Aikaterini Chelioudaki-Vardi
Portfolio
Universidade do Porto, FAUP, Portugal September 2013-present Exchange Student in Architecture (Erasmus) École polytechnique fédérale de Lausanne EPFL September 2010- August 2013 ENAC / School of Architecture, Civil and Environmental Engineering / Architecture
Languages
University of Ioannina, Greece October 2008- July 2010 Fine art and Art Sciences Department (History and Theory of Art) Workshop of design “TSIGRIS”, Greece Private school of Drawing and Painting Academic years 2008-2009, 2009-2010
Universidad de Valencia, Spain October 2005- February 2006 Superior Technical School of Engineering Exchange Student (Erasmus Program) National Technical University of Athens, Greece September 2003- October 2008 Diploma in the Faculty of Mining and Metallurgical Engineering (Field of Study/Environmental Engineering and Geo-Environment) (300 Credits - Graduation grade: 7,38/10)
Education
Art’s Center “PLAKAS”, Athens, Greece Private School of Drawing and Architectural Design: Academic years 2001-2002, 2002-2003 4th High School of Chaidari, Athens, Greece September 2000- June 2003 (Graduation grade: 17,1/20)
Greek: Native Language English: Fluent French: Fluent Spanish: Level B2 Portuguese: Beginner Level A2
Autocad Vectorworks 3D Studio Max Vue 6 xStream (3D) Rhinoceros Sketch up Poser In Design Illustrator Photoshop Premiere
Informatic skills
Hellenic Telecommunications Organization – OTE, Greece July 2009 – July 2010 Office tasks (morning part time job)
Use of the residues of Bauxite in the Iron Industry (ΑΚΒΩΣΙ) 1st of December 200728th of February 2008 Academic work for the National Technical University of Athens, Greece Employer: Prof. I. Paspaliaris and Prof. A. Xenidis
Working Experience ScienceVisuals (PSE-C EPFL) Lausanne October 2010 – July 2011 drawings/storyboards for virtual projects (occasionally) Ranch K. Skouras S.A., Greece June 2006, August 2006, July 2007 Artistic strain scenography
The creation of photorealistic threedimensional representation of the proposed projects for underground biological cleaning and restoration of the quarry 1st of May 2009 – 20th of July 2009 Academic work for the National Technical University of Athens, Greece Employer: Prof. D.Kaliampakos
Athens Concert Hall, Greece September 2006 – June 2007 Working in the Section of Usherettes (evening part time job)
The Great Escape March 2011 – July 2013 Service for the restaurant and bar (part time job)
Aikaterini Chelioudaki-Vardi
Nationality: Greek Date of birth: 27th of December 1985 e-mail adress: aikaterini.chelioudakivardi@epfl.ch katerina_chelioudaki_vardi@yahoo.gr
Current work in progress, to be delivered on the 30th of June 2014
Building
in
Francos
Up: Francos, Porto, Portugal Down: Model of Francos with urban proposal in scale 1:500
Edificação Habitacional e Espaços públicos e privados Forma urbana e edificação residencial : Plano e Projecto
Professor: Luis Soares Carneiro Project III, 6th semester, FAUP Porto 2014
The currnet area is located in Porto, Portugal. For this project we have to make an urban proposal and then to develop a certain building (by our choice) in in order to show throuhg many scales that it is possible to be created. The final work will consist of the urban plan of the area is scale 1:500, the selected area-building for further development in scale 1:200 and 1:100, one appartment of the building in scale 1:50 and then the necessary details of construction in scale 1:20 and 1:10 (drawings and models)
Rua Frederico
Ozanam
+77.60 m
+79.00 m
+77.50 m
+75.80 m +79.00 m
+77.50 m +77.50 m +77.50 m
+78.50 m
Rua
dos
+79.00 m
alu
nos
da
+78.00 m
FAU
P
+79.00 m
+78.00 m
Via
dos
Me
str
es
da
Arq
uite
ctu
ra
+78.00 m
+78.00 m +79.00 m +80.00 m +79.00 m +78.00 m
+78.50 m
+80.00 m
Rua dos alunos da FAUP
+79.00 m
Rua
+80.00 m
dos
alu
nos
da
+79.00 m
FAU
P
+79.70 m +80.17 m +80.00 m
+80.30 m
ene
nte V
ala
dim
+79.40 m
Floor plan of the selected building in development
Social Housing Professor: Luis Soares Carneiro Projecto III, 5th semester (ERASMUS), FAUP Porto 2013
In this exercise we had to create a block building that serves for multifamily housing. The shape of the building had to be like L where the one edge is supposedly connected with an other building and the other edge is free of view. We didn’t have any precise location or constrains for the ground. We also had to choose among different kinds of acceses: the galleries , the multiple vertical accesses and the direct acceses. The following project is develloped with the use of direct accesses. Then, we had to choose a part of the project and develop it in scale 1:50 drawings and model. The main issues were the internal organization, the repetition and distribution of spaces even if we weren’t working on a specific urban context.
