athena papadopoulou Westerstraat 18E | 3016DH Rotterdam The Netherlands athena.papadopou@gmail.com +31 619605771
Graduation Studio - Border Conditions and Territories Superseded Orders and the Monstrous Expression of Space Supervisors: M. Schoonderbeek, O. Rommens, P. Jennen TU Delft 2012-2013
The current project is addressing issues of sovereignty and control by unfolding their spatial implications. The notion of the code - as an underlying force that maintains order - has been carried carefully throughout the process tracing the development of spatial conditions in the Balkans from the 15th century until today. Within this timeframe the code has emerged from an underlying power that regulates human behavior into a total control applied directly upon the human body.
impression
construction
pattern A canon not as a regulator of absolute positions, but rather as a trajectory of indeterminate routes. It regulates values intended to a grid, through syncopated sequences, rather than from continuous, repetitive seriations. The abstract quality of a possible rhythms regulate its own capacity to welcome unexpected presences designed to subvert the system. Counter rhythms brought about by distortions or disturbances able to pervert the initial code and demonstrate their elastic capacity for adaptation.
To produce a pattern or a mark on a surface by pressure. An effect, feeling, or image retained as a consequence of experience.
infinity JEAN PAUL SATRE “Think about the place you have chosen as your hell. Does it look ordinary and bourgeois, like Sartre’s drawing room, or is it equipped with literal instruments of tortune like Dante’s Inferno? Can the mind be in hell in a beautiful place? Is there a way to find peace in a hellish physical environment? Enter Satre’s space more fully and imagine how it would feel to live there endlessly, night and day.”
imaginary real symbolic
A passage from one element to the other by an uninterrupted movement. Not a sequence of independent entities but rather a series of related ones. The canon is defining the connections between the separate entities. There is a continuous rhythm, hierarchy and balance. Equilibrium is established. Fault and error is eliminated. Order imposes and internal organization. It is a practice of discipline. No interactions. No unpredictability. The space is segmented and controlled. Ritualistic behavior is induced. A closed composition, by keeping information active, is what maintains order.
order
regular arrangement
autism
repetition
disorder
GILLES DELEUZE “To repeat is to behave in a certain manner, but in relation to something unique or singular which has no equal or equivalent.”
ritual
interruption of arrangement A suspension of the rules. It steps in unexpectedly, where the rules are instantly interrupted. It creates opposition. The level of control and predictability is reduced. The abeyance of the regulations produces looser relations. Uniformity is broken and a new hierarchy is temporarily introduced. breaking the rules
A decaying order, a process that reduces the state of order of the initial system. Moving from order, to disorder and finally out of order is moving from a concentration of energy to a dispersal of energy. Permanence gives its place to temporality. Simultaneity matters, not hierarchy. Juxtaposition emerges. Non-linearity appears. Overlaps occur. No distinct rules. No fixed patterns. The difference between exception and regularity disappears. A state ‘out of order’ is a formless state. It has no parameters. The form is indeterminate. The relations are broken. It is on the edge of falling apart.
our of order
madness MAURICE BLANCHOT: Madness would then be a word in perpetual discordance with itself and interrogative throughout, so that it would question its own possibility, and therefore the possibility of the language that would contain it; thus it would question itself, since the latter also belongs to the game of language.
circuits
discipline
KANUN
equal supply
MICHEL FOUCAULT: The ceremonies, the rituals, the marks by which the sovereign’s surplus power. The machinery that prevents dissymmetry and disequilibrium. A whole set of regulations applied by calculated methods in order to force and shape reality.
control
overlap of arrangements
punishment
disfunction of the system
[4]
attraction
conflict
repulsion
by associations paramorfosis of the grid
paradox
program
field of the other
wall
The investigation of the territory starts in the mountainous areas of Albania. The Kanun was a set of oral laws spread in the northern regions of the country and the surrounding areas of former Yugoslavia, Montenegro, Kosovo and Macedonia. It was practiced since the bronze ages but was only codified in the 15th century by LekĂŤ Dukagjini. After the fall of the communist regime the Kanun revived and developed into a regulator of social behavior.
inseperable objects part of the grid
territory
the stranger
The investigation of the Kanun generated an expanded network of notional associations. The intention was to exhaust the possibilities of connotation and approach a system of rules in every possible way.
peeled skin
ambivalence
Neither a friend nor an enemy. The stranger has an ambivalent character. He brings the outside into the inside, he poisons the comfort of order with suspicion of chaos. skin
familiar
enclosure
predictable
cell
MICHEL FOUCAULT: This enclosed, segmented space, observed at every point, in which the individuals are inserted in a fixed place, in which the slightest movements are supervised, in which all events are recorded, in which an uninterrupted work of writing links the centre and periphery, in which power is exercised without division, according to a continuous hierarchical figure, in which each individual is constantly located, examined and distributed among the living beings, the sick and the dead - all this constitutes a compact model of the disciplinary mechanism.
