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Contents
Introduction..............................................................................................5 Studio Ethos Architectural Semantics Field Trip “1994” Design Concept Strategy & References Concept Structure Atë............................................................................................................33 Hybris.......................................................................................................59 Nemesis...................................................................................................103 Katharsis.................................................................................................131 Appendix................................................................................................153 References...............................................................................................163
Introduction
Studio Ethos
Studio title: Aperantos/ Unfinished Buildings Keywords: hope, hopelessness, dreams, utopia, activism There is the moral of all human tales; ‘Tis but the same rehearsal of the past, First freedom and then Glory – when that fails, Wealth, vice, corruption – barbarianism at last. And History, with all her volumes vast, Hath but one page… (A direct source of literary inspiration for The Course of Empire paintings is Byron’s Childe Harold’s Pilgrimage (1812-18). Cole quoted this verse, from Canto IV, in his newspaper advertisements for the series.)
The DS1 studio “Aperantos: Unfinished Buildings” is inspired by the novels by the Italian collective, Wu Ming (formerly Luther Blissett) and the writings of Paul Kingsnorth and Dougald Hine on civilisation’s rise and fall. So as to comment on architecture’s involvement in the construction and destruction of civilisation, this studio will study the modern ruins of unfinished buildings – signs of the collapse of capitalist development – and will reconsider their reuse and repurposing...students will use the frame/fragment shell of their chosen unfinished building/s from which to design new architecture that deals with concepts of impermanence, permanence, formal and informal occupation of site, building life cycles, material reuse and the social responsibility of property development through a question of what property ownership might mean. Design unit brief produced by unit tutors Igea Troiani & Andrew Dawson
The Savage State. Oil on canvas,1834, 39 ½ × 63 ½ in The Arcadian or Pastoral State. Oil on canvas,1834, 39 ½ × 63 ½ in
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The Consummation of Empire. Oil on canvas, 1836, 51 × 76 in. Destruction. Oil on canvas, 1836, 39 ½ × 63 ½ in.
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Desolation. Oil on canvas, 1836, 39 ½ × 63 ½ in.
The paintings depict the rise and fall of what could presumably be a speculation of an archetypal metropolis. The imaginary city is situated on the bottom of a river valley, near where the mouth of the river meets with a bay of the sea. The valley is can be easily identified in each painting, partly due to the existence of an unusual landmark: a large rock is placed atop a precipice that overlooks the valley. Critics believe this to be a sign to highlight the contrast between the immutable natures of the earth to the transience of man.
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Architectural Semantics Architecture as symbolism and political statement Prior to visiting Athens, a collaborative studio exercise was conducted. Its purpose was to trace material and maps that showcased the evolution and devolution of the city alongside its territorial expansion and shrinking. As part of the team that investigated the period that ranged from 4000BC to 1833AD, I witnessed the formulation of the city from an intuitive arrangement of settlements to an urban formation that developed architecture not simply to ease the construction of buildings, but to further proclaim its existence through the built manifestation of the ideals that bond and unite the residents into polites (citizens) and the polis (city) into a state (kratos). The architectural component that was first implemented into the distinction of the territory of the city was the wall. Further to that more complex and elaborate forms of architecture were implemented into the building of temples and distinct public buildings such as the Acropolis complex that served as the built proof of the Athenian city’s existence and glory. As the new-born, conscious, architecture became synonymous to political statement, Acropolis immediately after its completion became the symbol each foreign ruler or invader crafted after so as to manifest its dominion over the city, its territory and people.
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3500-600BC
600-479BC
500-400BC
479-338BC
86BC-267AD
267-408AD
408-565AD
565-1205AD
1205-1456AD
Mapping of Athens The maps highlight the behavior of the urban tissue for the period between 3500BC to 1833AD. The particularity here is the role of architectural components in the distinction of the city from a settlement of dwelling around a natural formation to a political entity. In specific from the 8th century BC the circumference of the city defined by gated walls distinguishes it as a city-state. An organized whole with mutually accepted leaders and specific laws, ethics and codes of conduct. The rise of Acropolis clarifies and communicates the ideals the city is built upon. The aesthetics incorporated in the built form are, for the first time, embodied ideas that act as official statement over what beauty, divinity and ethos are considered to be. This claim is supported by the fact that the city’s two distinct built entities (the walls and the Acropolis) have been altered, but never demolished, by all those who invaded and captured the city so as to stand for emblems of their dominance and status.
