SEUNG MIN LEE
PORTFOLIO
SEUNG MIN LEE N
D E R G PORTFOLIO2009-2013 R A D U CONTACTINFO: A k.seungminlee@gmail.com T (917) 657 1380 E BERNARD & ANNE SPITZER SCHOOL OF ARCHITECTURE
SELECT SELECTED DESIGNSTUDIO4 DESIGNSTUDIO3 DESIGNSTUDIO2 DESIGNSTUDIO1 COMMUNICATIONSWORKSHOP4 COMMUNICATIONSWORKSHOP3 COMMUNICATIONSWORKSHOP2 COMMUNICATIONSWORKSHOP1
120HOURSCOMPETITION “MOUNDS” MOUNT ST. VINCENT DORMITORY DKLJ TERMINAL GREENPOINT DWELLINGS MATERIAL STUDY HIGHLINE RESIDENCE WEATHER STATION SPATIAL SEQUENCE PATH MISCELLANEOUS RESUME
MOUNDS DESIGN WORKSHOP 4 / 120 HOURS COMPETITION CRITIC: MARTIN STIGSGAARD TEAM MEMBERS: SUSAN WU, JENNIFER CONA, SEUNGMIN LEE LOCATION: GEIRANGER, NORWAY Mounds is an island situated at the foot of a beautiful fjord where the Geirangelva River empties into the small town of Geiranger. With only 250 inhabitants in this modestly planned town, the gorgeous landscape attracts up to 300,000 cruise ship passengers during peak summer seasons. Currently, the destination lacks ports and proper docking requirements for the cruise ships of the tourism industry. By creating an island in the fjord with docking and access from the land via an underwater tunnel, the intervention will severely cut down the emissions that currently occur when cruise ships are left to idle. It will also eliminate the need for smaller boats to carry passengers between the cruise ships and the town.
SITEPLAN
N
Mounds will not only offer three docks for landing, but it will also feature three buildings that offer terminal support services, community programs such as retail opportunities, a restaurant, a theater, and beautiful vistas of the town and landscape.
FLOORPLANS
RETAIL
KITCHEN|STORAGE DOCK DINING|DANCE INDOOR GARDEN OFFICE SPACE
SEATING AREA DOCK COMPUTER AREA
TUNNEL ENTRANCE
SEATING AREA
INFORMATION DESK
DOCK
RETAIL
AMPHITHEATER
LOBBY
OBSERVATION DECK
GALLERY
SECTION
MOUNDLAYERS SOIL|VEGETATION FILTER MEMBRANE DRAINAGE WATERPROOFING SUPPORT PANEL THERMAL INSULATION VAPOR CONTROL
POT
REINFORCED CONCRETE
COFFERED CEILING
1
2
3
1-PONTOON 2-STEEL CABLES 3-ANCHORS
SCALE 0 0
5 5
10 10
25 25
CONSTRUCTIONPROCESS
CONCRETE
STEELREINFORCEMENT
EPSBLOCKS
BOARDCLADDING
SCAFFOLDING
SECTIONDIAGRAM M2 ENTERTAINMENTMOUND M1 TERMINALMOUND
M3 ENTRYMOUND TOWN UNDERWATERTUNNEL
The buildings, which mimic the gorgeous surrounding mountains yet miniscule in comparison, feature a "green skin" where natural, local plants can grow. This sustainable feature enables oxygen to be emitted into the air, further improving its surrounding environment. Inspired by the space frame construction, the envelope of the mounds are supported by a complex truss and framing system that is exposed inside each structure. The island does not obstruct the view of the surrounding mountains, but rather adds to the wondrous landscape through its natural form.
MOUNT ST. VINCENT DORMITORY DESIGN STUDIO 3 CRITIC: JOAN KREVLIN
The project aims to estabilish a dormitory for the Mount St. Vincent University in Riverside, Bronx. Dormitories are much more than places of sleep and study. The living spaces are discrete social units, combined with ample communal areas that encourage study, social interaction, and the building of community. Many crucial practices of sustainable design were considered in the development of the dormitory, including siting, orientation, massing and materiality. At the far west of the campus, there is an opportunity to draw a majestic view upon the Metro-North tracks and the Hudson River. The steep and curving slopes provide an opportunity for the design scheme to break from a “simple box� into a more distinguishable and multifaceted aspect. Communal spaces are formed out of the joints, with the split segments serving as residential nodes. The result is a smooth transition between the two natures of the campus community and the landscape.
