Portfolio by eri hoshino

H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H

H H H H H H H H H H H H H H H H H H H H H H H H HP HOH H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H

H H H H H H H H H R H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H

H H H H H H H H H H H H H H H H H H H H H H H H HT HFH H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H

H H H H H H H H H O H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H

H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H HL HI HOH H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H

H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H

LENI HAN

H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H

ELENI HAN CONTACT:

EHAN87@LIVE.COM

EHAN87.TUMBLR.COM

EDUCATION 2005-2012: MASTERS WITH HONOURS IN ARCHITECTURE STUDIES IN UNIVERSITY OF THESSALY, VOLOS, GREECE 2012: DIPLOMA THESIS: “RADIOACTIVE ATHENS”- AN ANSWER TO THE FUKUSHIMA EVENT FOR THE CITY OF ATHENS 2011: PRE-DIPLOMA THESIS: “CAN YOU SEE ME NOW? - COMPUTER GAMES IN THE CITY”, A RESEARCH ON THE EFFECT OF PERVASIVE GAMES AND UBIQUITOUS NEW MEDIA TECHNOLOGIES AND THEIR EFFECT ON SPACE AND THE HUMAN PERCEPTIONS

LANGUAGES GREEK (NATIVE SPEAKER) ENGLISH (PROFICIENT)

SKILLS

WORKSHOPS 2011: “URBAN DIGITAL NARRATIVES”, BRITISH COUNCIL + ATHENS INFORMATION TECHNOLOGY + NATIONAL HELLENIC RESEARCH FOUNDATION, LOCATIVE MEDIA APPLICATION, ORGANIZERS: M. RIESER + E. KEKOU 2011: “CHANGING LANDSCAPES”, ERASMUS IP | LANDSCAPE DESIGN WORKSHOP UTH SUPERVISORS: PROF. R. DE PAAUW | S. PAPADOPOULOS | M. AIMINI | O. AVZI | J. B. PURKISS | A. KOUZOUPI | K. MANOLIDIS 2009: “SUPERSURFACES”, MORPHOGENESIS, FORMATIONAL RESEARCH, ORGANIZER: S. VYZOVITY 2008: “BUILT-UNBUILT”, BYZANTINE MUSEUM + NTUA ATHENS, FORMATION RESEARCH, SUPERVISOR: Y. ZAVOLEAS

EXHIBITIONS|COMPETITIONS|PUBLICATIONS 2012: PUBLICATION IN COLLABORATION WITH E. KEKOU, OF RESEARCH PAPER “RENARRATING CITY IN A CONTEMPORARY SETTING” IN THE INTERNATIONAL VISUAL SOCIOLOGY ASSOCIATION ANNUAL CONFERENCE, RE-VISUALIZING THE CITY, NEW YORK 2012: PUBLICATION OF WORK “DENSITY-INTENSITY” IN “CHANGING LANDSCAPES”, L.PAPADOPOULOS, S.PAPADOPOULOS, V. TROVA, UNIVERSITY OF THESSALY PRESS, VOLOS 2011: PUBLICATION IN COLLABORATION WITH E. KEKOU, OF RESEARCH PAPER “CONTEMPORARY TALES OF THE CITY IN A DIGITAL ART MODE” IN THE REWIRE CONFERENCE HOSTED BY FOUNDATION FOR ART AND CREATIVE TECHNOLOGY, LIVERPOOL 2011: PUBLICATION OF WORK IN “SOFT SHELLS, POROUS AND DEPLOYABLE ARCHITECTURAL SCREENS”, S.VYZOVITY, BISPUBLISHERS, THE NETHERLANDS 2010: EXHIBITED WORK “ COLOURED MOTION” VIDEO AT ATHENS VIDEO ART FESTIVAL, GREECE 2010: EXHIBITED WORK “ VIRTUAL STEPS” AT DYNAMO PROJECT SPACE, THESSALONIKI, GREECE 2010: PUBLISHED WORK “ VIRTUAL STEPS” IN ‘KEYBOARD EVENTS, BY A. COHEN & A. FLOROS, ATHENS, GREECE 2010: PARTICIPATION IN THE INTERNATIONAL STUDENT COMPETITION FOR THE INTERNATIONAL MUSEUM OF VOLCANOES, LANZAROTE BY ARQUIDEAS.ES 2009: EXHIBITED WORK AT THE “SUPERSURFACES” EXHIBITION BY S.VYZOVITI IN “THE ARCHIVE”, THESSALONIKI, GREECE