D'
D'
D'
D' D'
A
B
A'
A
A'
B'
B
C
B'
C'
A
B
C'
B'
B
C' C
Ground level
D
1st level
D D
D
Section A-A'
B
B'
C
C'
1st level
2nd level
Section C-C'
Section B-B'
Section A-A'
D
2nd level
1st level
Ground level
A'
A
C
C
Ground level
A'
A
Section B-B'
The drawings’ and the model’s original scale is 1:50 D'
A
A'
A
A'
A
A'
A
A' A
B
B'
B
B'
B
B'
B
B' B
C
C'
C
C'
Ground level
C
C'
C
C'
Ground level
D
D
D
D
Section A-A'
Section A-A’
C
Section A-A'
1st level
Section B-B'
1st level D
Section B-B'
2nd level
Section C-C'
Section C-C’
Section B-B’
D'
Section D-D’
Elevation
The drawings’ and the model’s original scale is 1:50
Greenhouse Learning Center with Jacinta Rodrigues and Nikos Sofos for the class ‘‘Projecto de Arcitectura Assistido por computador - CAAD I & II’’ FAUP Porto Professors : Bruno Miguel da Silva Carvalho Moreira, Pedro Leão Ramos Ferreira Neto Academic year 2013-2014 At left : our poster for the final delivery On the bottom : the model in volumes Next page : 3d renderings, parts of a video also for the final delivery
The area of intervention for this project was the Botanical Garden in Porto. Without disturbing the trees and using the ‘‘Casa Salabert’’ as additional stable element, we repeted the pre-existent greenhouses in parallel direction so to have the Greenhouse Learning Center with an extra cubic building positioned close to the entrance of the garden. The materiality of the buildings completes the idea of the easy transition between the open and closed spaces. The glass reinforce the impression of a united space in order to give the same importance to the interior and the exterior. Also, in the inside all the area is united as one and all spaces are connected. The transparency is an important element for the nature of this project. We can easily observe the effects by the changing of light during the day and night because of glass’s permeability to our gaze from every part of the Learning Center. Porto is a very rainy city, in the inside of the Greenhouse learning center we can perceive all the changes of the weather as it was open air, there is also protection from the agressive light that unfolds from the roofs and control of the temperature in the interior. The cubic building is the cafeteria and is the tallest building of the complex, from the upper floor we can profit the view of the total garden.
N
Allégories LIEU DE CREATION à la recherche d’un endroit ou s’établir EPFL-ENAC BA3/BA4 Atelier: Sandra Giraudi Assistants: Francis Blouin, Csaba Tarsoly Lausanne, 2013-2014 Plan de situation , échelle 1:1000
Up:The lake of Lugano in Switzerland Dowm: Capo San Martino
At the lake of Lugano in Switzerland there is a cape called ‘‘Capo San Martino’’. That was the area of the interpratation of this annual project. In the first semester’s approach we had to make a theater for the team of ‘‘Finzi Pasca’’ where the several type of artists work daily for several hours. During the second semester we had to make their residences for the period that they live there which is not a permanent location for the nature of their work. So , considering that the team is wondering around the world and comes only for 6months back to Lugano, we needed to create for them the most suitable spaces with certain caracteristics. The basic decision for my personnal project was to create the place of the work next to the earth/land , that means that I put the theater in the gorund behind the cape, In the opposite way, for their residences I decided to put them next to the water in a small bay down to the lake. The two buidings are separated but connected with a small road that becomes a tunnel in the cape that leads to the theater.
