Jin Chen Lee Portfolio

Jin Chen, Lee

Portfolio

UNSW Bachelor of Architectural Studies, 2009 -2011 UNSW Master of Architecture, 2012

Content

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Content

Content

Jin Chen, Lee T E A

0430370394 jinchen_ljc@hotmail.com 337 Anzac Pde, Kingsford

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Palm Beach

Ferry Terminal

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Lightning Ridge

Artist in Residence

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North Bondi

Mixed-Use Apartment

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Newtown

Public Library

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Newtown

Art Gallery

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Gordon’s Bay

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Bath House

Other Creative Works

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Resume

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Reference Letters

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Studio Project

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Palm Beach Timber Studio

Palm Beach Ferry Terminal The site is located adjacent to Barrenjoey Road on the Pittwater foreshore at Governor Phillip Park. The immediate area is open and flat, overlooked from the cliff to the East.

UNSW Master Year 1, 2012 Type: Commercial, Regional Location: Palm Beach, Australia Directed by: Peter Murray Structure consultant: John Carrick

The brief asked for a design of a ferry wharf to provide facilities to the local communities, including a 110m long ferry wharf, ferry passenger waiting area, 20 small row boat tie-up point, and a 150m2 clear span building for commercial/ community uses.

Timber is specified as the material for the wharf. Extensive detailing is done for the project, and a timber report is produced at the end of the session detailing the timber species and wood miles estimate.

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Studio Project

Palm Beach Timber Studio

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The design is inspired by the elegance and lightness of the sail boats and yachts around the area. The plan was conceived to be a simple straight line, but turned at an angle to allow visual connection towards the beach.

Main building is offset to the Southern side to block the undesirable wind from the South and allow sunlight to bath the walkway all year long. Small boat ties are tucked beside the main building as if it is the main “ship”.

A C

B

Floor Plan

A lot of emphasis is given on the structure and detailing of the building.

Main structure of the building is a portal frame system. Queen post truss minimizes the size of timber member used, giving a “lighter” feeling, while the tension of the cable fill the space with an air of excitement. The commercial building has a double roof. Semi-translucent material wraps the inner layer and appears to be glowing, refracting the light from the sea and the skylight above, lightens up the space. The second roof on the outside protects the inner roof from strong sunlight, while appears to hover above it. In the waiting area, only the second corrugated steel roof is installed.

Besides from reflecting the harshness of the marine environment, it introduces arriving visitors to the building by exposing the main structure.

Detailing of the building aims to reinforce the idea of light and excitement in the ferry wharf. The structural members are stripped down to its minimum size using Multiframe calculations. Timber members taper revealing the force at work in the structure. The junctions are designed so that the timber members appear to touch each other lightly. As if an extension of the excitement of the tension ties at work in the roof, the walls are designed to be operable through the turning and tightening of tension cables.

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Studio Project

Palm Beach Timber Studio

Interior Perspective

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Primary Structure

Longitudinal Section A

Studio Project

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Palm Beach Timber Studio

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30mm Kingspan galvanized roof panel 20mm Ampelite Thermoclick panel, span between rafters Double 180 x 35mm Glulam GL18 rafter Tension cable connected to roof purlin struts support

ETFE plastic sheet to cover end walls, aluminium frame hidden between beams

Ă˜ 10mm stainless steel rod locating pin Rebate batten for steel flats and angles

B Double 350 x 45mm Glulam GL18 post, tapers to 200 x 45mm at top end Glass door folding up, fronted with timber battens 80 x 40mm Tallowwood flooring

40 x 3.2 stainless steel flat with brass coating, double countersunk screw fix every batten Clear glazing in silicone set into door frames

150 x 60mm floor joists @ 500 centres.

20 x 40mm Oregon batten 7mm Grade A Marine plywood 50 x 60mm timber to form stud wall

Stainless steel angle and hinge connected to floor joist.

South Operable wall: section, exterior elevation.

