TZOUGANAKI MARILENA ARCHITECT
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AN URBAN ARK
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C O N S E R V AT I O N O F A T E M P O R A L F R A G M E N T
T W E N T Y O N E RO O M S
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L I G H T H O U S E S E A H OT E L
F R AG M E N T S F A L I R O N | T H E N E W “ G AT E ” O F AT H E N S
THE NEW MUSEUM OF T H E C I T Y O F AT H E N S
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PA S S A G E T H R O U G H S P A C E A N D TIME
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T H R E E E X T R AC T S O F T I M E
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AC A D E M I C
URBAN
DESIGN
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EXHIBITION
The current portfolio contains personal and teamwork material samples produced with the use of several media. All work is accomplished during the period 2012-2016
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AC A D E M I C
Diploma Project
NTUA 2016
Collaborator : Spentzaris Alexandros Super visor : I. Zachariadis
AN URBAN ARK Conser vation of a temporal fragment
PROGRAM
ATTIC LANDSC APE
The diploma project focuses on the creation of an Archive in Keramikos, dedicated to the conser vation and exhibition of wor ks of ar t using paper as a medium. In age of information, the question of validating the tr uth and its derivation becomes of equal significance to the accumulation of knowledge itself. Historically, the public building that is devoted to inquir y and the evaluation of information is the librar y. Initiating primarily with the historic presence of the librar y as an architectural metaphor for the quest of knowledge we introduce a building hybrid which delineates a wor ld centered around conser vation and preser vation of the prototypes. The proposed constr ucted cosmos is integrated with accommodations for visiting researcher s and a garden; a public reading room of a hyper local character which consists of a protected space but also a common meeting point.
Athens of 21 centur y can be seen as a concrete carpet that stems from the Acropolis hill and slowly occupies the totality of the Attic basin. A city of a rather inherent urbanity, attains its coherence through the superimposition of its historicity onto its outer image for the Attic landscape is now a latent element of the city, unable to represent a common ground. The research project attains its programmatic focus from the contemporar y archival functions and intends to inquire the composing - and often contradictor y- elements of the contemporar y city with the utter objective to reveal the latent aspects of the Attic landscape.
Selected area for
inter vention
Building densitiy
Roads and connections
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Academy of Plato
Dimosio Sima
Inter vention area
Archaeological site of
Kerameikos
Acropolis
Olympion
Filopappou hill
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Sections, charcoal on paper. The comprehension of the meaning of the “section� in the city of Athens was corraborated by further research throught sketches that intend to convey mostly the feelings in an underground space through the depiction of light, shadow, density and compexity.
Keramikos is an exemplar y fragment of contemporar y Athenian topography as it consists of an assemblage of the multifarious elements that compose the city. The site itself is treated as a simultaneity of distinct layer s ; the ancient cemeter y of Keramikos, the contemporar y roads and connections along with the newly erected str uctures are equivalent in constr ucting the current image of the city. The featured sites are figuratively selected between Iera odos (Sacred Road) and the old Gas factor y with the intention to constitute a metaphorical and pragmatological route between the different layer s of the city.
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Intervention Site
Sur vey map
Site models, scale 1:500, plaster and grey foam. The plaster model was reproduced 11 times with the use of a silicon mold, in order to investigate simultaneously the design of plan and section at the selected site. The most significant parameters for the creation of these models were the axes of major movements, the optical contact of the visitor with the different structures proposed in the site itself as well as with the already existed landmarks of the region.
