WORKS in Architecture and design. 2011-2017 IOANNA-THANOU MArch. Technical University of Crete, Greece.
INDEX (selected works)
02
01
Resume
02
Internship at IMLC Architecture and Design, Paris 2016-17.
03
(pg. 05)
Worksamples as a Design Project Manager Assistant.
Racines des Prés: A refurbishment project for a restaurant at Saint Germain, Paris. Le Bon Saint Pourçain: A refurbishment project for a restau rant at Saint Germain, Paris.
Graduation project, 2016. (Advisor and tutor Associate Professor of History of
(pg. 06) (pg. 12)
Art and Cultural Theory Thanasis Moutsopoulos)
(pg. 14)
04
Thesis - Reasearch project, 2015. (Advisor and tutor Thanasis Moutsopoulos)
(pg. 22)
05
Space / Place / Identity, 2015. Connections between dance students in disparate
Inbedia: An international duet.
Architectural objects for meditation: inspired by the japanese Zen garden; informed by anatomical curva tures.
BODY WITHDRAWN: The ‘cure’ for fatigue by means of modern architecture. places, 2015. (In collaboration with Kenyon College student Laura Lars David)
(pg. 28)
06
Graphic Design Competition. Poster for the band ‘The Horrors’ U.S.Tour, 2014.
(pg. 30)
07
Visitors’ Centre of SNFCC Student Competition, 2013. (In collaboration with
Open your eyes, Creature. co-student Panos Charvalakis).
Stavros Niarchos Foundation, Cultural Center Construction Site.
08
Social Housing in the historic center of Rethymno, Greece, 2013. (In
Dwelling the well.
collaboration with co-student Panagiotis Charvalakis)
09
EcoRedux: Design Remedies for a Dying Planet. Atelier international et
10
Urban Analysis & Planning Studio, 2013.
exposition, Design Hub de Barcelona, 2011. EcoRedux: The Bacteria BRICK project.
Strategic Master Plan for the northern district of Chania city, Greece.
03
(pg. 32)
(pg. 34)
(pg. 38) (pg. 40)
04
01 • Resume.
IOANNA THANOU Oberkampf 15, Paris, 75011, France Tel.: - ; Mobile: +33 7 68 34 08 52 E-mail: i.thanou@acg.edu FIELDS OF INTEREST Architecture, Design, Graphic Arts, Practice-based Research, Performing Arts and Dance. EDUCATION 09/2015 – Present Significant courses 2008/09 – 2016/09 Significant courses Significant projects 2001/09– 2008/06
DEREE – The American College of Greece – Athens, Greece
Minor in Dance and Movement Studies, GPA (4.0/4)
Stavros Niarchos Foundation Scholar Contemporary Choreography, Body awareness and Movement, Movement for the Stage. Technical University of Crete (TUC) – Chania, Greece BA, M.Arch in Architectural Enginnering; GPA (8.21 / 10) Architectural, Landscape and City Planning Design Studios, Contemporary Architectural Theories, Restoration of Existing Building Envelopes, Transformable and Adaptive Arch Studios. Thesis project: Body, withdrawn: The ‘cure’ for fatigue by means of modern architecture. Graduation project: Architectural objects aimed at meditation. Inspired by the Zen gardens […] American College of Greece – Athens, Greece High School Education, Apolytirion , GPA (18.70/20)
WORK EXPERIENCE 2016/10 – 2017/03
IMLC Architecture and Design – 75003 Paris, France (6 months) Design Project Manager Assistant, Internship (Erasmus Placement), Interior Design. Delivered spatial visualisation and organized presentation material for clients. Shadowed and oversaw construction works for restaurant ‘Racines des Prés’. Full responsible for survey and working drawings, for every respective phase of the project Handled portfolios for obtaining sanction for the 2 restaurants’ projects.
2016/07 – 2016/08
Rhino Authorised Fabrication Laboratory, Face to Face – Athens, Greece (2 months) 3d printing and parametric design apprentice, Internship, Digital Fabrication Design. Assisted the development of tutorials for Grasshopper and Simplify3d learning. Assumed graphic design responsibilities and delivered a brochure for grasshopper. Operated 3d printer Hephestos 2 and handled a series of 3d design objects.
2014/03 – 2014/05
Fetrix S.A. company – Athens, Greece (3 months) Freelancer, Planning and construction of exhibition booths, Retail Design.
SKILLS
Concept, design development, 3d modelling and visualisation.
