http://brichta.com Benjamin Brichta, Portfolio of Sun, 03 Jun 2012 09:59:04 +0000 http://brichta.com en http://brichta.com/The-Bunker-Loft http://brichta.com/following/brichta.com/The-Bunker-Loft Sun, 03 Jun 2012 09:59:04 +0000 Benjamin Brichta, Portfolio of 3520046 Architectural Technology Sequence V, GSAPP Critic: Jay Hibbs Spring, 2011 In collaboration with Rubah Musvee, Allison Rozwat, and Steven Chou <img src="http://payload61.cargocollective.com/1/3/111572/3520046/BROzouVEE_final_Drawing SEt_Page_01.jpg" width="670" height="502" width_o="2048" height_o="1536" src_o="http://payload61.cargocollective.com/1/3/111572/3520046/BROzouVEE_final_Drawing SEt_Page_01_o.jpg" data-mid="18178985" border="0" align="left"/><img src="http://payload61.cargocollective.com/1/3/111572/3520046/BROzouVEE_final_Drawing SEt_Page_02.jpg" width="670" height="502" width_o="2048" height_o="1536" src_o="http://payload61.cargocollective.com/1/3/111572/3520046/BROzouVEE_final_Drawing SEt_Page_02_o.jpg" data-mid="18178992" border="0" align="left"/><img src="http://payload61.cargocollective.com/1/3/111572/3520046/BROzouVEE_final_Drawing SEt_Page_03.jpg" width="670" height="502" width_o="2048" height_o="1536" src_o="http://payload61.cargocollective.com/1/3/111572/3520046/BROzouVEE_final_Drawing SEt_Page_03_o.jpg" data-mid="18178995" border="0" align="left"/><img src="http://payload61.cargocollective.com/1/3/111572/3520046/BROzouVEE_final_Drawing SEt_Page_04.jpg" width="670" height="502" width_o="2048" height_o="1536" src_o="http://payload61.cargocollective.com/1/3/111572/3520046/BROzouVEE_final_Drawing SEt_Page_04_o.jpg" data-mid="18178997" border="0" align="left"/><img src="http://payload61.cargocollective.com/1/3/111572/3520046/BROzouVEE_final_Drawing SEt_Page_05.jpg" width="670" height="502" width_o="2048" height_o="1536" src_o="http://payload61.cargocollective.com/1/3/111572/3520046/BROzouVEE_final_Drawing SEt_Page_05_o.jpg" data-mid="18179001" border="0" align="left"/><img src="http://payload61.cargocollective.com/1/3/111572/3520046/BROzouVEE_final_Drawing SEt_Page_06.jpg" width="670" height="502" width_o="2048" height_o="1536" src_o="http://payload61.cargocollective.com/1/3/111572/3520046/BROzouVEE_final_Drawing SEt_Page_06_o.jpg" data-mid="18179002" border="0" align="left"/><img src="http://payload61.cargocollective.com/1/3/111572/3520046/BROzouVEE_final_Drawing SEt_Page_07.jpg" width="670" height="502" width_o="2048" height_o="1536" src_o="http://payload61.cargocollective.com/1/3/111572/3520046/BROzouVEE_final_Drawing SEt_Page_07_o.jpg" data-mid="18179006" border="0" align="left"/><img src="http://payload61.cargocollective.com/1/3/111572/3520046/BROzouVEE_final_Drawing SEt_Page_08.jpg" width="670" height="502" width_o="2048" height_o="1536" src_o="http://payload61.cargocollective.com/1/3/111572/3520046/BROzouVEE_final_Drawing SEt_Page_08_o.jpg" data-mid="18179008" border="0" align="left"/><img src="http://payload61.cargocollective.com/1/3/111572/3520046/BROzouVEE_final_Drawing SEt_Page_09.jpg" width="670" height="502" width_o="2048" height_o="1536" src_o="http://payload61.cargocollective.com/1/3/111572/3520046/BROzouVEE_final_Drawing SEt_Page_09_o.jpg" data-mid="18179014" border="0" align="left"/><img src="http://payload61.cargocollective.com/1/3/111572/3520046/BROzouVEE_final_Drawing SEt_Page_10.jpg" width="670" height="502" width_o="2048" height_o="1536" src_o="http://payload61.cargocollective.com/1/3/111572/3520046/BROzouVEE_final_Drawing SEt_Page_10_o.jpg" data-mid="18179016" border="0" align="left"/><img src="http://payload61.cargocollective.com/1/3/111572/3520046/BROzouVEE_final_Drawing SEt_Page_11.jpg" width="670" height="502" width_o="2048" height_o="1536" src_o="http://payload61.cargocollective.com/1/3/111572/3520046/BROzouVEE_final_Drawing SEt_Page_11_o.jpg" data-mid="18179020" border="0" align="left"/><img src="http://payload61.cargocollective.com/1/3/111572/3520046/BROzouVEE_final_Drawing SEt_Page_12.jpg" width="670" height="502" width_o="2048" height_o="1536" src_o="http://payload61.cargocollective.com/1/3/111572/3520046/BROzouVEE_final_Drawing SEt_Page_12_o.jpg" data-mid="18179027" border="0" align="left"/><img src="http://payload61.cargocollective.com/1/3/111572/3520046/BROzouVEE_final_Drawing SEt_Page_13.jpg" width="670" height="502" width_o="2048" height_o="1536" src_o="http://payload61.cargocollective.com/1/3/111572/3520046/BROzouVEE_final_Drawing SEt_Page_13_o.jpg" data-mid="18179029" border="0" align="left"/><img src="http://payload61.cargocollective.com/1/3/111572/3520046/BROzouVEE_final_Drawing SEt_Page_14.jpg" width="670" height="502" width_o="2048" height_o="1536" src_o="http://payload61.cargocollective.com/1/3/111572/3520046/BROzouVEE_final_Drawing SEt_Page_14_o.jpg" data-mid="18179030" border="0" align="left"/><img src="http://payload61.cargocollective.com/1/3/111572/3520046/BROzouVEE_final_Drawing SEt_Page_15.jpg" width="670" height="502" width_o="2048" height_o="1536" src_o="http://payload61.cargocollective.com/1/3/111572/3520046/BROzouVEE_final_Drawing SEt_Page_15_o.jpg" data-mid="18179032" border="0" align="left"/><img src="http://payload61.cargocollective.com/1/3/111572/3520046/BROzouVEE_final_Drawing SEt_Page_16.jpg" width="670" height="502" width_o="2048" height_o="1536" src_o="http://payload61.cargocollective.com/1/3/111572/3520046/BROzouVEE_final_Drawing SEt_Page_16_o.jpg" data-mid="18179037" border="0" align="left"/> <img src="http://payload61.cargocollective.com/1/3/111572/3520046/BROzouVEE_final_Drawing SEt_Page_17.jpg" width="670" height="502" width_o="2048" height_o="1536" src_o="http://payload61.cargocollective.com/1/3/111572/3520046/BROzouVEE_final_Drawing SEt_Page_17_o.jpg" data-mid="18179040" border="0" align="left"/><img