MATTHEW SOLOMON RADICAL RECONSTRUCTION
N a v i g at ing My Cr e at ive Pr o c e ss... To create an architecture, but not a building. To make a drawing, but not a detail. To design space, but without a site. To ignore the reality of construction, and to embrace the concept of imagination. To remove the shackles of limitation, and to think innately about space. To alter the perception of space, and to oppose the conception of it. To distort the notion of antiquation, and to devise the unexpected. To seek out curiosities, and to welcome discoveries. To execute through drawing, though, uninterested in fabrication. To challenge technical practices, by innovating with unconventional projection. To explore through space, though, not necessarily literal. To discharge the crutches of explanation, by allowing work to support itself. To make art, through making architecture. To form a semiotic analysis, influenced by the theory of Deconstruction. To push formal qualities, derived from the sense of aesthetics. To merge boundaries, losing sight of legibility. To exercise manipulation, creating the avant-garde. To break existence, making the autonomous. To question the legitimacy of designing to build. To understand how to think analogously. To embody the mind of an architect, the deviser, maker, or creator of anything.
Rad i c a l R e cons truction
“I f yo u li v e lo ng enou gh, you ’l l s ee al l yo u r b u i l d i ng s d es tro yed . After a l l ,
it ’ s o nl y t he i dea that cou nts.”
— Louis Sullivan
To create an architecture, but not a building;; to make a drawing, but not a detail;; to design space, but without existing bounds. By challenging the legitimacy of designing for construction, architecture can be explored in an unconventional manner. Rather than designing to build a building, concepts and techniques will be built through architectural design. Liberated from the shackles of convention, rise brilliant spaces that have yet been dared to be imagined. By looking past intending to construct, a concept of imagination can be embraced. Analytically studying architecture, in its purest sense, as space and form, can spawn new ideas and conventions. Disassociating it from its predetermined practice of the antiquated, allows for alterations of the perceived, in duality with opposing the conception of it. Questions and problems can be explored through innovating upon methodologies, opposed to cyclically repeating the past. Curiosities are to be sought out and discoveries welcomed. This work will stretch the idea of what architecture can do by expanding upon what it can be. It becomes a way of thinking, seeing, and understanding relationships within space and how they can be analyzed and diagnosed. The client will be disregarded as an autonomous individual, but rather as the field of architecture and design. By understanding and devising the intent of a drawing, removes the notion of dwelling in the transformation and translation between it and the building. The drawing is an analytical projection of what a building can be, independent of the representation of what it is. With immediate provocative implications, the drawing can be efficiently distributed and absorbed by its audience. While these ideas can be seemingly irrational on the surface, that notion can be outweighed by what is even more irresponsible, the refusal to embrace its potential or to think beyond our existing limitations. Through drawing, technical practices will be challenged by creating a project as a platform for experimental and radical space;; to test techniques, exploit theories, open minds, and to free ourselves from the predetermined boundaries and limitations of architecture. A project in which the space will be informed by the drawings, rather than the drawings be of the space. The work will be a self-supportive making of architecture, through a making of art.
N o E x p o s u r e
Smear_001
Smear_002
f o r t h i s o n e ,
0 2 m i n u t e s
crooked
i t ’ s a f r a i d o f
i n t h e s u n ,
o f f - c e n t e r
Melanoma
j u s t e n o u g h
f o r 0 5 m i n
f o r f r e c k l e s
Smear_003
Smear_004
1 0 m i n u t e s
2 0 m i n u t e s
r
a s t h e s u n
t h e l i m i t
nutes
b e g i n s t o s e t ,
o f d a w n
a b o u t - f a c e
Cubicle_013 5 h o u r s J u s t l o n g e n o u g h t o d i f f e r e n t i a t e e a c h p r o p e r t y ’ s p o p u l a r i t y .
Cubicle_014 3 0 4 m i n u t e s
Cubicle_015 3 0 7 m i n u t e s o n a h a l f - c h a r g e d , s c r a t c h e d - u p , l o w - l u m e n l i g h t - t a b l e . L a b e l e d , P r o p e r t y o f B E B .