Cross Section B

Studio Project

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Palm Beach Timber Studio

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Ampelite corrugated polycarbonate sheeting 150 x 50mm roof purlin@ 1500mm centres Ø 60mm timber struts for purlin support @ 1500mm centres. Ø 80mm timber struts secured at ends by Cowley connectors Ø 10mm stainless steel tension cable Cross bracing at end bays of wharf Folding door, see door details 180 x 60mm Tallowwood floor 12mm stainless steel post base on concrete pier Double 600 x 45mm Glulam GL18 beam, tapers to 200 x 45mm at ends

Longitudinal Section C

C

A

Junction A

Junction B

Junction C

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Studio Project

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Murcutt Studio

Lightning Ridge Artist in Residence

The project is located adjacent to the town Lightning Ridge in the “Three Mile� opal mining field. The site is remote from most infrastructure and the specific climatic conditions required detailed attention.

UNSW Graduate Studio, 2011 Type: Cultural, Residential, Regional Location: Lightning Ridge, Australia Directed by: Professor Glenn Murcutt Under guidance of Ashley Dunn

The brief asked for three artists in residence to be accommodated for periods of up to nine months annually, having facilities of galleries, studios, kitchen, dining and sitting rooms, courtyards, water retention, disabled access and infrastructure including power, water supply and water management.

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Studio Project

The Moonscape Three mile opal site is often described as moonscape on earth. The overturned vast dry soil is the result of the tailings that have modified the landforms to the adjacent natural landscape. In summer, dry heat goes up to 45 degrees celcius.

The architecture is to respond to the conditions of place.

The ridge on the site is made from soil dumped from opal mines nearby. Forming a small hill, one can see a horizon made of trees from the top.

The landscape is very powerful, both in the way it evokes emotional response and reflect the socioeconomy of the town. The place is rich with stories and the ground layered with history.

Murcutt Studio

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Studio Project

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Site Plan The instinctive response to the climatic conditions of the site is to bury the building underground to make use of the thermal mass of earth. The facilities are arranged together for ease of water and energy management. Trees are planted, with the help of ecomax system, as landscape gardens and to help cool the air Minimal changes to the original contour are made. The balustrades from courtyards and ventilation for toilets are carefully designed and placed, resulting in a landscaped walkway, directing visitors to the outlook platform on the ridge.

Murcutt Studio

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Studio Project

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Murcutt Studio

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Arrival: Visitors park their cars and walk through a shaded walkway onto a ‘z’ bridge, having views of the vast landscape through a line of soft bushes. The ‘z’ shape allows a sitting place to be formed, responding to the ‘neck’ of the site where wind and water meets.

Entrance: Cuts underground beside a small mount on the west, giving a nod to the landscape.

Material is rough horizontal boardformed concrete, mimicking stratum cut through mining. This, together with the cooler underground temperature, reminds people of the mining activities.

Glimpses of views beyond are awarded to visitors.

Reception: Shaded by a line of trees to the west, the colonnade walkway is opened to the landscape. Soft bushes planted stepping down, looks as if the landscape is welcoming the visitors.

Smell of the plants like orange trees remind people that they are in the outback.

Café: Looks into the landscape. Stepped platform outside can also act as performance stage.

Community dining: Looks into a small garden then into the reception colonnade walkway. It is connected to caretaker by an outdoor square planted with bright mother of millions that could be used for community activities.

Artist residence: Residences steps up to respond to the contour change. Every bedroom has its own private courtyard. Concrete sculptured ventilation and lighting for toilets form a rock garden on landscape above. Living room looks into a small courtyard shaded with vines, with fogger and a small seating area, then into the public walkway. It allows spontaneous conversation to happen; or the artists can choose to close the shutters turning it into a private space.

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Gallery/Studio: Walking down from reception into a sunken sculpture garden to the left, and corridors with glimpse of the landscape in distance. The three rooms acts as both gallery and studio.

The roofs tilt upwards forming a wind catcher, or ‘malqaf’. The roof is exposed to collect rainwater and to diffuse natural light into the gallery.

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Library: At the end of the journey, visitors are awarded with panorama of the landscape in the quiet library, or in the open look out beside, which brings them up a ramp, going across the galleries, giving them glimpses back into the gallery and sculptural garden, before arriving at the café.