src="http://payload61.cargocollective.com/1/3/111572/3520046/BROzouVEE_final_Drawing SEt_Page_18.jpg" width="670" height="502" width_o="2048" height_o="1536" src_o="http://payload61.cargocollective.com/1/3/111572/3520046/BROzouVEE_final_Drawing SEt_Page_18_o.jpg" data-mid="18179044" border="0" align="left"/><img src="http://payload61.cargocollective.com/1/3/111572/3520046/BROzouVEE_final_Drawing SEt_Page_19.jpg" width="670" height="502" width_o="2048" height_o="1536" src_o="http://payload61.cargocollective.com/1/3/111572/3520046/BROzouVEE_final_Drawing SEt_Page_19_o.jpg" data-mid="18179045" border="0" align="left"/> The Bunker Loft in the Bronx, New York, revisits the notion of load-bearing masonry construct ion through the exploration of highly-designed precast concrete components. The precast concrete panel integrates mechanical delivery and building enclosure into the structural wall panel system. It is a prototype for an integrated construct ion system that can be used to reproduce buildings for a variety of sites and uses. It also explores the opportunities that integrating different building systems affords, such as structure serving as thermal mass, shading, etc. The Bunker Loft stays true to the industrial loft parti – expressive structure, exposed mechanical systems, and a external load-bearing façade – while also being deployable quickly and efficiently around the world. Architectural Technology Sequence V, GSAPP Critic: Jay Hibbs Spring, 2011 In collaboration with Rubah Musvee, Allison Rozwat, and Steven Chou The Bunker... http://brichta.com/On-The-Edge http://brichta.com/following/brichta.com/On-The-Edge Sun, 03 Jun 2012 09:41:33 +0000 Benjamin Brichta, Portfolio of 3519968 Advanced Studio V, GSAPP Critic: Laurie Hawkinson and Christian Uhl Fall, 2011 <img src="http://payload60.cargocollective.com/1/3/111572/3519968/FINAL12.07renderwithcover.jpg" width="670" height="502" width_o="720" height_o="540" src_o="http://payload60.cargocollective.com/1/3/111572/3519968/FINAL12.07renderwithcover_o.jpg" data-mid="18178397" border="0" align="left"/><img src="http://payload60.cargocollective.com/1/3/111572/3519968/FINAL12.07renderwithnocover.jpg" width="670" height="502" width_o="720" height_o="540" src_o="http://payload60.cargocollective.com/1/3/111572/3519968/FINAL12.07renderwithnocover_o.jpg" data-mid="18178398" border="0" align="left"/><img src="http://payload60.cargocollective.com/1/3/111572/3519968/12.7.EXPLODED Converted.jpg" width="670" height="1005" width_o="1728" height_o="2592" src_o="http://payload60.cargocollective.com/1/3/111572/3519968/12.7.EXPLODED Converted_o.jpg" data-mid="18178408" border="0" align="left"/><img src="http://payload60.cargocollective.com/1/3/111572/3519968/sectionperspective Converted.jpg" width="670" height="1030" width_o="2048" height_o="3149" src_o="http://payload60.cargocollective.com/1/3/111572/3519968/sectionperspective Converted_o.jpg" data-mid="18178404" border="0" align="left"/><img src="http://payload60.cargocollective.com/1/3/111572/3519968/12.8_FINALfigureground Converted-01.jpg" width="670" height="502" width_o="720" height_o="540" src_o="http://payload60.cargocollective.com/1/3/111572/3519968/12.8_FINALfigureground Converted-01_o.jpg" data-mid="18178412" border="0" align="left"/><img src="http://payload60.cargocollective.com/1/3/111572/3519968/urban_reality.jpg" width="670" height="446" width_o="810" height_o="540" src_o="http://payload60.cargocollective.com/1/3/111572/3519968/urban_reality_o.jpg" data-mid="18178392" border="0" align="left"/><img src="http://payload60.cargocollective.com/1/3/111572/3519968/10.23_utilitydiagram-01.jpg" width="670" height="502" width_o="720" height_o="540" src_o="http://payload60.cargocollective.com/1/3/111572/3519968/10.23_utilitydiagram-01_o.jpg" data-mid="18178413" border="0" align="left"/><img src="http://payload60.cargocollective.com/1/3/111572/3519968/10.25_landscapeSECTION Converted-01.jpg" width="670" height="503" width_o="720" height_o="541" src_o="http://payload60.cargocollective.com/1/3/111572/3519968/10.25_landscapeSECTION Converted-01_o.jpg" data-mid="18178399" border="0" align="left"/><img src="http://payload60.cargocollective.com/1/3/111572/3519968/citylimits2040-01.jpg" width="670" height="355" width_o="670" height_o="355" src_o="http://payload60.cargocollective.com/1/3/111572/3519968/citylimits2040-01_o.jpg" data-mid="18178557" border="0" align="left"/><img src="http://payload60.cargocollective.com/1/3/111572/3519968/citylimits-01.jpg" width="670" height="355" width_o="670" height_o="355" src_o="http://payload60.cargocollective.com/1/3/111572/3519968/citylimits-01_o.jpg" data-mid="18178559" border="0" align="left"/><img src="http://payload60.cargocollective.com/1/3/111572/3519968/10.23palmdale_space-01.jpg" width="670" height="502" width_o="720" height_o="540" src_o="http://payload60.cargocollective.com/1/3/111572/3519968/10.23palmdale_space-01_o.jpg" data-mid="18178393" border="0" align="left"/><img src="http://payload60.cargocollective.com/1/3/111572/3519968/10.23palmdale_spaceNEWCORRELATION-01.jpg" width="670" height="502" width_o="720" height_o="540" src_o="http://payload60.cargocollective.com/1/3/111572/3519968/10.23palmdale_spaceNEWCORRELATION-01_o.jpg" data-mid="18178396" border="0" align="left"/><img src="http://payload60.cargocollective.com/1/3/111572/3519968/10.23mobile home Converted-01.jpg" width="670" height="502" width_o="720" height_o="540" src_o="http://payload60.cargocollective.com/1/3/111572/3519968/10.23mobile home Converted-01_o.jpg" data-mid="18178394" border="0" align="left"/><img src="http://payload60.cargocollective.com/1/3/111572/3519968/urban_reality-01.jpg" width="670" height="502" width_o="720" height_o="540" src_o="http://payload60.cargocollective.com/1/3/111572/3519968/urban_reality-01_o.jpg" data-mid="18178391" border="0" align="left"/><img