BENJAMIN BAILEY

ARCHITECTURE PORTFOLIO

Benjamin Bailey

Georgia Intistute of TechnologyB.S. Architecture

Email: benjamin.n.bailey@gmail.comPhone Number: 404-936-8639

“Your best work is your expression of yourself. Now, you may not be the greatest at it, but when you do it, you're the only expert. “

Frank Gehry

CONTENTSProjects: Media Arts Center 03

Farmers Market 09

Rhichter Art Gallery 15

Renderings: Barcelona Pavillion 19

Rosa Parks Transit Center 20 Hand Drawings: Drafting 21

Charoal and Freehand 23

02

‘JOINING FRAME’Arts and Media CenterEmory University, Oxford, GAJunior Studio | Fall 2013Instuctor: Katie JohnsonProject Length: 10 Weeks

03

My site visist to the Emory University Campus revealed the love and joy they find in preserving the beauty of their campus with the life of nature surrounding their students. From the central campus quad filed with trees to the nature preserve forest behind the site, it was clear that Emory University has a strong love for nature.

My site for the new Arts and Media Center was located right in between the beautiful quad and nature preserve. My main focus coming into the project was to try and bring those two elements together, instead of seperate them, with my design. My first task was the design of a machine for the site. I mapped out the tree grid of the campus quad and, with string, connected each tree to all the trees located in the nature preserve behind the site. This created a web of lines through the site, creating a spreading effect from each tree back to the forest.

I maintained this spreading effect and the theme of moving from the quad to the forest in my design. The building widens as you progress closer to the forest and all circulation is in the direction of East or West. Large window bays are also located on the forest side to reinforce the connection of quad to forest as students circulate the building.

04

My first machine was an experimentation of what could happen by connecting the few trees from the Emory quad to the trees in the forest behind. I took each individual tree from the quad and used string to form a connection to the forest behind the site. Once this test was accomplished, I made a second machine focused down to the site. I added clear frames to the web to create forms to the otherwise flat surface. These frames created planes out of the string above and below wherever they were inserted.

05

Section A-A: 1/32” = 1’-0”

06

Section B-B: 1/32” = 1’-0”

06

Basement Floor Plan: 1/32” = 1’-0”

2

B

B

A A

1. Auditorium Lobby2. Auditorium3. Screening Room4. Digital arts Studio5. Analog Arts Studio6. Lockers/Student lounge7. Pin-up space8. Service Area9. Main Lobby10. Reception Desk11. Main Gallery12. Student Gallery13. Gallery Prep and Storage14. Cafe15. Indoor Seating16. Outdoor Seating17. Library18. Librarian Desk19. Classroom20. Maintenance Closet21. Breakout Space22. Breakout Room23. Men’s Restroom24. Women’s Restroom25. Administration Lobby26. Office27. Unisex Restroom28. Kitchen29. Supply Room

Ground Floor Plan: 1/32” = 1’-0”

A

07

123 24

3

3

86

7

7

5

4

B

A

6

15

14

16

13

11

12

10

9

B

08

2nd Floor Plan: 1/32” = 1’-0” 3rd Floor Plan: 1/32” = 1’-0”

21

19

19

19

23 24

21

20

17

18

21 21

22

22

22

22

22

22

21

26

26

26

26

30

2827

25

10

29

B

B

AA AA

B

B

‘AGGREGATING MULTITUDE’Farmers MarketNorth Avenue, Atlanta, GASophomore Studio | Spring 2013Instuctor: Lauren HickmanProject Length: 16 Weeks

09

The Spring semester of my second year was focused on the study of aggregation. Specifically for me this meant “herding.” I narrowed the study down to focus soley on the herding of sheep and their rules for aggreagation.

The semester began with research of herds. Pictures of herds were studied and information obtained as to how they act in their group environ-ments. The main instances found in the herds were convergence, divergence, and directional movement.