Technology: Cooling systems using fogger and plants, underground thermal mass, chilled beams, air movement over water and ‘malqaf’. Water is collected and reuse on site. Ecomax system for toilets filters black water to sustain courtyard gardens. PV panels harvest solar energy enough to operate building.

Floor Plan

a

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Studio Project

Murcutt Studio

Section A

Section B

Right: anticlockwise, from above - Perspective drawing of entrance; Cafe; Gallery/ Studio; Artist residence.

Left: Anticlockwise, from left: 1 - Looking into sculptural courtyard from ridge.

2 - Bird’s eye view of model. Building sits into the ground, with few holes puncturing the ridge.

3- Top of the ridge looking back into the landscaped path.

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Studio Project

Murcutt Studio

Main material used is concrete for its thermal mass, and its durability in the harsh weather condition. The scorching hot sun pushes people to stay in the shade.

However, natural light is needed for creating art. Therefore, the roof of the gallery spaces are exposed, which also functions to collect rainwater. Heavily insulated precast concrete is used due to its ease of construction and the irregular shape. Silver, reflected sunlight on the ceiling gives a calm, serene atmosphere.

Left - Detail view of the light reflector. Louvers on top allow the intensity of light to be adjusted.

Middle Left- reflected light in the artist’s workshop/ gallery.

Right - Overview of detail model @ 1: 20 scale

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Studio Project

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North Bondi Apartment

North Bondi Apartment

This project involves development of a mixed-use building consisting of one restaurant, four apartments with one of them disabled accessible. All the council codes are to be met as a BCA compliance report is to be produced after the project.

UNSW Bachelor Year 3, 2011 Type: Residential, Commercial, Retail Location: North Bondi, Australia Directed by: Professor Harry Margalit Under guidance of John Diimopoulus

The building is envisioned to be a very open living space to respond to the very outgoing lifestyle in North Bondi.

However, some form of threshold between inside and outside needed to be established to protect the privacy of the residence, especially when there is public park opposite the site, and a restaurant on the ground floor.

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Studio Project

North Bondi Apartment

North Bondi

North Bondi is an Eastern Suburb near Bondi Beach. Its proximity to the beach shaped a very distinctive lifestyle. You can very often see people walking around carrying surf boards, or sitting in a cafe. This project aims to embrace the outgoing lifestyle while working in scale to connect the seemingly fragmented parts of the suburb. (see diagrams on the right)

Left - Apartment looking from Wairoa Avenue.

Middle - Photos around North Bondi.

Right - Carving the building block responding to conditions and connecting scales of the buildings around the site.

Studio Project

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North Bondi Apartment

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B C

D

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Ground

Level 1

Section A

Level 3

Level 2

Section B

Section C

Section D

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Studio Project

North Bondi Apartment

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Top - Interior view of apartment living room. Stairs are angled towards direction of the beach. Balcony opens up towards to Park.

Middle - Detail elevation of the building showing material palettes.

Right - Detail model of part of the building @ 1: 20 scale.

All apartments are given equal treatment of views. The apartments are given a deep balcony to protect the residents’ privacy and to shade summer sun. Stairs leading up to bedrooms from living rooms are angled towards the view of Bondi Beach. Ground floor apartment without views is compensated by a garden.

The exterior facade is made up of concrete walls, white wash walls, timber screens, and curtain walls. Reinforced concrete is used as the main material because of the corrosive nature of the site. Most walls are white washed, giving a serene feeling as buildings by the sea in the Greek Islands. Timber screens are added on the West facade to control heat gain in the afternoon, and also to give a warm feeling to the cold concrete walls.

West Elevation

North Elevation

East Elevation

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Studio Project

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Newtown Library

A Library in Newtown

This project involves the consideration of a building with a civic purpose: in this case, the purpose and significance of the public library to the intellectual and cultural life of a community.

A list of spaces is provided. However, some spaces are combined depending on the structure and organization of the whole.

UNSW Master Year 1, 2012 Type: Cultural, Public Location: Newtown, Australia Directed by: Professor Peter Kohane Under guidance of Swetik Korzeniewski

The character of the library from the exterior is envisioned to “fit into the site” and appear as a “civic building” from the start of the project. Because it is a public building, internal organization is arranged as simple and straight forward as possible.

