Semeli-D. Schoina portfolio by Semeli-Dimitra Schoina

Semeli-D. Schoina

portfolio & cv 2017-2020 Architecture School, NTUA

The

CV.

Education. School of Architecture, NTUA GPA: 8.90/10, (2015-now) Masters design thesis project: ‘Reimagining Siggrou Avenue: Connecting the city core with its coastal zone. Supervisors: Dr. Moraitis K., Dr. Tournikiotis P. Masters dissertation: From monument segments to landscape fragments: The restoration of the disintegration of the communication space between the archeological and the public space of the city. Supervisor: Dr. N.-I. Terzoglou

Department of Works of Art and Antiuities Conservation, UNIWA GPA: 7.50/10, (2008-2013) Dissertation (10.2012-06.2013): “Study of Building Materials and Decorative Elements of the church of Ag. Konstantino” (church located in Messinia, Greece) Supervisor: Dr. Alexis Stefanis

Violoncello class, Hellenic Conservatory of Music & Arts-second year of advanced level (1999-2013) Chamber music (first class of two) Partici pation in orchestra

Skills. Software Proficiency: AutoCAD+3D, Rhino3D, V-Ray, Archicad Adobe Photoshop, Adobe Illustrator, Adobe InDesign, Microsoft Work, Excel, PowerPoint

Languages: Greek-Native, English-Advanced

Car driving license

Competitions. EASA croatia, tutor proposal: 14 Xenofanous str., Mets Athens, Greece semelischoina@gmail.com +30 693.26.38.350 semeli.s

Design, organization and implementation of a workshop for architecture students aimed at reusing an inactive building envelope in the former industrial port of Rijeka. (2018)

Hellenic Institute for Architecture: A proposal for the coastal signal for Thessaloniki seafront.(2017)

Work/relevant experience -volunteer. Nikos Ktenàs Architectural Office Junior architect (06.2020-11.2020)

George Fatseas Crisis Architectural design + lighting: Junior architect (10.2019-05.2020)

Bekos Andreas: Conservation of byzantine wall paintings. (08-10.2015)

Hellastock ’/14, the hanging city workshop: Architectural Experimentation Towards an Ephemeral City Responsibilities: coordinator of five international student groups for the construction of their shelters in accordance with safety rules and design restrictions, accomplish various organizational tasks, attending lectures (related to materials, lightweight construction, construction details). (09.2014)

Workshops & Seminars.

Benaki Museum:

Citylab Workshop:

Responsibilities: record keeping and documentation at the department of painting, drawings and engravings. (11.2012-02.2013)

Attending a series of lectures on the relationshi p of city, architecture and love and accompish a design proposal for the Patra’s public space. (2016)

Byzantine & Christian Museum of Athens:

Platonos Academy:

Conservation of Works of Art Responsibilities: working in the lab on the conservation of wall paintings, canvas paintings, sculptures, mosaics, and assisting in setting up exhibitions. (04-09.2012)

Ministry of Education and Religious affairs: Culture and Sports—4th Ephorate of Byzantine antiquities titlos, Conservation of Wall-Paintings & Portable Paintings. (08.2011)

Scouts of Greece: Venture and cub Scout leader, 40th scout group of Lecabetus. (09.2008-09.2016)

Paixnidagogeio:

(www.paixnidagogeio.gr)

Working as an assistant educator in the Center of the Earth in primary school children. (04-06.2013)

Attendance of the program industrial archeology” theoretical and practical knowledge on the concept, approach and operation of industrial monuments, and on the industrial heritage of Greece. (03.2014-06.2014)

Christie’s Education: Christie’s Art Business Course, Module 7: Museums & the Art Market. (01.2013-02.2013)

Interests & Hobbies! I prefer TV-series not films, dance shows-not theater, nights out-not coffee breaks, short than long distance loops and I choose summer cinemas only from their view. I also experiment with materials in scale modeling, making jewelry mainly with Kimolos’ stones, I like discovering vintage clothes, I am a typical mountain person, and lately a marathon runner. I always get enthousiastic with new things or old that feels like new.

The

Contents.

Architectural Design

Competitions

Theory & Research

_”Reimagining Siggrou Avenue: Connecting the city core with its coastal zone.” *masters design thesis progect

_“The fishermen’s island“ *fishing, agora, dwelling at Venecia blue lagoon

_“Excavating Eleusina’s public space” *urban landscape design

_“Vibrating Optics” *public building of a dance school

_ “INTERACTION” *interaction within a di pole

_”expo loud out” *easa tutor proposal

_“Immanent fragments: archaeological parts in the landscape” *master thesis dissertation

_“The Athens’ erotic zones of 80s” *exploring social sex and sexuality

_“The compulsion of the blank space” *the case of the Parnitha sanatorium

_“The Athens’ coastline of the building structure“ *deepening in the area of Perama

