Portfolio
Moonho Lee
Moonho Lee mlee106@syr.edu
(+1) 949.491.3458 220 South Warren Street (#508), Syracuse NY, 13202 10 Cattail, Irvine CA, 92604 (+82) 010.6395.5406 6, Ogeum-ro 15-gil, Songpa-gu, Seoul, Korea, 05549
Languages English Korean Japanese
Lived Worked Traveled
Education Professional Experience
Education
Syracuse University Master of Science in Architecture Graduate School of Architecture, 2016 Syracuse, New York
Iroje Architects & Planners Project Manager Beijing, China, 2011-2012
Iroje Architects & Planners Assistant Architect Seoul, Korea, 2008-2011
Hongik University Bachelor of Engineering in Architecture School of Architecture, 2006 Seoul, Korea
Syracuse University Graduate School of Architecture
Syracuse, New York
Dynamics in Architecture in terms of the City of Syracuse Syracuse, New York, 2016
Void in Void Mute Icon in honor of Royce Hall, UCLA Los Angeles, California, 2016
Future Platform from the Past Community Innovation Experimental Center Shenzhen, China, 2015
Dynamics in Architecture in terms of the City of Syracuse Syracuse, New York
Thesis for Master of Science in Architecture, 2016 Advisor : Fei Wang, Professor, Syracuse University Individual Work
All drawings were created by Moonho Lee
Abstract
Introduction
From prehistoric times to modern era, Architecture had been composed fundamentally based on Place. Architecture from the context of the place had matured with inhabitants as time went on and it had inversely reinforced the connatural identity to the place. Since modern era, however, the identity, which each place had, began to be threatened as new forms of architecture have emerged. Particularly, the conflict between Iconic Architecture and existing Urban Context is dramatically exposed in the global age. Although the iconic architecture has been served as an agent to keep up with the global status of a city and to promote economic growth, it does not seem to harmonize with existing urban context as well as to guarantee economic success anymore. For the competitiveness for City Branding in this epoch of ours, I would argue that a clue to the solution can be found from Urban Components, which cannot be seen in any other places, and its distinctiveness will be its com-petitiveness. In this respect, this research will define Urban Identity as Place Identity in a city in comparison to Iconicity and examine urban components such as Built Heritage, which can be measurable and compose urban context, so that give the fundamentals to create architecture upon existing urban context in order to amplify its distinct urban identity as well as to enrich its urban images in terms of Urban Morphology in harmony with the neighbors. Eventually, it will suggest an alternative meth-odology for City Branding, thereby providing an inspiration to sustain Place Identity.
Since the end of twentieth century, the advancement of information communication tech-nology has resulted in expanding the extent of the economic and cultural sphere throughout the world beyond physical limitation and economic activities have been enacted across nation at the corporation level as well as the city level (Sklair, 136~137). As a result, the competition for economic growth has significantly intensified and cities struggling for economic performance put stress on City Branding. The buildings, so called Iconic Architecture, started to be used as a tool to publicize a city and to be served as the symbol or icon of a city in order for creating new urban images (Macdonald, 14). The Bilbao Effect proved the potential of the iconic architecture that could promote economic growth and create new urban images in hopes with establishing new urban identity. Constructing an iconic building seems to be one of the way to strive to leap to or maintain global status of a city. However, we have encountered inherent problems soon after our society tried to apply the similar remedy to their cities. As the iconic architecture is driven by an economic purpose to attract tourists and investment in a city (Macdonald, 14), it is likely to transform the built environment intentionally without the consideration of existing urban context in a city (Sklair, 138). Furthermore, such urban images by the iconic architecture can also distort Reality due to the lack of correlation with its urban com-ponents (Zavattaro, 5). Ultimately, the distinct urban identity is at risk of being destroyed. Another problem is that many cities is developed in favor of coherent strategies in common with other places and the style of architecture also became homogeneous to meet the global taste
since the world has become unified, (Patteeuw, 20). The competitiveness of the iconic architecture will be lost if such an inventive form of the building can be seen anywhere. Consequently, the purpose of establishing new urban identity and boosting economic growth cannot be reached as the irregular shape of build-ings in disharmony with existing urban context and in association with a large-scale construction costs will not only eliminate its urban identity, but also burden its local economy. In current global economic structure, however, a change is inevitable. As the competition at the city level becomes increasingly intensified, architecture will play a substantial role in expressing urban images that help a city enhance global status. So, it is necessary to discuss the orientation of architecture for both amplifying the place identity in a city and securing the global status of a city. A clue to the solution of the problem can be found from urban context, which cannot be seen in any other places, and its distinctiveness will be its competitiveness. Therefore, it comes to be important to place architecture upon the foundation of existing urban context that express its urban identity. In this respect, this research will define Urban Identity as Place Identity in a city in comparison to Iconicity and examine Urban Components, which compose its urban context and eventually shape its urban identity, by literature investigation research. Later, the research will be continue to focus on urban components such as Built Heritage, which can be measurable so that give the fundamentals to create architecture upon existing urban context in order to amplify the distinct urban identity as well as to enrich its urban images in terms of Urban Morphology in harmony with the neighbors.
