35
a r c h i t e c t u r a l p o r t f o l i o 2 0 0 9 - 2 0 1 1 s a l l y c . l e e
a r c h i t e c t u r a l p o r t f o l i o 2 0 0 9 - 2 0 1 1
s a l l y c . l e e
c o n t e n t s
i n t e r d i s c i p l i n a r y p a v i l i o ns u m m e r 2 0 0 9u n i v e r s i t y o f v i r g i n i a , c h a r l o t t e s v i l l e , v a
i n s t i t u t e o f p h o t o g r a p h yf a l l 2 0 0 9n e w y o r k , n y
s e n i o r r e s i d e n c e c o m m u n i t y c e n t e rs p r i n g 2 0 1 0c h a r l o t t e s v i l l e , v a
2 0 - f o o t t a b l e d e s i g ns p r i n g 2 0 1 0
f r a m i n g a n d m a s s i n g : a s t u d ys u m m e r 2 0 0 9
b a y l y a r t m u s e u m e x t e n s i o nf a l l 2 0 1 0u n i v e r s i t y o f v i r g i n i a , c h a r l o t t e s v i l l e , v a
s a l l y c. l e e
3 - 6
7 - 9
1 0 - 1 2
1 3 - 1 4
1 5 - 1 9
1 - 2
p r e f a b r i c a t e d t r a n s i t o r y h o u s i n g f o r t h e h o m e l e s ss p r i n g 2 0 1 1 c h a r l o t t e s v i l l e , v a
i n i t i a t i v e r e C O V E Rs u m me r 2 0 1 0 - s p r i n g 2 0 1 1t h o m o n d e , h a i t i | s t . m a r c , h a i t i
d i g i t a l a n i m a t i o n a n d s t o r y t e l l i n gf a l l 2 0 1 0
m o d e r n j a p a n e s e a r c h i t e c t u r es p r i n g 2 0 1 1
s k e t c h e s a n d t r a v e l s : h o n g k o n g
s a l l y c. l e e
2 0 - 2 2
2 3 - 2 7
2 8
2 9
3 0
f r a m i n g a n d m a s s i n g : a s t u d y
f r a m i n g a n d m a s s i n g : a s t u d ya r c h 2 0 1 0 | p r o f e s s o r a n s e l m o c a n f o r a | s u m m e r 2 0 0 9
s a l l y c. l e e
T E C T O N I C S O F F I G U R E A N D V O I Dthe relationship of figure and void are explored in the formal configurations of framing and massing elements. aiming to analyze tectonics and spatial relationships through additive and subtractive moves, the exploration through the use
of various materials contributed to the discovery of constraints and opportunities that arise in the creation of design.
a c a d e m i c | p r o f e s s i o n a l | p e r s o n a l
2
i n t e r d i s c i p l i n a r y p a v i l i o n
i n t e r d i s c i p l i n a r y p a v i l i o na r c h 2 0 2 0 | p r o f e s s o r p e t e r w a l d m a n | s u m m e r 2 0 0 9
u n i v e r s i t y o f v i r g i n i a , c h a r l o t t e s v i l l e , v a
M O T I O N I N D Y N A M I C S P A C Ethe interdisciplinary pavilion aims to foster the union of the multi-disciplinary endeavors of the different art departments located in the arts precinct of the university. the design of the building works to promote an environment of assembly, learning, and communication. each story of the pavilion is designed purposefully so that all activities that take place on every level can be observed by those on other levels at all times, providing visual and aural connections at all times. located in the waters of a resevoir at the foot of the hill, the lowest chamber of the building floods in times of higher water levels, bringing the water directly into the builidng itself and creating the illusion of a floating structure. the lack of distinct boundaries within the space, the interplay of interior and exterior spaces, and the blurred borders between the natural and built environment all promote the common goal of unification in this communal precinct.
