Portfolio_Plavou

Nam e o f Pro jec t

02-09 CV

78 PAG E S O R 20 C LI C K S TO ME E T ME

DE S I GN S TU D I O

10-51 DESIGN

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52-61 COMPETITIONS

62-73 EXHIBITIONS

P O R T O L I O VASSILIKIMARIA Vassilik i-Mar ia PLAVOU Plavou

D E SI GN ST UD I O

74-77 TEXTS

A B O U T ME

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SHORT BIO Vassiliki-Maria Plavou is an architect, born in Trikala, Greece. She holds an M.Arch. from Aristotle University of Thessaloniki and a Postgraduate Specialization Diploma (PSD) in Architectural Design, Department of Architecture, UTH. Her research interests focus on gendered geographies, as well as architectural operations in the digital era. Her texts have been featured at Kerb Journal and MAS CONTEXT. She has collaborated with Elias Zenghelis, X|Atelier (Erick Cรกrcamo, Nefeli Chatzimina) and Aristide Antonas. She has also been involved in graphic design and curatorial affairs. She is currently exploring bachelor machines in the artistic and architectural movements of the twentieth centur y.

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EDUCATION 2011 – 2013

University of Thessaly, Department of Architecture: Postgraduate Specialization Diploma (PSD) in Architectural Design (with honors: 9,83/10).

2005 – 2011

Aristotle University of Thessaloniki, School of Architecture: Diploma in Architectural Engineering (with honors: 8,81/10).

2005

6th School of Trikala: Graduation (with honors).

ACADEMIC EXPERIENCE 2012

Teaching Assistant at the Sweet X|Architecture: Advanced Design Workshop at the New Benaki Museum (Winter 2012) instructed by X|Atelier (Erick Carcamo, Nefeli Chatzimina).

Teaching Assistant at the University of Thessaly, Department of Architecture for Design Studio I, Postgraduate Studies Program (Fall 2012) instructed by Elias Zenghelis.

EXHIBITIONS 2013

Participated at MON3Y.US | *MON3Y as an ERROR, online event and exhibition with “MoneyMaker” work, curated by Vasily Zaitsev (June, www).

Participated at LUSTLANDS, vol. II On The Great Eastern (after Andreas Embiricos), with abstract from the “Homo Erectus” project, curated by Nadja Argyropoulou and Lakis & Aris Ionas / The Callas (Thermissia Argolidas).

Participated at Hell As Pavilion exhibition at Palais de Tokyo with the project “Urbanisme Electronique”, curated by Nadja Argyropoulou, Yorgos Tzirtzilakis (Februar y, Paris).

Project Team: Lois Papadopoulos, Yorgos Tzirtzilakis, Vassiliki-Maria Plavou, Yorgos Rimenidis.

Participated at Toposimo (the Landmark) of the Faliro Bay : Architectural Competition Drafts exhibition, Vassilik i-Mar ia Plavou

E X H I B I TI O NS

A B O U T ME

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with “Faliriko Metopo porposal” organized by Ministr y of Environment, Energy and Climate Change in collaboration with the Benaki Museum, at Benaki Museum (Februar y, Athens).

Project Team: Yota Adilenidou, Chr ysokona Mavrou, Alexandros Charidis, Vassiliki-Maria Plavou.

Participated at X|A Sweet Architecture Workshop exhibition, with “[Carpo]fora project” at Benaki Museum, curated by X|Atelier Architecture (December, Athens).

2012

X|A Omni[Progra]Chromatic Workshop exhibition, participated with “[Carpo]fora” project at Benaki Museum, curated by XAtelier Architecture (July,Athens).

Collecting Architecture Territories, participated with the team project “Ter(r)a.tor y-Territories of terra forma” at DESTE Foundation, curated by Nadja Argyropoulou, Craig Buckley, Yorgos Tzirtzilakis (June-October, Athens).

Project Team: Eftihis Efthimiou, Vaggelis Koutrogiannis, Vassiliki-Maria Plavou, Evy Tsolaki, Ioanna Xidi.

Incubator, installation and actions, participated with the “untraveller’s journal” project, curated by Evelyn Gavrilou, Iris Lykourioti, Costis Paniyiris, Lois Papadopoulos & Spyros Papadopoulos, part of “Architecture and the City in SE Europe” exhibition at Museum of Contemporar y Art (Januar y,Thessaloniki).

2010

Urban Performance, participated with “Love me tender” project, curated by Stavros Vergopoulos & Dimitris Gourdoukis, part of “Nothing goes to waste” exhibition at Center of Contemporar y Art (Thessaloniki, July).

Project Team: Maria Chiou, Dimitra Koroni, Vasilis Papakonstantinou, Vassiliki-Maria Plavou, Aliki Samara, Fotis Smouklis.

PUBLICATIONS 2013

KERB Journal 21 with the project “AbsoleM-plifier”, ed.

Dion Ger y&William Kennedy&Harriet Robertson&Bella Leber Smeaton, published by melbourne books, p.42-45.

Mas Context issue Vol. 18 | Improbable, with the article “Netopias: Premonitions of Past Futures” (co-authoring

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CV

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with Eva Papamargariti), ed. Iker Gild.

Collecting Architecture Territories with the collaborative project “Ter(r)a.tor y-Territories of terra forma”, ed. Craig Buckley & Mark Wasiuta, published

by GSAPP / Deste Foundation for Contemporar y Art. (upcoming edition)

Interdisciplinar y Approaches of the Architectural Theor y book with “Collection 17”, for the aforementioned course at Postgraduate Studies Program at Department of Architecture, University of Thessaly (Fall-Winter 2011, Volos), instructed and edited by Aristide Antonas, self published edition, p.218-277.

2012

2010

Architectural model lead to design, special issue 9, with the collaborative project “Love me Tender”, Damdi publications, Korea 2010, p. 832- 834.

Design net 7, vol.154, with the collaborative project “Love me Tender”, Korea 2010, p.96.

Performative Geometries, Transforming Textile Techniques, with the collaborative project “Stratified Envelope”, ed. Asterios Agkathidis&Gabi Schillig, published by Aristotle University Thessaloniki, Faculty of Architecture & Studio Transitional Spaces, p. 8693.

2009

Compe 09: National Student Architectural Competition for the Campus of Depar tment of Architecture project catalogue, with the collaborative project “Para-sito”, ed. Zisis Kotionis, published by University of Thessally, 2009.

Vassilik i-Mar ia Plavou

PUBLI C ATI ON S

Display: Didactics for a relational architecture, with the collaborative project “Hotel Concordia. Don’t Let Your Dreams Sink.”, ed. Marco Navarra, published by LetteraVentidue Edizioni.

A B O U T ME

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LECTURES 2013

“Architectural Models”, at the undergraduate studio “Introduction to Architecture I”, instructed by Phoebe Giannisi, Giorgos Mitroulias, Yorgos Tzirtzilakis and George Papakonstantinou, Department of Architecture, University of Thessaly.

2012

Presentation of the projects AbsoleM-plifier and [Carpo] fora, at the undergraduate studio “Inward-robe”, instructed by Iris Lykourioti and Evelyn Gavrilou, Department of Architecture, University of Thessaly.

COMPETITION AWARDS 2013

Special mention at the A House for Pink Floyd competition with the project Project Team: Ethel Baraona Pohl, Cesar Reyes Najera, Eva Papamargariti, Vassiliki-Maria Plavou.