Un espace extérieur à l'intérieur
La roche qui compose Capo San Martino est la base qui constitue le projet théâtral. Le minéral de la roche a deux rôles. Concrètement, il donne la forme du théâtre dans la terre creusée. La crystallographie/structure du minéral est utilisé en plus comme allégorie pour créer la structure et couverture du projet. L'espace du théâtre qui se développe dans la roche est un espace extérieur. Les trois cotés de la scène touchent la roche et la façade (comme élément rajouté) est la coté des spectateurs. ''Ce que nous voyons le plus souvent au théâtre, c'est un personnage encadré comme un portrait et prisonnier d'un décor fermé de trois cotés. C'est ce qu'on nomme l'illusion théâtral.'' Peter Brook, L'espace Vide
Les logements des artistes
A la fin de la ville, là où il y a toujours de l'eau, dans une petite baie cachée dans la nature locale, une'' grande maison'' est extrudé par la roche. Il y a une famille de 24 artistes qui y vivent. Ils dorment au dessus d l'eau, mais ils ne peuvent pas le toucher. Il s'agit d'un bâtiment de plus de 20 mètres, où ils ont toujours à descendre. L'impression est inversée, nous ne percevons plus la première du dernier niveau, si le début est la fin, qu'il s'agisse de la roche ou l'eau. Une allégorie.
N
Plan de situation , ĂŠchelle 1:500
N
N
D'
D'
B
B 287.5m
C
287.5m
C
E
E
291m
A’
A
A’
275.5m
A
275.5m
B'
B' D
D
C'
C'
E'
E'
271.5m
271.5m
Plan de situation , échelle 1:200 Aikaterini Chelioudaki-Vardi
Plan niveau 5 (289.5m) , échelle 1:200
D'
D'
N
B
N
B
C
C
E
E
A'
A'
284.3m
281.1m
A
D
275.5m
D
275.5m
A
B'
B'
C'
C'
E'
E'
271.5m
271.5m
Plan niveau 4 (286m) , échelle 1:200 D'
Plan niveau 3 (282.5m) , échelle 1:200
D'
N
B
D'
N B
B
C
C
C
E
E
N
E
A'
A'
A'
277.9m
D
275.5m
A
D
275.5m
A
B'
D
A
B'
C'
B'
C'
C'
E'
E' 271.5m
E'
271.5m
Plan niveau 2 (279m) , échelle 1:200
271.5m
Plan niveau 1 (276.5m) , échelle 1:200
Plan niveau 0 (273m) , échelle 1:200
291m
291m
287.5m
287.5m
284.3m
284.3m
281.1m
281.1m
277.9m
277.9m
275.5m
275.5m
271.5m
271.5m
Coupe A-A' , échelle 1:200
Coupe B-B' , échelle 1:200
291m
287.5m
284.3m
281.1m
277.9m 275.5m
271.5m
Elevation , échelle 1:200
Coupe D-D' , échelle 1:200 Aikaterini Chelioudaki-Vardi
Coupe C-C' , échelle 1:200
Coupe E-E' , échelle 1:200
3D renders of the residence in the lake.
Lumière Creusée - Espace Creux with Elea Dubochet
Professor : Dieter Dietz Studio: Patricia Guaita Project-exercises of the 1st semester in EPFL Lausanne 2010
In this exercise experimented with the characteristics of light and its ability to reveal the materiality. Also we observed and studied the characterisitics of the full-empty space that was transformed while the opaque material was perforated. Following, we developped our first architectural project working this time with the concept of scale, thickness and proportions. Also it was important to consider for the first time the constraint of the vertical movement.