src="http://payload60.cargocollective.com/1/3/111572/3519968/11.21moteltypology Converted-01.jpg" width="670" height="502" width_o="720" height_o="540" src_o="http://payload60.cargocollective.com/1/3/111572/3519968/11.21moteltypology Converted-01_o.jpg" data-mid="18178400" border="0" align="left"/><img src="http://payload60.cargocollective.com/1/3/111572/3519968/COMBINED_PRESENTATIONpalmdale_Panorama2stitched_SMALL.jpg" width="670" height="127" width_o="1008" height_o="192" src_o="http://payload60.cargocollective.com/1/3/111572/3519968/COMBINED_PRESENTATIONpalmdale_Panorama2stitched_SMALL_o.jpg" data-mid="18178410" border="0" align="left"/> On The Edge is a motel on the infrastructural frontier of Palmdale, CA. It will interface directly with the High Speed Rail’s secondary light rail system, receive all of its energy from the mobile home park across the street and provide access to water in return. In keeping with protected viewshed legislation, it will minimize its exposure to the street by occupying an artificial berm created when the CalTrain lines were laid down and cascading down the hill on the other side. On The Edge explores the potential relationship between permanent populations using transient architecture and transient populat ions using permanent architecture and the relationships that can grow out of their adjacencies. On The Edge is an exploration of the edge condit ions and fuzzy borders of Palmdale, CA. As it becomes more expensive to service vast urban areas like Palmdale, development will condense around essential infrastructure. Through allocation, utility companies will become the planners of the future. I believe this new infrastructural frontier will be a fertile test ing ground for new types of development that take advantage of strange adjacencies. By thinking of adjacent uses as a co-generative multiplier, I am able to more closely align energy production (land use) with energy consumption. I envision a future where the edge becomes the center of future growth. Advanced Studio V, GSAPP Critic: Laurie Hawkinson and Christian Uhl Fall, 2011 On The Edge is a motel on the infrastructural frontier of Palmdale, CA. It... http://brichta.com/Where-Do-Good-Ideas-Come-From-1 http://brichta.com/following/brichta.com/Where-Do-Good-Ideas-Come-From-1 Thu, 31 May 2012 10:16:07 +0000 Benjamin Brichta, Portfolio of 3505046 Published in MAS Context Issue 13 - Ownership March, 2012 The birthplace of the paperless studio, Columbia’s Graduate School of Architecture, Planning, and Preservation is in the midst of transforming its digital identity (see: http://www.gsappcloud.tumblr.com/about). As part of this transformation, the school now requires all students to surrender a digital copy of their full body of work for archiving, packaging, and distribution in order to receive a diploma. And yet, student work frequently treads on the limits of copyright. Student’s renderings and videos have become vessels for the storage of pixelated people, background images, maps, and Grammy-winning soundtracks all freely brought in from Google, Flickr and YouTube. Concerned by the impact of these questions, Kazys Varnelis, Director of the Network Architecture Lab, decided to assemble a panel discussion on the intellectual property implications of opening up students’ work to the cloud in an event held on 5 February 2012 entitled, “How do You Break the Law?” Lebbeus Woods, the esteemed architect, artist, and theorist was first to present, recounting his experience filing suit against Universal Studios. Lebbeus claimed that the Interrogation Room in Terry Gilliam’s 12 Monkeys was copied directly and without permission from his “Neomechanical Tower (Upper) Chamber”. The suit was settled out of court after the judge issued a preliminary injunction barring distribution of the film. This was a case of David defeating Goliath. To the average consumer of intellectual property, it seems that copyright law benefits corporate interests, like Apple and the RIAA, over smalltime content creators, artists and musicians. It is in this context that Lebbeus places his own copyright battle. Of course he wants his work to be seen, used and shared but in his determination the studio’s use of his work was exploitative. This was not an artist or student appropriating words or images, but business people selling product. Perhaps it is worth noting that for all of Lebbeus’s interest in the architect as creator-genius, geniuses of the past (see Greek Temples and Palladio) tended to rely on appropriation and remix. The language of copyright law protects ownership but cannot determine the moral value of a secondary use. Judges determine that value and decide which cases are won or lost. Again and again, the night’s conversation returned to this moral issue. How is the secondary use judged? Next up was Sean Dockray, the mastermind behind The Public School (all.thepublicschool.org) and the now-shuttered site, AAAARG.org. AAAARG was at once an online forum, a school, an academic journal, digital archive, and peer-to-peer sharing service. Unlike other file sharing services that were set up to skirt copyright law or battle morally corrupt corporations, AAAARG was simply meant to facilitate the transfer of knowledge. The idea was that people who had access to academic material (like those associated with a university) would share it with those that did not (those outside universities or those in universities with smaller budgets). He began his talk by posing the question, “who has the right to start a library?” In the United States, libraries (the