BSD.Arch Portfolio 2019

LU I S

M E D I N A

B A R R I E N TO S

B S D. A R C H P ORTF O LIO 2 018

[ . 2 ]

UNDERGRADUATE DESIGN PORTFOLIO Luis Medina Barrientos Bachelor of Science in Design - Architectural Studies (BSD) Design Studies Minor 2014-2018 Arizona State University

VITAE

lamedina@asu.edu

linkedin.com/in/luismedinab

+1 480 323 0747

behance.net/luismedinab

[.1 ] b. CA R ACA S ,

V E N .

1 9 9 5

EXPERIENCE June 2018 - Current

SUMMARY Concept-driven and versatile designer with advanced visual sensibility, influenced by research and experiences.

Inspired to create content capable of conveying ideas, telling stories, and reviving awareness.

Architectural Designer True North Studio Phoenix, AZ, USA Tasks performed: Conceptual design, project planning & design, building programming & analysis, 3D modeling and rendering.

December 2017 - May 2018

EDUCATION January 2014 - May 2018 BSD - Architectural Studies - Magna Cum Laude Design Studies Minor Herberger Institute for Design and the Arts Arizona State University Tempe, AZ, USA July 2013 High School Diploma. Mention: Science Colegio San Agustín - El Paraíso Caracas, Venezuela

Architectural Intern True North Studio Phoenix, AZ, USA Tasks performed: Yield studies, site analysis and physical model making.

June 2015 - May 2018 Administrative Assistant Hispanic Research Center / WAESO Arizona State University Tempe, AZ, USA Tasks performed: General office duties.

June 2012 - December 2013

KNOWLEDGE 01 Software

02 Other

Autocad Sketchup Fusion 360 Rhino + Vray Revit Adobe Photoshop Adobe Illustrator Adobe InDesign

Virtual Reality Illustration Grid & Layout Color Theory Laser Cutter 3D Printer CNC Router Water Jet

Creative Resource Intern RotatorSurvey Caracas, Venezuela Tasks performed: Logo design, web design, image editing and data analysis software translation (English/Spanish/Portuguese)

RECOGNITION Spring 2018 Design Excellence Winner * Herberger Institute for Design and the Arts Arizona State University

LANGUAGES English

Proficient

Spanish

Mother Tongue

Portuguese

Elementary

Archiprix International 2019 Nominee* World’s Best Graduation Project Competition The Design School at ASU Project: Industrial Theater/Some Assembly Required

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EXTRA CURRICULAR December 2017 - May 2018 Visualization Specialist Herberger Institute for Design and the Arts Arizona State University Tempe, AZ, USA Tasks performed: 3D modeling and animation, motion graphics and digital architectural drafting.

January 2017 - May 2018 Co-founder, Secretary & Event Coordinator Latino Architecture Student Organization (LASO) The Design School at ASU Tempe, AZ, USA Most significant Events: Gender, Race & Sexuality + Design First student lead all-inclusive conversation on identity framed through creative design collaging.

Lasugo 3.0 Collaborated with ASU Student Film Association to question food sharing restrictions within our university by projecting recollections of videoclips from Latin American food culture of prepping and eating.

Model Fabrication Workshop at TechShop Full-day immersion on digital architectural model fabrication. Including individualized instruction on CNC Router, 3D printing, Water Jet and Laser fundamentals of use.

PUBLICATIONS May 2017 Discipline: ASU Architecture Journal Issue 03 Projects: The Weight, 79 Collective Housing Units Case Study

September 2018 Student Exhibition Catalog 2018 The Design School at ASU Project: Industrial Theater/Some Assembly Required

May 2018 Discipline: ASU Architecture Journal Issue 04 Projects: WTOWER01, Skin & Bones, Windhover Case Study

June 2018 Archiprix International 2019 (web) Santiago Chile Edition Project: Industrial Theater/Some Assembly Required

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CONTENTS [ .2]