boundary
juxtaposition
multiple connections
MICHEL FOUCAULT: We are in the epoch of simultaneity: we are in the epoch of juxtaposition, the epoch of the near and far, of the side-by-side, of the dispersed. We are at a moment, I believe, when our experience of the world is less that of a long life developing through time than that of a network that connects points and intersects with its own skein. connectivity
[5]
Human societies are constructed upon sets of laws. These laws impose appropriate human behavior. More rigid laws infuse repetitive behaviors that are described as behavioral patterns. Suppose that these behaviors are imprinted in our living environment. That leads to an analogy between behavioral and spatial patterns. Rules create order. Order in its extreme presense induces autistic behavior. If order can be associated with autism out of order can be described as madness. Autism requires discipline, discipline as a form of control. It refers to ceremonies and rituals by which the sovereign power. It is the machinery that prevents dissymmetry and disequilibrium. Strict rules lead to conflict within the spatial expression of the wall. A state of order emerges within specific boundaries that create environments of enclosure or allow juxtaposition. The boundaries frame territories. The territory of the familiar is investigated in opposition to the field of the other. Finally the notion of the stranger presents the ambivalent character that brings the outside to the inside and poisons the comfort of order with suspicion of chaos.
PATTERN The forces of political and natural power that are projected on its the architectural elements of the building are being mapped. In order for these complex relationships to be analyzed and represented there is a need of a system that can stretch the interaction between cause and effect, between the operating rules and the emergent patterns. In the process of mapping, notation systems were exercised as ways to give emphasis to the meaning of phenomena and reproduce their spatial effect. The visual components of the drawings were combined with numerical and textual information constructing a new reality. The current drawing projects the qualities of the foundation system. An abstract grid is determining the capacities of the whole by ruling the relationship between its components. The canon here does not appear as a regulator of absolute positions but rather as a trajectory of undefined routes. It regulates values intended to a grid allowing patterns and unforseen connections to emerge. [6]
[7]
[8]
REPETITION The furniture are being mapped to reflect the internal complexity of the building as a result of the over-imposed orders. Chairs are laid and stacked in such ways that the passage from one element to another can be made by an uninterrupted movement. The rules are defining connections between the separate entities.
[9]
There is a continuous rhythm, hierarchy and balance. Disorder is stepping in unexpectedly. The rules are instantly interrupted. The level of control and predictability is reduced. Out of Order is describing the gradual decay of order. Simultaneity matters and not hierarchy. Non-linearity appears and overlaps occur. A state ‘out of order’ is a formless state that has no parameters. Order is represented by giving only the initial position and a set of rules. These two notifications make it possible to determine all future positions by simply repeating the process. The rules produce variability with processdriven techniques. Once the input is given the rules evoke with the regularity of a clockwork: for each input there is only one possible outcome. Disorder is illustrated by numerical and visual information that codifies the exact position of the object. When the system works efficiently, one need focus only on its inputs and outputs and not on its internal complexity. When the system is out of order it creates the need for a detailed representation and numerical notation for each element separately.
[10]
[11]
The outcome of the mapping was positioned in our contemporary society and associated to the technological developments of the last decades. The code, the ultimate force that maintains order, has evolved from a primitive manuscript to an intangible abstract entity ruling the internal consistency of our bodies. By decomposing the human body into its parts we now gain absolute control over each single particle and can dominate over the slightest aspect of our existence. Natural and artificial parts merge allowing the body to evolve into an immoral substance enduring constant transformation. The design, as a result of this relationship between body and technology, follows four main principles can be summed up as following: It is a cyborg. It is composed of both physical and artificial parts. The organic matter constructs the physical space while the artificial parts upgrade its existence providing supernatural capacities. It is infinite. The eternally transforming body is accommodated in a structure endlessly expandable. Each piece can be replaced or altered allowing constant transformation. It is discrete. It is the expression of the mechanical decomposition of our bodies into organs. In opposition to the organic continuous matter it’s inorganic characteristics reflect an internally discontinuous system capable of a multiplicity and unforeseen connections. It is monstrous. It reflects the perverse reality that occurred due to the reshaping of the human body by digital technology. Abnormalities appear unexpectedly creating a monstrous expressions of body and space.
[12]
The building is dissected into pieces. Each piece exists fully in the three dimensions but expresses itself different in each one of them. As pieces of a three dimensional puzzle they are interlocking in unique ways and with the precision of a millimeter. However, when connected to one another they don’t create a continuous interior but rather juxtaposed realities. They are assembled in irregular ways opposing different programatic entities and creating odd transitions from one space to the other. The same logic of composing space applies in the smaller scales until it creates all the architectural elements.