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Studio Project

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Newtown Library

Responding to Site

Georgina Street

The project is located in one of the few residential squares in Sydney – Hollis Park in Newtown which has large Victorian houses on two sides.

Newtown is a very cosmopolitan inner city district close to Sydney University.

Most pedestrian traffic comes from Georgina Street, one of the oldest Aboriginal tracks in Newtown. With rows of large trees lining along the street, there are opportunities to open up views to look along the street.

Warren Ball Ave Hollis Park

The building opens up to the park, with main entrance at the Northern corner. On ground floor, the magazine area opens up into a pool, which extends into the park. Facing North-West, less glazing is used to minimize heat gain. Brise-soleil is used to control the amount of light entering the spaces. On the top floor, visitors are allowed to walk out into the open space and look into Botany Bay in afar across a terrain of rooftops. The South-West facade sets back 2 meters from the adjacent residential building to give privacy.

Wilson Street

Location Plan View towards Botany Bay

Significant corner

Main pedestrian arrival

Site

A “wing” forming the floating roof on the central hall bounces light onto its ceiling, giving a silver glow. Changes of daylight throughout the day can also be observed from this skylight. It brings light into the central of the library, forming a meeting space.

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Studio Project

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Newtown Library

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Spatial Organization Visitors enter a small space with seating before be- for light. Carrels with individual adjustable window

ing introduced to the central top-lit hall, surrounded are located near the park, nestled into the “blades� by books. Magazine area beside the hall looks out from exterior. into the park.

Level 4 houses mainly the study rooms that overLevel 2 and 3 host book stacks and reading areas. look the park. The roof terraces give a break out Book stacks are arranged around the central hall, space for library users. while the reading areas are located at the periphery

Hollis Park

Adjacent building

Section

Georgina Street

Georgina Street

Hollis Park

reet

Wilson St

Level 1

Hollis Park

Hollis Park

reet

Wilson St

Georgina Street

Georgina Street

reet

Wilson St

reet

Wilson St

Level 2

Hollis Park

Level 3

Level 4

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Studio Project

Opposite - Study of central skylight throughout the day.

Left - View of library from Wilson Street. Top floor terrace allows view to Botany Bay and Hollis Park.

Middle top - Corner sloping up to continue the row of Victorian houses at Georgina Street read as “wall”.

Middle bottom - Rooftop terrace on the North-East, looking down Georgina Street and Hollis Park. Raised platforms on both ends give a more generous space to the common reading areas below, at the same time allowing light into the spaces.

Right - Interior view of the central hall. Visitors are surrounded by book stacks once they enter the building. “Winged” skylight lets light into the space.

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Studio Project

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Newtown Gallery

Newtown Art Gallery

This project involves an art gallery in the middle of Newtown. The site is thin and long, suggesting a possibility of experiencing the space as a sequence.

The brief asks for a permanent exhibition gallery, temporary gallery, owner’s residence, meeting room, and a workshop for invited artist.

UNSW Bachelor Year 2, 2010 Type: Cultural, Public, Residential Location: Newtown, Australia Directed by: Professor Xing Ruan Under guidance of Catherine Lassen

Sculptures are the main permanent exhibit. Sculptures can be experienced differently from different perspective.

Therefore view is a main concern to the project. There are always unexpected vistas into spaces one visited or came from.

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Studio Project

Casting Newtown Situated in the cosmopolitan context of Sydney, Newtown is a suburb famous for its art scene and lively lifestyle. There are trendy cafes and quirky small shops around the site.

The brief is to design an art gallery for artist Rachel Whiteread. She employs traditional casting methods to make sculptured of the spaces in, under and on everyday objects. It captures and gives materiality to the sometimes unfamiliar spaces.

This project attempts to do the same. The heavy volumes of the building are like a cast of Newtown’s activities. Commercial activities are translated into service spaces; circulation into gallery space; and residential into house for the owner.

Left - Stairs by Rachel Whiteread. It is to be exhibited as a permanent exhibit in the courtyard, surrounded by stairs. It evokes the contrast between the life stairs and a dead one.