Languages Software expertise
English (Proficient level ACG Certificate, FCE), French (Very Good/ B2 level), Greek (Native) Microsoft Office package(experienced), Autodesk Maya(experienced), AutoCAD(proficient) Adobe Suite (Photoshop, Illustrator, Indesign) (proficient), Premiere (competent), Rhinoceros (experienced/certificate of proficiency), Grasshopper (intermediate)
Fabrication expertise
Digital machinery: laser cutting, model making, crafting (clay, plaster, ytong, polyurethane) 3d printing techniques, 3d printer Hephestos2, Meshmixer, Simplify 3d, 123D Catch
PARTICIPATIONS / PUBLICATIONS / COMPETITIONS 2017/05 2016/07 2016/05 2016/02 – 04 2015/12 2013-2017 2017/05 2015/05 2013/01 2012/08 2011/08 2011/03-05 2011/04
(selection)
Performing Arts/Dance/Theatre Volunteering at the Movement Research Laboratory Gala, set up and arrangement of space, New York. Performance Making Intensive Laboratory, led by Anna Furse, Professor at Goldsmiths University of London. Sensing Silence, workshop at EMST - National Museum of Contemporary Art Athens. Inner Movers; multimedia educational platform, for video dance practices and site specific performance. Space / Place / Identity, Ohio-Greece, 2015. Kenyon College, Ohio and American College of Greece. Workshops with: Damien Jalet(FR), Colleen Thomas(NY), Martha Eddy(NY), L.Kapetanea (Rootlessroot)etc.. Architecture/Design Mushroom Mycelium in Your Home+Grow it Yourself Workshop at Wanted Design Week, New York. Architecture meets Robotics, at Ariel University, Israel. Interactive Hotels- Customizable Experiences. Symposium, Design Marathon and Master Class. Visitors’ Centre of Stavros Niarchos Foundation Cultural Center, Student Competition, 2013. RETHINK Athens International Architecture Competition. In association with Ctrl_Space LAB architects. Short-listed project. The Value of Garbage, C.A.M. (Mediterranean Centre of Architecture). Studies on the reuse of garbage and found objects in an urban context. EcoRedux 02: Design Manuals for a Dying Planet, exhibition, Design Hub of Barcelona, Spain. “Eco Redux: The exhibition curated by Lydia Kallipoliti looks back 50 years.”, Domus, iss. 946, Apr.2011, p.10.
INTERESTS Taekwonto, climbing, yoga, dance, theatre (member in Athens School of Fine Arts Theatre Team), knitting, piano Been to: U.S.A. (New York, Las Vegas, Los Angeles), U.K. (London, Bath, and Stratford), France (Paris), Germany (Berlin, Munich), Turkey (Istanbul), Israel (Tel Aviv, Jerusalem).
05
Racines des Prés:
A refurbishment project for a restaurant at Saint Germain, Paris.
Racines des Prés: Un projet de
réamenagement pour un restaurant à Saint Germain, Paris.
La double exposition assure une lumière ambiante tout au long de la journée.
Vue d’ extérieur sur la modification de fa
06
02 • Internship at IMLC Architecture and Design, Paris 2016-17.
chaise Moulin de la main du designer Pierre Paulin.
l’ eglise Saint Thomas d’ Aquin - devoilée après acade et l’ installation d’ une terasse fermée.
07
Urban context analysis for a historical facade, to authorise the installation of a closed terrace, placed in between restaurant and public space. Analyse du contexte urbain pour l’ autorisation d’ une terrasse fermée et amovible, entre l’ espace du restaurant et l’ espace public. Relevés de bâtiments existants - Extrait du dossier.
Une largeur de façade de 6m sur rue faisant face à l’Église Saint-Thomas-d’Aquin. Simulation perspective 3D projeté de la façade.
après la demolition
08
02 • Internship at IMLC Architecture and Design, Paris 2016-17. in, Saint GerAntoine d’ Acqu Location: Saint 7. 00 ris 75 main de Pres, Pa t: 7ème Arrondissemen omas d’Aquin. Quartier: Saint-Th Client: privé Date: 2016 des Prés Nom: Racines ur): 58 es assises (intérie Nombre de plac n Etat: en fonctio ril 2017 Delivrance : av ft2 (96 m2) térieur): : 1,033 m Area/ Surface (in 0 2.8 / m afond: 3.2 Hauteur sous pl is, verre, tissus, bo n, to lai e, br Matériaux: mar inox ur FR: agement intérie erne le réamén nc co et oj pr Ce et restaurant à la façade d’ un modification de . n Saint Germain ur l’ autorisatio exte urbain po l’ tre en Analyse du cont le, ib fermée et amov ic et créad’ une terrasse et l’ espace publ t an ur sta re issante. pu espace du ale ur ance architect tion d’une ambi nsformation du s visaient la tra Les propotition brasserie à un d’une ancienne rez de chausée s repas de de t an os ant prop la journée nouveau restaur de ng aise tout au lo specialité franç et du soir.
