katerina's zisimopoulou sample work
5 projects @ ucla
struskyhaus structure to surface surface to structure mies through archigram archipelogics, individual paths
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STRUSKYHAUS advanced design studio PROGRAMMED STRUCTURES student katerina zisimopoulou PROFESSOR NEIL DENARI
ÊÔÉÑÉÏ ÓÔÑÏÕÓÊÕ ðñïùèçìÝíá èÝìáôá ó÷åäéáóìïý ÐÑÏÃÑÁÌÌÁÔÉÊÅÓ ÊÁÔÁÓÊÅÕÅÓ öïéôÞôñéá êáôåñßíá æçóéìïðïýëïõ ÊÁÈÇÃÇÔÇÓ ÍÉË ÍÔÅÍÁÑÉ
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Project Scenario: A Kรถln area based business corporation, now owned by an extended German family, has decided to build a house on a prominent site near the center of Kassel. In a unique arrangement, the City will lease the land to the owners for 50 years at a rate of 1 Euro per year in exchange for the construction of the house which will become City property at the end of the lease. The program of the house will be a merger between public and private functions. One part is an exhibition gallery for several works of Andreas Gursky and Thomas Struth (two important contemporary artists working in the medium of photography) and the other is a private residence for the daughter (and her family) of one of the owners. She has been selected as the chief Curator of Documenta 12 to be held in Kassel in the summer of 2007.
Ôï èÝìá äéÜñêåéáò 5 åâäïìÜäùí ôéôëïöïñåßôáé STRUSKYHAUS. Ôï ðñüãñáììá ðïõ ðñïôåßíåôáé óõíèÝôåé éäéùôéêÝò êáé äçìüóéåò ÷ñÞóåéò. ¸íá ìÝñïò ôïõ êôéñßïõ áðïôåëåß ôçí ïéêßá ìßáò ôåôñáìåëïýò ïéêïãÝíåéáò, ãéá ôá ìÝëç ôçò ïðïßáò -ðáôÝñáò, ìçôÝñá, ðáéäß êáé ðáððïýò- äßíïíôáé åêôåíåßò ðåñéãñáöÝò (öõóéêÜ ÷áñáêôçñéóôéêÜ, áíÜãêåò, âéïãñáöéêÝò ëåðôïìÝñåéò, ãïýóôï). Ôï Üëëï ìÝñïò áðïôåëåß Ýíáí åêèåóéáêü ÷þñï, ï ïðïßïò öéëïîåíåß 9 óõãêåêñéìÝíåò öùôïãñáößåò ôùí Gursky êáé Struth. Ôá ìÝëç ôçò ïéêïãÝíåéáò åßíáé óõëëÝêôåò ôùí ðáñáðÜíù êáëëéôå÷íþí êáé ôï åíäéáöÝñïí ôïõò ðçãÜæåé áðü ôï áñ÷éôåêôïíéêÞ ïõóßá ôùí åéêüíùí êáé ôçí åíáó÷üëçóÞ ôïõò ìå èÝìáôá üðùò ç êëßìáêá, ç ðáãêïóìéïðïßçóç êáé ôõðéêÜ ôïõ ðïëéôéóìïý, üðùò áõôÜ öáíåñþíïíôáé óôéò ðüëåéò êáé ôá êôßñéá. Ôï STRUSKYHAUS âñßóêåôáé óôï Kassel, üðïõ äéïñãáíþíåôáé ðåñéïäéêÜ ôï Documenta, óçìáíôéêü êáëëéôå÷íéêü ãåãïíüò, óôï ïðïßï Ý÷ïõí åêôåèåß åðáíçëëåéìÝíá Ýñãá ôùí ðñïáíáöåñèÝíôùí êáëëéôå÷íþí.
office WC media library garage +0.00 master bedroom -0.18 child bedroom kitchen -0.18
dining room =1.22
guest bedroom -0.18
living room -1.22
gallery entrance -0.72 exhibition hall -0.52 gallery della academia
prada exhibition hall -1.82 milan cathedral
dallas parking lot
shibuya crossing
exhibition hall -1.08
shatin
chicago board of trade
tien an men
bundestag
ground floor plan, scale 1:300
STRUSKYHAUS
south elevation, scale 1:300
north elevation, scale 1:300
west elevation, scale 1:300
east elevation, scale 1:300
short section, scale 1:300
long section, scale 1:300
first floor plan, scale 1:300 basement floor plan, scale 1:300
the metal structure without the skin...