2012

Honorable mention at the New Concordia Island competition with the project “Hotel Concordia. Don’t Let Your Dreams Sink.”

Project Team: Ethel Baraona Pohl, Cesar Reyes Najera, Eva papamargariti, Vassiliki-Maria Plavou.

2008

Honorable mention at the National Student Architectural Competition for the Campus of Depar tment of Architecture, University of Thessaly, in Pedion Areos,Volos.

Project Team: Vassiliki-Maria Plavou, Fotis Smouklis.

AWARDS 2012

Special mention at the X|A Omni[Progra]Chromatic Workshop, participated with [Carpo]fora project, curated

by X|Atelier Architecture at Benaki Museum (July,Athens).

2007

I.K.Y (State Scholarships Foundation) Scholarships for the academic year 2005-2006 (entr y year).

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PROFESSIONAL 2013

Assistant at curatorial affairs, architectural design and installation of Hell As Pavilion exhibition at Palais de Tokyo (Septemeber-Februar y, Athens/Paris) curated by Nadja Argyropoulou, Yorgos Tzirtzilakis.

Associate Creative Director at Harmonian Premium Food Products.

Architect in Architecture and Urbanism office, participating in Construction Documents, Analysis and Design for Large Scale Urban Plan for the city’s extension.

Graphic designer for the book (to be released) on the research project Nicosia Water Tanks by Aristide Antonas.

2012 (-2013)

Graphic designer for the book (to be released) on the course of Interdisciplinar y Approaches of the Architectural Theor y at Postgraduate Studies Program at Department of Architecture, University of Thessaly (Fall-Winter 2011, Volos) instructed by Aristide Antonas.

WORKSHOPS 2012

Omni[Progra]Chromatic Advanced Design Workshop at the New Benaki Museum (July, Athens) instructed by X|Atelier (Erick Carcamo, Nefeli Chatzimina).

Incubator, at Department of Architecture, University of Thessaly (Januar y, Volos) instructed by Evelyn Gavrilou, Iris Lykourioti, Costis Paniyiris, Lois Papadopoulos, Spyros Papadopoulos.

2011

Saturated Urban Spaces: Towards an Economies of Space in Architecture, a collaboration between Städelschule- Staatliche Hochschule fur Bildende Kunste and Postgraduate Studies Program, Department of Architecture,UTH at Department of Architecture,UTH (Februar y, Volos) instructed by Johan Bettum, Sophia Vyzoviti.

Vassilik i-Mar ia Plavou

WORKSH O P S

A B O U T ME

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Terraincognita|Eco-tales for Thessaloniki’s sealine, a collaboration between Columbia Graduate School of Architecture, Planning and Preser vation (GSAPP) and School of Architecture, Aristotle University of Thessaloniki, by Nothern Greece Entrepreneurs Cultural Society, Thessaloniki at Anatolia Collage (July, Thessaloniki) instructed by Lydia Kallipoliti, Yota Adilenidou, Emmanuel G.Tzekakis, Niki ManouAndreadis, Andreas Theodoridis.

2010

Urban performance: experimental design at School of Architecture, Aristotle University of Thessaloniki (June, Thessaloniki) instructed by Axi:Ome architects ( Heather Woofter, Sung Ho Kim), Stavros Vergopoulos, Dimitra Chatzisavva, Dimitris Kontaxakis, Vassilis Papadiamantopoulos, Spiros Papadimitriou, Anastasios Tellios, Dimitris Gourdoukis, Katerina Trifonidou.

Parametric reading of Albrect Durer’s : “The four Books of Measurement” at School of Architecture, Aristotle University of Thessaloniki (December, Thessaloniki) instructed by Bernard Cache, Vana Tentokali. papier masqué: design and fabrication worksop at Dynamo Project Space (May, Thessaloniki) instructed by Apostolos Kalfopoulos.

Traces of Movement at School of Architecture, Aristotle University of Thessaloniki (May, Thessaloniki) instructed

by Asterios Agkathidis, Aleka Alexopoulou, Anastasia Lada.

Textile Structures at School of Architecture, Aristotle University of Thessaloniki (May, Thessaloniki) instructed by Gabi Schillig, Asterios Agkathidis, Aleka Alexopoulou, Anastasia Lada.

CONFERENCES 2012

(As a jur y member) at PAWorkshop final review instructed

by Elias Zenghelis.

(Participating) Collecting Architecture-Territories Symposium: Athens Minutes with GSAPP (June, Athens, Greece), organized by Columbia Graduate School of

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Architecture, Planning and Preser vation (GSAPP) &Postgraduate Studies Program, Department of Architecture, University of Thessaly with the presentation of the team project “Ter(r)a.tor y-Territories of terra forma”.

2011

(Attending the conference) 11th Technical Chamber of Greece Conference (March, Athens, Greece).

EVENTS 2013

Participated at “The (New) Book of Questions“, a project by Evangelina Guerra Luján TheNomad.

Participated at Maria Papadimitriou’s SOUZY TROS, Potluck #1.

2012

Joined the Saprophytes collective artistic project team.

SKILLS Adobe Photoshop/InDesign/Illustrator/AfterEffects/ Premiere Autodesk AutoCAD Autodesk 3ds Max Design Autodesk Maya LANGUAGES English

Michigan Proficiency in English, Grade A German

Zertifikat, Gut

Vassilik i-Mar ia Plavou

DE SIG N STU DIO

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12-17 DE S I GN S TU DI O

LOCUS ERECTUS

PART I: ORAL CONSTELLATIONS PART II: BACHELOR MACHINE

RESEARCH/NARRATIVE DRIVEN DESIGN

18-21 [Carpo]fora NARRATIVE DRIVEN DESIGN

32-37 My stor y, my sin

D ES IGN ST UD I O

NARRATIVE DRIVEN DESIGN

38-41 PIN.mark DESIGN

50-51 Bandage DESIGN

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Nam e o f Pro jec t

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8 +1 D E SIG N PRO J E C T S 28-31

OCTANA: a domestic simulation of un-bounded desires

AbsoleM-plifier

DE S I GN S TU D I O

22-27

DESIGN/FABRICATION

NARRATIVE DRIVEN DESIGN

42-45 Love Me Tender...

DESIGN/FABRICATION

46-49 PIN.mark

Vassilik i-Mar ia Plavou

D E SI GN ST UD I O

DESIGN

R E SE A R C H / DE SIGN

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LOCUS ERECTUS PART I: ORAL CONSTELLATIONS PART II: BACHELOR MACHINE Project developed as diploma project during the Postgraduate Studies Program, Department of Architecture, University of Thessaly, Greece, 2012.

Super vised by Yorgos Tzirtzilakis

The diploma project “Locus Erectus”- tracing Vouliagmeni’s coastline, addresses the displacement of the erotic era, from body to geography and in reverse. Attiki’s coastal front is treated as places of desire in excess. By focusing on the unplanned area between Vouliagmeni and Varkiza, the designer attempts to record a geographical genealogy of ineffable stories about desire.

These stories constitute the evidence for claiming the present landscape by certain interested “profiles”: the queer community, the reckless drivers and past murderers. The diploma project will examine the notion of “portrait” and the connection between desire and geography as a designing tool.

The diploma project is coordinated in two parts. In Part I, oral constellations, a peculiar dictionar y is organized in the form of a photographical archive and bibliographical excerpts, aiming at the erection of a new landscape of interpretation.