L AT E S T W O R K S

SPRING 2018

p.05-21

4TH YEAR PRECAST CONCRETE STUDIO

•

PA R T I

p.06

00 PROJECT ICE •

PA R T I I

p.08

00 (UN)DISCLOSED COMPETITION •

PA R T I I I

p.10

0 0 I N D U S T R I A L T H E AT E R / S O M E A S S E M LY R E Q U I R E D

OTHER WORKS

SPRING 16 - SPRING 2018

p.23-49

SELECTED ACADEMIC / COMPETITION / PROFESSIONAL PROJECTS

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01 THE NEST

p.24

•

02 DIVERS (/’dīverz/)

p.26

•

03 SKIN & BONES

p.30

•

04 WTOWER01

p.34

•

05 72 COLLECTIVE HOUSING UNITS CASE STUDY

p.38

•

06 ARCHITECTURAL MODELS

p.40

•

0 7 L A S O I N V O LV E M E N T

p.44

•

08 PROFESSIONAL - WIP

p.46

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4

L AT E S T W O R K S

[.]

SPRING 2018 4TH YEAR PRECAST CONCRETE STUDIO

00 intro

In our local architecture and building community, the precast concrete industry was established in the early 1950s with the development of the concrete block for the rapidly expanding housing and building market. At that time, with inventive designs by local architects, the industry produced a wide variety of blocks that facilitated the design of buildings responsive to the harsh climatic conditions of the desert.

Today, the concrete block industry has diminished and been replaced by a precast concrete industry that produces large scale building elements and infrastructure for the local and global markets. Precast concrete elements are highly specified to a singular use within primarily large scale repetitive projects such as parking lots, transportation systems and industrial warehouses. The multiplicity of function, aesthetic qualities and general availability that the early blocks offered are primarily missing in the precast industry.

Additionally, the need for large capital investment to develop and deliver a precast concrete project, the vast numbers of small and medium scale projects with any degree of uniqueness or relationship to a specific context are currently out of the reach of the precast industry.

The industry is simply not benefitting from the exploration processes that architects engage with these project types.

Instructors:

Catherine Spellman Claudio Vekstein Elena Rocchi

5

PA R T I

00 PROJECT ICE CONCRETE BLOCK F O R M W O R K D E S I G N E X P L O R AT I O N A N D CASTING: In collaboration with: Eric Di Bella and Yara Kamali The Ennis House has managed to keep its high standard reputation since 1924, the year it was built for Charles and Mabel Ennis, the owners of a men’s clothing store who liked to entertain, the house was the last and largest of four homes designed in an experimental “textile block” style.

However, in recent years, it has been recognized as one of the most endengered historic preservation sites in the world by the US National Trust and the World Monuments Fund List.

Negligence, ill-advised repairs by previous owners, age, several natural events, air-pollution, have caused enormous damage to the textile blocks used to build the house and their fragility have also been a contributory factor to its decayance. Furthermore, sealant was painted onto the outside of the walls, trapping water that has rusted inside the steel reinforcing bars and has caused the blocks to crack and splinter in places.

In 1994, a devastating earthquake shook LA and the retaining walls collapsed. In 2005, rainstorms caused water-logging and hillside mudslides.

Frank LLoyd Wright’s main goal was the house to blend in with nature.

6

Process: From the most primitive to the most elaborate, we actively evolved the ice formwork design to perfect the final block cast.

Flatback

Hand-carved

Vacuum-formed

In its most common state, water as a liquid constantly moves and snakes around finding its own paths. Turning water into its solid state makes it a more brutal material to deal with and handle.

As a remarkably experimental project, our concept of the ice concrete formwork will allow for a unique atmosphere in which the block will be poured into extremely low tempertatures (the concrete being in full contact with the ice) and simultaneously left under the sun to cast, dry and cure in this harsh conditions.

Assuming that nature has both created and destroyed the block, our reinvented version of the block aims to use the embodied avatar of nature that water represents as a medium to build a formwork that will capture and replicate the characteristics of the textile block in the context of the nature-caused deterioration of Frank Lloyd Wright’s architecture.

0 0 P R O J E C T I C E - C O N C R E T E C A S T I N G F O R M W O R K D E S I G N E X P L O R AT I O N - S P R I N G 1 8 - P R E C A S T C O N C R E T E S T U D I O

MONTELLO, NV, USA.

