SEOHEE LEE_2008-2016 by Seo Hee Lee

 

 





   



   



                                                           

 





    



  

 

  



 































      

  









 



   

 

 Love is not understood in conventional understanding and is approached through more essential meaning of it. Love is defined as sets relationship between two entities, such as individual to individual, people to people, space to space, events to events, and movements to movements.

 Hotel in this project is stripped away of its conventional implications but its functions. It is understood as sets of spaces that can be rented by certain periods of time to host events.

 Love hotel “The City” intends to bring all kinds of love that happens anywhere in a city into a building. Each room unit is hybridized with other typical program such as house, gallery, theater, and office. As city composition of programs and streets hosting all kinds of events and interactions, “The City” suggests new typology of spaces of units as well as the juxtaposition of them in city like conditions. Each floor is filled with those privately public units are placed adjacent to public programs that brings potential residence or just tourist. It encourages unprecedented interaction between different people in private and public spaces, by providing spaces for all sorts of love.







 

 

 



 



 



 



 





 



 

 

 

 

 

 

 



































OFFICE WORKERS

THEATER OFFICE





GALLARY

THEATER ARTIST

THEATER 



LOVERS

CAPSULE 

HOUSE  LOVERS

GALLERY 

OFFICE 



 LESS DENSE 

1ST FLOOR 



MORE DENSE

2ND FLOOR 

3RD FLOOR 

4TH FLOOR 



5TH FLOOR 

6TH FLOOR 





Love hotel “The City” is a new typology that is constructed by perversion of typology and elements of architecture that encourages new types of interaction to arise. Typical typology of program such as house, office, gallery, and theater is hybridized with functions of a room. Each unit is laid along reinterpreted condition of corridor as fluctuation of enfilade into streets, alley, and piazza. “The City” accommodate all kinds of events such as pop-up exhibition, theater, presentation, party, and other events. Its ability to accommodate multiple events is supported by different adjacency between units in various street condition creates varying degree of privacy. Floor filled with different private units is stacked in which is intruded by vertically organized public programs that is located in the center of each floor. There are moments when private floor is accessible from the public programs. This connection brings anonymity of city into this project. The anonymity will bring life into love hotel to those who may not want to be seen as guests but to enjoy the space. The ramp connecting public programs not only provides touristic or cinematic view of the love hotel from exterior but also from interior. The overlay of different perspective and views is a result of desires of different people. Desires of people to peek are overplayed as perspective and views different types of occupants.







 









 



 











  



 



 

 















 

  

 









 

















 



 



 







  

 























        



       







T h e s p a c e s of "T H E CIT Y " i s dedicated to ambivalent desires of people wanting to simultaneously hid e a nd ex p ose. A rc h itec tu r e becomes a medium that enables as a set for desires of people to peek to be overlaid as perspective and views different types of occupants. Occupants are given choice either to fulfill such ambivalence or to choose one over the another. One can be revealed or to be hidden. Occupants are guaranteed of their anonymity, so that more true or hidden side of themselves can be revealed. “THE CITY” incubates unprecedented interactions a nd relationships between people. The new type of interaction is manifested now.





  



   

     Transportation is both a space and a type of tool that extends human capacity. It is a continuation of space that connects one static space to another. Transportation is a crucial elements in formation of a city to enhance capacity of human.



Different speed of movement is related to survival and / or capacity of human. Historically, speed of movement has evolved in order of walking, livestock animals, steam engines, cars, trains, and finally airplanes. Different speed of transportation not only defines the dimension of each city block but also dictates how the city need to be organized.

 With decrease in air fare, flying becomes more and more popular way of traveling. Higher demand will be accommodated with concept of Aerotropolis, where city is constructed with logic of air travel. The Very Fast Airport will make connection between one from another city seamless transition.



 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 



 

  

  

  















 RE / SKIN SYSTEM

INDEX

 

ORIGINAL STRUCTURE

DUPLICATE STRUCTURE

SPACE FRAME SLAB



 SPACE FRAME WALL / SHELL WITH SPACE FRAME SLAB STRUCTURE

 SKIN SYSTEM

SPACE FRAME SYSTEM



Structurally sound geometry of factory made object is destabilized with cut through it. Composition of unestablished object creates new and more complex geometry that inherits the structure skeleton but its function is differentiated.