Notions unfold the most important topics, such as the dislocation from body to geography, landscape and gender, death and desire, non- reproduction and the (out)doors, while simultaneously the datum- the surface of

immanence is weaved providing the present, up-to-date landscape of Vouliagmeni. The dictionar y is introduced as another map, an attempt for classifying the landscape through the emersion and redaction of minor details of landscape’s imaginar y self.

In Part II, bachelor machine, the design proposal continues the investigation of the connections between body and geography and suggests a mechanism for studying landscape’s anatomy through occupants’ forms of relating to the landscape. The traces of habitation models in the area, articulate an endless text and form a pattern for a partial, coordinated extraction of landscape, a new inhabitation scenario for the obser verinvestigator. The mechanism, as all bachelor machines, obeys the sequence of desire to death. The regulation of this relationship stimulates multiple apparatus modes, advocating a continuous negotiation of the composition of geography along with the definition of the human subject. In conclusion, the bachelor machine is added up to the long line of cogitations on the notion of new materialism, re-enveloping the lineage between nature and culture, body and mind.

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LOC U S E R E C TU S

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(new) MATERIALISM BODY

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Locus Erectus | oral constellations

Locus Erectus |oral constellations

Locus Erectus |oral constellations

We claimed that classification exemplifies the territorial and is fully dualistic, and throughout this chapter we have made clear how seemingly opposite epistemAs Michel Maffesoli notes: ic tendencies or classes are in fact non-exhaustive op- trendy exercises in sen[w]hether positions. New materialism criticizes not only sory the use isolation, or various forms of “a discipline” or “a paradigm” as pre-determined, of body-building, or jogging, or but is also critical, along the lines 01 of the dismantling Eastern techniques of one sort of binary oppositions that it enacts of the pre-determior another, the body is being nation of classifications of theoretical trends. Classifyconstructed as a value...even in ing epistemic tendencies that are supposedlyitsprevamost private aspects, the body lent in cultural theory implies working along territorial is being constructed only in order ...In actual fact, in the hereis and now of imlines, which a transcendentalizing gesture along to be seen; it is theatrelised to mediate feeling, theinvoking given constantly vanishes with sequential negation and a narrative of the highest degree. Within adverand is incessantly replaced given.does not allow for the progress (i.e., by it isanother dualist).This tising, fashion, dance, the body The body that(un)folding I hold firmly in my arms, from of cultural theory—the matter-energy flows is adorned only to be made into the moment in is given tothe menon-linear as a of which theoryitformation, coding practices, a spectacle. thing, ceases the to be particular cutting acrossobject matterand and signification—to be 02 becomes, rather a “not New this”,materialism and eludes de-territorializes all captured. the ways specific determinations.

Its essence is that of in which cultural theory has been classified being mine...

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...The 01 body as thing is annulled as body, it passes in a non-body, it travels in an empty and external universality, of which all that is relevant is the fact that it offers itself to sensation, here and now...

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Eros, desire, life forces run through everything, not only specific body parts or specific kind of engagements among body parts. Matter itself is not a substrate or a medium for the flow of desire. Materiality itself is always already a desiring dynamism, a reiterative reconfiguring, energized and energizing, enlivened and enlivening. I have been particularly interested in how matter comes to matter. How matter makes itself felt. This is a feminist project whether or not there are any women or people or any other macroscopic beings in sight. Along with other new materialist feminists —Vicki Kirby is notable in this regard—feeling, desiring and experiencing are not singular characteristics or capacities of human consciousness. Matter feels, converses, suffers, desires, yearns and remembers.

Locus Erectus | oral constellations

These spatial experiences lead Hüner to question two landscapes where the capitalist modernity descends to exotic physical environments, reminiscent of the evolution of artifacts.

Deciphering Hüner’s ceramic forms and drawings of the layers ...the attitudes of the of “form” sediments, a question appears in my mind: how can I bodies are merely livexperience other possible, lived or unlived “time” and “spaces”, ing diagrams illustratand what could be the representation of their form... artifacts. ing the abominable It is possible to imagine and read the metaphors of spatial descriptions... landscape within the self-organization of human life. Manuel 01 De Landa’s “geological approach” to human history offers a — maybe known, but not common — procedure to understand material culture. De Landa points out how “human culture and society are not different from the self-organized processes that inhabit the atmosphere and hydrosphere (win, circuits, hurricanes), or, for that matter, no different from lavas and magmas, which as self-assembled conveyor belts drive plate tectonics and over millennia have created all the geological features that have influenced human history”.

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In terms of a theory of architecture, Foucault invites us to more from an anamorphic model of interpreting the relationship between the body and ar02 chitecture, to a biopolitical model where architecture is understood as a political artifact to construct and produce the body rather than a mimetic system of representation.

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DEATH Queer spaces melded utopian and corporeal escape, a movement inward with a movement outward. The city was rewritten by men cruising and refusing to accept its structures.

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This self-destination is solvedwhen it does not lead to frustration or literal death- by placing the body at play, as the inter01 mediary between pleasure and consciousness, the converter of one into the other.

Locus Erectus |oral constellations

Locus Erectus |oral constellations

Ο άρχοντας δεν ασκεί το δικαίωμά του πάνω στη ζωή, παρά μόνο χρησιμοποιώντας ή διατηρώντας το δικαίωμά του να σκοτώνει - δεν σφραγίζει την εξουσία του Boyz is highly ambivalent in promoting a self-conscious πάνω στη ζωή παρά ethic μόνο among με το θάνατο πουwhile simultaneously consumerist gay men είναι giving σε θέση να απαιτήσιε. δικαίωμα advice on how toΤοtake control over one’s own bodπου διατυπώνεται σαν δικαίωμα “ζωής ies and make informed choices about life on the scene. και θανάτου” είναι στην πραγματικότητα Given the often highly introverted and narrow focus of the το δικαίωμα κάνεις να and πεθαίνουν ή να political establishment world ofναthe lesbian gay/queer αφήνειςand να ζουν. (and lesbian gay/queer studies) there is something

strangely democratic in the exuberance and openness 02 towards others, to people who are different, and to those who wish to define their sexuality differently from the ...associates “joy-making mournnorm. For example, in demonstrating a greater degree of ing” with the work of Embiricos and openness towards bisexuality, Boyz may be more reflective claims that the mixture of mourning of the changing sexual landscape than other “gay” periodand enthusiasm leads to a “divine The end of our life,icals, approaches with rapid strides which remain on the whole biphobic. Public places form” or “masked melancholia” which and we are carried off by death in you a fallcan of be wonwhere queer without risk. turns “the fear of death into an urge drous, irresistible power.” Envisaging death as 03 for life”. Man cannot speak or think, an experience of falling, as powerful- suction-like cannot even dream without paternal movement, shows the extend to which the translaws of language, that is, without cendent was conceived of as an experience of the restoration of loss and damage speed. through mourning”. In this way we have the “proper integration of the inThe coffin is the way into a more intensive life. traphysically fragmented mother” (i.e.

Only in the position of death does the driver Η ιατρική των διαστροφών και τα προγράμματα the past) and, above all, the radical awaken to new, more absolute life. του ευγονισμού υπήρξαν στην τεχνολογία του differentiation between “charmolypi” 04 σεξ, οι δυο μεγάλες καινοτομίες του 19ου and “lypomania”.

