Matthew Bohne
Architecture Portfolio, Selected Work 2010-2015
1 _Zoom: City to Site - Conceptual section of proposal
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(Re) Collection: Shadows of our Future
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On Volatile Ground: The Divergent Monolith
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(A)Massing the Void
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Computing Drawing: Inhabiting the Surface
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The World is Bound with Secret Knots
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Inhabiting the Horizon
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A Bridge to the Floating World
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Disrupting & Preserving Silence
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Creating Place: Haptic Space
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Body/Ritual
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Blossom: A Community Garden 2.0
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Systems: Materials, Syntax, Tectonics
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The Narrative of Translation
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Resume
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01 Professor Laura Briggs Warren Schwartz, Critic Advanced Studio Fall 2013
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(re)collection: shadows of our future The following work aims to problematize the notion of the museum and question how the hybrid form of Japanese cultural production might be consumed in a foreign setting. A primary theme of the studio is to explore how new paradigms for collecting and curating could affect architectural space. Transformer toys are the starting point. Examining the exuberance, iconography, along with the complex representation of technology, explorations address how a building can transform to adapt to its environment and the dynamic meaning of architecture’s relation to nature and artifice.
Japanese Study and Cultural Center Museum of Fine Arts Boston, Massachusetts Histories run parallel, but memories intersect. Examining the scales of a global history and architecture, the project investigation seeks to demonstrate the elastic relationship between architectural artifacts and memory. Furthermore, it aims to reveal the complexity and richness of the intersection of time, space, and place. This phenomenon creates opportunities for spaces that are voids for contemplation and frames for observation allowing for a dynamic dialogue between the artifacts within and beyond.
1 _Zoom: City to Site - Conceptual section of proposal, Analog and digital collage - This drawing was selected as finalist in the 2013 Ken Roberts (KRob) Memorial Delineation Competition
Boston’s new artifact is a monster that is constantly (r)evolving. The unique relationship to the viewer produces a transformative state, which demonstrates the struggle between cultural traditions and modern tendencies. Reconsidering the museum expansion, spatially and programmatically, transforms its narrative and leads to the development of a new myth; a myth that begins both at the scale of the body and the city, simultaneously carving through time towards the constructed center.
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2 _Zoom: City to Site - Conceptual section of proposal
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3 _Sectional Exploration, 2, Graphite on Paper
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4 _Conceptual model from preliminary drawing, 1, Mixed Media 5 _Sectional Exploration, 6, Graphite and Digital Collage
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6 _Enlarged section of experiential drawing, Mixed Media, 15� x 90�
7 _Conceptual model from preliminary drawing, 2, Paper and Wire 8 _Conceptual model from preliminary drawing, 3, Plastic and Paper
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9 _Site plan, Digital Media 10 _Interior perspective of repository, 1, Digital Media
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11 _Interior perspective of repository, 2, Digital Media 12 _Transversal section through proposal, Digital Media
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13 _Interior perspective of lecture hall, Digital Media
14 _Interior perspective of public workshop, Digital Media 15 _Final 1/16� scale model of proposal, Digital Media
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16 _Final presentation board showing ground plan and related conditions, Digital Media
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17 _Final presentation board showing second floor plan and related conditions, Digital Media
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02 Advisor: Professor Silvia Acosta Degree Project Fall 2014 - Spring 2015
on volatile ground: the divergent monolith This thesis interrogates representation as a generative model in the production of architecture. The work revels in the craft and impulsiveness of an available material palette, historical precedents, and an archive of fragments. The thesis does not intend to explore the capacity of drawing in the creation of form, but the latent, real, and speculative relationships related to inhabiting the indeterminacy of a drawing. Therefore, the work seeks to identity indexical attributes of an architectural proposition that shapes a spatiotemporal reality of incompleteness: an architecture that keeps the possibilities for settlement faint.
Confronted by a demand for architecture that is efficient, conceptually pure, and that relies on a translatable-operational methodology, the thesis relies on empirical experimentation to create, observe, and inhabit the idiosyncratic allure of (1) thinking and making, and then pursuing of the conceptual embers to (2) material configuration, and (3) future inhabitation. The work positions architects as storytellers, cultural geographers, acupuncturists, and taxidermists: conspirators with a predilection of augmenting a collection of the petrified past.
