Architecture Graduate (Part-1) Portfolio

Page 1

Nikolas Kour tis Architecture Por tfolio B(Sc) (Hons) Architecture Graduate (Par t-1)


Curriculum Vitae

Nikolas Kourtis (BSc) Architecture Graduate (Part 1) Name: Nikolas Kourtis

22 Holmrook, 205 Eversholt Street, NW1 1DD, London

Birthday: 15/06/1991 Nationality: Cypriot

+44 (0) 7523380355

Q ualifi c at ions

Honors & Awards:

nikolas.kourtis@outlook.com

Bartlett School of Architecture (UCL):

Special Mention, for my final building project at the

(BSc) Architecture (Part 1) Graduate (High 2:1)

Languages: English, Greek

American Academy Larnaca School Diploma: 96/100

E x p e r i e n ce Architecture Graduate (11/16- )

A’ Levels: Mathematics, Further Mathemiatics, Physics, Economics, Modern Greek, Fine Art. [grades: A*a A A A A*(full marks)]

*draftworks architects

O’ Levels: Science, Additional Science, Mathematics,

HASSELL

Architectural Assistant (10/16-11/16)

religious Studies, French, English, Modern Greek, Fine Art. [grades: A* A* A* A* A A A A*(full marks)]

Cousins & Cousins Architects

Architectural Assistant (Part-1) (09/15-08/16)

Extracurricular:

*draftworks architects

Summer Intern (07/14-08/14)

Mentoring with ‘Accelerate’ program, organised by Open City 2013-2014.

Architectural Association (AA) Visiting School

Cyprus UN Buffer Zone - rebuilding no man’s land Visting School (08/13)

Volunteer at the Archikids Fesival, organised by Open City. (06/2013) First Solo Exhibition at Scarabeo Island, Cyprus, entitled “A Thousand Faces”. (12/2011)

Skills:

Completed a 2 year military service in the Cypriot National Guard. (07/2010) Photoshop

Maxwell

Vray

Rhino

Honorable Mention, for a group entry at the annual ‘FAIRY TALES 2016’ competition.

The Kalaydjian Foundation: General Excellence prize, for ranking best in school

marks, general character and service to the school, American Academy, 2010

The Art & Design prize, for academic excellence in Art & Design during his final two academic years 2008-2010, American Academy Larnaca, 2010

The Pancyprian Organization for five member families prize, for Top Class student from

five-member-families with the highest average (96%)

Academic Honours List prize,

for being on the Academic Honours List for the last seven years, American Academy, 2003-2010

Duke of Edinburgh Gold Medal, completed 2010

Interests: EXHIBITIONS

Illustrator

InDesign Microstation

international IS ARCH awards.

Microsoft Office

EXPLORATION

PAINTING PARKOUR CINEMA COFFEE NATURE ART

VIDEO-GAMES

Theatre

ROCK-CLIMBING

TRAVELLING

CAMPING BOULDERING


Contents

1 2

Eat , Rest , Paint , Lodging House London

pg. 3

Taksim Square Cultural Centre (TSCC), Istanbul

pg. 8

Uni vesity of Melbour ne (WEBS), Melbour ne, Australia

pg. 14

Software Update v.5.1

pg. 18

Artwork

pg. 21

5

CCAFS Camping Hostel Florida

pg. 21

6

3 4

3


1

E at , Rest , Pa int , Lo d g ing H o u se Lon d on

N at ure : Ac a d e mic I nd iv id ual Proj ect D ate: 1 st Ye a r of d e g re e Sup erv i s o r: Sa ra Shaf ie i ( tutor) s a ra @ s a ra b e n -stud io.c o m This lodging house run by an elderly lady, is designed for travelling artists in the Camden area in London. With the busy Chalk Farm Road on one side and a green potentially quiet spot on the other side, the building acts as a buffer between the two. A thick concrete wall facing the street shields the site from the noise, while the building faces inward to the green quiet area as shown in Section AA. The building was designed around the daily routine of the elderly lady, while reflecting and enhancing the relationship between lodger and landlord.

Section AA by Nikolas Kourtis

4


1

E at , Rest , Pa int , Lo d g ing H o u se Lon d on

The site is located along the busy Chalk Farm Road, that connects leads down to Camden Town, in London. On the site sits one of the last remaining segments of the original ‘Great Wall of Camden’, built in the mid 1800s. Since then the wall has been greatly modified, with more than half of it demolished to create a garage and access to other perpendicular roads, as shown in the map, with the full and dotted lines.