Death is inscribed in the sheet metal, and the in-

αιώνα... Ψάξτε τη γενεαλογία ενός επιδειξία ή

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fantile small cars which their hysterical saucer-eye ενός ομοφυλόφιλου: θα βρείτε σ’αυτήν έναν headlights turn the road into a pastel - colored ημιπληγικό πρόγονο, ή ένα φθισικό γονιό ή children’s room. Both scared by Curlet’s corbilένα θείο που είχε προσβληθεί από γεροντική lard de course: It is a metaphorical vehicle that άνοια). Το σύνολο διαστροφή-κληρονομικότηταdefends the high-speed life against the hysteriεκφυλισμός αποτέλεσε τον σταθερό πυρήνα των cal safety aesthetics of its time. A transporter of νέων τεχνολογιών του σεξ. corpses that does not have a room for a corpse 05 and so, avec un ton énervé ouragan volcanique (with a thunderous hurricane - volcano -like roar) from its four free-floating exhaust pipes, it accelerates into the plain like a big guffaw at all those who lose their life through fear of dying.

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Same-sex love always comes back to the body, exactly because that is what society has often outlawed. The purpose of queer space is again ultimately sex the Η ομοφυλοφιλία εμφανίστηκε σαν making of a space either for the ένα σχήμα της σεξουαλικότητας peculiar definition of the self as όταν μεταστράφηκε από την an engine of sexuality or for the πρακτική της σοδομίας σε ένα act of sex itself. If architecture είδος εσωτερικής αμφιγένειας, σε sublimates, queer space expressέναν ερμαφροδιτισμό της ψυχής. Ο es. If the interiors within most σοδομίτης ήταν ένας καθ’υποτροπήν architectural structures accommoΜέσα σε αυτή την παράσταση, αιρετικός, ο ομοφυλόφιλος είναι date, queer space seduces. η φρίκη και η ντροπή τώρα ένα είδος. συνδέονταν συνάμα με τη At that point, it seeks to incorpo01 rate, in the literal sense of that γέννηση και το θάνατό μας. world, the orders imposed on it 01 into the body, so that they can dissolve in a sensation of pain closely allied too that of orgasm.

The final defense of queer space 02 and of the body was perversity.

It is monstrosity, not death that is the 03 counter-value to life. Death is the permanent and unconditional threat of the organism’s decomposition; it is the limitation from outside, the negation of the living by the non-living.

But monstrosity is the accidental and conditional threat of incompletion or distortion in the formation of form; it is the limitation from inside, the negation of the living by the non-living.

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From a hangmn, death has been turned into a prison guard. The horror of mortality has been sliced into 04 thin rashes for fearful, yet curable Αυτός ο θάνατος που (or potentially curable) afflictions; θεμελιωνόταν στο δικαίωμα του they can be now fit neatly into every άρχοντα να αμύνεται ή να απιτείπαραμένουν να ...Τα “υπόλοιπα” πάρα πολύ θολά: and cranny life. Death does τον υπερασπίζουν, θα εμφανιστεί δεν έχουμε παρά αν σκεφτούμεnook την ασάφεια στο not come now at the end of life: it απλώς σαν χαρακτηρισμό η αντίστροφη όψη του της σοδομίας ή την αδιαφορία μπρος is there from the start, into a posiδικαιώματος που έχει στην το κοινωνικό σεξουαλικότητα των παιδιών. of constant surveillance, never σύνολο να κατοχυρώνει ζωή του, ...Τόσο στηντηαστική όσο και στηtion θρησκευτική τάξη, If to be queer is to be other, uncerrelaxing its vigil. Death is watching να τη διατηρείεκείνο ή να την πουαναπτύσσει. μετρούσε ήταν η συνολική παρανομία. tain, in between, self-constructed, free when we work, when we eat, when Αναμφίβολα το “παρά 04 φύσιν” ήταν σημαδεμένο με within the confines of power, aware we love, when we rest. Through its έναν ιδιαίτερο αποτροπιασμό. Αλλά δεν το έβλεπαν of your body and afraid of its limits, many deputies, death presides over παρά σα μια ακραία μορφή του “παρά νόμον”. conscious of your own construction life. Fighting death is meaningless.

07 and amused by its pretensions, can But fighting the causes of dying turns there be a queer space still? into the meaning of life.

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Locus Erectus | oral constellations

QUEER

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Locus Erectus | oral constellations

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PG. 14

S I TE

R E SE A R C H / DE SIGN

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LOC U S E R E C TU S

PG. 15

MAPPI NG OC C UPI E RS AND TE X TU RE S

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5- 20 m section 03 section 04 section 03 section 04 15 12.5 10 7.5 5 2.5 0

section 05

section 01 plan view 0,5 sq.m.

section 02

Locus Erectus | bachelor machine

64.5 % surface

surfaces/ faults 15 12.5 10 7.5 5 2.5 0

Locus Erectus |bachelor machine

15 12.5 10 7.5 5 2.5 0

section 03

15 12.5 10 7.5 5 2.5 0

faults/ caves

section 04

Comparison 64.5 % surface 23.5 % faults 11.9 % caves

15 12.5 10 7.5 5 2.5 0

skin

Mapping : Terrain and Texture [5- 20 m]

section 05

Mapping : Terrain and Texture [5- 20 m]

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D E SI GN ST UD I O

23.5 % faults 11,9 % caves

B A CH E L OR MA CH I N E

ODOS A ND T RAP

R E SE A R C H / DE SIGN PG. 16

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PG. 17 LOC U S E R E C TU S

BAC HE LOR MAC HI NE : THE NE E DLE

GE O TROR IC S P EC U LU M

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DE SIG N STU DIO

PG. 18

[Carpo]fora Project developed during the Omni[Progra]Chromatic Advanced Design Workshop at the New Benaki Museum, Athens, Greece, 2012.

Project exhibited at X|A Sweet Architecture Workshop exhibition and at X|A Omni[Progra]Chromatic Workshop exhibition at the New Benaki Museum, Athens, Greece, (December- July) 2012.

Tutors: Erick Cárcamo, Nefeli Chatzimina (X|Atelier)

Carpofora is the descendant of a mythical intercourse between man and nature. Cherishing characteristics of both families, she holds and grows a garden at her back. The garden blossoms, when she falls in love. The garden grows and becomes a shelter. Her blood feeds the fruit (carpos), and her lovers are fed by her fruit. From carpos to corpse, Carpofora and her lovers an ephemeral living, a shade and a taste.

Design addresses the scenario

by inventing mutations of muscles to botanical elements.

Thus, two series of exoskeleton components are shaped in order to support within leaves or fruit.

The outcomes are re-assembled in bigger variations, forming new genealogies. Components aggregate and adjust at the body forming Carpofora’s garden.

Componets’ endings are plugged in Carpofora’s body and function as organs. Garden and girl grow and decay as one.

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PG. 19 [ C ar po ] f o r a

SC E NARI O & RE SE A RC H

GEN E A L O GY OF C OM P O N E N TS

Vassilik i-Mar ia Plavou

PG. 20

ANATOMY OF THE GARDE N

DE SIG N STU DIO

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PG. 21 [ C ar po ] f o r a

[C a r p o]f or a

[C a r p o] f ora : s ap r o p hy t ic g r ow t h

Vassilik i-Mar ia Plavou

DE SIG N STU DIO

PG. 22

OCTANA: a domestic simulation of un-bounded desires Project developed during the course “Design Studio I“ at Postgraduate Studies Program, Department of Architecture, University of Thessaly, Greece, 2012.

