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MATTHEW SOLOMON
PORTFOLIO
E D U C A T I O N
R E F E R E N C E S
Rhode Island School of Design, RISD
Providence, Rhode Island || Architecture Class of 2015
Bachelor of Architecture, Bachelor of Fine Arts
Completed classes in architectural design,
computational and hand drafting, materials and history
Supplemented with classes in drawing, sculpture, and painting
Brown University
Providence, Rhode Island
Duel - Registration
Studies in Engineering, Neuroscience, and Psychology
Collaborated with Brown Institute of Brain Science
Brown University Club Golf Team
Speos Photographic Institute in Paris
Paris, France || 2014
RISD International Travel Program
Studies in Film and Digital Photography
University of Pennsylvania
Philadelphia, Pennsylvania || 2009
Pre-College Summer Program, Architecture
Trained in site design, modeling and drafting techniques
Parsons The New School for Design
New York, New York || 2008
Pre-College Summer Program, Architecture
Collaborated on structural three-dimensional models
coinciding with on-site projects
Huntington School of Fine Arts
Huntington, New York || 2006 - 2010
Artistic recognition in Annual Portfolio Day 2010
Trained in drawing, painting, and sculpture skills
while developing observational techniques
Mitchel l Joachim, Ph.D., Assoc. AIA
Co-Founder + Director of Reasearch at Terreform ONE
NYU Associate Professor of Practice, Senior TED Fellow
Maria Aiolova, LEED AP, Assoc. AIA
Co-Founder + Director of Education at Terreform ONE
Academic Director of Global Architecture and Design of CIEE
Carl Lostritto
Assistant Professor at the Rhode Island School of Design
Practices computational design with an emphasis on drawing
631.338.6239
www.Behance.net/MAS
www.Issuu.com/MatthewSolomon
M A T T H E W S O L O M O N
E X P E R I E N C E
Terreform ONE
Brooklyn, New York || 2014
Research Fellowship
Fabricated and installed Bio City Map at the
14th International Architecture Exhibition of the Venice Biennale
Collaborated with Research Fellows to create
Post Carbon City State NYC, an exhibited installation
using car tire treads and bioluminescent algea to convey
Carbon output and the future of Manhattan, New York
Techstyle Haus, Solar Decathlon Europe
Versailles, France || 2014
Digital Fabricator
Aided in the design and fabrication of glassware and molds
through computational modeling and production
Kean Development & Giambertone Architects
Cold Spring Harbor, New York || 2013, 2010
Architectural Intern
On-site Apprentice
Assisted principal architect on-site and in office
Drafted, documented, and organized construction drawings
RCM Architectural Design
Smithtown, New York || 2013 - Present
Architectural Draftsman
Drafting services for construction drawings of floor plans,
elevations, sections, and construction details for
residential projects
JSR Design Build
Quoque, New York || 2012
Freelance Design
Assisted principal architect on-site and in office while
participating in design and construction meetings
Worked on building drawings, building design, and
construction documents for two residential projects
Mancini Architecture
Smithtown, New York || 2011
Architectural Intern
Assisted principal architect on-site and in office while
participating in design and construction meetings
Drafted, documented, and organized construction drawings
Created three-dimensional models of existing and prospective
job sites while gaining measuring and verification experience
Dermatique Dermatology
Smithtown, New York || 2008 - 2010
Computer Analyst, Graphic Web Design
S K I L L S
Computer
Adept in both Macintosh and PC platforms
Laser Cutter, 3D Printer, Pen Plotter and CNC Router capabilities
AutoCAD, ArchiCAD, Revit, Rhinoceros, VRay, Grasshopper,
Python Programming, RhinoScript, HTML, CSS, Google Sketchup,
Adobe InDesign, Illustrator, Photoshop, Lightroom,
RAM Structural System, SAP2000, Microsoft Office
Design
Knowledge of Design Principles common Architecture, and
Landscape Architecture through a series of on-site projects
Adroit in digital representation and hand drafting techniques
Skilled in three-dimensional modeling and rendering by hand
and through digital means
A C H I E V E M E N T S
14th International Architecture Exhibit ion of the Venice Biennale
Participated in the fabrication and installation of Terreform ONE’s
Bio City Map, a three-dimensional computational installation of
a forecast of the world population distribution. On the front,
the map displays population density as a parametric graph.
The back zooms in on each of these cities, designed, built, and
grown inside petri dishes with colonies of E. Coli as a method of
analog computation.
RISD International Travel Program
Paris, France || 2014
International travel program at the Rhode Island School of Design
Student at the speos photographic Institute in Paris
Art League of Long Island
Dix Hills, New York || 2010
First Place Prize
Advanced Placement Sculpture Contest
C.W. Post, Long Island University
Brookville, Long Island || 2010
Honorable Mention
Advanced Visions VI: High School Artists of Excellence
0341
1765
COMPUTATIONAL DRAWING
URBAN DESIGN
BRAIN INSTITUTE
ARCHITECTURAL DESIGN
1765
BRAIN INSTITUTE
ARCHITECTURAL DESIGN
2775
TOOLING INFRASTRUCTURE
DESIGN PRINCIPLES
COMPUTATIONAL DRAWING
03 COMPUTATIONAL DRAWING
MATTHEW SOLOMON 04
THRESHOLD
Starting with the idea of a boarder, I created an interaction between the states of Rhode Island and Massachusetts.