Stencil_1 T h e g r i d .
Stencil_2 p l a n t c e l l s b u b b l e w r a p c i t y b l o c k s n o l i m a p
Stencil_3 J u s t a n a r t i f a c t .
Hauer_P 01 2 5 m i n .
Hauer_N 01 3 5 m i n .
Hauer_N 02 4 9 m i n u t e s o f d i f f u s e d a i r s p a c e , o r a r e f r a c t i o n a s s e s s m e n t .
Bubbles_001
Bubbles_002
0 9 m i n .
1 2 m i n .
A v a r i a b l e m e m b
t o s t r a t e g i c a l l y d W h i c h t o p o p .
b r a n e
d i f f u s e l i g h t .
Bubbles_003 1 5 m i n .
Raster_001 1 2 m i n . ( a b o u t )
Raster_002 2 0 m i n . A l o o k b a c k f o r l o n g e r t h a n o r i g i n a l l y v i e w e d . O v e r - e x p o s e d
P l a n s O u t 1 2 m i n . E s c a p e t h e r o o m
C o m p o u n d F o r m _ 0 0 7 1 5 m i n . A p r o g r e s s i o n o f o p a c i t y a n d g e o m e t r y . H o w m a n y b u i l d u p t o o n e .
R e g e n c y T o w e r T o b y M e l v i l l e - B r o w n , 2 0 1 2 A f e a t o f t h e i m p l a u s i b l e T h e c a s u a l c o m p o s u r e o f a s t r u c t u r a l a n o m a l y t h r o u g h r i g i d l i n e s .
n o n L i n / L i n P a v i l l i o n M a r c F o r n e s , 2 0 1 1 T h e d e p t h s o f t h e d i a g r a m T h e i n s i s t e n t o r g a n i z a t i o n o f s p a c e a n d m a t t e r .
R e a c t o r N o . 3 9 W y l f a M a g n o x , 1 9 6 5 T h e d e l i b e r a t e c u t a w a y A n a t t e n t i o n t o t h e s i g n i f i c a n t w i t h a n i n t e n t i o n .
S E P 1 4 - I m a g i n a r y R e l i g i o n J o s h L e w a n d o w s k i , 2 0 1 1 T h e s h a l l o w n e s s o f a d i a g r a m T h e c r e a t i o n o f m a g n i t u d e & d i r e c t i o n w i t h o u t i n t e n t .
A S u p e r i m p o s e d F i e l d o f C o n t o r t e d P r i s m s D r a w i n g s c o n v e r g e t o c r e a t e t h e d r a w i n g . I n t u r n , c r e a t i n g t h e s p a c e , e x c l u s i v e t o i t ’ s p r o c e s s .
T h e S u p e r i m p o s e d F i e l d o f C o n t o r t e d P r i s m s T h e s c a f f o l d o f c r e a t i o n , f r o m w h i c h a l l d e s c e n d a n t s a r e t r a n s l a t e d a n d d e r i v e d .
Drawdle_P “ T h e r e i s a f i f t h d i m e n s i o n , b e y o n d t h a t w h i c h i s k n o w n t o m a n . I t i s a d i m e n s i o n a s v a s t a s s p a c e a n d a s t i m e l e s s a s i n f i n i t y . I t i s t h e m i d d l e g r o u n d b e t w e e n l i g h t a n d s h a d o w , b e t w e e n s c i e n c e a n d s u p e r s t i t i o n , a n d i t l i e s b e t w e e n t h e p i t o f m a n ’ s f e a r s a n d t h e s u m m i t o f h i s k n o w l e d g e . T h i s i s t h e d i m e n s i o n o f i m a g i n a t i o n . ”
Drawdle_N T h e l i n e s o r t h e s p a c e b e t w e e n .
T h e P r o p o s a l T h e s t a t i c d e s i g n o f t h e d y n a m i c .