Macdonald, Susan. “Contemporary Architecture in Historic Urban Environments.” Conservation Perspective Volume 26. Issue 2 (2011): 13~15. Web. 02 Aug 2015. Patteeuw, Véronique. City branding : image building & building images Rotterdam: Nai Uitgevers, 2002. Print. Sklair, Leslie. “Iconic Architecture and the Cultural-ideology of Consumerism” Theory, Culture & Society Volume 27. Issue 5 (2010): 135~159. Web. 31 July 2015. Zavattaro, Staci M. Place Branding through Phases of the Image: Balancing Image and Substance. NewYork City, NY: Palgrave Macmillan, 2014.
City of Syracuse Moonho Lee Oil Painting, 2016
Void in Void Mute Icon in honor of Royce Hall, UCLA Los Angeles, California
Visiting Critic Studio, Fall 2016
Advisor : Georgina Huljich, Principal , P-A-T-T-E-R-N-S Collaborative Work with Joshua Intorcio
All drawings here were created by Moonho Lee
Introduction
Georgina Huljich, Principal , P-A-T-T-E-R-N-S
Suprematist Composition White on White Kazimir Malevich Silver gelatin print, 1918 Museum of Modern Art, New York
The present status and contemporary role of the icon comes into a deeper scrutiny and its cultural relevance definitely under stress. While culture at large always needs icons, the question here is what constitutes a contemporary icon, and whether its image could sever its ties to former notions of iconicity. Challenging, and provoking at the same time is the notion of muteness, or the “mute icon”, a kind of anti-monument. No longer concerned with either narrative excesses of meaning and communication, nor with the shock and awe of sensation making, architecture can do what it does best. A mute icon in architecture is at the same time object and building. As such, it requires a strong posture and with it, an attitude that is absolute and unstable, anticipated and strange, manifest and withdrawn. By limiting its appearance, the mute icon demands closer scrutiny, its resistance conveys resilience and its introversion stimulates communication. The relation that the term ‘black box’ has to questions of functional flexibility, atmospheric darkness and plain mystery, or the connotations that it entails to the most pure form of art are important aspects. Can a black box be a mute icon? Can a mute icon be a black box? Given a certain semantical flexibility in the understanding of the word [from theater to popular culture and the arts], these questions become productive by suggesting a possible inversion, albeit still a dichotomic one, between interior and exterior, object and receptacle. The studio speculates on the idea of mute icons as it applies to distinct and often competing pressures. In this case, those of a university campus context with a clear neoclassical plan and an advanced multidisciplinary performing arts program destined to create new cultural audiences.