PA R T I I

0 0 ( U N ) D I S C L O S E D A D E S E R T W AY P O I N T F O R C O N T E M P L AT I O N A N D E X H I B I T I O N S F O R T H E M O N T E L L O F O U N D AT I O N (COMPETITION PROJECT) In collaboration with: Hannah Chavez and Rebecca Imig Enveloped in an enigmatic skin that removes the ability to see beyond the slotted barrier with any real clarity, the contents and function of our building are hidden, undisclosed, and require a sense

STRATEGIES

of curiosity to uncover and enter the mysterious structure. Once inside, the walls achieve the same

t.4

t.5

effect on the landscape, whose existence is barely visible, and is hinted to only through the strong beams of light that penetrate the gaps of the

As our studio is focusing on precast concrete, we were tasked with only using objects found on a concrete casting site to create our design. Exploring the relationship between concrete I-beams and their steel formwork pieces we created a series of strategies that will allow a catalog of pieces to be stacked, lifted up, and repositioned to adapt to any situation the artist’s artwork may require.

INTERIOR

00 (UN)DISCLOSED - SPRING 18

t.3

t.2

t.6

stacked pieces.

PARTI COMPOSITION RECLAIMED FORMWORK

9

PA R T I I I

0 0 I N D U S T R I A L T H E AT E R / S O M E A S S E M LY R E Q U I R E D PRECAST CONCRETE RESEARCH & I N N O VAT I O N C E N T E R E X T E N S I O N T O ASU ART SCHOOL WAREHOUSE In collaboration with: Zach Bundy and Abel Clutter

10

TEMPE, AZ, USA.

CONSTRUCTION SCHEDULE

The Phoenix Metropolitan Area is known for

its

suburban

sprawl,

replete

with

seemingly ubiquitous, cheaply constructed speculative

developments;

despite

this

dubious recognition, Downtown Phoenix and nearby Tempe are undergoing rapid vertical development. This phenomenon is fueled in part by Phoenix’s access to affordable pre-cast concrete manufacturing as well as “tilt-up” construction.

WEEK 6

SITE CONTEXT XRAY AXON

WEEK 0

WEEK 1-3

WEEK 4

WEEK 5

The project is located in Downtown Tempe, a

After the five trusses are erected, pre-cast

Maximum cost-saving is achieved with the

part of the Metropolitan Area with particularly

concrete catwalks are delivered to the site

pre-cast concrete construction process

hyperactive growth. The local design &

and then post-tensioned across the beams,

when:

arts college requires major updates and

providing

expansions to its aging fabrication lab. These

floors and walls are delivered and post-

expansions include a lab for experimentation

tensioned between the trusses. These floors

with concrete, a textile lab, design studios, a

and walls are cast as single hollowcore pieces,

b. The number of moulds required for

wood and metal shop, 3d printing and laser

simplifying the on-site construction process.

precasting is minimized .

lateral

bracing.

Then,

pre-cast a. Elements of a project are repeated .

cutting labs, and mid-sized lecture halls.

Finally, a hollowcore roof is post tensioned

c. The project site and pre-cast plant are

It begins with a renovation of the existing

along the top of the trusses.The project

in close proximity.

art fabrication warehouse. Part of an existing

is located in Downtown Tempe, a part of

road is utilized as a place to cast a concrete

the

vierendeel truss in segments, which are then

hyperactive growth. The local design &

building

expansion

tilted and lifted into place with a crane.

arts college requires major updates and

pre-cast

cost-saving

expansions to its aging fabrication lab. These

architectural asset within the context of

expansions include a lab for experimentation

Phoenix’s rapid development.

Metropolitan

Area

with

particularly

This project aims to create a prototype which strategies

redeems as

an

with concrete, a textile lab, design studios, a wood and metal shop, 3d printing and laser cutting labs, and mid-sized lecture halls.