The main idea behind the concept was to extend the remaining segment of the wall along the road at the front of the site, referencing the original wall, which would close off the site and provide a quieter perhaps more intimate environment, something that would fit the brief of a lodging house as well.

Site Boundary Existing wall Original wall Noise Pollution Views

Plan view diagram showing existing and original wall positioning.

5


1

E at , Rest , Pa int , Lo d g ing H o u se Lon d on

First floor Plan

Ground floor Plan

Section BB by Nikolas Kourtis

The main character of this lodging house was to be a widowed elderly lady, who migrated to London years ago with her husband. After her husband’s death she found herself running this lodging house. Her daily routine involving baking fresh bread, cooking, cleaning, taking care of her garden and watching soap operas in the

The lodgers, which are travelling painters, are offered residency in this multicultural and vibrant area of London, while also benefiting from the recluse nature of the lodging house providing focus, and positive while also inspiring working environment. The interaction between lodger and landlady was a great driving force in the design.

evenings, has become more of a way of life in old age and so the lodging house is designed to reflect that in some extent.

6


1

E at , Rest , Pa int , Lo d g ing H o u se Lon d on Section BB

Pull-down counter

Doors opening to garden

Inwall built oven

Spaces designed around landlady’s routine

Storage area under stairs

Lodger’s Bedroom

Section AA Canvas storage area

Spaces designed around lodger’s routine

Ground Floor Plan by Nikolas Kourtis

7


1

E at , Rest , Pa int , Lo d g ing H o u se Lon d on Section BB

Soap opera watching area

Landlady’s bedroom

Lodger’s Studio

Moment of interaction: Pull-down kitchen bench opens up into lodger’s studio.

Kitchen

Section AA

First Floor Plan by Nikolas Kourtis

8


2

Ta ksim Sq ua re C u l t u ral C e nt re ( TSC C ) Ista n b ul

N at ure : Ac a d e mic I nd iv id ual Proj ect D ate: 2 n d Ye a r of d e g re e Sup erv i s o r: J u l ian K ruge r ( Tutor) D amj an I l iev ( Tuto r) ( d . il iev @uc l . ac.uk )

TSCC was designed as a cultural centre for the people of Istanbul, as a response to the 2013 protests and the political turmoil that followed. The spark for this conflict was the proposed demolition of one of Istanbul’s last remaining green space, Gezi park which is located next the famous Taksim Square. As a cultural centre TSCC p rovides an auditorium, an independent radio station, as well as a small public gallery p romoting local talent and a cafe overlooking the iconic Taksim Square.

9


2

Ta ksim Sq ua re C u l t u ral C e nt re ( TSC C ) Ista n b ul

Following the Gezi Park protests in May 2013, the gap between the views of the existing government and a large percentage of the people of Istanbul, as well as the whole of Turkey, could no longer be ignored. The protests, which were a result of this gap in views and communication , led to great unrest and violence during that time as well as the banning of social media websites by the government, claiming that ‘national security was threatened’. The proposed cultural centre through an auditorium and an internet station provides a platform for an open dialogue between the government and the people, while a secret circulation in the ventilation system, allows for activists to upload information on the social media sites, using secret plug-in points in the building and a secure server running on the TOR safe network.

Taksim Square

Photos from protests

Taksim Square Collage 10


2

Ta ksim Squa re C u l t u ral C e nt re ( TSC C ) Ista n b ul

Social media played a key part in the protests, as it was one of the most efficient and trustworthy ways for Turkish people to communicate what was happening in real time to the rest of the world, especially because much of the Turkish media downplayed the protests, particularly in the early stages. It

is

widely

believed

that

the

Turkish

government

blocked

internet access for a brief time during the protests in order to prevent news of the protests spreading, which in many cases laid local residents to share the passwords for their personal wireless internet connections so that protesters can stay online. The protests also resulted in the banning of social media websites by the government, claiming that ‘national security was threatened’. The proposed cultural centre through an auditorium and an internet station provides a platform for an open dialogue between the government and the people, while a secret circulation in the ventilation system, allows for activists to upload information on the social media sites, using secret plug-in points in the building and a secure server running on the TOR safe

Mapping various ‘hashtags’ showing power of social media websites

Diagram explaining TOR network

network.