BUTTRESS TRANSITION FROM SPACE FRAME



 STRUCTURE SYSTEM



GSAPP 2015 SUMMER. CRITIC

NANAKO UMEMOTO| SEOHEE LEE







 



   



   



  

  

 











The Very Fast Airport quotes the language of factory made object, yet is constructed in a way that is untraceable of its origin. Composite of fragmented ready made object is a familiar and new simultaneously. It is Architecture that is independent of any cultural context makes transition from one space to another seamless. The sense of being lost in the metropolis is now translated into concept of airport of Aerotropolis. It is a collection of continuous vectors of people on move. Everyone is on moves now.









Continuation of capitalist development demands certain efficiency and ways of arranging city. Advanced technology making air fare decrease promoting city to be restructured to adapt new efficiency. The new aerotropolis makes transition from one to another seamless, and by nature of being seamless is a almost nonexisting space. It is a space of continuity and comfort but feeling settled. New type of metropolis begins with the Very Fast Airport



   

       

  

The forceful separation from silence and death has impaired the experience of the holistic state. The nostalgia has brought the architectural translation of the ecstatic experience of the silent confinement into the architecture of infinity. Whereas the observation requires one to keep safe distance, the experience requires one to be in the collapsed distance. Occupying the unbuilt of the collapse of things onto another is experiencing the vanishing point of infinity. The vanishing point is the apparatus that manipulates the unbuilt silence, ecstasy of infinity. The silence and infinity have translated into program of a cemetery. Thus, architecture is ode to the unbuilt: silent vanishing point of infinity. The lost silence, excess, and absence have translated into cemetery for nameless, in the Potter’s field at Hart Island, Bronx. The island is a nearly forgotten place for the deceased where the city has chosen not to remember. The island is the lost silence. The project intends to construct a place of silence--creating an architecture that can embrace the void and ultimately provoke an ecstatic moment in a ritual of visitation. There are 4 components of intervention within the context of existing island:

   

    





  



  





     



        







 



 



 

 



 









 

     



     

 





 

     



 





 

     



 





 

     



 





 

     



 





Perpetual Graveyard

     



The essence of architecture is not at what is built but at what is unbuilt. The poché of plan and section is what architect draws to build presence. However, the building is remembered by the accumulated experience of the unbuilt / space. Whereas the observation requires one to keep a safe distance, the experience requires one to be in the collapsed distance. The act of occupation of the unbuilt is to experience the vanishing point of collapsed distance. The act of experience isolates oneself into silent confinement. Thus, architecture is ode to the unbuilt: silent vanishing point of infinity. Silence, the terror. Absence, the fear. Void, the horror.













   

       

  

Data needs to be transferred in order to gain its essense. Need for information to transferred from a generation to the next, brought up the concept of library. Library is the place for the exchange of knowledge throughout storing and displaying data. Physically or virtualy written infromation is engaged through the readers. When the information is read, it activates proliferation of information. The conception of the project starts out with the oldest method of preseving data: carving. Inhabitation of a wall is designed by carving prescribed activity information into medium. The physical or virtual wall of shelves, the medium, is treated stereotonically as a large scale programmatic element that can be embedded with different scales of programs and activity. The play within this method allows the architecture to porvide people the opportunity to change the quality of the space, which will influence them back in return. Library of Bowery History will the library of Bowery. It will not only be storing information about immigration history of Bowery, will also be able to communicate which part of history is being accesses instantly. The library will be a landmark that exchanges information at multiple scale and periods.



 CONCEPT OF CARVING INFORMATION: inhabitation of shelves  carving out positive space

 

created negative space

infilling negative space

with occupants   

extracting positive space 

normal shelves



 GRAIN + SPATIAL QUALITY STUDY

grain to grain: Space

 

grain to surface: Separation

  



grain to outside: Separation

  





 



  

















 







   





 







      



 







 











   





 



   









 









 



 



"The Bowery was the place not only where the poor came to divert themselves but where they met and joined together in organizations of varying size and stability" LOW LIFE by Luc Sante p. 13







   

 



  













       



       



Contents of occupants information carves facade of the library to communicate with its surrounding contexts. The facade system of the Library of Bowery History is not going to be a outdated medium of communication using abstracted systems. This abstraction system does not rely on symbols or icon except the intuitive perception in ration of surface that is being carved by occupants. The activity or frequency of access to specific parts of its history will be communicated and further expansion of its future enables this landmark of the site to always be in times as much as of contemporary piece as well as of historical one.