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The multiplicity of Athenian urban fabric expressed as an assemblage of distinct elements. Watercolor on paper
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The design progress is characterized by a continuous juxtaposition of different possibilities of scale and volumes against the existing edifices’ heights and densities of the area. The objective was to formulate a new relation between the topography, the city and the proposed public building able of restr ucturing the area into intelligible elements. The different elements, such as the roads and buildings are not treated as immutable constrictions but are potentially integrated in the creation of a new cosmos. The mediums used primarily were physical models and drawings. By testing various str uctured movements through space, we retrospectively mapped a convergence of thoughts, a repetition of intentions. Thus, the final outcome is not a
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choice, but an instant of the process. The program of the library was chosen as an exemplar y function to investigate the current Athenian urban condition. Contemporar y libraries are today challenged by a duality which seems contradictor y; the physical, corporeal presence of the book ver sus its digital counterpar t. This positively ambiguous polarity offer s us the freedom of building a program that will constitute the combining means of a fragmentar y urban fabric. Hence, the program of the building is conver ted into the subject of the architectural composition itself. The program is divided into three par ts, The ar k; an archive where books, maps and
Site diagr ammatic plan of potential movements and volumes. Charcoal on paper
Left: Section study of ver tical movement, charcoal on paper
valuable writings are stored. Second a garden which is surrounded by reading rooms and wor king spaces and third accommodations for visiting researcher s. These par ts stratify the program into a spatial maze that traver ses from the public sector s of the urban life which attaches the building to the needs of the city to the most private and inaccessible inside the building’s core.
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A X O N O M E TR I C D I A G R A M
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GARDEN
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RESEARCHERS’ RESIDENCES
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FIRST LEVEL OF CONSERVATION
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SECOND LEVEL OF CONSERVATION
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READING AREA OF THE POTOTYPE MATERIAL
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URBAN TERRACE
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ARCHIVE OF THE PROTOTYPES
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EXTERIOR ENVELOPE
C O N S E RVAT I O N After the new material is gathered in the spaces of temporar y storage the Contemporar y Depar tment takes control a more accurate examination of the prototypes in order to chose those that are going to be conser ved, digitized and finally preser ved in the Ark. Conser vation and digitization takes place at the first two levels of the edifice, where the original material passes though three distinct phases of conser vation; the mechanical, the chemical and the aqueous cleaning. Ever y procedure of these three cleaning sections are in an immediate contact with the central structure of storage.
First stage - Mechanical, Chemical and Aqueous conser vation
Second stage - reformatting and archival circulation
GARDEN
The garden represents the public function of the Urban Ark which primarly refers to the residents of the region while at the same time constitutes a hyperlocal meeting point. This par t of the building is organized at the subterranean level revealing thus the impor tance of the section in the city of Athens. At the level of the garden are located the reading spaced as well as a variety of interactive digital platforms.
Garden, watercolor on paper
RESIDENCE The function of residences integrates the programmatic hybrid of the Urban Ark. As a presence to the urban fabric It refers to the smaller scale of the existing residences in the region of Keramikos, allowing thus a smooth transition from the smaller measures of the fragmentar y environment to the larger scale of the prototypes’ preser vation structure.The residence is destined for researchers from all over the world who visit this building in order to make an inquir y on the rare prototypes. The accommodation of the researchers can last from two weeks to six months. The special organized rooms encompass their own private garden and acquire an independent entrance throught the city level. Fur thermore these recidences have the ability of an direct connection with the storage space of the rare material.
Plan 5 residence space
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The ar k encompasses the hear t of the building. Accessible only from conser vator s and researcher s, it consists of the archive of the prototypes along with two levels dedicated to the preser vation and conser vation of the wor ks. The exterior envelope secures limited, controlled light in its interior to secure minimum exposure to sunlight during the restoration phase. The interior organization of the Archive facilitates the collocation of multifari-
ous items. The various sizes of the wall cavities allow the presr vation of single drawings, small books as even sizable paintings. The public par t of the building is situated below ground and consists of an exhibition area along with the garden and reading spaces.
Final model, engr aved acr ylic sheet and plas ter 14
The archive of the prototypes is located in the heart of the building. It consists of two opposing cast-in concrete walls and extends to two levels with interior circulation ensuring almost complete abscence of light along with controlled humidity conditions The humidity (30%) and temperature (10° C) conditions of the Archive structure are controlled through par ticular mechanisms being placed at the bottom of this two-storied concrete structure.
