Jee Yeon Choi Interior Design Portfolio v.2 by Jee-yeon Choi

ㅊㅈㅇ

JEE YEON CHOI Interior Design E jeeyeonchoi94 @ gmail . com M 804 . 787 . 3048 W www . jeeyeonchoi . com

ㅊㅈㅇ

JEE YEON CHOI

Address

213 taaffe place Brooklyn, NY 11205 USA

Interior Design

Contact

jeeyeonchoi94@gmail.com 804.787.3048

PERSONAL STATEMENT

EXPERIENCE

I am an interior design student at Virginia Commonwealth University and will be graduating in May 2018. My inspiration and creativity comes from the multitude of countries I have traveled to. Each country has its own unique culture which has widened and diversified my perspective.

IIDA - Volunteer

jeeyeonchoi.com

November 2017 Floor tiling Installing cabinets Architecture AF - Design Intern May 2017 - August 2017 Revit modeling Assist team with preparation of materials for client meeting Site measuring Collecting historical information for tax credits

SKILLS

01. Technical Skills

International Interior Design Association (IIDA) member

Revit AutoCAD SketchUp Adobe Photoshop Adobe InDesign Adobe Illustrator DIALux Evo Modeling 3d Printing Laser cutting Woodworking Metalworking

Modularity Art Student Organization member

2016 - Current 2015 - Current

EDUCATION Virginia Commonwealth University Bachelor of Fine Arts, Interior Design January 2014 - May 2018

02. Design Skills Schematic design Concept development Construction documents Hand drafting Hand rendering Watercolor painting Hand Drawing

HONORS

VCU Arts Dean's List Spring 2015, Fall 2015, Spring 2016, Fall 2016, Spring 2017, Fall 2017

LANGUAGE

INTERESTS

ENGLISH Advanced

KOREAN Fluent

Sensory

Mental Health

Creative Thinking

Logical Thinking

Mindfulness

Culture

Nature

Rhythm

PROJECTS Sensory Healing Center Bill Of Rights Museum Sensory Sauna Violin Retail Store GFAC Daycare Center

SENSORY HEALING CENTER 2201 Shields Lake Dr, Richmond, VA 23220 19880 sqft Spring 2018 Senior Studio Professor Roberto Ventura How do people deal with stress? When people have stress in their lives and are emotionally distressed, they sometimes need to seek help from professionals. However, oftentimes they feel uncomfortable with seeking help. A sensory healing center aims to be a place where people can relax with nature, have time alone, and meet with a counselor if needed. This place ideally would include a garden with a water feature, a whirlpool spa, a meditation area, a library and a cafĂŠ. Also, the sensory therapy center provides private counseling spaces, a group meditation space and hospitality spaces so that visitors can choose what types of experiences they need. This non-traditional healing center gives visitors a sense of peace by connecting them to nature with a variety of sensory experiences.

SITE STUDY

2201 Shields Lake Dr, Richmond, VA 23220

CONCEPT

FOCUS Individual conversation rooms

Office Conference Room

Reception Library

Sensory garden

RELAX

Group therapy rooms

Organic Cafe Whirlpool spa

Body Wellness

ACTIVE

SENSORY BLENDING This project promotes the idea of blending in relation to the moods of Focus, Relax, and Active that are assigned to each program space. This concept of sensory incorporation is designed to open the space; to touch, hear and smell with a variety of materials.

PROGRAM ORIENTATION

Office Body Wellness

WC Library

Conference Room Sensory garden

Organic Cafe Whirlpool spa

Individual conversation rooms

Reception

Group therapy rooms

There are three major program areas in the center of the building: Library, Sensory Garden, and Organic CafĂŠ. By having the Sensory Garden between the Library and the Organic CafĂŠ, the place works as a bridge to manifest the transition of two different atmospheres. Also, the layout centers the nature elements in the middle of the building, to signify the spread of healing from the inside to the outward.