Middle - House by Rachel Whiteread. A smaller replica model is housed in a dark gallery while pieces of the destroyed original are housed in a bright gallery beside.

Right - Elevation drawing of surrounding buildings.

Newtown Gallery

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Studio Porject

Newtown Gallery

The central courtyard exhibits “stairs”. The busy and lively courtyard, with people using the stairs around contrasts the plaster casted “dead” stairs.

Gallery owner’s residence is located at the back, away from the busy front street.

A workshop is located on level 1, overlooking the exhibit and courtyard.

House gallery. The “dead” house is exhibited here. It is a dark space where videos of the project and remaining pieces of it are exhibited.

A scaled replica of the sculpture is housed in a bright gallery beside.

Sliced opening allows visitors to look back into the gallery from level 1.

Visitors enter from the side, brushing their hands along the old brick wall of the adjacent building, they enter a generous double height lobby.

Building is setback from the street to express identity as a civic building.

Open public space in front can be used for large installation.

Sectional Model

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Studio Project

Clockwise from bottom left 1 - Three stairs creating a very interesting 4 - Open space in front for large installations. They can be viewed from the conversation in the courtyard. The sculpture can be viewed from many street or the cafe/ function area of the gallery. different perspectives.

5 - Overview of the art gallery. Setback at the front breaks up the flat con2 - Two house galleries side by side. Floating volume on the left looks as tinuous facade of the street, stating the uniqueness of the gallery, and at if it were casted off the volume on the right. the same time giving an element of surprise to people walking along the street.

3 - Foyer looking out to street. Visitors sit here after visiting the gallery to discuss their opinion, and look back to where they came from.

6 - Floor plans (from left to right: ground, level 1, level 2)

Newtown Gallery

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Studio Project

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Gordon’s Bay Bath House

Gordon’s Bay Bath House

This public project is to build a bath house and cafe with an area for function, mostly wedding. Two decks are needed, and disabled access is to be provided from upper deck to lower deck.

UNSW Master Year 1, 2012 Type: Public, Retail Location: Gordon’s Bay, Australia Directed by: John Carrick Under guidance of Christian Grennan

Because of the sensitivity of the sandstone cliff site, the building needs to touch the ground lightly. The main material used for the project is timber.

A report is produced after the design of the project. Woodmiles estimate evaluation of the project is three stars.

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Studio Project

Gordon’s Bay is a beautiful site where people hang out in the summer. The building is designed as pavilions connected by a timber deck. Curved roof is inspired by the gentle curving of small fishing boats near the site. The project aims to create valuable public gathering spaces with stairs, and floating decks, to give back to the community the space the project has taken.

Left - Photos of site. (left to right: sea, boats, sandstone cliff) Middle - Site plan Upper Right - Perspective sketches (left to right: cafe, central deck, changing rooms) Lower Right - Perspective of bath house from opposite cliff.

Gordon’s Bay Bath House

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Studio Project

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Gordon’s Bay Bath House Jin Chen, Lee

The first impression of the site is that people tend to be overwhelmed by the sea, but forgets the beautiful cliff and bushes behind them. Therefore, spatial sequence of the building leads visitors to appreciate different unique elements of the site.

Visitors enter from an open environment into a narrow close to the cliff. Screened and layered Cafe/pathway, Reception Central space views of the ocean are given. Panoramic view is only opened up to the visitors at the end of the journey, where the path spilled into an open space on a flat cliff top.

A

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Change room

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A

Disabled accessibility is a concern. Ramp wraps around the building, while the building gently steps down towards the cliff. Gently sloped roof opens the interior towards the ocean.

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Legend: 1. Lower deck entrance from beach 2. Lower deck.

3. Access ramp into water 4. Upper deck entrance from cliff.

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Left - Spatial sequence sketches B

B

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5. Cafe/ Reception.

6. Central space for community gathering or events.

7. Waiting bench.

8. Male change room.

9. Female change room.

10. Steps leading to lower cliff.

11. Cantilevered outlook point.

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Bottom - Building as viewed from the beach.

Opposite: Left - Construction sequence Bottom left - Elevation

3286696

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Lower Deck Plan scale 1: 100

Bottom right - Detail model @ 1: 50 scale.

