MARIANA PASCHIDI CV & ARCHITECTURAL PORTFOLIO
TABLE OF CONTENTS CURRICULUM VITAE
THESIS PROJECTS MASTER THESIS PROJECT | KTH | 2017 EYES BEYOND VISION SPATIAL PERCEPTION THROUGH SENSES DIPLOMA THESIS PROJECT | TUC | 2015 TRANSFORMING A SCHOOL INTO A BUILDING FOR CHILDREN
MSc IN ARCHITECTURE | KTH INTERNATIONAL COMPETITION | 2016 TRANSPARENT SOLIDITY UNIVERSITY ISLAND ON POVEGLIA, VENICE STUDIO 1 | 2015 BETWEEN THE RIVERS NATURUM IN MITTADALEN, SWEDEN
DIPLOMA IN ARCHITECTURE | TUC STUDIO 7 | 2011 SOCIAL HOUSING IN RETHIMNON WITH COMMERCIAL & CULTURAL SPACES
ADDITIONAL PROJECT DIGITAL FABRICATION | KTH | 2016 CACTUS FIBRE 3D-PRINTED PATTERN
MARIANA PASCHIDI B: 28/05/1990 E: mariana.paschidi@gmail.com M: +44 (0) 7460129672 A: 35 Eton Place Loughborough Rd West Bridgford, Nottingham NG2 7EA
Mariana Paschidi holds a Master of Science in Architecture from KTH Royal Institute of Technology, Stockholm, Sweden and a diploma in Architectural Engineering from Technical University of Crete (TUC), Greece. Currently she is looking for a position as Part 2 Architect in a leading edge environment where she can acquire working experience and enhance her professional skills. She is highly motivated to learn, develop herself and share her passion and ideas with her colleagues. Her interest in architecture lies primarily in the human-centered and ergonomic design of buildings and spaces dedicated to meeting and fulfilling the psychological and physiological needs of the users, like educational spaces, projects for people with different impairments and design in extreme environments.
EDUCATION
PUBLICATIONS
2015-2017
2014
Oungrinis, K.-A., Liapi, M., Kelesidi, A., Gargalis, L., Ntzoufras, S., Paschidi, M., Telo, M. “Intelligent Spacecraft Module”. In: Acta Astronautica, 105 (2014), pp. 242-253, Elsevier
2014
Oungrinis, K.-A., Bannova, O., Liapi, M., Gargalis, L., Dimeris, B., Georgakopoulos, C., Ntzoufras, S., Paschidi, M., Telo, M. (2014) “Deployable Isolation Chamber and Radiation Protection Unit”. In: Proccedings of the 65th International Astronautical Conference (IAC 2014), Toronto, Canada (digital publication ISSN 1995-6258)
2014
Liapi, M., Oungrinis, K.-A., Bannova, O., Gargalis, L., Dimeris, B., Georgakopoulos, C., Ntzoufras, S., Paschidi, M., Telo, M. (2014) “Adaptable Intelligent Spacecraft Modules for Various Vehicle and Habitat Architectures”. In: Proccedings of the 65th International Astronautical Conference (IAC 2014), Toronto, Canada (digital publication ISSN 1995-6258)
2008-2015
Master of Science in Architecture KTH Royal Institute of Technology, Stockholm, Sweden Diploma in Architectural Engineering Technical University of Crete [TUC], Chania, Greece [MArch equiv. | GPA: 8.36/10]
RESEARCH EXPERIENCE 2012-2015
Transformable and Intelligent Environments Laboratory [TIE] Department of Architectural Engineering, TUC, Greece
Explored the impact the built environment has on people’s behavior and psychology. Conducted research regarding educational environments. Conducted research regarding intelligent and responsive environments for long-term missions in space, concentrating in habitability aspects.
Both papers were presented at the IAC 2014, 1/10/2014, Toronto, Canada
COMPLETED RESEARCH & ACADEMIC PROJECTS 2015
“Scenography for Satans Demokrati play”, Stockholm, Sweden
2014
“Interventions at 3rd Elementary School of Chalandri”, Athens, Greece
2014 2013
Team: Zoe AufderMaur, Yunsi Hua, Alva Hult, Bettina Koch, Valter Lindgren, Marija Martinoski, Elin Svensson, Mirja Robin, Hua Yunsi As a part of my Research and Diploma Thesis, in collaboration with Moschouti- Vermeer, A.-M.