1 _Digging, Graphite, ink, and collage on mylar
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2 _Excavating, Graphite, ink, and collage on mylar 3 _Piling, Graphite, ink, and collage on mylar
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4 _An image, a mirror, its opposite 5 _Falling Down/Falling Up
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6 _ Devil’s Slide Observatory and House for a Park Ranger, Model 7 _ Devil’s Slide Observatory and House for a Park Ranger, Exploded Spatial Sequence
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8 _Final degree project presentation, Woods Gerry Gallery
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1 Drawing [in] Space 2 Devil’s Slide Observatory, 1 3 Devil’s Slide Observatory, 2-7 4 In Search of a Stable Center 5 Devil’s Slide Observatory, 8 6 Works from Japan 7 37 Aphorisms 8 Retreating Model 9 Digging, Excavating, Piling 10 Six Books from Japan
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Degree Project Books Early Drawings Relics Constructs, 1, 2, 3 Relief Drawing Indexical Construct, 1, 2 Indexical Construct, 3,4 Indexical Construct, 5 Haikus and Tile from Japan
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03 Enrique Martinez, Senior Critic Advanced Studio Fall 2014
(a)massing the void A large void, a body with no organs has been made within the historic city center. Here, a new datum of the ground and sky has been made. The surfaces that embrace the spaces to be hidden from public view become the ground that supports the dissemination of the work within. Their seam, the architectural corner, indulges in its construction: the tangency and intersection of a surface. This phenomenon constricts and expands the various organs of a body, once empty.
Centro de Investigaci贸n de la Connect贸mica Tudela, Navarre, Spain The institute is situated among five floors above ground. As a blackened vessel, the interior is organized around the eccentric illumination of its anatomy. The public meeting areas are nested as volumes within the vastness of research, office, and display spaces. The absence of a circulation spine that joins the floors together is a wall of light that contains the distinct, yet visually continuous programs of each level. It is not until the body reaches the light shelf above the city that the use of direct light and views situates the body within the exterior context. This is where one is to be alone, to contemplate.
1 _Preliminary drawing for a temporary installation on site, Graphite and Charcoal on Paper
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2 _Initial temporary proposal, Digital Media
3 _Final proposal, 1, Digital Media 4 _Final proposal, 2, Digital Media
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5 _Interior perspective of Connectome Hall, Digital Media 6 _Interior perspective of Lecture Hall, Digital Media
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7 _Section looking Southwest, 1, Digital Media
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8 _Section looking Southwest, 2, Digital Media 9 _1:100 model of proposal, Digital Media
10 _Initial delineation of building massing and envelope, Charcoal on Paper
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04 Professor Carl Lostritto Advanced Studio Spring 2014
computing drawing: inhabiting the surface The notion of architectural drawing is always under intense debate. This has only become more complex by the notion of digital tools, in particular computation. The following work explores the role of computer programming as a design medium. This new territory begins to question authorship, ambiguity, and representation. The work begins as drawing and becomes building, all the while addressing very real architectural problems. Drawing, in its many forms, has the power to mediate, fuel, and disrupt our current relationship with our known design processes.
Corner Border Toll Plaza Pawtucket, Rhode Island The investigation explores the capacity of drawing (computation) to inform architectural form making to lyricize spatial and temporal conditions. The architecture does not serve nor dictate, it simply reveals. For this reason, there is no single point of visual comprehension. It is an architecture that is seductively incomplete that is awaiting occupation. The project proposes an architecture that engages both the center and the periphery.
