Artemis Kalogeropoulou | Academic Portfolio May 2023

ACADEMIC WORK 2021 . 2023

PORTFOLIO

A SUMMARIZATION OF A SELECTION OF PROJECTS FROM THE THIRD TO FIFTH YEAR OF STUDYING AT THE SCHOOL OF ARCHITECTURE OF THE NATIONAL TECHNICAL UNIVERSITY OF ATHENS

CURRICULUM VITAE

ACADEMIC WORK

p. 3

p. 6

‘TO CO-EXIST’

Athens, Greece #urban_design

p. 6 13

‘TO CREATE’

Athens, Greece #cultural #residential

p. 14 23

‘TO SHARE’

Catalonia, Spain

#social_housing

p. 24 . 31

COMPETITIONS

p. 38

‘TO WITNESS’

Athens, Greece #scenography #theatre

p. 32 37

‘TO RECOLLECT’

Volos, Greece

#cultural #installation

p. 38 . 41

CURRICULUM VITAE

ARTEMIS KALOGEROPOULOU

TEL. # E-MAIL LOCATION

+30 6980508962

artemisklg@gmail.com

LINKED IN

Athens, Greece artemisklg

2022 2023 2023

ETSAB Barcelona School of Architecture

@ Universitat Polytecnica de Catalunya

semester abroad\ Erasmus + participation in the course of International Workshop | development of project with emphasis on the teaching methology used and on the exchange of experiences, approaches, knowledge between schools

2018 now

School of Architecture

@ National Technical University of Athens

grade 8.8 / 10.0

2020 2021

participation in systematic analysis of vernacular buildings and settlements in Keratea, Greece | collective project commissioned by NTUA as part of the vernacular patrimony digitalization programme

2015 2018 High School

EDUCATION EXPERIENCE

2020 now

@ 1st High School of Rethymno

science & technology orientation | grade 18.9 / 20.0

Architectural Assistant\ Social Media Manager

@ Anna Galliaki Architects

preliminary design of interior projects\ technical drawings\ analytical survey of existing buildings\ graphic representation\ image editing\ 3d modeling + rendering\ instagram business account management

2019

Retail Salesworker

@ WoodPecker Shop

sales + promotion\ customer service\ management of shop’s cash register

CERTIFICATIONS

+ DIPLOMAS

2023

Innovation Design & Entrepreneurial Action (IDEA)

x ACEin - AUEB

2nd place \certification of participation

2019

GSD1x: The Architectural Imagination

x Harvard University Graduate School of Design (HarvardX)

certification of participation

2022

Diploma de Español como lengua extranjera DELE Nivel B1

x Instituto Cervantes

b1 level Spanish language learning diploma

2015

Certificate of Proficiency in English

x Cambridge Michigan Language Assessments, CaMLA

c2 level English language learning diploma

VOLUNTEERING

2023

volunteer

@ The Pritzker Architecture Prize 2023 Laureate Lecture and Panel Discussion w\ NTUA

2019 2022

volunteer

@ Erasmus Student Network (ESN)\ NTUA Athens section secretary vice president

2020\ 2022

building tour guide

@ Open House Athens

SOFTWARE

2D Drawing

Autocad\ Rhinoceros

3D Modeling\ Rendering

Rhinoceros + SketchUp\ Vray + Enscape + Twinmotion

Adobe Creative Suite

Photoshop\ InDesign\ Illustrator\ Acrobat\ Bridge

LANGUAGES

Greek native speaker

English

excellent knowledge (c2 level)

Spanish intermediate knowledge (b2 level)

‘TO CO-EXIST’ RE-(E)VALUATING THE PUBLIC SPACE OF AMERIKI SQUARE

plateia Amerikis, Athens, Greece

2022

architectural design 8A | architecture of open public spaces in urban & natural landscape | NTUA

COORDINATORS

Micha Irini\ Koutrolikou Penny

One of the most historically important and central public squares of the Greek capital of Athens, Ameriki square (Square of America), is under an urbanistic crisis. The neighborhood, once was a high-class district of the well known families of the city. Now, it hosts middle and lower class citizens from all sorts of cultural backgrounds. A change not yet recognised in the public spaces that the neighborhood offers.