“Interventions at 13th Elementary School of Amperia”, Crete, Greece
2014
2013
Team: Liapi, M., Ckologina, E., Moschouti- Vermeer, A.-M., Kampitaki, A., Altouva O., Ntzoufras, S., Barbouti, I., Boudrogianni, Ch., Terezaki, Ch.
“Construction of an Alternative Playground in Park of Flora and Fauna in Chania”, Greece
Team: Giakouvi, N., Katikaridou, A., Mazaraki, S., Moschouti- Vermeer, A.-M., Tolis, N., Fiorakis, K.
2013
RESEARCH & DESIGN INTERESTS Environmental Psychology, Educational Environments, Design for users with impairements, HumanCentered Design, Responsive Architecture, Extreme Environments, Accessible Design
Moschouti- Vermeer, A.-M., Paschidi, M., Liapi, M. (2014) “Playscapes for creative learning. Re-thinking play in educational environments.” In: Proceedings of the 19th International Play Association Triennial World Conference (IPA 2014), Istanbul, Turkey Oungrinis, K.-A., Liapi, M., Gkologina, E., Kelesidi, A., Linaraki, D., Paschidi, M., Gargalis, L., Klothakis, A., Mairopoulos, D. (2013) “Intelligent spacecraft modules: employing user-centered architecture with adaptable technology for the design of habitable interiors in long-term missions”. In: Proceedings of the 64th International Astronautical Conference (IAC 2013), Beijing, China (digital publication ISSN 1995-62580) Liapi, M., Oungrinis, K.-A., Gkologina, E., Kelesidi, A., Linaraki, D., Paschidi, M., Gargalis, L., Klothakis, A., Mairopoulos, D. (2013) “The astronaut’s playscape: supporting creativity through play in long-term missions beyond Earth orbit”. In: Proceedings of the 64th International Astronautical Conference (IAC 2013), Beijing, China (digital publication ISSN 1995-62580). Both papers were presented at the IAC 2013, 23-27/09/2013, Beijing, China.
SKILLS LANGUAGES Greek English French Swedish
SOFTWARE Native Language Fluent | IELTS [8/9] Upper Intermediate [B2] Beginner
Autodesk AutoCAD Autodesk Maya SketchUp Rhinocheros
MODEL FABRICATION Adobe Photoshop Adobe InDesign Adobe Illustrator Adobe Premiere Microsoft Office
Physical Modeling Laser Cutter 3d Printer CNC Router
MASTER THESIS PROJECT | KTH | 2017
EYES BEYOND VISION SPATIAL PERCEPTION THROUGH SENSES
The proposed building is an Experience Center for the Senses and it is addressed to both seeing as well as visually impaired people. The objective of this thesis is to create a building where people will be able to explore and challenge their senses. At the same time they will discover how spaces rich in stimuli affect their perception of the surrounding environment. The building itself is flexible and will host temporary exhibitions and events related to the arts, culture and sensory experience.
“The inhumanity of contemporary architecture and cities can be understood as the consequence of the negligence of the body and the senses, and an imbalance in our sensory system.� Juhani Pallasmaa
SENSES This project started by researching how visually impaired people understand and navigate in a space and by identifying which design elements can help them achieve that. Although, architecture should be accessible to all, visually impaired is a group of people that often it is not taken into consideration during the desing process. Important part of this project is the understanding of how our senses collect information about the surrounding environment. However, people, often, are too focused on what they are seeing with their eyes and they do not realise how important this information is, for the formulation of their experience. In order to design functional and successful buildings it is crucial to understand the needs of the users and never neglect how they experience every different space. Goal of this project is to familiarize others about the needs of visually impaired people and to prove that the visual qualities are only one part of the whole when the creation of a space is oriented by sensory design. A space designed to stimulate all the senses will enrich the experience both of visually impaired and seeing people. There are no accurate statistics for visually impaired people but it is estimated that 4% of the population have some kind of visual impairment, and this number is increasing. The group of visually impaired includes people who are blind and people with low vision. The blind people are only 8-13% of this group. The rest actually have different abilities to see.
People with such difficulties use and rely a lot on their senses in their everyday life. This project is focusing on the following senses: SIGHT | People, depending on their condition, they rely a lot on their limited ability to see in order to navigate in a space. TOUCH | This sense is the most important one for the majority of visually impaired people. Using his/ her touch, one can take a big variety of information about an object, a person or the surrounding environment. HEARING | Distinctive sounds can be used in order to help the orientation of people in an indoor or outdoor space. SMELL | It can help defining different spaces. In addition, the sense of smell is closely linked with memory, probably more than any of our other senses. Moreover, in this project the sense of BALANCE that has a direct connection with eyesight and the THERMOCEPTION, that it is the sense with which we understand the temperature of the environment.