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Upper Deck Plan scale 1: 100

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Other Creative Works

Other Creative Works

Content

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High Rise feasibility study

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Palm Beach Masterplan

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Kimbell Art Museum model

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Casa Can Feliz model

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Planar Modelling

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Tucson Mountain House model

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Streetworks Competition

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Other Creative Works

High Rise feasibility study

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High Rise Feasibility Study

Palm Beach Masterplan

Kimbell Art Museum model

UNSW Master Year 1 elective Instructed by Richard Johnson

UNSW Master Year 1 studio Instructed by Peter Murray

UNSW Master Year 1 studio Instructed by Swetik Korzeniewski

A feasibility study based on the design competition brief on the 8 Chifley Square development in Sydney CBD is prepared. Issues such as Local Development Plan controls, background and heritage of the site are explored.

A masterplan for the Palm Beach ferry wharf site is produced before the design of the actual wharf started to gain a more comprehensive understanding of the site. The masterplan tackles issues of confusing parking entrances, creating more green areas, and creating better connection of the beach to the park.

Models of Kimbell Art Museum designed by Louis Kahn are made to study the spatial organization, and more importantly the treatment of natural light in the museum. Lessons learnt from the building will be taken into the design of the Newtown Library studio.

Relationship of the high rise to its surrounding is discussed in length. Issues such as pedestrian activation, defining public space, exploiting building envelope and FSR constraints, sustainability, building height, and revealing life on the high rise building are tackled in the two development options produced.

1: 500 site model, 1: 50 sectional model, and 1; 20 detail model is conThe masterplan proposes diverse activities to activate the park, created structed. Exceptional attention is placed on the modeling of the light refracdetailed landscape design of steps and public furniture for better connec- tor in the detail model. The diffused and reflected shimmering “silver-like� tion between various parts of the park and the beach, while also proposed light can be observed in the model. several potential night-time lighting source.

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Other Creative Works

Casa can Feliz model

Casa can Feliz model

Planar Modelling

Tucson Mountain House model

UNSW Bachelor Year 2 studio Instructed by Catherine Lassen

UNSW Bachelor Year 2 elective Instructed by Andrew Macklin

UNSW Bachelor Year 2 elective Instructed by Andrew Macklin

A 1: 100 model of Casa can Feliz designed by Jorn Utzon is constructed to Students are to list five main points of architecture, and explore their postudy how the building “sit� in the sloping site. Series of platforms and level tential to create an object in 30cm x 30cm x 30cm volume with a 9 by 9 changes are introduced to echo the contour on the site, while full height grid system. windows allow more direct meeting of the interior to the landscape.

The points of architecture in this case are Cantilever, Parasite, Planar, Slit, By using balsa wood as material for both the site and the building, the and Stack. model expressed the notion of the sandstone building appearing as if it were being carved from the ground itself.

The purpose of the project is to stimulate imagination through the act of making a physical model.

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A 1: 50 model of Tucson Mountain House designed by Rick Joy is constructed as part of the Haptic model making elective. Materials and construction process used for the model are as close to the actual building as possible to help understand the construction and tectonics of the building.

Experiments are done on various materials and mixtures before the final model is constructed. Materials used in the building include concrete, rammed earth, and zinc.

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Other Creative Works

Streetworks Competition

52 million tyres reach the end of their life in Australia every year, and approximately only 13% are recycled. Our design showcases the amount of unrecycled tyres that reach the end of their life in Australia every 10 minutes, which is 860 tyres. Numbers are labeled on the tyres to indicate the number amount of tyres present on site.

The site is located at Barracks Street, a thoroughfare near Martin Place. Our task is to make the street livelier, taking in account of the Sydney Sustainable 2030 vision.

Un-recycled tyres, combined with the principles of a children’s playground, creates an urban playscape. The interactive, vibrant tyre landscape encourages people to play, rest or engage with the site. It has been designed to not house specific activities, but to encourage one to use their imagination. After the installation, tyres will be donated and reused for children playground.

Below - Experiment to paint, light, and connect tyres.

Right - Competition submission.