11

H-01 - HOLLOWCORE MODULE TYPE 1 *

H-02 - HOLLOWCORE MODULE TYPE 2.1 *

SPECS:

SPECS:

H-04 - HOLLOWCORE MODULE TYPE 3.1 *

H-03 - HOLLOWCORE MODULE TYPE 2.2 *

SPECS:

SPECS:

MODULAR H-05 - HOLLOWCORE MODULE TYPE 3.2 *

C-01 - CATWALK MODULE TYPE 1 *

SPECS:

SPECS: H-01 H-07 H-04

H-06 - HOLLOWCORE MODULE TYPE 3.3 *

H-05

SPECS:

C-02 - CATWALK MODULE TYPE 2 * SPECS:

H-06 H-03

PARTS

C-03 - CATWALK MODULE TYPE 3 *

C-01 C-02

SPECS:

BY CATEGORY

H-02

H07 - HOLLOWCORE ROOF MODULE *

SPECS:

C-03

HOLLOWCORE COMPONENTS & CATWALK MODULES

STRUCTURAL T-02

T-01 - CUSTOM VIERENDEEL CONCRETE TRUSS * SPECS:

T-01

T-02 - STEEL ROD CROSS-BRACING SPECS:

TRUSS SYSTEM

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SOUND-PROOF & AIR-TIGHT PARTITIONS

E-02

E-01 - ALUMINUM GLAZED DOOR

E-04 - AIR-TIGHT ALUMINUM LOUVER SYSTEM (VARIES)

SPECS:

SPECS:

E-02 - ARGON-INSULATED SAFETY GLAZING (VARIES)

E-06 - LARGE ARGON-INSULATED WINDOW (6’x10’)

SPECS:

SPECS:

E-03 - SMALL ARGON-INSULATED WINDOW (VARIES)

E-07 - ALUMINUM GLAZED DOOR FRAME

SPECS:

SPECS:

E-02 E-02 X-00 E-02 E-02

E-02

E-02 E-02 E-02 E-07

E-02 E-04 E-03 E-03

E-06 E-01

PARTITIONS

M-04 - BUILT-IN ADA RAMP (4’x12’x1’)

X-00

SPECS:

SPECS:

FIXTURES C-08 C-08

M-05 - WIDE BUILT-IN ADA RAMP W/PLATFORM (8’x18’x1’) SPECS:

X-02

C-08 X-01

C-09

X-01 - NOT FOUND

C-04 - CATWALK GUARDRAIL MODULE SPECS:

SPECS: (UNSPECIFIED ITEM) STEEL GRATING PLATFORM (VARIES)

M-03

- REFFER TO CONTRACTOR

M-02 M-05 M-04 X-02 - NOT FOUND

C-06 - SERRATED STEEL STAIR TREAD MODULE C-06 C-07

SPECS: 8’-9/16”D x 1’-1/4”H, GALVANIZED

C-04

SPECS: (UNSPECIFIED ITEM) BUILT-IN BOWL-SHAPED SEATS FROM RECYCLED PLASTIC

OPTIONAL FIXED ELEMENTS

T - STRUCTURAL COMPONENTS C - CATWALK & STAIR COMPONENTS H - HOLLOWCORE COMPONENTS M - OTHER MODULAR COMPONENTS E - INSULATION COMPONENTS (EXTERIOR) R - ROOF COMPONENTS T-01 - CUSTOM VIERENDEEL CONCRETE TRUSS * T-02 - STEEL ROD CROSS-BRACING C-01 - CATWALK MODULE TYPE 1 * C-02 - CATWALK MODULE TYPE 2 * C-03 - CATWALK MODULE TYPE 3 * C-04 - CATWALK GUARDRAIL MODULE C-05 - CATWALK END RAIL MODULE C-06 - SERRATED STEEL STAIR TREAD MODULE

* PRE-CAST CONCRETE ELEMENTS

C-07 - STAIR STRINGER MODULE C-08 - STAIR SPINDLE MODULE C-09 - STAIR HANDRAIL MODULE C-10 - POST-TENSIONING STEEL TENDONS H-01 - HOLLOWCORE MODULE TYPE 1 * H-02 - HOLLOWCORE MODULE TYPE 2.1 * H-03 - HOLLOWCORE MODULE TYPE 2.2 * H-04 - HOLLOWCORE MODULE TYPE 3.1 * H-05 - HOLLOWCORE MODULE TYPE 3.2 * H-06 - HOLLOWCORE MODULE TYPE 3.3 * H-07 - HOLLOWCORE ROOF MODULE * M-02 - BUILT-IN BENCH MODULE * M-03 - BUILT-IN WHITEBOARD MODULE M-04 - BUILT-IN ADA RAMP (4’x12’x1’)