DESIGN ELEMENTS LIGHT Light is a crucial design element and several parameters should be taken into consideration during the design process. In this project, the light is used as a “way-maker” by adding light on the walls and on the floor. In addition, translucent glass is used in most parts of the building in order to achieve even light distribution and avoid glare. TACTILE SURFACES AND GUIDELINES Tactile surfaces and elements that provide guidance help people navigate. Both indoors and outdoors there is a horizontal and a vertical direction coding. The horizontal coding includes tactile elements on the floor, like tactile dots which marking the doors and the change of level and tactile lines engraved on the floor showing different options of direction. The vertical coding system consists of handrails and negative rails on the walls. The negative rail actually is a recess on the wall with information written in Braille on it.
LIGHT AS WAY-MAKER
COLOURS For people with limited vision the colour coding and colour contrast are very important aspects in order to be able distinguish different information. Different colours should be used to highlight different object and surfaces. For example, the door and window frames and the handrail have different colour than the walls. In order visually impaired people to distinguish different colours, they should have contrast higher than 70%. For example, ideal colour combinations that are frequently used are black-white, black-yellow and blue-yellow. SOUNDS Sounds as vocal messages with directions, recognizable sounds (for example doors, elevators etc.) or ambient sounds like music are being used throughout the building. In addition, important part of the design is the change of ceiling’s height and walls’ inclination, which create different acoustic conditions. MATERIALITY List of the materials used - Every material has different qualities and texture: -CONCRETE: hard | cold | textured -TRANSLUCENT GLASS: hard | cold | slick | light diffusion -TRANSPARENT GLASS: hard | cold | slick | connection with outdoors -WOOD: hard | warm | textured | footsteps produce sound -METAL: hard | cold | slick -COR-TEN: hard | cold | textured
NEGATIVE RAIL ON THE WALL
EXHIBITION AREA -METAL FLOOR: hard | cold | slick | footsteps produce sound -FABRIC: soft | warm| textured/slick | allows transformations -RUBBER FLOOR: soft | warm | textured
COLOUR -CODING & TACTILE LINES
ACOUSTICS
FLOOR MATERIALITY_changing texture and sound
ROOF MATERIALITY_changing lighting conditions
SITE PLAN
The Experience Center is located in central Stockholm, on Sodermalm. The site used to be a park but currently is a construction site. On the site, there is also a historical remain of the old train line, that currently is abandoned and not easily accessible. The whole area now acts only as a passage and the people are not using the existing park. By creating a building with public and cultural character along with a park around it, this part of the city will be activated and the citizens will be engaged again with it. In addition, a site in a central part of Stockholm is considered the most suitable in order to raise the social awareness on the topic of visually impaired people and their needs.
The new building gives a structure to the park and will allow people to walk all around the area. The building itself can be seen as a pavilion that stretches on the area and unifies the new park with the existing one.
At the same time, it creates a smaller more enclosed park behind it. The building is placed and designed in a way that emphasises the existence of the dramatic drop, where the old train line is, and one of the main paths leads people to visit it.
TACTILE PLAN
The most important element in order someone to navigate in the building is the recess in the wall. It becomes a kind of hand rail for visitors. By touching his/her right hand on the wall, one can walk throughout the whole building following a circular movement. In case someone wants to follow a different route in the building, the engraved lines on the floor and the tactile information on the wall will provide some additional help.
DIAGRAMS
SECTION
EXHIBITION SPACE The exhibition is a space designed as a maze with a sequence of rooms that address different senses. Walking through the exhibition area the lighting gradually changes from bright to completely dark and then back to bright again. In that way everyone can experience how it is to rely on all of your senses except vision. Because of the shape and the change of lighting conditions both seeing and visually impaired people should use the rule of the right hand on the wall in order to navigate easily in the building. Along with the light, the temperature changes as well, with the darker spaces being colder than the others. I decided this because a lot of blind people, even without being able to see at all, have developed the ability to understand the existence and the intensity of light in a space. In this way other visitors can experience this, too, by making a connection between light and temperature. The building will allow curators and artists to exhibit their work and to create sensory experiences for the visitors. Each room provides a permanent infrastructure, which focuses on one or more senses. A curator or artist will be able to use this flexibility and the elements of each room as a basis for exhibition design. Depending on their work, different aspects of each sense can be promoted. These pictures show examples of temporary uses of four different rooms of the exhibition area in three different versions. The first version is how a seeing person would see the room and the other two suggest how people with different sight conditions would experience the space I designed. Of course the experience is individual and not only based on what we can see but also on other senses. These images show how my architectural design will be interpreted, depending on the kind of visual impairment.