SENSORY BLENDING

PROGRAM LAYOUT

TEXTURE

REL

IVE

ACT

OPENNESS

PUBLIC

PRIVATE

FURNITURE ARRANGEMENT

FOCUS

RELAX

ACTIVE

PLANS

K P

E G

H I

B C

A. Lobby / Reception B. Individual Conversation Rooms C. Group Therapy Rooms D. Library E. Sensory Garden F. Organic Cafe G. Cashier / Kitchen H, Shower / Changing Rooms I. WhirlPool Spa J. Sauna K. Body Wellness O. Office P. Conference Room Q. Restroom

Level 1 Floor Plan 3/64" = 1'-0"

PLANS

L. Individual Study Rooms M. Garden Lounge N. Lounge

Level 2 Floor Plan 3/64" = 1'-0"

EXPLODED AXON

Roof

2nd Floor Individual Study Rooms Garden Lounge Lounge

1st Floor Lobby / Reception Individual Conversation Rooms Group Therapy Rooms Library Sensory Garden Organic Cafe Cashier / Kitchen Shower / Changing Rooms WhirlPool Spa Sauna Body Wellness Office Conference Room Restroom

Library

Sensory Garden

LIBRARY FOCUS X RELAX

1. Oak wood 2. Concrete 3. Cork 4. Aluminum 5. Collar chair (Sancal) 6. Tree table (Steelcase) 7. Phoenix 4 legs (Offecct)

FF + E

SENSORY GARDEN RELAX

1. Teak wood 2. White pebbles 3. Midori chair (Sancal) 4. Armrest chair (Blastation) 5. Conica table (Skandiform) 6. Fikant (Icons of Denmark)

FF + E

ORGANIC CAFE RELAX X ACTIVE

1. Fluted concrete 2. Black slate tile 3. Rough cedar wood 4. She said stool (Herman Miller) 5. Branca chair (Herman Miller) 6. Nix wood chair (Capdell) 7. Cooper steel bar stool (Wells)

FF + E

Sensory Garden

Organic Cafe

Reception

2nd Level Lounge

Whirlpool Spa

2nd Level Garden Lounge

BILL OF RIGHTS MUSEUM 1201 Haxall Point, Richmond, VA 23219 22,000 sqft Fall 2017 Senior Studio Professor Roberto Ventura The bill of right museum is looking at rough sensuality of materials, lights and shadows. The design translates Bill of rights as a hope and solid boundary. Bill of Rights give people freedom, however at the same time, it limits the freedom with solid boundary. Every space makes a balance and a connection with having lights and openings. In the museum, 10 vessels and auditorium are occupied on left and right side. On the middle, lobby, bookstore, library and agora take places with opening. In first level, 5 vessels, bookstore, lobby, restroom, and auditorium are placed. And in the second floor, there is only library area. Continuously, in the third level, Agora, other 5 vessels, office, and auditorium are located. The design at this point looking at sharing natural light in each space and making limitation of spaces with boundary. When one gets into vessels, one walks into the way where the wall is washed by lights and it guide one up to the third level. Each area has openings and closings with the uses of spaces. The design is focused on experience of hope and solid boundary of Bill of Rights. With these concepts, its design with materials; concrete, wood, glass and dramatic natural lights gives an experience with a rough sensuality.

SITE STUDY

Project Location : 1201 Haxall Point, Richmond, VA 23219

CONCEPT

The idea behind the Bill of Rights was to insure certain freedoms and rights to the citizens of America. It put limits on what the government could do and control.

PRECEDENTS STUDY

PRECEDENT STUDY 3

Level 3

Level 2 2

Level 2

Modern literature museum by David Chipperfield, Image fromINDETAIL InDetail IMAGE FROM

The Modern literature museum is designed to express David Chipperfield’s perspective towards literature. What makes Chipperfield’s G IMAGES work unique is that his architectural elements have nothing in common with other museums such as simple forms and flooded natural lights. His design is focused on experience of literature which helps visitor with better understanding of exhibits. With the concept of experiential space, his design looks at rough sensuality and unpretentious modesty with solid materials lights and shadows.

IMAGE FROM INDETAIL

Level 1

PRECEDENT STUDY David Chipperfield’s the modern literature museum is designed with his perspective toward literature. The architectural elements have nothing in common with other museums: simple forms and flooded natural lights. His design is focused on experience of literature. IMAGE FROM INDETAIL

Modern literature museum by David Chipperfield, Image from InDetail

MATERIAL SELECTION

Glass

Concrete

Dark Oak

The uniqueness of the museum, its rough sensuality with solid materials, lights and shadows which help visitor's experience in the museum.