1456-1687AD
1687-1833AD
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Transformation of propylaia into a Florentine castle in the 18th century. Erechtheion into a temple in the 16th century.
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Parthenon into a temple in the 16th century.
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Field Trip During the studio field trip, my intent was to travel from the centre to the periphery of the city in order to trace and understand how the city is now determined by built elements and identify the social classes that occupy different territories. In my journey, I chose to visit the industrial area that occupies the westernmost edge of the city and travelled along a couple of civil engineers who designed the factory structures I wished to investigate. Their presence was necessary as the unfinished building I investigated is found within the premises of the industrial park of Shisto. The park is a guarded industrial territory and no entrance is allowed without special permit. Shisto is a hybrid industrial area that incorporates residential and rural zones. The residents, most of them employed in the factories around the area, have returned back to agriculture and animal breeding as the crisis has forced most factories to go out of business. The area has a characteristic heavy smell from the fumes of the petrol processing factories that locals refer to as the ‘cocktail’. My next stop, following the advice of the engineers, was another factory owned by the same person who owned the unfinished building I visited earlier. Quite spectacularly, upon consulting with the engineers, I came to the realization that this factory was unfinished too. As the engineer pointed out the factory owner had left both buildings unfinished on purpose as the funding towards completion was seized and if he wanted to fulfil their construction he should fund the projects himself. The decaying condition of the functioning factory building should be considered a valid reason for all works to stop but both due to the inefficient building control and the owner’s “cunningness”, the factory still remains open and functioning.
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In a similar fashion most of the mechanical equipment used in the factory is custom made cranes built out of scrap and violently plugged in the corroded building frame. Further to the above even if the building is populated and operated by craftsmen both them and the owner neglect the engineers’ comments and keep on maintaining only the mechanical equipment as they regard It their only source of profit. The mechanisms develop an almost parasitic relationship to the built frame that hosts them. This of course happens mainly due their user’s rationale that these measures are only temporal and that: “Soon things will change and we will fix and complete the factory”.
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Digital collages highlighting the journey along the periphery of Athens.
Digital collage of the factory in the industrial park of Shisto.
Photographs showcasing the bird repelling bags in order to help preserve the unfinished factory.
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Photographs showcasing structural failures
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Photographs showcasing materiality and activities in the factory
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1994 “1994� (20 pics I took 20 years ago that I would have instagramed if there was instagram 20 years ago). instagram mini feed, 2014 @thebreedergallery @angelidakis
1994 is a collection of 20 pictures of city scenes taken 20 years ago. They could be described as ancient instagram, because the buildings they show can each be described with 2-3 words, or maybe just an emoticon. They also represent an ancient form of digital photography, as Angelidakis shot these while walking around with an ancient Hi8 video camera, then proceeded to digitally screen capture them with the equally ancient Power Macintosh 8100, his first computer. Some of these pictures were published the 3rd issue of Purple Fashion magazine in 1996, under the heading Streetstyle. Some others were published in Beige, an architectural theory manifesto about buildings that look like computers. Beige appeared in the 11th issue of Purple Prose (1996), and consisted of photos and text about these computer-like buildings, which were in fact unfinished semi-legal buildings trying to pass as corporate headquarters of family run businesses. Other photos show a curious half tree – half building, or a concrete module intended for underwater construction but instead abandoned on the side of the road. All the pictures were shot on the streets of Greek cities, where Angelidakis enjoyed drifting looking for readymade architectural objects for his imaginary library of potential buildings. If Instagram existed 20 years ago, these pictures would never have been printed in magazines, but fed instead to his always hungry instagram feed. #1994 #instagramweproject source: http://andreasangelidakis.com/