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u n i v e r s i t y o f v i r g i n i a , c h a r l o t t e s v i l l e , v a
s a l l y c. l e e
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6
i n s t i t u t e o f p h o t o g r a p h y
i n s t i t u t e o f p h o t o g r a p h ya r c h 3 0 1 0 | p r o f e s s o r m i c h a e l p e t r u s | f a l l 2 0 0 9
n e w y o r k , n y
T H E F R A M I N G O F S P A C E A N D V I E W Sthe institute of photography provides a converging center for the learning, teaching, and displaying of photography. located on a
corner lot in new york city, the design of the institute faced a challenge of fitting a 25’ x 100’ site while also taking advantage of the public location to showcase the works within the building. in response to the narrow site, programmatic necessity, and the aims to provide framed visual and spa-tial connections throughout the building as well as to the surrounding city, the organization of the building was sectionally developed around
a composition of extending planes that work as transitory and subdividing elements. a central structural wall serves as the anchoring
core and is also the circulation piece of the building, bringing those within the building up from the galleries below to the cafe, classrooms, library, and
office spaces above. the transparent facade allows for views into the interior while a showcase panel on the longitudinal streetside displays photog-
raphy and public announcements of events to take place within this artistic meeting grounds.
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8
i n s t i t u t e o f p h o t o g r a p h ya r c h 3 0 1 0 | p r o f e s s o r m i c h a e l p e t r u s | f a l l 2 0 0 9
n e w y o r k , n y
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s e n i o r r e s i d e n c e a n d c o m m u n i t y c e n t e r
a r c h 3 0 2 0 | p r o f e s s o r r o s a n a r u b i o - h e r n a n d e z | s p r i n g 2 0 1 0
c h a r l o t t e s v i l le , v a
T O P O G R A P H I C A L I N S P I R A T I O N F O R C O N V E R G I N G C E N T E R Sthe dynamically sloping hillside provides the grounds for an architectural intervention inspired by the preconditions of site. with minimal manipulations on the land, the dramatic changes in elevation mark the opportunity for entrance, exit, gathering, and transit. following the topographical lines, arcing retaining walls present way for
gardened terraces that lead residents from the adjacent residential units to the community center, providing a degree of private individualism that is often lost in most retirement communities. a large central atrium serves as the
transitory zone off of which adjoining spaces for healing, study, play, and socializing are situated, and a network of stairs and tangential passageways weaving through these volumes provide the means of movement throughout
the building and the site as well.
s e n i o r r e s i d e n c e a n d c o m m u n i t y c e n t e r
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a r c h 3 0 2 0 | p r o f e s s o r r o s a n a r u b i o - h e r n a n d e z | s p r i n g 2 0 1 0
c h a r l o t t e s v i l le , v as e n i o r r e s i d e n c e a n d c o m m u n i t y c e n t e r
1 2
2 0 - f o o t t a b l e d e s i g n
T A B L E A S A B R I D G I N G P I E C Ea prompt for a table design was posed to a team of 12 designers to create a piece that would connect two studio spaces. the 20-foot-long table that resulted
became a play on scale as a furniture piece with the structural composition of a small bridge was designed with a central spine from which extending
ribs hold up the panel surface of the table. with only one leg on each end, achieving the structural stability of the table was a challenge for the design as
well as aesthetics that give the table a light apperance.
a r c h 3 2 3 0 | b u i l d i n g m a t t e r s | s p r i n g 2 0 1 0
2 0 - f o o t t a b l e d e s i g n
s a l l y c. l e e
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1 4
b a y l y a r t m u s e u m e x t e n s i o n
a r c h 4 0 1 0 | p r o f e s s o r p e t e r w a l d m a n | f a l l 2 0 1 0
b a y l y a r t m u s e u m e x t e n s i o n u n i v e r s i t y o f v i r g i n i a , c h a r l o t t e s v i l l e , v a
A S E R I E S O F E P I S O D I C C O N N E C T I O N Sthe opportunity for an addition presents itself in the midst of two opaque masses, where the incremental construction of a translucent gallery space creates the connective piece that bridges the space between the bayly art museum and the uva school of architecture. developed through the gradual placement of marker walls from which additive floor planes and walls extend from over time, the design of the museum extension aims to make use of the dramatic topographical changes to create a series of open and enclosed terraces as the translucency of the building aims to provide a visual connection to the inside of the building during the day while creating a lantern-like quality for the precinct at night. Through spaital relationships of enclosure and openness, light and shadow, places for gathering and discussion are established as the arts are celebrated and enjoyed.