HermanMiller Mattiazzi Branca Chair

Lekolar Table VESSELS

Concrete

Glass Concrete

Concrete

Dark Oak

PLANS

F 1 A4

Canal Walk 2

Elevator

M Restroom

Auditorium

UP UP

W Restroom

PLANS

Lobby Elevator

5 Vessels

Bookstore

Canal Walk

LEVEL Level11 FLOOR Floor PlanPLAN 1 1/16"= = 1'1'-0"0" 1/16" ElevatorPlan Level 1 Floor

3 A4

M Restroom

Auditorium

UP UP

W Restroom

PLANS

Lobby

Elevator

1 A4

5 Vessels

Bookstore

Elevator

2 A4

1 UP

M Restroom

Auditorium

DN UP

W Restroom

Canal Walk Elevator

LEVEL Level11 FLOOR Floor PlanPLAN 1 1/16"= = 1'1'-0"0" 1/16" Elevator

3 A4 DN

Lobby Library

UP UP

Elevator Bookstore

5 Vessels

3 A4

LEVEL FLOOR Level2 2 Floor Plan PLAN 1 1/16"= = 1'-0" 1/16" 1'- 0" Elevator

A4 UP

A4 DN

Office

1 DN

Elevator

3 A4

5 Vessels DN

Library Agora

Auditorium

Office

Level3 3 Floor Plan PLAN LEVEL FLOOR 1 1/16" = 1'-0" 1/16" =Elevator 1'- 0"

3 DN

LEVEL FLOOR Level2 2 Floor Plan PLAN 1 1/16"= = 1'-0" 1/16" 1'- 0" Elevator Level 2 Floor Plan UP

Elevator 2

1 A4

Elevator

Library Agora

LEVEL Level11 FLOOR Floor PlanPLAN 1 1/16"= = 1'1'-0"0" 1/16"

DN 2

Auditorium

Elevator

5 Vessels

LEVEL FLOOR Level2 2 Floor Plan PLAN 1 1/16"= = 1'-0" 1/16" 1'- 0"

Level3 3 Floor Plan PLAN LEVEL FLOOR 1 1/16" = 1'-0" 1/16" = 1'- 0" Elevator

3 A4 2 A4

Auditorium

Agora

Office

Elevator

5 Vessels

3 A4

Level3 3 Floor Plan PLAN LEVEL FLOOR 1 1/16" = 1'-0" 1/16" = 1'- 0"

Level 3 Floor Plan

SECTIONS

Section 1

Section 2

Section 3

EXPLODED AXON

Roof

3rd Floor 3

Level 3

Agora, Office, 5 Vessels, Auditorium

2nd Floor Library

1st Floor 1

Level 2

Level 1

Lobby, Bookstore, 5 Vessels, Auditorium

FF&E

HermanMiller Mattiazzi She Said Stool

ge Chair

HermanMiller Eames Molded Fiberglass Chairs

Lekolar Lekolar Table VESSELSTable

HermanMiller Mattiazzi Branca Chair

Concrete

Dark Oak

Glass

FF&E 1 A4

Canal Walk Elevator

troom

Lobby

UP UP

troom

Elevator

5 Vessels

Bookstore

BOOKSTORE LEVEL Level11 FLOOR Floor PlanPLAN 1 1/16"= = 1'1'-0"0" 1/16"

3 A4

FF&E

Knoll Knoll HermanMiller BarcelonaLounge Lounge Chair ChairMattiazzi She Said Stool Barcelona

HermanMiller Eames Molded Fiberglass Chairs

Herm Mattiazzi

1 A4

Elevator

Elevator Elevator

Library

Vessels

LIBRARY A4

LEVEL Level11 FLOOR Floor PlanPLAN 1 1/16"= = 1'1'-0"0" 1/16"

Knoll Barcelona Lounge Chair

FF&E

Lekolar Table VESSELS

Elevator

Agora Elevator

Elevator DN

HermanMiller HermanMiller HermanMiller Eames Molded Fiberglass Chairs Mattiazzi Branca Chair Eames Molded Fiberglass Chair

HermanMiller Mattiazzi She Said Stool 1

Section 1 1 1/16" = 1'-0"

ice alk

LOBBY

LEVEL FLOOR Level2 2 Floor Plan PLAN 1 1/16"= = 1'-0" 1/16" 1'- 0"

Elevator

5 Vessels

UP UP

5 Vessels

ore

Level3 3 Floor Plan PLAN LEVEL FLOOR 1 1/16" = 1'-0" 1/16" = 1'- 0"