[13]
b
west elevation
a
sectionb-b’ [14]
The building accommodates the eternally transforming body. It is serving as a laboratory equipped with the latest 3D bio-printing technology and establishes a research centre for the production of human organs. Furthermore, it is serving as a clinic where the printed organs are directly implanted into the human body. Inside the clinic the human body undergoes transformation within a process of dismembering and reformation.
[15]
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[16]
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‘hyper’-elevator mechanism
secion b-b’, laboratory detail A [17]
[18]
[19]
Workshop - Border Conditions and Territories Tutor: M. Schoonderbeek TU Delft 2012-2013
Ornamatics DigiTile TU Delft 2011-2012
The DigiTile explores the potentials for new ways of studying, evolving and realizing architectural ornaments in contemporary architectural design. Computer aided modeling and drafting protocols – in combination with new production technologies – have contributed to wholly new ways of shaping building elements. Inspired by the aesthetic and structural paradigm of gothic architectural elements digi-tile is a re-evaluation of the main principles applied in a contemporary computer aided modeling and manufacturing environment. [23]
Ornamatics - Bric(k)ollage Team: A. Papadopoulou, R. Varma TU Delft 2011-2012
The current project is questioning the traditional rigidity of brick facades as is apparent at the Faculty of Architecture building at TU Delft. Keeping in mind advancements in computer aided design and newly developed robotic construction techniques, we have attempted to generate a visually appealing surface which while being respectful of the old facade both compliments and contrasts it by using a very traditional building material in a highly contemporary manner. The repetition and staggering of bricks creates an undulating surface on the otherwise flat walls of the existing building while still following the basic logics of module (brick) construction. The entire facade is conceived of as a pattern composed of smaller repeating modules. Variations in staggering allow us to create openings and screens as required, thereby serving not only as a visual element but also as a climatic one. The chosen facade fragment as seen in the coming pages does not describe a ‘final solution’ but hopes to serve as a ‘catalogue’ of what is possible.
[26]
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[27]
‘New Babylon’ by Constant Nieuwenhuys
3D Visualizations - Reproduction of ‘New Babylon’ TU Delft 2011-2012
Bio-Cocktails: A New Cityscape Emerging from the Hidden Underworld The Why Factory - Biodivercity Coordinator: Winy Maas, Tutor: Felix Madrazo Team: A. Papadopoulou, T. Benjina TU Delft 2011-2012
Most of the biological processes occur in the upper layers of the soil. However, in the urban environment the non-permeable surfaces covering the surface of the earth have caused a significant disturbance of the natural cycles. By establishing a new way of managing organic waste we aim to re-activate the natural processes and increase biodiversity in the city of Amsterdam. More specifically, in the center of Amsterdam 40 000 people throw their garbage producing 7000 m3 of organic waste annually. Instead of exporting this waste out of the city we propose to recycle it on the spot and make it part of the natural composting process. The organic waste will be stored in a 7km long container placed along the streets of Amsterdam. The design is supported by an online platform aiming to give initiative to the citizens in the process of composing a new cityscape. The platform aims to daily informing the citizens about the specificities of the recycling processes while it encourages participation in the process of altering the fauna of the city. [31]
In the centre of Amsterdam 40 000 people throw their garbadge... ... producing anually 7000m2 organic waste The dots represent the households and the red lines the the streets where the containers will be placed
The volume of the container is regulated according to the households attracted
Distribution of households in the centre of Amsterdam
The amount of waste at each spots varies according to the number of corresponding households.
The households are attracted to the closest container [32]
Two containers are placed next to each other and work together. They alternate activity every two months. Specific type of waste corresponds to each container. As a result of the composting, the volume of the waste will be reduced by 65 per cent. The compost will be mixed with the soil and be distributed to the plants. The ecological diversity will be correlated to the volume and type of organic waste used. The absolute number of organisms will increase by 20 %.
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[33]
[34]
Nested Living Rooms, A101 Urban Block Competition 2010 Team: Y. Zavoleas, A. Papadopoulou, A.Sideri, I.Chinoporou, S.Dambassi Ranked 4th in the category ‘best project of the years 2010 - 2012’ | Domes International Review of Architecture 2013
longitudinal section
[37]
[38]
Specificity refers to the manipulation of the house unit, whereas flexibility refers to the order of the general scheme, conveyed by a system. Specificity and flexibility respond to two different scales, the human and that of the block. Pursuing the ideal house often results in a weak management of the whole, while giving priority to the block may end up putting aside issues pertaining to the small scale. The desing proposes a space of intermediate scale, an adaptor bridging the qualities of the general scheme to those of the house unit. This space adaptor brings together the neighborhood of four houses, functioning as a shared living room (marked as yellow). Another version of the space adaptor referring to a group of 4-6 neighborhoods forms a wider living room (orange). The total of 15 of these groups diffuses into the main yard (red) being the common living room of the total block.
