who is she
_Eleni Charcharidou architect recent graduade EQF level 7 elenicharcharidou@gmail.com 0030 6942654418 _she is framing reality to create new worlds
Universidade Lusófona de Humanidades e Tecnologias, Fine arts and desig, Lisbon, Portugal: Feb-July 2019
Royal Academy of Dance, Elementary and Solo Seal, Thessaloniki, Greece: 2012
_analogue skills_achievements Dancing and Somatic Theater_Participated in various teams and festivals since the age of four(Akropoditi, Rhodes Dance fest+++) Performed at National Theater, Royal Theater+++ Engraving_ Participated in Over and Out exhibition, Cinema S. Jorge, Lisbon, Portugal: 2019 Drawing_Participated in DELLIS annual publication, Lisbon, Portugal: August 2019 Bookblinding_Participated in Shy_O edition workshop, Thessaloniki, Greece: July 2021 Crafts_Modeling, Collages, Diaries _digital skills /Adobe/
/Design/
Photoshop Illustrator InDesign Premiere After Effects
Autocad Rhino Vray Grasshoper 3ds max
Cryengine
University of Thessaly, School of Architecture, Volos, Greece: 2015-2021
Sxedio-Sxedio, Architectural and Freehand Drawing: Thessaloniki, Greece: 2013-2015
_speaking Greek, native speaker English, C2 certificate Portuguese, learning
/Game design/
_education Erasmus+ training course, Embodied expression, Chata Doubravka, Czech Republic: Sep-Oct 2021
_work Istorima Researcher Founded by Stavros Niarchos Foundation Thessaloniki, Greece January 2022-ongoing Tololo pour l’Humanité (2021) Performer Independent multinational short film Thessaloniki, Greece October 2021 Designing our coexistance Graphic Designer Curated by phD Aspasia Kouzoupi Athens, Greece July 2021 Sustainable cunstruction, permaculture garden design Volunteer Mountain Garden, Greece August 2021 Akrovatis Event Curator | Sound narrator Volos, Greece 2020-2021
for reference please contact phd professor and previous employer Aspasia Kouzoupi at a.space.ia@gmail.com or at 0030 6972874777
CONTEntS
structures
written pieces
other work
EMERGING SCENERIES
rejuvenating the dialogue between the sea, the senses and the city’s sceneries ephemeral installation revealed in two acts
The starting point of this design was our need to re-imagine the environment in which we live, trying to seek new meanings or actions in the public space as well as the possibilities it offers us. Returning to the city in which we grew up, during the period of distance was an opportunity to explore new strategies to read space and the social interactions in it.. Our main consideration was to involve the human senses, the way that the body interacts with the water, and the endemic sceneries of the city. Instructor: Evelyn Gavrylou, Team: Giorgos Tzitsas, Site: Thessaloniki, Academic Project, July 2021
1
2
tracing the sea
tracing the city We started this vojage by first identifying the “image of the city” (Kevin Lynch, 1960) through the gaze of directors. Through this eye, we noticed that the sea is the main protagonist, leaving the urban setting outside of the sceneries. As a following step, using the psychogeography theory, we cartographed our explorations. Our main focus were the social habits and the fragments encountering our paths, traces of past or recent design decisions, ready to be reimagined. Thessaloniki’s seaside has a linear front with relatively limited depth and length longer than 8km. It could be divided into 4 areas which consist of contradictory social and topological characteristics. The port at the far west and the central-east part, have been recently redesigned, thus we decided to elaborate only at the South/East region and the one close to Aristotelous square. We observed a huge difference between the way citizens are inhabiting the sea in these two areas.. At the east/south the sea is a dynamical source of exploration, while one would see people entering the water up to their knees with the background of the city. Opposite to that, at the center the sea is only experienced by distance, almost as if it was exhibited. Unfortunately the pollution of the water is easy to be noticed by most of our senses.