One of the main uses of recycled tyres is for children's playgrounds. The un-recycled tyres, when combined with the principles of a children's playground, create an Urban Playscape, an artificial environment that encourages people to play, rest and engage with the area. The site has been deliberately designed to not house specific activities, but to encourage one to use their imagination. Our design aims to promote sustainability issues in a new fun, interactive way through the combination of vibrant artificial landscape with reusable discarded tyres. After the installation the tyres can be recycled and donated to construct new children's playgrounds.

CONCEPT

At night the tyres are lit up through the use of RGB lighting from underneath the clear polycarbonate seating, creating a floating effect, allowing the users to engage with the installation during both day and night time.

Resume

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Resume

JIN CHEN, LEE

T 0430370394 E jinchen_ljc@hotmail.com A 337 Anzac Pde, Kingsford

PROFILE I completed Bachelor of Architectural Studies in 2011 with distinction. I am in my final year of Master of Architecture. I am currently searching for an internship in architectural practice.

EDUCATION University of New South Wales, Sydney, Australia Master of Architecture, 2012 University of New South Wales, Sydney, Australia Bachelor of Architectural Studies, 2009 - 2011 Taylors University College, Kuala Lumpur, Malaysia Foundation Year 2007

EXHIBITION Customs House Streetworks Competition Exhibition, Sydney, Australia, 2011 Entry for Streetworks Competition is exhibited on Customs House for voting.

‘Unearth//Elevate’ Graduation Exhibition, Sydney, Australia, 2011 Participant of 2011 UNSW Bachelor of Architectural Studies graduation exhibition.

AWARDS Bachelor of Architectural Studies, Graduate with Distinction, 2011 Graduated from Bachelor of Architectural Studies with Weighted Average Mark (WAM) higher than 75.

UNSW Faculty of Built Environment Dean’s List 2010 Achieve a Weighted Average Mark (WAM) of 80 and above.

High Distinction for Graduation Design Studio, 2011 Achieve a high distinction in the graduation design project.

SKILLS Software: Autodesk Revit, Autodesk CAD, Google Sketchup, Adobe CS Series, Multiframe Analysis Language: Mandarin, Cantonese, English, Malay.

VOLUNTEER Sydney Open 2010, Sydney Australia Assisted in activities held by Historic Houses Trust of NSW

SCHOLARSHIPS Public Service Department of Malaysia Scholarship Award, 2009 - 2013 Awarded full scholarship to study in Australia for 5 years.

ASEAN Scholarship Merit Award, 2006 Sponsored award to study in Singapore

REFERENCES Ashey Dunn Studio Tutor E: ashley@workshop1.com.au Catherine Lassen Studio Tutor E: CatherineL@fbe.unsw.edu.au

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References

References

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04th May, 2012

Re: Reference for Jin Chen Lee

To Whom It May Concern, I was Jin’s design tutor for the Glenn Murcutt studio in semester 2, 2011, 3rd year Architecture at UNSW. I have known Jin since August 2011 and can only comment on his performance in the design subject that I tutored him in. Jin was a considered and rigorous student, his approach to design is quietly confident. Jin is willing to learn and takes on complex ideas quickly. He is able to sketch complex spatial arrangements in a clear and accurate manner and has shown that he can follow through on his ideas with carefully worked out and consistent drawings. Jin showed a particular interest in the detailing and construction of his project and in my opinion was well advanced of many of his contemporaries. Jin showed initiative with self-directed research and chose relevant and interesting precedents for his work.

Jin is a considerate and careful person. He has proved to me that that he is able to cope with the demands of working independently in what is a demanding and complex course.

Whilst Jin is clearly academically capable, it is my opinion that his development within the field of Architecture is being slowed by a lack of work experience. Jin has a genuine desire to broaden his horizons within architecture and also life. It is my opinion that working in an architectural office will give Jin this valuable and necessary opportunity and that he would benefit from it greatly, returning to UNSW a more rounded and experienced student.

I have no reservations in recommending Jin as an undergraduate employee and believe that he would be a valuable asset to any office.

Yours Sincerely,

Ashley Dunn NSW ARB No. 7547 Director

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