T h e P r o p o s e d A B C = A B C
Untitled_P 04 p y g a m e . d r a w . c i r c l e ( s c r e e n , #00000, r = 1 / 1 2 8 , w = 0 ) rs.arrayobjects(screen) rs.getrandom(4) r s . p o s i t i o n ( y = - 1 0 )
Untitled_N 04 p y g a m e . c o l o r ( r g b -足 2 5 5 )
Torso
Homeway
S a n t i a g o C a l a t r a v a , 1 9 8 5
T e r r e f o r m O N E ,
A s i m p l i f i e d s t r u c t u r e
E l s e w h e r e i n v i s i
A c o n c e p t o f s c u l p t u r a l s t r u c t u r e ,
T h e i n s i g h t t o t h
l a t e r a p p l i e d .
F r a m e w o r k s o f u
2 0 0 9
ioned
h i n k o u t o f s i g h t .
u r b a n e e r i n g , b u i l t b e f o r e d e s i g n e d .
T u r n i n g T o r s o I I
Y/Surf/Struc
S a n t i a g o C a l a t r a v a , 1 9 9 1
M a r c F o r n e s , 2 0
A s t r u c t u r a l g e o m e t r y
C o m p u t i n g i t s e l f
A s c u l p t u r e w i t h a n a l o g o u s v i s i o n ,
A n a l g o r i t h m i c a
i t n e v e r t r i e d t o b e a b u i l d i n g .
s e l f i s h l y f e e d i n g
011
f l l y d r i v e n f o r c e ,
g o f f o f v o i d a n d s t r u c t u r e , i t f e n d s f o r i t s e l f .
C o m p o u n d F o r m _ 0 0 3 C o m p l e x i t y f r o m t h e r e g u l a r .
T h e B u r r o w L a w s D a n i e l L i b e s k i n d , 1 9 7 9 S u p e r i m p o s i t i o n o f t h e e x a g g e r a t e d A n a l y t i c a l t o t h e a c q u a i n t e d , o v e r w h e l m i n g t o t h e n o v i c e , b e a u t i f u l t o t h e i g n o r a n t .
S a n F r a n c i s o B a y P r o j e c t L e b b e u s W o o d s , 1 9 9 5 R e s p o n s e t o t h e n o n - r e q u e s t e d A p l a t f o r m f r o m w h i c h t o c r e a t e .
B i o - C i t y N u r h a n G o k t u r k , 2 0 1 3 T h r o u g h t h e l e n s e A b e a u t i f u l h a n d , o u t w e i g h e d o n l y b y h i s o w n m i n d .
100
200
0 300 -500
400
(-261, 123, 097)
0
(-441, 278, 094)
(-274, 139, 083)
(-449, 273, 087)
(-124, 437, 095) (-285, 144, 056) (-115, 442, 088) (-469, 261, 055) (-120, 439, 084)
(-133, 432, 052)
(-117, 440, 024)
(-700, -400, 000)
(000, -900, 0
100
200
0
000)
300 500
400
(106, 052, 096)
0 (461, 243, 095)
(121, 069, 081)
(445, 259, 083)
(119, 441, 092)
(112, 63, 055)
(147, 427, 087)
(136, 431, 079)
(167, 411, 055)
(439, 264, 024)
(163, 414, 023)
(700, -足400, 000)
Thanks to
L e b b e u s Wo o d s
Santiago Calat
Anthony McCall
Louis Kahn
Daniel Liebskind
Dan Graham
Marc Fornes
Thom Mayne
Nu rhan G oktu rk
Er win Hauer
Peter Eis enmen
Erin Besler
James C orner
To b y - M e l l v i l l e
Rem Koolhaas
Antony Gorml
Z aha Hadid
Marcel Ducham
Te r r e f o r m O N E
Sol Lewitt
S A NA A
Chuck Close
trava
Frank Stella David Hockney MC Escher Piranesi Lu Xinjian B e r n a r d Ts c h u m i
e Brown
Cyprien Gaillard
ey
Robin Evans
mp
Ke v i n Ly n c h John Cage Decon Architecture Ya s m i n Vo b i s
A n d e v e r y t h i n g I h a v e n’ t s e e n but have dared to imagine.