Inflexible Programmed
Flexible Unprogrammed
Opaque Filled Enclosed
Transparent Unfilled Opened
Black Box
White Box
SOLID
Antinode Foreground-Background
in terms of “Black Box” and “White Box” on White
VOID
Flexible Unprogrammed
Inflexible Programmed
Transparent Unfilled Opened
Opaque Filled Enclosed
VOID
Black Box
Antinode Foreground-Background
in terms of “Black Box” and “White Box” on Black
SOLID
White Box
Inflexible Programmed
Flexible Unprogrammed
Opaque Filled Enclosed
Transparent Unfilled Opened
White Box in Black Box
Black Box in White Box
SOLID
VOID
Cognition of Background in terms of Existence on White
Flexible Unprogrammed
Inflexible Programmed
Transparent Unfilled Opened
Opaque Filled Enclosed
VOID
SOLID
White Box in Black Box
Cognition of Boundary in terms of Existence on White
White Box in Black Box
Collision of Space in terms of Illusion
Moultonboro II, 1966 Frank Stella Collection Mr. and Mrs. David Mirvish, Toronto
Literal Boundary
White Implied Boundary
Collision of Space
in terms of Allusion on White
White Box in Black Box
White Box in Black Box
White
Literal
White Box Literal and Implied Boundary in terms of Allusion on White
Abstract
Robert Wilson
Curated by Isabelle Huppert, 1976 Silver gelatin print 40.6 x 50.8 cm (16 x 20 in) Since the late 1960s, Robert Wilson’s productions have decisively shaped the look of theater and opera. He is widely acknowledged as one of the most creative forces in the art and theater and has fused the roles of director and designer in a highly visual approach that gives formal independence to the elements of light, space, and sound. He sees what he wants, and is able to translate his inner vision into stage terms, and to circumvent the crippling conventions of dramatic presentation.
Opera in Four Acts Einstein on the Beach
Avignon, 1976 by Robert Wilson and Philip Glass Choreography by Lucinda Childs People said in the beginning, well it’s obviously not a play because it didn’t have a text which told a story and said well this kind of dance is not just dance. It’s not a painting because not a painting. So, I called them operas because it means the opus of work and I still think that’s the best way to describe it and with Einstein on the beach. You have all the conventions of an opera that it’s within a proscenium arch of an orchestra pit with musicians, singers. In this sense, it is an opera. It doesn’t tell us stories on a narrative forms and something that is trying to illustrate the way history books do Einstein, but it’s trying to present a critical interpretation of this man. - Robert Wilson
List of Properties Modernity
from Pespective to Flatness Geometry Point Line; Horizontal and Vertical Line, Oblique Line Plane; Rectangle, Triangle, Circle/ Semi-circle Lighting Shadowless Light Bulb(Oragne); Point Fluorescent(White); Line, Plane Contrast Darkness-Brightness ; Foreground-Background
Proposal
Scene Analysis
Robert Wilson’s unique style and attention to composition made him a pioneer in the performing arts field. Officially titled as a director, he contributed under many roles throughout his career; with an unprecedented style of set design. Wilson’s stage scenes displayed careful manipulation of geometric objects to maintain a “balanced” composition of the set. We are concerned with the properties of Wilson work that can display incongruity and disparity. We look to create an interior mass which displays incongruity; similar proportions as a result of the spontaneous combination of a form creates relationships within the dissimilar volume. The auditorium space with have an articulated manipulation of the seating arrangements. We want the performers to be conscious about how the audience views the stage. How can the stage become the heart of the project? This space could perform as a reception space for audience members to enter into the auditorium before and after the show. This gives audience members an initial opportunity to understand the production from the perspective of the actor- a very articulated element in the work of Robert Wilson.