3 A4

LIBRARY

LEVEL FLOOR Level2 2 Floor Plan PLAN 1 1/16"= = 1'-0" 1/16" 1'- 0"

BOOKSTORE LEVEL Level11 FLOOR Floor PlanPLAN 1 1/16"= = 1'1'-0"0" 1/16"

3 A4 1

Section 1 FF&E 1 1/16" = 1'-0" Elevator

1 A4

Knoll Barcelona Lounge Chair

HermanMiller HermanMiller HermanMiller Mattiazzi She Said Stool Stool Eames Molded Fiberglass Chairs Mattiazzi She Said

HermanMiller Mattiazzi Branca Chair

Section 2 1/16" = 1'-0"

Section 1 VESSEL 1/16" = 1'-

Elevator

VESSELS

Vessels UP

or DN

Level3 3 Floor Plan PLAN LEVEL FLOOR 1 1/16" = 1'-0" 1/16" = 1'- 0"

LIBRARY

LEVEL FLOOR Level2 2 Floor Plan PLAN 1 1/16"= = 1'-0" 1/16" 1'- 0"

3 A4

Knoll Barcelona Lounge Chair 1

Section 2 2 1/16" = 1'-0"

5 Vessels DN

BOOKSTORE

HermanMiller Mattiazzi She Said1 Stool A4

SECTION 2 1/8" = 1'- 0"Elevator DN

LOBBY

HermanMiller HermanMiller Lekolar Mattiazzi Branca Chair Table Mattiazzi Branca Chair Section 1 VESSELS

HermanMiller Eames Molded Fiberglass Chairs

Section 3 3 1/16" = 1'-0"

SECTION 3 1/8" = 1'- 0"

AGORA

1/16" = 1'-0"1 Section 1 1/16" = 1'-0"

Concrete

Dar

Section 2 1/16" = 1'-

Lobby and Bookstore

Bookstore

Library

1st Level 5 Vessels Display

2nd Level 5 Vessels Display

Agora

SENSORY SAUNA IDEC Competition 4,000 sqft Fall 2017 Senior Studio Professor Roberto Ventura We center our minds around nature; it provides us comfort, hope, and the ability to recharge. We experience this in different ways with our senses of sight, scent, hearing, taste, and touch. When I stand in the forest, I see the tall trees, smell the scent of trees, and feel the temperature of atmosphere. Nature creates within us memories upon which we can reflect. A sauna has its own unique scent; its cedar benches give off a sour smell from the hot air for example. By feeling the head of the benches, smelling the cedar wood scent, watching the sunlight and shadows from tall bamboo trees, and enjoying cool juice bar after sauna, the Sauna design aims sensory design.

CONCEPT

SENSORY DESIGN Without our awareness, we perceive every moment of every day with our senses—the primary instruments of communication within space and environment that affect our thoughts, feelings, and words in any given moment. We individuals have our own preference of feelings and emotions which sometimes remain in our memories (Gorp, T.V., & Adams, E., 2012). When one enters a space, one feels and remembers the temperature, structure of the room, and whatever moods they felt inside. Our senses are closely related with every element in space, atmosphere, and architecture. Design elements such as color, light, size, texture, and shape give users unique feelings that affect their perception of the room (Aesthetic and Well-Being, 2017). That feeling is called “Sensory Design”. This concept aims to establish an overall diagnosis of the sensory perceptions and define appropriate means to design or redesign it on that basis. It involves an observation of diverse and varying situations to measure the users' overall opinion, and contains both positive and negative aspects in terms of tactility, appearance, sound and so on.