However, I didn’t see this boarder as a line on a map, but rather an area of space. A space within the line, giving
it thickness, area, and density, thus creating a threshold. With the program of a tollbooth, the convergence
between these two states became an interaction of cars, trains, humans, and nature. Evolving from a corner
condition on the site, these elements began to negotiate with one another.
With my preliminary pen plot drawings, a language of convergence and overlap began to build. These
intersecting lines created a build up of density in specific areas of the drawing. Using these points, I began to
imagine how they would respond in a three-dimensional space. I began to conceive of how they could influence
a mesh or a surface. A hierarchy of structure and a three-dimensional mass was formed by these controlling
points, creating an enclosure with an inside, an outside, and circulation.
Through illustrative explorations I sought out relationships; relationships not only of space, but also of interaction;
an imaginative habitable space that depicts experiential moments; ideas of how and where the space can be
used, and how it can create unity.
05 COMPUTATIONAL DRAWING
MATTHEW SOLOMON 06
(-380,397,-370)
(-500,-196,098)
(419,122,391)
(500,423,-108)
(178,444,-421)
(-403,382,-353)
(-500,500,000)
(-311,-500,328)
(500,-377,-239)
(500,500,000)
(-500,239,230)
(-250,-386,423)
07 COMPUTATIONAL DRAWING
MATTHEW SOLOMON 08
09 COMPUTATIONAL DRAWING
MATTHEW SOLOMON 10
11 COMPUTATIONAL DRAWING
MATTHEW SOLOMON 12
13 COMPUTATIONAL DRAWING
MATTHEW SOLOMON 14
15 COMPUTATIONAL DRAWING
MATTHEW SOLOMON 16
BRAIN INSTITUTE
19 BRAIN INSTITUTE
“A key aspect of creativity is the process of finding great metaphors-symbols that represent something else.”
Ray Kurzweil, How to Create a Mind
By emulating brain processes, one can better interpolate the mind / brain relationship. This can lead the
way for insight into the way one thinks about ordering space, program, and the architectural organization of
cooperative work environments.
Working with Brown University’s Brown Institute for Brain Science (BIBS), one can begin to fathom bringing
together researchers from the Departments of Neuroscience, Cognitive and Linguistic Science, Physics, and the
Division of Applied Mathematics.
MATTHEW SOLOMON 20
In addition, BIBS will be joining forces with the Norman Prince Neurosciences Institute at Rhode Island Hospital,
bringing together clinical neuroscience departments of Neurology, Neurosurgery and Psychiatry. Combining
these distinct fields creates an interdisciplinary approach with hopes to yield breakthroughs.
Working closely with Brown University’s Neuroscience Department, granted the opportunity for direct
experiments and demonstrations, analogous modeling, presentations by prominent brain researchers, and
relevant tours of Brown University’s laboratories and hospital clinical space.
As with the brain, the optimal goal is to bring these related, yet separated practices or parts together, to work
as a single entity.
21 BRAIN INSTITUTE
UNCONSTRAINED CONFABULATION
To me, The Brown Institute of Brain Science lives within the overlaps. Through these shared spaces, a loose
program can be created. Beginning with watercolor thumbnails, I began to conceive space and program
through compound overlap. Program could be organized by quality of light, relationship, scale, and accessibility.
However, I didn’t necessarily see these areas as static. Rather, ones that would perpetually contract and expand.
Revolving around a central channel, the red areas of research could meld with the yellow clinical areas. The
green public then had the opportunity to weave throughout the two.
MATTHEW SOLOMON 22
Shifting floor plates removed the mundane connotation of floors and created connected, yet private, spaces
within one another while maintaining a visual connection. Carefully shifting walls and floor plates of extruded
geometry allowed for light to be present where it normally wouldn’t. Unique stairs were created that could
hold additional functions such as desks and work areas. They created connection, while also acting as divisions
between spaces. This loose program and open floor plan allows for optimal overlap. It leads users to confabulate,
or to converse informally and freely with one another. Ultimately, creating unity throughout the project.
23 BRAIN INSTITUTE
ReceptionExam
Clinical Office
Diagnostic Lab
Conference RoomFaculty Office
Student LabMicroscopyBiostatistics
Animal BehaviorDry LabWet Lab
PET / CTMEGMRI
MATTHEW SOLOMON 24
25 BRAIN INSTITUTE
MATTHEW SOLOMON 26
P E R C E P T I O N V S. C O N C E P T I O N
By distorting light, I created a space that fluctuates
based on directionality. Thus, altering one’s perception
of space from their conception of it. Working with
extruded geometries allowed for me to create two
like spaces that are radically different experiences.
