A R C H I T E C T U R A L P O R T F O L I O BERNIDAKI EMMANOUELA
A B O U T
W O R K
My name is Emmanouela Bernidaki and I am currently living and working in Athens, Greece. I consider myself an architect enthusiast and as an architect, I have always had an interest in anthropocentric design, reuse and revitalization of things of the past. I am an active person, with the ability to adapt to different tasks and work as a part of team or individually. I strongly believe in lifelong learning and traveling are the only methods to broaden your horizons, expand your limits and evolve personally and professionally.
11/2018-present
B E R N I D A K I E M M A N O U E L A Architect Engineer NTUA
02/2018-08/2018
C O N T A C T S
Email em.berni1@gmail.com
V O L U N T E E R I N G
Linkedin https://www.linkedin.com/ in/bernidakiemmanouela/
11/2018-04/2019
Issuu https://issuu.com/berniii
09/2017
10/2015-02/2016
W O R K
Venue & Production Curator at TEDxNTUA 2019 Presenter - Vollunteer at Research’s Night 2016-2017
Research Intern in Oia, Santorini (NTUA) This resarch aimed the analysis of traditional buildings and complexes so as to identify the architectural character ofOia in Santorini, Greece.
Politecnico di Milano Participating in the Erasmus Student Exchange Program during the spring semester of 2018 at Polimi, Milano, Italy. During my studies at Polimi, I carried out my research about the concept of palimpsest and its relation to architectural creation which consists the main object of my dissertation “The applause of palimpsest: the case of Tempio Duomo di Pozzuoli”.
Phone +306955353605
Location Athens, Greece
Diploma of Architect Engineering Department National Technical University of Athens GPA: 8.99/10 Diploma thesis: When scent becomes memory, an experiential museum, under the supervision of Professor Nikolaou Dimitra. It deals with the revival and reuse of a dilapidated industrial shell in the old town of Rethymnon, through an associative evocation of the senses.
Junior Architect at Veneris Architects Participation in all stages of architectural design and management; from conceptual design, to detailed project completion. Provide and supervise technological and technical input within the Architectural team. Supervise the architectural team in preparing robust and exemplar project information. Multi-level collaboration and teamwork planning. Material Research and Economic Management of each project. Delivery of technical reports; supervise the estimation of quantities,quality assurance and the rules relating to design and costing of each project. Planning permission documents.
E D U C A T I O N 09/2013-09/2019
E X P E R I E N C E
W O R K S H O P S 09/2017
06/2017
04/2017
Participant in an educational trip to Hamburg and Hannover in collaboration with the Institute of Environmental Planning of the Leibniz Universität Hannover with the title “Resilient European Cities ” Participant at ARCHI.M.E.D.E.S workshop with title “Place and Locallity vs Modernism” at the Technological Cultural Park of Lavrion, Athens. Participant at ArchiStart workshop with title “The regeneration of Casa Chiaravalle”, located in Milan, Italy.
W O R K
S K I L L S
AutoDesk AutoCAD 2D Rhinoceros 6 ArchiCAD Sketchup Adobe Photoshop Adobe InDesign Microsoft Office Model making
L A N G U A G E S Greek (native) English (fluent) French (good) Italian (basic)
I N T E R E S T S Arts and Culture Photography Reading Crafts Travel Lifelong Learning Environment
A r c h i t e c t u r e
.when the scent becomes memory. a n
e x p e r i m e nt a l
.dance school.
U r b a n
.Elaionas project.
