown area of Troy, NY [18] detailed section of intervention highlighting underground spaces for elders and youngers [19] detailed section of intervention showing underground space and stairs for circulation 17 18 19 02 CULTIVATED CHAOS 18
20 21 [20] fragmented cubic study model made from card-stock [21] whole cubic study model made from card-stock 02 CULTIVATED CHAOS 20
[22] physical model of intergenerational center made from card-stock 22 21
[23] top view of physical model of intergenerational center made from card-stock 23 02 CULTIVATED CHAOS 22
CULTURAL ENCRYPTION
TRANSLATING THE BENNINGTON MUSEUM
CULTURAL ENCRYPTION
Architectural Design Studio 03 critic: Yael Erel
American museums are going through an identity crisis. They seek relevance to stave off the pandemic-induced economic decline, but relevance means tackling race, a topic they’ve been unprepared for and therefore reluctant to face. Cultural Encryption, an addition, and renovation project of the Bennington museum located in Vermont transforms what was an impassive institution, into a community center that can cultivate the relationship between visitors and collections, and encourage them to share their life experiences. The structure serves as a critique of an American museum by taking what is left when colonization and white supremacy are removed from the scheme. Utilizing existing structural elements to create a gridded system, a series of beams, columns, and ramps re-frame the museum and welcome new interpretations and cultural perspectives.
25
[24] physical joint model which slides apart on the x-axis and y-axis to reveal space.
[TR] section of renovation and addition to the Bennington Museum in Vermont
[BR] plan of renovation and addition to the Bennington Museum in Vermont
24 29
[25] 1/16” = 1’ detail physical model of renovation and addition to the Bennington Museum in Vermont [26] physical joint model which stands on its edges [solid] [27] physical joint model which stands on its edges [void] 26 25 27 33
[28] 1/2” = 1’ physical model of renovation and addition to the
Bennington
Museum in Vermont 28 03 CULTURAL ENCRYPTION 34
SIN
REPENTANCE ABSOLUTION
CITY’S
SOCIAL REPENTANCE
Architectural Design Studio 04 critic: Michael Stradley
Social Repentance is an adaptive reuse project situated in the carcass of the decommissioned Saint Mary’s church in Troy, New York. Violently mutilated, the remains of Saint Mary’s church restrain the structure and serve as a critique of the city’s abandonment of its sanctuary yet also unveil the new renaissance of interaction at both the individual and communal scale. Social Repentance, a civic intersection, houses 30 individual residents and a social matrix; wrapped in concrete ramps that climb the walls of the in-between space, an open place where visitors can choose to retrace their steps. Away from where documentation is housed and living is privatized, this physical structure serves as nodes that revitalize the public experience rather than eradicating it. By encouraging civic exchange through flexible design, accessibility, and transparency, our society’s perception of the city’s public spaces can change creating a social cohesion.
37
[29] physical model of massing model of Adaptive Re-use
Project of Saint Mary’s
Church 29 39
[30] interior rendering of Adaptive Re-use Project of Saint Mary’s Church [31] interior rendering of Adaptive Re-use Project of Saint Mary’s Church 31 40 30
[32] diagram of social matrix and organization of floors [33] section of Adaptive Re-use Project of Saint Mary’s Church 41 33 32
[34] 1/8” = 1’ physical model of social matrix of Adaptive Re-use Project of Saint Mary’s Church 04 SOCIAL REPENTANCE 42 34
[35] residential floor plans of adaptive re-use project of Saint Mary’s Church located in Troy, NY [36] residential floor plans of adaptive re-use project of Saint Mary’s Church located in Troy, NY 36 35 43
[37] two-bedroom unit plan of adaptive re-use project of Saint Mary’s Church located in Troy, NY 44 37 04 SOCIAL REPENTANCE
[38] physical model of
adaptive
re-use
project of Saint Mary’s Church located in Troy, NY
38 45
[39] physical model of adaptive re-use project of Saint Mary’s Church located in Troy, NY 39 46 04 SOCIAL REPENTANCE
VISUAL STUDIES NURBS MODEL // REPRESENTATION
[LEFT] combined view drawing of mechanical machine grappling in a dystopian society [29] perspective representation of mechanical machine grappling in a dystopian society [30] Isometric representation of nurbs model [NE] [31] Isometric representation of nurbs model [NW] 30 29 31 04 VISUAL STUDIES 50
PHOTOGRAPHY INDUSTRIAL // ARCHITECTURAL
32 33 [32] Asbury Park Boardwalk, Asbury Park, New Jersey [33] Historic Victorian homes in Cape May, New Jersey 53
34 35 [34] Causeway Bridge, Long Beach Island, New Jersey [35] Alumni Memorial Building, Lehigh University, Bethlehem, Pennsylvania 05 PHOTOGRAPHY 54
