Architecture Portfolio Youn Hwa Lee 2011-2013

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U H N W L A E E

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WORK

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YOUN

HWA

LEE

2011 - 2013

P O R T F O L I O

ARCHITECTURE

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U H N W L A E E

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SELECTED WORKS

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T A B L E

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C O N T E N T S

INTRODUCING ME ------------------------------------------------------------------------- 8 CURRICULUM VITAE------------------------------------------------------------------ 9

SIR ARTHUR CONAN DOLYE’S MYSTERY THEATER 2013 ------------------------------- 10

body space 2011 --------------------------------------------------- 18


BOAT HOUSE 2012 ------------------------------------------ 22

WYNDHAM GATEWAY INSTALLATION 2013 -------------- 30

ADDITIONAL DESIGN WORKS ----------------- 40

DOCUMENTATIONAL DRAWINGS ---- 46 7


Introducing me

Hi I am Youn Hwa I am 21 years old, graduated from University of Melbourne Bachelor of Environment major in architecture. I was born in Republic of Korea but moved to Christchurch in New Zealand when I was 10. We lived by the Sumner beach for 2 years, then moved to city. However for better environment for my education, sister and I moved to Melbourne in 2009. Living oversea separated from parents and learning in different culture was not easy, however those experiences certainly helped me to be responsible, strong, friendly, multicultural and independent. When I was a child, my parents took me to lots of different countries such as United State, United Kingdom, Italy, France, China and many more. All of those experience influenced my perspective. I started to get interested in architecture when I first read an architecture magazine while I was a high school student and one of the photo caught my eye. Later I found out it was the Villa Dall’avall by one of the masters, Rem Koolhaas. Also fascinated by Zaha Hadid’s abstracted and curvy form. She broke my stereotypes of what buildings looked like. Passion for architecture got stronger every year by learning more. Dynamic design, function, details, the idea of making spaces and designing for certain purpose continued my interest of architecture.

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KYUNG-BOK PALACE, SEOUL, 13 ad

rem koolhaas villa dall’ava

christchurch cathedral, christchurch, 19ad


Youn Hwa Lee

Contact

0 \RXQKZDOHH#KRWPDLO FRP T +82 10 2760 0979 $ 101 Da-Dong Seungwon Villa,80, Gumi-dong, Bundang-gu, Seongnam-si, Gyeonggi-do,

Objective Architecture Assistant

South Korea, 463-809

&LWL]HQVKLS

D.O.B

Republic of Korea

1992. 05. 25.

Education

Exhibition

University of Melbourne 2011-2013

2011 Body Lantern Parade 2012 Studio Earth

Bachelor of Environment Major in Architecture

Group Exhibition Group Exhibition

Skills Architecture 3D Modelling Software 70% SketchUp

90% Rhino 3D

60% 3D Max

2D Drawing Software 90% AutoCad

Other Skills

Retouch Software 80%

50%

Photoshop

Illustrator

BIM 70%

40%

Indesign

Revit Skill achieved Not yet achieved

Language

3URĂ€ FLHQW LQ 'UDZLQJ 6NHWFKLQJ 0RGHO PDNLQJ *HQHUDO .QRZOHGJH ' 3ULQWHU /DVHU 3ULQWLQJ *UDVVKRSSHU &XUUHQWO\ /HDUQLQJ $UFKLFDG

90% Korean

70% English

40% Japanese Skill achieved Not yet achieved

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SIR ARTHUR C O N A N D O LY E ’ S M Y S T E R Y T H E AT R E 2 0 1 3


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e st

bourk

top

tram s

A

er st spenc

oss ern cr south tion r sta

B B A SITE PLAN

PERSPECTIVE VIEW

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mystery solved

mystery

tangled

toward sherlock holmes theatres

untangle concept diagram

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ISOMETRIC VIEW north west

ISOMETRIC VIEW south west

Designing a theatre that has very specific task in the site where it is placed in the centre of the urban context, a few more circumstances had to be considered. As it is a mystery theatre, the idea was approached from how visitors can relate to mystery. The Sherlock Holmes had always been a story about solving mystery that cannot be solved by anyone. That incident is alike a tangled, unsolvable skein. And it is Holmes who untangles the thread by solving the puzzle. So by using the circulation of the building, it create untangling journeys, and gradually gets more linear and simple circulation as the visitors get closer to the theatre. Starting the experience of the building by entering a red corridor which steadily gets smaller, it really draws in to the building. Spiral stairs and columns are used to control how people move. Rather than using solid walls, columns give more interesting and complex way of how people act.