Excerpt from online articles reporting on protests

Excerpt from online articles reporting on protests

11


2

Ta ksim Sq ua re C u l t u ral C e nt re ( TSC C ) Ista n b ul

15.

14. 6.

13.

5.

12. 10. 11. 16.

3. 4.

17.

9.

3.

18.

2.

8.

7.

1.

1. Hidden bunker at the basement can be accessed only through second circulation. 2. Ventilation ducts used as second circulation for activists. 3. Plug-in point to access main server disguised in ventilation. 4. Smaller bunker-like room above radio studio. 5. Back facade hiding the vertical scaffolding-like structure. 6. Third activist room accessed through trap door in ventilation used as plug-in point and activist planing room. 7. Entrance to the Cultural Centre is open inviting visitors. 8. Auditorium space where political issue are to be discussed with guest speakers, and conversation is encouraged. 9. Internet radio station studio. 10. Public gallery space encouraging young emerging artists. 11. Light atrium bringing light and transparent qualities to the building. 12. Lift. 13. Public cafe space. 14. Toilets. . 15. Skylight roof allowing light in the cafe space. 16. Scaffolding-like platform between facade and interior used to change billboards and circulate the 2nd circulation. 17. Billboards advertising on Taksim Square, (profits used to run the Cultural Centre.) 18. Interactive screen with live Twitter and news feeds. Image by Nikolas Kourtis 12


2

Ta ksim Sq ua re C u l t u ral C e nt re ( TSC C ) Ista n b ul

Perspective View Second Floor

Ground Floor Plan (+4.00m)

First Floor Plan (+9.00m)

Second Floor Plan (+14.50m)

Perspective View Third Floor

Third Floor Plan (+19.50m)

Perspective View Fourth Floor

Fourth Floor Plan (+23.50m) Images by Nikolas Kourtis

13


2

Ta ksim Sq ua re C u l t u ral C e nt re ( TSC C ) Ista n b ul

1. Reception desk. 2. Concealed room with the TOR server and the internet router. (can only be accessed through back scaffolding structure. 3. Concealed meeting room below entrance accessed by ladder through the server room. 4. Building entrance. 5. Natural ventilation system, also used by activists as a second secret circulation through the building. 6. Emergency escape route below Taksim Square connected to underground station. 7. Auditorium space where political issue are to be discussed with guest speakers, and conversation is encouraged. 8. Internet Radio station studio. 9. Extension of ventilation system as a secret plug-in point into the building’s TOR server. 10. Public gallery space encouraging young emerging Turkish talent. 11. Public cafe space. 12. Toilets 13. Glass atrium bringing light throughout the building. 14. Lift. 15. Circulation stairs. 16. Secret back scaffolding structure. 17. Secret front scaffolding structure. 18. Steel mesh facade ensuring minimum visibility into the scaffolding structure. 19. Billboard advertisements as well as media screen continuously updated with twitter messages. Drawing by Nikolas Kourtis

14


3

University of Melbour ne (WEBS), Melbour ne, Australia

N at ure : P rofe s sio nal Proj e ct ( HASSELL) D ate: Nove m b e r 2016Sup erv i s o r: M i chae l B l anc ato ( mb l anc ato@hasse l l stu dio.com) Perso n a l In p u t: As I j oine d the te am h alfway th rou gh th e D D sta ge, I wa s invol ve d in p ro d uc in g images and diagrams fo r v a ri o u s re p o r ts, and was mo re involved in th e design of th e ce n tra l t i m be r stairc ase, while attending variou s design rev i ews a n d u s e r g ro up me eting s w ith clien ts. This project is a new building for various departments of the University

of

Melbourne,

including

the

Faculty

of

Veterinary

Agricultural Sciences, Faculty of Sciences, Faculty of Medicine Dentistry and Health Sciences, to replace the existing outdated building and provide new facilities for the departments. The design is greatly influenced by the adjacent the historic System Garden which was first established in 1856 and was designed to encompass 11 areas each representing

a different subclass of the plant kingdom.

The building also aims to provide public areas for all university students to enjoy including informal learning areas as well as a cafe and roof terrace.