[40]
typical group of neighborhoods [41]
Graduation Project: Eccentric City - Urban stitching in Athens Rouf Area Supervisors: E. Karanastasi, A. Tzompanakis Technical University of Crete 2009-2010
[44]
[45]
The project proposes the reconnection of the selected area with the urban tissue. The site is located southwest of downtown Athens and is surrounded by the suburban railway and three main traffic streets. It may be perceived simultaneously as a node that connects different parts of the city and an “island” cut off from the neighboring areas. The project investigates the idea of “urban stitching,” in regards to the architectural elements and the contained program. The title “Roof Garden” condenses the agents that participate in confronting the aforementioned issues. The notion of the Roof is expressive of the way space is primarily defined as a system of platforms. The re-connection of the site and the surrounding urban tissue is pursued with the sinkage of the ground level and the lifting of the intersection points. The notion of the Garden represents how the different programatic entities may coexist and interact dynamically creating an internal microcosm. The general logic of a “landscape building” is proposed combining the characteristics of a pole of attraction and those of an open space that remains loosely planned. Another metaphor used for the project is the human body. Space is concidered to be serving as a means of activation for the various expressions of the human body. Following the space-as-body analogy, three states are being developed forming three space units. In the first, the body is related to culture, art and expressive movement (the dance school). In the second, the body participates in games, sports, recreation, agility adn spectacle (the sports facilities). Finally the body is associated to its vital need such as food,, as these may be extended to material pleasures and concumption (the marketplace). The various qualities of the space units are related to processes of perception. These may be described as contemplation and immersion. In some cases, the platform is organized as an “open” space having no clear function; in other cases, the platform is defined as a “closed” space with specific boundaries and prescribed role. Space is overall perceived as a gradient between contemplation and immersion. [46]
[47]
[48]
[49]
School for the Masses Team: A. Papadopoulou, M. Kouvara, K. Kostantinaki Technical University of Crete 2009
The existing school of architecture in the city of Chania urged for an extension of its facilities in order to host the increasing number of students. By using prefabricated containers which were place within a scafold we proposed a way to double the size of the existing building. The scafold outlines the area of intervention while defining the vacum space between the containers. In this way the space between the containers gains the equal importance as the space within the containers.
The containers offer individual space when they are separated and space for group-work when connected to each other. The space between the containers is treated with equal attention. The defined vacuums are proposed as meeting points that can be uses for lectures, exhibitions and other events. [52]
[53]
The furniture-wall is movable, thus permitting a flexible arrangment of the space. In addition, it responds to the various functional needs: it contains a drawing table as well as the essential equipment for the architectural studios such as shelves, storage space for drawings and models, light sources.
[54]
[55]
Hybrid building: Villa / Museum Technical University of Crete 2008
[57]
[58]
[59]
2013 - present | ExS Architects | Partner Family house in Nijmegen - Orinoco Flow (Definitive Design, 3D visualisations) Deckhuis, Veldhuis, Warmwall, Onewall (Preliminary Design, 3D visualisations, logo, promotion) Wallpot stone (graphic design, 3D visualisations, web design)
The peculiarities of the oval plot urged for a special design with no front or back side. The interior and exterior are in a continuous dialogue while both landscape and building create a spiral that finds its climax in a central atrium. Each facade is treated differently according to its orientation and the desired relationship with the outside space. A second skin is added on the west and south facade to create shade during summer and ensure privacy.
North Elevation
South Elevation
West Elevation
Concept: E. Karanastasi Project Managment: A. Papadopoulou Design: E. Karanastasi, A. Papadopoulou Team: G. Antonopoulos
East Elevation
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Concept: E. Karanastasi Promotion: E. Karanastasi, A. Papadopoulou Design Team: A. Papadopoulou, G. Antonopoulos M. Kardarakou, N. Asimakis, E. Badouva, S. Vlachiotis, X. Papatriantafyllou
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Wallpot combines urban horticulture with architecture. It is a structural material, a flower pot, a passive cooling coating, or all of these together. There are 5 different models (Titania, Hermioni, Theseus, Oberon, Puck) that offer the various possibilities and attributes for wall structures. Design: M. Moelee, E. Karanastasi Chief Designer: X. Papatriantafyllou Designer through preliminary design: A. Papadopoulou Team: M. Nikolakaki [63]
2011 | We Love the City | Architect/Designer Deventer Havenkwartier (physical model) Umnyama Park (architectural expression of urban plan/3D visualisations)
Atelierwoningen
Deventer Havenkwartier
Familiewoningen
ZELF-EN SAMEBOUW
Wonen aan de tuin
Wonen aan de tuin
UMNYAMA PARK An urban plan created with the people of Camdeboo
Athena Papadopoulou Westerstraat 18E | 3016DH Rotterdam The Netherlands athena.papadopou@gmail.com +31 619605771