A shared wall creates interplay between the two
sides, creating a space that contracts and expands.
Angled apertures create the illusion of a closed or an
open roof based upon the users point of view. Light
radiates along the curved interior walls, extenuating
the distorted space.
TOOLING INFRASTRUCTURE
29 TOOLING INFRASTRUCTURE
VARIABLE CAVITY
By creating a versatile building component, it is possible to construct a range of layouts with a single unit. With
regards to the unit’s orientation and relationship to adjacent members, varying conditions can be formed. The
units can act as structural components for a wall or foundation, and can be filled and reinforced with conduit or
rebar. They can also be arranged to create openings for lighting and ventilation.
MATTHEW SOLOMON 30
The cast pockets create an aesthetic on the undulating wall. They help to overcome the stagnant flatness that is
attached to concrete. Utilizing the casting potential of the material intrigued me. Each cavity is unique, working
by itself and as a whole. In addition, they reduce the weight of the unit and create structural coffers. The pours
perform to collect rainwater, allowing for cool breezes to be present.
31 TOOLING INFRASTRUCTURE
MATTHEW SOLOMON 32
33 TOOLING INFRASTRUCTURE
MATTHEW SOLOMON 34
35 TOOLING INFRASTRUCTURE
Shifting, overlapping, and reorienting can create openings and thresholds. This offers variability and customization
based upon desired conditions. Scale is important in every aspect. The units must coincide with one another.
They must meet the scale of a building, the scale of a human, and the scale of a machine. All of this can be
acquired with a single variable mold. Thickness can be controlled through proximity. Size is determined by a
numerical factoring.
MATTHEW SOLOMON 36
37 TOOLING INFRASTRUCTURE
MATTHEW SOLOMON 38
39 TOOLING INFRASTRUCTURE
MATTHEW SOLOMON 40
URBAN DESIGN
43 URBAN DESIGN
MATTHEW SOLOMON 44
M A P P I N G B O S T O N
Without utilizing all of our sensory capacity,
one cannot effectively explore and analyze a
system. Each sense, unique to its own, allows
for us to experience a moment of clarity. While
exploring Boston’s Seaford area, we allowed
ourselves to become harmonious with our
senses and allowed them to guide and impact
our experience. Being attentive to smell, sight,
sound, and touch provided us with the ability
to truly be attentive to the surrounding area.
45 URBAN DESIGN
MATTHEW SOLOMON 46
47 URBAN DESIGN
MATTHEW SOLOMON 48
49 URBAN DESIGN
MATTHEW SOLOMON 50
C O N V E R G E N C E
Through connecting plains, we can connect
people. Connecting people, integrates systems.
Integrating the public into a public space creates
convergence. Overlapping groups of people allows
for an increased interaction at a site. It can become
a public space, traversed by the local people. At
the same time, it can shelter its residents with
privacy. Sunlight allows for these interactions to
take place. Optimizing this space by public use,
short term use, and longer term stays, creates a
unique system for interaction and connection.
51 URBAN DESIGN
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53 URBAN DESIGN
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
PRO
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PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
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55 URBAN DESIGN
MATTHEW SOLOMON 56
57 URBAN DESIGN
MATTHEW SOLOMON 58
59 URBAN DESIGN
MATTHEW SOLOMON 60
S T O R E F R O N T
Line of sight creates a juxtaposition between
revealing and concealing. Through pattern
and symetry I was able to create a space
that combated the density of the city,
allowing visibility from multiple viewpoints.
61 URBAN DESIGN
MATTHEW SOLOMON 62
63 URBAN DESIGN
MATTHEW SOLOMON 64
ARCHITECTURAL DESIGN
67 ARCHITECTURAL DESIGN
MATTHEW SOLOMON 68
Through shifting, rotating, and enlarging, I created a space comprised of
unique and distinct moments in relation to one another. Capturing areas
relating to light, privacy, and accessibility led me towards embedding, and
ultimately building vertically. Focusing on relationships, I juxtaposed lit
areas to those in shadow, by creating composition through opaque and
transparent spaces. With this concept, I contrived a space relating density
to light, and explored how it could impact and guide an experience.
69 ARCHITECTURAL DESIGN
MATTHEW SOLOMON 70
71 ARCHITECTURAL DESIGN
MATTHEW SOLOMON 72
73 ARCHITECTURAL DESIGN
MATTHEW SOLOMON 74
DESIGN PRINCIPLES
77 DESIGN PRINCIPLES
MATTHEW SOLOMON 78
79 DESIGN PRINCIPLES
MATTHEW SOLOMON 80
81 DESIGN PRINCIPLES
MATTHEW SOLOMON 82
83 DESIGN PRINCIPLES
MATTHEW SOLOMON 84
85 DESIGN PRINCIPLES
MATTHEW SOLOMON 86