GOAL:
A
V TE NODE ACTIVATE ACTIVA -PRESERVE AND SHARE RIVER VIEW -ENCOURAGE SOCIAL ACTIVITY WITHIN WEST SIDE OF CAMPUS
PA SSI VE
-
B A
LOW ERF ER T A P W INWAT DEE M RA FRO
-
EXCESS COLD AIR FLOODS = EXTREMELY L COLD DURING WINTER CASTLE STYLE PRECENDENT MATERIAL PROVIDES GOOD THERMAL COMFORT OR RT AND RELATES TO SURROUNDING BUILDINGS BU UILDINGS HEAVY HEAV Y WATERFLOW AVY AV WATERFL FLOW = POSSIBLE FLOODING FROM RAIN? CASTLE PRECENDENT LE PRECEN PRECEND C CASTL DENT ALSO ALLOWS THE IDEA OF A MOAT, FOR FO OR A AESTHETIC THETIC AND A WATER DRAINAGE PURPOSES
B
C
ATH L FIEL ETIC D
EPIC
VIEW
OBSTACLES OBSTA T CLES & SOLUTIONS:
AC T
IVE
C
SITEPROPOSA PRO RO R OPOS OP O P SAL AL A L
DESIGNPROCESS L LANDSCAPE SCAPE SLOPE E CURVE E BREAK K
RIVE ER V IEW RIVER VIEW HILL TREES HEIGHT ELEVATION
COMMUNITY MMUNITY STUDENTS UDENTS FACULTY CULTY PUBLIC BLIC PRIVATE VATE PASSIVE SSIVE ACTIVE
SITEPLAN SITE PLAN
PUBLIC RESIDENTAL UTILITIES VERTICAL CIRCULATION CAFE
FLOOR A
NORTH ELEVATION
GROUND|SITE
A
SECOND
PLANS C
B
C
B
THIRD
FOURTH
FACULTY
FOUR-BEDROOM
STUDIO
UTILITIES KITCHEN LAVATORY LAUNDROMAT
SINGLE&DOUBLE
DKLJ TERMINAL DESIGN STUDIO 2 CRITIC: ALBERTO FOYO TEAM MEMBERS: DAVID PENAHERRERRA, SEUNG MIN LEE, LIZHU CHEN, JOSE PULLATASIG Greenpoint has a history in shipbuilding and trading, dating back to the colonial times. Over the years, Greenpoint established itself as a center of shipbuilding and commerce, as well an immigrant haven. In the 19th century, it began to show decline in small industries and working population, leading to the slow dissolving of its waterfront industry. Labeled as a subject for gentrification and rezoning, Greenpoint’s shorelines have been left untended to dumping trash and industrial chemicals. Proposed by a team of four, the DKLJ Terminal is seen as a means of redeem and re-establish Greenpoint’s historic role as a modern industrial center. The Terminal also combines Greenpoint’s talent and history to erect a modern multi-purpose structure of sustainability and innovative design.
REVIVING
GREENPOINT
The Greenpoint Revival strategy proposes to re-use waste materials and convert them into a ship+bike-building facility. The facility provides an opportunity to revitalize the long-forgotten roots of Greenpoint’s history and community.