ISOMETRIC VIEW south eAST

ISOMETRIC VIEW NORTH EAST

The atmosphere columns create are very dramatic which people really want to feel when they are in a theatre building. Every floors are closed except the stairs, so the only thing that connects the whole building is the circulation path. However by having the glass surface all around the building, people can see where they are, but do not know where the others are. Considering what people want and how the theatre appears, it approached in to an expressive faรงade design. Having curved floor slabs wrapped with glass panels and steel frame skin emphasise on the drama, which is what theatre is all about. The users would wear formal dress and would want to be in an appropriate place. However considering the busy transports and crowded white collars during the day, the corner of Spencer Street and Bourke Street are opened up. Having the stair creates the boundary between the public and the building without an actual wall. 13


ground floor main ENTRANCE

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SECTION A

SECTION B


FIRST FLOOR PERSPECTIVE VIEW

AFTERNOON PERSPECTIVE VIEW

restaurant and bar

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NORTH ELEVATION

EAST ELEVATION

A

A

A

A

UP

ELEV

ELEV

ELEV

ELEV

ELEV

DN

ELEV ELEV

ELEV ELEV

DRESSING ROOM

LEFT WING

WARMUP ROOM

LOADING BAY

UP

ELEV B

ELEV

UP

FLY TOWER

STAGE TOILET

ELEV

CLOAK

ELEV

DRESSING ROOM

TOILET

B

B

ELEV

DN

ELEV DN

H. ELEV

H. ELEV

ELEV

D. TOILET

B

B

H. ELEV

B B

B

ELEV UP

TOILET

UP

RIGHT WING UP

UP

TOILET

A

A

A

A

GROUND FLOOR

B1 FLOOR

B2 FLOOR

B3 FLOOR

axonometric drawing B1 FLOOR

axonometric drawing B2 FLOOR

axonometric drawing B3 FLOOR

N

Possible Circulation paths

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axonometric drawing GROUND FLOOR


SOUTH ELEVATION

WEST ELEVATION

A

A

A

A

ELEV

D. TOILET

D. TOILET

TOILET DIRECTOR'S OFFICE

ELEV TOILET

DRESSING ROOM

TOILET

DRESSING ROOM

DN

CARPENTARY WORKSHOP

TOILET

VISITOR'S OFFICE

UP

WARDROBE

CINEMA

STAFF OFFICE

STORAGE H. ELEV

B

TECHNICIAN'S OFFICE

KITCHEN H. ELEV

ELEV

UP

H. ELEV

ELEV

B

B

RESTAURANT

ELEV

B

DN

BLACK BOX THEATRE

ELEV ELEV

B

ELEV

CINEMA

B

ELEV

B

BLACK BOX THEATRE

ELEV ELEV

B

ELEV ELEV

ELEV

UP

A

A

A

A

B4 FLOOR

FIRST FLOOR

SECOUND FLOOR

THIRD FLOOR

axonometric drawing B4 FLOOR

axonometric drawing FIRST FLOOR

axonometric drawing SECOUND FLOOr

axonometric drawing THIRD FLOOR

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BODY 2 0

SPACE 1 1


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mushroom gill: basidium

final structure design

digital fabrication unrolled

sketch concept: mushroom spore

fianl model

Fractal tree

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final model light detail shot


final modelwith lights on

detail shot of final model

The Body Space Lantern was a project that introduced how to transform a virtual design into a physical model. A specific software was asked to use and everyone was told to mesh the design.

Basidium is a microscopic cell that forms gill underneath the mushroom and produces spore. The fractal rule was chosen as it is the most common rule that are found in nature, almost every natural organics have fractal rule applied. Fractal is simple pattern that the small We were asked to choose a natural portion of the shape is same as the enprocess that grows or moves and tire shape apply a rule ,such as chaos, butterfly effect, fractal and more.. The final In the fianl step, design elaboration, model needed to be hanged or placed white fabric was added to take the deon body and use LED light to light. sign further by going back to the natural process and emphasis on the mushStarting with an interest of how a mush- room gill. It brought up the strong and room grows, I have researched further unique character of coexist of hard and until I reached the gill of the mushroom. straight trigular paneled paper and The final decision was the soft feather semi-circle in between combining bassidium and fractal tree each strips of triangular panel. rule. final body lantern design