Knee Play 1
Moonho Lee, Joshua Intorcio
from Structure of Einstein on the Beach
Act I Train, Trial Knee Play 2
Geometry
Lighting
Act II Dance 1, Night Train Knee Play 3 Act III Trial/ Prison, Dance 2 Knee Play 4 Act IV Building, Bed, Spaceship Knee Play 5
Configuration
Composition
Knee Play 1, 2, 3, 4
Train Act I
Trial Act I
Night Train Act II
Trial/ Prison Act III
Building Act IV
Bed Act IV
Spaceship Act IV
Knee Play 5
Experiment on Profiles
Extracted from Knee Plays and Four Acts
Knee Play
Act I
Selected Profile
Extracted from Knee Plays and Four Acts
Act II
Act III
Act IV
Process of Formulation for Creation of White Box organized from Profile of Knee Play
Collision of Space
organized from Profile of Knee Play
Enclosed Void as White Box
created by Collision of Space
Fundamental Segments of Black Box on White
Deconstruction of Segments
Fundamental Segments of Black Box on White
Disclosed Void as White
through Deconstruction of Black Box
Deconstruction of Segments
Void in Void as White on White
through Reconfiguration of Deconstructed Segments
Void in Void
through Collision of Void
Department of Communication Studies Department of Linguistics
Perloff Hall
Fowler Museum
Royce Hall Siteplan
Haines Hall
UCLA, Los Angeles, CA
Dickson Court
Powell Library
Humanities Building
Lounge
Requirement of Space Area
Ahmanson Auditorium Lobby West Lobby
Ahmanson Lobby 5,600 sq. ft.
West Lobby
3,000 sq. ft.
Auditorium 19,000 sq. ft.
25 ft
60 ft
25 ft
Open
in terms of Four Programs
Lounge
2,000 sq. ft.
Black Boxes on White
UCLA, Los Angeles CA
White Box in Black Box on White UCLA, Los Angeles CA
White Box + Black Box on Whitev UCLA, Los Angeles CA
White on White
UCLA, Los Angeles CA
Porch Gallery Entrance
Auditorium
Control Box
Entrance
Ground and Auditorium Floor Plan
Amphitheater
Banquet Hall
Floor Plan Terrace
Amphitheater Floor Plan
0
100
200 ft
Void in Void with Context
0
100
200 ft
Future Platform from the Past Community Innovation Experimental Center Shenzhen, China
Architectural Design Studio, Fall 2015 Advisor : Fei Wang, Professor, Syracuse University Individual Work
All drawings were created by Moonho Lee
Lon gTe ng
Roa d
Introduction
Fei Wang, Professor, Syracuse University
Site
Shenzhen, China
HengPing Highway
Located at the northeast portal of Shenzhen, as well as the connection area of Shenzhen, Dongguan and Huizhou, Shenzhen International Low Carbon City occupies a total planning area of 53km2. Since it is situated at the 2-hour Economic Circle of Guangzhou, Shenzhen and Hong Kong, the low carbon city is less than 2-hour drive away from the center of Guangzhou, Dongguan, Huizhou, Zhuhai and Hong Kong, which covers most part of the Pearl River Delta, and offers a greater space for development in the future. Pingdi Subdistrict is home to Shenzhen International Low Carbon City. As one of the most underdeveloped areas in Shenzhen, this subdistrict is very similar cities and towns who are undergoing nationwide industrialization today. Therefore, through model innovation, planning guidance, environment construction, along with the improvements from endogenous power and integrating technology with market, the low carbon city will gradually discover a new way for the leapfrog sustainable development of underdeveloped areas. The planning of the low carbon city exhibits extremely strong innovation and exploration. As one of the first batch of international cooperative projects introduced into low carbon city, as well as pioneering the research, development, and exploration of both low carbon buildings and low carbon communities, the Future Center will become the bellwether which represent the development of the low carbon city in the coming years.
0
50
100 m
Lon gTe ng
Roa d
Proposal Moonho Lee
This project proposes a new Community Innovation Experimental Center as a part of Shenzhen Low Carbon City. The proposal emerged as a consequence of a careful consideration of the site’s surrounding context. The project is located on an important intersection of two axes, the first running between the older and emerging urban districts, and the second between the neighboring mountains and the river. In this way the proposal can be understood as mediating between urbanity and nature.