2008: “NUTRITIONAL INSECURITY - 37 ANSWERS” EXHIBITION AND PUBLICATION FOR THE EUROPEAN ACTION TASTE4ARTS, ORGANIZER: I. STYLIDIS 2008: “CAFETERIA & MULTIPLE PURPOSE AREA FOR THE UNIVERSITY OF THESSALY, VOLOS” NATIONAL STUDENT COMPETITION , ORGANIZER: UNIVERSITY OF THESSALY

VIRTUAL MUSEUM

HETEROTOPIC SETTLEMENT

HOUSE AGRIA

CONDOMINIUM

ATHENS BANKRUPTCY

DENSITY-INTENSITY

BACKSTAGE TV

ELECTIVE DESIGN STUDIO

SUPERSURFACES

SYNTHESIS STUDIO

VITRTUAL STEPS

CONTEMPORARY TALES

CAN YOU SEE ME NOW?

RE-NARRATING CITY

BUILT UNBUILT

UNIVERSITY CAFETERIA

SYNTHESIS STUDIO SYNTHESIS STUDIO

SYNTHESIS STUDIO SYNTHESIS STUDIO ELECTIVE DESIGN STUDIO

ERASMUS WORKSHOP

SYNTHESIS STUDIO

RESEARCH PAPER

PRE-DIPLOMA THESIS

RESEARCH PAPER

WORKSHOP COMPETITION

ONTENTS

RADIOACTIVE ATHENS

DIPLOMA PROJECT

RADIOACTIVE ATHENS DIPLOMA

PROJECT

2012

City of emergency reclusion In a possible future, where mass nuclear reactions have brought the radiation levels of the planet to dangerous levels, people seek refuge to a quarantine beneath the earthâ&#x20AC;&#x2122;s surface. A new city under the city that is inhabited whenever there is an immediate need and whenever the conditions on the surface are not safe for the human health. This new city will compose a system of isolation from the rest of the world and it will provide its citizens the essentials for their survival until the surface becomes again habitable. In this new reality of pollution, the earthâ&#x20AC;&#x2122;s surface is transformed into a hostile environment for the human, who in order to protect himself must hide under the ground. There, in a closed and checked environment, the society evolves in order to suit the new laws for survival. The shelter in the area of Lycabetus constitutes an example for underground shelters that are found inside mountainous forms. These become viable having applied techniques and methods of underground mining, as those of underground marble quarries of Penteli, offering not only multiform spaces, but also protection. The location of the shelter allows for easy access from all the central regions of the city, providing protection and accommodation to about 40.000 residents. Initially designed as a nuclear shelter due to the recent events of radiation pollution in Japan, the shelter can also be used as a protection from other dangers, some of them being biological or chemical pollution, or even in the event of floods.

ACADEMIC UTH 2012

SUPERVISOR: PROF. K. PANIYIRIS RESEARCH BY PROJECT

37°58’55”N 23°44’35”E

Concepts of Empty|Full, Positive|Negative, Cut|Paste are applied through the process of defining the the right techniques and mechanisms needed to create every space.

The shelter expands both in length and in depth, reaching the earths hidden water stereams and withdrawing from the hostile surface.

The unique excavation techniques for underground quarries cut and remove material in clean rectangular shapes, perserving it for its high quality. The logic of this progress results in clean cut formations that are subtractions of material to create viable space.