1 _Thick Surface: The Architectural Problem, Digital Media
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2 _Preliminary algorithmic drawin, Digital Media 3 _Construct of thick surface, Acrylic and Clear Filament
4 _Preliminary algorithmic drawing, Graphite and Ink on Paper
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5 _Thick Surface Rendering, Digital Media 6 _Thick Surface Layered Collage, Paper, ink and graphite on Mylar
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7 _Corner Border Toll Plaza, Digital Media 8 _Thick Surface Construct, Wood, wire, and plaster
9 _Thick Surface Construct, Aluminum and clear filament
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9 _One Drawing, Digital Media 10 _Section Drawing, Digital Media
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11 _Interior Perspective, Digital Media 12 _Interior/Exterior Perspective, Digital Media
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05 Professor Cornelia McSheehy Spring 2014
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the world is bound in secret knots Building upon the work explored in Computing Drawing, the series of intaglio prints explore the notion of surface. The processes, both fast and slow, produce surfaces that are fast and slow. The articulation and composition of parts attempt to catalogue the systematic development of surface: perception of edge, boundary, smoothness, and continuity of a two dimensional field. These drawings exist at two scales: when they are carved into the copper plates and then when they are printed with a mediating device. The disruption of matter, both the plate and when the ink makes contact with paper, can also contribute to the legibility of surface.
A Series of Intaglio Prints A primitive notion Empty bodies in space Moving faster slower A fixed Center A competing Periphery Borrowed territory Revealed in composition Hidden in disintegration Found in a new threshold Disobey the plane of perception Temporal overlays become fixed A new Center emerges
1 _Intaglio Print, Ink on Paper
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2 _Intaglio Print, Ink on Paper 3 _Gallery display of prints and casement
4 _Intaglio Print, Ink on Paper 5 _Gallery display of prints and casement
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06 Advisor: Professor Silvia Acosta Collaborator: Lucy Siyao Liu Competition Spring 2014
inhabiting the horizon As the angle of your limbs rests against this tangent to history, between the brightest star and dimmest soul, between the crease of time, the universe elongates - as if the body is stretching; what is beyond the fold of the earth? A prolonged blazing stroke between dawn and dusk, a fault emerges at the horizon fissures, breaks explosive fluidity. Inscriptions on the body confront a civilization’s collective memory encased in sculptural constructions; temples for ritual and reflection.
A Bathhouse for Liepaja Liepaja, Latvia The proposal reimagines the bathhouse as a new active center of the seaside park. The extension sensitively rests behind the historic structure, but is physically and visually engaged with the park. The cafe to the South acts a new threshold; open to the public it invites visitors into the bathhouse to experience the newfound courtyards created by the 20-room hotel, restaurant, and main pool. All new program is encased under one roof which is anchored by the central pool. This is the impetus of the movement of water throughout the entire bathhouse. The existing north and south wings have been transformed to accommodate new treatment spaces, and the central dome now protects a central, intimate, cooling pool.
1 _Interior perspective of cooling pool, Digital Media
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2 _Site plan and strategy, Digital Media 3 _Exterior perspectives of pool and hotel, Digital Media
4 _Interior perspective of cafe, Digital Media
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07 Fall 2013
a bridge to the floating world Drawings of all kinds can be immersive, evocative, and become places of inhabitation. Our work always comes in complex layers: perhaps a layer of mechanical electrical plumbing drawings, but also a layer of the unseen nature of the places we create. By way of drawings, architects create stories of what architecture could possibly be. This layer, the narrative – a combination of synthesizing analysis, anticipation, and intuition - I am most interested in constructing. I believe this is the foundation for all of the work we do. We construct the stories of our lives, only to have them become the void in which others make their own memories and write their own narratives.
A Series of Three Drawings For the Collector Exiled, dwelling below the crushing weight of the waterfall, the collector has made a place to collect. The only way that he can understand the former world above is by staying vigil by day and waiting for artifacts to make the descent. By night, there are artifacts that allude the character downstream, so every morning the character projects a sounding line into the beyond hoping that it will encounter obstacle artifact. These then need to be navigated to, catalogued and brought back to the character’s dwelling. As the character collects, his dwelling grows.
1 _Collection Site, 1, Graphite on Paper
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2 _The Collector’s Dwelling, Collection Site, 2 - This drawing was selected as finalist in the 2013 Ken Roberts (KRob) Memorial Delineation Competition, Graphite on Paper
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08 Professor Silvia Acosta Advanced Studio Spring 2013
disrupting + preserving silence: events of radical ordinariness Architecture does not just address the physical spaces we inhabit, but can extend to product design, landscape, and graphic design. The systems at play in creative production are challenged by the vast and changing scale of the problems they reveal and address. Working between scales in design, allows for an engaging and fulfilling experience, and also more successful, holistic outcome. Notions of indoor and outdoor spaces, which provide shelter, seating and spaces to hold public events, gatherings, workshops, and temporary installations is the test for a study of scale in design. The expansive vineyard provides opportunities to address variations and nuances in the landscape, and also the changes of the seasons.