Image by Nikolas Kourtis

15


3

University of Melbour ne (WEBS), Melbour ne, Australia

Birds Eye View of South East Corner

Formal learning volumes between Royal Parade and the System Garden, looking out at the landscape

Informal, fluid space that extends from the landscape, connecting the formal volumes to the System Garden

The facade as a skin that holds the different spaces and communicates the biosciences narrative and the continuing story of the System Garden

16


3

University of Melbour ne (WEBS), Melbour ne, Australia

The facade system is one of the key elements of the design in this project and consists of three levels which are made of various glazing and various fins. Sitting within the primary facade system, the formal volumes of the building are defined by a secondary and tertiary facade system. The variation in form and articulation of these systems is driven by their different programmatic requirements and the orientation of the facade. Changes in the density of the fins and the amount and type of solid facade surface define the different spaces and make the building more varied and readable from the outside.

Primary Glass Facade

Perforated Aluminium Fins

Glass Fins

All three facade systems will have a patterning that is based on the activities in the building and speaks about biosciences. The intention of the design team is to work together during Developed Design with future users of the building and researchers familiar with the System Garden’s original planting structure to develop an appropriate graphic language. I was assigned the task of investigating frit patterns and also building a 1:1 test model which you can see to the right, which was installed in our studio in Melbourne.

Material Samples

Frit pattern Options

1:1 Test Model

17


3

University of Melbour ne (WEBS), Melbour ne, Australia

The internal walls defining the informal spaces are treated as an extension of the System Garden. These walls, as well as the open staircase, are finished as vertical, curved timber elements that help define the character of the informal spaces.

The solid timber staircase will be a strong, sculptured and visual feature, and its centralised location within the main circulation paths, encourages physical movement rather than use of lifts while also clearly encouraging the public to have inviting a journey to other floors. Additionally the stair

Basement Floor

along with the void arrangement increases opportunities for sight lines across floors.

Ground Floor

First Floor

Second Floor

Images by Nikolas Kourtis

18


4

Software Update v.5.1

N at ure : G ro u p P ro j e ct Pa r t ic i p a n ts : Nic ol a Chan Pui Q uan Cho i Nikol as Ko ur tis D ate: Fe b ru a r y 2016 ‘Software Update v.5.1’

is an architectural fairytale written and

illustrated by our group of three, and it is aimed as a social commentary on the dependency of our generation on social media. The entry aimed to present the digital world of the social media application ‘Instagram’, as a physical working factory and through that, blend the digital and the analogue in the hopes to not only initiate a conversation on our over-use and dependency on social media, but also to provoke nostalgia for a simpler time before social media took over the lives of the protagonists.

Our entry was awarded one out of ten Honorable Mentions at the international‘Fairytales’competition organised by Blank Space in NewYork. To read the whole story please visit the Blank Space Project website. (http://blankspaceproject.com/fairy-tales-2016-winners/)

Images by N i c o l a C han Pu i Q u an C ho i N i ko l as Ko u r t i s

19


4

Software Update v.5.1

The basic concept for the project was to use the logo of the social

media

represent

the

application inner

‘Instagram’

working

of

the

in

order

application

to as

Archival

conceptually a

This section of the ‘Factory’ illustrated mainly in the third board, is where all the photographs end up after being developed. The photographs are categorised and sorted and then sent out and posted online and projected at the auditorium area of the factory.

working

factory that produces the images that users get to post online. We interpreted the logo as a plan view of the factory and divided it into four regions each representing a function of the factory.

- Ink-canals and Filter Stations

- Dark Rooms

- Archival

- Panopticon and auditorium

Ink-canals and Filter Stations The factory starts with the ‘Ink-canals’ where the ink flows into the factory from. The ink then flows a complicated pipe system into the various ‘Filter Stations’ which produce the filter effects that people use in the application to produce and enhance their photos. Each station was designed to loosely represent the effect that it has on the photos. These two elements are illustrated in the first two boards.

Panopticon & Auditorium

Dark Rooms This area was the area where the photos would be developed right after they went through the various ‘Filter Stations’. The design highlighted the sheer number of photos that have to be developed and sent out each second. This was the theme behind the ‘Dark Rooms’ and the second board.

The ‘Panopticon’ was introduced at the centre of the ‘Factory’ as the allseeing eye, observing the factory and it’s workers and it is a representation of the constant surveillance that we are under in modern cities. The auditorium is where all the photos are being projected on a constant loop for the workers to see the product of their work after they are archived.

20


4

Software Update v.5.1

The boards themselves were designed to illustrate as much as possible and help the audience be immersed in the complicated world of this ‘Factory’.

