Giancarlo Montano Portfolio by GvMontano

GIANCARLO VENGCO MONTANO

GIANCARLO V E N G C O M O N TA N O

WORKS

GIANCARLO VENGCO MONTANO

GIANCARLO V E N G C O M O N TA N O

WORKS

GIANCARLO VENGCO MONTANO

GIANCARLO VENGCO MONTANO 9 Putnam St Apt 3L Somerville, MA 02143 gvmontano@gmail.com (972)998.0831

Education

PROFESSIONAL Experience (cont’d)

HARVARD UNIVERSITY GRADUATE SCHOOL OF DESIGN_Cambridge, MA Master in Architecture I Spring 2016 -PLATFORM 7 Publication+Exhibition, Harvard Graduate School of Design, 2015 -Study Abroad Studio in Berlin with Frank Barkow and Arno Brandlhuber, Spring 2015 -Living Anatomy: An Exhibition About Housing, 2015

JONATHAN BAILEY ASSOCIATES_Dallas , TX May 2007-July 2009 Junior Designer WEST KAUAI MEDICAL CENTER Waimea, HI, three story addition, 45000 sf -Extensive involvement in production of design documents -Conducted research of materials and methods -Performed budget analysis

University of Texas at arlington_Arlington, TX Bachelor of Science in Architecture, Minor in Architectural History, Summa Cum Laude, 2008 -May 2008: AIA School Medal and Certificate of Merit from the Henry Adams Fund for Excellence in the Study of Architecture -TEXFILES Issue 02, University of Texas at Arlington School of Architecture, 2008 -Architecture GPA: 4.00 -2004-2008: Freshman Achievement Scholarship

MILLOM & BRAMPTON COMMUNITY CENTER Millom, Cumbria, UK, hospital and community center -Production captain of Dallas team for Predesign and Schematic Design -Coordinated with overseas team in England -Contributed to design and layout of the hospital

PROFESSIONAL Experience HARVARD GRADUATE SCHOOL OF DESIGN August 2016 Digital Skills Instructor VINCENT BANDY ARCHITECT_New York, NY June 2015-August 2015 Architecture Intern -On Project Team for Herman Miller New York Showroom Project TOM MURDOUGH DESIGN_Boston , MA June 2014-August 2014 Architecture Intern -Worked on models for single family homes in New England -Assisted in Schematic Documents for small renovations

US ARMY CORPS OF ENGINEERS_San Antonio and Fort Worth, TX September 2009-July 2012 Architectural Tech SAN ANTONIO MILITARY MEDICAL CENTER Fort Sam Houston, TX -Received the Department of the Army Achievement Medal for Completion of San Antonio Military Medical Center. -Kept track of the LEED account to ensure a LEED Silver Rating. BATTLEFIELD HEALTH & TRAUMA Fort Sam Houston, TX -Cross-trained with engineering disciplines for a well-rounded understanding of how the building is put together. -Extensive involvement in LEED Account to bring project towards LEED Silver certification

EXTRA CURRICULAR Harvard GSD Student Forum Executive Social Chair GSD Student Forum Volunteer Queers in Design Volunteer

CERTIFICATIONS LEED AP (Legacy)

PUBLICATIONS -Poor but Sexy: Berlin, the New Communal, Harvard Graduate School of Design, 2016 -Brunnenstrasse 9, Frank Barkow and Arno Brandlhuber, 2015 -Living Anatomy: An Exhibition About Housing, 2015 -PLATFORM 7 Publication+Exhibition, Harvard Graduate School of Design, 2015 -TEXFILES Issue 02, University of Texas at Arlington School of Architecture, 2008 -Interior Design Magazine, “Herman Miller Fashions a Towering Presence in New York City’s Flatiron District ” 2016 REFERENCES Mariana Ibanez-Critic at GSD, Thesis Advisor, mibanez@gsd.harvard.edu Beth Whittaker-Critic at GSD, beth@mergearchitects.com Vincent Bandy-Critic at the GSD, bandy@vincentbandy.com Tom Murdough-Employer at Tom Murdough Design, tom@murdoughdesign.com Sean Farrell-Colleague at Jonathan Bailey Associates, seanferal@gmail.com

WORKS

HARVARD GRADUATE SCHOOL OF DESIGN_Cambridge, MA June 2013-August 2013 Intern for GSD Building Services -Prepared drawings for small renovations around campus. -Work directly with contractor and clients. -Worked directly with furniture vendors.