physical ones, with buildings and stacks) have been seen as a universal right, provided to the public with a mixture of public and private funding. As reproductive and communication technologies make possible a library that contains everything, is everywhere, and exists for everyone, the conversation about libraries is shifting away from universal rights to ownership rights and from access to piracy. Facilitated by encoded file-types, the transfer and acquisition of knowledge is not necessarily about the possession of a physical object but about a subscription to a service-based model. This turns libraries into businesses and server farms into bank vaults. So again we are left with a moral question: should access to knowledge be a universal right? If Sean was coy in his assertion that “fair use” copying is a universal right, Amy Adler, a lawyer and professor at NYU Law, was more direct. Her talk was entitled “In Praise of Copying.” Fair use, she said, is the last bastion of the first amendment before copyright takes over the process of information sharing. Adler is in the midst of a battle of her own. She is representing Richard Prince – an American painter and photographer – in perhaps the art worlds’ most closely watched copyright case. Prince appropriates others’ images in what he calls a “rephotograph,” and was sued for copyright infringement by a documentary photographer; he is now appealing. The case will come down to the judge’s interpretation of “fair use,” language that provides a small passage into the fortress of intellectual property. Was the secondary use “transformative?” Did the translation from first use to second use add value? If so, Prince was within his legal right to use the work and claim fair use. These, of course, are complicated questions to answer and demand the judge understand not only Prince’s work and his impetus to create it, but the original work and its place in our culture as well. Perversely, Prince is not making it easy on himself; when asked under oath about the meaning of his work, he maintained that it had no meaning and that he derived no meaning from the original images, either. This Warholian response, unfortunately, sank his case and now threatens his appeal. Also claimed as a defendant in the suit was Gagosian Gallery and Lawrence Gagosian, its owner. If someone here has more to lose than the artists, it is the galleries that support them. If galleries and their owners are responsible for the legal and moral implications of the work held in their possession, we could see the art world follow the same path as the music industry; namely, a loss in the value of the work of art and a movement to take the flow of goods underground. Similarly, if galleries are held accountable, universities that host libraries of student work might be as well. In many ways, Prince’s work and creative process anticipated today’s remix culture. I always begin my creative process with a quick Google image search and it seems there are flashes of understanding on the part of the federal government and those holding intellectual property that stealing is, and indeed has always been intimately intertwined with the creative process. Moreover, there are peculiar breaches in the logic of the system that hint at its flaws. For example, Girl Talk, the DJ who has made a career of mashing other peoples’ music together has yet to be prosecuted. Similarly, the music streaming service Grooveshark does not possess licenses for all of its content, making some question why it hasn’t received the wrath of the Department of Justice. Geeta Dayal, music critic and journalist, focused on technology’s roll in music creation and piracy. She began her talk at the end of the 19th century with the invention of magnetic tape – its physical properties determining how it was used and edited. She then moved on to the computer, the synthesizer, the studio, the turntable, the digital sampler, the laptop, YouTube, and mobile apps. With each step, technology enabled people’s access and provided more opportunities for creative output. For Geeta, the mp3 is the culmination of this chronology, what she calls, “illegal use in its highest form.” The mp3 has imbedded within it all the intelligence that allows its legal and illegal transference although perhaps it is surpassed by the lossless FLAC file that contains a bit perfect copy of the original. Interestingly, this intelligence has lead to a certain way of talking about its physical properties. The two clearest examples are streaming music and cloud storage. These watery phrases conjure a tap that can be turned on or off at will. Architects, by and large, are not equipped with the technical or theoretical skills required to manage collaboration (the sharing of ideas) at the scale of complexity needed to build big buildings. How do we acknowledge authorship in an age where appropriation is normal? Design ideas are now produced across industries, time zones, and software platforms. Liability, too, is now split along those lines. But who owns the idea? Where did it come from? Project delivery methods like IPD (Integrated Project Delivery) stress a non-authorial approach to collaboration but it is only suited for certain types of project, in certain places, and with certain assumed profit margins. In the future, architects might need to choose whether they protect knowledge and information or ownership of ideas. Lebbeus ended the conversation by speculating that we had reached the end of our obsession with re-mix culture. In our post-modern, post-structural, post-everything world, he said people will simply tire of re-using the barrage of images that make up our global culture and seek out novel forms of creative