T he character of the square is defined greatly by the abundance of modernist apartment buildings from the 1930s, but mostly by its boundary with Patision Avenue, where a bus stop forms, that is essential for the residents. Through this bus stop, most of the neighborhood’s inhabitants go about their daily life. From their home to the

master plan

to their place of meeting. Nevertheless, its necessity to the city is constantly undermined, remaining distant to its minorities while simultaneously receiving little to no care from the city council, marking it as just another flawed public space in the urban fabric.

T he project focuses on reuniting the old inhabitants with the fairly recent newcomers while simultaneously supporting the everyday life of all. It encourages the osmosis between the diverse crowd it is aimed to facilitate by leaving, to their own discretion, the choice of whether to socialize or maintain a personal distance. This design opportunity showcases the emphasis given on the strategic approach as the whole square is not treated as a given and pre-fixed solution, but rather, as a topic of discus -

Kalogeropoulou Artemis\ Kissas Panagiotis\ Oikonomou Evangelia

Ameriki sq.

Patision Avenue

Kalliga sq.

Leukosias pedestrian street

design process

free will and free action.

T he masterplan of the proposal includes Ameriki square, a pedestrian street, as well as a smaller square used mostly by the neighborhood residents as a space of slow life. With the purpose of offering day-to-day ease, the main square welcomes the residents and slowly redirects them to the neighborhood, ‘washing’ off of them the drawbacks of the metropolis -the noise, the intensity, the fast city pace-, through the pedestrian street to their homes, to the place of relaxation and socialization that is the ‘Kalliga’ square. In a way, Ameriki square operates as a decompressor from the city to the neighborhood.

T he square could be divided

longitudinal section

experiential map: interpretation of area

into two parts: the ‘private’ one on the left, where the vegetation is in abundance and the user can sit in peace, and the ‘social’ one on the right, where more activities are encouraged. A gesture, orienting the subjects, follows the natural movement from the city towards the neighborhood and separates transversally the two spatial segments. At the same moment, alongside the movement, the absence of movement,-or immobility of the subject- forms different spatial uses. From a canopy hosting communal activities to a small amphitheater or a footpath towards the city or towards the neighborhood, it connects the bustling avenue with the more calm pedestrian street.

plan of proposal over and under the trees’ foliage

A permanent column grid is established to permit ephemeral sheltered areas. These areas are created by structures that accommodate the new bus stop, the kiosk, restrooms and seated areas, both public and private (owned by the businesses around the square). The same columns have the use of the main

night lighting for the public square. T he vegetation is carefully curated to filter through the pollutants and elevated noise the metropolis produces, using the practice of scaling of plant height and volume (city>shrubs>low>tall trees>square). In the foreground, the shrubs, a selection

transversal section

of Mediterranean herbs (such as rosemary, lavender, salvia, safflower, myrtle, grasses etc.) form a sensory field. In the background, the existing trees are preserved and additional ones are chosen based on foliage base, flowering, height and crown length.

T he Ameriki square has radically changed its character over the years, mainly because of the various migration waves. The communities and ethnic groups are finding ways to appropriate the public space on their own. These conditions call for a sociopolitically approached design. The aim is the creation of the commonplace. A space that is orchestrated to not be orchestrated. A space that is designed to bring the people together solely on their own terms.

proposed trees: carob tree\ Judas tree\ pine tree\ pepper tree

Athens, Greece #cultural #residential

‘TO CREATE’

DESIGNING A MULTI-USE ART HUB IN THE URBAN CENTER

Exarchia, Athens, Greece

2021 2022

COORDINATORS

Nikolaou Dimitra\ Konstantinidou Eleftheria

Right acr oss one of Athens’ most significant parks, Pedion Areos, and separated from it by the grand avenue of Alexandra, the site borders Exarchia, a neighborhood of great cultural significance through the years of the modern Greek republic. Shared between two academic semesters, this project delves deeper on the detailed design of a multi-storey public building that operates as a cultural center for art and education, emphasizing on video art. The program includes a 150-seat auditorium, exhibitions, workshop spaces, library and offices.

T he distinction of functions

into public, mixed, and private is made through the design process as two main volumes are introduced. The main volume, consisting of the public functions needed for a cultural center and facing Alexandras avenue, isolates the neighborhood of Exarchia and, therefore, the private-use volume, which incorporates dorms and workshops for temporarily hosted artists, from the rapid rhythms of the noisy city center. In-between the two volumes, stands a mixed-use library connecting the two systems. A public yard is established, on the southeast part of the site and on a descent from the city level, for the users and the in -

Kalogeropoulou Artemis\ Karampetsou Ioanna\ Oikonomou Evangelia

architectural design 7 8 | complex building of public interest | NTUA

habitants of the neighborhood. This public space leads them towards the exhibition, while hosting movie and video-art screenings.

