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Patrick James Brady 617-413-7819 402 Saratoga St, East Boston, 02128
Architecture / Graphic Design / Furniture Design / Woodworking / Photography / Curator / Avid Guitar Player
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WHO? I am a young and passionate designer with an M.Arch and B.S. in Architecture degree from Wentworth Institute of Technology. I enjoy every step of the design process and am interested in the public’s perception and engagement through installation work, publications, and architecture. When I’m not in studio I can be found exploring, snapping photos, or creating music with my peers. Though my education is grounded within the architectural profession I’m interested in woodworking, fabrication, graphics, typography, and journalism. I was born and raised in Canaan, VT where I acquired my work hard, play hard mentality and lust for the outdoors as many winters were spent on the slopes and summers spent biking, hiking, and kayaking.
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The Space Between / Betula / Renoun Graphics / Boston Green Building / Finding Agora / Self Reliance / Community Nexus / Woodland Artist Residence / Usera Public Library / The Garage - Project - Volume One / Thesis Lab / Photography
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The Space Between
The Space Between Located on World’s End in Hingham, MA this project, a center for cartography, attempts to understand the dynamic relationship between building and site. The project exists as a promenade connecting two hilltops (Planters Hill and World’s End) atop the sites pre-existing rocky beach; a land bar separating the western Hingham Bay from the eastern Weir River estuary. This promenade offers a chance for visitors to realize the landscape.The promenade’s supporting structure embodies the conceptualization of duality. Along the buildings western perimeter a 24’ tall truss extends, carving into the landscape while its vertical members situate itself a further 12 feet above and into the rocky beach. This portion of the structure enables visitors to more thoroughly understand the landscapes topography by establishing itself a physical reference for comparison. Along the buildings eastern perimeter concrete walls and footings cut into spaces are created along this eastern perimeter including galleries, an outdoor auditorium, and a collaborative work environment for cartographers. These spaces are connected by a series of docks projecting towards the Weir River estuary. The buildings concept was derived from a series of temporal and otherwise abstract recordings in which frozen watercolor pigment was placed onto cotton paper tacked into the land.The images recorded were a product of the sites temporal conditions and existing textural identity; they were deemed meltings. Six meltings were produced, all different, and captured from various locations across the site. The meltings were later examined and translated monochromatic histograms. These histograms offered a chance to select an extreme site.
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This landscape project positioned between two drumlins at World's End in Hingham, MA was born from site analysis. Self generated tools, textural ink plots, provided the means of analysis. Large 36x24 inch sheets of water color paper were pinned to a variety of ground conditions at worlds end. Frozen blocks of black ink were set onto the paper for a period of 3 hours to melt, staining the paper. Each
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plot yielded different and distinct images effected by ground conditions, solar rays, temperature, humidity, and wind. this commutative analysis does not represent data rather an image affected by distinct site conditions. It is not measurable, instead experiential.
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Betula
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Betula
Betula (noun- genus of the birches, from Latin betula “birch.�) A self initiated project, Betula (named after its wood material genus), was designed and constructed over the course of three weeks to replace my existing home desk. The design uses inexpensive materials, wood and steel, with little waste. Only one plywood sheet was used for its construction while the steel legs were designed to use as little material as possible while maintaining strength. The drawers feature self made dove tail sliders and are constructed with dado joinery. The face of the drawers glorify the sectional layers of the attached using minimal hardware and feature adjustable feet. The desk scales 5 feet long by 2 feet deep and stands 31.5 inches tall. Special thanks to Aaron Brady for helping to weld the legs. Materials: Birch Plywood, Stainless Steel 3/8" Rod, Maple Dovetail sliders, Milled
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Renoun Graphics
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Renoun Graphics
Renoun Ski Competition Renoun Ski Company is located in upstate New York and driven to create high quality skis through the integration of new materials atop proven design. During the fall of 2013 they held a ski graphic competition. The following graphics was produced to create a provocative ski graphically while speaking to their existing company mentality. Over 100 designers submitted from all over the US an peoples choice award. (Photo’s taken by Cyrus Schenck) The design was inspired by previously created architectural graphics. A combination of Sketchup Pro, Adobe Photoshop, and Adobe Illustrator were used to create the graphic. A “retro” color scheme was created using complimentary colors blue and orange. The architectural components of the graphic were left white as variating line weights emphasized the structures three dimensional presence.
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Boston Green Building
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Boston Green Building
Liberating the Podium Adjacent sides represent two methods of thinking and designing often found within the design build realm. An interpolated front piece embodies the impulsive creative processes of the right brain while the opposing corner illustrates the left brains sense of logic and order. These two styles represent a compositional balance of complimentary extremes.This project showcases the work of Boston Green Building, a sustainable contractor devoted to the ideals of building better. The podium features an inlay top pieces carved to accommodate an apple ipad. The podium was featured at Boston’s 2011 ABX show. Materials: Birch Plywood, hex nuts, washers, 3/8� threaded rod, mylar, L.E.D. string lights, plexi glass.