Site Condition
HengPing Highway
Wind
0
Wind
50
View
100 m
Ol dU rb an
Ax is
Old Village
New Urban Axis
Development District
To pursue these goals, our proposal seeks to reinforce the existing urban axis. In doing so, the proposed Community Innovation Experimental Center is able to operate (metaphorically) as a platform connecting the past and future. The proposal consists of the 9x9x9 meter system of cubes capable of dividing and determining the interior arrangements with each set of cubes arranged in two rows to maximize the potential for linkage with nature.
Urban Axis
0
50
100 m
Required Volume
Total Floor Space
65,000 m2
Underground
12,000 m2
Building Height 6m Setback; 9m Setback;
< 100 m Under 24 m Height Over 24 m Height
Building Coverage
< 50 %
0
50
100 m
9. 0m
9x9x9 Cube
9. 0m
0m 9.
Enclosed
Interactive
Invertible
Interactive Cube
Potentials of Combination
Linkage with Nature
Communication
Expansion
Circulation
Sequence of Layout
5.4 m 1.8 m
m 1.8
9*9*9 Cube
m 5.4
0m 9.
9. 0m
m 1.8
1.8 m
in terms of Typical Unit
Set of Communication Layer
5.4 m 1.8 m
m 1.8
1.8 m
m 5.4
5.4 m
1.8 m
1.8 m
m 1.8
m 1.8 m 5.4 m 1.8
Set of Core Space
Installation of Main Structure
3.0 3.0 3.0 m m m
in terms of Typical Unit
3.0 3.0 3.0 m m m
Sequence of Layout
Set of Unit Ceiling Height
Installation of Unit Floor
0 1.5 .6 m m
4. 8m
1 0. .5 m 6m
m 1.5 .6m 0
8m 4.
6m 0. .5 m 1
Set of Functional Layer
Installation of Functional Layer
Variables of Ceiling Height
4. 5m
4. 5m
3.0 3.0 3.0 m m m
in terms of Typical Unit
3.0 m Ceiling Height
4.5 m + 4.5 m Ceiling Height
3.0 3.0 3.0 m m m
6. 0m 3.0 m
6.0 m + 3.0 m Ceiling Height
3.0 m Ceiling Height for Laboratory
Variables of Expansion in terms of Functional Layer
Desk and Chair
Variables of Functional Layer
Book Shelve
Shelve
Kitchen Gadgets
Bed
Variables of Functional Layer
Equipment
Room
Combination of Functional Layer Housing
0
2
4m
Combination of Functional Layer Office
0
2
4m
Combination of Functional Layer Commerce
0
2
4m
Combination of Functional Layer Laboratory
0
2
4m
Response to Context
Layout Strategy
Orientation to the South Wind
0
Wind
50
View
100 m
Linkage with Nature
Formation Strategy
Arrangement of Cubes
Wind
0
Wind
50
Adaptation to the Site
View
100 m
Reduction in Density
Adjustment of Volume
Traffic System
Circulation Strategy along with Urban Planning
Pedestrian System
0
50
100 m
Green System
Green Strategy
in terms of Urban Planning
Water System
0
50
100 m
Underground Floor Plan -9.0 m Level
0
8
16 m
Ground Floor Plan 0.0 m Level
0
8
16 m
Podium Floor Plan +9.0 m Level
0
8
16 m
Typical Floor Plan +36.0 m Level
Wind
0
Wind
View
8
16 m
Elevation 01
0
8
16 m
Section 01
0
8
16 m
Elevation 02
0
8
16 m
Section 02
0
8
16 m
Iroje Architects & Planners Project Manager
Beijing, China, 2011-2012
Taiyuan Bus Company Business Facility Taiyuan, China, 2012
Iroje Architects & Planners Exhibition Beijing, China, 2012
Danzhou Art District Masterplan Housing Complex Hainan, China, 2012
Pindu Housing Culture Center Cultural Facility Pindu, China, 2012
Beijing Gongjian Siheyuan Housing Beijing, China, 2012
Chongqing Urban Complex Business Facility Chongqing, China , 2011-2012
Seung H-Sang, Iroje Architects & Planners Exhibition was held in Beijing, China in October, 2012. For this exhibition, I had worked as a coordinator. I had designed the exhibition space and had met a lot of people who were related to the exhibition. Furthermore, since the concept of this exhibition was to create a city in the space, it was necessary to build walls to express the street and served as display panels. I had also supervised it while under construction.
