2.
JAEHYUN LEE
phone: email: portfolio: website:
703.314.5799 jayden.jhlee@gmail.com http://issuu.com/jayden.jhlee http://cargocollective.com/jaydenjhlee
PRATT INSTITUTE CONTENTS Administrative Building 01 Critic: M. Louis Goodman Spring 2010 Love House 02 Critic: Theo. David Fall 2010 Bowery Library 03 Critic: Dragana Zoric Spring 2007 Animal Training Center 04 Critic: Richard A Sarrach Spring 2006
ADMINISTRATIVE BUILDING Eaglebrook School Deerfield, MA The studio is about the relationship of theory and practice; the development of ideas with the creative demands a buildings realization requires. The project is to build a new administrative building for Eaglebrook School in Deerfield, Massachusetts. It is an independent junior boarding school for boys. The site is located near to the main entry point on 750 acre campus. The major goal is to create an iconic yet functional administrative building that would give impression to new comers. Program requirements were very precise. Design strategy was to deploy 6 major programs (Department of Business, Admission, Development, Headmaster room, Publication, and Boardroom) in order to create synergy effect by proximity.
EAST ELEVATION
WEST ELEVATION
NORTH ELEVATION
SOUTH ELEVATION
5
0
10
20
SECTION AA
SECTION BB
SECTION BB
SECTION AA
The building is designed with clear circulation and program layout., however its unique orientation and relationship among each elements creating unexpected spatial quality. Also pocket of landscape between adjacent Gibbs building where main cafeteria of campus is located is to serve outside seating areas. Playfulness of steel construction and calmness of reinforced concrete create diverse spatial quality
Gibbs
-1’ -2’
4
-3’ 0’
-4’
5
1
3 2
0’ -1’ -2’ -3’ -4’
1ST FLOOR PLAN / SITE PLAN 5
0
10
20
9
6 7
8
1. BUSINESS DEPARTMENT 2. ADMISSIONS DEPARTMENT 3. MAIN LOBBY 4. HEADMASTER ROOM 5. MAIN HALL
2ND FLOOR PLAN
6. DEVELOPMENT DEPARTMENT 7. 2ND LOBBY 8. PUBLICATIONS 9. BOARDROOM
Love House Eaglebrook School Deerfield, MA The studio is about the realtionship of theory and practice; the development of ideas with the creative demands a buildings realization requires. From the very beginning of the project, we had precise requirements of program and its size. First I schematically separted programs into 6 major elements; Department of Business, Admission, Development, Headmaster room, Publication, and Boardroom. The major inspiration is an idea of framing in photography. 6 major elements were placed in specific location to create physical pockets of landscape while creating visual threshold of campus.
1
2
SECTION AA 1 2 3 4 5 6 7 8
PARKING ENTRANCE PRIMARY CIRCULATION SECONDARY CIRCULATION KITCHEN/DINING ROOM BEDROOM MEDITATION ROOM BEACH ACCESS
SECTION BB
3 6
7 4
SECTION CC 5
8
UPPER FLOOR PLAN
5
0
10
20
1 PAVILLION 2 READING ROOM 1 2
LOWER FLOOR PLAN
CONCEPT SKETCH
5
0
10
20
SECTION AA
SECTION BB
SECTION CC
SOUTH ELEVATION
PHYSICAL MODEL
AXONOMETRIC VIEW
BOWERY LIBRARY Bowery, New York The studio explores the techniques of couture (fabric and garment construction) - as techniques in architecture, expanding on the conceptual influence of one field over the other to encompass emergent and traditional tools of tailoring and dressmaking as methodologies for novel structural systems, programmatic models and means of construction in the design of a 10,000 sf library in the Bowery in New York City. The studio operates as simultaneous design of the body/skeleton, and garment/ skin, as a hybridized, unified deep structural assembly. Operations within the organisational logic of the structural skin are fundamentally linked to shifting program and site influences. The architecture becomes reactive to the programs it houses, interdependent parts of a performative system - storage, archiving, retrieving, viewing, and display.
BOWERY
BROADWAY SITE
COMMERCIAL AREA GNC
OMG
EYE LEVEL
NECESSARY CLOTHING
CRAZY DOG
LIGHTING PLUS
BROADWAY
FACADE
THE MAIDS
STEVE’S BOWERY
BOWERY
GRADE OF ACCENT
STRONGER
BROADWAY
BROADWAY
BROADWAY
WEAKER
GRADE DIAGRAM
DEPTH DIAGRAM
NOTATION DIAGRAM
BOWERY
BOWERY
BOWERY
FABRIC TECHNIQUE DIAGRAM BOWERY
BROADWAY
FLOW DIAGRAM BROADWAY
BOWERY
334 BOWERY TATTO
SALA
RESTAURANT & BAR
SITE PHOTO
PATTERN OF MODULE
PATTERN OF MODULE OF TYPE_AB_01 PATTERN_A
PATTERN_B
TYPE_AB_01a
PATTERN_AB
SECONDARY CUT
13/16(.8) inch PRIMARY CUT
5 inch
3/4(.75) inch DEFINITION OF CUTS PRIMARY CUT
- cut lines that necessarily need in order to fold
SECONDARY CUT
- score lines that necessarily need in order to fold
TERTIARY CUT - score lines that need in order to control geometry
63 54
QUARTERNARY CUT
- score lines that do not necessarily need
1 inch TYPE_AB_01b 5 inch
KNIFE PLEAT TERTIARY CUT
SECONDARY CUT BOX PLEAT PRIMARY CUT
CARTRIDGE PLEAT TYPE_AB_01C
CENTERED TUCK
QUARTERNARYZ CUT BLINE TUCK
MODULE_100
MODULE_200
MODULE_210 PHYSICAL MODEL PROCESS
M.101
M.102
M.103
differentiating openings were used for controlling visual threshold
new fold line that were existed in module_100. it lets the module_200 to form Ratio of x & y axis-6:4, which led a module to stretch to x axis
module_210 is variation of module_200 A side of module get flattened out to control visual view module_210 used for front facade & back facade are different
PHYSCIAL MODEL STUDY
2ND LEVEL
1ST LEVEL
GROUND LEVEL
UNDERGROUND LEVEL
NORTH-WEST ELEVATION
PLAN
PHYSICAL MODEL
ANIMAL TRAINING CENTER Unidentified Site “through the void, to draw lines and parabolas, pick out the precise point, the intersection between space and time when the event would spring forth, undeniable in the prominence of its glow...” -Italo CalvinoThe studio was framed through the mapping of the flesh eater. As a point of departure I began by selecting a battle that took place between 300BC and 1850AD. Using an assigned set of baroque dance notations I then mapped the performative values and identity of the bodily form embedded in these maps, then used this same system of notation to document the macrosystem of the selected war. The studio continued to investigate this set of issues in the second phase when I deployed a strategic layering of a tectonic to enclose the space of the “groundworks”. Primary, secondary and tertiary structural systems were skinned with an intent of of interface. The porosity of this skin facilitated a dialogue between the participants of the proposals. Whether it was the choreography of the singular body or the logistics of a colossal juggernaut of war, the students used multiple scales to answer the question of how can we begin to reveal the ghostly presence of the body and open up a latent temporal landscape that then in turn gives rise to affordances within the system.
PHYSICAL MODEL
Fourth Level
Third Level
Second Level
First Level
LONGITUDINAL SECTION
PERSPECTIVE SECTION
CROSS SECTION 1
CROSS SECTION 2