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a r c h 4 0 1 0 | p r o f e s s o r p e t e r w a l d m a n | f a l l 2 0 1 0
b a y l y a r t m u s e u m e x t e n s i o n u n i v e r s i t y o f v i r g i n i a , c h a r l o t t e s v i l l e , v a
s a l l y c. l e e
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1 8
a r c h 4 0 1 0 | p r o f e s s o r p e t e r w a l d m a n | f a l l 2 0 1 0
b a y l y a r t m u s e u m e x t e n s i o n u n i v e r s i t y o f v i r g i n i a , c h a r l o t t e s v i l l e , v a
s a l l y c. l e e
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p r e f a b r i c a t e d t r a n s i t o r y h o u s i n g f o r t h e h o m e l e s s
a r c h 4 0 2 0 | p r o f e s s o r a n s e l m o c a n f o r a | s p r i n g 2 0 1 1
p r e f a b r i c a t e d t r a n s i t o r y h o u s i n g f o r t h e h o m e l e s s c h a r l o t t e s v i l l e , v a
s a l l y c. l e e
P U B L I C A N D P R I V A T E S P A C E Sstudio initiative reCOVER worked to design housing units for the homeless population in charlottesville, va. the design of the unit
houses 4-6 people with two conjoined units, each rooming 2 people or a family with children. clerestory windows provide natural lighting and a single pitched roof aids with promoting natural ventilation within the unit as well as routing water to a gutter-
ing system. shared outdoor spaces promote a sense of community while interior spaces can be broken down further with
modular furniture pieces that provide more private spaces if needed.
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p r e f a b r i c a t e d t r a n s i t o r y h o u s i n g f o r t h e h o m e l e s s c h a r l o t t e s v i l l e , v a
s a l l y c. l e e
a c a d e m i c | p r o f e s s i o n a l | p e r s o n a l
metal hollow-tube framing
deck
garden rooftop
wall panel
clerestory window
roof
stair unit
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i n i t i a t i v e r e C O V E R
Initiative reCOVER Building Back Better Communities Design Expo | July 5, 2010 | Page Copyright 2010 by the Rector and Visitors of the University of Virginia
CONSTRUCTION SEQUENCE AND PERSONNEL REQUIREMENTS
Flexible approach to building and a user-friendly processOur building proposal integrates the use of off-site fabrication with a conventional on-site construction and assembly. Combining the two approaches to building (often kept distinctly separate in the building industry) affords a greater degree of adaptability and variety to our system while ensuring a high level of construction quality. Our approach underscores the importance of directly involving the community during the construction and assembly process of their future homes. The interchangeability of the cladding materials alleviates the pressures of fi nding locally-sourced materials immediately after a disastrous event when resources are scarce and economically unfeasible, but does not preclude the use of indigenous materials further along in the building recovery process. The construction and assembly of our design proposal makes effective use of limited skilled labor and supervision. A single experienced builder can work with a group of six to eight volunteers with varying to no previous building experience to assemble our design in days and not weeks. Most importantly, we see our system as prototypical design and one that can be replicated and improved over time by the building industry in Haiti.
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Construction Sequence and Personnel Requirements
1. Pier Pads and Piers
2. Installing Primary Structural Beams
3. Floor Joists and Deck Cartridges
4. Installing Floor Panels
5. Interior Wall Panel Placement
6. Exterior Wall Panel
7. Roof Truss
8. Roofi ng and cladding trim
P A N E L I Z E D C O N S T R U C T I O N A N D M O D U L A R C O M P O N E N T S initiative reCOVER works closely with humanitarian organizations and NGOs in the process of designing transitional homes and shelter units for post-disaster relief. working with a prefabricated panelized framework, the construction process is versatile and easily adaptable to serve different cultural, temperate, and programmatic applications as different types of insulation, glazing, and
cladding can be applied. whether building housing units, healthcare centers, or educational buildings, the fabrication process of reCOVER units hopes to engage the local economy through the
use of locally-sourced materials as well as involving local labor in the physical construction of the unit itself.