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Website Overhaul BGB is a small premier full-service, remodeling and residential construction company. The team design and build forward-thinking, beautiful healthy spaces with superior comfort, state of art performance and lasting value. The companies motto, building better, speaks towards their environmental concern and
BGB’s personality and mentality I chose to design a website that felt lighter, like a large corporation totaling 146 pages with excess content that was repetitive / all things BGB is not. The website was designed with one clear concept, that highlights their best work combined with their motto, a brief description, and page links. The website was divided into six pages: about, our team, services, portfolio, and contact. The revamped site allows visitors to understand what BGB ‘s about before they even begin exploring.
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Members of 2013 Agora Studio from left to right: John Weed, Matt Rowell, Travis Lombardi, Nick Dyer, Zenovia Toloudi (professor), Tyler Moriarty, Caitlin Pandolph, Patrick Brady, Kat Mendez, Magda Borowy, Walter Arroyo Jr, Dereck Mueller. Mike Remondi not pictured.
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Finding Agora
Finding Agora, Publication Agora, with etymology linked to aggregation, and a history of being the birth of democracy as well as the center of political, artistic, and commercial life in ancient Greek contexts, acted as a place for people to come together. A publication, Finding Agora, was released and self published by the Agora special topics studio at Wentworth. The publication addresses the topic of Public Space while questioning Agora’s relevance within a contemporary context. The designing successful public space.
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To Make Public Attempting to resurface Agora in a contemporary context, while understanding conversation new form of public architecture. Its relevance in spatial politics employs an inherent quality parallel to interactive architecture. In “Evictions: Art and Spatial Politics,” means for a space to be public. She realizes this question
with ideas about what it means to be human, about the community we want.Though there are several contrasting perspectives on how each idea is addressed, everyone supports the survival and extension of democratic culture. When the term ‘public’ is applied to both architecture and art, it questions its integrated role with people and their
cannot be contained between gallery walls, forcing its placement to an outdoor location. This work shares no connection to the public, who are ultimately the i
ntended audience. Simply, it takes more than a public location to create public art. Successful methodology behind public art includes community involvement, some sense of collaboration between user, owner, and artist. Public art has the potential to translate the audiences’ language—apart from the voice of a singular artist. Deustch expresses public space as a term that can be their relevance within society may begin to question the approach taken towards designing public space. Similar to the self-expression of an artist through their work, the use and experience of public space is varied between users on an intimate level, one dissonant from the collective.
a form of government, but also to the general democratic 1
Jerry Allen, Art Administrator at
integrity of the term in its entirety, stating that public art and architecture is a contradiction in itself. The term joins two words whose meanings are antithetical. Art is recognized as the individual inquiry of sculptor or painter, the epitome of self-assertion, self-hood. With that we join public— a reference to the collective, self-negation, and otherwise democracy. This terminology seems to impose coherence and integrity from.
In “Putting the Public in Public Art,” Allen again states that what is considered public art differs completely from art in public spaces. Artists’ inquiries, deposited into the public realm, are what most people identify as public, with no relevance to the true cultural context. Artist Alexander Calder’s Flamingo, placed into Federal Plaza, Chicago, is an example of individual expression entering public space. Its spatial extremes
Graham Foundation for Advanced Studies in the Fine Arts, 1996. Print. pg.256.
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“Power stems from the people but belongs to nobody. Democracy abolishes the external referent of power and refers power to society. But democratic power cannot appeal for its authority to a meaning immanent in the social. Instead the democratic invention invests something else: the public space.”
Architects are capable of designing spaces for the people, but the true experiences from these spaces are never constant nor controlled, but instead, subjective. Designing for the public realm means designing for the response from users. Art and architecture should not at all be diluted to consider everyone’s perspectives in its design process, for there is never a singular, premeditated response. Instead, public art and architecture should consider providing a dedicated space or piece where the interaction and relationship that one shares with the work can develop, thus engaging them to voice a reaction. The critique, use, and understanding of spatial works are democratic qualities that offer insight for the creation of a contemporary form of Agora.