Sect ion of t he Archive
Sect ion of preser vation spaces, charcoal on paper
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SPACE OF DIGITAL READING
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ENCLOSED READING SPACES
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OPEN SPACE READING AREA
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EXHIBITIONAL SPACE
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SECONDARY SPACES
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p l a s t e r, w o o d , b u r n e d c a r d b o a r d PORTFOLIO TZOUGANAKI MARILENA
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GUIDED TOUR SECTION CURATORS SECTION ACCESS TO GARDEN ENTRANCE PROTOTYPE MATERIAL SUPPLY RESEARCHERS’ RESIDENCES
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The process of bringing the latent world to visibility is more clearly demonstrated in the design of gardens where the given cosmic conditions are revealed in a visible order. Order is always a result of a dialogue between the representative structure of space and the spontaneity of natural change manifested in the changing nature of the seasons, growth and decay of the flora and changing weather. The visible world opens around us as a visual field that we tend to see as a field of potential action, even in silent observation and contemplation. Maurice Marleau-Ponty, Nature : Course Notes from College de France, (2003) Northwestern University Press
Render of the s tair s leading to conser vat ion spaces
Render of the garden
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C1 MASS DEACIDIFICATION C2 SURFACE CLEANING C3 WASHING IN WATER SOLVENTS C4 DISTRIBUTION AISLE C5 TEMPORARY STORAGE C6 ADMINISTRATION DEPARTMENT
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PROCCESS OF DIGITIZED MATERIAL DIGITIZATION COMPUTER DEPARTMENT DISTRIBUTION AISLE PESS AREA PREPATION FOR PRESERVANCE TEMPORARY STORAGE CONFERENCE ROOM
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Inter ior render of t he conser vat ion spaces
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S E C T I O N
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B - B ’
S E C T I O N
A - A ’
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Final model, engr aved acr ylic sheet and plas ter
Br ace - fr ame steel elements
The arrangement of the constr uction elements constitutes an extension of the building’s main concept. The braced frame constr uction functions as a means which carries the main concrete str ucture where the prototypes are being stored. Simultaneously, its efficiency of functioning as a bridge permits public activities to take place at the ground level. Hence, is ensured the dual nature of the super str ucture. The metal frame is sustained through concrete shear walls. In this way is concurrently achieved the stiffness of the str ucture as well as the permition of an open space on the groung level. The super str ucture is covered by two fur ther surfaces of horizontal and ver tical blinds, that provide the ability of creating controlled light conditions, a par ticular ly essential aspect of the spaces where paper materials are being conser ved.
Hor izontal blinds
Facade
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BUILDING SECTION
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STEEL SUPERSTRUCTURE 400x300 mm
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VERTICAL BLINDS 100X100mm HORIZONTAL BLINDS 100x100mm PROFIL L 50x40mm
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INDUSTRIAL FLOOR CONCRETE BENT SHEET METAL SUB FLOOR VENTILATION
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PROPPED FACADE STRUCTURE ON STEEL SUPERSTRUCTURE 300x180mm
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Final model, engr aved acr ylic sheet and plas ter
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HONORABLE MENTION
Yo u n g A r c h i t e c t s C o m p e t i t i o n 2 0 1 6
J u r y : B a r o z z i Ve i g a , A i r e s M a t e u s
Collaborator : Spentzaris Alexandros
Published at ArchiSearch official website Exhibited at Rimini Fiera, SIA Expo Centre, Italy
TWENTY ONE ROOMS Lighthouse sea hotel Slender and solitar y, the lighthouses are situated in wonderful and often uncontaminated ecosystems and are an inestima- ble legacy of the past. On the cliff of Murro di Porco - a few kilometres from the historic center of Syracuse, is situated a lighthouse of supreme charm and value. The lighthouse of Murro di Porco was once lived in but then it was gradually abandoned with the arrival of modern technologies. As it became a simple lantern, a place no longer inhabited by humans, the lighthouse has progressively deteriorated as it often happens to many other coastal buildings. The project includes the renovation of the abandoned lighthouse and its conver sion into a contemporar y hotel establishment. Our intentions were focused on the mode of the new relationship between the existing topologies and the new constr uction.
Rejecting extreme contrasts between the old establishments and the proposal, we preferred to arrange a subtle architectural continuity, between the two landmar ks, the lighthouse and the hotel.
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Conceptual sketch, watercolor on paper
On my wa y to th e s e a I s tu mble d u p o n a L ig h t a n d a Tre e ..