Iroje Architects & Planners Exhibition Beijing, China, 2012
Exhibition Image
pictured by Inhan Kim
Project Team
Assignment
Sunghee Kim Moonho Lee Lee Hyewon Taeyong Kim
Exhibition Coordination Detail Drawings Site Supervision Exhibition Installation
Detail
Exhibition Desk
drawn by Moonho Lee translated into Chinese by Taeyong Kim
When I was working at the Beijing Office of the Iroje Architects & Planners, I was in charge of all projects that were proceeded in China. Among those, there was the Danzhou Art District Masterplan as a urban planning project. At the beginning of the project, I explored a site and collected research materials to initiate the project. While working on this project, it provided me with the macro-view and mirco-view for the urban planning.
Danzhou Art District Masterplan Housing Complex Hainan, China, 2012
Site Area 500,000.0 m2 Building Area 72,500.0 m2
Masterplan
drawn by Moonho Lee translated into Chinese by Taeyong Kim
Project Team
Assignment
Sunghee Kim Moonho Lee Hyeon Choi Gwangjae Yoon Taeyong Kim Sunju Kim
Data Survey Data Analysis Concept Development Design Development Planning Site Floor
Siheyuan is the traditional dwelling form of China. Once I moved to Beijing, I got an opportunity to review it. Over three days, I recorded all the dimensions of the house. I was fortunate to investigate the spatial composition of Siheyuan dwellings.
Beijing Gongjian Siheyuan Housing Beijing, China, 2012
Street Image
pictured by Hwi Jeon
Project Team
Assignment
Moonho Lee Hwi Jeon
Field Measurement Measured Drawings Site Floor Elevation Section
Elevation
Beijing Gongjian Siheyuan
drawn by Moonho Lee
Chongqing Urban Complex, which is a large scale project with the height of approximately 200m, is located in China so it was necessary to collaborate with a local architectural firm for building permits. After completing the third schematic design phase at the IROJE Seoul Office, this project was handed over to the IROJE Beijing Office. At the time, the company relocated me to Beijing, China in order to handle it. In Beijing, meanwhile, I developed the design with the Seoul Office, which included a conference with the local company. When necessary, I went on business trips to Chongqing to have meetings.
Chongqing Urban Complex Business Facility Chongqing, China , 2011-2012 Site Area 100,736.8 m2 Total Floor Area 102,960.0 m2
Elevation
drawn by Moonho Lee
Project Team
Assignment
Sunghee Kim Junghan Han Moonho Lee Namyoung Son Gwangjae Yoon Taeyong Kim
Schematic Design Planning Floor Elevation Section Consultation
Exterior Wall Detail Chongqing Urban Complex
drawn by Moonho Lee translated into Chinese by Taeyong Kim
Iroje Architects & Planners Assistant Architect
Seoul, Korea, 2008-2011
Hangzhou Villa, A Block Housing Hangzhou, China, 2011-2012
Jisan Wald House Complex, Unit 9AB Housing Jisan, Korea, 2011
MizMedi Hospital Annex Medical Facility Seoul, Korea, 2009-2011
KIST L4 Research Center Laboratory Facility Seoul, Korea, 2009-2010
KIST Research Complex Masterplan Laboratory Facility Seoul, Korea, 2009
Arvo Part Memory Hall Cultural Facility Rakvere, Estonia, 2009
Hyundai Hillstate Culture Center Cultural Facility Seoul, Korea, 2009
Shin Dong Yeop Literary Museum Cultural Facility Buyeo, Korea, 2008-2009
Ra On Chae Housing
Seoul, Korea, 2008
Before this project, I had done projects with colleagues so I handled some parts of the projects. When I took part in the Jisan Wald House project, however, I implemented the entire design process from schematic design to construction drawings as well as documents for construction permits. I drew all documents in consideration of the construction carefully since I had supervision experience at the time. I could improve my ability to organize drawings and to deal with documents for permits.