O t h e r
.breton’s rose. .doll house. b y
H e n r i k
I b s e n
m u s e u m
when scent becomes memory ,an experiential museum. diploma thesis | architectural design | reuse supervision: Nikolaou D. architects: Bernidaki E. 2019
This diploma thesis deals with the revival of a dilapidated industrial shell in the old town of Rethymnon, through an associative evocation of the senses. This ruin is more than just a deconstructed building; it is a remnant of memory of the industrial and non-industrial history of Rethymnon and depicts elements from the town’s different historical phases. Its revival strategy should therefore not conform to obsolete architectural interventions of simple exposition, but follow a more sensitive, sensory and meaningful architecture. It is suggested a proposal that aims to revive this ruin through an architectural approach based on the sensory and associative receptors of the user. An experiential museum is designed, in which the visitor will be able to relive the experience of soap making through the sense of smell that is used as an element of memory recall. The proposal focuses on the dilapidated soap making building and the surrounding buildings which are now abandoned and uninhabited. The proposal concerns the reuse of existing buildings and the addition of new ones in order to achieve a dialectic relationship of the individual volumes and the unification of open public spaces.
photorealistic exterior aspect
model . scale 1:100
collages about the meaning of palimpsest
A N A L Y S I S Focusing on the old town of Rethymno, the main landmarks of the area are noted in order to locate the character of the settlement. It is immediately apparent that in the urban web of this city there are traces and elements from different periods. The Venetian porters and the Venetian lighthouse interact with the minaret, the Ottoman “sahnisi� and the modern interventions. Thus, the connection of the old city of Rethymnon with the meaning of the urban palimpsest is therefore tested as it allows the continuous and simultaneous reading of the different meanings of the past. The continuous and simultaneous reading of the different meanings of the past allows the characterization of Rethymno as an urban palimpsest.
collages about tha character of Rethymno
map of landmarks
C O N C E P T
Maintaining the shape of the soap factory building as a ruin and respecting its natural decay, an open outdoor space is created inside where the garden of the senses is placed. It is a garden of herbs and perfumes that aims to associatively recall the memory of the soap factory. This gesture underlines the attempt to preserve the existing form of the building, a form that has been memorized from the inhabitants of Rethymno the last 50 years. The building remains without roof, while for the most part open courtyards-roofs are created. This is an experiential museum which exhibits the soap and its scents. The resulting new structure expresses a preserved ruin that highlights the past and the historicity of the building while maintaining the same dimensions in section and floor plan. However, a new metallic composition of modern technologies and materials is designed, which is placed harmoniously in relation to the existing elements, thus highlighting their importance and enhancing its static function. The central volume is removed from the original complex of buildings in order to give a breath to the suffocating tissue of the area. Thus, in the traces of this volume, a new buildingpassage is proposed that gathers the movements of the museum and strengthens the dialectical relationship between the existing and the new.
diagrams of synthetic analysis
model of existing buildings . scale 1:100
model . scale 1:500.
P R O P O S A L
The new installation, enhancing the interaction between the new and the existing, hosts the laboratory areas and the herbal crops used to make handmade soaps. It is a light and transparent metal construction that aims at the mildest and most discreet building intervention possible. It is composed with respect to the old without destroying it and imitating it. It is a modern intervention that fulfills the new needs and is placed in the present with new materials, forms and construction methods. the new structure appears and mixes with the elements of the existing one, while at the same time protecting them, thus creating an interdependence relationship, which composes this hybrid structure. The past, the present and the future have the possibility and the opportunity to coexist in this experiential museum, to integrate into each other and to be creatively composed in a functional and sustainable unit. It is a space in which the characteristic of “living continuity” and “living historicity” appear at the same time, a combination that at first sight seems contradictory.
ground floor plan
1st floor plan photorealistics of exterior aspect
S E C T I O N S
E L E V A T I O N S
ÂŤNothing revives the past so completely as a scent that was once associated with itÂť Vladimir Nabokov
model . scale 1:100
dance school architectural design | constrution analysis supervision: Nikolaou D. architects: Bernidaki E. , Poulli K. 2017
Object of this architectural design is a dance school, located in Kerameikos and specifically next to an historical and industrial landmark of Athens, Technopolis. Main element of our concept analysis is the meaning of Dance. Dance is the combination of two different situations: discipline and freedom of expression. In design, discipline could be translated as obedience to a grid system, as a strict shape or volume, as a categorization of functions or as a usage of rough and strict materials. On the other hand, freedom of expression is translated as a movement/rotation of a volume or as variability in the faรงade. It could also be an anarchist layout in a grid system. In conclusion, we have two different systems, which, however, work together and complement each other to produce the desired result.