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Design Concept Strategy & References Throughout the course of this project the main concept that has influenced my approach is the idea of a functioning mechanism within a building and how that fact renders the building ,even if corroded or unfinished, complete and purposeful. Initially, the absurdity of the observations I mentioned before, brought in mind the comical devices of WH Robinson that were critiquing upon the military contraptions used during WWI, thus satirizing the British reliance on machines, and in general the purpose of using complex apparatuses to resolve rather simple or pointless tasks. Be that as it may, the point in Robinson’s drawings might be the efficiency of a device or contraption, but if one considers that the mechanism in the case of the pipe factory can function adequately, then it is more a matter of why and not how or how well. Trying to examine deeper the contemporary Greek phenomena and mentality as I witnessed them, I cannot but admit the evident lack of long term projections in our rationale. As it is evident in Angelidakis’ work “1994”, the economic crisis of the past years is not the sole source of incomplete buildings. On the contrary the period from mid-80’s to late 90’s was a period that Greek economy and society where perceived to be at their best. An unprecedented cash flow was overwhelming the market and banks were literally begging citizens to accept loans to spend on shopping and vacations. This perception of an everlasting wellbeing helped forging a mentality which in turn gave birth to ephemeral or temporal solutions in hope that matters will eventually resolve soon. However, the ephemeral or temporal solutions to issues
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became permanent and none estimated what would happen if they continue to exist or operate. The case of the pipe factory could be a perfect match for Italo Calvino’s ever building city of Thecla. There, the residents build the city up day by day for centuries. The scaffolds support other scaffolds and cranes carry other cranes. The construction only stops at night when the citizens-builders gaze at the sky to witness the constellations that they consider to be the blueprint. None considers the feasibility of the scheme or how it currently affects their life and well-being. In a Greek perspective we could consider Odyssey, a long adventurous trip full of obstacles and temptations one has to overcome to get to his destination. The famous Greek poet C.P. Cavafy in his poem “Ithaca” urges the reader to long for adventure and strive to get into as many troubles as possible because it is they journey it matter the most and not the destination. Though, what if there is an alternative, more tragic scope, to the story of Ulysses? What if the man of many devices is actually cursed? Although Ulysses is an epic character blessed with skill, strength, courage, determination and intelligence he is also supercilious and takes far too many unnecessary risks. As a result he manages to travel for almost as long as he fought for and all that due to his own arrogance. By the end of Odyssey, Ulysses has to prove himself once again in order to claim what is rightfully his and even when he does so he is at such an age that he cannot implement what he has learnt and nor can
he teach it as his trip has been a deep personal experience. My appreciation is that people in Greece more or less suffer from “Ulysses’ Curse”. Skilled and cunning but also too blind to see. My argument is further supported by what I consider the comical cultural equivalent to WH Robinson, the movies and life of Greek actor Thanasis Veggos. Veggos, a modern Ulysses, is an amateur actor that rose to fame mainly because of portraying himself. He is full of tricks and devices either verbal or literal. He is ever-moving and constantly on the go trying to make ends meet. His dreams though, his greater plans are rather futile or non-the-less absent as in most of his films he tries to simply make it through the day. He always tries to become either something fictional or irrational ranging from a Greek equivalent of James bond (https://www.youtube.com/watch?v=9sq1WAbOlDg ) to an amateur pharmacist or box referee. In his last movies though, Veggos becomes dramatic and realistic. In Theo Angelopoulos’ “Ulysses’ Gaze” he comments: “…..Greece is dying….we’re dying as people…we’ve come full circle…. I do not know how many thousands of years…among broken stones and statues… and we’re dying. But if Greece is to die she’s better do it quickly… because the agony lasts too long and makes too much noise.” (https://www.youtube.com/watch?v=KsW9yy6WIC0 )
As my design rationale was deeply influenced by the social extents of the crisis, I decided to produce a piece of critical architecture so as to comment upon the diachronic mentality I deem responsible for most of the happenings in Greece. My perception is that if a project embarks on such a concept it can become a vehicle to initiate arguments and raise awareness regarding the social condition it criticizes. WH Robinson’s antimilitary contraptions and his source of reference, the WWI apparatuses
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Furthermore, it is my belief that as this final project is really personal; it should extend beyond the limitations of a conventional student project. Therefore my intent is not to create something in response to only specific social groups or building sites as this would contribute into treating my architecture solely as a studio-limited design exercise and not as a holistic response to what I witnessed and examined. For this reason, I decided to attach a critical character to my design concept and respond to the following key-terms: Machine, device, efficiency, process, cause, social status, urban, rural, present, past, symbolism, statement, poetic, dystopia, myth, irony, tragedy
Following the rationale implemented in the verses that make up for the design unit’s conceptual foundation, and in order to produce a critique on the mentality and ideology responsible for the existence of unfinished buildings I focused on the following key concept facts: (based on the observations made during the field trip)
-Temporary measures that become permanent.