On the left : The four ‘‘screens’’ created for the first part of the exercise. On the right : The pictures were taken in order to observe the reaction of light while injected through the opaque of the material of the four ‘‘screens’’ in composition.
The final model
Three floor plans
Photos from the interior of the model - light injections
Model and drawings were made in scale 1:100
Villes archipels Developing a personal project through a studio project at a vertical matrice (common - public - private programs) EPFL - ALICE Professor : Dieter Dietz
Recycling center vs Residence
Studio : Alexander Noel 1st year project - 2nd semester Lausanne 2011 This project consists of two parts. One of them is a recycling center and the other one is a residence for the people that work in the center.The main concept of the project is that both parts, function in opposite way according to lighting, gravity, direction (negative - positive). The recycling center is built in the ground while the residence is supported only by a column of the matrix (almost in the air). Their shapes are the same but in opposite directions, which gives them different qualities of light. In this small recycling center we concentrate and compress all the materials that comes out of the buildings of the matrix and later we extract them from it; there is also a unit for "water treatment". The water of the matrix ends up through the tubes, into the big tank in the recycling center.
On the next page : Photo of the matrice of the Studio Noel including all the projects of the students in black and white. My personal project is located on the bottom left corner of the matrice.
The residence is above the recycling center and its construction is based on beams. These beams (as rays) are added and connected in the basic column (element of the matrix) and they support separately the floor and the ceiling. In between these two levels, is consisted a space for living.
Development of the personal project of the matrice
elevator for the trasnport of the materials out of the matrice
tubes that drive the waste of the matrice into the recycling center
tank for the concentration and recycling of the water area of waste treatment collection of solid materials (paper, carton, glass, pet, aluminum)
Flow chart : -concentration of different materials in five buckets -separation of materials -compression of materials -collection of compressed materials -extraction of the matrix
PLAN EN COUPE B-B' (recycling center level) 1:200 thh tube the t b drives d i th the h water of the matrice into the tank underground
space tank (underground) that collects the water
air earth exit of the water of the matrice
extraction
piece removal
positive negative
Water treatment
The drawings and the models were made in scale 1:100
The Red Platform Supervisor professor: Susana Maria Clemente dos Santos Piteira Semester project of the course ‘‘Arte e espaço’’ of U.Porto Academic year 2013-2014 This work consists of a wooden platform located in the gardens of the School of Fine Arts of Porto.
Walking around in the gardens of the Fine Art School of Porto , the spectator deals with the view of picturesque nature of the brown soil, of the high trees, of the organic elements, the leaves, the stones, numerous pieces of sculpture and all that surrounded by the buildings of the School of the Fine Arts. It is important to mention that the height of the trees is bigger than these of the buildings. The purpose of the present project is to create a wooden platform that its character is to be disposed among the trees of the garden, placed in a different height than that of the ground level, in order to create the additional choice to the spectator to wander around it and to observe the garden from a higher level. The object is positioned in the external space of the faculty so its connection with the nature and the weather conditions is direct. The material of the installation is pieces of wood with a thickness no less than 15cm. Its structure/construction is similar enough to those of tree houses as long as it has to be supported well in order to carry its weight and that one of the people walking on it. It demands mostly a constructive process of work close enough to architectural projects. My intention was to create an object with both architectural and artistic character, like a hybrid that comes from two different approaches.
The final form is like a deformed π. The choice of the red colour for the platform is for the obvious reason to provoke a contrast in the green garden; like that the object gets more strength and gains its space in the gardens. The height of the platform is two meters above the ground level and its width is three meters. Its total length is 44meters. One of the edges is supported in the walls of the garden and the other one fades until the ground also close to the walls of the school. The moments where the platform meets the trees, there are holes created on the wood around the trees. There is also extra support of pieces of wood on the trees. The whole installation is positioned in the most southern part of the gardens of fine arts next to the ‘’Pavilhão de Tecnologias’’. The main objective of this installation is to create an additional level. When someone finds itself in the gardens and if he turns up his head to observe the trees, the image that somebody faces is pure nature in its all organic form. Creating this additional level is like permitting to somebody to regroup the information received by his eyes. In other terms, the platform creates a vertical division of the space, as long as the areas where the human eye can focus around the platform are clearer.