photorealistic of exterior aspect
C O N C E P T In our design, the building consists of two volumes: a “box” freely placed on the site and an oblong one, with a stricter placement. This distinction was made according to the functions its volume hosts. All the functions related to dancing are placed in the “box”. For this reason, as a volume, it seems to be lighter than the other and slightly rotated in the plot, creating a more interesting interaction with the city. In addition, the different lighting requirements combined with our purpose to handle the “box” as a single volume, led us to the installation of a moving façade, meaning a metal cladding of moving panels. Thus, the facade is changing according to the needs of its dancing hall. The design of these panels is based on parametric design, giving a sense of movement and play, since the visual contact with the interior of the “box” constantly changes as one moves. On the other hand, the other volume hosts the administrative functions of the school and is placed perpendicularly to the axis of Piraeus Street. This volume has almost no functions on the ground floor, only a small museum, dedicated to dance, and the entrance to the emergency staircase. Thus, it gives the impression that it is hovering above the ground, in contrast to the “box”, which place on it, on a pedestal.
«When you dance, your purpose is not to get to a certain place on the floor. It’s to enjoy each step along the way.» Wayne Dyer
diagrams of synthetic analysis
P R O P O S A L
1st floor
ground floor
model . scale 1:200.
πατητή τσιμεντοκονία γαρμπυλομπετόν ρυσεων ασφαλτόπανο θερμομόνωση 5εκ. φράγμα υδρατμών πλάκα οπλισμένου σκυροδέματος
χώμα φύτευσης αντιριζική προστασία γαρμπυλομπετόν ρύσεων ασφαλτόπανο θερμομόνωση 5 εκ. φράγμα υδρατμών πλάκα οπλισμένου σκυροδέματος
ξύλο πάχους 22 χιλ. ξύλινο τακάκι 5x5 εκ. πλάκα οπλισμένου σκυροδέματος θερμομόνωση 5 εκ. επίχρισμα σοβά
πατητή τσιμ ελαφρομπετόν εξομ ασφα θερμομόν φράγμα υ πλάκα οπλισμένου σκυρ
πατητή τσιμεντοκονία ελαφρομπετόν εξομάλυνσης πλάκα οπλισμένου σκυροδέματος φράγμα υδρατμών θερμομόνωση 5 εκ. ασφαλτόπανο κροκάλες μπετόν καθαριότητας
photorealistics aspects of interior
section 0 0,5
1
2
5 (m)
C O N S T R U C T I O N
D E T A I L S ξύλινο σοβατεπί επίχρισμα σοβά μπετόν Β' φάσης ξύλο πάχους 22 χιλ.
μεταλλικός σύνδεσμος μεταλλική δοκός υαλοστασίου κούφωμα αλουμινίου μεταλλική κοιλοδοκός 5x7 εκ. μεταλλικός σύνδεσμος υδραυλική τσιμεντοκονία βαμμένη μπετόν Β' φάσης θερμομόνωση 5 εκ.