(i.e. the superficial solutions to cover up mistakes and inefficiencies)
-Reliance on the process rather than the end task. -The absurd rationale that fuels/stems from the above.
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This page: Paintings from the period between the 17th-18th century highlighting Ulysses after the fight in his palace and his torment as he listens to the seductive songs of the sirens. Next page: Thanasis Veggos’ monologue in Ulysses’ Gaze
Therefore my intent is to create a provocative architectural narrative that aims to “disturb” so as to engage into a conversation regarding the current happenings. However, In order to produce a shocking piece creating an alternative architectural speculation about what is currently going on is simply not enough. The project has to get to such extents as: -Creating an encounter between the present and the past using an architectural narrative that responds to the unfinished buildings. -Show how the Greek contemporary mentality and sequence of actions actually oppose to the stereotypical perception of the ideal and glorious past and how they can potentially affect the future. In brief, my project proposes for a set of “absurd” devices that will dismantle the unfinished buildings in order for mining raw materials. These materials will be implemented in ephemeral architectural structures (scaffolds) that will serve the city’s growth and various other demands. Ultimately the ephemerals will become permanent and the only source of raw materials left will be the antiquities and historical buildings. Shocked by the extent of their actions, the citizens will seize working and will dismantle their machines. However, the buildings they wished to expand are now collapsing in a spectacular fashion as the misapplication of the scrap-made scaffolds has severely damaged their load bearing components. In the end the city is almost gone. The only remaining edifices are some of the antiquities and the scaffolding. The citizens are left to reconstruct the city from the beginning. What will follow is uncertain it can either be a new emancipated beginning or a repetition of the inaccuracies of the past.
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Concept Structure In order to amplify its critical character, the narrative is structured in accordance to the 4 consecutive plot stages of Greek tragedy:
Atë/ Hubris /Nemesis/Katharsis Atë/ ATE (Atê), according to Hesiod (Theog. 230), a daughter of Eris, and according to Homer (Il. xix. 91) of Zeus, was an ancient Greek divinity, who led both gods and men to rash and inconsiderate actions and to suffering. (theoi.com, 2011)
Nemesis/ NEMESIS was the goddess of indignation against, and retribution for, evil deeds and undeserved good fortune. (theoi.com, 2011) Nemesis is the third stage where the buildings spectacularly collapse.
Ate is the first stage where the dismantling of the unfinished buildings takes place by applying a method that ultimately destroys the rural landscape. Hubris/ HYBRIS was the goddess or spirit (daimon) of insolence, violence, wantonness, reckless pride, arrogance and outrageous behaviour in general. (theoi.com, 2011)
Katharsis/ Catharsis (from the Greek κάθαρσις katharsis meaning “purification” or “cleansing”) is the purification and purgation of emotions (Merriam-Webster, 1995, p. 217)
Hubris is the second stage where the city expands vertically and the machines threaten the antiquities.
Catharsis is the final stage where the city is now collapsed and the only thing standing is the scaffold.