Every board, apart from the last one which serves as a

conclusion, features a plan of the factory on the top left corner with the area illustrated on the board being highlighted. Additionally each board includes two perspective views into the factory sometimes in section. The most important element that brings the whole board together is the drawn element which bring the various images together while also illustrating the theme of the board in a variety of ways, plan, section, perspective, and this space is also the only space which is inhabited.

Images by N i c o l a C han Pu i Q u an C ho i N i ko l as Ko u r t i s

21


5

CCAFS Camping Hostel Florida

N at ure : Ac a d e mic I nd iv id ual Proj ect D ate: 3 rd Ye a r of d e g re e Sup erv i s o r: R hys Cannon ( Tuto r) ( rhys@g ruf f l imite d .c o m) C o lin H e rp e nge r ( Tutor) ( che rp e rge r@g mail .c om) The project focuses on a proposal for a hostel with a unique, alternative and fun accommodation experience for both ecosystem and space enthusiasts alike, while treating the surrounding environmentally protected site with utmost respect.

Inspired by climbing techniques and equipment, as well as through the incorporation of lightweight, tensile and inflatable structures the proposed design aspires to bring these ideas forward so as to minimise the physical impact of the hostel on the site. The hostel not only provides a unique experience where the inhabitants are immersed in the environmentally protected site without ever coming in contact with the ground themselves, but also provides opportunities for a relationship between architectural space and inhabitation.

Segment from section by Nikolas Kourtis 22


5

CCAFS Camping Hostel Florida

The now abandoned LC-19 launch pad, which hosted the Gemini and

Cape Canaveral Area Active Launch Pads Active Launch Pads

Titan II missions throughout the 1960s, is located along the coast of Cape

Advanced Saturn V

LC-39B

Canaveral, the once home of most American space exploration missions.

LC-39C

LC-39B

ic nt la At

The launch pad has been abandoned for years as only a few of the launch

LC-39A

pads remain active today.

an Oce

SLC-41

SLC-40

LC-47

SLC-37

The core idea of the project is a hostel that would open the protected and LC-34

Kennedy Space Centre

LC-20 LC-19

unique wildlife of CCAFS (Cape Canaveral Air Force Station) to ecosystem

LC-16 LC-15 LC-14 LC-13 LC-11 Cape Canaveral Air Force Station (CCAFS)

enthusiasts and the abandoned, neglected launch pad to space

LC-1, 2, 3, 4

Rive r

LC-21, 22

Banana

enthusiasts. This combination between the environment and technology

LC-36

LC-31, 32, 10 LC-18 SLC-17 LC-26 (Museum)

and the hostel will be breathing new life in the area all while respecting

LC-5,6

Bi gh t

LC30 LC-25 LC-29

Ca na ve ra l

has been of great significance in the area throughout the 20th century

5

0 Kilometres

_Active Launch Pads in Cape Canaveral area_

the ecosystem and the history of the area.

LC 19_Gemini launch site_Cape Canaveral_ Photograph by Shaun O’Boyle

Early Conceptual render

23


5

CCAFS Camping Hostel Florida

The incorporation of lightweight, inflatable structures that act more

Key 1. Core Services Building 2. Lobby 3. Bus arrival point 4. Open plan platform 5. Inflatable structure 6. Tree-walk 7. Pre-existing building 8. Tent set up in allocated area.

5

as a framework for users to set up camp wherever emulates the

7

camping experience where the users pick and choose their spot. Additionally as people set up camp the inflatable, netting and tree-walk structures shift and respond to the changes in loads, movement and

6

inhabitation,sometimes subtly sometimes in a bigger way. A 5 5

5 5

6 7

6 1

5

6

A 6

8 2 7

3

7

Elevation of arrival point

Plan (+4.00m) by Nikolas Kourtis

24


5

CCAFS Camping Hostel Florida

This dialogue between inhabitation and architectural space enriches

Key 1. Core Services Building 2. Lobby 3. Bus arrival point 4. Open plan platform 5. Inflatable structure 6. Tree-walk 7. Pre-existing building 8. Tent set up in allocated area.

the experience of the occupants within the hostel as it establishes a negotiation between not only the occupants themselves but also

7

between the occupants and the building; through inhabitation they mould and reform the architectural space around them. This framework

6

provided through the different elements of the design aims to propagate 5

moments and interactions that cannot be designed for, as the building

A

itself, shifts and changes according to the use of the visitor.

