JULIA MEDINA SELECTED WORKS
(347) 276 - 9586
83 Barlow Ave Staten Island, NY
juliamedina29@gmail.com
juliamedina.myportfolio.com
CONTENTS RESUME EXPERIENCE 2 VOLUNTEERS AND EXTRACURRICULARS
ACADEMIC NEW HAVEN FOOD HUB 4 WEAVER AND SCHOLAR STUDIO MULTI-FAITH CENTER 10 FIREHOUSE 14 QUARRY OCCUPANCY 18 ANALYTIC MODEL 24 SENIOR PROJECT 26
8
PROFESSIONAL WEWORK
36
ROBERT A.M. STERN ARCHITECTS
38
3
JULIA MEDINA
WORK EXPERIENCE NEWMAN ARCHITECTS, PC - DESIGN INTERN October 2015 to present - Part-time intern at Newman Architects in New Haven during the academic year. • Leveraging data from Revit models by working with Dynamo for model manipulation and data extraction, R (programming language) for data analysis, and Tableau for quick visualizations. • Modeling schematic design and design development-stage projects and construction documents in Revit. • Producing massing models in Sketchup.
WEWORK - BUILDING ANALYST Winter 2017 to present - Building Analyst in the Systems Operations department of the Product team. • Building and reining Revit models of existing buildings in the project archive in order to mine them for data. • Troubleshooting Revit automation software; responsible for contacting staf throughout the company to resolve discrepancies in the archive. Summer 2015 - Research and Development (R&D) Intern. • Data collection, input, and analysis. Data analysis using R; data visualization and representation using Adobe Illustrator. Instrumental in the planning process for research, evaluating technology, and study structure.
ROBERT A.M. STERN ARCHITECTS - MODEL SHOP INTERN Summer 2016 - Participant in RAMSA summer internship program, which included both work and training sessions. • Built models for projects in concept design, schematic design, and design development stages. • Made topographical site, massing, and representational models using clay, laser cutters, and woodshop tools. • Attended training sessions on design technology, model photography, and the design process. • Participated in “Intern Design Day,” a team design challenge at the end of the summer.
CASE DESIGN, INC. - BIM INTERN Summer 2015 - Intern at CASE, a Building Information Modeling (BIM) consultancy. • BIM drafting and documenting using Revit. • Assistance with “BLDGS = Data” conference in New York City, a gathering of architecture, engineering, and construction professionals focusing on a data-driven approach to the building industry. • Administrative work in Project Soane, a crowd-sourced Revit modeling of Sir John Soane’s Bank of England.
CITY COLLEGE OF NEW YORK - TEACHING ASSISSTANT Summer 2013 - Teaching assistant at City College of New York, College Now: Introduction to Architecture. • Developed lesson plans and project ideas. • Assisted students with drafting, sculpture, and model-making. • Organized ield trips to museums around Manhattan.
EDUCATION
SKILLS
Yale University Major: Architecture B.A. May 2018, expected
• • • • • •
Cooper Union Saturday Program Architecture 2013-2014 City College of New York College Now: Intro to Architecture 2012
2
Autodesk Revit and AutoCAD Dynamo and Revit plug-ins Graphic design - typography and book design Adobe Photoshop, InDesign, and Illustrator Microsoft Oice - Excel, Word, and PowerPoint JavaScript, D3, and R programming languages
juliamedina29@gmail.com (347) 276-9586
VOLUNTEER AND EXTRACURRICULARS PAPRIKA! - ISSUE EDITOR AND CONTRIBUTOR Fall 2016, Spring 2017, Fall 2017 • Yale School of Architecture student newspaper. • Editor for three issues: collected and curated contributions, worked with graphic designers, and revised articles • Contributed written pieces regarding issues, such as the future of the Yale architecture department and gender issues in architecture.
REFUGEE HOUSING DESIGN COMPETITION - DESIGN JUDGE Spring 2017 • Volunteer judge for the irst round of Place And Displacement: A Marketplace in Refugee Settlements, Architecture and Public Administration Competition. • Judged 50+ entries based on qualities, such as Feasibility, Sustainability, Design, and Presentation.
WYBCX YALE RADIO - DJ AND WRITER Fall 2016 to present • Host of the show PoMo Hour, where postmodern art and architecture discourse meets contemporary indie rock and shoegaze music. • Writer for RDBNPNG, the Yale Radio Zine: concert and album reviews as well as feature length pieces on music and culture.
DESPIERTA BORICUA - VICE PRESIDENT Fall 2014 to Fall 2017 • Acted as a liason between Despierta Boricua, the Puerto Rican student alliance, and La Casa, the Latina Cultural House at Yale. • Organized guest speaker events, dinners, and parties for the Puerto Rican student community.