I used these three factors, as well as other obtained information to greatly influence the design of my farmers market. The daylighting system is taken completely from these three factors, as well as the compactness of the inner herd and the spreading out of the outer heard. The daylight modules are more compacted the further away from the walls and more spread out close to the walls of the farmers market.

Circulation inside the market is also taken from the behavior of the heard. the booths for the merchants are designed to be convergence points and a representation of the inner heard, while the circulation paths around the booths are considered divergent and directional behaviors and are mimicing the behavior of the outer herd.

CONVERGENCE: The animals all face the same point and

come together, seeking the center of the group. This makes for a very

compacted section of the herd.

LEG FORMATION:The animals begin to seperate at the edge of the herd,

resulting in a break in the herd. This

begins to split the herd.

DIVERGENCE:The animals are all facing away from

eachother, heading into different center points. This leaves a gap in the middle of the herd formation.

DIRECTION:All the animals are

facing the same direction, heading

one way. They move as a compact unit and are guided by eachother. This is

usually seen in herd movement.

Convergence

Divergence

Direction

Leg Formation

SECURE GRAZING:The animals are all

compacted together in a group, making

for a much more secure grazing

environment where the animals feel

protected by their surrounding friends.

UNSECURE GRAZING:The animals are all spread out and not

connected to eacho-ther. They are prone to

predator attack and not secured by their

friends. They might as well be miles away

from the herd.

Secure Grazing

Unsecure Grazing

Final Grazing Stage

Beginning Grazing Stage

10

11

Convergence: In from all directions.

Divergence: Out from all directions.

Direction:Toward one direction.

1. Create a Structural Unit Connect Structural units to create a void in the center

100% 110% 120% 130%

2.

3. Modules and their Connections

Face-to-Face Connection(1)

(2) Corner-to-Face Connection

(3) Half Face-to-Face Connection

4. Connect the voided areas together with modules in a dome shape

Roof System(Herd)

Void(Obstacle)

Structural Unit

(1)

(1)

(2)(2)

(3)

(3)

12

13

Connect the voided areas together with modules in a dome shape

East Elevation: 1/32” = 1’-0”

West Elevation: 1/32” = 1’-0”

South Elevation: 1/32” = 1’-0”

North Elevation: 1/32” = 1’-0”

UP

UP

North Avenue NE

Central Park Place NE

Nut

ting

Stre

et N

E

Linden Avenue NE

PARKING

DELIVERY

CAFE

SPECIALTY

ENTRY

ENTRY

DELIVERY/TEMPORARY FARMERS

N

PLAN1/64” = 1’-0” 14

‘PIERCING LIGHT’Gerhard Richter GalleryAtlanta, GAJunior Studio | Fall 2013Instuctor: Katie JohnsonProject Length: 6 Weeks

The purpose of this project was to create a gallery for five of Gerhard Richter’s more famous works, that were currently being held on exhibit at the High Museum of Art in Atlanta Georgia. The works were two sculptures and 3 paintings.

I began the process rather abstractly, I created ink drawings with a stick that had many branching twigs forming it. This created very interesting ink drawings that I then began to model and then focused on one of those to continue onto the design process with.

My study models reacted very well to light interactions which lead to the idea of the creation of tubes of light percing through the Richter gallery. These tubes would allow me to decide where light left it to enter the building. They would be solid where I did not want light and allow light to glow through where light was needed.

The first building model I made was completely made up of the tubes. Once this was built, I mapped the tubes and extended their faces to create the floor plan for the gallery. The gallery somewhat reveals its interior secret with three tubes supporting un upper garden and piercing the court-yard at the entrance of the gallery.

15

16

17

3rd Floor Plan: 1/16” = 1’-0”

Ground Floor Plan: 1/16” = 1’-0” 18

2nd Floor Plan: 1/16” = 1’-0”

RENDERINGS

Barcelona

Pavilion

19

Rosa

Parks

Transit

Center

20

RENDERINGS

Drafting

21

HAND

DRAWINGS

22

HAND

DRAWINGS

Charcoal

and

Freehand

23

24

25

26