Michael Montalvo | Undergraduate Portfolio | SU Arch 17' by Michael Montalvo

M I C H A E L

M O N T A L V O

Syracuse University

Undergraduate Portfolio

School of Architecture

Class of 2017

To my parentsThank you for always believing in me, guiding me through life, and showing through your actions, that through Christ all things are possible. I love you. - Michael

WEBSITE

M I C H A E L

www.michael-montalvo.squarespace.com

CELL NUMBER (909) 635-7062

GMAIL michaelm2012.mm@gmail.com

skills

6340 Meadow Glen Pl.

M O N T A L V O

Rancho Cucamonga

California 91737

objective The “objective” of a portfolio is well known, however in this particular portolio one can expect to see through a snapshot of my life, qualities that I will integrate in any company, firm, or opportunity I embark on. My name is Michael Montalvo and I am a Designer. I use that term ‘Designer’, knowing it is a very broad term, becuase my design skills can be utilized in many different fields and across many different media. My aim, whether you are a professional or personal connection, is that after taking a look at my work, to come away with a feeling

DIGITAL

Autodesk Revit

that leaves you knowing that I will do whatever it takes to get the job done at the highest quality, and in a way that is positive and benefitial to our clients/friends/colleauges/ etc.. Thank you.

Autodesk CAD Rhinoceros Google SketchUp

education

Vray

Saint Damien High School

Syracuse University School of

Adobe Photoshop CC

La Verne, California

Architecture

Adobe Illustrator CC

Diploma, 2012

Syracuse, New York B.Arch., 2017

Adobe InDesign CC Microsoft Word

Cal Poly San Luis Obispo Architecture

Microsoft Powerpoint

Workshop

Keynote

San Luis Obispo, California

Pages

Architectural Workshop, 2011

BOOKS READ IN PROCESS

The Magic of Thinking BIG, by David J. Schwartz, Ph.D. Think and Grow Rich, by Napoleon Hill

Autodesk Maya

Outliers, by Malcom Gladwell

The Compound Effect, by Darren Hardy

Adobe After Effects

The Alchemist, by Palo Cuelo

The 10x Rule, by Grant Cardone

Adobe Muse

Elon Musk, by Ashley Vance

Money. Master The Game, by Tony Robbins

skills ANALOG Sketching Wacomb Drawing Tablet Texturing

experience WLC Architects, Inc.,

Vemma Health & Wellness Co.,

Architectrual Design Internship

Sole Proprietorship, Sales &

May 2015 - Present

Marketing

Photography Branding Advertisement Marketing

August 2012 - January 2014

JMichaelâ&#x20AC;&#x2122;s Shoes, Advertisement and Marketing Design

Tijuana Mission Trip,

Feburary 2015 - November 2016

Construction Worker Volunteer

Graphic Design Problem Solving Creativity Team Driven Avid Learner Self Starter Public Speaking Presentational Speaking

June 13, 2009 -June 21, 2009

pair. L.L.C., C.D.O Cheif Design Officer January 2017 - Present

awarads & accomplishments AP Architectural Design, Top

Baseball, CIF Sierra League All-

Student Designer

Star Game, Played @ Quakes

May 2010

Stadium, OF

Innovative

May 2012

Perceptive

AP Studio Art,

Detail Oriented

Top Student Designer

Baseball, Sierra League 2nd

May 2012

Team All League, OF April 2012

Directors Award for Excellence, Top Designer @ Cal Poly SLO

Damien High School, TA

Architecture Summer Workshop

Campus Ministry Leadership

July 2011

May 2012

*1 out of 73 participants

All images produced by Michael Montalvo unless otherwise noted (*).

M E M O R Y

E D U C O

T H E

S C A P E

A L L

C O N T E X T

S K E T C H E S

A D S

T H E S I S

L A W

I C O N I C I T Y

O F

S C A L E

S U M M E R

P O L A R I T Y

1 6 â&#x20AC;&#x2122;

P H O T O G R A P H Y

M A R K E T I N G

P R O C E S S

01 M E M O R Y

I C O N I C I T Y

Professor: Georgina Huljich

What gives an object iconicity? I believe it’s the powerful presence that object imprints upon you, when it is observed. What renders an object mute? I believe that to be the lack of presence or the silencing of the object. Now, the idea behind the project is to recognize Royce Hall as the icon that it is and respect the architectural typologies it imprints upon the campus of UCLA, and then proceed to develop the Black Box by integrating and adapting those same typologies into the “grain” of my project. Taking a look at the form of the building one may notice the void that is left open and accessible to the public. This is because, Royce Hall’s physical presence is VOID and rendered mute to the grain. Therefore, the grain gives prominence to the Black Box and establishes it as the icon in my project. Leaving the memory of Royce Hall in the VOID, and allowing the typologies to give way for a new icon on campus.