Essentially, the project seeks to make use of the symbolic notion of Architecture’s character by suggesting an actual encounter with the past and an actual realization of what culture and legacy are. By critiquing the contemporary mentality, and by suggesting the creation of a new conscious one, it is desired to establish the potential for a New Greek contemporary architectural statement through the emancipation and reprocessing of the existing one.
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Atë
How to demolish a building Hydrodemolition, a modern demolition and concrete removal method was my chosen method to demolish the building. The process includes a machine(s) that works automatically and projects water from a tiny nozzle under 2500psi pressure. The water immediately removes the concrete revealing the exposed steel reinforcement. Demolition becomes faster and safer for crews to complete. Since my initial site is near by the sea there is a plenitude in water that can be used to fuel the machines and the way the building is “disassembled� allows for the steel reinforcement to be easily removed without dust being ejected into the atmosphere as with traditional demolition techniques. Reference video: https://www.youtube.com/watch?v=6omjDbrlZhA
Though, since the project seeks to incorporate inefficiency, the method and overall approach is suggested here because: 1)Hydrodemolition is not either cost or energy effective as a method and thus is mainly implemented in maintenance and repair projects and not on large scale demolition works. 2)the amount of reinforcement found even in heavily reinforced concrete frame buildings in Greece is not nearly enough to be forged in to scaffold components. 3) as the engineers -who accompanied me in my journey- suggested, the concrete residue could potentially be used as aggregate in a new concrete mixture but such a decision would be cost effective and meaningful only in countries that contrary to Greece have limited aggregate resources. Hydrodemolition process and devices
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Natural corrosion of materials (material study) In addition to using sea water to hydrodemolish my buildings, I became interested in the potential physical outcome of the result. One of the buildings we visited was a brutalist building of the 70’s that was found 50m from the sea and was completely exposed for the past 40 years to the elements. The photographs below showcase the stalagmites that formed in the most exposed areas of the building. I immediately became fascinated on the idea of naturally corroding the buildings using sea water and started testing form finding by implementing parametric CAD software. The stills and renders below showcase various “corrosion algorithms� applied on a spherical surface. The end photographs show the application of the algorithm on a solid element that represents a column in the factory so as to test how the end product would look like. Salt crystal formation in a failing structure
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This and previous pages: Digital renders of computer generated salt crystal formations Next pages: 3D printed version of the digital model
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Physical concept model for an absurd hydrodemolition machine
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Prev. page: Physical model of the second Hydrodemolition machine. This page: Technical analysis of the machine. The machine is used to demolish unfinished buildings and rework the metal used for structural reinforcement. They store the liquid metal in tanks and the are transfered from site to site by using trained pigeons the residents breed. As the average pigeon can carry about 75g in order to lift a load of 1,000Kg more than 13,000 pigeons are needed. Next page: Diagram showcasing the pigeons feeding water from the sea into the reservoir of the hydrodemolition machine.
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The aftermath of the hydrodemolition: the rural site and nearby area turn into crystals due to the excess salt from the sea water used to demolish buildings
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Hybris
Penthouse: the owner and his son 3rd floor: the merchant
Inhabitation The design proposal suggests to cover all occupied buildings in scaffolds so as to reinforce and expand them vertically as everyone desires a place in the heart of the city. The extra material for the scaffolds will be retrieved from the dismantling of the unfinished buildings and the citizens will contribute in the vertical growth of the city. Each citizen’s contribution, as it usually happens, will be proportionate to its social status. 2nd floor: the rentier
The distribution on each floor of the buildings is in accordance to social status as it has been seen in films and documentaries.
(reference taken from micropolis documentary series and the 1959 film Stournara 288)
1st floor: the politician Ground floor: low income students and pensioners
scrap metal collectors, usually illegal immigrants, occupy the basement
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This page and next: The machines spread to the city
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Urban study 1. Image transfer on balsa wood. 22,5X10cm
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Urban study 2. Image transfer on balsa wood. 22,5X10cm
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Prev page: Urban study 3. Mixed media, collage and image transfer on balsa and canvas. 40X40cm This page: Digital re-processing of Urban study 3.