πατητή πατητή τσιμεντοκονία τσιμεντοκονία γαρμπυλομπετόν γαρμπυλομπετόν ρύσεων ρύσεων ασφαλτόπανο ασφαλτόπανο θερμομόνωση θερμομόνωση 5 εκ. 5 εκ. φράγμα υδρατμών φράγμα υδρατμών πλάκαπλάκα οπλισμένου σκυροδέματος οπλισμένου σκυροδέματος
μεταλλικό μεταλλικό καπάκικαπάκι επίχρισμα επίχρισμα σοβά σοβά επάλειψη με ασφαλτικό επάλειψη με ασφαλτικό υλικό υλικό σφράγιση σφράγιση με μαστίχη με μαστίχη
επίχρισμα επίχρισμα σοβά σοβά θερμομόνωση θερμομόνωση 5 εκ. 5 εκ. μπετόνμπετόν Β' φάσης Β' φάσης
ξύλινη ψευτόκασα 2x7 εκ. μεταλλική κοιλοδοκός 3x7 εκ. κούφωμα αμλουμινίου
ψευτόκασα ξύλινηξύλινη ψευτόκασα 2x7 εκ.2x7 εκ. μεταλλική κοιλοδοκός μεταλλική κοιλοδοκός 3x7 εκ.3x7 εκ. κούφωμα αμλουμινίου κούφωμα αμλουμινίου
χώμα φύτευσης αντιριζική προστασία γαρμπυλομπετόν ρύσεων ασφαλτόπανο θερμομόνωση 5 εκ. φράγμα υδρατμών πλάκα οπλισμένου σκυροδέματος
μεταλλική υαλοστασίου μεταλλική δοκόςδοκός υαλοστασίου σκοτίασκοτία 2x2 εκ.2x2 εκ.
γυψοσανίδα μεταλλική σκοτία φορέας γυψοσανίδας τσιμεντοκονία βαμμένη πλάκα οπλισμένου σκυροδέματος
μεταλλική κοιλοδοκός 5x7 εκ. μεταλλικός σύνδεσμος υδραυλική τσιμεντοκονία ελαφρομπετόν γέμισμα
φωτάκι φωτάκι LED LED φορέας φορέας ανάρτησης ανάρτησης φορέας γυψοσανίδας οροφής φορέας γυψοσανίδας οροφής γυψοσανίδα οροφής γυψοσανίδα οροφής
κενό 5 εκ.
σχοινιά ανάρτησης σκάλας εξωτερικός φορέας σκάλας εσωτερικός φορέας σκάλας ξύλινο πλατύσκαλο
μηχανισμός εξωτερικών πανέλων φορέας εξωτερικών πανέλων σταθερό κούφωμα αλουμινίου
μεταλλική δοκός υαλοστασίου ανακλινόμενο κούφωμα αλουμινίου
φορέας ανάρτησης φορέας γυψοσανίδας οροφής γυψοσανίδα οροφής
μεταλλική σκοτία φορέας διαχωριστικών πανέλων γυψοσανίδα πετροβάμβακας
πετροβάμβακας φορέας γυψοσανίδας γυψοσανίδα ξύλινο σοβατεπί ξύλινο τακάκι 5x5 εκ. ξύλο πάχους 22 χιλ.
κενό 2 εκ. ξύλινο σοβατεπί επίχρισμα σοβά μπετόν Β' φάσης πλάκα οπλισμένου σκυροδέματος
μεταλλικός σύνδεσμος πατητή τσιμεντοκονία ελαφρομπετόν εξομάλυνσης ασφαλτόπανο θερμομόνωση 5 εκ. φράγμα υδρατμών πλάκα οπλισμένου σκυροδέματος
κενό 5 εκ. ξύλινο σοβατεπί γυψοσανίδα φορέας γυψοσανίδας μπετόν Β' φάσης ξύλο πάχους 22 χιλ. μεταλλικός σύνδεσμος φωτάκι LED πλεξιγκλάς πάχους 3 χιλ. ελαφρομπετόν εξομάλυνσης πλάκα οπλισμένου σκυροδέματος
κούφωμα αμλουμινίου μεταλλική κοιλοδοκός 5x7 εκ. μεταλλικός σύνδεσμος μπετόν Β' φάσης
επίχρισμα σοβά θερμομόνωση 5 εκ. ξύλινη ψευτόκασα 7x7 εκ. μεταλλική σκοτία 2x2 εκ. μεταλλική κοιλοδοκός 3x7 εκ. κούφωμα αμλουμινίου
φορέας ανάρτησης φορέας γυψοσανίδας οροφής γυψοσανίδα οροφής
0
100
500
1000 (mm)
aspects of interior . model . scale 1:50.