Team Members: Vassiliki-Maria Plavou, Aliki Samara, Michalis Softas Tutors: Elias Zenghelis Teaching Assistants: Savina Derdelakou, Nikolaos Platsas

D ES IGN ST UD I O

Octana is a diagrammatic approach in series of representations addressing boundaries as an architectural model in-flux. A dynamic version of massive dwelling emerges as a sequency of typological transformations. Formed as an upscaled urban pilotis, it attempts to “absorb” the city’s expansion and to articulate Octana with the city. Thus boundaries are re-established within a dynamic system of determinations on the essence of inhabitation, in terms of collectivity.

Life in Octana itself performs a series of “bounded” social acts resisting, defying the initial intention of “constructing” an inhabited boundar y. The primar y pod for the citizen of Octana constitutes the fundamental abolition of the notion of private residency. Moreover, the pod is a communal loan, produced, borrowed and relaunched by and for the community, as is the lifetime of Octana’s citizen. It is an “inadequate” machine for living -not autonomous- functioning within the swarm of pods, thus underlining the necessity of the singularity to live as a multitude.

Pods are plugging into commons,

the inner-core of this negotiating zone, the vital core of social life. Commons are “remixed” piazza(s) by means of places that the raison d’ etre of desires meet.

They are also established on the cyberspace of the network used by the citizens and, in reverse, cyberspace is “demolished” for the shake of the physical presence in the common. The pod does not simulate a housing prototype. On the contrar y, oikos, for this evermoving citizen, is re-found within the juxtaposition of the pods’ motion trajectories.

Representations are describing sporadically the self-organisation of the common, followed by a mutating architectural form.

Furthermore, individuality is redefined in the pursuit of familiarization, traced in snapshots. A new hybrid identity of the dweller is being dismembered and recollected opposing the fear and anonymity. Thus, through a narrative of snapshots, the dynamic environment of Octana is being photographed in versions, following a fragmented evolution in time. The possible frames capture the case study during the shift of engagement - disengagement to collectivity.

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OC TA NA

PG. 23

HE LI C OPTE R V I E W

Vassilik i-Mar ia Plavou

PG. 24

DOME STI C DI STR I B UT I O N DI AGRAMS

DE SIG N STU DIO

D ES IGN ST UD I O

oďŹƒce lab spa laundry reading gym theater playground boudoir healthcare exhibition church garbage disposal market cooking-food lounge-space C

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38,5m 55m 215m 122m 163m 244m 271m 87m 226m 100m 90m 290m 166m 62m 72m 48m

80sq.m.

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20sq.m.

PG. 25 OC TA NA

DE S I GN S TU D I O

SE CTI O N O F T H E C O M M O N

Vassilik i-Mar ia Plavou

D ES IGN ST UD I O

S E C TI ON : GROUNDLE VE L

DE SIG N STU DIO PG. 26

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OC TA NA

PG. 27

TH E POD

00019

0008

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Pod

00005

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C: 789 D: 703h.

C: 532 D: 1665h.

C: 321 D: 756h.

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C: 277 D: 62h.

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C: 346 D: 638h.

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C: 354 D: 1633h.

C: 008 D: 1029h.

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C: 271 D: 633h.

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Vassilik i-Mar ia Plavou

C: 136

N AV IG ATI ON I NT E R FAC E

C: 234 D: 2046h.

DE SIG N STU DIO

PG. 28

AbsoleM-plifier Project featured at Kerb Journal 21.

Project developed during the course “Sensor y Amplifiers“ at Postgraduate Studies Program, Department of Architecture, University of Thessaloniki, Greece, 2013.

Tutors: Alex Vaitsos, Carlos Loperena

The device consists of water pumps, tubes, filtration vessel, pods, waste cup, ceramic stoppers, tweezers, lighter, tobacco capsules, protection container and equipment outlet, all sewn on a garment. After dipping the tube under water, pumped water is channeled through the filtration vessel and the main “nargileh” pod. Pumped water can also be channeled to the waste cup or the equipment outlet. The tobacco capsule is placed on the ceramic stopper, charcoal is lit, then the protection container is placed above the ceramic stopper. The device is ready to use.

Use instructions : Wear it.

Pump water out of the site’s water basins.

Storage the amount of water, you wish.

Choose your favourite tobacco taste.

Place the tobacco capsule on the bowl.

Light up the charcoal.

Smoke.

Wander around smoking.

Evacuate the device before you secede.

Storage your wearable “nargileh” until your next visit.

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PG. 29 A bs o l eM-pl if ier

E X PE RI ME NT ON S MOKI N G D E V I C E S 01

E XP ER IME N T ON S M O K IN G D E V I C ES 0 3

Vassilik i-Mar ia Plavou

FIN A L ME CH A N I SM ON GAR MEN T

FI NA L ME C H ANI SM

DE SIG N STU DIO PG. 30

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A bs o l eM-pl if ier

PG. 31

FIN A L AS S E M B LY

Vassilik i-Mar ia Plavou

DE SIG N STU DIO

PG. 32

My stor y, my sin Project developed as the diploma design project during the Undergraduate Studies Program, School of Architecture, University of Thessaloniki, Greece, 2011.

Team Members: Vassiliki-Maria Plavou, Fotis Smouklis Super visors: Apostolos Kalfopoulos, Spiros Papadimitriou

My stor y, my sin is a project refering on Dante’s Divine Comedy, specifically the Purgatorio. Dante’s crossing the Mountain of Purgator y unravels the threads that hold the hierarchy of the seven deadly sins.

Overlappings, sections, continuity between archetypical stories of sins, provide series of data and relations between sins.

Classified data regarding each sin on its own, are set on grids.

Patterns are shaped and continue their developement as CA for certain generations. Then, the grids are juxtaposed following the narrative’s hierachy. The grids that each sin presents its highest “tension” is qualified to ochristrate a mechanism. Three transformative mechanisms are organised, in order to submit objects in their greatest sin. Bodies, buildings, sites, objects, cities are shallowed

as geometries by the mechanisms and their deformed idol is exported.

In the case of lust, Venice is visited. The mechanism occupies and shallows a certain area, deforms it, and places its idol in Murano. There, the multisurfaced, porous idol is implanted in the ground forming emergency basins to absorb the water floods. The area is also organised as a leisure park, which re-enacts former typologies of gardens. The park hides an irony, it stands afar Venice, yet stands as Venice’s reflection that functions as caricature, a reminder that Venice should avoid resembling. And if Venice is misleaded by lustful intentions of seducing visitors with its touristic overexposure, if Venice drowns in its sins, it will be the sinful park that will act as a savior.

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MY STORY, MY SI N

PG. 33

DE S I GN S TU D I O

Vassilik i-Mar ia Plavou

PG. 34

POS I TI ONI NG

DE SIG N STU DIO

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MY STORY, MY SI N

PG. 35

P LA N V IE W

Vassilik i-Mar ia Plavou

D ES IGN ST UD I O

NARRATI V E Z O NE I I I

DE SIG N STU DIO PG. 36

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MY STORY, MY SI N

PG. 37

DE S I GN S TU D I O I N TE R IOR V I E W

Vassilik i-Mar ia Plavou

DE SIG N STU DIO

PG. 38

PIN.mark Project developed during the course “Architecture in Excess: Places of information, pleasure and desire” at Undergraduate Studies Program, School of Architecture, University of Thessaloniki, Greece, 2010.

Tutors: Akis Didaskalou, Giorgos Papakostas, Sofia Tsitiridou

D ES IGN ST UD I O

PIN.mark is a design centre at the ver y edge of Thessaloniki, sited on the line between sea and land.