DESIGN GREENPOINT HISTORY COMMUNITY RELEVANCE
ACTIVITY WELLFARE BIKES TERMINAL TRANSPORTATION SHIPPING BOAT
RECYCLE RENEW REUSE REVIVE MATERIALITY
PROCESS
QUEENS
B O A R D WA L K
SITE SITE S
B
Dn
Dn
EAST RIVER
Dn
A V E
F E R RY TE R M I N A L EXHIBITION
B ICYC LE FAC TORY
BROOKLYN
PLA PLAN AN AN
B OAT FAC TO RY
B O A R D WA L K
M A N H AT TA N
G R E E N P O I N T
BROOKLYN
9
4 8
4
7
4 5
1 4
6
4
3 1
4
2
4
4
FIRST
1-CORRIDOR 2-BICYCLE FACTORY 3-DISPLAY 4-UTILITIES 5-PUBLIC SPACE
10
6-BOAT FACTORY 7-DISPLAY 8-FERRY TERMINAL 9-KAYAK TRAINING 10-PIER
PLANS 4
4
6 1
8 4
4 5
7
4
2 1
4
4
N
3
3
3
SECOND 1-CORRIDOR 2-DISPLAY BELOW 3-MULTIPURPOSE 4-UTILITIES 5-EXHIBITION
4
6-DISPLAY BELOW
7-MULTIPURPOSE 8-PERFORMING SPACE
NORTH ELEVATION
SOUTH SECTION
WEST ELEVATION
ZEMODEL
GREENPOINT DWELLINGS DESIGN STUDIO 1 CRITIC: ALBERTO FOYO TEAM MEMBERS: DOMINIKA BARSCZ, MTCHELL HADGEDORN, CAROLL PATINO, FERNANDO CHAVEZ, ANTHONY GIRON, MURAAYJA PURANPRASHAD, KRYSTA TAN-TIONGCO, CINDY DIAZ, RAYMOND LIU, ANTHONY SANNA, SEUNG MIN LEE Greenpoint, Brooklyn possesses one of the most diverse populations in New York City. Throughout its history, it has grown from a settlement and immigrant haven to a middle-working class residential area. The project aims to exploit the diverse background of its community, by proposing a design scheme for a client with a specific profession. The schemes were to be compiled with those of other students to form into a large-scale residential/community center. Each of the client’s profession would offer the community a distinctive means of service and program to the communal expansion.
DESIGN----------------------------PROCESS
WORK LIVING CLOSED OPEN
A
3
MARTIALARTIST RESIDENCE
4
0
0-ENTRY 1-DOJO 2-GARDEN 3-LIVING ROOM 4-KITCHEN 5-CLOSET 6-BALCONY 7-BEDROOM 8-BATHROOM|SUANA 9-DANCE STUDIO (NEIGHBOR)
5
6 8 C
7 9
0
2
1 0
B D
0
0
A
D
C
B
RISE
INDIVIDUAL
MODEL
RESOLVE
REPEAT
SHINE
TIME ENDLESS
TLESS
1
EX XHIBI B TION O
7
MARK R ET RK E PL LAC ACE E
3
FA ARMER’S MARKET
PIAZZA | REMEDIATION CENTER | DWELLINGS 3 3 2
4 1
6 7
9`
1
0
6
5
2
9 2
3 COMMERCIAL
8 6
5
FIRSTFLOOR
1-LOBBY 2-SERVICE 3-STORAGE 4-SHOWROOM 5-RESTAURANT
6-FASHION|PHOTO STUDIO 7-CONCERT|PERFORMANCE STAGE 8-COURTYARD
EAST ELEVATION
10 0
2 2
8
3
2
3
2
9
2
2
2
SECONDFLOOR
0-OPEN TO BELOW 1-LOBBY 2-WORK 3-LIVING 4-RECORDING STUDIO 5-FABRICATION
6-LAB 7-RESEARCH 8-TERRACE 9-STORAGE|MECHANICAL 10-RUNAWAY
3 3 3 3 3 3 3
DOMINIKA | FERNANDO | CINDY | ANTHONY G. | MITCHELL | SEUNG MIN | RAYMOND | CAROLL | MURAAYJA | ANTHONY S. | TATUM
6
3 3
2/3 3
9 7
3
1
3 8
1
2/3 6 4
3
3
3
3
3
3 2 3 2 3 2 3
3
6 3 5
5
3
2
4
3
3
3
3
3
3 2
3
3
THIRDFLOOR 1-LOBBY 2-WORK 3-LIVING 4-DESIGN STUDIO 5-GREENHOUSE
6-TERRACE|BALCONY 7-DOJO 8-GARDEN 9-DANCE STUDIO
2
FOURTHFLOOR 1-OFFICE 2-WORK 3-LIVING 4-EXAMINATION ROOM 5-PERSONAL OUTDOOR SPACE
GREENP POINT NEIGHBORHOOD D COMMUNITY SOCIAL CO ONSUMER R COMMUTER TR RANSPORTER RESID IDENT VISITOR BEIING
COMMUN NICATE ASSO OCIATE REME EDIATE ALLE EVIATE LIVE TALK EAT SEE SMELL HEAR EXPERIENCE
ZEMODEL
MATERIAL STUDY COMMUNICATIONS WORKSHOP 4 CRITIC: NANDINI BAGCHEE TEAM MEMBERS: WILLIAM TRAN, SEUNGMIN LEE This project explored the traits of plaster/concrete and experiemented with ways of manipulated them to create spacial elements. Test Models were created by pouring plaster in a box-shaped mold with a plastic glove full of water. Once the plaster had hardened to a sufficient point, the glove was then popped to create void spaces inside. The plaster layers are arranged in terms of the method which they were created with. Such “direct” method would involve physically manipulating the cloth, whereas “indirect” would be worked with strings rather than hands.