E. KORRES, “FROM PENTELI TO THE PARTHENON”, 1993, ATHENS

HOUSING

LIBRARY|AMFITH

BATHS

AQUEDUCT|WATER SANITATION

HEATRE|OFFICES

COMMON AREA +FOOD COURT

HOSPITAL|QUARANTINE

HYDROPONIC FARMS

ELECTRICAL SUPPLY + STORAGE

VIRTUAL-MUSEUM

MUSEUM OF NEW MEDIA IN KERAMEIKOS, ATHENS

ACADEMIC ARCHITECTURAL DESIGN SYNTHESIS STUDIO VI UTH 2010

SUPERVISOR: PROF. A. ANTONAS

http://haneleni.pbworks.com/w/page/16493937/FrontPage

The VR Museum is the proposal for the new museum of digital technology and new media in the city of Athens, at the Kerameikos area. The basic idea for the design were fractals in the form of afferent nerve endings (FNE) that send information from the periphery to the brain. With the use of Processing and Context Free Art applications these fractals helped shape the final structure of the museum that expanded towards all directions, providing a multitude of different spaces for various exhibitions.

The museum consists of three different nerve fractals that intersect, creating space for movement and light. The visitor’s movement is designed to be fluid and continuus, resulting in a moebius loop that intertwines both interior and exterior routes. The exhibitions are mainly digital projections on screens on the walls, the ceiling or the floor. Digital images are also projected on waterfalls at the lowest parts of the ‘nerve endings’ while there are also virtual reality headset stations with cybergloves and small cinema amfitheatres. The upper floor houses the 360º virtual reality spheres along with private showcase rooms that augment paintings and sculptures with audio and light. In the centre of the museum lies the Sound Garden. The garden includes artificial trees that resonate sounds from their branches to imitate different types of forest sounds. The atmosphere they create accords to the overall pervasive and ubiquitous digital environment which intimates to a near future of augmented information and new media technologies.

H E T E R OTO P I C SETTLEMENT

HOUSING FOR 300 CITIZENS IN LAKE KARLA AND BEYOND

ACADEMIC UTH 2010

SYNTHESIS STUDIO VII UTH 2010 SUPERVISOR: PROF. K. PANIYIRIS RESEARCH BY PROJECT

Heterotopia - Places of other This proposal was designed for the creation of a settlement in the region of the new artificial lake Karla in Thessaly, Greece. Initially it was a group of residences that were located in the the lake, which would gradually be submerged as the lake would be filled with water. Thus, the residences would create a space antithetical to that of their surroundings.

The logic behind this construction is creating a void in the water. the double wall that separates the interior from the exterior has both sructural and mobility uses for the occupants. The houses are attached on this wall and hanging over empty space in various lengths allowing the the empty space below to be used as an oasis by the occupants. This moduleâ&#x20AC;&#x2122;s ability to create something other in its center according to the environment it is placed, led to a series of experimentations to calculate the varieties of such heterotopias it could create. It uses opposits such as dry/wet, full/empty, urban/rural to form a rare sunctuary.

HOUSE-AGRIA A

refuge

the

urban

jungle

ACADEMIC UTH 2006 SYNTHESIS STUDIO II SUPERVISOR: PROF. K. PANIGYRIS

In the city a house is a shelter, a haven that protects its inhabitants from the noise, the bustle and the intensity of the urban environment. The House in Agria is designed to offer hospitality to 4 young people who work at the university in the neighbouring city of Volos. Their needs are simple, a place to rest and work, with few possesions that follows their minimalistic way of life. The act of covering, turning oneself inwards is depicted in the multiple use of the

formation that shape the house and organize its spaces.

The two floor establishment features contrasting materials of hard and soft, natural and artificial in an attempt to create a hybrid of an urban and rural environment.