Vue de l’intérieur et du fond du restaurant, qui regarde la derriere cours. Simulation 3d et dans le site de sonstruction en train des travaux.
ancienne plomberie à remplacer. custom furniture, prototype for upholstery-seating
09
ENG: nsformation of included the tra The proposals rground level level and unde the ground floor w restaurant, ne a to rie se d bras as well,of an ol roughout th ng ni ist french di offering special ing. permission the day and even obtain planning to s wa ilding I’MLC role Bu as design, as well for a new front approval for ns io lat gu Re proval. Regulations ap t Germain de t venture in Sain a new restauran for the integraauthorisation Pres, Paris and ace in between rr te removable tion of a closed public’ s space. restaurant’s and
features and material grid
Chaise Tonneau Guariche en cuir et métal cognac timber oak massive en chêne massif Référence huilée: Saint Emilion
la materialité crue
Toile de Jouy revisitee, Pampa joue avec les perspectives et les codes de ce style traditionnel francais. Realise en noir et blanc, ce motif rappelle les gravures, temoins des periples exotiques d’ autre age. couleur: jais style: botanique, voyage autour de monde
This revamped “Toile de Jouy” plays with perspectives and the codes of this traditional French style. Designed in black and white, this motif is reminiscent of engravings, recounting exotic voyages from another time. Printed in large width, this paper recounts a story on your walls. Pampa is also available as a printed fabric. PAMPA has a 140cm (55.11”) Width, Repeat 94cm (37”)
10
02 • Internship at IMLC Architecture and Design, Paris 2016-17.
Simulation intérieure des meubles et lumières déployés - État projeté
Murs et les boiseries en Dimpse No.277 et Oval room blue N° 85
Intemporel et épuré. Oval room blue N° 85 Couleur typique de la fin du XVIIIe et du début du XIXe siècle, que l’on retrouve souvent dans des combinaisons de couleurs historiques. Impression Teintes Foncées.(a gauche)
11
Dimpse N° 277 Un gris frais La couleur du crépuscule si l’on en croit le dialecte du Sud-ouest de l’Angleterre. Impression Teintes de Blancs & de Blancs Cassés.
Le Bon Saint Pourçain:
Authorisation for a restaurant at Saint Germain, Paris.
Le Bon Saint Pourçain: Demande d’autorisation d’occupation du domaine public pour un restaurant à St-Germain, Paris.
12
Extrait du dossier: Demande d’ autorisation d’ occupation du domaine public. Le Bon Saint Pourçain 10 rue de Servandoni 75006 Paris
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112 banquette 5
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banquette 1
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Rue Servandoni
348 63
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banquette
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P 73
ESIGN
02 • Internship at IMLC Architecture and Design, Paris 2016-17.
banquette
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3
banquette
4
91
Rue du canivet
11 rue du Perche 75003 Paris T. 01 44 51 62 00 F. 01 44 51 62 01 www.imlc.fr
Planquées derrière- la place Saint1/50 Sulpice, et à mi-chemin des jardins du Luxembourg, dans une petite rue calme, ce bistrot, cette terrasse-trottoir 100 % vintage, des extérieurs bleu nuit et une salle soignée (banquettes en cuir rouge, nappes blanches, sol mosaïque) ambiancent l’un des plus jolis coups de David Lanher.
Restaurant "Au Bon Saint Pourçain"
Date : 20/05/15
date tracé / print date : 01/08/17
Phase :
Indice / Revision : Echelle / Scale :
Au Bon Saint Pourçain 10bis rue Servandoni PARIS 75006
PLAN AVEC COTES
p. 05
Les cotes et les dimensions portées sur ce plan sont à vérifier sur le site. Ce plan ne peut être considéré comme document technique d'exécution. Ce plan est propriété d'IMLC et sa copie est protégée. Il ne peut être transmis à une personne étrangère au projet sans autorisation écrite. Verify all dimensions on site prior to starting of any work. This drawing is not a Construction Document. This drawing is copyright by IMLC. It may not be reproduced or given to any second party, wholly or in part without prior written consent of IMLC.
13
Architectural objects aimed for meditation. Inspired
‘A dialogue among artisanal experimentation of form, contemporary sustainable design and 3d printing technologies.’
by the japanese Zen garden; informed by anatomical carvatures:
Objets architecturaux destinés à la méditation: inspirés de jardins zen et des courbures du corps humain.:
‘nature crafted by man’ is the main notion behind a zen garden concept Zen philosophy, particularly acceptance and contemplation of the imperfection, constant flux and impermanence of all things
corporeal investigations/recherche somatique
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03 • Graduation Project, 2016. Key objective of this graduation project is the emergence of meditation for the contemporary man in western civilisation, by means of objects designed to redefine the spectrum functionality.