vertical jetty
floating moving
horizontal jetty
emerging ruins
emerging sculpture
balcony jetty
design fragments observed at the seaside
east/west seaside
interactinions of bodies and the water
The installation at the east aeria was inspired by a condition that we constantly encountered. People entering the sea up to the knee. The design is mimicking the fragments of the emerging ruins, the vertical and the horizontal jettys that already exist at the exact location. The structure consists by a network of five underwater platforms and seven plateaus. The platforms are immersed 20cm beneath the sea letting the visitors only dampen their feet. The platoes create variant levels and dimention on which the visitors are invited to use for their bodies to shit or lay down. The installation is adding to the existing landscape an almost transparent scenic of figures emerging from the sea, sometimes walking and sometimes standing still. aristotelous aeria
3
first act first act 4
second act
second act
5
The intention of the second installation was to revive urban swimming. The floating pool – an enclave of purity in contaminated surroundings. The design process began with the installation of a perimeter corridor that will ensure the protection of the clean artificial water. The floor got engraved lines creating water grooves of chlorinated water in order to give the illusion that one water penetrates into the other while they transfuse non linear movements to the visitors. We also suggested the portable installment of a cinema frame for as a reference to Coursal, a float cinema existing at the city during the 30s. The proposal is a series of three pools with variations of the ways that the bodies interact with the water. The parts of the pools that have short depth can empty the water if needed. The portable installations can either float around the city or stay stable to a specific location creating a long jetty.
steel 6mm polyester eps mycelium fungi 10mm aluminum grill counterweight
chlorinated water tank
second act
second act 6
pathways to the void urban plantation-public space-installation ENTERING THE RUINS OF THE CITY
The scope of this project was always led by a specific moment that was reemerging through the observations of the city of Volos. This momentum is the outcome of the silent play-fight between the human and nature habitants of the Greek cities. In various locations, the vegetation, through time, had occupied the places that humans had abandoned.This subtle, though ubiquitous moment, imposed a design conversation between the past and the present, between humans and natures’ dynamics. The proposal invites people to enter the ruins by the installation of two pathways. Instructor: Aspasia Kouzoupi, Site: Volos, Academic Project, January 2020
7
8
THE HORIZONTAL PATHWAY Thanks to Krausidonas river, the area is characterized by its biodiversity and fertility while it naturally offers resources of water. In the western margin I discovered a 9 meter high structure, only consisting of its 4 brick facades with the floors missing. Inside, one would notice the co-parasitic phenomenon of the plantation slowly eating the building. In the eastern front of the river, the location consists of a neglected industrial block that had no facade and unfolded vertically stretching up 4 floors
the locations
axonometric plan
The first structure is distinctly seen by the city. It is a horizontal and linear path, made of steel and wooden panels shaping an observatory of the esoteric landscape. It follows the openings and voids of the existing walls. To start the exploration a passenger should notice a staircase with various additional levels at its underside. These are designed according to the human body when shitting
section
9
THE VERTICAL PATHWAY At the vertical building the idea is the creation of a vertical glasshouse that stands apart from the environment, a green landmark for the city, an urban-gardening space for the neighborhood.
glasshouse plans
The floors are transferred to plantation containers the square plan is divided in two orthogonal shapes in order to create open space for taller vegetation. An external spiral staircase performs as a public observatory for the city
facades
sections
10
11
12
ESTIA (<the goddess and protector of home, household and family. Nowadays, the term symbolizes the ritual of collective eating/gathering. )
The project deals with the boundaries and the scenes of daily life in relation to social space, such as a market in Volos, Greece. Drawing inspiration from the relational aesthetic of the 70s, these ephemeral structures aim to create a performative public setting in which the different stages and possibilities of collective cookery and eating are involved choreographing a ritual. |selection, preparation and consumption| Instructor: Evelyn Gavrylou, Site: Volos, Academic Project, February 2018
13
14
such as sofras (low table, around which they sit on the floorand panigiria (celebration held with traditional Greek music, cyclical dancing and long tables for food.)
The observation of different body positions led us to the construction of autonomous eating cells, The cells’ design was inspired by folk furniture and aesthetics
daidokoro
floor
sofras
chairs
panigiri
standing typology of physicalities
single counter
double counter i
double counter ii
cantine counter
communal cooking typology of counters
The structure’s ground level is dedicated to the preparation while the top level is about the consumption.