A r c h i t e c t u r e
.when the scent becomes memory. a n
e x p e r i m e nt a l
.dance school.
U r b a n
.Elaionas project.
O t h e r
.breton’s rose. .doll house. b y
H e n r i k
I b s e n
m u s e u m
e l a i o n a s ’s p r o j e c t
urban design supervision: Marda N. architects: Bernidaki E. , Kountourioti O. , Moustaka I. 2017 -2018 Object of this urban design is Elaionas, an area characterized by intense contradictions and has great diversity. It is about a break point at the dense urban web of Athens. The area strongly exudes the feeling of abandonment and there is an anarchic mode of function and interaction between the conflicting uses. Nevertheless, Eleonas, on a second level of analyzing, creates the feeling of an autonomous system that seeks in a paradoxical way to manage these conditions and to operate effectively. This fact, as well as the uniform character created by the contradictions that define it, compose a homogeneous region. The directions of our synthetic installation is focusing on three main axes: the child - the water - the green. The idea therefore starts from the physical element, the green, and ends up at the user, the child. Water as a source of life is the first element in which we intervene, aiming to revitalize the stream of the Prophet Daniel. The next element is the green which is placed everywhere in the empty field of Eleonas in order to form an area where the natural element is superior to the built volume. Finally, the first two axes will be inherent and will help to create an environment that will serve the child’s interaction with nature.
model . scale 1:1000
conceptual model
A N A L Y S I S
adjacent areas landmarks of Elaionas
subvision of blocks
built enviroment
photos of Elaionas
C O N C E P T
After achieving the remediation of the stream, an extensive planting of its banks with aquatic plants begins. While, as the green escalates towards the urban fabric, it reshapes to tree planting. The approach of the stream can be achieved through platforms which start from the dense urban web and end at the banks of the stream. Their orthogonal shape derives from the synthetic tool of “tetris” which consists a distinct in each design phase of the installation. The materiality of each tile varies, since it would be hardwood flooring, pressed soil or green planting.
To organize the vacuum field of Eleonas area we decided to introduce a common designing system which will be repeated, almost unchanged in the whole region. The stream of Prophet Daniel is chosen as the central axis of our solution. Subsequently, we place land uses according to the data given by the surrounding area. Thus, near Agia Anni will be the main commercial uses, the house will begin to develop near the stream and at the boundaries of the Iera Str. cultural points, associated with the location and name of the area, will be designed. After introducing the grid in the area system, it was necessary to find a design tool that would assist in mixing the land uses, in order to achieve the functionality of the area through this interface. For this purpose, it is chosen the system from the electronic game “Tetris”. Each use was symbolized with a different shape and color and the subsequent coupling of these elements compiled a standard system - core which was placed and then extended to the area of our interest. As far as the green placed in the area is concerned an extensive study and analysis was held. In order to achieve the remediation of the natural environment of the area, plant species with the ability to absorb the infection from the soil were selected. At the same time, the selection and the placement of plants is based on our intention to design an area that will be a flowering landscape in all seasons. Finally, a wetland is formed in the stream which revives the area.
collage about the concept idea
The platforms could be used as activity spaces for playing or relaxing. The activities that are placed near the stream will be directly related to the child and will highlight the importance of nature through educational and sports activities.
diagrams of synthetic analysis
collages about the concept
T H E
P R O P O S A L
plan . scale 1:500
plan . scale 1:1000
model . scale 1:500
H O U S I N G
diagrams of housing
plan . scale 1:200 photorealistic aspects of intervention
elevations . scale 1:200
A r c h i t e c t u r e
.when the scent becomes memory. a n
e x p e r i m e nt a l
.dance school.
U r b a n
.Elaionas project.