L’objet principal de ce projet fin d’études est l’émergence de la méditation de l’homme contemporain dans les sociétés occidentales à travers des objets destinés à redéfinir la notion de fonctionnalité.
The architectural objects for meditation answer practical questions and rehabilitate misconceptions of how a body ‘stands’ on space and how it interacts with other ‘bodies’, animate or inanimate.
Ces objets architecturaux pour méditation, s’attachent à répondre à des questions pratiques et réhabilitent les malentendus concernant la manière avec laquelle un corps s érige/tient dans l’espace et comment il interagit avec d’autres corps, animés ou inanimés.
Man in the western cultures seeks for relaxation and contemplation during his daily life. Shrunk corporeality and poor mobility appear as hindrance to this effort. Japanese Zen garden constitutes a point of inspiration to this work, since it promotes constant flow in a designed environment and suggests leit motivs for change, which come after the bodily engagement of a Zen’s practitioner.
L’homme dans la culture occidentale recherche la relaxation et la contemplation tout au long de sa vie quotidienne. Une corporalité diminuée et une pauvre mobilité sont des obstacles à cet effort. Les jardins japonais constituent une source d’inspiration pour ce travail, du fait qu’il encourage un flux constant dans un environnement conçu et propose des (motifs de changement) qui survient après l’engagement corporel d’un pratiquant de zen.
This project adopts the aforementioned approach; unusual objects are designed, not at first obvious in their funtion and form, which incite mobility and exploration of personal ways and bodily postures for meditation.
Le projet adopte la démarche ci-dessus; des objets inhabituels, sont conçus, non dans leur fonction et formes apparentes, mais pour encourager la mobilité et l’exploration de moyens personnels et de posture corporels propices à la méditation.
Design process includes a series of 1:1 prototypes, which become 3d models by means of 3d scanning and using the fabrication technologies of 3d printing, constitute products of industrial design, made from sustainable biomaterials. A dialogue among artisanal experimentation of form, contemporary sustainable design and 3d printing technologies.
La procédure est constituée d’une série de 1:1 prototypes qui deviennent des modèles 3d, grâce au scan 3d et en utilisant les technologies de fabrication d’ impression 3d et constituent des produits du design industriel fabriqués à partir de matèriaux écologiques. Un dialogue se créer ainsi entre une experimentation artisanale de la forme, un design contemporain et écologique et les technologies d’ impression 3d.
Forms generated by anatomical curvatures, shaped by the extracted space or additive space out of a body posture.
informe 15
Rock typology and arrangement.
A japanese zen garden readaptation
ob1. [balanced sitting]
use of malleable material in order to easily and instictvely shape the prototypes. emploi de materiaux malléables pour que aisément et instinctivement façonne les prototypes.
Design that enhances physical activity but also a creative engagement with the material world. Design qui accroît l’activité physique, aussi bien la creativité.
ob2. [deformed cushion i] prototype out of polyurethane and fabrics found on spot.
A definition given to zen garden ‘ An abstract composition of ‘na function is to incite meditation.’
‘Une composition abstraite d dont leur fo
16
03 • Graduation Project, 2016.
3d printed in 1:5 scale. Impression 3d en échelle 1:5.
‘serenity and sleight of hand’
‘characteristics of the wabi-sabi aesthetic include asymmetry, asperity (physical harshness, roughness or irregularity), simplicity, austerity, modesty, intimacy, and appreciation of the ingenuous.’
n: atural’ objects in space, whose .’ Une definition des jardins zen: des objets ‘naturaux’ dans l’ espace, onction est d’ inciter la méditation.’
17
nebulous curves and niveous surfaces
Functional Tinting: Anatomical triad welcomes the body to lay in a prone position where elbows and knees are placed in gently discrete hollows. Meanwhile, its overall, fluid, molten-like form permits one to discover in a creative way the possibilities of actions his/her body offers, to coexist with it; for that day only. Also, one can be at distance, and contemplate the places of light and shadow its raised design produces; for that day only. Design Process: In a zen garden, the most common arrangement is one or more groups of three rocks. As compositional units, or so-called triads, a triad arrangement has a tall vertical rock flanked by two smaller rocks. the object’s form is influnced by the form of three rocks.
ob3. [anatomical triad]
18
03 • Graduation Project, 2016.
ob4. [poor stone]
The size of poor stone allows for sleep (use it as a pillow) hold embrace support step up sit palpate turn turtle wear it on your head or wear it on your foot and observe Design Process: In a Zen garden, there are rocks that have unclassified shape and thus do not belong with a certain catecory and don’t have a particular function.
