jin woo lee
port folio 20 20
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The Extended Self
Part of the Picture
table of contents p1-4
p5-8
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Dysfunctional Furniture
Home Pillow for Home
Growth Chair
p17-22
p23-24
p25-28
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Luminaire Outline
The White Bar
Structural Path
p37-40
p41-44
p45-48
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QR Code Map of Average Phone Users
The Triptych of Christ
Chess Set
p9-12
p13-14
p15-16
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Research on Smiling
Mon-versation
Woven
p29-32
p33-34
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Tompkins Center for History and Culture
Hannam University Campus Innnovation Park
p49-52
p53-56
p35-36
Traces Charcoal powder on acetate
The Extended Self Thesis II | Fall 2020
Phones are extensions of our minds, bodies, and identities. We are restricted to their dimensions and, at the same time, we are liberated by their possibilities. The actions required are as simple as dots and lines, but what entails is a rendering of who we are and what we do; a digital landscape: just another place in which we reside. We leave traces. Though unsure where they go to, we are imprinted somewhere in the virtual databases, emulated as zeros and ones, even after we, ourselves are gone.
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YouTube (17:25)
Gmail (01:30)
Instagram (02:04)
Messages (09:12)
Safari (05:48)
My Activity (04:15)
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Topography_01: Messages, Kakaotalk, Snapchat
Topography_02: Instagram, Safari, Messages
Topography_03: YouTube, Instagram, Safari
Digital Landscapes 3D print with rubber coating
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Installation View of the BFA Thesis Show Herbert F. Johnson Museum, Ithaca NY
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Part of the Picture Thesis I | Spring 2020
Smartphones have become an extension of the body. Sometimes, one feels nervous when one does not feel the phone in one’s pockets, as if a part of one’s body has gone missing. Sometimes, one’s biggest fear is dropping the phone on the ground, as if a part of one’s body has been damaged. Sometimes, one is relunctant to show the contents of the phone, as if a part of one’s body has been exposed. And all the time, one is unaware of oneself’s dependence on the phone.
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Part of the Picture Digital image
The image illustrates the hands of people holding their phones, as they walk through Duffield Hall, Cornell University, over the course of two hours from 1:30 PM to 3:30 PM on a Friday. Part of the Picture is a digital image meant to be viewed on a phone screen. For presentation, the image was divided into twenty-four equal sections. Each part of the picture was Airdropped onto the iPhones of students present in the classroom. The final image was reproduced by arranging the twenty-four smartphones accordingly.
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Selected Images of Duffield Hall Digital photograph
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QR Code Map of Average Phone Users Digital Media: Hidden in Plain Sight | Spring 2018
This encrypted map is a representation of the manner of art viewing in today’s world. One voluntarily chooses to look at art through the lens of a phone, despite the fact that the physical work is right in front. Each QR code is encoded with an image of a person using his or her phone taken in various parts of the campus at Cornell University. A total of ninety images were transcribed as individual QR codes and have been arranged according to the geographical locations of where the picture was shot.
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“Look at art by looking at your phone to
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o look at others looking at their phones”
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Madonna and Child
Cruc
The Triptyc
Rome Studio
While spending a semester number of old European p compositions, color schem iconographies. By the end o were only remembered as a
A similar reaction can be se an insurmountable flow o stream out constantly. So in
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cifix
Resurrection
ch of Christ
o | Fall 2018
r abroad in Rome, I saw a paintings that share similar mes, subject matters, and of my sojourn, these works a stack of hazy memories.
een on the Internet, where of information and images n the end, it is all but a blur.
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Chess Set Drawing: Pictorial Languages | Spring 2018 A game of strategy with more consequences for each move.
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Dysfunctional Furniture Introduction to Sculpture | Fall 2017 A set of household items with subtle imperfections that make our interaction with them rather unexpected.
A display table assembled from dependent pieces of furniture dependent on a corner to stand.
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Giraffe Table Found furniture
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A lamp with a shade that continuously adapts, grows, and withers.