My intention with this image is to show that with the introduction of the platform, there are more rich perspectives to explore in the verticality of the trees, and the information becomes more coherent for the visitor, as long as he has to observe certain groups of elements. 1st level of vision is the ground level until the 2meters where the platform starts 2nd level of vision between 2m-4m over the ground level, where is the area that people can walk on the platform 3rd level of vision is everything above the 4m where is the greenest part of the trees. At the same time as an object creates a big contrast with its colour (red vs green – trees) and with its form (definite angles and pure geometrical form vs organic shapes of nature). To arrive to this result there is a whole process of construction and implantation. In this point I have to mention that the position of the platform doesn’t affect any other sculpture of the garden because it will be installed in the most southern area of the garden where there are not yet any other projects. About its construction it should be an extensive research about the strength of the trees that the platform surrounds, because some of them will be used as basic branches of support in certain areas of the platform.
Studies in charcoal Drawing classes 2008-2010 Athens, Greece Ths is a 4 pieces sample of a big amount of drawings that were created through workshops and classes in a period of two years. These studies were basicaly in charcoal and acrylic colors. The purpose of this works was to learn how to represent the volumes only perceived by light and shadow. The subjects were mostly pieces of sculpture (usually copies in plaster of original statues or pieces of sculptural work of students of the Fine Art school of Athens), also synthesis of objects-dead nature and human models. Here, these four drawings are studies in charcoal, representation of a plastic doll , representation of Socrates, representationf of Hermes and a human portrait. The places of work were the: Art’s Center “PLAKAS” Workshop of design “TSIGRIS” Workshop of design “SARASITIS’’
When the child was a child, It was the time for these questions:
When the child was a child It walked with its arms swinging,
When the child was a child, It choked on spinach,
Why am I me, and why not you? Why am I here, and why not there?
Song of Childhood
and where does space end?
and this puddle to be the sea.
and on steamed cauliflower,
and eats all of those now, and not just because it has to.
When the child was a child, it awoke once in a strange bed,
When did time begin,
By Peter Handke (from the film ‘‘Wings of desire’’)
wanted the brook to be a river, the river to be a torrent,
on peas, on rice pudding,
and now does so again and again...
Is life under the sun not just a dream?
Graphic interpretation
and now only a few do, by sheer luck.
Is what I see and hear and smell not just an illusion of a world before the world? Given the facts of evil and people. does evil really exist?
of Wim Wenders’s film ‘‘Der Himmel über Berlin’’ through Peter Handke’s poem ‘‘Lied Vom Kindsein’’
Many people, then, seemed beautiful,
When the child was a child, it didn’t know that it was a child
It had visualized a clear image of Paradise,
everything was soulful, and all souls were one. it often sat cross-legged, took off running,
When the child was a child, it had no opinion about anything, had no habits,
Supervisor professor: Pedro Francisco Fernandes da Silva Maia Semester project of the course ‘‘Práticas do Desenho’’ of U.Porto Academic year 2013-2014
How can it be that I, who I am,
and now can at most guess,
and made no faces when photographed.
had a cowlick in its hair,
didn’t exist before I came to be,
and that, someday, I, who I am,
will no longer be who I am?
It has a shyness in front of strangers,
could not conceive of nothingness, and shudders today at the thought
and has that even now...