M-05 - WIDE BUILT-IN ADA RAMP (8’x18’x1’) E-01 - ALUMINUM GLAZED DOOR E-02 - ARGON-INSULATED SAFETY GLAZING (VARIES) E-03 - SMALL ARGON-INSULATED WINDOW (VARIES) E-04 - AIR-TIGHT ALUMINUM LOUVER SYSTEM ( VARIES) E-05 - NEOPRENE GASKET LAYER (8’x18’x1’) E-06 - LARGE ARGON-INSULATED WINDOW (6’x10’) E-07 - ALUMINUM GLAZED DOOR FRAME E-08 - UNDERLAYMENT/WATER BARRIER E-09 - COLD-ROLLED STEEL PANELLING (2’x6’) R-01 - READY-TO-INSTALL ROOF MODULE TYPE 1 * (8’x18’x1’) R-02 - READY-TO-INSTALL ROOF MODULE TYPE 2 * (8’x18’x1’) R-03 - READY-TO-INSTALL ROOF MODULE TYPE 3 * (8’x18’x1’) NOTE: UNLISTED ELEMENTS TO BE SELECTED BY CONTRACTOR

13

TRUSSES T-01

T-01 T-02

1

2

TRUSS TILT-UP AND SLIDING

LATERAL STABILITY CROSS-BRACING (OPTIONAL)

C-08 C-09

C-07 C-06

X-01 C-04 C-01

C-10

C-02 X-01 C-01 C-02 C-04

3 DOUBLE PARALLEL STAIR

4 TYPICAL CATWALK

C-08 C-09

ASSEMBLY

BY TYPE

STAIRS & CATWALKS

C-09 C-08

C-01 C-10

C-02

C-02 C-05

C-11

C-07 C-06

C-07 C-06

5 14

DOUBLE STAIR WITH SUPPORT

6

C-05

SINGLE STAIR WITH REST

MODULES T-01 E-02

E-02 T-01

M-03

E-03 E-01 E-04

E-04 E-03

E-05 E-04 M-02

E-04 E-07 E-06

E-05 M-03

E-02 E-01

7

8

M-04

LECTURE HALL MODULE

LAB MODULE

M-04 T-01 E-02

E-02 T-01

M-03

E-07 E-01 E-04

E-01 E-04 E-03

E-05

E-01

E-06 E-04

M-02

9

10

E-04

CLASSROOM MODULE

STORAGE MODULE

ROOF

E-09

R-03

E-08

H-07

R-01 R-02

E-04

11 LAYERS

12

T-01 ROOF INSTALL

15

0 0 I N D U S T R I A L T H E AT E R - S P R I N G 1 8 - P R E C A S T R E S E A R C H C E N T E R - G r o u p S t u d i o P r o j e c t

17

“Theather In The Round” The strength of the existing structure’s design is in its central courtyard. The existing courtyard is kept empty so that each wing of the building is able to temporarily take over the center. The courtyard acts as a “stage”; it is an empty vessel for an infnite variety of functions.

Our design chooses to superimpose this stage with all of the mechanical components that would be found in a theater: rigging, some operable walls, a hoist, and places from which to view the activity. The new program, which involves design and drafting, is suspended above the old program, which involves fabrication.

0 0 I N D U S T R I A L T H E AT E R - S P R I N G 1 8 - P R E C A S T R E S E A R C H C E N T E R - G r o u p S t u d i o P r o j e c t

WORM’S EYE EXPLODED AXONOMETRIC VIEW

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NEW SUSPENDED PROGRAM

EXISTING ART WAREHOUSE

0 0 I N D U S T R I A L T H E AT E R - S P R I N G 1 8 - P R E C A S T R E S E A R C H C E N T E R - G r o u p S t u d i o P r o j e c t

F1

20

F2

S 21

22

OTHER WORKS

.