The platform performs as a public space for leisure time, that seeks new ways for indulging pleasure and desire on the coastline living.

The ground level hosts the main aquatic center, a small port for marine sports, an agora and an exhibition room. The level is functions as a sampling atifact for different conditions of interacting with water. The basins differentiate from deep swimming pools to shallow fountains. The exhibition room is capable of opening its facades bringing the complex’s core into direct contact with the

existing coastal zone.

The upper level is based on a matrix of “needles” reminding the artificial poles used in coastal infrastructures. Spaces as gyms, libraby and offices are suspended along these needles, outlining the complex’s front in higher levels.

The last level perfoms as a unitar y roof covering, open air and closed places. The roof hosts the design museum and is organized as a perforated surfaces that allows natural light to penetrate the inner piaza of the ground level.

Anchored at the edge of the city, PIN.mark longs as an open structure, always ready to embody new tensions for the coastal living.

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PIN. m ark

PG. 39

P LA N V IE W

Vassilik i-Mar ia Plavou

FIR S T FL O OR S EC T ION

SE C TI ON

DE SIG N STU DIO PG. 40

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PIN. m ark

PG. 41

I NTE RI OR V I E W SE A SI D E V I E W

Vassilik i-Mar ia Plavou

DE SIG N STU DIO

PG. 42

Love me tender…

Project developed during the Urban performance: experimental design at School of Architecture, Aristotle University of Thessaloniki, Greece, 2010.

Project exhibited at Urban Performance exhibition, part of “Nothing goes to waste” exhibition, at Center of Contemporar y Art, Thessaloniki, Greece, 2010.

Project published at Architectural model lead to design, special issue 9, Damdi publications and at Design net 7 journal, vol.154, Korea, 2010.

Team Members: Maria Chiou, Dimitra Koroni, Vassilis Papakonstantinou, Vassiliki-Maria Plavou,Aliki Samara, Fotis Smouklis Tutors: Heather Woofter, Sung Ho Kim (Axi:Ome architects) and Stavros Vergopoulos, Dimitra Chatzisavva, Dimitris Kontaxakis, Vassilis Papadiamantopoulos, Spiros Papadimitriou, Anastasios Tellios, Dimitris Gourdoukis, Katerina Trifonidou

D ES IGN ST UD I O

Love me tender is an ephemeral structure for St.Sofia’s square, Thessaloniki, Greece. The square is a popular meeting point for couples. On the other hand, site is occupied by pigeon swarms, famous for their bad intentions at spoiling visitors’ first dates.

The structure grows as a parasite at the entrance, garden and St. Sofia’s yard - taking advantage of the local flora and the hedge’s vertical elations. The shelter attempts to protect visitors from pigeons’ attacks, couples from pr ying eyes, while rudimentar y salons are shaped for the pigeons to be hosted.

Love me tender is an ephemeral structure for the summer y months.

Having the confidence that nothing

goes to waste, cake paper cups seemed suitable for forming this shelter. The paper cups are attached together- initially forming a cur vilinear hedra and then a component of five. The outcome is a component resembling roses.

The growth of the structure is linked to an event and relies on the visitors participation. The structure grows, as long as, single visitors fill in the “roses” with messages.

When the structure is completed, the end will be celebrated with the disassembly of the structure. The components will be blown away and single visitors can surge into a hunt for their precious rose, with the promise of the other half.

So…love me tender, love me dear...

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LO VE ME TE NDER

PG. 43

C OMPON E N T S ITE

Vassilik i-Mar ia Plavou

D ES IGN ST UD I O

AS SE MB LY S NAP SH O T S

DE SIG N STU DIO PG. 44

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LO VE ME TE NDER

PG. 45

I N TE R IOR V I E W

Vassilik i-Mar ia Plavou

DE SIG N STU DIO

PG. 46

Knit.ation Project developed during the course “XXL -Architectural Design and Digital Technologies� at Undergraduate Studies Program, School of Architecture, University of Thessaloniki, Greece, 2010.

Team Members: Vassiliki-Maria Plavou, Fotis Smouklis Tutors: Dimitra Hatzisavva, Dimitris Kontaxakis, Vassilis Papadiamantopoulos, Spiros Papadimitriou, Anastasios Tellios, Stavros Vergopoulos

D ES IGN ST UD I O

The design approach explores the possibilities of digital tools and their ability to classify and re-assemble multiple data. Initial point for this study was an analog model, that adressed the scenarios for elevations through gestures of continuity and discontinuity.

The model consists of strips that continue to be bisected, resembling a fractal procedure that stops when the material can no longer be bisected.

Stips follow one after the other, adding up in a continuous line.

Thus, the direction of the cur vature is continuously reversed according to a certain frequency of bisecting.

When the direction of the cur vature

remains the same for the units of two generations, the model is broke down and embodies discontinuities. These sets of rules produce four models that would be later developed. The chosen model was singled out due to qualities that allow effortless elevations, matching the needs of a metro station program.

The model was deformed to adapt to the given site and geometr y was simplified in order to function as platforms and elevation passages.

Parallel platfroms where merged into a single form-that of an enclosed piazza, in order to host commercial shops and waiting rooms.

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PG. 47 K n it. atio n

ANALY S I S OF I NI TI AL PH Y SI C A L MOD E L

CU RVAT U RE D E VE LO P M E N T

Vassilik i-Mar ia Plavou

PG. 48

E LE VATI ON SC E NARI O S

DE SIG N STU DIO

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PG. 49 K n it. atio n

SE C TI ON

UN D E RGR OU N D : D E PA RTU R E L E V E L

Vassilik i-Mar ia Plavou

DE SIG N STU DIO

PG. 50

Bandage Project developed during the course “Small scale hotel and spa complex“ during the Undergraduate Studies Program, School of Architecture, University of Thessaloniki, Greece, 2009.

Team Members: Anastasis Christou, Vassiliki-Maria Plavou, Fotis Smouklis Tutors: Konstantinos Antoniou, Konstantinos Katsanos

D ES IGN ST UD I O

Bandage is a small scale hotel and spa complex, that acts as a healing operation on the given siteaugering to “seam” the stream.

The structure is expanded along the coastline - form and program supplement the creation of a clear front.

Concrete bandages are spread along the site. The concrete stripes are pulled up, so that they can facilitate the desirable programs underneath. As a result, the site’s flatness is disturbed and replaced by an artificial, linear landscape.

A new crooked skyline now rivals, Thessaloniki’s Transitions in the field follow the same linear distribution, thus enhancing the

idea of a “bounded” stream.

The complex is fully getting advantge of the view, ever y unit is oriented towards the sea view.

The complex consists of a spa center with an inner pool and rooms for physiotherapy (1), a cafe (2), a dining hall (3), a conference room for multiple uses (4), the main lobby (5), two units for accomodation facilities that differeentiate in terms of size and comfort (6), (7). The smaller unit is more isolated from the whole complex, so that it can condition space as more private. It also provides larger rooms with gardens and promotes an easier access to seaside daily living.

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PG. 51 B A NDA G E

LO B B Y PLA N/ SE C TI ON

S PA CE N T ER P L A N / S ECT I ON

Vassilik i-Mar ia Plavou

DE SIG N STU DIO

PG. 52

DE S I GN S TU DI O

CO 54-57 Proposal for the Toposimo (the Landmark) of the Faliro Bay : Architectural Competition

D ES IGN ST UD I O

DESIGN

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Nam e o f Pro jec t

PG. 53

1 +1 O M PE T I T I O N PRO J E C T S DE S I GN S TU D I O

58-61 HOTEL CONCORDIA DESIGN ESSAY D E SI GN ST UD I O

Vassilik i-Mar ia Plavou

C OMPE TITIONS

PG. 54

Proposal for the Toposimo (the Landmark) of the Faliro Bay : Architectural Competition Project developed for Toposimo (the Landmark) of the Faliro Bay : Architectural Competition, 2012.