EXHIBITION AREA PLAN
DIPLOMA THESIS PROJECT | TUC | 2015 In collaboration with: Moschouti-Vermeer Anna Rosa
TRANSFORMING A SCHOOL INTO A BUILDING FOR CHILDREN Case study: 3rd Elementary School, in Chalandri
The proposed thesis is structured to support the re-design of existing educational environments in Greece under the prism of a “learning through play” approach. Based on the findings of the Research Thesis entitled “EKsparience: Space as the Third Dimension of the Educational Process”, this project aims to provide an upgraded children friendly environment, highlighting the importance of space in pupils psychology and performance.
THE IMPORTANCE OF FREE FORM PLAY
For children, play is inseparable with their upbringing, as they interact through it with the environment and develop their skills. Our approach in re-thinking educational environments demands that we re-evaluate the use and the potential contribution of the transitional spaces and the schoolyard from a perspective that excites and engages children. The introduction of playscapes in those areas will create the necessary deviations from the established, anachronistic school image. A playscape is defined by collaborative forms and objects, either indoor or outdoor, designed in such a way so as to induce openended play and encourage interaction and enjoyment.
B
C
B
C
A
A
GROUND FLOOR PLAN
FIRST FLOOR PLAN
Existing relation between education and playing
Proposed relation between education and playing
SECOND FLOOR PLAN
The major disadvantage of school buildings in Greece is that they don’t look like buildings for children. Making students feel that the space they occupy is designed for them, is of high importance. One way to achieve that is the use of bright colors. Children engage in learning activities more easily when they feel emotionally attached with their environment.
SECTION A-A
OUR PURPOSE
Essentially, our goal was to create spaces that allow children to act freely but with an educational purpose. Every place in a school must have the potential of supporting playful activities, while children develop physically and emotionally. Re-designing existing school buildings is a start in refreshing educational practices.
WEST ELEVATION
Stuck inside an anachronistic building model, Greek elementary schools not only fail to stimulate their students’ interests, but they also negatively affect their educational achievements. The need to rethink the efficiency of those learning environments is imminent alongside the necessity to re-design their spatial manifestation, from the classroom all the way to the schoolyard. This thesis investigates the catalyst that renders this whole process successful: play. The design of playscapes for creative learning in educational environments secures the continuation of the learning process outside the classroom, in multiple ways that adhere to diverse yet complementary developmental achievements.
SECTION B-B
To create environments for learning through fun is to create zones of comfort and expression through creativity and play. This will help children form strong bonds with their school that will forever follow them in the future, creating the foundations not only for responsible adults but also for imaginative life-long learners.
SECTION C-C
ACTIVITIES
PLAY SAFARIS
HORIZONTAL SAFARI A stimulating continuum of formations, designed based on experiences nature offers.
VERTICAL SAFARI Three vertically playrooms;
connected
cave is a dark room with a big exterior extention, that offers a climbing experience to the island room, where children have access also from a big slide that comes from the sky room.
We categorized the activities conducted at schools in three main groups; dynamic, educational & static. Our goal was to intervene to the school building in such way that every room or area would have the potential to support activities from every aforementioned group.
FOCUSING ON THE TRANSITION
Re-designing the spaces in-between, in a way that they stimulate children, is of high importance in order children to conceive the school as a whole. Transitional spaces could not only play a great role in leisure activities, but also in educational practices. In our case, since the corridors of the building were pretty narrow and exposed, we focused on the ground floor’s plan, in order to use it as a filter from indoors to outdoors.
SEMI-OPEN PLAN
Focusing on the importance of the transition, from in to out / from the pure educational processes to play, we “opened” the ground floor. Now, the ground floor is ideal when the weather doesn’t allow playing outside, while it can perfectly accommodate all sorts of activities.
THE CLASSROOM
We designed the furniture, based on the growth of each age group, color-coded in order to match the proper classroom setting, light in order to be easily carried by children and tetris-like in order to promote countless seating arrangements.
Since we didn’t aim at proposing a new educational system, we were obliged to respect the classroom configuration, in an extend that educators will be allowed to conduct the lesson of their choice.