SPRING 16 - SPRING 2018

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M U LT I - D I S C I P L I N A R Y C H A L L E N G E - S P R I N G 1 7 - C o l l a b o r a t e d w i t h : J e s s i c a A n d e r s o n , N i c k M o r t o n , Ya P e n g

TEMPE, AZ, USA.

0 1 T H E N E S T - 1 0 - D AY

01 THE NEST REIMAGINING THE SUN DEVIL S TA D I U M

The Devil’s Nest is a stadium reimagined into a community environment that welcomes everyone in the surrounding area. The driving force behind the concept was to give the stadium a new face and transform it into an inviting space for the ASU and Tempe community. The space is to be used year-round by creating an installation of inflatable-framework. The installation divides the field into public and private spaces of entertainment. Multiple activities can take place within the field area, such as guest lectures, movie night, yoga, art galleries, fairs and any other events the community would like to host. The concourse is reserved for commercial venues that lead to a garden atop the sundeck that serves as a relaxation area.

1

24

2

3

4 25

0 2 D I V E R S ( / ’ d ī v e r z / ) R O O S E V E LT R O W COLLECTIVE HOUSING Instructor: Mark Ryan Divers is a Mixed-use Residential Building that promotes the diversity and multiplicity of interactions among people of diverse backgrounds with a focus on strengthening the connection between the urban art environment and the city. The site is located on the intersection of Roosevelt Street and Grand Avenue in Phoenix, AZ. The Building primarily consists of a retail at grade level that includes open interiors for local galleries and restaurants, and a private residence with 3 types of dwelling units, studios, single height one-bedroom and double height two-bedroom apartments.

The intersection is also and important part of the Roosevelt Row Arts District, a walkable creative district in the urban core of the city that is known for its cultural events, restaurants, galleries, boutiques and live music. In the past couple of decades, Roosevelt Row has become an indispensable cultural resource in the state of Arizona. Respecting the adjacent district’s scale and character, the entire lower level of the building is dedicated to commercial and public use which gives the architecture an opportunity to interact with the effervescent cultural lifestyle of the neighborhood.

0 2 D I V E R S - R O O S E V E LT R O W C O L L E C T I V E H O U S I N G

- FA L L 1 6 - I n d i v i d u a l S t u d i o P ro j e c t

27

PHOENIX , AZ, USA.

THIRD LEVEL

GROUND LEVEL

UNDERGROUND LEVEL

0 2 D I V E R S - R O O S E V E LT R O W C O L L E C T I V E H O U S I N G

- FA L L 1 6 - I n d i v i d u a l S t u d i o P ro j e c t

29

0 3 S K I N & B O N E S I TA L I A N FA S H I O N H U B COMPETITION BY YOUNG ARCHITECTS In collaboration with: Zach Bundy, Nick Shekerjian.

This project uses the historic building, with its strong familial and entrepreneurial history, as the foundation for the future development of Centergross in Bologna, Italy. This entry grafs a new identity as a skin onto a foundational family history. Centergross’ complex network of activity forms this new identity, one which, in the manner of skin, responds to the complexities of environmental elements. As such, the skin respirates air, absorbs water and collects water run-off, filters natural light, and connects the new and existing architecture. The skin is grafed onto the existing building through three primary cores (glands) which contain circulation, plumbing services, and various office space programming.

0 3 S K I N & B O N E S - I TA L I A N FA S H I O N H U B - S P R I N G 1 8 - C o m p e t i t i o n

1

1

Tensile Storefronts

2

Pore 1: Ventilation

3

Pore 2: Water Collection

4

Mobile Shelving Cells

2

3

4

SKIN & BONES The boundaries between fashion and architecture become increasingly blurred as time progresses. Both are strongly tied to the human body: its functions, behaviors, all acting as shelters for the body. Fashion and architecture mediate the body with the environment, expressing cultural, political, and personal identity.

The skin is a shared interface between architecture and fashion. This project proposes the use of a skin to protect the existing Centergross complex; through an anatomical understanding of architecture, the roof-as-askin protects the existing building, and the people which comprise the fast fashion industry.