YALE PRECISION MARCHING BAND - MEMBER Fall 2014 to Spring 2016 • Clarinet player.
AWARDS
REFERENCES
Richter Travel Fellowship Summer 2017
Kashuo Bennett, RA Senior Building Analyst at WeWork p: (347) 820-3995 e: kashuo.bennett@wework.com
Timothy Dwight Head of College Award Fall 2017 Mellon Fellowship Spring 2018
Jose A Hernandez, AIA Principal at Newman Architects p: (203) 314-6326 e: jhernandez@newmanarchitects.com Phil Bernstein, AIA Architect and technologist p: (781) 839-5380 e: phillip.bernstein@yale.edu
3
JULIA MEDINA
NEW HAVEN FOOD HUB
Fall 2017 Critic: Turner Brooks
New Haven Farms, City Seed, and New Haven Land Trust are three independent organizations dedicated to providing access to healthy produce to New Haven residents, especially immigrants and marginalized communities. In this ive-week studio project, we designed a “food hub� for the three organizations to share. he program included farm land, a green house, oices, classrooms, a market, and an industrial kitchen. My design relied heavily on berming the landscape to allow for circulation across the site and onto the top of the food hub. he focus of my design was a twostory kitchen with cooking one level and dining on the other.
4
juliamedina29@gmail.com (347) 276-9586
^N
kitchen classroom office
5
JULIA MEDINA
Left: A small site massing model (approximately 7 in in length). he kitchen sits at northern edge of the site, tucked into the earth. Pedestrians may acess the kitchen from the roof. Employees of the three organizations would enter from the southeast parking lot, proceeding through the crop ield between the oice wing and greenhouse. he curved structure toward the southern edge of the site is the market, located conveniently to the parking lot. A small shed for kayak storage is situated by the water, activating all parts of the site.
Left: A section of the kitchen. he lower level is an industrial style kitchen and the upper level is a dining area. he drawing to the right is an exploded axonometric view of this kitchen.
6
juliamedina29@gmail.com (347) 276-9586
7
JULIA MEDINA
WEAVER AND SCHOLAR STUDIO
Fall 2017 Critic: Turner Brooks
he Josef and Anni Albers Foundation, located in Bethany, Connecticut, includes several artist studio/residences. his three-week studio project was an investigation into creating a living and working environment suitable to both a weaver and a scholar, who would alternately occupy in this 600-square-foot space. My solution was to separate the work space and the living area through elevation and an occupiable stair, which featured storage and a cozy desk area underneath. Most of the furniture is built into the house, maximizing space through simple forms.
8
juliamedina29@gmail.com (347) 276-9586
he house is built around one of the many trees on the site. he stair, directly located in front of the door, features seating which turns into a small eating area. the bedroom has a view of the stair and studio, but is only accessible by walking all the way around the core of the house. Left: Hand-drawn plan, pen on paper, drawn at 1/8” = 1’.
A section of the house reveals the storage and desk situated beneath the stair. he stair is an example of built-in furnishings in the house, which were useful for maintaing a such a small square footage. Right: Hand-drawn section, pen on paper, drawn at 1/8” = 1’.
he central location of the kitchen nook and bathroom provide ample hallway space between the bedroom and stair, allowing for exhibition space. he windows on the southern walls take inspiration from Josef Albers’ early glass work. Left: Hand-drawn axonometric view, pen on paper, drawn at 1/8” = 1’.
9
JULIA MEDINA
YALE MULTI-FAITH CENTER
Fall 2016 Critics: Bimal Mendis and Rosalyne Hsieh
he junior fall studio assignment was a multi-faith center designed for Yale’s campus. My project was an attempt at creating an ethereal, spiritual experience without using any markers of architecture that referenced a speciic religion. I was inspired by the unity implied by circles and extensively researched architecture with circle-derived plans. I designed my project by irst creating negative space and then creating a membrane of cloth-like surfaces.
10
juliamedina29@gmail.com (347) 276-9586
Above: A diagram derived from the religious demographics at Yale University inspired the mold I would later use to shape the interior of the multi-faith center.
Above: he inal plan drawings retain the concept of layered circular surfaces.
Right: An exploded perspective drawing shows the major masses that comprise the building.
11
JULIA MEDINA
Above: A sectional model exploring material qualities. his material is plaster wrap, used to represent subtly perforated building shell. Other materials I experimented with included plaster with gauze and thermaformed styrene. Created at 1/8� = 1’ scale. Below: Sections show how the draped membrane of the building would create occupiable spaces both below and atop the surfaces. he draping condition is elaborated upon in the column and stair structures.
12
juliamedina29@gmail.com (347) 276-9586
Above: A detail model exploring structure and light. Materials: cheesecloth, gauze, plaster, museum board, MDF.