Flexibility; the notion that we focused the most in order to redesign the classroom, so that teachers of tomorrow can perform their practices as well.
PHYSICAL MODELS
THE BUILDING SCALE 1:200
TWO CLASSROOMS SCALE 1:20
INTERNATIONAL COMPETITION | MSc IN ARCHITECTURE | KTH | 2016 In collaboration with: Andersson Matilda, Guignard Jean-Philippe, Sforzi Federico
TRANSPARENT SOLIDITY UNIVERSITY ISLAND ON POVEGLIA, VENICE
The competition’s topic was the design of an international university campus (25000m2) on Poveglia, a small abandoned island close to Venice, in Italy. Apart from the architectural design the project demanded the re-thinking and re-design of the very borders of the academic experience. Venice has always been a point of exchange in the world, a central point for trading and knowledge as well as culture. A campus so close to Venice should uphold these qualities. Poveglia’s University can offer an innovative educational system, a system based on sharing. The current proposal is structured upon a form of education that focuses on interaction and all the fascinating things that happen when people meet each other. A flexible environment that can be individualised and where students have an active part in shaping their own education.
The project suggests a vibrant and open campus, which can be the meeting place and the culmination of knowledge both in connection to Venice but also to the rest of the world. A transparent campus, structured by open public spaces, where knowledge can be freely shared and discussed, where lectures and exhibitions can be shared not only with the students but also with the entire city. A dynamic campus with diversity in both education and environment where the knowledge is shared discussed and exchanged, where education evolves.
THE ISLAND OF POVEGLIA The particularity of the site is that it consists of two smaller islands. Inspired by the Venice’s canals, the small river between them was considered more as a unifying element than a dividing one. The proposed project uses the two different islands in order to bring together the different parts of the campus on the site, instead of separating them and creating different zones. In this way the site acts as a whole and the area between the two islands gains major significance and it is activated.
NEW BUILDINGS | UNIVERSITY AREA
Moreover, because of the unique architectural and landscape quality of the island it was required to maintain most of the existing buildings and ruins. In order to create a harmony between the new and the existing buildings, the concept of transparency and materiality is used. The new buildings are made by glass, which is transparent on the ground floor and gradually it becomes cloudy in order to create different privacy levels. Inside the new buildings, there are solid concrete boxes that serve various uses. The new buildings host all the main university spaces, the student residencies and the sports center. On the contrary, for the existing buildings and ruins, the solid shells are kept with small interventions and semi-transparent or transparent glass boxes are added in the interior so as to create smaller spaces. The area of the existing buildings is the area where all the cultural activities are hosted (library, exhibition spaces etc).
SECTION | SCALE 1:800
EXISTING BUILDINGS | CULTURAL AREA
EDUCATIONAL SYSTEM We designed an educational environment that is based on sharing. An educational system that focuses on interaction and all the fascinating things that happen when people meet each other. Technology is a great tool and it is said that it has changed education more in the last ten years than the previous 1000 years. Nowadays, technology not only changes but also forms the educational pedagogies and at the same time makes the meeting between people more important than ever before. Technology allows us to free knowledge from time and place, for the first time in history all the information in the world is literally at your fingertips, in your pocket, on your desk. However, information is not everything. Where the magic happens is when we meet other people and exchange experiences. When we can combine the information of internet with other disciplines, thoughts and people, this allows us to get new perspectives and discuss new ideas. It is through this interaction that we can create something more, something new. Therefore the new educational system should be based on meeting of people and sharing ideas.
PROGRAM
STUDIO 1 | MSc IN ARCHITECTURE | KTH | 2015
BETWEEN THE RIVERS NATURUM IN MITTADALEN, SWEDEN
The main objective of this project is the design of a building with strong character and geometry. Thus, the design approach is focused on the creation of a Naturum that is distinctive but at the same time blends with the natural environment. The Naturum is located on a small flat island, surrounded by rivers. Since the area is not too large and has defined boarders, part of the design is the creation of paths, so as the visitors to explore the island and the nature, as part of the visiting experience. I
AUTUMN
WINTER
SPRING | SUMMER
Important element of the synthesis is a green roof, which is accessible to the visitors to walk on. This green roof is planted with the same natural vegetation as the island‘s ground. Moreover, the roof is inclined, in a way that seems like it unfolds from the ground, in order the Naturum to merge even better with the flat landscape of the area. With the formation of this roof, not only the building is integrated with the environment but also an additional path is created, where the visitors can enjoy the view of the river from the top of the building. As far as the interior is concerned, the main space is organised in two levels, with an open-plan. The visitors can walk around free, exploring the exhibits. The big inclined stairs that lead to the lower lever, are part of the exhibition, as well, and in combination with the big projection wall, at the end of them, can function, also, as an auditorium.