... creates breathtaking perspective views
the courtyard under the dining + living spaces of the Struskyhaus is situated next to the main gallery hall
PROGRAMMED STRUCTURES structure to surface PROFESSOR NEIL DENARI student katerina zisimopoulou
ÐÑÏÃÑÁÌÌÁÔÉÊÅÓ ÊÁÔÁÓÊÅÕÅÓ áðü ôçí êáôáóêåõÞ óôçí åðéöÜíåéá ÊÁÈÇÃÇÔÇÓ ÍÉË ÍÔÅÍÁÑÉ öïéôÞôñéá êáôåñßíá æçóéìïðïýëïõ
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LONG SECTION scale 1:200
SHORT SECTION scale 1:50
PLAN scale 1:50 200
Ðñüêåéôáé ãéá ìßá Üóêçóç óôçí åðáíÜëçøç ôçò êáôáóêåõÞò. ÐñïêåéìÝíïõ íá óôåãáóôåß óõãêåêñéìÝíïõ åìâáäïý ÷þñïò ìå ðáôÜñé ðñïôåßíåôáé ìéá åðáíáëáìâáíüìåíç äåíôñïåéäÞò êáôáóêåõÞ ðïõ êáôáëÞãåé óôçí äçìéïõñãßá ðñéóìáôéêÞò áêáíüíéóôçò åðéöÜíåéáò ïñïöÞò. Ïé ÷þñïé ðÜíù êáé êÜôù áðü ôï ðáôÜñé áíáäåéêíýïõí äéáöïñåôéêÝò ðïéüôçôåò êáé èåÜóåéò ôçò åíôõðùóéáêÞò ìåôáëëéêÞò äåíôñïåéäïýò êáôáóêåõÞò.
This project is a study on repetition in structural systems. The construction proposed needs to shelter a given space disregarding the program. The brief requires a mezzanine. A repetitive metal "tree"-structure is proposed that results in the creation of a prismatic irregular roof surface. The space above and under the mezzanine enjoys different qualities and views of the "tree"-structure spectacle.
programmed structures SURFACE TO STRUCTURE student katerina zisimopoulou PROFESSOR NEIL DENARI ðñïãñáììáôéêÝò êáôáóêåõÝò ÁÐÏ ÔÇÍ ÅÐÉÖÁÍÅÉÁ ÓÔÇÍ ÊÁÔÁÓÊÅÕÇ öïéôÞôñéá êáôåñßíá æçóéìïðïýëïõ ÊÁÈÇÃÇÔÇÓ ÍÉË ÍÔÅÍÁÑÉ
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Ôï èÝìá áðïôåëåß åöáñìïãÞ ôçò "áíôßóôñïöçò ìç÷áíéêÞò" êáé åñìçíåýåôáé ùò ðñïóáñìïãÞ ôçò êáôáóêåõÞò óå äåäïìÝíç åðéöÜíåéá. Ï ìåëåôçôÞò Ý÷åé óôçí äéÜèåóÞ ôïõ ìéá ôåôñÜãùíç åðéöÜíåéá óõãêåêñéìÝíïõ ìåãÝèïõò, ôçí ïðïßá êáëåßôáé íá åðåîåñãáóôåß "ôïðïëïãéêÜ" ìå ïðïéïíäÞðïôå ôñüðï ãéá ôçí äçìéïõñãßá ôçò ôåëéêÞò ìïñöÞò. Ç ôåëéêÞ åðéöÜíåéá ìðïñåß íá Ý÷åé åìâáäüí ±20% ôïõ áñ÷éêïý êáé ìðïñåß íá ìåôáó÷çìáôéóôåß, áëëÜ ü÷é íá ÷ùñéóôåß óå ðåñéóóüôåñá ìÝñç. Óôç óõíÝ÷åéá áíáæçôåßôáé Ýíá êáôáóêåõáóôéêü óýóôçìá, ôï ïðïßï èá ðñïóáñìïóôåß óôçí åðéöÜíåéá, ðñïêåéìÝíïõ íá ôçí õëïðïéÞóåé. Ïé ôïðïëïãéêÝò ìåôáìïñöþóåéò ïäÞãçóáí óå ìéá äéðëùìÝíç, óõíå÷Þ åðéöÜíåéá, ç ïðïßá ó÷çìáôßæåé êïßëá âáèïõëþìáôá. Óå áõôÜ ðñïóáñìüæïíôáé áíÜ ôáêôÜ äéáóôÞìáôá óõíå÷åßò äïêïß - õðïóôõëþìáôá ïñèïãùíéêÞò äéáôïìÞò. Ôá ðëáßóéá áõôÜ áêïëïõèïýí ôçí ìïñöïëïãßá ôçò åðéöÜíåéáò, ôéò êáìðõëþóåéò êáé ôá êïßëá ôçò. Ìåôáîý ôïõò åíþíïíôáé ìå äåõôåñåýïí óýóôçìá äïêþí êáé óõãêñáôïýíôáé åîùôåñéêÜ ìå áíÜñôçóç áðü êáëþäéá ðïõ ìåôáöÝñïõí ôéò öïñôßóåéò óôï Ýäáöïò. Ç Üóêçóç äéÞñêåóå ìßá åâäïìÜäá êáé ôï èÝìá åß÷å ôçí åðåîåñãáóßá åíôáôéêïý åñãáóôçñéáêïý ìáèÞìáôïò. The project teaches the process of reverse engineering through the design of a structural system that derives from a given surface. The brief requests the manipulations of a given square surface of a specific size that have to result in a topologic continuous surface, which is ±20% of the original and has not been split in parts. The structural system that will best construct the surface is the aim of the project. The surface manipulations resulted in a folded continuous surface with two concave spaces. A repetitive self-similar metal frame system adjusts to the peculiarities of the surface shape. A secondary beam system unites the frames and external cables keep the whole structure stable. The project lasted one week as an intensive design workshop.
surface manipulation
short section scale 1:200
structural axonometric
768 m2
long section scale 1:200
plan scale 1:200
MIES through ARCHIGRAM
Ï Ìßåò ìÝóù ôùí ¢ñ÷éãêñáì
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Ç ÊáôáóêåõÞ ôïõ Êôéñßïõ ÄéáìåñéóìÜôùí 860-880 Lake Shore Drive
1 column x 27 floors high