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Plamp Plywood with hanging plant
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A teapot with a spout that is also a handle. A teacup with a slant to capture the flow of the liquid.
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Tea Set Earthenware
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Home Pillow for Home Drawing: Contemporary Art Practice | Spring 2016
Five felt patches as maps of places I have lived in sewn together Daegu, South Korea Windsor, CT USA Vancouver, Canada Seoul, South Korea Providence, RI USA Distinguished by the length of time spent and the level of familiarity or “homey-ness” Red - Home Orange - Familiar Yellow - Average Green - Unfamiliar Blue - Lost
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Growth Chair Sculpture: Special Topics | Spring 2020
Growth Chair is something between a chair and a living thing. Made of compostable matter like pulp and flour, it redefines itself by growing variations of appendages. The idea of “growth” can greatly distinguish its function, form, orientation, and interaction with its sitter. An ephemeral piece of furniture, Growth Chair distorts, deteriorates, and decomposes with use and time. The project was worked on during remote instructions due to the pandemic. With limited space and resources, the project took a more conceptual focus, exploring the idea of furniture that alters continuously. The small scale model of Growth Chair was made with materials readily found at home, including cardboard, homemade paper from egg carton, and flour paste as a binding agent.
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Growth Chair Study Model Cardboard, pulp, and flour
Growth Chair Sketches
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Research on Smiling Introduction to Photography | Fall 2017
Step 1. Observation By isolating the two main components of a smile the eyes and the mouth - from the rest of the face, the necessary qualities of a successful smile can be examined. Three subjects, known to have a beautiful smile, are chosen to participate in the study. Some features observed are universal in the smiles of all three subjects: steady yet friendly gaze, uplifting of eyebrows and cheeks, crescent shape of eyes, upward stretch in the corners of mouth, and showing of teeth. Fig. 1-1 Subject 1 | Observation Step 2. Comparison A genuine smile is achieved when the subject undergoes his or her favorite activity. As the researcher is incapable of producing an objectively beautiful smile during his own favorite activity, he will imitate the smiles of the three subjects as closely as possible by partaking in their respective pastime hobbies. Subject 1: A graduate student studying robotics who enjoys constructing mechanical devices in his free time. (Fig. 2-1A) Subject 2: A student living in a dormitory who enjoys spending time conversing with her friend after classes. (Fig. 2-2A) Subject 3: A student studying architecture who enjoys drawing in his sketchbook of his ideas and thoughts about the projects. (Fig. 2-3A) Fig. 2-1A Subject 1 | Comparison
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Fig. 1-2 Subject 2 | Observation
Fig. 1-3 Subject 3 | Observation
Fig. 2-2A Subject 2 | Comparison
Fig. 2-3A Subject 3 | Comparison
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Step 2: Comparison (continued.) By entering the lives of the three subjects and participating in the activities mentioned above, the researcher aims to imitate the smiles generated by the subjects and to ultimately achieve an objectively appreciable smile.
Step 3. Application The necessary components of a successful smile have been identified, analyzed, and imitated. Through rigorous process of repetitive practice, the researcher developed the ability to produce a genuine, pleasing smile in the eyes of others. The smile achieved through the three procedures of analysis, comparison, and application, can be considered beautiful to anyone’s eyes and seamlessly applied to all types of faces, regardless of gender, age, facial feature.
Fig. 3-1B Subject 1 | Comparison
The achieved smile is appropriately applied to the faces of the three subjects. (Fig. 4-1, Fig. 4-2, and Fig. 4-3) These images are visual evidence that the final rendition of the smile is universally applicable.
Fig. 4-1 Subject 1 | Application
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Fig. 3-2B Subject 2 | Comparison
Fig. 3-3B Subject 3 | Comparison
Fig. 4-2 Subject 2 | Application
Fig. 4-3 Subject 3 | Application Research on Smiling Silver gelatin print
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Mon-ve Digital Media: Hidden in
Hey! Long time no see.