CONCEPT

PLANS

Level 1 Floor Plan

PLANS

Level 2 Floor Plan

EXPLODED AXON

Roof

Warm Room

Cool Balcony Level 2 Floor

Individual Sauna Group Sauna Changing Room

Refresh Garden Level 1 Floor

FF&E

Cedar Wood

Concrete

Salsbury Ind. 31000 Lockers

Herman Miller Polygon Table

Knoll Bertoia Chair

Group Sauna

Changing Room

2nd Level Balcony

A view from outside

Juice Bar

VIOLIN RETAIL STORE 205 E Broad St, Richmond, VA 23219 2400 sqft Fall 2016 Junior Studio Professor Emily Smith The Violin Voice The retail product is a violin. There is harmony between the straight and curved lines; the straight strings, round tuning pegs, and curved wood of the body and scroll. The violin’s music has a beautiful flow mimicking some of the curved lines found in the shape and form of the instrument. Based on these observations, the design concept is a beautiful voice of violin. The spatial organization was influenced by the violin’s shapes and functions. The scroll and tuning pegs mean control and preparation. The violin’s neck is in between the head and body, a connection, which translates to hallways and in-between spaces. A performance space is informed by the violin’s bridge, where the bow makes contact with the strings. The most emphasized, and important, part of the violin is the body, which is similar to the project’s display area. There is a hierarchy in the way that the various parts of the violin support flow from one to the next but ultimately emphasize the body. The project’s concept has directly informed the design language of the display cases, light fixtures, and furniture as well as the three-dimensional space defined by walls, floors, and ceilings.

1 1

205 East Broad Str Fall 2016 Junior Studio

is a small stage for playing violin. And there is a reception. In b tween the reception and restroom, there is a passage, which lead to the private areas, and after these areas, there CONCEPT is a working are

VIOLIN RETAIL STORE

205 East Broad Street Richmond, VA 23219 Fall 2016 RETAIL STORE VIOLIN Junior Studio 205 East Broad Street Richmond, VA 23219 Fall 2016 Junior Studio

VIO VIO

Th m li The violin voice T pegs, and curved woodm and harmony sic has a beautiful flow lim in the and shape and wood form pegs, curved servations, the design sic has a beautiful flow m The violin voice and harmony

in the shape and form The shapes,the designTh servations, the functions th an The shapes, Th tion.functions The violin’s neck is in the th which translates to hallwa an space is informed by the tion. The violin’s neck is in tact with the strings. The which translates to hallwa the violin is the body, wh space is informed by the There is a the hierarchy inThe the tact with strings. port flow from to the the violin is theone body, wh

The violin’s music has a beautiful flow mimicking some of the curved lines found in the shape and form of the instrument. Based on these observations, the design concept is a beautiful voice of violin.

CONCEPT

The spatial organization was influenced by the violin’s shapes and functions.

Control

Connection

Main Body

Kitchen

Sound

Main Body

Reception

Office

Performance Area Storage

Restroom

Display Area

Floor Plan

The scroll and tuning pegs mean control and preparation. The violin’s neck is in between the head and body, a connection, which translates to hallways and in-between spaces. A performance space is informed by the violin’s bridge, where the bow makes contact with the strings.

Reflected Ceiling Plan

nd, VA 23219

VIOLIN VOIC 1 VIOLIN V EXPLODED AXON

VIOLIN RETAIL STORE

205 East Broad Street Richmond, VA 23219 Fall 2016 Junior Studio

Section 1

num

Section 2

SECTIONS

Section 1

Section 2

Performance Area

Display Area

Reception

Office

Display Area

GFAC DAYCARE CENTER 100 Buford Road North Chesterfield, VA 1700 sqft Spring 2017 Junior Studio Professor Jennifer Fell Feel celebrated. Feel valued. Voice heard. Proud. These are the four most important words in the GFAC vocabulary. Thereâ&#x20AC;&#x2122;s no question that every single one of us at GFAC Performance s focus their energies on applying skills including communication, presentation, community investigation, problem-solving and our nominated action-oriented summer camp participants focus on economic empowerment, entrepreneurship, community organizing, service learning, internships, and application of leadership skills. These four ideals, when brought together, comprise the core of the GFAC philosophy. Angela Patton, a native of Richmond, Virginia, has been a strong advocate and champion of Black girls for 13 years in the non-profit sector, as Chief Executive Officer of Girls For A Change (GFAC), and as Founder of CAMP DIVA, now one of GFACâ&#x20AC;&#x2122;s flagship programs. Patton has successfully led Girls For A Change in its endeavors to address the unique challenges faced by Black girls in order to support and inspire them to find their voices, see needs and make change happen, and embark on a path to uplift themselves, their families and their communities through after school and summer enrichment/ leadership programs focused on creating social change in their midst.

CONCEPT

Girls For A Change is a 501c3 non-profit organization whose mission is to support and inspire black girls and other girls of color to visualize their bright futures and potential through discovery, development and social change innovation in their communities. In doing so, we help girls develop key skills.

PLAN

M Restroom

Studyroom

Girl's Restroom

Lounge W Restroom

Kitchen

Mop Room Group Activity Room

Reception

Classroom

Floor Plan

Reception

Dining Area and Lounge

Lounge

Thank You To All of My Suppoters