Πανεπιστ

Αρχιτεκτο

Κατοικί

Φοιτήτρ

4ο Εαρ

CONDOMINIUM URBAN HOUSING | A BLOCK OF APARTMENTS IN THE CITY OF VOLOS

ACADEMIC UTH 2008

SYNTHESIS STUDIO III UTH 2008

SUPERVISOR: PROF. T. KANARELIS RESEARCH BY PROJECT

TEAM MEMBERS:D. DURJAVA | A.GIANNOUTSOS | E. HAN

The greek apartment block is a form that has been overused and created many problems to the city life. This proposal is a new aproach to the way apartments are designed and placed to create an apartment building. beginning with two modules of living space thery are placed experimentally in different positions in an attempt to profit from the light air and space. the new formations are then “cut” to fit the area and “punctured” vertically with elevators and staircases to create modes of accessibility. This new apartment building opens up the space inside the plot yet still retaining the element of unity between its inhabitants.

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ATHENS-BANKRUPTCY REFORMATIONING THE CITY OF ATHENS http://spaceconstruction.tumblr.com

ACADEMIC UTH 2010

ELECTIVE DESIGN STUDIO SUPERVISOR: PROF. A. ANTONAS RESEARCH BY PROJECT AND TEXT

FRITZ LANGâ&#x20AC;&#x2122;S METROPOLIS, 1927

Constructing space that is neither public nor private is a gradual practice. this progress is counter-proportional to the publicâ&#x20AC;&#x2122;s economical and social prosperity. The more issues the public faces the more it turns to areas of public congregation.

The balcony of the greek urban architecture is a saturated form that has been used in extreem with no particular reason. following this extremism the balconies are ellongated to their fullest creating bridges and new areas that intertwine the private area of the house with the public outer environment of the city.

DENSITY INTENSITY

CHANGING-LANDSCAPES MEDITERRANEAN AREAS

SENSITIVE

DESIGN

ERASMUS IP | LANDSCAPE DESIGN WORKSHOP UTH 2011 SUPERVISORS: PROF. R. DE PAAUW | S. PAPADOPOULOS |

M. AIMINI | O. AVZI | J. B. PURKISS | A. KOUZOUPI | K. MANOLIDIS COORDINATOR: D. COLAFRANCESHI

The lake is transformed through a gradient, an extension of earth that vanishes gradually in the water distributing the density of users and activities following the reflection of the context into the lake. The project contains the main program near the shore, isolating the users while they go deeply into the wild, mixing the artificial elements with the natural, taking the shapes of the water waves introducing the users to the movement of the lake. The program decreases its density such as its intensity since it is submerged in the water, it begins gathering people in a bar, a theater and public beaches, and ends with the solitude of personal islands passing through communal and personal fishing, working, reading and swimming spots. The soil that merges from the lake is extracted from a grid taken by the combination of different grids constructed since the reflection of the different elements of the context, such as the mountain, the fields, the village, and even temporal elements as the memory of the lake when it was dried.

BACKSTAGE

ACADEMIC UTH 2010 SYNTHESIS STUDIO VI UTH 2010 SUPERVISOR: PROF. L. PAPADOPOULOS TEAM MEMBERS: R. TOTSIKA | E. HAN

VISUAL TELECOMMUNICATION CENTER

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Backstage tv is the new visual telecomm sentation of what happens behind the c resentation in the public areas of the c however, for the sake of mobility and e

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munication center proposed for the the city of volos. Its theme is the precameras. following the concept of the â&#x20AC;&#x2DC;hiddenâ&#x20AC;&#x2122; the info points for its repcity are forms that are similar to rock formations emerging from the earth. ease they incorporate the mechanics of origami and wooden construction.

SUPERSURFACES FOLDING AS A METHOD OF GENERATING FORMS

ACADEMIC UTH 2010 ELECTIVE DESIGN STUDIO SUPERVISOR: PROF. S. VYZOVITI FORMATION RESEARCH

In the frame of the studio a number of experimentations and collections were conducted to create a diversity of forms. Following basic diagrammatic techniques and digital morphogenesis standard shaping origami forms evolved into more elaborate structures. The new forms would then be applied to a more realistic use in architectural design as mobile and maleable structures. One of them was transformed into a house trailer on rails that would expand and contract according to the inhabitantâ&#x20AC;&#x2122;s needs.

