James Ba ile y Collection of work
Brea d Market BArch Final degree project January-May 2012
The bread market is a response to the loss of local food production in our towns and cities. Combining the industrial processes of a flour mill and bakery with the civic functions of a market place and dining hall, the scheme includes all of the elements of bread production and consumption and combines them in one public building.
Making bread combines the modest individual elements of flour, water and yeast, that together make a greater, tastier whole. The idea of combining materials to create an atmosphere can be applied to architecture, and was an inspiration for this project.
INITIAL SECTION THROUGH BAKERY AND MILL
The site is in Salisbury, a city which has drifted unconsciously into a ‘sleepwalking’ state; much of the character and vibrancy of the high streets lost to chains and franchises, and its local bakers, butchers and grocers replaced by giant supermarkets.
The project confronts the problem
directly, situated on the pedestrian route between the market square and the Sainsbury’s store, with a display of milling, baking, selling and eating, sending the smell of fresh bread into the streets.
SITE SKETCH
TEACHING KITCHENS PUBLIC SPACE
MARKET STALLS
KITCHEN
FLOUR MILL
DELIVERY YARD
River Avon
Market Wheat Field
Dining Hall
Old Flour Mill
Bakery
River Avon
Delivery to Mill
GROUND FLOOR PLAN 1:500
N
East Elevation 1:200
EAST WATERFRONT ELEVATION 1:200
Zinc roof
Timber cladding and structure [Academic use only]
TYPICAL DETAIL OF ROOF BUILD-UP AND SKYLIGHT
Teaching kitchens
Flour mill
The ground floor is built entirely in brick, creating a plinth which extends beyond the building to blur the threshold between inside and outside, public and process. The building is ordered on the module of a brick, giving an importance to the small individual unit within the larger scheme. On top of the brick plinth sit the oak tables and work surfaces, and a regular grid of Douglas fir cruciform columns which are the structure for the roof. A net of stainless steel struts and ties between the steel flitch plates at the top of the columns brace the structure, and give a
Bakery and market
‘machine’ tectonic which relates to the milling equipment, but contrasts with the warmth of the brick and timber below. The standing seam zinc roof is elevated slightly above the columns, giving the sense of a floating, folding
EXPLODED ISOMETRIC OF BUILDING LAYERS
plane which protects and connects the entire project.
BAKERY AND MARKET STALLS FROM NORTH ENTRANCE
Sculpture Gallery BArch Team Project - Architecture + Civil Engineering October - December 2011
The brief for the project was to design a gallery for the figurative sculptor Elizabeth Frink. The given location was the Rootstein Hopkins Parade Ground - the central courtyard of the Chelsea College of Art and Design where Frink was a student - adjacent to the Tate Britain.
The gallery takes the form of a figure set within a landscape inspired by the sculpture of Elizabeth Frink - as a monument to the artist and a physical marker in the urban sprawl of London. The primitive nature of the artist’s work led us to a simple building form, joining two contrasting elements, which represented the two functions of the gallery as both monument and instrument.
The vertical tower is a monumental container for the artist’s work, with conservation galleries to protect the art.
The horizontal
element contains the flexible gallery spaces and supporting programme, including cafe, teaching spaces and offices, which connects the monumental building with the city. CONCEPT MODEL
Rootstein Hopkins Parade Ground
Chelsea College of Art
River Thames
Millbank
Tate Britain
The artist’s work is intended to be displayed in nature, and therefore should be discovered in a dynamic environment. A vertical circulation strategy in the tower allows the permanent items from the collection to be approached and viewed from different perspectives, whilst the horizontal galleries, interspersed with small gardens, are more flexible and allow the temporary exhibition to be easily changed.
The two elements of the gallery have different tectonic characteristics, depending on both the symbolic importance and environmental requirements.