Project exhibited at Participated at Toposimo (the Landmark) of the Faliro Bay : Architectural Competition Drafts exhibition, with collaborative project organized by Ministr y of Environment, Energy and Climate Change in collaboration with the Benaki Museum, at New Benaki Museum, Athens, Greece, 2013.

Project Team: Yota Adilenidou, Alexandros Charidis, Chr ysokona Mavrou,

D ES IGN ST UD I O

Vassiliki-Maria Plavou

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FA LIRO B AY LA NDMARK

PG. 55

PLAN V I E W SI D E VI E W

Vassilik i-Mar ia Plavou

PG. 56

V IE W 0 1

C O MPE TITIO N

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FA LIRO B AY LA NDMARK

PG. 57

V IE W 02

Vassilik i-Mar ia Plavou

C OMPE TITIONS

PG. 58

Hotel Concordia Project received an honorable mention at New Concordia Island competition hosted by ICSplat.

Team Members: Ethel Baraona Pohl, Cesar Reyes Najera, Eva Papamargariti, Vassiliki-Maria Plavou

force in the island of Giglio.

Considering that the population absence.” of Giglio Island is 1,458 (30 —Andreas Huyssen April 2009) and that the Costa Concordia Cruise has a capacity to host 3,780 passengers plus a “The ship is the heterotopia par crew of 1,100 persons, the project excellence. In civilizations without can be helpful to create a new boats, dreams dr y up, source of work for it’s inhabitants, espionage takes the place of that has suffered an ecological adventure, and the police take and enviromental disaster and the place of pirates.” —Michel transform the capsized vessel into Foucault a powerful economical engine.

While reusing the cruise, we The “Hotel Concordia” is aim to focus the project with a proposal with the aim of an “ecological” approach as it stimulating new future vision will be done with the existing for the Giglio Island and the infrastructure: rooms, kitchen, shipwreck. With a Tripsmarter1 dinner room, etc. This approach campaing our task is to collect transforms The “Hotel Concordia” 329,999,999 US dollars to refloat into a significant project about the cruise and keep it there to social architecture and how a create a new economical force community works together over a in the island: a Hotel. The “Hotel period of time to construct a space Concordia” thus, will become a to reinvigorate the local economy. significant project to reinvigorate The firing of this unique hotel will the local economy, while becoming solidify it as a testimony to human a part of the same landscape creativity sealed by high fire which and with the same identity of the will last for generations to come.” island.

With this ironical statement, we “The focal point of The “Hotel want to reinforce the deep crisis Concordia” is to refloat the boat we’re living in terms of economy, and keep it there, in the same but also in terms of ethics and place that the shipwreck happened values under the capitalist market to create a project that will use and the political decicions tourism as the main econimical that surrounds our daily life.

“Inevitably, ever y act of memor y carries with it a dimension of betrayal, forgetting, and

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H O TE L C ONC O RDIA

PG. 59

Andreas Huyssen2 talks about “the nostalgia markets” and this concept links with the idea of tourist taking their souvenir from the Costa Concordia, as a vivid example of what Susan Stewart3 calls “cultural disease”. Our main goal is to remark how architecture could be a site of radical political activism and the importance thet the sociopolitical and economic context has in our architectural responses. To evidence this “cultural disease”, we’re being ironic about how even the new economical and collective effort to raise money, such as Crowdfunding campaings can be absorbed by our per verse behaviours.

On the web-site of Micoperi [the company that had been awarded the contract by Costa Crociere to refloat and tow away the Costa Concordia], we can read: “The plan also includes measures to safeguard the island of Giglio’s tourism and wider economy.

Salvage workers’ presence will not have any significant impact on the availability of hotel accommodation on the islandduring the summer season.

The main operating base will be located on the mainland at nearby Civitavecchia, where equipment and materials will be stored,

thereby avoiding any impact on Giglio’s port activities.”

The architectural proposal of refloating the cruise is based on the salvage works that have been done. Instead of removing the wreck, we propose to refloat it using cranes and cables, which is difficult but part of the already approved process.

The salvage works points that “As was the case with the removal of the fuel, we have sought to identify the best solution to safeguard the island and its marine environment and to protect its tourism.”4 [sic] From the removal of fuel works and some other subsea works, we have designed a series of objects that will be given as the rewards for the different pledges of the crowfounding campaing.

[1] Tripsmarter: ironic from Kickstarter,the crowd funding website for creative projects.

[2] Huyssen, Andreas. Nostalgia for Ruins.

Grey Room Spring 2006 [03]Stewart, Susan. On Longing: Narratives of the Miniature, the Gigantic, the Souvenir, the Collection. Duke University Press, 1993.

[4] http://www.micoperi.com/ the-removalof-costa/ accessed September 2012

Vassilik i-Mar ia Plavou

PG. 60

B OA RD 0 2

C OMPE TITIONS

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H O TE L C ONC O RDIA

PG. 61

B OA RD 0 1

Vassilik i-Mar ia Plavou

DE S I GN S TU DI O

DE SIG N STU DIO

PG. 62

64-67 Ter(r)a.tor y (Territories of terra forma) RESEARCH BASED INSTALLATION

72-73 LUSTLANDS vol.II

D ES IGN ST UD I O

ARCHIVAL INSTALLATION

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Nam e o f Pro jec t

PG. 63

2 +1 EXH I BI T I O N PRO J E C T S DE S I GN S TU D I O

68-71 HELL AS PAVILION (at Palais de Tokyo) CURATORIAL AFFAIRS

D E SI GN ST UD I O

Vassilik i-Mar ia Plavou

E XH IB ITIO NS

PG. 64

Ter(r)a.tor y (Territories of terra forma) Project developed during the course “Collecting the Social. From Collecting to Collectivity“ at Postgraduate Studies Program, Department of Architecture, University of Thessaly, Greece, 2012.

Project exhibited at “Collecting Architecture Territories” at DESTE Foundation for Contemporar y Art, Athens, Greece, 2012.

Team Members: Eftihis Efthimiou, Vaggelis Koutroyannis, Vassiliki-Maria Plavou, Evy Tsolaki, Annoula Xidi Tutors: Lois Papadopoulos, Yorgos Tzirtzilakis Teaching Assistant: Yorgos Rimenidis

The collection focuses on tracing disparate versions of the monstrous in urban space.

the fulfillment of private needs or as distortions created through repugnant neighboring.

D ES IGN ST UD I O

Teratoplasis : the abnormal “growth” The undergoing collection is and development of a fetus. coordinated in 4 interrelated praxis. [teras + plasis] Each new element is filtered through these steps, then classified in groups Definitions of the terms: of similar objects, thus contributing Teras (Monster): imaginary creature in the collections’ ever-expanding of supernatural size and repulsive nature. guise / anything of extraordinarily Praxis 1: collection of elements that gruesome appearance / anything set signify the monstrous apart due to some excessive attribute Praxis 2: classification and grouping / anything negative that has Praxis 3: placement of the objects in obtained tremendous dimensions, the structure rendering it difficult to handle / Praxis 4: “explosion” of the body anything perceived as perverted due of the collection (perip-tero), to some deviation from the ordinary. recomposition and suspension of the Platho - Plasi (Creation) : to elements. create something by giving it The periptero, the primary greek form / to mold ductile matter / to architectural manifestation of create something with the use of “collecting”, is chosen as the optimal imagination / to contrive something. vehicle of this dynamic collection.