The proposal is constructed by easily transformed materials, a combination of recycled OSB 3 wooden panel and steel ringlock scaffolding system.
sofras
standing
panigiri
daidokoro
floor
chairs
multiplying the modules at the abandoned industrial building Oinopneuma near the center of Volos
16
FRAGMENTS OF LIFE IN MOTION the poetics of film diaries Jonas mekas
Indicative bibliography
Deren, Maya, An Anagram Of Ideas On Art, Form and Film, New York: The Alikat Book, Shop Press, 1946 / James, David E., Allegories of Cinema: American Film in the Sixties, Oxford: Princeton University Press, 1989 / Mekas, Jonas, I Seem to Live_ The New York Diaries. Vol. 1, 1950-1969, New York: The Spector Books, 2019 / Mekas, Jonas, Movie Journal: The Rise of New American Cinema 1959-1971, New York: The Macmillan Company, 1972 / James, David E., To Free the Cinema: Jonas Mekas and the New York Underground, Oxford: Princeton University Press, 1992 / Sitney, Adams., Eyes Upside Down: Visionary Filmmakers and the Heritage of Emerson Paperback, Oxford: Oxford University Press, 2008/Turim, Maureen, Abstraction in Avant-garde Films, Michigan U.S.: UMI Research Press, 1985/ Youngblood, Gene, Expanded Cinema, New York:E. P. Dutton & Co., 1970
Instructor: Yiorgos Papakonstantinou, Reasearch Academic Project, July 2020 17
This thesis was born from the cross-breeding of Jonas Mekas’ film diaries and the vagrancy of time as I interpret it. -The chronical time, moments as they happen, as they are trapped within the camera by Jonas Mekas. The instant reaction to life. -The assortment of the fragments, that is, the togetherness that is brought upon by Jonas when puts together the many splices of film in his editing room years later. -The ecstatic identification, the rendering of all of these cinematic realities as I experience them, alone in my room. Jonas Mekas is mastering the cinematic elements -super or under exposed images, single frames, spatial soundscapes, voiceovers- constructing a time beyond the convention “past-present-future”.
The research envisages the ensemble of the film diaries as an extensive autobiography. Each individual diary functions as a chapter into which I may, occasionally, focus, tracing the overlaid narrations emerging by it. These layers are analyzed in three categories as following. -Through the very personal he is portraying not only his life but also the human experience as an innevitable collective path. -His memories as a displaced person follow him until the end of his life· thus the body of these narratives is not just a series of personal stories, but comes to complete the archive of the alienated “story”. This anti-archive is a tool of co-configuring the wider story with the microhistory. We can refer to the integration in the wider historiography of the individual’s lived history (doing biography) as a means of tracing parts of the collective memory. -At the same time his work can be seen as a historical portrait of the sixties with the American Avant Garde set as a protagonist.
18
self portrait A series of engravings printed on remnant. dealing with the coexistance of the creatures inhabiting inside.
These print came out on fabric by an accident. The fabric was first used in order to clean the linoleums from the remain ink. I end up ellaborating and using this hazed piece as the final one considering this blurry effect as representative for my identity.
Craved on linoleum, Printed on fabric 1,30m 0,75m, Black oil ink, Lisbon, 2019 19
20
PERFORMINg as a mechanism that explores the way we are inhabiting space, our own skin and the others , reconstructing our view of theworld.
Tololo deals with existence, identity and relationships, by attempting to answer the question that can be found on the dating portal Who are you? It aims to recall the importance of synchronization in the universe of sets and possibilities confirming that the other and the self are two souls who inhabit the same skin. The performance was not following any choreography while we were guided by the idea of seeing with the skin instead of our eyes, exceeding the limits of the mind. The recorded footage later got used for the homonymous short film, an international co-production.
Tololo pour l’humanité, Concept Frantz Kerby Mathie, Guidance: Alexandros Goudinakis Studio 29A, Thessaloniki, Greece, October 2020, Images by Vassiliki Bitou + Yiannis Didaskalou 21
22
Photography as a tracing tool of the fragments that pass us by, glimpses of spaces, faces dialogs.
The medium becomes a tool evoking the need for connection between the internal and external landscapes, a channel through myself and the world. The still images consist of the invisible stories between friends, lovers, loneliness and togetherness.
All images are taken using a dslr Canon 600d kit or a 35mm film Olympus OM40 23
24
25