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BOAT 2 0

HOUSE 1 2


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Learning from the masters

“ Architecture is a hazardous mixture of Omnipotence and impotence” -Rem KoolhaasMASTER - REM KOOLHAAS

A boat house including a cafe, bar, restaurant, kiosk, boat storage and an office was required to be built in a park. Studying a specific architect and apply the rules Koolhaas use as if he was building the boat house design. Our task was how would he/she will build a boat house and how the masters make their signature look. Site plan

Rem Koolhaas is one of the masters of the modernism. Few tactics, he uses often in almost every buildings, were used in the boat house design. First, the squares in the plan, by placing columns and wall Koolhaas made several squares intersect. 24

The squares were found on the ground floor and first floor, of Educatorium building and are carefully placed in a certain order. Secondly, the rule of forming a rectangular or triangular grid by using columns or walls is adapted. In Kunsthal. Koolhaas have used different arrangement of columns for different space, therefore, different grid of pillars are used for café and restaurant. Tilted line of column in the hallway on ground floor can be seen in Educatourium, Kunsthal and other buildings.


ground floor boat house

first floor boat house

first floor educatorium

ground floor educatorium

ground floor boat house

first floor boat house

first floor educatorium

ground floor kunsthal

On the first floor of the boat house, the wall is also tilted in the same angle of the tilted columns. On the first floor of Educatorium, this tactic is found. Ramp is used to reach first floor rather than using stairs and Koolhaas hid the stairs in order to make the ramp as a main circulation path. Due to the limit, the ramp of the boat house had to be in a L shape. The floor of the ramp is also tilted narrower as it gets closer to the first floor. The tilted angle leads people to move unconsciously into a certain direction. The angle of the boat house ramp is 1/10, 6 degrees, equivilant to the angle of the ramp and wall extension on the first floor of Educatorium. The angled hallway on the first floor is 5 degrees. In Educatourium, the angles he used is half the angle of the ramp. However the tilted window wall on the ground floor is double the angle of the ramp, as also found in Educatorium. Having glass walls for the café and boat storage and concrete block and large brick, steel exterior wall creates the effect of the heavy mass floating which Koolhaas uses in Educatourium, Kunsthal, Bordeaux and dall’ava villa. However concrete sheet and bricks are not structural, there are only skin of the architecture. There are 2 entries for ground floor and first floor each and the space gets more private as it goes up, which can be found in many of Koolhaas’s design.

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ground floor

26

first floor


Entrances OF BOAT HOUSE

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2nd floor RESTAURANT

north elevation

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cafe and bar

east elevation


GROUND FLOOR CORRIDOR

SECTION A

BACK OF THE BOAT HOUSE

SECTION B

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W Y N D H A M G AT E WAY INSTALLATION 2 0 1 3


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parametric design

Architecture is a solution of design. Contrasting from art, architecture needs to reflect on habitat, communication, concept, technology, aesthetics and a lot more to consider.

SITE PLAN

SITE PLAN

32

For Wyndaham Gateway Project we were asked to use a specific parametric program, Grasshopper and Rhino to create a flashy eye catching and an innovating gateway in a highway. From use of drawing basic lines and geometries, computer software are now developed enough to be in a part of the design. The patterns and dynamic movement of parametric form certainly stands out from other ordinary building or installation. We placed our design on the road that is heading to Melbourne. So the drivers would get overwhelming experience under the gateway and see the structure is growing toward Melbourne.


When my partner and I first generated the idea for the Wyndham City Project, we were looking for something that best represents the city, and in our eyes we think Wyndham city is a fast growing city. Learning from nature, biomimicing coral and the rule of fractal, we developed our design. DIAGRAM OF RELATION BETWEEN cORaL & SUN AND wYNDHAM CITY & MELBOURNE CITY

CORAL

We see buildings shooting out from city scape, we see people flushing into city. The development of Wyndham is adapting to the urban fabric and it is striving to grow and this growth can not happen without its connection to metropolis Melbourne when the ‘nutrition’ (people) of the growth come from. Return to nature and learned the motion of growth, adaptability and connectivity from corals as it means to translate this qualities which are similar to city of Wyndham into workable forms. As a result, we retrieved the fractal process from the studies of coral and generated a fractal from which we believe best represent the city of Wyndham.