When the child was a child, It played with enthusiasm, and, now, has just as much excitement as then, but only when it concerns its work. When the child was a child, It was enough for it to eat an apple, bread, And so it is even now. When the child was a child, Berries filled its hand as only berries do, and do even now, Fresh walnuts made its tongue raw, and do even now,
It had, on every mountaintop, the longing for a higher mountain yet, and in every city, the longing for an even greater city, and that is still so,
It reached for cherries in topmost branches of trees with an elation it still has today,
It awaited the first snow, And waits that way even now. When the child was a child, It threw a stick like a lance against a tree, And it quivers there still today. to be continued... storyboard of Wim Wender’s film ‘’Wing of desire’’ Aikaterini Chelioudaki-Vardi
This work held within the semester course ‘’Práticas do Desenho’’ of the School of Fine Arts of the University of Porto and its main subject was to represent Wim Wender’s film in a storyboard. The ‘‘storyboard’’ as a result of the semester project, is used here in an alternative way, as long as it is not a tool in order to make the representation of the film before his shooting, but here it is a graphic interpretation/ illustration of a few scenes chosen as resume of my personal impression left after I’ve seen the film. The film chosen for the semester project, is ‘‘Der Himmel über Berlin’’ (original title) written and directed by Wim Wenders. Its English title is ‘’Wings of Desire’’. It is also Peter Handke who co-writed the screenplay with the director and whose poem ‘’Song of Childhood’’ (‘‘Lied Vom Kindsein’’ the original title) is used in this work as text for the final presentation of the storyboard and it was also an important part of the screenplay of the film. It is really important to mention, that the director had chosen to represent a part of the movie in a black-and-white version and the other part in colour. The scenes in black-and-white are the ones that are ‘’seen’’ through the eyes of the angels and the ones in colour are ‘’seen’’ through human eyes. This changing of the perception of the vision between human-and-not human comes to be a characteristic element of this film. Personally I intended to use for my project this same approach in order to express as well the transition between the different moments that the angel was observing in this spiritual existence and the life that started after its falling. The delivered work was: -the five collages in carton -an envelope with the printed frames of the film and sketches -a notebook with sketches and notes (English and Greek) -the printed collages in colour with the text, trussed like a brochure in A3 pages -the printed collages by the black-and-white printer
Development of a Virtual Reality Environment Minting the Attica Tetradrachm in Ancient Lavrio. February-October 2008
NTUA – Diploma Thesis : School of Mining and Metallurgy Engineering / Environmental Engineering and Geo-Environment Supervisor Professor: Dimitris Kaliampakos This work was the creation of a Video Documentary / Animation Short, that shows all these procedures that were carried out in ancient Lavrio in order to produce silver. All these pictures were attributed by models and by virtual representations in order to fullfil the applications of CVR (Cultural Virtual Reality) and they have been constructed based on sources that describe the way and the place, as they have been imagined by industry experts and by archaeologists, who worked at times with the ancient Lavrio. . The 3d video (18 minutes) was the main part of this thesis and in order to meet the requirements of a "short film - documentary (even if it's animation), it must contain key ingredients (Creation of an imaginary story based on information given to The Ancient Laurion and generally at that time considered / Script / narration / Film Direction / Construction of scenes and shots / modelling and virtual environment as long as there aren't any real places and actors / Editing / Sound) Through the shots and the scenes of the video, everything that is running are not realistic places and objects, but only three-dimensional models and virtual environments designed on the computer. Each plan consists of different virtual environment and models, which corresponds to a separate and unique file. This means that the number of the plans of the video, is the same number of the records/files. These records belong to the software used in order to shape these spaces (3D Studio Max 8 / Vue 6 xStream 32bit / Poser 6 / Real Flow). For the audio they were used "sounds effects" and a recorded "speakage" (in the same way that happens in films) and the editing was done with the "Adobe Premiere" for the treatment and the final configuration of the Video.
A few photos... Taken in Greece, Switzerland, Portugal and Italy Between 2008-2013
Jewellery exhibition By Aikaterini Chelioudaki-Vardi and Dafni Retzepi at Zinema, Lausanne Switzerland March 2013
Our poster: The original poster was cut into 64 pieces, that where used as the invitations for the event.
Photo at left taken by Csaba Tarsoly
Photos above and at right taken by Antigoni Papantoni
The End