19
Functional Tinting: this object prompts one to assume ‘irregular’ bodily positions that cultivate awareness, relaxation, concentration and meditation. its amorphous shape and its not aparent function, alerts one to contemplate it and interact with it at will and not in a pre-specified way. Design Process: a typical settee pillowcase takes advantage of its affordance to be removed of is intended place and is rearranged and filled so as to assume a completely different form which slightly reminds its previous any longer. Its obvious primary function, to offer a soft back , is dissolved. As a final product it is filled with empty space.
ob.6 [deformed cushion ii]
20
03 • Graduation Project, 2016.
ob.7 [shoe remover]
ob.8 [grip]
21
Contemporary philosophers, sociologists of the body and anthropologists have observed and claimed that modern Western society is typified by a certain ‘disembodied’ style fo life. Where do lie the deep causes of an unstable relation of man with his body, and his surroundings, which are modified in accordance to the first? The history of body in West world is one of controversial thought and consideration. Many characterisations have been given to it in different periods. In the late 19th century the prevailing ‘bodily presence’ is this of the ‘fatigued body’. Modernism’s attempts to intervene and control the body, are related to the desire to rest it. During this process, several misconceptions established concerning how man and his body could rest. Most of them eventually led to a passive style of living.
Body, withdrawn.
Corps en retrait.
Le ‘traiteThe ‘cure’ ment’ de for fatigue la fatique by means à travers of mod- l’ architecern archi- ture moderne. tecture.
Man-made artificial environments, constant and constantly emerging, become essential agents, which promote means and places for rest. How the latter are embedded in the architectural, designed environments? How gradually they estranged man from his body?
Des philosophes contemporains, sociologues du corps et anthropologues observent qu’une certaine decorporalisation caractérise le type de vie dans la société occidentale moderne. Où reposent les causes profondes d’une relation instable entre l’ homme et son corps ainsi que son environnement, qui change en fonction de ces premières ? L’histoire du corps et son appréhension dans le monde occidentale contient pleins de contradictions. De nombreux adjectifs lui ont été conféré à diverses périodes. A la fin du 19eme siècle, la présence corporelle prédominante est celle du ‘corps fatigué’. Les tentatives modernes d’intervenir sur ce corps et de le contrôler sont lies aux désirs de le faire reposer. Lors de cet effort plusieurs malentendus surviennent concernant la manière dont l’ homme et son corps pourraient se reposer. La plupart d’entre eux onte eventuellement mené a un style de vie passif. Les environnements artificiels ou faits par l’homme, les déjà existants et ceux qui émergent constanement deviennent des agents fondamentaux qui promouvoient de moyens et de leiux pour se reposer. Comment ces derniers sont ils integrés dans les espaces architecturaux ? Comment ont-ils progressivement rendu l’homme étranger à son corps ? Cet étude décrit comment la signification moderne de l’espace tend à promouvoir le’ corps reposé’ et comment la signification moderne de celui-ci conduit à son retrait. Elle propose une analyse du corps postmoderne, quand celui-ci n’est pas neglizé, contrairement à l’humanité que se préoccupe de lui et de son repos. Quel est l’impact sur le corps actuel, sur sa mobilité et sur son aptitude sensorielle et perceptive ? De nos jours, le corps est-il reposé ?
This study delves into how the modern sense of space tried to promote the ‘restful body’, and how the postmodern sense of space led to its withdrawal. Here, it is being elaborated the expression of the latter, since the body is not neglected; to the opposite, mankind is intensively preoccupied with it and its restfulness. Which is the impact on the mobility, sensorial and perceptive capability of the current physical body? These days, body is restful?
Architectural spaces are not just lifeless frames for our activities. They guide, choreograph and stimulate actions, interests and moods, or, in the negative case, they stifle them. Juhani Pallasmaa. Les espaces archictectural ne sont pas seul des cadres inanimés sur nos activités. Ils guident, choreographent et stimulent des actions, des intérêts et des humeurs ou, dans le cas pesimistic, ils les étouffent. Juhani Pallasmaa. 22
04 • Thesis - Research project, 2015.
It is my body made luminous, purified, virtuous, agile, mobile, warm, fresh... It is my body made smooth, neutered, rounded like a soap bubble... My body, by virtue of these utopias, has disappeared... .. have blown out its heaviness, its ugliness, and have given it back to me, dazzling and perpetual... Until the day that a toothache crazes in the back of my mouth. And then, I cease to be light, impoderable, et cetera. I become thing . . . fantastic and ruminated architecture. C’est mon corps lumineux, purifié, vertueux, agile, mobile, tiède, frais ; c’est mon corps lisse, châtré, arrondi comme une bulle de savon... Et voilà ! Mon corps, par la vertu de toutes ces utopies, a disparu. ... ont soufflé sur sa lourdeur, sur sa laideur, et me l’ont restitué éblouissant et perpétuel... Jusqu’au jour où s’étoile au fond de ma bouche le mal aux dents. ...Alors, alors là, je cesse d’être léger, impondérable, etc. ; je deviens chose, architecture fantastique et ruinée.