on a 6.4 x 6.4 m, 5 x 3 ortho grid
+ 25 identical orthogonal floor slabs
+ 2 circulation cores in the center
860-880 LAKE SHORE DRIVE
+ the H-beam structural skin
= 860-880 Lake Shore Drive Apartment Buildings
miesian apartment box =4 surfaces
archigram apartment box =3 surfaces without edges
archigram apartment box =3 surfaces without edges +tapered in plan
archigram apartment box =3 surfaces without edges +tapered in plan +blown asymmetrically
archigram apartment box =3 surfaces without edges +tapered in plan +blown asymmetrically +walls reach roof&floor
archigram apartment box =3 surfaces without edges +tapered in plan +blown asymmetrically +walls become roof&floor =the CUSHICLE =1 SURFACE
side elevation
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×åéñéóìïß åðéöáíåéþí ìå âÜóç ôéò áñ÷Ýò ôùí ¢ñ÷éãêñáì
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860-880 plug-in LAKE SHORE DRIVE
rearrange the columns around center
+ unify the central ones into 2 walls
Ç ÊáôáóêåõÞ ôïõ Êôéñßïõ ÄéáìåñéóìÜôùí 860-880 plug-in LAKE SHORE DRIVE
+ taper all
+ add the core & the slabs
+ don't forget the derrick on top
+ the capsule apartments
= the plug-in Lakeview
x2,
where no 2 floors are the same
REDESIGN LAKE SHORE DRIVE 860-880 MIES's LAKEVIEW apartment building through ARCHIGRAM's PLUG-IN concept The Lakeview apartment building can be entirely reproduced and redrawn by 1 column, 27 floors high, in a 5 by 3 orthogonal 6.4 by 6.4 m grid, with 25 identical orthogonal floor slabs added to every 3.2 m floor height and 2 circulation cores in the center. The unifying I-beam structural skin certifies the immortality and uniqueness of the 860-880 Lake Shore Drive Apartment Buildings. No wonder Philip Johnson likes Mies "because he is so easy to copy". Originally, individual apartment plans for 860-880 owed much to the Miesian pavilion box, the Farnsworth house. Mies proposed using the placement of a core containing a kitchen and bathroom to define other spaces for living, dining and sleeping. Archigram followed that original Miesian principle throughout their whole sequence of Plug-In Capsule units. The Archigram apartment boxes as fractal objects derive from the Miesian apartment box subjecting it to a series of three-dimensional surface manipulations. The four surfaces of the orthogonal box become three surfaces without edges, floor, roof and continuous walls, in the Plug-In Office Tower, which may then be tapered in plan in the Capsule Home Tower, which are then blown asymmetrically in the Walking City Unit, so that the continuous walls start to reach and resemble the roof and floor of the unit in the Living Pod, to ultimately become roof and floor in the CUSHICLE and once and for all turn into one and only SURFACE, a blob that provides a whole plastic domestic environment to its resident. Mies has actually worked similarly in his furniture design process, where one surface material, sometimes cut in pieces, along one or two self-similar curves produces an entire furniture landscape. Redesigning Lakeview according to Archigram principles and ideas requests the rearrangement of all the columns around a central core and unifying the central ones into 2 walls, adding the core's floor slabs and tapering the whole structure to reveal its load bearing pressure. The crane on the rooftop carries and plugs-in the capsule apartments, which come in different scales and dimensions, to create the plug-in Lakeview. But what are the terms of repetition and transformation in analyzing this emergent Lakeview project? The Archigram contribute to liberate the space of Miesian cellular units that are prisoners within the structural skin cage and given the logic of Miesian