output. The panel disagreed. They all left the table and all but one skeptically signed Columbia’s Speaker Permission Agreement, a document that hopes “to make your presentation widely available and helpful to a broader audience” and requests “your non-exclusive and royalty-free permission.”This revolution, it appears, will not be televised. Essay by Benjamin Brichta, the Network Architecture Lab, an experimental unit at the Columbia University GSAPP directed by Kazys Varnelis Published in MAS Context Issue 13 - Ownership March, 2012 The birthplace of the paperless studio, Columbia’s Graduate School of Architecture, Planning, and... http://brichta.com/The-Crater-East-River-Ferry-Terminal http://brichta.com/following/brichta.com/The-Crater-East-River-Ferry-Terminal Thu, 31 May 2012 09:15:09 +0000 Benjamin Brichta, Portfolio of 3504642 Advanced Studio VI, GSAPP Critic: Jurgen Mayer, Marc Kushner, and Benjamin Porto Spring, 2012 <img src="http://payload60.cargocollective.com/1/3/111572/3504642/ebb2129Finalsmall_Page_01.jpg" width="670" height="502" width_o="1500" height_o="1125" src_o="http://payload60.cargocollective.com/1/3/111572/3504642/ebb2129Finalsmall_Page_01_o.jpg" data-mid="18091624" border="0" align="left"/><img src="http://payload60.cargocollective.com/1/3/111572/3504642/ebb2129Finalsmall_Page_02.jpg" width="670" height="502" width_o="1500" height_o="1125" src_o="http://payload60.cargocollective.com/1/3/111572/3504642/ebb2129Finalsmall_Page_02_o.jpg" data-mid="18091626" border="0" align="left"/><img src="http://payload60.cargocollective.com/1/3/111572/3504642/ebb2129Finalsmall_Page_03.jpg" width="670" height="502" width_o="1500" height_o="1125" src_o="http://payload60.cargocollective.com/1/3/111572/3504642/ebb2129Finalsmall_Page_03_o.jpg" data-mid="18091627" border="0" align="left"/><img src="http://payload60.cargocollective.com/1/3/111572/3504642/ebb2129Finalsmall_Page_05.jpg" width="670" height="502" width_o="1500" height_o="1125" src_o="http://payload60.cargocollective.com/1/3/111572/3504642/ebb2129Finalsmall_Page_05_o.jpg" data-mid="18091633" border="0" align="left"/><img src="http://payload60.cargocollective.com/1/3/111572/3504642/ebb2129Finalsmall_Page_06.jpg" width="670" height="502" width_o="1500" height_o="1125" src_o="http://payload60.cargocollective.com/1/3/111572/3504642/ebb2129Finalsmall_Page_06_o.jpg" data-mid="18091636" border="0" align="left"/><img src="http://payload60.cargocollective.com/1/3/111572/3504642/ebb2129Finalsmall_Page_07.jpg" width="670" height="502" width_o="1500" height_o="1125" src_o="http://payload60.cargocollective.com/1/3/111572/3504642/ebb2129Finalsmall_Page_07_o.jpg" data-mid="18091639" border="0" align="left"/><img src="http://payload60.cargocollective.com/1/3/111572/3504642/ebb2129Finalsmall_Page_08.jpg" width="670" height="502" width_o="1500" height_o="1125" src_o="http://payload60.cargocollective.com/1/3/111572/3504642/ebb2129Finalsmall_Page_08_o.jpg" data-mid="18091640" border="0" align="left"/><img src="http://payload60.cargocollective.com/1/3/111572/3504642/ebb2129Finalsmall_Page_09.jpg" width="670" height="502" width_o="1500" height_o="1125" src_o="http://payload60.cargocollective.com/1/3/111572/3504642/ebb2129Finalsmall_Page_09_o.jpg" data-mid="18091643" border="0" align="left"/><img src="http://payload60.cargocollective.com/1/3/111572/3504642/ebb2129Finalsmall_Page_10.jpg" width="670" height="502" width_o="1500" height_o="1125" src_o="http://payload60.cargocollective.com/1/3/111572/3504642/ebb2129Finalsmall_Page_10_o.jpg" data-mid="18091644" border="0" align="left"/><img src="http://payload60.cargocollective.com/1/3/111572/3504642/ebb2129Finalsmall_Page_11.jpg" width="670" height="502" width_o="1500" height_o="1125" src_o="http://payload60.cargocollective.com/1/3/111572/3504642/ebb2129Finalsmall_Page_11_o.jpg" data-mid="18091646" border="0" align="left"/><img src="http://payload60.cargocollective.com/1/3/111572/3504642/ebb2129Finalsmall_Page_12.jpg" width="670" height="502" width_o="1500" height_o="1125" src_o="http://payload60.cargocollective.com/1/3/111572/3504642/ebb2129Finalsmall_Page_12_o.jpg" data-mid="18091649" border="0" align="left"/><img src="http://payload60.cargocollective.com/1/3/111572/3504642/ebb2129Finalsmall_Page_13.jpg" width="670" height="502" width_o="1500" height_o="1125" src_o="http://payload60.cargocollective.com/1/3/111572/3504642/ebb2129Finalsmall_Page_13_o.jpg" data-mid="18091650" border="0" align="left"/><img src="http://payload60.cargocollective.com/1/3/111572/3504642/ebb2129Finalsmall_Page_14.jpg" width="670" height="502" width_o="1500" height_o="1125" src_o="http://payload60.cargocollective.com/1/3/111572/3504642/ebb2129Finalsmall_Page_14_o.jpg" data-mid="18091652" border="0" align="left"/><img src="http://payload60.cargocollective.com/1/3/111572/3504642/ebb2129Finalsmall_Page_15.jpg" width="670" height="502" width_o="1500" height_o="1125" src_o="http://payload60.cargocollective.com/1/3/111572/3504642/ebb2129Finalsmall_Page_15_o.jpg" data-mid="18091656" border="0" align="left"/><img src="http://payload60.cargocollective.com/1/3/111572/3504642/ebb2129Finalsmall_Page_21.jpg" width="670" height="502" width_o="1500" height_o="1125" src_o="http://payload60.cargocollective.com/1/3/111572/3504642/ebb2129Finalsmall_Page_21_o.jpg" data-mid="18091672" border="0" align="left"/><img src="http://payload60.cargocollective.com/1/3/111572/3504642/ebb2129Finalsmall_Page_22.jpg" width="670" height="502" width_o="1500" height_o="1125" src_o="http://payload60.cargocollective.com/1/3/111572/3504642/ebb2129Finalsmall_Page_22_o.jpg" data-mid="18091673" border="0" align="left"/> The Crater is an underground ferry terminal and transit hub on the Lower East Side. It occupies a