LONG SECTIONS
GROUND FLOOR PLAN
DESIGN STUDIO 7 | DIPLOMA IN ARCHITECTURE | TUC | 2011 In collaboration with: Moschouti-Vermeer Anna Rosa
SOCIAL HOUSING IN RETHIMNON WITH COMMERCIAL & CULTURAL SPACES
The objective of this studio was to design a complex of social residences along with public spaces and uses that address to the wider neighborhood and create connections with the surrounding site. More specifically, the given site (4200m2) was in the historical center of Rethimnon (Greece) near the Venetian-era castle of Fortezza, one of the most significant monuments of the city.
TYPE A: RESIDENCES
Type A1: 64m2
Type A2: 105m2
Type A3: 85m2
We suggested three types of buildings with two or three floors. In Type A (64m2, 85m2 and 105m2) the entrance is always at the south of the site, at the ground floor and the way out to the yard is at the upper floor. In Type B (65m2, 75m2, 130m2) the entrance is at the north and it is either at the ground or the first floor and the yard is always at the ground floor. In this way we take advantage of the physical elevation difference of the site. Finally, the Type C combines commercial stores at the ground floor with residences at the upper floors.
TYPE B: RESIDENCES
Type B1: 65m2
GROUND FLOOR PLANS Around the site there are mainly residences with the typical Cretan pedestrian alleys between them, creating small neighborhoods. In our project, we maintain the small scale and the idea of the pedestrian paths in order to unify the site with the surrounding area and create multiple con- nections with the existing sidewalks around. In addition, apart from the typical commercial stores asked, we designed a local flea market that could service all the residents’ needs. Our goal was to form an independent community-neighborhood, with a variety of different activities available within the site. For the same reason, we sug- gested the addition of a cultural center with a theater, a library and a gallery open to everyone. Except from adding a more spiritual note to the complex, this cultural center would attract wan- derers and tourists from the city and thus would lead to a more alive neighborhood during the day. We were required to design about 60 residences of various sizes, reaching maximum the area of 4800m2. In Greece, as in most European countries, the social houses are mostly considered as big block of buildings with identical apartments. Influenced by the local traditional architecture, we decided to approach the social housing in a different point of view. In particular, our objective was to provide a fresher and more contemporary solution that respects the architecture of a historical city such Rethymnon, so we focused on analyzing the typical house models located at the surrounding area of the site. Therefore, instead of blocks of buildings, we designed a series of individual residences with shared yards. These yards are accessible only to the residents from within the houses, create the feeling of a small neighborhood and promote the development of social interactions among the residents.
Type B2: 75m2
Type B3: 130m2
TYPE C: RESIDENCES & COMMERCIAL STORES
1 | PUBLIC PROMENADE
2 | CULTURAL CENTER
3 | FLEA MARKET
In order to keep the neighborhood alive, we also designed a public “promenade� that crosses the entire site horizontally, in the middle of the plan. It begins at the west side, as a pedestrian path between the residences [1] and ends at the east side in front of the cultural center [2], where the route expands and with an elevation difference it creates a public square. At the south of the site, we developed a public route with commercial character. This path begins west, in an area where commerce and residences are combined and passes through the pure commercial area, that includes commercial stores, some coffee stores and the public flea market [3]. Since, the traditional houses in the surrounding environment are relatively narrow and tall, we followed the same principals in our design. As a result, the social housing complex functions as a natural expansion of the existing building environment. In this way, we also manage to offer to each habitant a high quality individual residence with exterior space [4], along with a variety of complementary uses within their neighborhood.
4 | PRIVATE YARDS
SECTION OF THE SITE ALONG THE PROMENADE
INTERIOR DESIGN OF RESIDENCE A2: 105M2 ELEVATION
SECOND FLOOR
FIRST FLOOR
GROUND FLOOR
SECTIONS
DIGITAL FABRICATION | MSc IN ARCHITECTURE | KTH | 2016 In collaboration with: Josie Howes
CACTUS FIBRE 3D-PRINTED PATTERN
THANK YOU MARIANA PASCHIDI mariana.paschidi@gmail.com +44 (0) 7460129672