The collapsible moving house on rail.

A deployable shell which transforms to conform.

VIRTUAL STEPS ARDUINO | PROCESSING PROJECT

ACADEMIC UTH 2012 PHYSICAL COMPUTING STUDIO SUPERVISOR: PROF. A. COHEN | A. FLOROS TEAM MEMBERS: V. PITTA | E. HAN

Aποτελείται από έξι πλήκτρα, τέσσερα εκ των οποίων ελέγχουν την κατεύθυνση της κίνησης στον άξονα x και y και τα άλλα δύο το zoom in και το zoom out.

μπροστά πίσω

projection

zoom in

δεξιά

zoom in

αριστερά

zoom out

+3V GND

VR Steps use a system of stepping buttons to navigate prostep gramms of virtual touring, such as Google Earth and VRML 7

environments, as well as for the use of games that rely on basic pushbutton navigational commands. This new navigation method is a step towards augmented reality allowing a person to experience Arduino the digital navigation in full body.

Processing

page down page up (zoom out) (zoom in)

up down right left

ελείται από έξι πλήκτρα, τέσσερα εκ των οποίων ελέγχουν ατεύθυνση της κίνησης στον άξονα x και y και τα άλλα δύο om in και το zoom out.

The system consists of simple push buttons encased in padding with a panel on top for the foot to step on to. οστά the push buttons send the command ω through the Arduino to the Prostep app. on the computer wich zoom in ά cessing then translates it to the correspondστερά zoom out ing navigational command of the keypushbutton άτσορπμ board uosing a Python translator. ωσίπ ni mooz

άιξεδ

step

Arduino

tuo mooz

noitcejorp

άρετσιρα

pushbutton Processing

DNG V3+

CONTEMPORARY TALES OF THE CITY IN

DIGITAL

ART

MODE

REWIRE CONFERENCE 2011

FOUNDATION FOR ART AND CREATIVE TECHNOLOGY COLLABORATOR: Dr. E. KEKOU RESEARCH PAPER

What is that which always is and has no becoming; and what is that which is always becoming and never is?

Plato’s Timaeus [Timaeus, 360 B.C.]

Nothing remains static, but everything is in constant flux (Heraclitus, 6th century B.C.). Despite the fact that materiality presumes something stable and immutable it is only so for a certain period of time. According to Heraclitus, everything throughout the universe follows the same pattern, from nothing to being and from being to nothing. An endless wrestle of opposite principles that create a harmonious flow. Immateriality and materiality, therefore, are two opposites that interact through sublimity. The integration of technology and architecture is a means of transubstantiation, whether architecture is referred to as a material construction or the immateriality of space that is created. Through the medium of technology space has gained a larger variety of meanings that define both material and immaterial perceptions. This, as well as the augmentation of material and digital space, make the flow of sublimity apparent. Human interaction provides new dimensions of transition between materiality and immateriality simply through participation and experience. Storytelling has the ability to change the way space is perceived and defines atmospheres based on human experiences and memories, while simultaneously augmenting space with emotion. Digital storytelling not only creates new spaces but also transforms those that already exist. It is dependent on technology and the imagination and ability of human narratio

BIRGIT BACHLER “THE DISCREET DIALOGUE NETWORK”