CLOTHMETHOD
BOX|AIR-FILLEDBALLOONS
PLASTICGLOVE
PLASTICBAG
MATERIAL STUDY
MOLD
MODIFY
MATERIAL STUDY
ZEMODEL
MATERIAL STUDY
HIGHLINE RESIDENCE COMMUNICATIONS WORKSHOP 3 CRITIC: ANTONIO DIORONZO TEAM MEMBERS: MITCHELL HAGEDORN, WILLIAM TRAN, SEUNG MIN LEE Recognized as a former New York Central Railroad spur called the West Side Line, the Highline has been redesigned and planted as an aerial greenway. Acknowledged for its integrated architecture and green life, it provides an opportunistic location for a residential proposal. The design scheme was to be proposed as a team as a way to reintroduce architectural standards to the community in the area. Visage, solar analysis, circulation, the environment, sustainability, and materiality were among the factors that had to be considered in this project development. During the development process, ideas were brought from precedent studies such as the Slow House, Habitat 67 and the Y house. Constructed through a diagrammatic process, the cantilevered façade becomes responsive to one’s vision and allows for an intrinsic view of Manhattan’s skyline.
DESIGNPROCESS ANALYZE REVITALIZE FINALIZE
0
THIRD
SIXTH
0
SECOND
FOURTH+FIFTH/ PUBLIC MEZZANINE
12
FIRST
FLOOR
2 4 3 4
9
3 6
8
11
10
1
2 5
2 5
6 4
3
NINTH
ROOF 8
9 0 1
6 7
EIGHTH
TENTH 0-Open to Below 1-Bedroom 2-Kitchen 3-Dining Room 4-Living Room 5-Foyer 6-Exbition Room
SEVENTH
7-Lounge 8-Office 9-Meeting Room 10-Dressing Room 11-Studio 12-Lobby
PLANS
SOUTH ELEVATION
WEST ELEVATION HIGHLINE
SECTION FACING NORTH PUBLIC MEZZANINE
SECTION FACING EAST EGRESS
SECTION FACING NORTH CORE
EAST ELEVATION TENTH AVENUE
SECTION FACING NORTH COMMERCIAL BASE
PROGRAM DIAGRAM
RESIDENTAL PUBLIC COMMERCIAL CIRCULATION
PROJECTIONDIAGRAMS EIGHTH FLOOR | EYE ALTITUDE 92’
31/48 65% 13’
46/48 25% 19.2’
42/48 87% 17.4’
24/30 26/30 19/30 7/30 0/30 80% 86% 63% 23% 0% 16’ 17.2’ 12.6’ 4.6’ 0’
SEVENTH FLOOR | EYE ALTITUDE 81’
5/48 10% 2’
12/48 25% 5’
30/48 62.5% 12.6’
16/30 5/30 1/30 0/30 0/30 53% 17% 3% 0% 0% 10.6’ 3.4’ 1.2’ 0’ 0’
TENTH FLOOR | EYE ALTITUDE 114’
48/48 100% 20’
48/48 100% 20’
37/48 77% 15.4’
30/30 30/30 30/30 30/30 23/30 100% 100% 100% 100% 76% 20’ 20’ 20’ 20’ 15.2’
NINTH FLOOR | EYE ALTITUDE 103’
42/48 87% 17.4’
48/48 100% 20’
42/48 87% 17.4’
30/30 30/3030/30 30/30 15/30 100% 100% 100% 100% 50% 20’ 20’ 20’ 10’ 20’
CLOSEUP
ZE FACING WEST
MODEL
FACINGEAST
WEATHER STATION COMMUNICATIONS WORKSHOP 1 CRITIC: FRAN LEADON A weather station was to be designed for one or two researchers to observe the weather and to enter and store data in record books. A defined system of gathering, sorting, editing and prioritizing data is analogous to both the organization of spatial systems and the overall design process. The weather phenomenon, “Morning Glory Clouds” was chosen as the subject of study. A tool was developed to record the aforementioned phenomenon, in a manner of that of a seismograph. After further study of the meteorological singularity, a design scheme for the weather station was extracted from the characteristics of the tool’s recordings. With the Brooklyn Bridge Park as the set location, it was ideal to have the structure built as close to the river due to the abundant amount of wind levels. Other students of the class partaking in this project would strategically position their individual schemes upon the site.