We tend to talk at ea talk to each other. Hum tanced by the use of te a form of audio playb want to say, then move physical representatio between two friends ta spent the holiday brea
ersation Plain Sight | Spring 2018
ach other rather than man interactions, disechnology, have taken back; we say what we e on. Mon-versation is a on of such interaction alking about how they ak.
Hi, there. Great to see you!
Mon-versation Installation view in 240 E. Sibley 4 channel video installation (5:36)
Wov
Drawing : Contemporar
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ven
ry Art Practice | Fall 2016
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Luminaire Outline Lighting InForming Space | Spring 2019 Outline treats light differently than most luminaires you find at home do. While your ordinary ceiling light and floor lamp simply brighten a space, Outline uses its thin ring of light to redefine the space completely. Let Outline roll freely in your room and watch it outline new dimensions with a single ring of light.
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If light is scarce then light is scarce; we will immerse ourselves in the darkness and there discover its own particular beauty. In Praise of Shadows Junichiro Tanizaki
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Prototype Model
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Primary Lens Plastic cap lined with plexiglass ring Slim opening that allows casting of thin concentrated ring of light
Light Source LED strip coiled up into helix to fit into secondary lens Powered by portable battery pack
Secondar y Lens Plastic cylinder housing LED strip and battery Cylindrical shape that allows bouncing and emission of light
Power Source Portable battery pack fitted inside secondary lens below the light source Can be turned on and off remotely with a smartphone or remote control
Ball Base Acrylic ball housing all light units Spherical shape that allows free and unpredictable movements
Isometric Drawing
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The White Bar Advanced Practice | Spring 2019
March 24 2019 A white bar, two rooms All the relatives Father, a table Looking out the window blankly Mother asks, is he shedding a tear? I say, no, he is just sitting silently He asks my dentist uncle directions home He was supposed to take the cattle road He realizes he took the wrong road Mother, brother, and I walk to the car Mother unfolds the passenger seat Father does not get on We head home
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The White Bar Oil on canvas | 6 ft. x 4 ft.
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Cattle Road Oil on canvas | 6 ft. x 4 ft.
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Missing Passenger Oil on canvas | 6 ft. x 4 ft.
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Structural Path Structural Concepts | Spring 2020
A sketching exercise to examine the broad range of structural features and systems that characterizes various buildings and spaces at Cornell University
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Tompkins Center for History and Culture StudioSHIFT | Spring 2018
Tompkins Center for History and Culture is moving to a new location in the Commons, Ithaca, NY. The new space, previously the home to Tompkins Trust Company, is characteristic of a common bank building with high ceilings, tall central pillars, and large vaults. I had the opportunity to reimagine the interior with the fundamental concept of representing the gorges, a geographic landmark and symbol of the Tompkins County.
Floor Plan
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Interior Elevation | West
Interior Elevation | North With the concept of gorges in mind, the primary goal of the interior design is to create a space that produces fluid movements across the museum like the flow of gorge water. The curved panel walls make the space feel less orthogonal and skew the central axis of its floorplan to
offer a new spatial dimension. Pedestals and displays are placed in a way that encourages visitors to weave around them freely. The strips of wooden and stone panels are reminiscent of the natural landscape and stratified layers of the gorge walls.
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Elevation | East
Interior Elevation | Donor Wall
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Final Model
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Image created by GNM Architecture Studio
Hannam University Campus Innovation Park GNM Architecture Studio | Summer 2020
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During my two-month internship at GNM Architecture Studio, located in Seoul, South Korea, the studio entered and was nominated at a national architecture competition to design a hightech industrial park in a university.
research teams while also fostering an environment for social interaction and creative collaboration with the students. The concept of “separate but together” was the central idea that drove the design process.
The main concept of GNM Architecture Studio’s design for the Campus Innovation Park was the creation of a “hub.” Separated into two towers, the building provides facilities and business opportunities for starting companies and
Constructon for Hannam University Campus Innovation Park will be completed in 2022.
Preliminary Design Sketches
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Interior Design Sketches
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Study Model | 1:200 scale
Main Atrium Interior Drawing
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jl3333@cornell.edu +1.607.229.2341 jl3333.myportfolio.com