    

         

     The global reality of food futures is one where food is no longer trusted. As people no longer understand how to interact with products, societies rely on packaging instruction and expiration dates to communicate with what they consume. The impact of food-borne illnesses struck the uneducated future hard. The answer to Berlin’s strife lies at the former candy-bomber airfield, where Tempelhof has become a place of cooperation. The hybrid program is based off a cooperative structure which draws the public into the production processes of growth, harvesting, packaging, selling and distribution; in return those who participate will receive goods and social services. Different levels of commitment are offered; from those who wish to participate by buying goods at the market, by bringing their families to harvest apples, volunteering their free time to farming, or renting their own individual schrebergarten. Social interaction is therefore knitted into the growth centers, with the added opportunities for mingling at the various eateries and drinkeries on the premises. Tempelhof has become a new public arena and city forum, a place dedicated to social communication over the ultimate unifier--a good meal.



7TDCP 1TEJCTF %QQRGTCVKXG 6Q 2TKXCVG 6[RQNQIKECN 4GEQPEKNCVKQP DGVYGGP 9GUV CPF 'CUV %QPUWOGTU CTG /CPWHCEVWTGTU

9GUV

'CUV

RTKXCVG RTQFWEVKQP

EQQRGTCVKXG RTQFWEVKQP

UEJTGDGTICTVGP

RWDNKE OCTMGV

EQQR

UEJTGDGTICTVGP HCTOGT

XGIIKG

XGIKVCDNG HCTO HKUJ HCTO $GYGT[

HKUJ ECHG DCT ENWD









 



 

Tempelhof airport is the only realized part of Germania plan by Albert Speer during regime of Nazi. During the regime under Hitler, Tempelhof was a symbol of technological advancement of Germany as well as a future symbol of weakness. Its historical context of functions both as stage of show case of advanced technology and source of food during its shortage that is aided by American air force known as “candy bomber’s field”. After defeat of World War II, Germany was divided into two different models of society with erection of the Berlin wall. "URBAN ORCHARD" brings two models of the west and the east together, furthermore the division of two in contemporary society into a reconciliation. As the Berlin wall served both as a division and as a mitigation of life between West and the East during time of the separation, "URBAN ORCHARD" brings forceful separation between consumers and producers, different ideologies by embracing its contexts with act of agriculture the most primitive act of human. It reconnects food or nature back to humanity again.









 

 



    



    







 

   



    







   







 

 





    









History of divide between the East and the West, consumers and producers, and nature and human is being reconciled in a program of Market. Exchange of things that is constructed in different society is a natural event in Market. It is both a place of gathering amongst people and goods (social outcome). Thus, it is the most natural space for different ideologies, people, and objects to come together without being repulsed by the differences. There will be markets both in indoor, terminal space of Tempelhof and outdoor, the hanger. What it used to be a symbol of divide and a painful memory of crime against humanity is now a space of reconciliation demolishing the artificial divide back to holistic state.





   

   

     

  

Ecosystem is complex because of its symbiotic networks. Eco-Drom attemts to become a ecosystem within New York City. Its symbiotic networks will actively encouraging an exchange of information that can develope into relationships. Overlap of public spaces and the daily routine creates moments that can potentially be develope into interaction.As this building intends to be a ecosystem, it uses vegitation to form networks between students and public. Opening access to floors of Eco-Dorm to public use makes it absorbed into New York City network. Farmer's market, and glocery from Dorm-produced vegitation will be open to public. Students will interact over act of farming, and students and other public will communicate over exchange of produces. Furthermore, different interation is create between layers of daily ritual. The most private masked layer is pushed right against city fabric whereas inside vegitation facade is completely open to public. Visual and physical interaction will deliver layers of communication throughout the building and to the exterior in a continous form.