[1]

E L E VAT I O N

PERSPECTIVE

[2]

[3]

P R O G R A M AT I C D I A G R A M

F O R M AT I C D I A G R A M

SECTION PERSPECTIVE

PERSPECTIVE

SITE PLAN

FIGURE GROUND

[4]

[5]

6’ X 6’ OBLIQUE SECTION

MEMORY & ICONICITY

[6]

02 E D U C O Professor: Timothy Stenson

Education comes from the latin root ‘educo’ which means to induce, to develop, or to draw out from within. The root of all education requires an inward look into ourselves and our wants and desires. As opposed to first looking out for a good k-8 school or college university. It begins with asking ourselves what it is we aspire to? In our society we see education as a degree. The pursuit of true education never stops and is the entirety of one’s life. For my 2nd year at Syracuse University we were asked to design a kindergarten in the town of Seneca Falls along the riverfront. Beginning with the context around the site I noticed the context was almost funneling into the river. I started looking into a formatic design that spoke to this ‘funnel’ effect. Actually dragging the program along the side site and out towards the river. Allowing the space to naturally develop its program, circulation, and orientation. The result is E D U C O.

[7]

CONTEXTUAL MODEL

1 S T I T E R AT I O N O F F O R M AT I C D E V E L O P M E N T

[8]

[9]

2 N D I T E R AT I O N O F F O R M AT I C D E V E L O P M E N T

3 R D I T E R AT I O N O F F O R M AT I C D E V E L O P M E N T

[10]

[11]

SECTION(S) PERSPECTIVE

FLOOR PLANS - LEVELS 1-3

EXP LODED AXONOMETRIC

FINAL MASSING MODEL

[12]

[13]

FINAL MASSING MODEL PLACED IN CONTEXT

INTERIOR RENDER

EXTERIOR RENDER

EDUCO

[14]

03 T H E

L A W

O F

P O L A R I T Y

Professor: Lawrence Davis

There are laws of the universe that guide us each and everyday. We may be aware or unaware of these laws that govern our world. One such law, is the Law of Polarity. There cannot be day without night, up without down, right from left, good from bad, etc.. We as humans better understand objects materiality and nature by opposing identities. An object feels smoother to the touch if it is paired next to a rough material. In my project The Law of Polarity, my aim is to create a museum space in which the tone and architecture of the gallery set the stage for what types of art would be on display. Simply put I had two sides to this museum a light side and a dark side. The light side would display works that were smooth, playful, comfortable. joyful, etc.. Art that expressed the more positive aspects of life. On the other hand the dark side display spaces that were tight and conformed. Spaces that purposely made an individual feel uncomfortable. In these galleries one would see art that brings out the more negative tones of life. Art that displays depression, illness, rough features, rugged features, etc.. Bringing the experience together my hope is that people recognize first hand the law of polarity and begin to appreciate both the good and the bad that life throws at them.

[15]

CONTEXT DIAGR AMS

URBAN PROGRAM

GROUND FLOOR PLAN

[16]

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PERSPECTIVES

FLOOR PLAN (2)

SECTION

PERSPECTIVES

FINAL MODEL

[18]

04 S C A P E

S C A L E

Professor: Benjamin Farnsworth

Scape and scale is dedicated to a very talented and amazing professor who guided me a tremendous amount during my “third” year (second year studio) at Syracuse University. His studio dealt with ideas about scalular manipulation, to topography representation, and truly mind bending abstract thoughts involving landscape and architecture. The first series of images represents the topographical aspect of his studio and this was personally my first time using illustrator to generate a language for a set of geographical drawings. With the second series this was more scalular manipulation and “mind bending” abstract thoughts. We thought about landscape in 2D and then from a series of previously generated vignettes, we investigated how scale may affect landscape two dimensionally, and at which point does it read as landscape or start to blend in as singular representation in and of itself? Lastly, the final work was applying all we learned to manipulate and redesign Fort Stanwix’s library and museum. Manipulating the landscape and re-imagining the Fort Stanwix library and museum. The Idea behind the space was a pixelated typology infused with traditional building techniques with natural landscape penetrating the center courtyard of the design. Overall this studio was a turning point in my educational journey.