SKILLS Rhinoceros Revit Autocad Adobe Creative Suite Sketch Up Mastercam Physical Modeling Hand Drafting

GIANCARLO VENGCO MONTANO

SYNECDOCHE TOWER GREENHOUSE HOF-TURM FILTERS MODELS LODGE CONSTRUCT HOSPITAL WORKS 7

Thesis Project Under the Advisement of Mariana IbaĂąez Spring of 2016 The thesis explores the possibility of an architecture of scalar plasticity. One could argue that this has always been demanded of architecture, to inhabit and understand spatial conditions at many scales. This notion only becomes more relevant with the evolution of modeling tools and visualization that allows for a fluid, dizzying and sometimes terrifying design process. The project accepts this condition and gleefully lives within the narrative of scalar plasticity.

GIANCARLO VENGCO MONTANO

Exercises in Part to Whole

There is a literary device called synecdoche meaning a part representing a whole, the microcosm representing the macrocosm, the signifier for the thing signified, and the vice versa of all of these things. So if one were to say that there were many hands on the project, the hand is the part the represents the whole of the individual in that expression. It is the element that appears out of context until it is recontextualized to reveal that it is part of another system. It is through the lens of this device that the project aspires towards a scalar expansion and collapse to allow for multiple readings at multiple scales.

Question: How does the concept of synecdoche insert itself into the language of architecture?

Hypothesis: Take the literary device literally.

METHODS

Let us view the paragraph long Borges fable in which the Cartographers of the Empire draw up a map so detailed that it ends up covering the territory exactly. The first concept of note is the map that takes on the scale of the empire. The map is no longer analogous to the territory, but it is the territory. This implies a scalar collapsing of the subject (territory) and the object (the map) and that all of the scales in between are subject to such plasticity. Secondly the story begins with an ellipsis, which implies that it is merely a paragraph from a larger story that is yet to be revealed or only exists in imagination. So, in this way, it is a fragment of a story representing a larger story. Now, let us imagine that the story has been expanded, that other vignettes exists to elaborate on the production of the Map, the Society that is mobilized around this production, and the infrastructure needed to support this society.

Figure 8.1 One Mass, Three Stitches, Four Objects

Figure 10.1-10.4 Four Three Dimensional Objects with Two Dimensional Stitches

GIANCARLO VENGCO MONTANO

Figure 11.1-11.2 These illustrations demonstrate the resulting recontextualization as the four objects tumble into three states. From State Two to State Three, the objects rotate 90 degrees, reconfigure from two buildings into one building, and reduce to half the scale.

Figure 10.5-10.7 Relative Scale of the Three States

Figure 11.3-11.4 The reorientation of the objects allows for multiple readings as it transforms from one state into the next. The stairs become walls, windows become ways of passage, and lintel become columns.

Figure 10.8 Four Objects

Figure 10.9 State Three, Cartographerâ&#x20AC;&#x2122;s Studio

Figure 10.12 State One, Forum for the Procurement of Ink and Parchment

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Figure 10.11 State Two, Halls for the Qualtiy Assurance of the Ink and Parchment

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Figure 13.1-13.4 Clockwise from Top Left Four Independent Dialogues: 1) The stair rescaled by the threshold rescaled by the stair. 2) The Stair representing the Stair. 3) The threshold representing the doorway 4) The threshold representing the stair, and vice versa