T he building complex is separated into five construction systems. The circulation spaces of the two building units are disjoined from the building program, forming autonomous constructions with glass facades facing the communal yard. These facades serve as a transition zone between the public, mixed and private building units and, simultaneously, function as an insulating barrier from the northern sun. The entirety of the project is made of steel elements and composite slabs assembled together to form a strong earthquake-proof construction. The volume of the library is built as a bridge drilled through the circulation systems to the two main buildings. Wooden and cement elements supplement the steel construction.

volumentric composition diagrams

Pedion Areos park

diagram of vertical and horizontal circulation systems

detailed plans of the public-use building

Inspir ed by the transparency of the tree foliage and filtering through the busy avenue, the design of the public buildings’ second skin is made using parametric design. An algorithm collects data and combines the solar pro -

jection with the natural lighting requirements of the interior spaces. Little ‘pixel’ panels out of perforated metal shape the final facades of the building. A parametric ode to the video.

yard exhibition

section A-A

detail D01

structural grid

natural lighting requirements of interior use

solar projection of northern and eastern facade

combination of the two diagram above

final skin of perforated metal panels

01. perforated aluminum panel

02. horizontal square hollow section 100x100 mm

03. hollow section 100x100 mm connecting to the vertical support system 04. vertical square hollow section 100x100 mm

parametric facade procedure and detailed design of the second skin

physical model sc.1/50

‘TO SHARE’

“HOME-O-STASIS” | RURAL SOCIAL HOUSING BUILDING COMPLEX

El Poble Nou del Delta, Catalonia, Spain

2022 2023

design 3 | contemporary collective housing | UPC

COORDINATORS Marc Subirana Ribera

Homeostasis is any self-regulating process by which an organism tends to maintain stability adjusting to conditions that are best for its survival. If homeostasis is successful, life continues. Stability takes place as part of a dynamic equilibrium, which can be thought of as a cloud of values within a tight range in which continuous change occurs. The result is that relatively uniform conditions prevail.

Situated on the threshold of a small settlement at one of the largest wetland areas in the western Mediterranean region, Ebro Delta (which is currently threatened by climate change and the rise of sea levels), this project investigates the way of living with others and

site interpretation

how the inhabitants activate the space. The social housing project consists of 12 housing units designed for permanent residents, as well as 8 dorm rooms for the occasional stay of researchers with the necessary common spaces. Each dwelling functions as an archetype of living, forming a nucleus, a shell of service rooms - modules. The modules are thoroughly designed while the common and the rest area, the areas to live in, are spaces of personal choice and creation for each resident’s personal needs and recreation.

T he nuclei are congregated in a snake-like cast on the plot, forming a permanent three-dimensional grid. The snake conciliates with the surrounding stream and landscape while maintaining a connection to the village. Around this structure, the lightweight parts of

ground floor plan

design process

the dwellings are molded for the necessities of their inhabitants as extensions to it.

T he inbetween spaces created are essencial to the co-living aspect of the proposal. Each falls into the category of either shared (between 2 dwellings) or common (shared between all of the dwellings). The interactions are encouraged through the common activities taking place in these areas.

modular typologies

construction logic

the storage room

the rest room

the researcher’s room

the multi-kitchen the traditional kitchen the outdoor space

Materiality is of vital importance for the idea. Concrete blocks are used for the snake-like figure. For the lightweight common-space-baring system, CLT and Glulam wood are selected as a sustainable solution due to their negative carbon footprint.

perspective section A-A

private balcony

outdoor space typologies

shared balcony

common area

‘TO WITNESS’

SCENOGRAPHIC APPROACH OF JEAN-PAUL SARTRE’S “NO EXIT”

Kypseli, Athens, Greece

2022

Special Topics in Architectural Morphology 7 | evolution of scenography as the result of transformation in theater | NTUA

COORDINATORS

“T hree complete strangers end up in a suffocating and hellish room, confronted with the real image of themselves as it is stripped bare through the interrogating gaze of others in a relentless approach to animal nature.”