  

GOQVKQP VCNGPVU MPQYNGFIG CEVKQP RTQFWEV





GOQVKQP VCNGPVU MPQYNGFIG CEVKQP RTQFWEV





Eco-Dorm has duality since life contains it in every aspect. For example, there is no absolute state of one or the other. As we intend to bring symbiotic interaction between people, space, and goods, duality becomes natural quality in forming such relationship. The dual quality of a state in simultaneity is expressed in terms of public and private relationship. The most private moment is forced to be right adjacent to the most public part in Eco-dorm and the most public moment is placed in the most private location. The gradient of dual qualities in strips of layer promotes interactions.





























 

 



     

 







 





     

 







 





















   



   







 

 









 





Ritual is a socially or habitually constructed routine of life. Eco-Dorm both respects and breaks the ritual in fruitful manner. When occupants follows the ritual, architecture almost dissipates due to its seamless accommodate in layers, yet each moment is presented with unconventional twists. Duality of life, or in other words the complexity of life Daily life is manifested in architecture of duality. Complexity of life is built up with interaction between people. To promote the complexity, Eco-Dorm quotes the model of ecosystem that exchanges energy, products, and information into programmatic organization to exchange goods, knowledge, emotion, and other information.

       



       







    

   

    It is a careful composition of metal about contradiction. It negates the heaviness and achieves delicacy using the property of rough metal. It almost seems fragile that alarms the user to be fully awake. The designed discomfort of the desk and the chair creates an environment which reminds user to be disciplined and alert during the act of art. This piece is a statement about a ritual of art. The threshold bridging rationality and irrationality. Light is ubiquitious and omnipresent. The realm of it contains the territory of life. Life is an extension of art and living is an action of art. The presence of light brings harsh threshold between light and darkness, and life and death. The light is considered to be good, despite the utterly harsh consequences. These collections of light is a statement of uncomfortable aspects of light by exagerating its brutality within.

  

   



















   



    

    

       

  

Naked Lunch is William Burroughs’s one of the most influential novel with autobiographical characteristic. This piece of work was revolutionary in terms of method such as random cutup in constructing this novel. His drug addiction due to emotional suffering after his service at navy is illustrate in Naked Lunch. Random cut-ups of texts is laid in some kind of sequence going back and forth of the conscious and the subconscious state as if one goes through process of being high and come off. His unique style of constructing a novel using random cut up is understood as an experiment to give meaning to meaninglessness. This method undermines conventional narrative and creates something new. The novel even goes back and forth the conscious and subconscious, as if the novel was written by a drug addict in which he was one. William Burroughs Writer’s Foundation is an architectural ode to Naked Lunch. The architecture intends to become one of his work, instead of just containing one. This foundation is rather a memorial of what his novel is meant to achieve in which questions conventional functionality, purposefulness, and experience.



 























 







 

 



 





 



 





















   



    







 

  



  



Space in Ode to William Burroughs is organized into act of ascending and descending, which is parallel to the state of consciousness and subconsciousness. At the end of ascend, there are unoccupiable writers’ room spaces in bright light in which illustrates seemingly logical yet absurdness of consciousness. On the other hand, there archives of work in the end of descend allowing accessibility of information in state of subconscious self in sunken dark space. The movement of Ode to William Burroughs runs in a loop going back and forth of consciousness and subconsciousness.





  



 

   

   

The strength in using web relies on its inherent efficiency in structural quality of it. We intend to create a building that is made of webs in which provide structure for building, space, and facade. Thickened / 3 dimensional webs is similar to the traditional structure system of building, yet structure of web can provide efficiency in constructing more complex, thus allows multi-functional spaces. Use of web as architectural means will change understanding of architecture as a more autonomous entity of thickened surface condition.





 





  



















































   

 



The relationship netween object, space and time is explored. The relationship of object in the measuered with shadows in a distortion of time. Where as line is explored as 3-dimensional space in true measure of time and space. The true measure of line movement then becomes the stages to illustrate the true measure of time and pace. One inquiries about distion of time in acceleration within space. The other ponders on the space of time.





   

 



Piercing gaze of the human subject within the photograph into the observer switches relationship between who is subject and object. The constant investigation of other in method of constructing identity of subject is explored, which otherwise the unnoticed perpetual shift in the issue of otherness and subject in the cities.







Human as a subject of both individual and collective is being explored in the setting of city. Metropolitan city is ambivalent towards individuality of people as well as its own identity as heterogeneity. It is a setting or a framework that seems to enable revealing of individuality that is being sedated. 