MORNINGGLORY
Clouds are roll clouds that can be up to 1,006 ft above the ground and can move at speeds up to 60 kilometres per hour. In the front of the cloud, there is strong vertical motion that transports air up through the cloud and creates the rolling appearance, while the air in the middle and rear of the cloud becomes turbulent and sinks. The cloud can also be described as a solitary wave or a soliton, which is a wave that has a single crest and moves without changing speed or shape.
TOOL
The features a mechanism that allows it to record wind patterns in a manner similar to that of a seismograph. As wind forces push the fans, the attached pencil will record the pattern in a varying manner depending on the strength of the wind.
FLOORPLANS
PERSPECTIVE
ELEVATIONS
ZEMODEL
SPATIAL SEQUENCE COMMUNICATIONS WORKSHOP 2 CRITIC: FRAN LEADON
In the Spatial Sequence project, a structural system is extracted using the formal operation of “folt, unfold, cut, stretch, and multiply.” The question “what is the nature of nature” is left to open speculation. The models of various designs are then combined together to form a singular entity composed of spatial networks. A spring-like structure is extracted from the spiral design from the previous projects. From beginning to end, a continious flow of time and space is emphasized throughtout the structure. Upon combining the “spiral” structure to the other models, it served as a “gateway” to augment the continuous flow of time and space within the entire community. Such sequence resulted into the design serving as metaphorical analogy as a “parasite” for the “host”.
FOLD
UNFOLD
CUT
A XO
MULTIPLY
N
O
M
ET
R
HOST
IC
STUDYMODEL PARASITE
PLAN
FULLMODEL
PATH COMMUNICATIONS WORKSHOP 1 CRITIC: FRAN LEADON
The program explores the relationships of site and structure, space and time. Land is analyzed as tectonic aspects rather than a continuous uninterrupted sheet. The relationship between built space and carves space is explored with great scrutinity. The spiral is utilized to redefine the relationship between open and closed space to fit along the lines of harmony and chaos. One side of the model bears a rough and cluttered format, whereas the other is in a more organized and stable state. The heart of the model is the aforementioned spiral, serving as the “heart of the storm� to reflect the two varying identities on each side.
PRELIMINARYMODEL
SECTIONCUTS
AXONOMETRIC
FINALMODEL
MISCELLANEOUS When it comes to rendering or sketching an image by hand, I do not shy away from an opportunity to do so. For me, freehand sketching or drawing allows me to transfer my ideas with greater ease and fluidity than using a computer. This has proven to be very effective especially when I apply this philosophy in architecture. I am also appreciative of photography, which has led me to take up a hobby of taking pictures. In this section is a compliation of some of my works that were done for art/architecture-related courses or during my free time.
DRAWING
&
COLOR PROFESSOR IRMA OSTROFF
ADVANCED ANC PRES
PROFESSOR LEWIS IGLEHART
REVISIONING
HIGHLINERESIDENCE
SURVEY
WORLD ARCHITECTU