0 3 S K I N & B O N E S - I TA L I A N FA S H I O N H U B - S P R I N G 1 8 - C o m p e t i t i o n

Office/Conference Halls

Fashion School

Polyvalent Spaces

Spa

roof plan: modules 1 + 2

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04 WTOWER01 A GREEN-FUTURES STUDIO BALATA, WEST BANK, PALESTINE

P R O J E C T I N PA R T N E R S H I P W I T H A N - N A J A H U N I V E R S I T Y. [ N A B L U S , P A L E S T I N E ]

Instructor: Philip Horton In collaboration with: Brendon McConville and Angel Rivera

挀椀爀挀氀攀

Balata, a town in which 27,000 displaced people are crammed into an area of about 27 hectares, or 66 acres. According to the United Nations Relief and Works Agency, the refugee camp produces 1,600 cubic meters of solid waste each month.

These statistics are daunting, however there is an opportunity to be found in this crisis: Recycling plants in the surrounding Nablus region have achieved great success by incentivizing people to collect and deliver plastic and metal waste. By designing an efficient infrastructure which builds on the current efforts of factory owners and everyday trash collectors, our team aspires to build a resi ient circular economy that benefits all refugees by improving health, moral, and economical independance.

Our team expects that through a cooperative platform of urban and architectural design combined with independent organizations dedicated to human development work, a series of waste collection towers can begin a paradigm shift in the way Palestinians think about trash.

Hoping that in a near future the towers can become a source of civic pride, and a symbol of passive resistance; rather than simply being waste distribution centers. These towers will be seen as important economic centers and functional monuments in a new circular economy.

1 TRASH AS A RAW MATERIAL:

2 PROCESSING:

Tall silos are erected and used as temporary collec-

Paper, metal, and plastic are crushed and redistribut-

tion and distribution centers for waste. Residents use

ed to other factories inside Palestine. Organic waste

these silos to sort and dispose of paper, metal, plas-

(biomass) is burned in an enclosed system; the heat

tic, and organic waste. Paper, metal, and plastic are

causes water to evaporate into steam which runs a

siphoned to the bottom of the silo where they are

turbine. According to the Solid Waste Association of

collected and transported to local recycling plants by

North America, 1 ton of unrecyclable waste produces

free-lance recyclers. Organic waste is collected and

as much electricity as .25 tons of coal.

delivered to waste-to energy converters on the Eastern edge of Balata, near the farmland.

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0 4 W T O W E R 0 1 G R E E N - F U T U R E S S T U D I O [ B A L A T A R E F U G E E C A M P, P A L E S T I N E ] - F A L L 1 7 - G r o u p S t u d i o P r o j e c t

3 REDISTRIBUTION: Factories sell or distribute finished paper, metal, and plastic goods to local stores which, in turn, sell the products back to Palestinians. Theoretically, residents will have more purchasing power in a market which avoids the blockades enforced by the Israeli government. After being incinerated, biomass is made available as fertilizer for the farms which surround Balata. This will increase farm yield, while simultaneously lowering the cost and raising the quality of food grown in the vicinity.

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0 4 W T O W E R 0 1 G R E E N - F U T U R E S S T U D I O P R O J E C T [ B A L A T A R E F U G E E C A M P, P A L E S T I N E ] - F A L L 1 7 - G r o u p S t u d i o P r o j e c t

㄀㤀㈀ 洀㌀ ㄀㘀 洀㌀

㐀 洀㌀

㔀㜀 洀㌀

36

STEP 1

STE

EP 1 2

POWER CONVERT COMBUST SORT HARVEST

STEP 1 3

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05 72 COLLECTIVE HOUSING UNITS - BY LAN ARCHITECTURE - Fall 16 -Case Study Project

Models exhibited at the Phoenix AIA Gala. Phoenix Art Museum, October, 2016.