GIANCARLO VENGCO MONTANO WORKS

Figure 15.1 The Four Objects

GIANCARLO VENGCO MONTANO WORKS

Figure 16.1 View State Three, The Cartographer’s Studio

Figure 17.1 View State Three, The Cartographer’s Studio

GIANCARLO VENGCO MONTANO WORKS

Figure 18.1 View of State Three, The Cartographerâ&#x20AC;&#x2122;s Studio

Figure 20.1 View of State Three, The Cartographerâ&#x20AC;&#x2122;s Studio

Spectacle

Third Semester Project with Critic Mariana IbaĂąez

Fall of 2013

The aim of the project is to deal with an endless list of moving parts and create something that is compelling but easy to read. As an introductory exercise of placemaking, the task seems enormous: a gym, a series of swimming pools, a hotel, and a thermal bath, with accompanying program for each, all consolidated into a small footprint along a highway in Dubai.

GIANCARLO VENGCO MONTANO

Courtyard

Question: How can we take into consideration all that the program asks for while giving respect to the site conditions? Hypothesis: Observe the courtyard building of the vernacular architecture. Turn it 90 degrees and start making a tower.

The footprint of the chosen site for Dubai measures thirty seven by fifty meters. This fact in conjunction with the size of the given program at had called for the building to take on a tower typology like that of its neighbors. The tower aspires to be the subject of the gaze. It aspires to be a spectacle along Sheikh Zayed Freeway. The figural stages demand the attention of those at the street and freeway level, and also acts as a camera that places the city of Dubai in the background.

METHODS

Figure 22.1 Section Through Three Stages with accompanying views

HOTEL TYPICAL

THERAPY POOL

1. Typical Hotel Room 2. Laundry Room 3. Trash 4. Storage

1. Therapy Pool Lounge 2. Therapy Pool 3. Changing Rooms

TO DOWNTOWN DUBAI

TO THE PERSIAN GULF n

DELIRIOUS D U B A I BUILDING SECTION scale 1:100

SCALE 1:200

GYM LOBBY/ PERFORMANCE STAGE

SCALE 1:200

HOTEL SKY BRIDGE

DIVING POOL

1. Hotel Room 2. Luxury Suite 3. Sky Bridge 4. Open to Lobby Below

1. Gym Stage Lobby 2. Hanging Gardens 3. Hotel Room

1. Diving Pool Lounge 2. Diving Pool 3. Changing Rooms 4. Warm Up Room

GIANCARLO VENGCO MONTANO

HOTEL TYPICAL

1. Hotel Typical 2. Emirates Ballroom

n n

SCALE 1:200

GYM LOBBY

POOL STAGE

HOTEL CAFE

1.Gym Lobby 2. Reception Desk 3. Hanging Gardens 4. Hotel Rooms

1. Hotel Room 2. Sheikh Zayed Cafe 3. Kitchen 4. Open to Lobby Below

3. 2.

1. Pool Stage Lobby 2. Lap Pool 3. Changing Rooms 4. Warm Up Rooms 5. Seating

n SCALE 1:200

SCALE 1:200

COURTS

1. Basketball Court 2. Squash Court 3. Locker Rooms

HOTEL BUSINESS CENTER

1. Hotel Room 2. The Dubai Suite 3. Business Center 4. Reading Room 5. Open to Lobby Below

SCALE 1:200

GYM/ WELLNESS CENTER 1. Treatment Rooms 2. Training Room 3. Yoga Room 4. Cycling Room 5. Mat Room

HOTEL STAGE LOBBY

3. 2.

1. Hotel Stage Lobby 2. Hanging Gardens 3. Typical Hotel Room 4. Luxury Suite

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n SCALE 1:200

THERMAL BATH SEQUENCE 1. Thermal Bath Lobby 2. Sauna 3. Steam Room 4. Frigidarium 5. Calidarium 6. Tepidarium 7.Sky Lounge 8. Changing Room 9. Storage

Figure 24.1 Original Delirous Dubai Section

Figure 25.1 Fourteen Plans

n SCALE 1:200 UP

GIANCARLO VENGCO MONTANO

VIEW TO PERSIAN GULF AND SHEIKH ZAYED ROAD

VIEW TO DOWNTOWN DUBAI

Figure 26.1 Turning the Vernacular Typology 90 degrees. The Insular Courtyard becomes Stage of Spectacle