space the emergent capsule units could be rendered more plastically according to Archigram surface principles. The crane then becomes the index of production and structure as opposed to the I-beam in the case of the original Lake Shore Drive Apartment Building. The Archigram-ification of Mies suggests the issue of seriality, there are two towers in the Lake Shore Drive project and another two in the adjacent Esplanade project, and together they set the rhythm of repetition in a rotated orientation. The emergent Plug-In Lakeview tower could be infinitely rotated and repeated along the virtual waterfront. In effect, two very disparate models are forced together: cool Miesian rationalism and chaotic unplanned Archigram urbanism. The facades and interior surfaces of the emergent tower are colorful and communicative. The intention is to create an exciting combination that will in turn lead to unforeseen interactions.
áðüóðáóìá ôçò åñãáóßáò ãéá ôï ìÜèçìá Mies en Abyme
Individual Paths or After the White Cube
ÅîáôïìéêåõìÝíåò ÄéáäñïìÝò (Þ ÌåôÜ ôï Ëåõêü Êïõôß)
ìéá Üóêçóç ó÷åäéáóìïý åêèåóéáêïý ÷þñïõ
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ÅîáôïìéêåõìÝíåò ÄéáäñïìÝò Þ ÌåôÜ ôï Ëåõêü Êïõôß Individual Paths or After the White Cube Exploring the boundaries of Kunstverein in an attempt to pay tribute to Munich's experimental art scene compatible to the structure of the institution, the architectural proposal of a gallery composed of Individual Paths forms a provocative statement on issues of movement and socialization within the gallery space. An integrated sequence of self-similar vessels and paths separate the already divided gallery of Kunstverein in secluded isolated cubicles in the existing ground level, only to unite them in a luminous elevated window level. The cubic vessels combined with the curved paths de-territorialize the white cube of the gallery space emulating the urban landscape of the contemporary metropolis. The aggregation and relationship between units create an intentional ambiguity of dead-end and pass-through circulation loops, juxtaposing enclosed courtyard spaces that force the visitor to gyrate through tight open and closed spaces, inside awkwardly short and narrow exhibition spaces and outside extended open gathering areas, to reveal a dense urban environment. The cubicle's long section changes constantly along a unified curved surface, while they generally conform to back-projection surface proportions in their short section. The elevated paths emphasize on exaggerated, even occasionally residual circulation. They perform a network of connected routes on the top of the densely disparate vessel structure. Their physical form resembles strongly highway ramps and semantically they bear another prominent resemblance to their archetype: their narrow width imposes individualized routes to the visitors. Issues of scale, density and zoning simulate the city-scape and define the distribution of program within the gallery. The intensities of light differ from the ground to the window level, but also from dense to sparse spaces in either level. Both paths and vessels are zoned and may accordingly host either exhibits or circulation and occasionally both depending on the phase of the exhibition and the needs of the institution. The novel structure questions conventional notions of display and movement in a gallery. However, it establishes a dialog between its components and the existing neoclassical architecture of Kunstverein, constantly referring to windows and thresholds planar and sectional proportions. The neoclassic elements of Kunstverein inspire a contemporary reaction to exhibit art in the gallery as if it were a city in itself.