O t h e r
.breton’s rose. .doll house. b y
H e n r i k
I b s e n
m u s e u m
B r e t o n ’s R o s e
scenography supervision: Vozani A. architects: Bernidaki E. , Moustaka I. 2016 -2017
Influenced by a certain character from “The Neighborhood” by Gonzalo M. Tavares, Mr Breton, we attempted a correlation of meaning and structure for the design of spaces that evoke an experiential experience to the visitor. Inspired by the basic characteristics we elicited during Mr. Breton’s analys is, concerning the centrality and the quest for the deepest individual truth under an expanded collective approach; we tried to create a space that would represent these concepts. We therefore designed a maze that develops around a center, thus enhancing centrality, as a concept but also as a characteristic of this space.
model . scale 1:200
model . scale 1:200
model . scale 1:200
“A rose, although it is beautiful, has a brown and dirty part that is under the ground. And a verse is beautiful if it explores the soil that fate has placed beneath it. So beauty is a depth and not a stature, let alone a form or a soil. ” Mr. Breton’s verse about the rose was also the main element for the descriptively simpler explanation of our concept. In other words, we sought to incorporate the “dirty part” of the rose into function. “It was a difficult, complicated interview. But he did not have to let the interviewee pause to catch his breath.” We tried to give to this maze the emotional taut of the above sentence, the sense of complexity and the constant effort to determine the goal.
Our proposal consists of six “petals” that constitute a maze that develops around a center. Morphologically, our installation refers to the plant of rose, while, spatial experience can be linked to a deeper and more exploratory process. The visitor loses the perception of the existing space and, completely disoriented, enters a new reality. The installation is located on natural ground, at the top of a hill. The slope of the ground is easy to walk around but at the same time forces the visitor to walk by putting his body in a different positioning. This gesture also contributes to the easier approach to the center as it coincides with the top of the hill.
plan
sections
The material of which this construction is made could not be other than the mirror. This material played a major role in the development of Mr. Breton’s story. In addition, it is a timeless element of self-criticism, which intensifies the conceptual character that we wanted to attribute to the installation. The curved sloping surfaces that the mirror covers create intense distortions and multiple levels of reflections. As a result, the visitor sees a prospectively distorted proliferation of himself, thus losing the dimensions of the existing space.
DollHouse by Henrik Ibsen
scenography supervision: Gyftopoulos S. architects: Bernidaki E. , Moustaka I. 2016 - 2017
Exploring the relationship between scenography and the architectural design of theaters, we attempt an artistic proposal about the setting of the theatrical play by Kendrix Ibsen, the Dollhouse. The proposal is placed on the main patio of the Bagion Hotel. Ibsen in his work describes with absolute clarity the objects that exist and frame the scene of the play. These objects are used with a symbolic way since symbolism is one of the main elements Ibsen uses in his work. The purpose of our proposal is to redefine the values that the play itself represents and place them in modern reality with new means. The main element of inspiration was the music box. The concept of which is defined as the rotation of the doll around a specific trajectory at a predetermined rate according to the will of the operator. The music box can be analyzed into three basic elements, the mechanism itself with the rotary motion, the dress that defines the doll and the mirror as a reflective element.
model . scale 1:100
model . scale 1:100
The intention is therefore to place our “doll” in an imaginary music box. This symbolism can be attributable to a rotating circular pedestal that will be the limit of Nora’s movement during her conversation with Helmer. This gesture indicates her husband’s limitations and the position in which he places her in their marriage and consequently in society. During the last act, Nora, the protagonist, is confronting the truth. She renounced the role that Helmer and the society gave her in order to discover her personal identity. The dress, which will be gradually removed, symbolizes the social contract in which she is trapped in. With this gesture, Nora escapes from the contradictory reality. Thus, liberated, she chooses to ruin her life, like a tragic heroine who does not comply with the model of conventional woman, wife and mother. At the final scene, Nora knocks the door during her exit. This gesture is being replaced by the fragmentation of the mirror, which is a timeless symbol of its deeper inner search.
plan
model . scale 1:100
Thank you.