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forces of earth & sky


model representation


live +

work studio


precedent study


a place to dream


star wars


creative works


forces of earth & sky ARCH 302 // SP 19 Understanding the forces of earth and sky. Earth as a stereometric force and sky as a tectonic force; earth as irregular mass and sky as repetitive order. The gestures of these two forces interact with each other to create a striking architecture piece that claims a structural effect and to a fundamentally more complex relation between parts and the whole.

La Congiunta Giornico, Switzerland Peter Markli 1992

La Congiunta’s monolithic character informs its position in the landscape. The building plan is structured longitudinally and presents a seqence of three main spaces of equal width. The three main spaces are connected by doorless openings set along an a-centric axis. While each has its own height, they are all covered with the same steel roof section, carrying metal sheets as well as horizontal clerestorys of matte, translucent plastic. All the walls are of reinforced concrete, Ä?ĂĄst in situ, without any insulation. La Congiunta displays characters of the forces through its construction method and material. The constructive order of earth is heavy and fixed, evident in the cast in place concrete, showing irregularity in formwork with the idea of walls being extracted and subtracted from earth. On the contrary, the skylight carries poetic logic of a light element - being the sky. The force is tension and its order is regular and repetitive. The forces interact with each other to demonstrate a rhythmic development in the character of the enclosure, its tectonics constructs the logic of the building, emphasizing on the program and bringing together the parts into a complete configuration.

model representation ARCH 301 // WI 19 Study of the Henry Art Gallerydocumenting the spaces of the gallery and abstracting a 1/8� scale model to represent our perception on a quality of the space that stood out. This model emphasizes on how the shape of space affects the accoustic qualities in the space by using white reflective surfaces to represent the material that reflects sound.

Sculptor C




live + work studio design ARCH 301 // WI 19 Intepreting the qualities of a photograph and analyzing how does the photographer work, translating it to design a live-work studio that incorporates the concepts, representing the quality of the photograph while designing a space with specific, pragmatic programs.

Her photography is successful in showing what our eyes see but our brain fails to process. It is these snippets of moments of detaills that compromise of a good design. She aims to evoke a “dialog” between her photo and her viewer, by putting a

Helene Binet ‘lfone’ (architecture by zaha hadid), 1999. 5 + 2 AP digital b/w silver gelatin print 80 x 102 cm


frame around something real, it attempts to subtract from it every other human sense besides the visuals and then revealing to the eyes of the viewer only a very specific angle, situation or fragment.

Building Diagram

Transverse Section of Gallery

The approach to designing this live-work studio carries the concept of framing specific views with the abstract play of light and disffuse to enhance the experience. The gallery is designed to be dynamic with a very specific prescribed path for visitors, and ends when a framed view comes into the picture.

Transverse Section of Living Space

The final spatial translation of Helene Binet’s photograph resulted in a dynamic relationship of space, informed by light and movement. By playing with the idea of sourcing and manipulating light, it carried an experiential exploration of perception into programmatic, spatial and contextual configuration.

Longitudial Section

Approaching view


Framed Viewpoint

Living Space

1/4th Scale Cross Sectional Model

Front View

Gallery Space

Exterior Threshold

SUNSET ROCK HOUSE precedent study ARCH 300 // AU 18 By analyzing the kit of parts of a precedent study, built a 1/2� scale model through understanding the scale and the spatial qualities of the building,heavily emphasizing on the details and material of the building.

Mackay Lyons Sweetapple Architects Ltd. 2013

SITE CAMERON’S COVE, NOVA SCOTIA CANADA Sunset Rock House is a vacation home located on the southern coast of Nova Scotia. The architect firm Mackay Lyons Sweetapple Architect Ltd. designed the house for a couple as a spot to view the sunset. The home is long and narrow, creating a strong axis along the water.

A gradient of closed to open is created along the axis. The entrance porch divides the house into the private master bedroom and the main living area. The main portion of the house begins with the semienclosed utilitarian space.

It flows into the large living space with grand windows facing a view of the sunset. The house is raised on concrete fins to separate it from the ground and protect it from the ocean.


ANALYSIS + DIAGRAM MATERIALS corrugated galvanized aluminium to protect the structure from strong winds

STRUCTURE Long continuous space with minimal design prompted the use of steel structures so that views could be seen without any distraction Mullions hold up the roof and glass wall to allow views to extend towards the sea Environmental factor of the site requires the architect to design the building on contcrete fins, elevating it so that rogue waves can pass through

Glass walls dominate the main living area, which allow maximum view to the ocean and the sunset

Marine grade plywood is cladded WWto protect the underbelly of the building from erosion over time.




a place to dream

Plan A

ARCH 201 // WI 18 Design a place to dream in a carefully selected site in a forest, developing concepts from collages and conceptual models into an architectural language of sleep and dream, incorporating programs for the process of preparing for sleep, dream and waking up. A big focus of this project is engaging with the design process that meanders between both the abstract ideas and concrete reality that architecture occupies.

Plan B

Plan C

Plan D

DIMINISH&DESCEND The choice of adapting the cone shape is to enable one to see the stairs as he/she descends, at the same time have a view of what would seem like an endless pit. This feeling intrigues the traveler, a sense of mystery and uncertainty consumes them in this dynamic and dangerous space. Partially submerged into the earth and along with the design of the glass ceiling that caps over the structure creates a light well throughout the day. Light and space diminishes as one descends the stairs, but this does not limit to just the central space.

The sleeping pods are designed to have a gradual decrease in light and space as it progresses down to the bottom. Six protruding rooms are attached to the main structure and covered with an outer shell that is made of glass. The sleeping pods are situated strategically according to the site and cardinal oriented. The first two are above ground, exposed to light in the daytime; the next two pods are partially submerged underground while the last two are completely underground.


B C D Perspective of Stairs

Perspective of Sleeping Space

Section Perspective

star wars ARCH 380 // WI 19 Using Rhinoceros , design a park with a main play structure over the course of a quarter. At the same time, fabricate a cool box to hold a part of the park, along with a flash drive and physical printed copies of the park. Both projects were carried out over the course of a quarter to refine skills on digital fabrication.

The cool box is a replica of the Millennium Falcon, it has magnets along the rims of the body. It opens with a cap and the park vignette sits in the center of the ship. The cool box has a slot between the Forward Mandible of the ship for the flash drive. The park vignette is the main play

structure that is 20 feet tall and has two main parts which is the Walker and Death Star, it consists of 3 different types of slides. This park also has a Merry-GoRound. The Northeast side of the park has benches and grills and benches are also placed along the path of the park.

creative works

GRAPHITE ‘spatial corner’ 14”x17” 2017

INK + WATERCOLOR ‘release’ 14”x17” 2016

INK ‘fallingwater’ 14”x17” 2016


JIE-EN LEE +1 (206) 739 9977

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