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Our proposal suggest the design of twenty one rooms forming a line between the sea and the historic monument. A line that both establishes a new set of components consisting of the sea, the lighthouse and the new function, and proposes a walk between these par ticular topographic elements. The rooms themselves provide the minimum necessities one needs to enjoy the scener y; a bed, a bathroom and a small office. Finally, the use of white cement and wood has the purpose to intensify a visual continuity of the white constr uctions of the local area as well as a correlation between the two landmar ks.
Diagr am of main axes
Diagr am of spatial or ganization
Axonometr ic section
Inter ior render
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Entrance render
ENTRANCE RECEPTION W/C WINE BAR C A F E - R E S TA U R A N T KITCHEN
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R E S TA U R A N T S TO R AG E WINE CELLAR ROOM FOR DISABLED ROOM OFFICE C O N T E M P L AT I O N S PA C E
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HOTEL PLAN PORTFOLIO TZOUGANAKI MARILENA
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SECTION B-B’
SECTION A-A’
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Exterior render
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AC A D E M I C
urban Design
studio9
NTUA 2014
collaborator : Spentzaris Alexandros S u p e r v i s o r : A . K o u r k o u l a s , A . Vo z a n i , I . M a r i , T. P a g o n i s Exhibited at Stavros Niarchos Foundation Cultur al Center
F R A G M E N T S Faliron
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The new “gate� of Athens
Study of methods of forming urban fronts The project attempts to implant a new Athenian urbanity on the site of Faliron. It is par t of a wider renovation of the coast, developed as an answer to the newly erected Stavros Niarchos Cultural Center, designed by Renzo Piano. The floating terraces of the apar tment blocks constitute a continuous cityscape that interacts with the topology of the Attic landscape and folds into a dense spatial community. The project seeks a way of combining different and often controver sial uses. An assor tment of different urban elements wrapped up together in a complicated manifold public and private space.
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The urban condition is depicted as the physical result of existing urban intensities nested into the proposed urban form. The form is or wishes to be the cr ystallization of the surrounding urbanity through architectural means. Contrasting the soft ar tificial newly erected hill with fragments of hard surfaces we seek to form a new continuity between the city and the coast.
The site interpreted as a combination of current and estimated forces - local and hyperlocal
Inter vention area
Master plan model, bur ned cardboard
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Conceptual diagr ams Typical block and its urban transformation
Forces The initiating lines that form the basic axes of the design constitute the extension of real and projected urban forces upon the area of inter vention. These lines form the primar y spatial arrangement of the project. MASTERPLAN
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Blocks Athenian blocks consist of two sides. The one facing the road is the cr ystallization of the contractor s’ immutable desire to fully exploit the available space. The second side is the private, inaccessible backside and it is the product of the random proximity of the unbuilt spaces of independent plots, subdivided to the point to be practically unusable by the inhabitants. Our proposal seeks to establish a spatial continuity through the blocks, by replacing contrasting polarities between public and private with an implied grada tion from open to closed and protected. The interrelation of the irreconcilable elements of the city
AXES DIAGRAM
MODEL Burned cardboard PORTFOLIO TZOUGANAKI MARILENA
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Recidence section
Recidence plan
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Typical block section A-A’
Typical block plan
S-W view
N-E view
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Final models
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Picture from the exhibition at Stavros Niarchos Foundation Cultural Center
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ACADEMIC
Design studio 7 . 8
NTUA 2012 . 2013
Collaborator: Zer va Aggeliki
Super visor: T. Papaioannou, I. Papalexopoulos
THE NEW MUSEUM O F THE
CIT Y
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AT H E N S The objective of this annual cour se is mainly to investigate the relationship of the constr uction of a new Museum of the City of Athens with the broader and immediate urban fabric and to identify the key synthetic str uctural options, which are appropriate to deal simultaneously with the functional, the str uctural and the morphological aspects of the project proposed. Fur thermore the proposal of the fir st semester is used as an incentive in order to focus on issues related to: •The detailed constr uction assembly. • The setting of both the interior and outdoor area. • The achievement of design consistency, as a sequence of choices on all architecture manufacturing scales.