new space in the city - the space between Subway and ferry, ground and river, public and private. The Crater explores ways in which Privately Owned Public Spaces can play a larger role in the planning, financing and implementation of large urban infrastructure projects. For this Privately Owned Public Space, I wanted to integrate the density and storefront culture of The Lower East Side into a piece of urban infrastructure. I wanted to more fully integrate commercial activity with the infrastructural city. By extending the existing subway platform across the site, I link the subway to the new East River Canal and terminal. This extended platform serves multiple transit modes, performs as a public space and creates income for the city and adjacent building owners. This studio was part of a research initiative called Experiments in Motion conducted by the Columbia University Graduate School of Architecture, Planning and Preservation in partnership with Audi of America. The goal was to to speculate on our collective urban future and test new paradigms in the relationship between motion, mobility and design. Advanced Studio VI, GSAPP Critic: Jurgen Mayer, Marc Kushner, and Benjamin Porto Spring, 2012 The Crater is an underground ferry terminal and transit hub on... http://brichta.com/What-is-Foreclosed http://brichta.com/following/brichta.com/What-is-Foreclosed Thu, 31 May 2012 09:03:13 +0000 Benjamin Brichta, Portfolio of 3504575 From The Temple Hoyne Buell Center for American Architecture website: “What Is Foreclosed?” marks the opening of Foreclosed: Rehousing the American Dream, an exhibit ion co-organized by the Museum of Modern Art and the Temple Hoyne Buell Center for the Study of American Architecture on view from 15 February to 30 July 2012 at the Museum of Modern Art. The exhibit ion features innovat ive architectural projects for f ive American suburbs in the context of the recent foreclosure crisis. The forum will use these projects as a point of departure to explore issues engaged by architecture and urbanism when considered in a cultural, pol it ical, and economic context.” Curated and presented by The Temple Hoyne Buell Center for American Architecture Designed and installed by GSAPP Exhibitions <img src="http://payload60.cargocollective.com/1/3/111572/3504575/_MG_7452_DiVito.jpg" width="670" height="1004" width_o="899" height_o="1348" src_o="http://payload60.cargocollective.com/1/3/111572/3504575/_MG_7452_DiVito_o.jpg" data-mid="18091269" border="0" align="left"/><img src="http://payload60.cargocollective.com/1/3/111572/3504575/_MG_7566_DiVito.jpg" width="670" height="446" width_o="1348" height_o="899" src_o="http://payload60.cargocollective.com/1/3/111572/3504575/_MG_7566_DiVito_o.jpg" data-mid="18091270" border="0" align="left"/><img src="http://payload60.cargocollective.com/1/3/111572/3504575/_MG_7858_DiVito.jpg" width="670" height="1004" width_o="899" height_o="1348" src_o="http://payload60.cargocollective.com/1/3/111572/3504575/_MG_7858_DiVito_o.jpg" data-mid="18091272" border="0" align="left"/> From The Temple Hoyne Buell Center for American Architecture website: “What Is Foreclosed?” marks the opening of Foreclosed: Rehousing the American Dream, an... http://brichta.com/Public-Matters-New-York-Architecture-after-9-11 http://brichta.com/following/brichta.com/Public-Matters-New-York-Architecture-after-9-11 Sat, 10 Sep 2011 17:46:24 +0000 Benjamin Brichta, Portfolio of 1984723 From The Temple Hoyne Buell Center for American Architecture website: "The refrain “Everything has changed” echoed throughout public life in the wake of September 11, 2001. International attention focused on the symbolic architectural response at Ground Zero, which became the center of a wide-raging public discussion that affected architecture in New York more broadly during the ensuing decade. By displaying excerpts from procedures such as design review, civic forums, and marketing alongside the photographic portraits of eleven representative architectural projects around a forty-eight foot long communal table in Columbia University’s Avery Hall café, Public Matters: New York Architecture after 9/11 invites audiences to reconsider architecture’s role as a matter of public concern during a period of dramatic historical change. The exhibition is introduced by a selection of materials documenting the public discussions surrounding the Ground Zero site assembled by Columbia’s Center on Organizational Innovation." Curated and presented by The Temple Hoyne Buell Center for American Architecture Designed and installed by GSAPP Exhibitions <img src="http://payload.cargocollective.com/1/3/111572/1984723/PublicMatters_JamesEwing-2735.jpg" width="670" height="444" width_o="1348" height_o="895" src_o="http://payload.cargocollective.com/1/3/111572/1984723/PublicMatters_JamesEwing-2735_o.jpg" data-mid="18091005" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/111572/1984723/PublicMatters_JamesEwing-2705.jpg" width="670" height="446" width_o="1348" height_o="899" src_o="http://payload.cargocollective.com/1/3/111572/1984723/PublicMatters_JamesEwing-2705_o.jpg" data-mid="18091003" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/111572/1984723/PublicMatters_JamesEwing-2687.jpg" width="670" height="446" width_o="1348" height_o="899" src_o="http://payload.cargocollective.com/1/3/111572/1984723/PublicMatters_JamesEwing-2687_o.jpg" data-mid="18091001" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/111572/1984723/PublicMatters_JamesEwing-2668.jpg" width="670" height="446" width_o="1348" height_o="899" src_o="http://payload.cargocollective.com/1/3/111572/1984723/PublicMatters_JamesEwing-2668_o.jpg" data-mid="18090998" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/111572/1984723/PublicMatters_JamesEwing-2629.jpg" width="670" height="1004" width_o="899" height_o="1348" src_o="http://payload.cargocollective.com/1/3/111572/1984723/PublicMatters_JamesEwing-2629_o.jpg" data-mid="18090995" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/111572/1984723/photo (6).JPG" width="480" height="640" width_o="480" height_o="640" src_o="http://payload.cargocollective.com/1/3/111572/1984723/photo (6)_o.JPG" data-mid="9855438" border="0" align="left"/> Photographs by James Ewing From The Temple Hoyne Buell Center for American Architecture website: "The refrain “Everything has changed” echoed throughout public life in the wake of... http://brichta.com/Kitchen-Competition http://brichta.com/following/brichta.com/Kitchen-Competition Sun, 14 Aug 2011 14:01:21 +0000 Benjamin Brichta, Portfolio of 1861058 Done in collaboration with Gary Paul Renderings by Kitchens.com This project was submitted as part of Kitchens.com's Big & Bold Dream Kitchen Sweepstakes. The kitchen combines the two rear units of a standard New York City brownstone to create an open and chef-friendly kitchen and entertaining space. There are no upper cabinets in order to maximize the number of windows but cleverly hidden storage space abounds. The kitchen is meant to feel like an open glass pavilion, punctuated by two large pantries on the sides and anchored by a thick tiled wall at the rear. <img src="http://payload.cargocollective.com/1/3/111572/1861058/City-Kitchen-1-950.jpg" width="670" height="377" width_o="670" height_o="377" src_o="http://payload.cargocollective.com/1/3/111572/1861058/City-Kitchen-1-950_o.jpg" data-mid="9202804" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/111572/1861058/City-Kitchen-4-950.jpg" width="670" height="377" width_o="670" height_o="377" src_o="http://payload.cargocollective.com/1/3/111572/1861058/City-Kitchen-4-950_o.jpg" data-mid="9202809" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/111572/1861058/City-Kitchen-2-950.jpg" width="670" height="377" width_o="670" height_o="377" src_o="http://payload.cargocollective.com/1/3/111572/1861058/City-Kitchen-2-950_o.jpg" data-mid="9202807" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/111572/1861058/City-Kitchen-3-950.jpg" width="670" height="377" width_o="670" height_o="377" src_o="http://payload.cargocollective.com/1/3/111572/1861058/City-Kitchen-3-950_o.jpg" data-mid="9202803" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/3/111572/1861058/gpidcPLAN.jpg" width="670" height="446" width_o="670" height_o="446" src_o="http://payload.cargocollective.com/1/3/111572/1861058/gpidcPLAN_o.jpg" data-mid="9203192" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/3/111572/1861058/gpidcELEVATIONS.jpg" width="670" height="411" width_o="670" height_o="411" src_o="http://payload.cargocollective.com/1/3/111572/1861058/gpidcELEVATIONS_o.jpg" data-mid="9203191" border="0" align="left"/> Done in collaboration with Gary Paul Renderings by Kitchens.com This project was submitted as part of Kitchens.com's Big & Bold Dream Kitchen Sweepstakes. The... http://brichta.com/Formworks http://brichta.com/following/brichta.com/Formworks Mon, 13 Jun 2011 07:11:56 +0000 Benjamin Brichta, Portfolio of 1583359 Visual Studies Elective, GSAPP Critic: Josh Draper Spring, 2011 In collaboration with Fiona Booth and Bryce Suite <img src="http://payload.cargocollective.com/1/3/111572/1583359/ebb36_tetra2.gif" width="670" height="373" width_o="670" height_o="373" src_o="http://payload.cargocollective.com/1/3/111572/1583359/ebb36_tetra2_o.gif" data-mid="9032393" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/111572/1583359/36_combinationgeometry-04-02.png" width="670" height="304" width_o="800" height_o="364" src_o="http://payload.cargocollective.com/1/3/111572/1583359/36_combinationgeometry-04-02_o.png" data-mid="9032199" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/111572/1583359/final_brick_details-01.jpg" width="670" height="433" width_o="1024" height_o="663" src_o="http://payload.cargocollective.com/1/3/111572/1583359/final_brick_details-01_o.jpg" data-mid="7770401" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/111572/1583359/IMG_7692.jpg" width="670" height="502" width_o="1024" height_o="768" src_o="http://payload.cargocollective.com/1/3/111572/1583359/IMG_7692_o.jpg" data-mid="7770411" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/111572/1583359/IMG_7693.jpg" width="670" height="502" width_o="1024" height_o="768" src_o="http://payload.cargocollective.com/1/3/111572/1583359/IMG_7693_o.jpg" data-mid="7770415" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/111572/1583359/a4partmold-01.jpg" width="670" height="483" width_o="670" height_o="483" src_o="http://payload.cargocollective.com/1/3/111572/1583359/a4partmold-01_o.jpg" data-mid="7770394" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/111572/1583359/IMG_7686.jpg" width="670" height="502" width_o="1024" height_o="768" src_o="http://payload.cargocollective.com/1/3/111572/1583359/IMG_7686_o.jpg" data-mid="7770409" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/111572/1583359/IMG_7667.jpg" width="670" height="503" width_o="670" height_o="503" src_o="http://payload.cargocollective.com/1/3/111572/1583359/IMG_7667_o.jpg" data-mid="8085313" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/111572/1583359/ebb36_iterativeforms.gif" width="670" height="400" width_o="670" height_o="400" src_o="http://payload.cargocollective.com/1/3/111572/1583359/ebb36_iterativeforms_o.gif" data-mid="9032412" border="0" align="left"/> We set out to design a diaphanous retaining wall made of stacked concrete blocks. Its main purpose is to strengthen and hold back the artificially loose soil on Malawi