Farmer’s Market and Greenhouse Sakonnet Vineyards Little Compton, Rhode Island Sakonnet Vineyards provides an opportunity to redefine the experience of a winery by exploiting and expanding the programmatic possibilities of the production and enjoyment of wine. The proposal’s responsibility is to reveal the complexity and richness of the site experience. Each building becomes an event that disrupts the silence of the site revealing attributes that would otherwise go unnoticed. Events of complex beauty are situated within varying degrees of silencestillness and vigor-motion. The architecture creates curiosity through its seemingly radical ordinariness.
1 _Preliminary collage, Digital Media
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2 _Final study model of farmer’s market, Wood and cardboard 3 _Preliminary collage study of variant repetition, Ink on Paper
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4 _Interior perspectival study of farmer’s market, Digital Media
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5 _Axonometric assembly diagram of structure, Digital Media 6 _Site plan of farmer’s market, Digital Media
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7 _Perspective collage of farmer’s market, Digital Media 8 _Conceptual taxonomy diagrams of market, Digital Media
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9 _Axonometric assembly diagram of structure, Digital Media
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10 _Interior perspectival study of farmer’s market, Digital Media 11 _Site plan of greenhouse, Digital Media
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12 _Perspective collage of greenhouse, Digital Media 13 _Conceptual taxonomy diagrams of greenhouse, Digital Media
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09 Advisor: Jason Wood, Critic Architectural Design, Part 1 Spring 2012
creating place: haptic space Unlike many other storytellers, we have the abilities and the responsibility to bring our stories into the physical world. We must construct the stories of our lives, only to have them become the void in which others make their own memories. Even in the smallest of projects or tasks there are nuances. These are cues to write a story: and the findings can penetrate and excite the most rich or mundane aspects of our practice. The work should always ask many questions, and we should have many questions in return. The answers have no pre-determined origin or trajectory. They evolve as the questions become clearer. This is the fuel that drives architectural innovation, from drawing to construction, even at the smallest of scales.
Water Research Center for the Blackstone River Coalition Pawtucket, Rhode Island Form does not follow function and conversely, function does not follow form. Instead, form and function intuitively occur simultaneously as a result of a haptic experience. Haptic perception requires the exploration of an object through touch – the use of the body to recognize environmental differences to formulate an understanding of space. Yet, the scale of the surfaces of the Center are too large to be held in ones hand for easy identification.
1 _Collage of found and constructed site artifacts, Analog and digital collage
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Taking clues from environmental differences such as the movement and spatial relationships developed by the protrusion and extrusion of walls, ceilings, and floor, as well as, the subtle changes in light, grade, and ceiling heights, suggest that the space is to be navigated intuitively, constantly referencing both a calculated visual pathway and a haptic, more physically exploratory route.
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Figure Drawing _ George Stubbs, 1795-1806, A Comparative Anatomical Exposition of the Structure of the Human Body with that of a Tiger and a Common Fowl: Human Figure, Lateral View, Undissected (Finished Study for Table VIII), Public Domain
2 _Enlarged drawing of the palm of my hand, Charcoal on Paper 3 _Diagram relating the body to codex of spatial compositions, Digital Media
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4 _Diagrammed articulation of achieving enclosure through surface
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5 _Exploration articulating a folded surface, 1, Digital Media 6 _Physical model of folded surfaces, Chipboard
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7 _Exploration articulating a folded surface, 2, Digital Media
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8 _Exterior perspective of proposal, Digital Media 9 _Interior perspective of lobby, Charcoal and Digital Collage
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10 _Detail exterior perspective, Digital Media 11 _Section of proposal, Digital Media
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10 Jason Wood, Critic Integrated Building Systems Fall 2013
body/ritual You are inside a collective body, and outside yourself. Similarly to the anxiety of understanding space and the relationship between inside and outside our group’s exploration and ultimately intervention of the Water Temple by Tadao Ando was met with debate, but a beautiful dialogue which eventually lead us all to perform a Buddhist prayer together in a room for an hour. As we contemplated how to proceed with an architectural intervention our investigation into worship lead us on a very different path. In considering worship before and after our performance, it appeared that the project wasn’t asking us to construct something but instead reconsider our being and our relation-
Rethinking the Water Temple ship to worship and a place of worship. What creates that place of worship? It begins as space, but slowly it is captured, carved, and transformed into a void that accepts worship and makes worship possible. This matter we’ve collectively designed was transformed through the use of our bodies as our primary tool. We strived to produce a drawing, or a representation of the weight of our bodies against a material world. That is, where the earth meets the floor, meets our bodies, and the wall, instead of dividing and enclosing has dissolved and is now the world looking in.