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0 6 T H E W E I G H T - P I O N E E R & M I L I TA R Y M E M O R I A L PA R K H I S T O R Y C E N T E R

- SPRING 16 - Individual Studio Project

06 THE WINDHOVER AIDLING DARLING ARCHITECTS Spring 17 - Case Study Model

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06 MORE MODELS

- Models built for Academic and Professional Works

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0 7 L A S O I N V O LV E M E N T - F A L L 1 6 / S P R I N G 1 7

GENDER, RACE & SEXUALITY + DESIGN

First student lead all-inclusive conversation on identity at ASU. Semptember ‘17

M O D E L F A B W O R K S H O P AT T E C H S H O P

Full-day Immersion on digital architectural model fab.

October ‘17

LASUGO 3.0

Projecting clips of Latin food culture.

October ‘17

PHOENIX, AZ, USA.

K I D S AT H O P E I N T E R A C T I V E M U R A L LASO Collaborative Project Spring 17 - Interactive Installation Prototype

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PHX

PROPOSED

FIRST MEOW WOLF IN ARIZONA

MEOW WOLF PHX - Proposed First Meow Wolf in Arizona

~2,400 SF

EVENT RESTROOMS

INDOOR EVENT SPACE

POOL 14’x50’ FOOD & BEVERAGE [ 2,821 SF ]

SPA / RETAIL CONCEPT [ 2,552 SF ]

RESTAURANT / RETAIL CONCEPT [ 1,895 SF ]

FRONT PATIO [ 48 SEATS ]

CHECK-IN

0’

10’

20’

FRONT PATIO [ 44 SEATS ]

FRONT PATIO [ 60 SEATS ]

THE BUNGALOWS - Historic Neighborhood Urban Resort

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PETITE JO - French-inspired Bakery-on-the-run Concept at Historic House 08 PROFESSIONAL - WIP S e l e c t e d w o r k s a t Tr u e N o r t h S t u d i o , P h o e n i x , A Z .

R o l e : L e a d D e s i g n e r - S u p e r v i s e d b y N a t e S o n o s k e y, A I A / L E E D A P B D + C .

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10’-0”

10’-0”

10’-0”

0’-8” 1’-0” 1’-0” 3’-0”

08 PROFESSIONAL - WIP

3’-0” 17’-3”

F

C O U P D E G R Â C E S P E A K E A S Y C O C K T A I L B A R A T T H E R O O S E V E LT

SEATS 12-15

8’-0”

A R T S D I S T R I C T, P H O E N I X , A Z 1’-0” 0’-6”

Client: Grace Unger

0’-8”

6’-0”

3’-0”

3’-0”

3’-0”

15’-10”

0’-6”

32’-0”

In collaboration with:

P

COUP DE G

Joel Contreras Design

FLOOR

Grace focuses on creating intimate and unique dining and drinking experiences at Tuck Shop Kitchen, taking great pleasure in delivering a carefully crafted food and cocktail encounter with an emphasis on undoubtedly warm and unparalleled service. After purchasing Tuck Shop in 2015, Grace Unger has used her years of experience overseas to elevate the overall dining experience resulting in a significant increase in revenue, brand awareness and the restaurant’s reputation from local and visiting clientele.

Dark & seductive. Travel back in time to France in the 1970’s. With the words “Leben wie Gott in Frankreich” (live like God in France) inscribed across the back bar wall, we enter a time of anti-Americanism in France. Coup de Grâce highlights a somewhat dark time for the country. A time where the French were struggling with the idea that they may lose recognition as the most desirable country in the world. Guests can expect a highly unique cocktail bar concept featuring a full absinthe service, french whiskies, and seasonal cocktails in the 500 sq.ft. space with subtle neon lighting and a rustic French lounge style design.

https://roundme.com/tour/335878/view/1117109/

32’-0”

17’-3”

0’-8” 1’-6” 5’-6”

9’-6”

9’-8”

2’-0”

5’-6”

13’-0”

2’-0”

12’-0”

4’-6”

5’-6”

1’-0”

SOUTH ELEVATION

PROJECT

WEST ELEVATION

PROJECT

PROJECT

GRÀCE

COUP DE GRÀCE

COUP DE GRÀCE

R PLAN

EXTERIOR ELEVATIONS

EXTERIOR ELEVATIONS

TITLE

TITLE

TITLE

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[.3]

C O N TA C T

[.] +1 4803230747 LAMEDINA@ASU.EDU

behance.net/luismedinab

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