FRACTAL TREE

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FINAL STRUCTURE

PERSPECTIVE VIEW of final structure 34


AGING

TOP VIEW

PROCESS OF CORRODING OVER TIME

To express this idea of growth and change in time, we have chosen to use steel that corrode on the surface over time as they are exposed to weather, and adjust the intensity so it does not effect on any structural performance. The brand new steel material would be clean and fresh like a young city and it the city grows and gets older, the steel rusts which gives aging sense as the time goes. It relates to the colour of coral bleaching that occurs after their death. BACK VIEW

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LIGHTING

GATEWAY ON HIGHWAY WITH LIGHT NIGHT VIEW

From the start, my partner and I wanted to do some interesting lighting. Our initial idea was to use solar panel to absorb the energy and light them at night. However, as we were researching about coral, we found that some corals are luminous and they glow in the dark. It was not that long ago that luminous corals exist. As well as light is essential for coral to live, they absorb the sunlight and emits the energy by glowing. But due to the amount of light that glow in the dark panels are not as bright, it might be better to use LED lights due to safety reasons. Or to use solar panel and LED which has same technique. 36

LUMINOUS CORAL

LUMINOUS 1:50 physical model


PHYSICAL MODEL

1:50 MODEL LIGHTS ON AND OFF

1:25 DETAIL MODEL

CLOSE UP OF 1:50 MODEL LIGHTS OFF

1:25 DETAIL MODEL

1:25 DETAIL MODEL PATTERN CLOSE UP

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STURCTURE JOINT

Steel and frost glass are the material for the final design. Everything except the mouth is going to be steel. Material that is easy to get, make and strong to hold everything together. As we are going to use lighting, glowing out from the mouth, we found that it is more interesting to have it as translucence, but frosted or nonreflective glass as we do not want to disturb the drivers on the highway. The mouth and faces will be fixed with bolts. We will need to ask an engineer to either make the right click in joint or just have to screw it to affix tetrahedrons.

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JOINT DESIGN

JOINT DESIGN

1:25 DETAIL joint MODEL


GRASSHOPPER SCRIPT

CLUSTER ON FAKE HOLE

CLUSTER ON SECOND JOINT HOLE

Grasshopper definition for scaled and extruded tetrahedron

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ADDITIONAL D E S I G N W O R K

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curtain design sherlock holmes cinema

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Curtain design for a cinema in Conan Doyle’s Mystery Theatre. Every design has a sense of a mystery or have some twist in moderation, it is the Sherlock Holme’s theatre. The curtain pattern contains a little puzzle for the audience and also acts as a stage itself.

but in different tone of red for each box. The viewers would not realize at the instinct, however they will eventually see the chair, shelves, coffetable and eventually see the whole picture of 221B Baker Street. The waiting room of the house was chosen as it is the most often space that opens up and closes the The core idea of the design was from story. book. In a way curtain is like the cover of the book. The design was developed Finally, as the curtain is a stage of with the bookshelf filled with books as Sherlock Holmes, shadow puppet plays a base and combined the line drawing right before the show starts to attract of Holmes’s room and color coded the people’s eye and announcing Sherobjects in the house by using different lock’s arrive. The cinema curtain for cincolors for every object and tones for ema engages audience to paticipate every each object. To illustrate, the arm- with the design right from people walk chair on the left coner is colored in red . in until the show starts.

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stage set design - moriarty’s office

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‘He [Moriarty] sits motionless, like a spider in the centre of its web, but that web has a thousand radiations, and he knows well every quiver of each of them. He does little himself. He only plans. ..’ Sherlock Holmes-The Final Problem

A stage set design for the Sherlock Holmes play “Drama in Four acts“ was asked to built a set. Act 2 scene 2 Projessor Moriarty’s underground office. Moriarty is one of the main characters of Sherlock Homles novel, the biggest rival. In the script the set was described as ‘ a large vaultlike room, with rough masonry walls and vaulted ceiling. The general idea of this place is that it has been converted from a cellar room of a warehouse into a fairly comfortable office or head-quarters. There are no windows’. As the studio demanded abstract design rather than a realistic, the idea of professor Jim Moriarty being a spider and his office being the web. The vaults are expressed as the web, and the bookshelf and maps are angled along the web. The center desk indicates the spider as Moriarty sits. Finally the stairs are similarly made but with more aggressive design to really express the drama in the stage itself. 45


DOCUMENTATIONAL D R A W I N G S


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