Stuart Davis, Odol (1924)
Michel Foucault, Le corps utopique, Conférence radiophonique sur France-Culture (1966).
23
Intoduction The fatigued body, ‘paranoia somatica’. ‘Exhaustion or ascention’ ; Fatigue: an illness of will and the prevailing symbol of neurasthenia. Mechanization: man apes the never-fatigued machine. Imposed and artificial rythms of life: early ‘pacemakers’. Fatigue: the physical resistance and the threshold of human limits. The modern plan to rest the body. The reformation of sanatorium from a drear asylum to a model for the modern world. The example of Otto Wagner: Steinhof and places farway the social. Modern architects design for the fatigued body. Hygiene manual for a restful body. ‘Dead’ Rooms and ‘Sealed’ spaces: the artificial, isolated spaces provide rest. When rest gradually was identified with passivity. Technologies of Mobility: modern, comfortable and passive transfer. The ultimate rest: IMMOBILITY. Animate architecture, inanimate bodies: Manzak, the electric tomatoe and the portable bath. Takis Zenetos: ‘From the same place we communicate with the whole world or universe’. Zero shifting (0) , Zero resistance (0). The fate of the ‘well-rested’ body. Cyberspace : rest led to withdrawal. The dream of virtual mobility. The dream of technological embodiment. The dream of leaving the body. ‘Away from the cyber-dream: the ‘restful’ body is an ‘handicapped’ body. The withDrawing Room. Today, “I’ m a cyborg but that’ s OK”. In between fatigue and psychosis (‘paranoia somatica’ re-appears), rest and action, virtuality and materiality.
screengrab from film Paris Texas, Wim Wenders, 1984. capture du film Paris Texas, par le réalisateur Wim Wenders, 1984.
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04 • Thesis - Research project, 2015.
‘volontairement handicapés?’
Introduction Le corps fatigué, ‘paranoia somatica’. ‘Epuisement ou ascension’ ; Fatigue: une maladie d’énergie et la prédominance du symbole de l’neurasthénie. Mécanisation: l’homme imite la machine inlassable. Rythmes de vie Imposés and artificiels. Fatigue : La résistance physique et les indices des limites humaines Le plan moderne pour reposer le corps La réforme du sanatorium ; d’un asile lugubre à un modèle pour le monde moderne. Architectes modernes conçoivent pour le corps reposé. Manuel d’hygiène pour un corps reposé. Chambres ‘mortes’ et ‘espaces scellés’ : les espaces artificiels et isolés offrent du repos Quand le repos a progressivement été identifié à la paresse. Technologies de la Mobilité : transport moderne, confortable et passif. Le repos ultime : L’ IMMOBILITE Architecture animé, corps inanimés : Manzak, la tomate électronique et la baignoire portable. Takis Zenetos : ‘on communique avec le monde entier ou l’univers à partir d’un même endroit. Zéro déplacement, zéro résistance. Le destin du corps bien reposé. Cyberespace : le repos mene au retrait. Le rêve de la mobilité virtuelle Le rêve de la personnification technologique. Le rêve de quitter le corps’ ‘Loin du cyber-rêve : Le corps reposé est un corps’ handicapé. La pièce du retrait. Aujourd’hui, “I’ m a cyborg but that’ s OK”. Entre fatigue et psychose ( ‘paranoia somatica’ réapparait), repos et action, virtualité et materialite’
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04 • Thesis - Research project, 2015.
27
Inbedia: An international duet.
A study on cyberspace, insomnia and the place of bed.
Inbedia: Un duo international. Etudes sur cyberespace, insomnie, et le lieu du lit.
Two virtual partners, never met physically, create a recorded dance duet. This project finds and motivates inspiration where the obstacles appeared -mainly physical and practical . The time difference established an asynchronous communication, in which both parts should be engaged, otherwise the project would fail. For instance, when Laura was rehearsing and sharing her ideas, Ioanna was sleeping; and vice versa. So, we ended up with a ‘telecommunication’, which we kept tightly as a core concept to the project. the ‘transatlantic’ bed, a screengrab from the dance video.
Meanwhile, issues of cyberspace, communication and materiality, significations of ‘space’ and ‘place’, since the 1980’s occupie the contemporary thought and constantly arise in the contemporary discourse. We took the place of Bed, as a springboard to elaborate on these ideas. Here, bed is to be considered as a furniture, as an architectural space, as a container for dreams, thoughts, emotions.