Academy’s campus. Our challenge was to design and fabricate volumes that consisted of as much solid as void - allowing light through while also providing the soil with surface area and structure. rockite from Ben Brichta on Vimeo. Visual Studies Elective, GSAPP Critic: Josh Draper Spring, 2011 In collaboration with Fiona Booth and Bryce Suite We set out to design a diaphanous... http://brichta.com/GPIDC-Business-Cards http://brichta.com/following/brichta.com/GPIDC-Business-Cards Sun, 12 Jun 2011 15:42:28 +0000 Benjamin Brichta, Portfolio of 1581465 Graphic Design Project <img src="http://payload.cargocollective.com/1/3/111572/1581465/2011_6.12_CARD.jpg" width="670" height="813" width_o="2048" height_o="2485" src_o="http://payload.cargocollective.com/1/3/111572/1581465/2011_6.12_CARD_o.jpg" data-mid="7973699" border="0" align="left"/> I was tasked with designing a business card for GPIDC - a boutique architecture and interior design firm in Manhattan. San-serif fonts give the cards a cleaner, more playful presence while the layout and proportions suggest the more traditional tastes of the client. Graphic Design Project I was tasked with designing a business card for GPIDC - a boutique architecture and interior design firm in Manhattan. San-serif fonts... http://brichta.com/The-Social-Cave-Salone-del-Mobile http://brichta.com/following/brichta.com/The-Social-Cave-Salone-del-Mobile Wed, 25 May 2011 23:17:19 +0000 Benjamin Brichta, Portfolio of 1444451 Visual Studies Elective, GSAPP Critic: Caterina Tiazzoldi Spring, 2011 <img src="http://payload.cargocollective.com/1/3/111572/1444451/milan_combo.jpg" width="670" height="228" width_o="670" height_o="228" src_o="http://payload.cargocollective.com/1/3/111572/1444451/milan_combo_o.jpg" data-mid="7039506" border="0" align="left"/>Rendering / Plan <img src="http://payload.cargocollective.com/1/3/111572/1444451/milan_con1.JPG" width="670" height="503" width_o="670" height_o="503" src_o="http://payload.cargocollective.com/1/3/111572/1444451/milan_con1_o.JPG" data-mid="7039736" border="0" align="left"/>Construction <img src="http://payload.cargocollective.com/1/3/111572/1444451/milan_con2.JPG" width="670" height="503" width_o="670" height_o="503" src_o="http://payload.cargocollective.com/1/3/111572/1444451/milan_con2_o.JPG" data-mid="7039739" border="0" align="left"/>Construction <img src="http://payload.cargocollective.com/1/3/111572/1444451/milan_ext1.jpg" width="670" height="446" width_o="688" height_o="459" src_o="http://payload.cargocollective.com/1/3/111572/1444451/milan_ext1_o.jpg" data-mid="7039740" border="0" align="left"/>Image by Alberto Ferrero <img src="http://payload.cargocollective.com/1/3/111572/1444451/milan_ext2.jpg" width="625" height="418" width_o="625" height_o="418" src_o="http://payload.cargocollective.com/1/3/111572/1444451/milan_ext2_o.jpg" data-mid="7039743" border="0" align="left"/>Image by Alberto Ferrero <img src="http://payload.cargocollective.com/1/3/111572/1444451/milan_ext3.jpg" width="604" height="404" width_o="604" height_o="404" src_o="http://payload.cargocollective.com/1/3/111572/1444451/milan_ext3_o.jpg" data-mid="7039745" border="0" align="left"/>Image by Alberto Ferrero <img src="http://payload.cargocollective.com/1/3/111572/1444451/milan_int1.jpg" width="670" height="446" width_o="670" height_o="446" src_o="http://payload.cargocollective.com/1/3/111572/1444451/milan_int1_o.jpg" data-mid="7039747" border="0" align="left"/>Image by Alberto Ferrero <img src="http://payload.cargocollective.com/1/3/111572/1444451/milan_int2.jpg" width="652" height="435" width_o="652" height_o="435" src_o="http://payload.cargocollective.com/1/3/111572/1444451/milan_int2_o.jpg" data-mid="7039749" border="0" align="left"/>Image by Alberto Ferrero <img src="http://payload.cargocollective.com/1/3/111572/1444451/thumb.jpg" width="670" height="503" width_o="670" height_o="503" src_o="http://payload.cargocollective.com/1/3/111572/1444451/thumb_o.jpg" data-mid="7039512" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/3/111572/1444451/milan_grasshopper.jpg" width="670" height="381" width_o="670" height_o="381" src_o="http://payload.cargocollective.com/1/3/111572/1444451/milan_grasshopper_o.jpg" data-mid="7045482" border="0" align="left"/> The Social Cave - Milano Furniture Fair 50 + 50 - Temporary Installation / April 12th – 17th 2011 from Vito Custodero on Vimeo. This project was published in Domus, Arbitare, and Frame, among other websites and design blogs. http://www.domusweb.it/it/news/salonesatellite-the-social-cave/ http://www.abitare.it/en/salone-live-by-26/the-social-cave-2/ http://framemag.com/news/1954/Milan-Preview-%2310%3A--Social-Cave-by-Columbia-University-Students.html http://framemag.com/video/2024/Social-Cave-by-Columbia-University-Students.html I served as Team Leader for this Visual Studies class, coordinating between the professor, students, fair organizers, the press and the material sponsors. GSAPP sent a small group of students including myself to Milan to oversee construction. We had six weeks to design a new type of socialization; a small interactive installation for the Milan Furniture Fair’s Salone del Mobile that would be crossed by hundreds of thousands of people, most of whom do not know each other. We proposed a Social Cave, a typology that brings us back to the beginnings of our civilization. The Cave is meant to excite the user with the power and speed of virtual connectivity, but also to calm with its materiality and form, a parametric aggregation of 100% recycled and 100% recyclable foam cubes. Visual Studies Elective, GSAPP Critic: Caterina Tiazzoldi Spring, 2011 Rendering / Plan Construction Construction Image by Alberto Ferrero Image by Alberto...