radical reconstruction

M A T T H E W S O L O M O N

R A D I C A L R E C O N S T R U C T I O N

Navigating My Creative Process. . .

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.

Radical Reconstruction

“If you l ive long enough, you’ l l see al l your buildings destroyed. After al l ,

i t ’s only the idea that counts.” — 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.

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nonL in /L in Pav i l l i onMarc Fo rne s , 20 1 1The d ep th s o f t h e d i a g r amThe i n s i s t en t o r g an i z a t i on o f s p a c e and ma t t e r .

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Compound Fo rm_003Comp l e x i t y f r om t h e r e gu l a r .

The Bur row LawsDan i e l L i b e s k i nd , 1 9 79Supe r impos i t i on o f t h e e x a gg e r a t edAna l y t i c a l t o t h e a cqua i n t ed , o v e rwhe lm ing t o t h e nov i c e ,b e au t i f u l t o t h e i gno r an t .

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(-700, -400, 000)

(-115, 442, 088)

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(112, 63, 055)

(439, 264, 024)

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(119, 441, 092)

(147, 427, 087)

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(167, 411, 055)

(163, 414, 023)

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b u t h a v e d a r e d t o i m a g i n e .

radical reconstruction

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