[19]

*(20) Design in collaboration with Peder Ulver All images produced by Michael Montalvo

P R OJ E C T 1

GEOGR APHICAL & TOPOGR APHICAL MAPPING

[20]

[21]

P R OJ E C T 2

VINGETTES/SECTION

S C A L U L A R M A N I P U L A T I O N - C O M P. 1

P R OJ E C T 2

S C A L U L A R M A N I P U L A T I O N - C O M P. 2

[22]

[23]

P R OJ E C T 2

VINGETTES/SECTION

S C A L U L A R M A N I P U L A T I O N - C O M P. 3

P R OJ E C T 2

S C A L U L A R M A N I P U L AT I O N - C O M P O S I T E I M A G E

[24]

[25]

P R OJ E C T 3

LIBRARY AXONOMETRIC

P R OJ E C T 3

WHOLE SITE AXONOMETRIC

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[27]

P R OJ E C T 3

SECTION

PLAN

E L E VAT I O N

PERSPECTIVE

SCAPE & SCALE

[28]

05 A L L

S U M M E R

1 6 ’

Professor: Bing Bu

The beginning of Summer 2016 was spent on the Syracuse University School of Architecture Three Cities Asia program. We visited Tokyo for two weeks, Taipei for another two, and Shanghai for the final five weeks of the program. A total of 9 weeks abroad learning about the urban identity of these cities through the eyes of a tourist. Imagining what it would be like within these urban environments. While in Tokyo I imagined a network of elevated accessible walkways that allow tourist and locals alike to partake in a unique experience walking above the urban fabric of Tokyo while at the same time, acting as a connection to the city itself as you can choose to descend into the streets or take the new Shinagawa station to your desired destination. Taipei was an immensely different vibe. Taipei was vibrant in a different way. Taipei’s youth as a dense urban city has caused many problems that architects are solving as I type. However, I imagined for Taipei providing easy access/ passage for pedestrians, bikes and scooters on a macro scale while providing economical and ecological benefits to add to the growth of Taipei. Mountains and rivers account for roughly 55% of the surface area of Taipei City. Though they take up more than half of the city, the overbanks of rivers and the surrounding mountains are not easily accessible due to the city’s topography and levees. They are therefore unable to serve as proper open spaces for the public. According to the city’s current urban planning, there are a total of 1,067 locations designated as parks, green spaces, and other open spaces, with a total area of nearly 20 million square meters. The target green space ratio set by the city’s urban planning scheme is 7.29%. To date, the completed parks and green spaces account for a green area ratio of 5.04%. The Taipei project’s (ELEVATE) priority would be to bring the city of Taipei a full percentage (1%) closer to achieving their goal while providing safe urban circulation for pedestrians, bikes, and scooters. I learned a great deal in Asia about myself and the world around me. I hope this shows through my work. [29]

SUMMER 16â&#x20AC;&#x2122;

TOKYO CHARETTE

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TAIPEI CHARET TE

VISION

MASTER PLAN

SUMMER 16â&#x20AC;&#x2122;

TAIPEI CHARETTE

DIAGR AMS

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TAIPEI CHARET TE

U R B A N C I R C U L AT I O N

PERSPECTIVES

SUMMER 16â&#x20AC;&#x2122;

TAIPEI CHARETTE

ICON

[34]

06 C O N T E X T Professor: Fei Wang

Context sets up and is the basis on which all designers preemptively anticipate their next move. When dealing with context a designer takes into account all that surrounds a particular project. Literally and figuratively all that circumferences a piece of work becomes integrated in the design process. This is important because during my fourth year I came across a professor who truly regarded context to every sense of the word to be the most important aspect that displays itself in every drawing that was ever made. As a pair a classmate and myself (along with the rest of the studio) were asked to decipher critically the characteristics of a precedent given to us. We would take the building and analyze it for its architectural typologies, and language. Then draw conclusions on what traits/typologies identify certain aspects of the building be it- circulation, materiality, or structure. By analyzing the previous building, we moved forward to design a building of our choice that aspires to level of detail we analyzed in our precedents.

*2 group projects are represented in this section. The first is in collaboration with Ana Baharni and [35]

the second with Ashani Logan combining for a total of 3 collabrative images as noted (*).

*Image produced in collaboration with Ana Bahrani

KUPPERSMUHLE