6 7

5

1

A

5

6 6 2 7

3

7

Plan (+8.00m) by Nikolas Kourtis

25


5

CCAFS Camping Hostel Florida Materiality

Inflatable design

Roof Element-ETFE

The ETFE foil would be ideal for the roof element of the inflatable structure, as it is lightweight and can provide various levels of transparency ranging from completely transparent to slight shading of the interior. The air pressure within the pneumatic systems cannot be structural and would not be able to handle the tensile loads of the overall inflatable thus it would only be used for the roof that it also retractable.

Inflatable inner elements and floor PVC coated polyester

The inflatable structure needs to be made from stronger, more pressurised inflatable structural elements, similar to structural inner bladders, these more pressurised elements including the inflatable flooring will be made of PVC coated polyester. PVC can be welded or sawn together giving stronger connection and is able to sustain higher pressures, and loads from the netting inhabitation structures that are hanged from the floor and the supporting inflated structures.

The diagram above illustrates how the design of the inflatable allows for this reaction of the structure to the loads in some areas and combats it in other areas where needed. When a person sits at point (1) their weight will cause the inflatable to slack as shown in the diagram. The slackness is partly allowed as it carried through the tension wires and is reflected on the outside layer of the inflatable as shown at (2). On the other hand a reaction at point (3) would not be desirable as it would drag the whole inflatable down especially with heavier loads. That is why the inner tube-like inflatables (4) are connected between them forming an inflatable inner framework structure that is inflated at a higher pressure. In this way the whole inflatable structure is allowed to ‘react’ to the changes of loads due to the inhabitation to a certain degree while maintaining the inflatable in a stable condition.

Outer Layer-Hypalon coated fabric.

For the outer layer of the inflatable which will be exposed to more environmental conditions Hypalon coated fabric will be used. Hypalon is the most durable out of other inflatable materials and is known to be resistant to abrasion, UV light and fire. It is the go to material by many inflatable boat manufacturers as an exterior coating (and for interior coating neoprene is usually used as it has excellent air holding capabilities).

Images by Nikolas Kourtis Images by Nikolas Kourtis

26


5

CCAFS Camping Hostel Florida

A water collection system installed in the main core will collect water from

Water collection system

rainfall and store it for use in the kitchen and showers. The PVC water tanks will be used as counterweights and through a pulley system will affect the stiffness of the floors below. As the tanks get full, and their weight increases the floors will be stretched and become stiffer. When the water is used and passes through the building and the tanks get lighter the floors will become less stiff. Through the inhabitation of the core building the experience within the hostel will change. The more people use the water in the building. In the night time, after occupants shower, cook and wash, the floors will become more slack encouraging people to lay down. Additionally throughout the year the experience in the hostel would change as during the rainy season (JuneOctober) the water tanks would be fuller making the floors stiff for longer periods of time.

Segment of Section AA by Nikolas Kourtis

27


5

CCAFS Camping Hostel Florida

As more people walk on the tree-walk, or stop to observe the wildlife of the environmentally protected site, the loads applied to the tree-walk and in turn to the tension cables, also have an immediate effect on the architectural space of the hostel. As the loads increase the inflatables wedged within the existing buildings are dragged outwards making and them and the interior space within the ever-changing as they respond to the inhabitation through real time haptic feedback. Additionally the relationship between inflatables and tree-walks allows for the treewalks to move lower allowing the people to experience the ecosystem from a ground level perspective without ever actually touching or stepping on the ground below.

Section AA by Nikolas Kourtis

Segment of Section AA by Nikolas Kourtis

28


5

CCAFS Camping Hostel Florida

Image by Nikolas Kourtis

29


6

Ar twork

Painting has been one of my great passions since I started my O’levels in Fine Art back in high school. During that time I was completely mesmerised by portraiture and the ability to capture someone’s emotion, character or the perception of their whole persona on canvas. I try to keep painting and produce work whenever I have the time as it is something that allows me to express my creative self in a way that for me is completely different from the architectural design work. This is a collection of my work mostly from my first solo portraiture exhibition titled ‘A Thousand Faces’ as well as some studies from more recent works.

‘Untitled’

30


6

Ar twork

‘Smoke’

31


6

‘Thekla’

Artwork

‘Lazaros’

‘Spyrou’

32


6

Artwork

‘Study I’

‘Study II’

33


Thank you for your consideration!


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