1 _Body/Ritual, Charcoal on Paper
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2 _Expanded movie showing process 3 _Film still
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11 Advisor: Jason Wood, Critic Architectural Design, Part 2 Spring 2012
blossom: a community garden 2.0 The Architecture Department sanctioned the continued development of a design-build curricular program that aims to give back to the local community through the real service it knows how to provide—thoughtful attention to the needs of residents and quality design responses to such needs. The studio has two main objectives: 1) to contribute directly to institutions outside of RISD through community engagement efforts and the improvement of a place, and 2) to foster a dialogue about the importance of collaboration amongst students and members of the local building industry while providing an enriching service.
A Floating Pavilion for Pawtucket Pawtucket, Rhode Island In mid-April 2012 students collaborated to design the additions to Blossom I at the Chinese Church of Rhode Island. The additions to the site were propelled by the desire to provide a constructed dialogue between the existing two pavilions as well as to begin to address the conversation between human action and river ecology. The studio collaborated extensively with the Mayor’s Office of the City of Pawtucket, the Rhode Island Department of Environmental Management, the Permitting Office, and local organizations that have been working to clean up the Blackstone River in recent years.
1 _View down the Blackstone River
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During the design phase I was chosen as one of the Project Ambassadors for the Floating Pavilion. I remained on this team throughout the entirety of the project. The final design and construction was lead by Nicole Marple, Aaron Tobey, Mike Todd, and myself. For many, including myself this was our first experience with construction.
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2 _Preliminary study model of two-level floating pavilion, Wood and wire 3 _Finished floating pavilion with upper pavilion
4 _Detail of custom hardware, 1 5 _Detail of custom hardware, 2
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5 _Plan oblique drawing of floating pavilion, Digital Media
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12 Professor Elizabeth Dean Hermann Making of Design Principles Fall 2011
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systems: materials, syntax, + tectonics The foundation for any work of architecture is bred in how we begin a work. Architecture, as we understand its many parts and systems to be, need not be addressed through a single lens, but through many - and at many scales. This pluralistic approach to a work comes with many challenges that reveal latent opportunities. Nuances and architectural solutions to various obstacles can be understood, systematically, if an architect establishes the guiding principles of each work, conceptual and pragmatic. The notion of translating a work from the infancy of the creative process to a physical, spatial play is of the utmost concern.
A Dwelling for a Psychic The investigation seeks to create a journey of habitation for a psychic. The spiraling circulation that simultaneously weaves into itself moves through space suggesting eternal growth. In essence the journey through the structure is like navigating a forest; the occupant is aware that there is a destination within, but it is the journey through the varying system that reveals the true nature of the system. The variations in the stairs encourage the occupant to consider the space one step at a time, considering there is also minimal lighting. This spiraling hierarchy of the stair system reflects the path a user must take to unlock their sixth sense or extrasensory reception. The circulation or single path is the logic, whereas the nested
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chambers the user passes through allows moments of reflection; a quality that embodies the bilateral dominance psychics experience. Pockets of light penetrate the dominant circulation system and each stairwell and catwalk is individually affected by light and shadow.