Deux partenaires virtuelles, qui ne se sont jam vidéo dance. Ce projet se nourrit des obstacles traite de questions pratiques et quotidiennes q Les sept heures de décalage établit une commu doivent s’engager, sinon le projet lâchera. Par e et la chorégraphie et partage ses idées, Ioanna oppe à travers une télécommunication dont on
Les thèmes du cyberespace, de la communicati occupent la pensée contemporaine, depuis les ment dans le discours aujourd’hui. Le lit comm Le lit est traité comme un meuble, comme un e de rêves, de réflexion et de sentiments.
Le lit est donc l’ espace individuel par excellence, l’ espace élementaire du corps... ‘The bed is the individual space par excellence, the elementary space of the body’ Georges Perec.
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05 • Space / Place / Identity, 2015. Connections between dance students in disparate places, 2015.
mais rencontrées physiquement, créent une s apparus tout au long de cette collaboration. Il qui surviennent dans le monde contemporain. unication décalée. Toutes les deux parties exemple, quand Laura s’entraîne sur le scenario dort; et vice versa. Alors, le projet se déveln fait l’axe principal du projet.
‘J’ ai beaucoup voyagé au fond de mon lit. J’ emportais pour survivre des sucres que j’ allais voler et que je cachais sous mon traversin...’ George Perec, Espèces d’ espaces
ion et de la matérialité, de l’‘espace’ et du ‘lieu’, années 1980, et surviennent encore constamme point de départ pour développer ces sujets. espace architectural ou comme un conteneur
Networked electronic technologies have removed any limit to what can be done in bed. Bed is now a site of action. To lie down is not to rest, but to move. Technologies de réseaux électroniques ont enlevé tout limité par rapport la fonction du lit. Le lit n’est pas un lieu pour se reposer, mais est un lieu d’agir.
Beatriz Colomina.
useful links: https://vimeo.com/153823840
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Open your eyes, Creature!
As the brief for the design of this poster called for elements associated with galaxies, space, and other astronomical objects I decided to create this illustration as the main visual element of the poster. The connotation of the words “horror”, “luminous”, “space” played an influential part in the creative process, but at the same time the design aimed to exceed the boundaries of a descriptive basic visual. A nameless creature, a lone survivor, divested from every protection, shelters a galactic system. Its skull constitutes the spacecase. This spacecase opens and sends off satellites-eyes, which help this creature to see. But these eyes, at that moment, are also transformed into loudspeakers who emit sounds of inner explosions.
Pour la conception de ce poster, qu’on nous a demandé des éléments liés aux galaxies, à l’espace et autres objets astronomiques, j’ai décidé créer cette illustration comme principal élément visuel du poster. La connotation de mots ‘horreur’, ‘lumineux’, ‘espace’ a influencé le processus créatif, et en même temps, le design souhaitait dépasser des limites d’une image simplement descriptive. Une créature innommée, un survivant solitaire, démuni de toute protection trouve refuge dans un system galactique. Son crane constitue ‘la poche de l’espace’. Cette dernière ouvre et envoie d’yeux satellite qui aident cette créature à voir. Mais en ce moment, ces yeux sont également transformés au haut-parleurs qui émettent de sons d’explosions intérieures.
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06
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Graphic Design Competition. Poster for the band ‘The Horrors’ U.S.Tour, 2014.
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boxes: they are strictly opaque. their interior contains all the functions that support the pavillion, applying maximum compactness. One can perceive them either as rooms, staircases or furniture, a situationist manifoldness of possibilities.
shells: they are the main public space of the pavillion as well as the counterparts of the boxes. their transparency facilitates an extrovert exhibition, implies a straightforward relationship with open space and satisfies the curiosity of a visitor towards the “workin-progress” phenomenon, be that a public event, an exhibition or a lecture. grid: it defines a sub - environment in which the pavillion exists. one can perceive it as a spectral greater structure whose construction is in progress, or even as an infrastructure. cover: Apart from sheltering the pavillion, the cover activates previously undefined functions [box - staircase and grid]. It also acts as a suspended podium, from which a visitor has framed views of the construction site as well as a 360 perspective of the environment, describing the existing and the future dialogue between the Cultural Center and its wider environment.
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Stavros Niarchos Foundation Cultural Center Construction Site.
“Visitors’ Centre of SNFCC” Student Competition.
Fondation Stavros Niarchos Maison Culturelle Site de construction. “Visitors’ Centre of SNFCC” Concours etudiant.