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The amplified area of Athens city center corresponds to a ver y old urban habitation in the capital area, where architectural approaches of different periods coexist, from those of neoclassical Athens until the contemporar y str uctures of “polikatikia”. The implementation of the New Museum of Athens is proposed to be at the site in front of Papparigopoulou and Patron Germanos street just across the Klafthmonos Square. Its impor tant characteristic is its proximity to impor tant neoclassical buildings with special cultural identity. A per tinent example is the existing museum “of the City of Athens” and the Literar y Society “Parnassos”.
Conceptual diagrams
Omonia Square
Kotzia Square
Trilogy Klafthmonos Square
Inter vention site
Monastiraki Square
Syntagma Square
Main public squares of the city center of Athens
Par t of the Ancient Wall is crossing the Klafthmonos Square and passes through the given site for the new museum. This fragmentar y character characterizes the city of Athens on its whole, as par ts of the old town coexist with the new ones. Thus one of our main intentions is to maintain this fragmentar y character and even intensify it by offering to the Ancient Wall a core role for the design of the museum. Hence, the axe of the entrance corresponds
to the direction of this ancient element through which indirect optical contact attracts visitor s to enter the museum and have an immediate contact with it. At the same time the Ancient Wall constitutes a par t of the ver y fir st histor y of the city of Athens, permitting thus the exhibition of the museum to take place yet from the public space.
Trace of the ancient wall in the urban fabric
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The necessity of an appropriate space for the main exhibits, which corresponds to the basic specifications of a museum, led us to create an inner shell to the exterior glass surface. This space provides the required dar k conditions that are suitable for the proper exhibition of the objects. This shell also allows the visitor to obtain a better contact with the objects of the exhibition through the ar tificial light. A fur ther objective of the proposal was the building of the museum to be perceived itself as the spectacle from the public space of the Klafthmonos Square, through its transparency, while simultaneously its inside offer s an integrated and unobstr ucted sight of the city. Thus the platforms of the different levels of the proposed museum operate as “pedestals” which reveal the action of the people in the museum, conver ting them into the exhibits of the city. In this way the building and the city interact with each other.
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SECTION A-A’
Final construction model PORTFOLIO TZOUGANAKI MARILENA
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ADMINISTRATIVE OFFICES
INDUSTRIAL FLOOR
SEISMIC JOINT
PERMANENT EXHIBITIONS
INDUSTRIAL FLOOR
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LIBRARY’S READING ROOM
INDUSTRIAL FLOOR
SEISMIC JOINT
TEMPORARY EXHIBITIONS
INDUSTRIAL FLOOR
Final construction model
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Stair and elevation contsruction plan
Final construction model 48
BUILDING SECTION
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AC A D E M I C D E S I G N
studio 6
NTUA 2012
Super visor : A.Kourkoulas, E.Xenou
URBAN ROOMS
Archaelogical space of Ker ancient cemeter y
Passage through space and time
On this project is attempted to be investigated and redefined the character of the urban space in Athens. The main issue is the process of the idea of the urban space in comparison to the condition that configures the contemporar y digital age. The research area is defined from the ancient walls of Athens and more specifically between the archeological space of Keramikos and the Eleftherias Square. At the boundaries of the ancient wall is developed an assemblage of different narratives - qualities; the r uins, the voids, the sites, densifications of social-commercial activities, spatial experiences of the familiar and unfamiliar. The “urban rooms” are considered as action receptor s that inter vene in the dynamic of the space. The objective of this cour se is to be proposed from each student a narrative that corresponds to the demands for redefinition of the contemporar y urban space. The optimum location for the establishment of the “urban room” is the axe of the road Dipiloy that connects the ancient cemeter y of Keramikos with the Eleftherias Square. This axe is defined from the ancient wall that passes underground, and is proposed to function as a new gate to the archeological area, redefining the relation of contemporar y and ancient space. In this way this route connects two completely different poles aiming at the deep understanding of the teachings it can offer you.