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Figure 26.2-26.5 Study Models. Clockwise from Top Left: 1) As Tripartite Structure 2) As Poche 3) As Collage of Urban Fragments 4) As Delirious Tower

Figure 27.1 Delirious Dubai

GIANCARLO VENGCO MONTANO

WORKS 29 Figure 29.1 Lobby Stage

Second Semester Project with Critic Beth Whittaker

Spring of 2013

GIANCARLO VENGCO MONTANO

Collage and Nodes

The aim of the project is to deal with a list of programmatic elements that have a specific set of environmental qualities. It deals not only with the internal environment of the greenhouse itself, but also with the external environment of Massachusetts and the controlled environment of the inhabited interior. Between these three seemingly disparate conditions, it is implied that there are opportunities in which they could blend and play off of each other to create an architecture that is controlled but aspires to misbehave

Question: How can three programmatically and environmentally disparate conditions blend together? Hypothesis: Identify moments of transition, and call them nodes. Let the rest of the program collage around these nodes.

Set adjacent to the Wellesley Science Center, this project attempts to ambiguate the inside and outside via a strategy of nodes as a means of navigation paired with a conceptual collage of the topography. The nodes act as a transitioning point between the interior program and the greenhouse program, while also being specific pieces of programmatic infrastructure themselves.

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Figure 30.1 The â&#x20AC;&#x153;Nodesâ&#x20AC;? act as a transition point between the Greenhouses and the Solid Programs. They Also serve as an organization device across the site

GIANCARLO VENGCO MONTANO WORKS

Figure 32.1 Sketches which demonstrate the Sectional Flickering of the Greenhouse and Solid Programs, as well as Interior Space and Exterior Space

Figure 33.1 Exploded Axonometric. From the Top: 1) Organizational and Transitional “Nodes,” 2) Solid Program 3) Greenhouse Program 4) Full Axon

GIANCARLO VENGCO MONTANO WORKS

Figure 34.1 Top View of Model

Figure 35.1 Detail View of Model

GIANCARLO VENGCO MONTANO

Figure 36.1-36.2 Plans, from the Top: 1) Top Level 2) - 8 Ft

Figure 37.1-37.2 Plans, from the Top: 1) -16 Ft 2) -20 Ft

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Figure 38.1 View of Exterior Courtyard Nestled Within the Tropical Greenhouse

Berlin Study Abroad with Frank Barkow and Arno Brandlhuber

Spring of 2015

GIANCARLO VENGCO MONTANO

Delirious Archipelago

The study abroad studio focused on meeting the housing needs within Berlin, Germany, as the city faces a growing population that increasingly challenges traditional modes of inhabitation. The project evolved into an intense study of the Berlin Block, known locally as the hof, and the tower as a means of accommodating a hyperdense population. The study began as an iterative formal process of finding a language derived from the consolidation of the hof and the tower, and then observing how these react on site. Then, a basic “unit,” which is a series of relationships between architectural elements, is inserted into the types.

Question: How can one design appropriate housing in a city with a composite DNA of housing typology?

At 60

H fr of D om i s To as w so er ci at

The Green Archipelago operates on the premise of preparing Berlin for a shrinking footprint in light of contemporaneous political circumstances at the time in which it was written. The time for this anticipated shrinkage has now past, and Berlin confronts the issue of a growing population that dissolves the model of the traditional nuclear family in favor of a healthy mix of social dwelling types, ranging from the transient single to a young family, and to the elderly. Delirious New York, on the other hand, explains the city’s device of vertical building as a means to deal with a massive population as well as displacing the land that is consumed by the footprint of the building with a new conception of the world on every floor. One is horizontal, the other, vertical. One points out the differences of the urban fragments that act as landmarks in the mental map of the city, the other relegates itself to a neutralising gridded block structure and contains its differences within the block.