Above: A site plan of the multi-faith center on Yale’s Cross Campus.
13
JULIA MEDINA
FIREHOUSE
Spring 2017 Critics: Joyce Hsiang and Alie Koetter
he assignment for this ive-week project, which took place during junior spring studio, was to design a irehouse for New Haven’s ninth square, located in the downtown area. My project features a concrete circulation wall which clings to the perimeter of the site. he occupiable spaces protrude from the wall and create interior rooms as well as outside terraces.
14
juliamedina29@gmail.com (347) 276-9586
An early model (above) illustrates the idea of a building designed entirely in section; this model inspired the concept of the lat circulation wall, elaborated up on in the model to the left.
Below: Two collages from a series exploring the early stages of my concept in a non-descript urban environment (left) and on the site (right).
15
JULIA MEDINA
Let: Site model Bottom: Site drawing
16
juliamedina29@gmail.com (347) 276-9586
his project relied heavily on the concept of the circulation wall. I built a detail model at 1/4" = 1' scale to explore the ways in which the ireighters could move from space to space through the large concrete wall. All photos on this page show this model.
17
JULIA MEDINA
QUARRY OCCUPANCY
Fall 2017 Critic: Turner Brooks
Project: design a small refuge for a single human occupant, to be located at the Stony Creek Quarry in Branford, CT. I designed a series of perforated “screens� made of wood. hese screens frame views of the stunning quarry, while creating a shield of privacy and letting in a great deal of natural light. he screens are organized to simultaneously create open, breathable moments, as wells as ones of silent contemplation and undisturbed rest.
18
juliamedina29@gmail.com (347) 276-9586
Right: A model built at 1/4” = 1’ scale which shows my project situated in the site. here are layers of visibility outward and through the project.
Left: A site model, made at 3/16” = 1’ scale, built from cardboard, clay, and spray paint. I made several insertable iterations of my plan; the inal one is shown here.
Right: An early concept model made of dowels.
19
JULIA MEDINA I set out to build a version of my refuge to it the roof terrace of the Yale School of Architecture building, Rudolph Hall. Analyzing it as as a new site, I treated the terrace as a quarry and the New Haven skyline as a landscape. he result of this endeavor was two full-size “screens,� which interacted with the site to create both private space and a careful series of frames through which to view New Haven.
20
juliamedina29@gmail.com (347) 276-9586
21
JULIA MEDINA
22
juliamedina29@gmail.com (347) 276-9586
23
JULIA MEDINA
ANALYTIC MODELS
Spring 2016 Critic: Ariane Lourie Harris
he Analytic Model is a course for second-term sophomore architecture majors, taken in tandem with a class called Drawing Architecture. We spent the semester focusing on an architecturally signicant house, analyzing its major concepts through a series of exploratory models through lenses including program, tectonics, and environment. I focused on Eileen Gray’s Villa E-1027 and argued that its design is centered around the concept of “meandering” as a departure from the Corbusian idea of rationality and the house as a “machine for living.” his concept manifests in the plan’s adherence to and betrayal of a grid, as well as its relationship to the Golden Ratio.
24
juliamedina29@gmail.com (347) 276-9586
Opposite page: Final circulation model diferentiating between interior and exterior and emphasizing core stair. Built at 1/4" = 1' scale.
Below: Early circulation model highlighting meandering movement and axiality.
Above: Plans, sections, and elevation of Villa E-1027, hand drawn at 1/8" = 1' scale.
25
JULIA MEDINA
SENIOR PROJECT: THE CONTEMPORARY C
Concert halls provide an increasingly rare experience in the modern world: a period of time to sit, surrounded by a large crowd, detached from technology, in reverie, to listen to live music. Architecturally, concert halls pose simultaneously complex and simple design challenges. he concert hall is fundamentally a single space. Over the course of its lifetime this space brings hundreds or thousands of people together for the shared purpose of witnessing a transcendent musical performance. he design must be guided by the need for good acoustics and, in contemporary concert halls, adjustable acoustics. he space must balance intimacy and grandeur, as well as privacy and relationship to the outside world. hey should be aesthetically beautiful to match the function of the space. hey should also have an impressive exterior, for they also serve as cultural icons. A venue that fulills only a few of these parameters could result in a mediocre concert hall or, even, an ultimate failure. Concert halls, when designed properly, are “magical.� When the acoustics are good, they impact the performers in a major way. Not only is their playing better, but their energy is higher and more engaging. When a hall is beloved by musicians, it attracts the highest quality performers, and, therefore, larger audiences. Ultimately, a combination of spatial relationships and acoustic quality can make or break a concert hall.