It’ s actually a passage-void that reevaluates PROPOSAL the way we used to interpret the wor ld around us, redefining simultaneously ourselves in time and space. This subterranean route consists of three par ts in order to achieve an iner t preparation to the visitor for the upcoming contact with the ancient space of the city. The fir st par t is the “Descent”, a big circular space that collects people from the square and leads them to the route of transition under the level of the city. The special str ucture of this route allows water to be selected underneath the perforated metal surface of movement when it rains, Thus, water constitutes an indispensable element of direction indication. Although on the beginning of the route merely the sound of the water indicates the direction, as the visitor passes on the section of “Transition” retains also an optical contact with the liquid element through the perforated metal floor, a fact that overwhelms him with an anxiety. This feeling is going to be reinforced at the “Exodus” during this route as the visitor passed from the upper level of the city to the underground level of the ancient cemeter y. A place cr ystallized in space and time.
EXODUS
Eleftherias Square
amikos
Diagr am of alter ation of frequency
Diagr am of alter ation of volume
Different types of respiration are being recorded and processed through special sound programs in order to be capured the frequency of sound and the alteration of its volume as it reaches the condition of the complete silence. Afterwards these diagrams were used for the design of the ver tical elements’ movement.
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2 1, 2 Movement of ver tical elements on plan
Fr agmentar y sections of the route
TRANSITION
DESCENT
This passage leading to the ancient cemeter y has a dual role, referring to the ground as well as the subterranean level. Big vertical elements emerging from the underground level to the level of the city, offer different experiences at this route. At the ground level they tend to organize the flow of the movements, intensifying at the same time the sight among people at the upper level. The underground route is also enriched with different qualities of light and sounds through these metallic ver tical elements. Their diver sified height is such that they can produce a specific melody during their movement. This movement has been designed taking under consideration the
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frequency of human breath, an element that is the indication of life. As the visitor reaches the place of the past the movement of the ver tical tubes is reduced and the sounds made of them as well. The water selected from the circular space of the square, which has been following the visitor through the whole route offering either the feeling of sound or an optical contact with it, is now completely revealed at the “Exodus�. Feelings are intensified at the last par t of the route as the surface of movement and the ver tical elements get decomposed. After following someone the way through the chaotic elements of this space reaches the ancient cemeter y of Kerammikos that is now on comprehended in a different way.
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Exodus
The human soul is beeing decomposed at his ingredients during death Aristotle
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AC A D E M I C o p t i o n a l c o u r s e Collaborator : Spentzaris S u p e r v i s o r : I . Te r z o g l o u
NTUA 2014
Alexandros
THREE EXTRACTS OF TIME
Resin and wood
Is there present? Is there an infinitesimal par t of time which is neither past nor tends to become future? What is time? Can it obtain substance? Can it be cr ystallized?
These questions played an impor tant role on defining our interpretation of the gist of Time. According to our approach nature is the appropriate means to represent our comprehension of Time as it expresses the evolution and the progress, that is to say the idea of a chronological oriented evolutionar y process. This perception alienates the human as regards his main perception. (Circular conception of time and not instantaneous; linear. Perpetual motion but within the same spatial context.)
The creator of the world created a simulacrum of eternity in motion and by suitably arranging the sky constructed, starting from the one and motionless eternity, this effigy which is continuously moving according to the laws of number and which we call time.
Beginning and End (growth - shrinkage)
Phases of intermediate states (limit range of evolutionar y process)
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Excerpt of Timaeus, Plato
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Resin and wood
Capture of time Time is immaterial and responds to the mental par t of the human hypostasis (eternity). Thus his under standing is mainly received subconsciously with no ability of representation. During out attempt of capture of Time are selected three elements of nature on which the passage of time can be imprinted through evolution and decay. Their incorporation into a pure geometric prism attempts to become the means for the perception of Time. The material that can allow its capture (not representation) is resin, as it is characterized by clarity and transparency. The clear geometric shape of resin becomes able to contribute to the understanding of time. With this material it might not be possible to convey the concept of time in its entirety, but we can capture the aura of each Moment. Of each “Present” in which phases of the past and the future are implied in an indirect way.
Phases of elements’ construction procedure
That’s why time seems to be the motion of the sphere. Because it is this movement that measures the other movements and that measures even time.... and time as well seems to be a kind of circle.... so that by saying that things are born from circle is equivalent to saying that there is a circle of time.
Consolidation of the cyclical conception of time from Aristotle
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