In the installation, this said Teratoplasies are traced by their vehicle fesses up to its expatiatory morphological deviation, manifested tendencies and reveals its interior. as variation of the “original” for

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TE R (R )A . TO RY

PG. 65

S Y NOPS I S

Compact City

Road City

Αυθαίρετη Πόλη Εντοπισμός αυθαιρεσιών σε ταράτσες, κτίρια, προσθήκες ως συνωμοτικές παρατυπίες

Πόλη Δρόμος Εντοπισμός ασύμβατων γειτνιάσεων, ανάπτυξης παράλληλα με το δρόμο, καθημερινότητας στο δρόμο ως υβριδιακή δόμηση

Scene City

Συμπυκνωμένη Πόλη Εντοπισμός συμπυκνωμένης εμπειρίας, malls, κέντρα διασκέδασης

Πόλη Σκηνικό

Phantom City Εντοπισμός θεματικών συνοικιών, “μιμητικών” προαστίων

Πόλη Φάντασμα Εντοπισμός ερειπίων και εγκαταλειμμένων συνόλων

Υ- Πόλη- ματα Εντοπισμός ’α-κοινωνικών” δημόσιων χώρων και υποβαθμισμένων χώρων φυσικού πλούτου

City- bage

Vassilik i-Mar ia Plavou

Arbitary City

EX CE RP T F RO M TH E R E S E AR CH AR CH I ZI N E

- 8-

I N STA LL ATI O N /V ID E O P RO JE C TIO N

I NSTALLATI ON “ P E RI .P T E RO ”

E XH IB ITIO NS PG. 66

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PG. 67 TE R (R )A . TO RY

I NSTALLATI ON’S C LOS E -UP, DE PI C TI NG THE C OMPON E N TS THAT C ARRY THE ARC HI V E ’S I NFORMATI ON

Vassilik i-Mar ia Plavou

E XH IB ITIO NS

PG. 68

Hell As Pavilion hell as pavilion / hell as text / hell as art practice / hell as exhibition / hell

D ES IGN ST UD I O

DE S I GN S TU DI O

as method / hell as modus operandi / hell as modus vivendi / hell as exodus Exhibition hosted at Palais De Tokyo, centre d’art contemporain, Paris, France, 2013.

Curator: Nadja Argyropoulou Architectural Design: Yorgos Tzirtzilakis Project Team: Malvina Panagiotidi, Vassiliki-Maria Plavou, Yorgos Rimenidis

HELL AS PAVILION is an exhibition, hosted by The Palais de Tokyo contemporar y art centre in Paris, curated by Nadja Argyropoulou, and realized, with the collaboration of architect Yorgos Tzirtzilakis, between Februar y 25 and April 4, 2013. The exhibition borrows its title from the word HELL AS as it appears in Jean-Luc Godard’s recent Film Socialisme.

Based on the pun created by the space in the word, the exhibition alludes to the recent ‘demonisation’ of Greece as a result of the European crisis and aims to ser ve as a subversive allegor y on the absurdity of (co-) existence, which is also what art is having to deal with today, with a sense of urgency. The Greek Pavilion could thus be understood as a fantasma, a premonition or a twinge of remorse, a disturbing idiorr ythmy, the monster (teras) par excellence in the current temps des crises. The European bête noire hangs on a wall in an undetermined borderline condition considered here as plavou.cc

a possible tactic; a laborator y of the para- logon (that which lies next to and beyond logos/ reason); a precarious position from which current takes on humanism, punishment, radicalization, the collective and the connective can be reexamined.

The exhibition is conceived as a strange fresco gone wild, an inhabited migrant wall of “horrible mixtures,” which brings together Greek artists from various generations, and, starting from the Byzantine tradition, explores a neglected field of rhizomatic relationships and unexpected affinities, and urges us to “read histor y in unforeseen ways,” to imagine into existence new mobile and minor networks. Various forms of art (painting, drawing, film, potter y, etc.) will create a hypertext, through which one could reflect on the matters raised in the show.

The participating artists represent different approaches and modes of expression: historic exponents

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hence the role of the “scapegoat”.

The context of all this is a “metaphysical humanism” and a “non-anthropocentric anthropology” as they emerge from the current debate around art, philosophy and their political significance. Forms and hybrids are examined as attempts at understanding and controlling time; to these we could add the radically inner, i.e. our relation with our Self.

HELL AS PAVILION can be perceived as a toolbox for the understanding of various Greek paraloga in the rather common and unsettled struggle to “be in” the present; as a chance to consider the viability of deviations, abnormalities and inconsistencies, in the xaos (chaos) of a situation where nations, states and all kinds of entities suspect and monster one another for economic misconduct and “lack of progress.”

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of the avant-garde in Greek art and architecture coexist with contemporar y creators and folk artists as well as with collective schemes of people who work on group projects in Greece and abroad, while the twin bond between language and image is explored through works presented to the public for the first time.

The research of the show starts from the absurd, the unsettling and that which we fail —or refuse— to understand and face (the monster), and goes on into broader questions of identity, forms of alterity, anthropological and folkloric processing of symbols and enigmas before the Other; before fear, loss, death and the civilised man’s unsettled relationship with Nature.

In short, it is about the Self’s forms of response to the challenge of the Uncanny and the different interpretations of such responses, on an individual or collective level. A distinct consideration in this research is the matter of how others see us (Hell as - ...), and

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Re- p ub lishing Z enet o’s a r chiv e

U R B AN I SM E EL E C TR O N IQ UE : t r i bu t e t o Tak i s Z an e t o s

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Homo Erectus (abstract) Project exhibited at LUSTLANDS Vol. II on the Great Eastern (after Andreas Embiricos), Thermissia Argolidas, Greece, 2013.

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Curators: Nadja Argyropoulou, Lakis&Aris Ionas (the Callas)

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C AS E S TU D Y IN S TA LL AT I ON

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76-77 NETOPIAS: Premonitions of Past Futures

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INDEPENDENT RESEARCH

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Netopias: Premonitions of Past Futures Essay published at MAS Context 18 | Imporbable Issue.

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Authors: Eva Papamargariti, Vassiliki-Maria Plavou

The current essay examines the notion of utopias in the digital era.

While re-visiting past architectural visions acknowledged as improbable examples, extravagant parts of the latter have been located today as present, common benefits. Such is the case of networks.

The former profile of the explorer is now found in the online researcher, whose landscape is reduced in a complex system of hypertexts and hyperlinks. The presence of an endlessly forming datascape is weaving the ethics of an online, digital culture. Online platforms serve as open-access libraries, offering knowledge

in a wider public. Other online platforms have accelerated social interactions resulting even in the coordination of actions for public affair claims. Networking not only altered the common living,but also enhanced cities’ physical space as the background of the metropolitan life. Moreover, Internet has introduced new thresholds for desire indulgences, whether this is consumerism, socializing or “gaming”. At last, leading edge technology constantly provides upgraded devices that re-invent the human body, as long as the relationship between user and urban terrain.

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78 PAG E S O R 20 C LI C K S TO ME E T ME AN ON-GOING ATTEMPT

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