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Prev. Pages: Technical analyses of the transporter and the teeter crane. The transporter is a hot air balloon vehicle that uses pigeons to navigate around the demolition and construction sites and the teeter crane moves loads in opposing directions in order to operate solely depending on kinetic energy. This page: Technical analysis of the winter and summer strategies on a sector of the expansion scheme. As it is stated in the introduction people of lower social status are practically serving high ranking citizens. During summer, a worker has to pedal the specially crafted bike to operate the fan and cranes. Those residing above lie on the hammock. The kinetic energy from the bike is also used to swing he hammock and power a secondary fan to cool the hammock user. During winter the waste of pigeons used in all sorts of tasks is trapped by collectors and then used as fire fuel in order to help keeping the buildings warm. Next page: inefficiency analysis for the bike apparatus. A fan needs a minimum of 325 Watts to operate while an average healthy man can only produce around 250 Watts on average during an hour. The inefficiency is further amplified as a crane that also uses energy from the same bike would lift a load of 80Kg over 10m in a total of 32hours.
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This and previous pages: Light and shade study on a facade with scaffolding.
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This and next page: digital collage/ light study within a sector-construction site in the city
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This and prev. page: The machines are threatening the antiquities and the Acropolis complex
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Form study of emerging structures within the city /cold colors
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Form study of emerging structures within the city /warm colors
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Prev. Pages: Scaffolds expanding over the city. This page: Witnessing the expansion of the city in a passive manner behind windows No1./ color study
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Witnessing the expansion of the city in a passive manner behind windows No2./ color and composition study
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Nemesis
Collapse study. Screenshots from video (https://www.youtube.com/watch?v=Ae31Ps6XbI0)
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Collapse study. Elevations
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Collapse study. Side views
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Collapse study. Top views
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Collapse study. Perspectives
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Collapse study. Perspectives
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This page 1:20 section Next 3 pages: consequtive 1:20 section through a collapsing building Next 5 pages: 1:5 detail section of a collapsing wall/ floor joint.
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1:5 joint details.
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1:5 joint details.
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1:5 joint details.
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1:5 material and joint details.
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This and prev. Page: Load path analysis. The scaffold is violently plugged in the building structure that is supposed to help expand. As the metal parts of the scaffold penetrate the protective layers of the buildings’ skin the reinforced concrete corrodes. In addition, as the scaffold expands vertically, it requires further lateral stability. The building cannot further survive the tensile stress as its load bearing corroded members collapse.
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Katharsis
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Damaged scaffold. Elevation studies
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Damaged scaffold component/perspectives
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Damaged scaffold /perspectives and elevation
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Damaged scaffold /perspectives
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Damaged scaffold /perspectives
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Damaged scaffold /perspectives
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Previus pages: Close up of the destroyed city. This Page: Looking at the destroyed city through the window. Digital collage Next page: Full view of the digital collage.
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Appendix
Ex1./ A collage for un-civilization The collage is a personal appreciation towards the opinions expressed in the Uncivilization essay. Here the main concept is the parallax between the Human, arrogant, appreciation of Nature and Nature’s own ways of functioning. The collage portrays the crushed Pioneer 10 satellite being discovered by apes in a distant future. The golden plate the satellite carries becomes the object of worship for the apes that discover it. The plate- although gold is worthless as the savage apes cannot realize its true potential value or utilityrestarts the very human tradition of worshiping as gods the ones who possess distinct objects that have miraculously appeared out of nowhere.
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Ex2./ Ohayo This piece is a collage of layers from video screenshots mounted on foam-board. Ohayo (goodmorning) (https://www.youtube.com/watch?v=qYUFBnAmK28) is the last film of the deceased anime director Satoshi Kon. The film, despite being one minute long showcases adequately the techniques Kon is known for. The use of match- cut or matching scene transition is along with the high frame rate action the tools Kon implemented in his effort to produce films that show how we experience things as a society and as individuals, the threshold between reality and dreams, private and public life.