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1 _Section of construct, Graphite on Paper 2 _Plan of construct, Graphite on Paper
3 _Module assembly of found material, Graphite on Paper 4 _Final construct, Recycled Plastic
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5 _Axon of final construct, Graphite on Paper
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6 _Combined construct, Cardboard and Plastic 7 _Material transformation of construct 2, Paper
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8 _Series of interior perspectives of transformed construct 2, Charcoal on Paper
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9 _Interior perspective of paper construction 10 _Final model, 1, Paper and Cardboard
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11 _Interior of final model showing main circulation 12 _Final model, 2, Paper and Cardboard
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13 Shepley Bulfinch Richardson & Abbott Inc. Fellowship, June - August 2014 Angela Watson, Principal Luke Voiland, Principal
the narrative of translation During my fellowship with Shepley Bulfinch I was charged with the conceptual design of an expansion of a historic, landmark university building. Regardless of the scale of work, new methods of production were explored. The diverse and storied portfolio of the office provided a wealth of resources to continue to address questions in my own work and bring them to the office. I also had the opportunity to introduce new drawing and representation techniques into the diverse design disciplines that Shepley operates within. This was a great experiment to address how the office presents their work to other clients and practitioners.
The work had to be explicit, but hold the layered narrative of the design process, but also the lives of the buildings that exist after construction has been completed. The work shown is a one project that I was solely responsible for producing. It takes on a 70,000 square foot addition and adaptive reuse of an equally sized art deco building on a university campus.
1 _View of proposed building extension showing historic building behind, Digital Media
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2 _Section perspective showing the “old” and “new” joined by atrium, Digital Media 3 _Interior perspective of new entry, Digital Media
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education New Haven, CT, USA Sep 2015 - Present
Yale University, School of Architecture Master of Architecture II
Providence, RI, USA Sep 2010 - May 2015
Rhode Island School of Design Bachelor of Architecture, 2015 Bachelor of Fine Arts, 2014 History of Art + Visual Culture Concentrator
work experience Boston, MA, USA Jun 2014 - Aug 2014
Shepley Bulfinch Richardson & Abbott Inc. Summer Design Fellow
Boston, MA, USA Jun 2013 - Sep 2013
CBT Architects/Childs Bertman Tseckares, Inc. Architectural Design Intern
Providence, RI, USA July 2012 - Aug 2012
from [in] form Design Intern + Builder
Los Angeles, CA, USA Jun 2011 - Sep 2011
Los Angeles Education Partnership Graphic Designer
Los Angeles, CA, USA Jun 2007 - Sep 2009
Kidthing, Inc. User Interface Designer (Intermittent)
Pasadena, CA, USA Jun 2006 - Aug 2008
SkyRocket Pictures Graphic Designer (Intermittent)
related experience Providence, RI, USA Sep 2014 - May 2015
Work in Progress, Department of Architecture, Rhode Island School of Design Assistant Editor
Providence, RI, USA Feb 2014 - May 2015
Department of Architecture, Rhode Island School of Design Co-President, American Institute of Architecture Students (AIAS)
Providence, RI, USA Sep 2012 - May 2015
Department of Architecture, Rhode Island School of Design Project Assistant
Providence, RI, USA Sep 2013 - Feb 2015
Department of Architecture, Rhode Island School of Design Computer Lab Monitor
Providence, RI, USA Aug 2013 - May 2014
Liber Brunensis, Brown University Contributing Designer
Pawtucket, RI, USA Mar 2012 - May 2012
Blossom Community Garden Design/Build Project Manager + Builder
independent competitions Spring 2014 Spring 2014 Fall 2013 Spring 2013 Fall 2012