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22 m

H St of w re i et th Ed To ge we r

H fr of w om it St h T re ow et e Ed r A ge wa y

Hypothesis: Synthesize two Theses to make a new thesis.

The Proposal is therefore, in the vein of juxtapositioning concepts and extracting meaning from them, a consolidation of these two manifestos as a means of promoting high density in Berlin while embracing the city’s inherent desire for heterogeneity. Each hof is a new world, but they are based on historical conceptions of the city’s urban block structure.

Figure 40.1 Hof and Tower Typological Study

GIANCARLO VENGCO MONTANO

EVERYONE HAS A RIGHT TO PRIVACY.

Figure 43.1 Original Site

Figure 43.2 Site Proposal

Figure 43.3 Postbank Tower

Figure 43.4 Surrounding Hof Typology

Figure 43.5 Typology Study

Figure 43.6 Unit Organization Study

EVERYONE HAS A RIGHT TO THE CITY.

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EVERYONE HAS A RIGHT TO THE SKY.

Figure 42.1 Photos from Berlin Wonderland. From the Top: 1) Photo taken by Ben de Biel. Installation vor dem Bode-Museum, 1991 2) Photo taken by Phillip von Recklinghausen, Schonhauser Allee 5, 1991 3) Photo taken by Stefani Schilling, 1991

GIANCARLO VENGCO MONTANO

Figure 44.1 Square Spiral Stair of â&#x20AC;&#x153;Unitâ&#x20AC;?

Figure 44.2 Landings Expand to become floors

Figure 44.5 Section Axonometric of Units Stacked Vertically

Communal Dining Room at 0 Meters Figure 44.3 Insertion of Cores Communal Kitchen at +0.6 Meters

Private Space at +1.8 Meters

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Private Space at +1.2 Meters

Figure 45.1 Plan Showing Elevation of Each Floor

Figure 44.4 Mirrored to Produce Communal Spaces Inside and Private Spaces on the Edges

Figure 44.6 Axonometric of Units Stacked Vertically Showing the Two Square Spiral Stairs Generating Communal and Private Spaces

Figure 45.2-45.4 From the Top: 1) Plan with Dining and Kitchen as Communal Space 2) Plan with Living Room and Work Table Room as Communal Space 3) Section

GIANCARLO VENGCO MONTANO WORKS

Figure 46.1-46.2 From the Top: 1) Plan of Unit Aggregation 2) Section of Unit Aggregation

Figure 47.1-47.2 From the Top: 1) Plan of Unit Aggregation Within a Hof Typology Turing a Corner, Detached Scenario 2) Plan of Unit Aggregation Within a Hof Typology Turing a Corner, Integrated Scenario with Plan of Tower Extrusion

GIANCARLO VENGCO MONTANO WORKS

Figure 48.1 Delirious Archipelago

Figure 49.1 Delirious Archipelago

Seminar Group Project with Michael Clapp, Leonardo Rodriguez, and Joseph Varholick under Instruction of Leire Ascensio Villoria

Fall of 2015

GIANCARLO VENGCO MONTANO

Ceramic Modular Study

The seminar is an exploration of the performative characteristics of ceramics and finding solutions in how to fabricate them through digital means. As a group, were were interested in the performative aspects of designing with two different types of clay: terracotta and porcelain. These clay medium behave differently, but work together well as a layered concpet for a water filtration device. The project not only aspires to extract the performative aspects of the clay, but it also aspires to create a compelling architectural wall.

Question: How can we use clay to create a water filtration system that is easy to assemble and can perform architecturally? Hypothesis: Use two types of clay, one porous, one vitrified. Design a flexible module. Assembly and enjoy.

Figure 50.1 Unit Freshly Taken Out of the Mold

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GIANCARLO VENGCO MONTANO

AGGREGATION STUDIES FUNCTIONAL MODULE DESIGN

The ability to combine multiple modules in varying orientations becomes an integral part of the design process for creating a system which is both functional and visually dynamic. Seen here are some studies of the many ways the proposed geometry could be oriented both with ‘Filtering’ modules and ‘Flow-Through’ modules.