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Ex.4/ The Penthouse and the Basement A short comic about the urban conditions and living in Athens. Here two stereotypes collide as the high class suburban resident encounters the illegal immigrants of the central district. The story is a compilation of a documentary and an interview that both unravel as the camera lens reveals what happens in suburbia, the fulfillment of the urban dream, and the condensed city center. The moral of the story is that both the suburban isolation and the urban congestion, even if hard to perceive, carry within them elements that lead us to abandon any stereotypical appreciation towards them.
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Ex.6/ Ephemerals The condition of the decaying building has been a major influence to my project. The crisis has affected a general shift in the occupation of the residents of the industrial zone from their working status to their hobbies and agricultural activities thus amplifying the duality of the manufacturing zone from an industrial to an almost rural one. My appreciation of this overall condition has led me to explore through computer scripted conceptual sculptures a relationship between solid and fluid, organic and mechanical, curvilinear and rectilinear, grid and free form. Also, another element that has intrigued me is the fact that the building got to its current status as the owner was devising temporal solution the structural problems as they occurred. The temporal measures though became permanent with the progression of time and resulted in new problems that were yet again resolved with the same method. My speculation in the form of an Aldo Rossi influenced drawing is one where the incomplete building is rendered active through the implementation of machinery and produces these organic-mechanical forms. The second building will be later used to implement these structures into the city fabric. The ephemeral (as in deployable or easy to disassemble and remove) nature of the structures will be of benefit to activities that need to occupy a space by defining it yet without doing so permanently as they are not either official nor have been legally assigned a site. The idea for that came from the story of an abandoned site nearby the second building. There, skaters and had taken advantage of the site that was refined by them to become a skate park. After a few month the residents of the suburb reacted as they felt threatened by this new activity and the site was evacuated only to fall again into despair
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References
Bibliography:
Images:
Lim, Cj.2006. devices. London. Routledge
All images are author’s own unless stated otherwise.
Spiller, N. 2006. Vionary architecture, blueprints of modern imagination. New York. Thames and Hudson
Images on pages:
Calvino, I. 1978 Invisible cities. USA. Harvest publications
6-7-8 were found online here: http://en.wikipedia.org/wiki/The_Course_of_Empire accessed on 18/5/15)
Web: http://www.theoi.com/Daimon/Ate.html accessed on 18/5/15 http://www.theoi.com/Daimon/Hybris.html accessed on 18/5/15 http://www.theoi.com/Daimon/Nemesis.html accessed on 18/5/15 Merriam-Webster, 1995, p. 217 found here: https://books.google.gr/books?id=eKNK1YwHcQ4C&pg=PA217&dq=catharsis+definition+breakdown+or+climax&hl=en&sa=X&ei=Nnp4UazjE7DG7AaZj4CACQ#v=onepage&q=catharsis%20 definition%20breakdown%20or%20climax&f=false accessed on 18/5/15
12-13 were found online here: http://www.eie.gr/archaeologia/gr/chapter_more_6.aspx accessed on 18/5/15 https://aristotleguide.wordpress.com/2012/10/12/the-destruction-of-the-parthenon/ accessed on 18/5/15 http://www.eie.gr/archaeologia/gr/layout/images/06/zoom/anaparagoges_24.tif.jpg accessed on 18/5/15 24-25 were found on line here: http://andreasangelidakis.com/ accessed on 18/5/15 27-28 were found online here: http://thefunambulist.net/2010/12/21/fine-arts-william-heath-robinsons-mechanical-apparatuses/ accessed on 18/5/15 http://s262.photobucket.com/user/Duggy009/media/Acoustic-Czech.jpg.html accessed on 18/5/15 http://civilwartalk.com/threads/world-war-i-in-photos-technology.108491/ accessed on 18/5/15 29 are video screen shots from a video found here: https://www.youtube.com/watch?v=KsW9yy6WIC0 accessed on 18/5/15 34 were found online here: http://conjet.com/products/jetframe-101-nalta/ accessed on 18/5/15 60-61are video screen shot from videos found here: https://www.youtube.com/watch?v=wVaBlh6O3ys accessed on 18/5/15 https://vimeo.com/70410847 accessed on 18/5/15
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