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Finding Agora, Exhibition Curators Statement: This exhibition, despite its removal from the time and place of Ancient Greece, is a direct expression of Agora. Not to be taken as a replica, for replicating simply mimics and does not comprehend, rather this display aims to re-invent the possibility of public space. One cannot take an aims to encompass the qualities inherent in a strong public space. It represents the successes of community in a modern context, interventions that understand the people and place of a relevant society. The design of this exhibition focuses on three media; textual, visual, and experiential. Through the corresponding publication, a documentation of theory and inspiration come together to form and streets transform to provide utility, scale, and life for the very people that inhabit them. Accordingly, the collected graphics are a portrayal of these very transformations; displays of site, tectonic, and interactive potentials. Ranging from built structures and operability to spatial alteration and playful participation, these transformations highlight the very qualities necessary in public venue. in Athens and recreates them here in Boston. We have distorted a typical space to become more; a space to hold gatherings of individuals passionate about a of information and transformation that has something for everybody, something
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To Make Public My portion of the Finding Agora exhibition revolved around a series of studies questioning how to make works public. This project later informed my thesis, Converse / Construct. Using Boston’s existing Mass Ave bridge I chose to create a structure allowing pedestrians to see under the bridge and observe the surrounding views.The structure offers public seating, space for engagement, and a visual link to Boston’s existing esplanade.
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South End Culinary Arts School
Self Reliance This project aimed to establish independence from external resources the use of passive systems and green techniques. A green wall on the buildings south face provides a library of fresh herbs and vegetables for culinary students to explore new techniques. These herbs and vegetables can be used in house. Excess food will be sold in a farmers market located on the buildings ground level between a restaurant and cafe. The growers act as ever changing shading glazed facade. The green wall allows students to see food from growth to creation while presentation that notion to Boston’s south end community.
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Jackson Square Community Design
Community Nexus Working in teams of three students pushed to produce conceptual master plans for the Jamaica Plain, Jackson Sq. community. Pulling ideas from group master plans each studio, 10+ students, collaborated to generate a themed community of establishing a nexus, sought to connect the diverse community by creating green spaces, plazas, and pedestrian pathways / footbridges that strengthened JP’s density. We concluded ultimately “people attract people� inspired by William zones, or nexus moments meant visitors would be pulled into our proposed
housing, commercial spaces, community centers for arts and recreation, adult of these techniques our nexus projects enriches the community. My portion of the project exists as an artist colony. It seeks to establish a deeper sense of community through the use of art and landscape while combining historic site enriching environment for prospective artists to grow and thrive while offering the community an invigorated culture.
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Woodland Artist Residence
altered perceptions directly associated with the canopy. Visitors circulate on the
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Usera Public Library
Usera Public Library This model was constructed over one week during a Materials and Methods class held at Wentworth Institute of Technology. The model explores and represents the structural system of the Usera Public Library in Madrid, Spain. The model focuses on the building’s skin, facade, and interior structure.
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The Garage / Project / Volume 1
Project A publication produced and curated by the Garage featuring the work of artists, writers, and designers regarding the term project or projection. The work was curated and edited by myself with input from co-creator Thomas McCormack. Contributors include myself, Thomas McCormack, Le Nguyen, Justin Kearnan, Ciro Podany, Reid Thibeault, Panharith Ean, Erick Gonzalez, Zenovia Toloudi, Emily Morgan, John Dickinson, Jeannine Brady, Richard Brown, Jim Gibbons, Joe Saporreti, Stephen DeMayo, Derek Mueller, and Evangelos Kotsioris. 127
Our Mission A garage represents itself as a place for innovation, a starting point, to collaborate freely upon new projects without the pressures of professional practices. It however, is more than a space; it is a mentality, a method of designing, experimenting, and exploring ideas without fear of failure. Existing as 128
a suburban icon and scaled from the automobile, the garage offers grounds for the germination of ideas apprehensive to conventional thought processes. Design studios while spatial different from a garage capture its spiritual nature. Despite studios dynamic culture, students leave behind a legacy of
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ideas and projects, unpublished, as they’re tucked into closets and unseen portfolios. The Garage, a curated open source archive, aims to capture these forgotten ideas, publish them independently, while providing a platform for unprecedented collaboration. Comprised of physical and digital
entities The Garage offers a canvas for the dispersion and expression of knowledge, ideas, and research.
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The Garage / Project / Volume 1
Curatorial Statement Project is a publication curated by The Garage. It challenges the conventional nature of publications forcing itself into the public realm physically. It removes the individualized experience of reading projecting itself into a collective realm while promoting conversation. It is arranged
chronologically left to right snaking from column to column, each divided by steel support cables. The structure appears minimalistic, to the publication and all its content. 131
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Thesis Lab
Thesis Lab The Thesis Lab Exhibition was curated by Zenovia Toloudi’s Thesis Lab studio at Wentworth Institute of Technology in collaboration with Kaitlyn Payne. The exhibition was organized into four themes: dissemination, interventions, physically with string and graphically within each themed poster. All thematic posters were design by Kaitlyn Payne with content provided by the students themselves. The physical space was curated primarily by myself and Thomas McCormack.
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Photography
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