i n i t i a t i v e r e C O V E Rp r o f e s s o r a n s e l m o c a n f o r a | t e a m : a j a b u l l a - r i c h a r d s , s a r a h a r p e r , s a l l y l e e , n a t h a n p a r k e r , l a u r e n t h o m p s o n
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* all work is collaborative unless otherwise noted
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p r o f e s s o r a n s e l m o c a n f o r a | t e a m : a j a b u l l a - r i c h a r d s , s a r a h a r p e r , s a l l y l e e , n a t h a n p a r k e r , l a u r e n t h o m p s o n
i n i t i a t i v e r e C O V E R - J e a n C h a r l e s S c h o o l
s a l l y c. l e e
p r o f e s s o r a n s e l m o c a n f o r a | t e a m : a j a b u l l a - r i c h a r d s , s a r a h a r p e r , s a l l y l e e , n a t h a n p a r k e r , l a u r e n t h o m p s o n
t h o m o n d e , h a i t i
a c a d e m i c | p r o f e s s i o n a l | p e r s o n a l
* all work is collaborative unless otherwise notedLee Lee
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p r o f e s s o r a n s e l m o c a n f o r a | t e a m : a j a b u l l a - r i c h a r d s , s a r a h a r p e r , s a l l y l e e , n a t h a n p a r k e r , l a u r e n t h o m p s o n
i n i t i a t i v e r e C O V E R - B r e a t h e H o u s e s t . m a r c , h a i t i
N
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* all work is collaborative unless otherwise noted
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p r o f e s s o r a n s e l m o c a n f o r a | t e a m : a j a b u l l a - r i c h a r d s , s a r a h a r p e r , s a l l y l e e , n a t h a n p a r k e r , l a u r e n t h o m p s o n
d i g i t a l a n i m a t i o n a n d s t o r y t e l l i n g
D I A M O N D H E I S T -- A S T U D Y O F L I G H T A N D S H A D O W I N M O T I O N using a primary color palatte of black, white, and gray tones, this animation uses light as the primary means of defining space, illuminating the progression of movement, and
heightening the sense of contrast with the shadows created as the burglar attempts to steal the ultimate object of light in the story, the diamond. the introduction of the two other colors
used in the animation, red and blue, provide as visual cues to the viewer as the diamond is the single object holding all colors of the light spectrum and is also the object of desire in
the story. experimenting with reflectivity, light properties and placement, and material settings, this animation saught to expand upon the rendering capabilities of different material
properties while using light as the means of storytelling. movement is illuminated and sound effects are recessed, putting the visual senses in the forefront of perception.
a r c h 5 4 2 0 a n d i n d e p e n d e n t s t u d y | p r o f e s s o r e a r l m a r k | f a l l 2 0 1 0 a n d s p r i n g 2 0 1 1
s a l l y c. l e e
a c a d e m i c | p r o f e s s i o n a l | p e r s o n a l
2 8
m o d e r n j a p a n e s e a r c h i t e c t u r e : d i g i t a l c a s e s t u d ys k y h o u s e | k i y o n o r i k i k u t a k e | t o k y o , j a p a n | s p r i n g 2 0 1 1
G E O M E T R Y A N D S P A T I A L D E F I N I T I O Nin this case study, the focus was placed on recapturing the careful consideration of proportion, geometry and spatial relationships
that kikutake integrated in the design of the skyhouse. the study of materials used in the structure were considered in the rendering of the model
as well as recreating the lighting within the structure.
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s a l l y c. l e e
t r a v e l s a n d s k e t c h e s : h o n g k o n ga c a d e m
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T H E H U M A N E L E M E N Tthe vibrant and dynamic architecture of hong kong reflects, influences, and fosters the cultures and livelihood of the people in the city. the built
environment creates the framework for how people live, move, and interact in the present and simultaneously expresses how the culture of the city has
evolved, adapted over time, and layered itself upon its past. the city possesses a distinctive energy that stems from this layering of contexts as well as from the people who inhabit the city and how their
traditions and cultures have come to affect the design of the city
itself, shaping and informing the use and organization of space.
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t h a n k y o u .