T he present scenographic and directorial approach of Sartre’s script renders the suffocation, pressure, claustrophobia, interrogation, fear, despair as they are created in the original text. As the story starts from the beginning of coexistence and ends in a stripping down of the self through the complication of the protagonists’ relationships and their emotional outbursts, a theatrical division

into 2 phases is done, which reflects the audience’s relationship with the story. In the first phase of the text execution, the spectators simply observe the play as external parties until the climax moment of the ‘click’ (Inés: “Everything is a trap [...] And I am a trap”). Just after the ‘click’, the second phase (that of the entanglement of relationships and script) follows, where the spectators become more involved, with ultimate intention the personal association with the characters.

T he synthetic stimuli are mapped into spatial qualities. The stage is a platform moving vertically between two lev -

Gyftopoulos Stavros\ Karatzas Menelaos\ Negrin David

Kalogeropoulou Artemis\ Karampetsou Ioanna

storyline\ directorial approach

els. The spectators are seated in the loft of the two-storey space. In the first phase of the performance, the platform is located on the lower level and the spectators are observers of the story’s development. At the moment of the ‘click’ (an emotionally charged text point), the platform rises to the audience level and the stage opens up to the spectators. The animal nature is indicated through this ‘arena’-platform. This arena creates the feelings of claustrophobia and repression with the narrowing of the ceiling on the second phase. A scaffolding covered with a translucent cloth is placed on the background, where the scenes of life on earth are projected through the shadows of the silhouettes. It runs along the two levels of the space and consists of an elevator. The door of the elevator on the ground level is the entrance to the stage, while on the top level, it works as an exit on Garcin’s

diagrams

section B-B phase 01

section B-B phase 02

attempted escape. On the stage, the same white translucent material covers the whole space creating a sense of discomfort that lacks enjoyment (there is no sense for the protagonists to rest, nor to experience the space as familiar) but also creates a canvas-space, a tabula rasa. The action during the first

directorial phase is concentrated inside the composition of the seats, while after the ‘click’, the actors escape from these boundaries and the action spreads right infront of the spectators. A color is assigned to each protagonist and paints the entire set depending on whom the focus of the performance is on.

character and lighting

phase 01 . Garcin’s entrance

phase 02 . Estelle’s complication of relationship with Garcin

moment of the ‘click’ . Ine’s outburst

‘TO RECOLLECT’ “ANAPOLISIS” . REDESIGNING THE PUBLIC SPACE

Volos, Greece

YEAR

TOPIC TEAM

2021

crossroads: redevelopment of public space | UTH Giatsos Minas\Kalogeropoulou Artemis\ Karampetsou Ioanna\ Kissas Panagiotis\ Oikonomou Evangelia

T he two roundabouts on the western side of the central coastal zone of Volos are perceived as a major traffic hub for the city and the whole province of Pelion. Volos’ railway station, situated at a close distance to the north roundabout, is of great importance to the history of the city, connecting it with the villages of Pelion. The train of the legendary ‘Moutzouris’ used to begin its journey from the station and, through the two roundabouts used to cross the city with final destination the mountainous village of Milies.

Evaristo de Chirico, the designer and builder of the whole project of ‘Moutzouris’, the artistic creation of his son, Giorgio de Chirico, the train tracks as a listed monument and, above all, the concern that ‘Moutzouris’ might one day be forgotten are the catalysts for the development of the proposal.

Mor e specifically, the entire intention is an attempt to recall the memory of Moutzouris at the place where it passed from. Memory and recollection

master plan

are analyzed as a bidirectional process between two parts. A dipole with distinct, yet relevant, ends.

the dipole of memory and recollection

Memory is the first part that concerns the creation of experience at a given moment in the present time. The second part, recollection, is about the recall of the frozen snapshot of the experience at a subsequent moment in time. The nostalgia pervasively exuded by de Chirico’s paintings is the inspiration for defining the project’s meaning of nostalgia.

T he first point of the idea is the Teloneio roundabout, where the experience is created. The interaction between the intervention and the visi -

construction details of the Teloneio structure

tor is necessary to display the form of ‘Moutzouris’ through the appropriate placement of panels on its own buried tracks. At the Dimarcheio roundabout, the other end, that of recollection, Milies, the destination of ‘Moutzouris’, is framed and crystallized in space and time.

The location is specific and the image is unique. We can no longer “interact” with our past. All we can do is fill ourselves with the sense of longing, nostalgia, sweet melancholia.

surreal perception of the two proposed roundabouts

Structure of Teloneio roundabout