‘Flow Through’

‘Filtering’

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MODULAR FILTRATION

TWO-PART PLASTER MOLD DESIGN

GIANCARLO VENGCO MONTANO

FINAL DESIGN FABRICATION

BASE MODULE WITH INTEGRATED KEYING FINAL DESIGN MODULE

1_ FOAM POSITIVE BASE TO CREATE FIRST HALF OF PLASTER MOLD

FLIP MILLED POSITIVE WITH INTEGRAL POUR SPOUTS DESIGN OF BASE MODULE WITH INTEGRATED KEYING + FLIP MILLED POSITIVE TO AID IN MOLD CASTING

PREPARATION FILES FOR FLIP MILLING

2_ FOAM POSITIVE TO CREATE SECOND HALF OF PLASTER MOLD

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GIANCARLO VENGCO MONTANO WORKS

Figure 56.1 Team Y Modular Filtration Assembly

Summer Internship

Boston, Massachusetts

Summer of 2014

GIANCARLO VENGCO MONTANO

Tom Murdough Design

Figure 59.1 Model of Proposed House in Connecticut

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At Tom Murdough Design in Boston, Massachusetts, I made a series of handmade models of various single family home projects in the New England Area. The models were used to demonstrate to clients how the design of the house is generated from a response to its environment. In the case of the Schwabe House (top image), the model demonstrates how the house is generated through a series of views along the estruary on which it is situated. The iterations of the beach house in Scituate demonstrate to the client several solutions to accomodate their ideal home.

Figure 58.1 Study Models of Beach House in Scituate, Massachusetts

Project with Christopher Johnson

Los Angeles, CA

Fall of 2012

GIANCARLO VENGCO MONTANO

Coto de Caza Renovation

Figure 61.1 View of Lodges A and B

The project is an exterior renovation of an existing lodge nestled in the mountatins of Coto de Caza. The material palette is on one hand meant to evoke the ease of living in Southern California, and on the other hand, challenge the material aesthetic of the gated community. The original structure lacked a real outdoor meeting place, so an opportunity for a courtyard was taken to tie the apartments together.

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Figure 60.1-60.6 Various Views of the Lodges Throughout the Day and Evening

GIANCARLO VENGCO MONTANO

US Army Corps of Engineers

Fort Sam Houston, TX

2009-2011

As a team member of the technical branch, I provided technical archtiectural support on site. I used this time as an opportunity to understand the relationship between physical construction and contract drawings vis-avis the medium of sketches. A large part of this task was to inspect contruction and ensure that they were in compliance with the project and shop drawings and specifications.

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a team member of the technical branch, I provided technical chitectural support on site. I used this time as an oppurtunity to derstand the relationship between physical construction and ntract drawings vis-a-vis themedium of sketches.

BAMC Consolidated Tower

Army Corps of Engineers BAMC Consolidated Tower

As a team member of the technical branch, I provided technical architectural support on site. I used this time as an oppurtunity to understand the relationship between physical construction and contract drawings vis-a-vis themedium of sketches.

GIANCARLO VENGCO MONTANO WORKS

rps of Engineers onsolidated Tower

GIANCARLO VENGCO MONTANO

West Kauai Medical Center Jonathan Bailey Associates Dallas, TX

2008-2009

At Jonathan Bailey Associates in Dallas, TX, I had a fairly susbtstantial cross section of practical experience. My involvement with the West Kauai Medical Center varied from development of the envelope via construction document elevations to cost estimation. Within the plans, it was part of my responsibility to ensure that the patient rooms complied with ADA, that the rooms were per the requirements of the clinical planning, and that the graphics properly referenced the correct sheets.

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GIANCARLO VENGCO MONTANO

Well we know where we’re going But we don’t know where we’ve been And we know what we’re knowing But we can’t say what we’ve seen And we’re not little children And we know what we want And the future is certain Give us time to work it out -Talking Heads

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