07 • Visitors’ Centre of SNFCC Student Competition, 2013.
conversion: from exhibition room to lecture room
5 7
4 6
3
2
1 storage
1
2 kitchen
1
3 W.C. 4 exhibition 5 information 6 seats 7 lecture& projection room
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-3.00m.
+0.00m.
successive orizontal sections-topviews, starting from the lowest level, where public domain is concentrated and organized. Ascending to the upper levels, the
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07
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Social Housing in the historic center of Rethymno, Greece, 2013.
Dwelling the well.
Social Housing in the historic centre of Rethymno, Greece.
Habitant le puits. Foyer Social dans le centre historique du Rethymno, Greece.
+3.00m. private space is articulated
+9.00m.
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Configuration and ‘formulation’ of the public function in the lowest level - an underground public library(1). - a market which acco modates flower-mar ket(2), - a shop with traditional Cretan products(3) - a tourists’ office(4) - a beverages/juice bar(5) - a bakery(6)
All orientated and addressing the central square.
Planning and distribution of
dwellings in circumferential to the square islets.
Segragation of semi-private with private, via interposed gardens.
This district was chosen
as situated alongside the medieval historic center of Rethymno.
Sculpting
an urban scape by means of staircase/steps, as well as accesses and passages from and to different levels.
Maintaining traditional
elements such as materials, construction techniques, forms and domestic scale.
This complex introduces
as well, the rest citizens of the area by means of two main staircases, diagonically situated, the one extension of the other and passing by the square.
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07
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Social Housing in the historic center of Rethymno, Greece, 2013.
2 3
5
6 1
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4
Eco-Redux:
the components
The BacteriaBRICK Project.
Eco-Redux:
Le projet BacteriaBRICK.
the manufacturing process
1. Create the mold and cover it with silicon leaves
2. Fill it up with building debris, dust and PET.
3. Pour the bacteria over the mix and let it harden.
the process can take place on-site, in places where human or natural intervention has brought destruction. useful links https://sites.google.com/site/ecoredux02archtuc/dhub-exhibition/room-2 http://www.domusweb.it/en/design/2011/03/30/ecoredux-02-design-manuals-for-a-dying-planet.html http://www.ecoredux.com/exhibit_Barcelona_012.html http://www.ecoredux.com/info_exhibit.html http://www.cyanmag.com/diseno-foto/ecoredux-02-manuales-de-diseno-para-un-planeta-moribundo/
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4. Remove the mold. The silicone leaves stay attached to the surface of the brick.
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International Design and Fabrication Workshop, Design Hub de Barcelona, 2011.
PROJECT DESCRIPTION: The project uses the idea of the common brick in order to utilize that useless, non-recyclable material from destroyed buildings, like sand, cement, concrete, natural and artificial aggregates, and so on. Recycled polyethylene terephthalete (PET), or in other words what is left from the huge amount of plastic bottles, is liquefied in order to encase the building debris parts in a block matrix and bind them together. The last component used for the design of the brick is purple bacteria, selected for their ability to capture the toxic dust as well as for the products of their metabolism which can reinforce the tensile properties of the produced brick. Moreover, the selected bacteria are phototrophic and produce energy through photosynthesis. This property implies a capacity that can be further researched in order to produce building parts that will be able to act as independent energy suppliers. In addition, the achievements of recombined DNA technology can be applied in the future to produce a range of bacteria with improved properties that could be used in material technology. In the end, what this project promotes is something more than the object itself; it is the methodology that describes the mechanism inside it. The project presents architecture with the opportunity to create a new world literally and metaphorically by re-using the wreckage of the old one, as well as the achievements of biotechnology. It describes a process that can take place on-site in places where human or natural intervention has brought destruction. REFERENCED PROJECT IN THE ECOREDUX ARCHIVE: No 80 | RECYCLING BUILDING COMPONENTS (1972)
Domus, issue. 946, Apr.2011, pg.10.
the BacteriaBRICK project presents architecture with the opportunity to create a new world literally and metaphorically by re-using the wreckage of the old one, as well as the achievements of biotechnology.
Disseny Hub of Barcelona, Spain_ March 10, 2011 - May 22, 2011. 1:1 prototype installations, curated by Lydia Kallipoliti and Anna Pla CatalĂ in collaboration with Michael Young..
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SQUARE
URBAN PASSAGE
PUBLIC MARKET
COMMERCIAL WALK
gree n
and pe de st ri an s
ONLY!
-sABRU Nffffff
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09
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Urban Analysis and Design Studio, 2013.
Urban Analysis & Design: A Strategic
Master Plan for the northern district of Chania city, Greece.
Analyse urbaine & Design: Planification stratégique pour un quartier au nord de la Canée en Grèce.
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THANK YOU