“URBAN DIGITAL NARRATIVES” WORKSHOP, 2011, ATHENS

The urban environment is one of diversity and intrigue, as it can be attested by the rise in urban populations. It therefore offers the setting for all manner of events that define peoples lives, who in tandem attempt to chronicle these events and impart them to the public. Along with the rapidly advancing technology use in the urban environment, it is not surprising that urban digital narrations comprise the majority of contemporary storytelling in these dense communities. Through them people acquire the ability of personal expression in an effortless and creative way. They are a format of story-building using digital material such as graphics, photographs, video, animation and sound, often in the form of voice-over narration, in the urban environment. With these new mediums narration manages to reach a greater audience with more impact, while getting a clear and strong message across the audience, captivating it and intriguing it to participate in an exchange of stories about personal experiences. Distance and time, principal representations of the physical space, acquire new transmutations in the digital and the new augmented physical world. The new space that emerges is a hybrid of media and respective locations, otherwise described as media topologies. Topology as a definition consists of mathematical theories of space determination. It is based on Euclidean geometry and set theory and is applied to define a continuum and its mathematical functions as developed by Georg Cantor. Topology also refers to topological space, that is to say the space that is created through the mathematical functions of topology. As it can be assumed, space in its literal meaning cannot be considered in the digital world, since space presupposes the existence of matter. Therefore, when a reference to “digital space” is made it may either appertain to the depiction of space or the correspondence to a physical space. Along the same line of thought, media topology would refer to a space created by mathematical functions but that would also include various media data. These data comprise the mathematical functions, while the topology as a whole has a reference to the physical world. In short, it is an association of physical and digital space through miscellaneous media related to that material space. It is apparent that in our modern society technological advancements play a dominant role in our experience of our surroundings and the way we perceive the world. This impression is found to be even stronger in the urban environment. Despite the propinquity and the comforts that define it, citizens struggle to communicate and are faced with a sense of illiberality, frustrated by the complications of distinguishing space, something Deleuze (1992) described as ‘a general attack on established systems of enclosure’. The old ways of gathering and sharing stories for education and entertainment resurface in the guise of social games. Along with the discovery of the digital world people revise what they consider material and immaterial while the borders that separate them are obscured. The effects of narration transcend these borders and allow a measure of liberty for expression and exploration, realizing fantasy and reliving history in space that is both tangible and abstract. Location is associated with emotion and memory and conjoined with technology to provide original ways of expression and therefore storytelling. Ergo, applications that employ narration favor a considerable response from the audience, engaging it in a reconnaissance of their society and environment and therefore providing the incentive that may as well lead to their reconstruction.

CANYOUSEEMENOW? - COMPUTER GAMES IN THE CITY

ACADEMIC UTH 2011

PRE-DIPLOMA THESIS

SUPERVISORS: PROF. A. ARISTIDES RESEARCH PAPER

Game has acquired many various forms through the years. These forms have been greatly contributed by the application of modern technology, which is continuously advancing and offering new experiences. With the electronic computer games as a start, the player can “live” and explore digital worlds that have been created by the imagination of the constructors. These digital worlds were accessible only through the computer, which then had limited possibilities. The growth of the Internet and the computer’s hardware for importing and exporting digital information have henceforth rendered the computer as a daily object of use and the digital world as a parallel in that of the natural.

C. NIEUWENHUIS, “NEW BABYLON”, 1950, AMSTERDAM

The appearance of digital information in the natural space via the new technology augments the reality while, at the same time, it offers more possibilities to the user in order to interact with his environment. Thus the increased space is the hybrid of digital reality and material world. On this hybrid environment are based a lot of games, which with the use of technology create a very realistic fantasy space with new technological possibilities. The game functions as a means of education, exploration and more generally expression and creation. It tries the limits and the possibilities of new spaces and technologies, evolving them as a result. “These games are separated in three general categories according to the use of technology and the final result that they have in space: colonization through game-play; disruption through game-play; and activation through game-play”. (Jane McGonigal, Space Time Play,1999)

Can You See Me Now? is a game that tends

formation. The material existence of code presupposes the exploration of material space for the exploration of the digital later. The natural movement is an element that was absent from the digital worlds of computers of past and it has only recently begun to present itself. This parallel interaction with natural and digital elements is not something new, but has also been reported in Constant Nieuwenhuis’ New Babylon , a utopia where a new version of person uses the game exclusively in order to express his creativity and for this reason all the spaces and objects are interactive and augmented. Lastly, technology and its use through gameplay does not only influence the person but also the space in which it is applied, either beforehand or as a result from the game. The experiences and the interactions are impressed in the space and the cold technology finally leads a space in a psychologically and sentimentally charged environment, often to the same climate with that of the game’s fantasy world.