26
juliamedina29@gmail.com (347) 276-9586
CONCERT HALL AND DEMOCRATIC DESIGN
My senior project is meant to be a mixture of a design studio experience and theory based research. During June, 2017, I went to Paris on a paid fellowship to visit Jean Nouvel’s Philharmonie de Paris and Charles Garnier’s Palais Garnier. I took over 1,000 photographs, visited both buildings multiple times, watched performances, took tours, and sketched extensively. Senior fall (2017), I continued my exploration by performing a comparative analysis of Philharmonie de Paris and Palais Garnier, rooted in the research I completed this summer in Paris. I completed a written and visual comparative analysis of these two buildings. his semester (spring 2018), I am in the process of creating a series of analytic drawings and models of the Philharmonie de Paris.
27
JULIA MEDINA
28
juliamedina29@gmail.com (347) 276-9586
As the irst step in my comparison, I analyzed context as site through a series of diagrams. Here, I show only diagrams relevant to the Philharmonie de Paris. he diagram opposite top left shows Paris in the context of Western Europe. Paris is a major European city close to many other urban centers, many of which have historic concert halls of their own. Birgit Schmolke writes, "heatres and concert halls have experienced something of a renaissance in recent years. Every European city wants one and every architect wants to design one of these lagships of urban culture" (Schmolke 2011). he diagram opposite bottom left is a closer view of Paris, separated into arrondissemenrs. he Philharmonie is located in the 19th arrondissement. he 19th arrondissement is a blue collar neighborhood, on the border of Paris and Pantin, a similarly working-class suburb. "Before the Philharmonie’s January 2015 opening," New York Times reporter Farah Nayeri writes, "there were widespread fears that Paris’s classical-music patrons would balk at traveling to a blue-collar area to hear music" (2017). Nayeri inds that, since then, the Philharmonie has proven to be a draw to people from all over Paris and beyond. he Parc de la Villette is its own community of art and music. he Grand Halle, marked on the diagram below, is a former cattle market which now houses exhibits and serves as a cultural center. he park is also home to Cite des Sciences et de L'industrie, another converted cattle market, which is now a science and technology museum.
29
JULIA MEDINA My goal for the next current is to explore the ways in which contemporary social values are woven into the architecture of the Philharmonie de Paris. I will address the following through my analysis of this building: What role does the concert hall now play in an urban location? How does the architect’s identity as a designer impact modern concert hall design? How do these halls maintain their relevance in the audience community, which includes both locals and visitors, and to what extent does the building's architecture take part in that endeavor? Ultimately, I want to learn what makes a concert hall great. What can hold it back from or push it toward being magical? I posit that concert halls are just as important as ever, though their target demographic has shifted, and should continue to move towards increased accessibility to all who want to visit.
30
juliamedina29@gmail.com (347) 276-9586
Opposite page: A drawing of Parc de la Villette and the Philharmonie, emphasizing the circulation through and around the park, the surrounding urban fabric, and the implied grid informed by Bernard Tschmi’s follies.
his page, left and below: A physical model of the site, created at 1:2500 scale.
31
JULIA MEDINA
Circulation
32
Urban Fabric
juliamedina29@gmail.com (347) 276-9586
Conceptual Grid
33
JULIA MEDINA
Above: Diagrams showing the ways in which public and private spaces are distributed in the Philharmonie in plan. he primary focus was the dichotomy between public and private; that is, spaces which involve the public realm and public appearance, per Hannah Arendt's he Human Condition (1958), as opposed to spaces which do not. Secondarily, there are semi-public and service spaces. Philharmonie's location in Parc de la Villette was key in Nouvel's consideration of how the building ought to be accessible. Multiple access points and ramps create a meandering weaving through, above, and around the space. he destination of focus in this building is not just the grand performance hall, with pit stops at the museum or cafe. he roof terrace with its panoramic view is also a goal and its routes are a pleasant maze to complement the paths of the Parc de la Villette.
34
juliamedina29@gmail.com (347) 276-9586
Above: Diagrams exploring the facade quality of the steel woven membrane of the Philharmonie de Paris, shown in phtographs below.
35
JULIA MEDINA
WEWORK
At WeWork, I am responsible for the "Property Record," which is a collection of Revit models of every WeWork location. I correspond daily with BIM Leads, architects, community managers and other members of project teams. All photos are models which I built in Revit.
36
juliamedina29@gmail.com (347) 276-9586
37
JULIA MEDINA
RAMSA MODEL SHOP
Above and let: Model built during summer 2016 in RAMSA's model shop.Materials: Foam, spray paint, museum board.
38
juliamedina29@gmail.com (347) 276-9586
39
JULIA MEDINA
THANK YOU. 40
(347) 276 - 9586 83 Barlow Ave Staten Island, NY juliamedina29@gmail.com juliamedina.myportfolio.com