The stacked Portland stone tower, containing the galleries for the Frink collection, stands for strength, permanence and durability as a monument to the artist. In contrast, the light-weight, hanging timber facade of the horizontal building represents delicacy and impermanence, suggesting the changeable galleries within. The two parts of the scheme are tied together by the stainless steel ribbons wrapping both elements of the facade, which act as lintels to support the Portland stone and as a framework on which the timber louvers are hung.
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Music S cho ol BArch Berlin study trip + design project November 2010 - January 2011
This project for a music academy is situated by the Nordbahnhof station in Berlin, an area which was once divided by the Berlin wall. The site is located next to the memorial Mauerpark, exactly where the wall passed by the underground station. It is still characterised by a feeling of separation due to the gap in the urban fabric left behind after the destruction of the wall, and the confusion of how to deal with the land.
The project has a mixed programme of performance and tuition spaces, and makes connections between people by bringing together the students and the public. The scheme respects the memory of the wall by completing the corner of the mauerpark, but at the same time integrates this landscape with the surrounding buildings. The school makes a transition from urban block to walled music garden, with the public performance spaces cradled in between.
AM KUPFERGRABEN 10, BERLIN - CHIPPERFIELD
rk er pa
r p ar k
M au
M au e
Tra m
Recording Studios
Classrooms
st a
tio
n
Auditorium
Auditorium
Music Garden
URBAN CONNECTION
PLAN
SECTION - PERFORMANCE SPACES
CIRCULATION
UNDERGROUND AUDITORIUM
VIEW FROM MAUERPARK
VIEW FROM TRAM STATION
VIEW OF MUSIC GARDEN
Herzog & De Meuron Professional Experience Trainee (September 2012 - August 2013) Architectural Assistant (September 2013 - Present)
Projects (Confidential) Private House, Mexico 6 months Design development & construction drawing phases Feltrinelli, Milan 6 months Construction drawing phase
(Confidential) Museum, Germany 8 months (ongoing) Concept, schematic design & design development phases
SPANISH WALL 1556
CASSELLI DAZIARI 1880
GEOMETRY
MASTERPLAN
SECTION THROUGH FOUNDATION BUILDING AND PARK
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5m
10m
15m
20m
0m
5m
10m
15m
20m
During my time working at Herzog and De Meuron I have been fortunate to work on a number of projects, with different scales and programmes. I have had a good overview of each project, and I have had varied tasks and responsibilities during all phases from concept design to construction.
The project shown on these pages is an office and foundation building for the Feltrinelli publishing company in Milan. The site is in the Potra Volta area, at the location of the gate in the old Spanish R
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walls of Milan. The long, slender buildings, inspired by scale,
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structure and repetition of historic Milanese architecture, trace the
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line of the historic wall and imply a new gateway into the centre of IS
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the city.
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My main role in the project was to help prepare an exhibition in
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Milan revealing the historical importance of the site, and the
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in the construction drawing phase, and I also supported this process with detailed design studies and construction details for facade
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elements, which were tested at real scale in the mock-up.
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STUDY OF SUNSHADE GEOMETRY GEOMETRY SUNSHADE IS
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relevance of the design to the city. During this time the project was
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INCLINED SUNSHADE
SPAZIO FMG EXHIBITION IN MILAN
S t u d i o i n t h e Wo o d s Isle of Wight Architecture Centre Summer Workshop June 2010
The intention of the Studio in the Woods workshop
The explorations of our team ranged across the
was to promote the exchange of architectural
landscape leading to our choice to create a ‘place
knowledge and skills through experimentation, in
of solitude’, where foreground and middle ground
teams including students and tutors. We could use
recede, celebrating the liberating experience of the
only the timber from trees on the site, some simple
open landscape. A horizontal walkway set a line and
tools, and our own hands.
This experience of
level, taking you out above the grass as the hill falls
designing and building a project at 1:1 was one of the
away, to an end where you can hang your legs and
most defining in my architectural education. It made
the structure supporting you can no longer be seen,
a direct connection between the processes of thinking
so that you seem to be hovering in space with all at a
and making.
distance.
James Ba ile y jamesmbailey89@gmail.com +41788836807 (Primar y) +447968605976