to be more in the category of the disruption through game-play, otherwise known as pervasive games. It combines the classic game of chase with technological applications such as the GPS and the Internet in order to transform the city into a labyrinth that exists materially as well as digitally, so the players in the city may chase players that are on the Internet. In other words the players in the city chase “ghosts” which are visible only via the screen of their computer, something which would be impossible without the technology that is used. This ubiquitous technology is related also with other games which do not have that much of an organized program as the CYSMN game but are more liberal and circumstantial. Games such as Yellow Arrow and Barcode Battler use the bar code, a means of identification for consumer products, in order to connect the digital and material world. With an electronic appliance the code is translated into digital information and offers the user sources with moreover in-

E. HAN, “CYSMN BOOK”, ISSUU.COM, IN GREEK

RE-NARRATING CITY

IN A CONTEMPORARY SETTING

REVISUALIZING THE CITY CONFERENCE 2012

INTERNATIONAL VISUAL SOCIOLOGY ASSOCIATION COLLABORATOR: Dr. E. KEKOU RESEARCH PAPER

“Man’s most successful attempt is to remake ter his heart’s desire. But, if the city is the world in which he is henceforth condemned to live. clear sense of the nature of his task, in making

By taking a critical event of current affairs,

art manages to attract attention and offer the chance to the public to question itself about the situation that has become our everyday life. In particular, the Greek economic crisis, as we perceive it, has turned into a world wide incident that reflects on the globalized economic predicament. In answer to this phenomenon public art performers and projects strive to solicit participation and interaction by inciting the people to reoccupy the public space that has lost its significance through these difficult times.

SARCHA “POLYPOLIS”

the world he lives in more afwhich man created, it is the world Thus, indirectly, and without any the city man has remade himself”

(Robert Park)

Public space may be perceived as a manifestation of democracy, where the voice of the people and their cooperation may come to pass in order to heal societal drift. It constitutes spaces where various urban social events unfold, it assists in the orientation in the city, while the people living in the city have the opportunity to come in contact with its elements. These are spaces of movement and stasis in the city, spaces of meeting, protest, feast, revolution, with different stimuli from those that determine the bustling city. The use of the square in all cultures was depended of the size, the traditions and the habits, for the squares constitute a public space with particular historical memory. The ancient Athenian Market, as an initial form of square, was a symbol of free expression and distribution of ideas and goods. In an attempt to revive these aspects of a common public space this paper presents the efforts of various artists that use words, as in Barbara Papadopoulou’s ‘Buried Words’ (2010), food, such as the ‘Lunch Street Party’ (2009) and aggregation, the main objective of all the art projects. Art, as always, finding raw material to work with, flourishes during challenging times using from these basic human habits to advanced technology to reshape interactivity between audience, participants and artists/art products. Media art incorporating these technologies has provided the medium through which public space and society in tandem may be reformed. Participation and communication are the tools of

reclaiming the public space as Habermas discusses in his ‘structural transformation of the public sphere’(1991), while at the same time Simmel (“On Individuality and Social Forms”, 1972) talks about different social castes/orders and their ultimate consolidation affecting their composition and coexistence in space. Communion and osmosis, something that was absent in the Greek society, and which created in this extraordinary case a problematic situation, since the danger found the people entrenched in their own economic and social spheres tends now, out of need, to change.

Lunch Street Party | Atenistas Projects, ATHENS

The people find themselves, once again closer

to one another, outside, in the town squares, claiming their rights and fighting for them in spaces that are public or making it public and trying to connect themselves with the city around them. It is a matter of societal restructuring that is instigated by the artist’s attempts to arouse the common sense. To cover the needs of cohabitation and interaction, cities are created. They are some times perfect, whereas others only partially. The sociopolitical conditions violently force and prompt in the change of notions that concern interaction and coexistence, as well as in the planning for the viability of the cities. In these cities where the need for interaction once brought the people together now it seems to be the knife that drives them apart, turning public space into an alien environment to be feared and despised. Reconnecting the citizens to these places of ‘other’ is how the people can realize that what affects the world in a global scale derives from the clusters of neighborhoods and communities. Therefore, by attending to the single we change the collective.