Jisan Wald House Complex, Unit 9AB Housing Seoul, Korea, 2011
Site Area 464.0 m2 Building Area 119.0 m2 Total Floor Area 179.1 m2
Elevation
drawn by Moonho Lee
Project Team
Assignment
Sunghee Kim Moonho Lee
Schematic Design Planning All Drawings
Sundry Detail Jisan Wald House
drawn by Moonho Lee
I belonged to not only an architectural design department but also a supervision department because I have a certificate as an authorized building engineer. Thus, I had designed as well as supervised the building that was under construction as an assistant supervisor. MizMedi Hospital Annex was my first task of supervision. I was able to look deep into the process of construction and figure out how to apply my drawings to actual buildings.
MizMedi Hospital Annex Medical Facility Seoul, Korea, 2009-2011
Site Area 504.6 m2 Building Area 245.7 m2 Total Floor Area 2,044.6 m2
Exterior Image
pictured by Moonho Lee
Project Team
Assignment
Dongwook Kim Moonho Lee
Construction Supervision Drawing Revision Documentation Administrative Support
L4 research center is the part of the KIST Research Masterplan. When the company won its competition, I took part in a working design for L4 research center as I was a member of its competition team. In this project, I was able to learn how to convert schematic design into construction drawings. Particularly, in order to draw each drawing, I had to look for a lot of related drawings or contact various companies. I have become familiar with and interested in construction drawings.
KIST L4 Research Center Laboratory Facility Seoul, Korea, 2009-2010
Building Area 2,847.8 m2 Total Floor Area 17,609.9 m2
Siteplan
drawn by Moonho Lee
Project Team
Assignment
Kitae Lee Hyunjun Yang Jungmin Lee Moonho Lee Bohyun Yoon Hyeon Choi Donghee Lee Fei Liang
Planning Material Site Section Construction Document Material Specification Standard Specification
Section
drawn by Moonho Lee
After I had made a number of models for several months, I was involved in a competition team by making perspectives via computer graphic programs and I participated in a variety of architecture competitions. Arvo Part Memory Hall project gave me an opportunity to implement not only computer graphics but also a schematic design. Since It had a strong concept, I was excited to develop schematic designs from the concept and express it through computer graphics.
Arvo Part Memory Hall Cultural Facility Rakvere, Estonia, 2009
Site Area 1,425.7 m2 Building Area 1,787.4 m2 Total Floor Area 2,979.1 m2
Aerial View
drawn by Moonho Lee
Project Team
Assignment
Yongsoon Chang Kitae Lee Ahjoo Kwon Moonho Lee Bohyun Yoon Donghee Lee Yehwon Kim
Data Survey Concept Development Computer Graphic Perspective
After entering Iroje Architects & Planners, I was in charge of making models being proceeded at the company from concept to final. I have done many material experiments to express the concept of a variety of projects. Through this process, I was able to get a sense of what is needed for a three dimensional space.
Ra On Chae Housing
Seoul, Korea, 2008 Site Area 641.0 m2 Building Area 383.2 m2 Total Floor Area 2,126.9 m2
Physical Model
pictured by Hyowon Jung
Project Team
Assignment
Hyowon Jung Jungmin Lee Moonho Lee
Physical Model
Honors/Awards
Design Energy Futures in Low Carbon City Exhibition Selected Work, 2016 Shenzhen, China
Building Engineer National Certificate of Technical Qualification Human Resources Development Service of Korea, 2006
24th Korean Institute of Architecture International Competition Selected Work, 2005 Seoul, Korea
2nd DOCOMOMO Korea Design Competition Selected Work, 2005 Seoul, Korea
Portfolio Moonho Lee
949.491.3458 mlee106@syr.edu 220 South Warren Street (#508), Syracuse NY, 13202