perspective of the short building axis
Óôü÷ïò ôïõ studio áðïôÝëåóå ç ðáñáãùãÞ ôõðïëïãéþí êõêëïöïñßáò êáé äéáíïìþí ãéá ôçí äéáìüñöùóç Ýêèåóçò åéêáóôéêþí Ýñãùí óå êôßóìá ôïõ êëáóéêïý ÌïíÜ÷ïõ. Êáèïäçãïýìåíïò áðü ôï åßäïò ôùí åêèåìÜôùí, ôá ïðïßá áðïôåëïýí åãêáôáóôÜóåéò ðïëõìÝóùí êáé ðñïâïëþí óôçí ðëåéïøçößá ôïõò, ï ó÷åäéáóìüò ôïõ ÷þñïõ åóôéÜæåé óå ôå÷íéêÝò áíÜðôõîçò ðåñéöåñåéþí áíÜìåóá óôá åêèÝìáôá ìå Ýìöáóç óôçí ìßîç ðïëåïäïìéêÞò èåùñßáò, ó÷åäéáóìïý åêèÝóåùí êáé ôç äéáëåêôéêÞ ôïõ êåëýöïõò ôïõ Ãåñìáíéêïý êëáóéêéóìïý êáé ôùí high-tech ÷ùñéêþí ïñãáíùôþí. ÌÝóù ôïõ ó÷åäéáóìïý ôïðïëïãéþí êáé óõóôçìÜôùí ðïõ áðïêáëïýíôáé ÁÑ×É-ÐÅ-ËÏÃÉÊÅÓ ãßíåôáé ðñïóðÜèåéá íá áíáêáôáíåìçèåß ç êßíçóç óôïí ðÜíù üñïöï ôïõ Kunstverein Museum óôï Ìüíá÷ï êáé ôáõôü÷ñïíá ðñïôåßíïíôáé íÝåò ìÝèïäïé Ýêèåóçò. ¸íá óýóôçìá ÷ùñéêþí äï÷åßùí êáé õðåñõøùìÝíùí äéáäñïìþí ïñãáíþíåé ôïí äéÜëïãï ìå ôï õðÜñ÷ïí êôÞñéï äßíïíôáò ôç äõíáôüôçôá åíáëëáêôéêþí èåÜóåùí ôùí åêèåìÜôùí áðü õøçëüôåñá åðßðåäá êáé åíáôÝíéóçò ôçò ðüëçò êáé ôïõ êÞðïõ áðü ôïõò öåããßôåò. Ç ÷ñÞóç íÝùí ôå÷íïëïãéþí óôçí åöáñìïãÞ ôïõ ó÷åäéáóìïý ìéáò Ýêèåóçò óå éóôïñéêü ìíçìåßï ðñïôåßíåé ñéæïóðáóôéêÝò áðüøåéò óôçí áñ÷éôåêôïíéêÞ äéáëåêôéêÞ ôçò éóôïñéêüôçôáò êáé ôçò ó÷Ýóçò ðáëáéïý êáé íÝïõ.
ÅîáôïìéêåõìÝíåò ÄéáäñïìÝò Þ ÌåôÜ ôï Ëåõêü Êïõôß plan of ground level
topographic plan of window level
long section
perspective of the long building axis
perspective view along galleries