In the same context, David Rokeby (“Transform-

ing Mirrors”, 1996) argued that digital aesthetics are about creating relationships rather than finished art works; more recently Nicholas Bourriaud (1998) has talked about this in terms of ‘relational aesthetics’, where the aim of the work of art is not the construction of an object or image, but of social relationships. Employing forms of public interaction and motivation the people come together into new communities and neighborhoods that are proactive and take matters into their own hands, challenging the dominance of public space into an alternative pacified common space. Using location based technologies, communication devices and the internet the public transcends the physical space and acquires dual substance. The bifold nature of space provides more incentives to create communities as well as improve communications strengthening the public’s role.

BUILT UNBUILT

Line | Geometrical Transformations | Geometric Schemes| Deformations

BYZANTINE MUSEUM WORKSHOP ATHENS â&#x20AC;&#x153;BUILT UNBUILTâ&#x20AC;? NTUA 2008 SUPERVISOR: PROF. Y. ZAVOLEAS FORMATION RESEARCH

The Built-Unbuilt workshop focused on the designs that have not been constructed but rather remained on paper, such as experiments seen by D. Liebeskind, P. Eisenman, Z. Hadid, L. Woods, etc. Through analogue and digital tools the shapes that were created consist of elementary ideas that may be used for the creation of realistic and useable space. One of the two projects I presented was the result of an accident due to spilled water on paper. The creasing created by the water produced an interesting texture which was then further researched by intensifying the creases. New formations emerged by replicating the creasing when put in polysterene or digitaly extruded in 3D. The second proposal was a continuation of the first brough to a further level of research. It was an experimentation of extruding and extracting. An abstract and manual representation of what happens when we build and when we leave something unbuilt, the space we consume and the space that is created after the consumption. These forms and images created are an abstract reproduction of events that result by constructing space. They are a discontinuity, an isolated event in the greater scheme of designing space.

The forms have a duplicate reading. One of the void and one of the occupied.

U N I V E R S I T Y C A F E T E R I A

NATIONAL COMPETITION 2008 UNIVERSITY OF THESSALY

HTTP://WWW.ARCH.UTH.GR/SITES/COMPE08

UNIVERSITY OF THESSALY | DEPARTMENT OF ARCHITECTURE MULTIPURPOSE AREA

The Department of Architecture at the University of Thessaly is a considerably new building that

conforms to the surrounding industrial environment. The cafeteria proposition was a combination of using structural definition and deconstructed formations. Basically the cafeteria area is located just beneath the the amfitheatre seats where a long corridor and a ramp leads to the higher level of the parking lot behind the amfitheatre. On the opposite side lies the indoors seating area that can also be used as an exhibition area for the university’s events. The two areas are ‘bound’ together by the irregular beams that crisscross creating an interesting shaded and cool environment, protecting from the strong sun without diminishing the natural light.

Elevation

view from the amfitheatre.

support beams

The

basic construction concept lies in chopping various percentages of the disc, following the shape of the amfitheatre and using the pieces as structural beams. The main areas of the proposition are form clear materials, such as glass to give the feeling of permeability and lightness by hanging in the air from the beams.

support walls hanging glass ceiling

W.C. support walls

support walls cafeteria

exhibition/multipuprose area

The shading

addition to the amfitheatre is formationally an extension of the â&#x20AC;&#x2DC;bindingâ&#x20AC;&#x2122; used at the cafeteria. Larger and longer beams of natural materials crisscross over the amfitheatre covering half of the seating area but leaving the main theatre uncovered. Thisi is done so as to perserve the outdoor atmosphere of the amfitheatre providing shading and protection from the rain to the seats when they are used by the students as a lounging area.

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