Opening Our Doors, Design/Build for Evans Way Park, Boston, MA Rebirth of the Bathhouse, Conceptual Design Competition, Liepaja, Latvia Ken Roberts (KRob) Delineation Competition, Dallas, TX Fuyang City Youth Center Conceptual Design Competition, Fuyang, China Alexander Wang Fashion’s Night Out Cage Installation Contest, New York, NY
publications Spring 2015 Spring 2015 Sping 2015 Fall 2014 Spring 2014 Fall 2013 Spring 2012
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Feature, Alumni Travel Award 2015 Publication, RISD Architectural Press Feature, Work in Progress, RISD Architectural Press Feature, RISD Viewbook 2014-2014 Feature, Alumni Travel Award 2014 Publication, RISD Architectural Press Peer-Reviewer, PACKT Publishing, Photorealistic Rendering with V-Ray Peer-Reviewer, Learn, Create, and Teach by Clara Lieu Feature, Thursday Spotlight by Clara Lieu Work featured on Super Architects, ArtServed, Bustler, and Archinect
teaching experience Department of Architecture, Rhode Island School of Design Teaching Assistant Sep 2014 - Dec 2014
Professor Silvia Acosta Urban Design Principles
Feb 2014 - May 2014
Professor James Barnes Architectural Design
Sep 2013 - Dec 2013
Critic Nicholas Brinen Architectural Projection
Department of Foundation Studies, Rhode Island School of Design Teaching Assistant Feb 2015 - May 2015
Professor Nade Haley Spatial Dynamics
Feb 2013 - May 2013
Professor Nade Haley Spatial Dynamics
Sep 2012 - Dec 2012
Critic Clara Lieu Drawing
awards + distinctions Summer 2015 Spring 2015 Spring 2015 Spring 2015 Summer 2014 Spring 2014 Winter 2014 Fall 2013 Fall 2013 Fall 2013 Winter 2009 Winter 2009
RISD Bridge Grant Recipient with Professor Silvia Acosta Thesis Award, RISD Architecture Alpha Rho Chi Medal, RISD Architecture Student Representative, Faculty Search Committee, RISD Architecture Norton Salk Scholarship for Design Excellence, AIA Rhode Island RISD Department of Architecture Alumni Travel Award, First Place Architecture work selected for NAAB Accreditation Visit RISD Department of Architecture, Critic, Professor Silvia Acosta Studio RISD Department of Architecture, Critic, Professor Elizabeth Hermann Studio Ken Roberts (KRob) Delineation Competition, Student Digital/Mixed Finalist Kathy Beth Kantor Memorial Photography Scholarship, Recipient Music Center Spotlight Awards, Visual Arts Finalist
travel abroad Jan 2015 - Feb 2015 Jul 2015 - Aug 2015
A Collaged Reading of “The Water City,” Kyoto, Japan, Professor Silvia Acosta In Search of Emptiness, Seto Inland Sea, Japan, Professor Silvia Acosta
exhibitions Spring 2015 Spring 2015 Spring 2015 Spring 2015 Spring 2015 Fall 2014 Fall 2014 Fall 2014 Summer 2014 Spring 2014 Fall 2013 Fall 2013 Winter 2012 Spring 2008 - 2010
Degree Project Show, Architecture Department, BEB Gallery, Providence, RI Work in Process, RISD Museum, Providence, RI Design the Night: Blueprint, RISD Museum, Providence, RI Thinking Architecture: RISD Works in Progress, Providence, RI A Collaged Reading of “The Water City”, Providence, RI Printmaking Department Triennial, Woods-Gerry Gallery, Providence, RI Beginning of Year Show, Architecture Department, BEB Gallery, Providence, RI Pop-Up Pin-Up, Architecture Department, Bayard Ewing Gallery, Providence, RI Fellowship Showcase, Shepley Bulfinch, Boston, MA Pop-Up Pin-Up, Architecture Department, Bayard Ewing Gallery, Providence, RI Ken Roberts (KRob) Competition Exhibition, Texas Society of Architects, Dallas, TX Ken Roberts (KRob) Competition Exhibition, AIA National Office, Washington, D.C. Foundation Studies Department Triennial, Woods-Gerry Gallery, Providence, RI Various gallery exhibitions in Los Angeles, CA
skills Adobe Creative Suite, Adobe Flash (Actionscript Experience), Autocad, Revit, CSS, Sketchup, HTML, Kerkythea, Microsoft Office, Rhino 3d, V-Ray For Rhino And SketchUp, Maxwell Render, welding (Torch, MIG, TIG), traditional book binding 59
matthew bohne M.Arch II Candidate, 2017 Yale School of Architecture Bachelor of Architecture, 2015 Bachelor of Fine Arts, 2014 Rhode Island School of Design Phone: 626.264.0614 Email: matthew.bohne@yale.edu matthewbohne.com