”Reimagining Syngrou Avenue: Connecting the city core with its coastal zone.”

in collaboration with Aliki Karanikola supervisors: Moraitis K., TournikiotisΧP.Α Ρ Τ Η Σ Λ Ε Ω masters diploma thesis, 2018-2019Χ Α Ρ Τ Η Σ Λ

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The coastal zone that corresponds to the center of Athens is connected to the axis of Syngrou, which in its present state mainly concerns high speed car passing. This makes it difficult to connect the two sides of the avenue and creates an impenetrable boundary. The car dominates the avenue both at the traffic level and at the speed level. This results to a difficult movement on both sides of the pedestrian and bicycle lane by crossing the avenue only through underground passages. The interventions we propose are in line with the Athens 2021 Regulations as well as with the NTUA’s 2013 Attica research. We imagine an axis that allows for the immediate and easy descent from the Center of Athens to its coastal front with a traffic zone dominated by pedestrian, bicycle, tram and other uses and activities alternating and relating to each other’s axis.

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The aim of the thesis is to transform Syngrou Avenue from a closed freeway to an urban highway, in order to achieve the connection of the city Athens with the sea.

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On the map of the strategic mapping, we come to relate specific interpretive maps to the analysis of uses: dwelling boundaries, and them ticular, come to be associated with the use of pockets with neighborhood shopping centers, munici pal boundaries and strong cultural po that comes to activate each sub-module at the front and along the axis. This separation of modules and the definition of poles, we belie and intentions, while at the same time the proposal will be a comprehensive one. entity.

Strategic mapping of the στθδυ area

matic uses. At the same time, the underground connections - whether car or pedestrian - are imprinted. The hubs of the car, in paroles. Through this combinatorial information, we divide Syngrou into sub-modules and in each module we define an intervention pole eve, will help us to understand the axis at different scales of intervention, in order to produce a design that locates individual features

On the map of the strategic mapping, we come to relate specific interpretive maps to the analysis of uses: dwelling boundaries, and our proposal. The connection of Athens with the sea is our central vision, through which individual interconnections and interventions to the pedestrian, tram and various uses that are consistent with the individual subordination. Our main intentions are to approximate residence and neighborhood boundaries to individual areas on the axis. Our interventions ope the axis. Wanting to maintain a diverse and diverse character in different parts of the axis according to the modules we have defined, we als we want to preserve correspondingly supra-local and other local (exchange libraries, parks, playgrounds, urban gardens, etc.) in poles wh In addition to wanting to keep the shaft moving around the clock we have uses that are complementary to hours: uses for mornin entertainment venues, etc.

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thematic uses. Through the mapping strategy, sub-modes, poles and potentials recorded we come to design the central masterplan of will emerge. A key element of the connection will be the central island created to bring the city closer to the sea and be attributed

erate both along the axis and perpendicular to it, so they penetrate into the neighborhoods and vice versa the neighborhood penetrates

so differentiate the modules of use. We place uses that have a transcendental significance (wheel, night clubs, patio, etc.) in poles that here we want to pursue approaching the house and a more neighborhood character. ng / afternoon zones such as flower courts, chess areas, reading areas, bike lanes, and evening zones such as paddles, dumplings, clubs,

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Ανοικτός χώρος άσκησης

General Masterplan of the proposal

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Αγνώστου Στρατιώτου

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Λ.

+30.00

δημόσιες υπηρεσίες φοιτητικές εστίες

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On the map of the strategic mapping, we come to relate specific interpretive maps to the analysis of uses: dwelling boundaries, and them

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δημόσια υπηρεσία

Ground plan_scale 1:500

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εμπόριο φοιτητικές εστίες δημόσια υπηρεσία

Πλ. Χρυσοστόμου Σμύρνης

εμπόριο

The Garden-part of the Ground plan_scale 1:500

matic uses. At the same time, the underground connections - whether car or pedestrian - are imprinted. The hubs of the car, in par-

Σάρδεων

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Κατακουζηνού

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Ground plan of Davaki_scale 1:200

Sketches of the idea

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Σταθµός Μετεπιβίβασης FIX

Σταθμαρχείο λεωφορείων & αφετηρία κτελ

Βενζινάδικο

Είσοδος μετρό

Ground plan & Sygrou view of Sygrou-Fix_scale 1:200

-0.80 Καφετέρια ͶǤͲͲΨ

Έξοδος parking

+38.00

+30.00

+25.00

+18.20

+13.00

+8.00

+3.50 ±0.00

Είσοδος parking _αυτοκινήτου

Είσοδος parking_ πεζών

ΕΜΣΤ

“The fishermen’s island.” *fishing, agora, dwelling at Venecia blue lagoon in collaboration with Bebi Ilia, Koukiasas Stelios supervisors: Vozani Ariadni, Bouki-Babalou Noukaki urban design, 2018

The abandoned island of Poveglia, in the lagoon of Venice, has been a place of displacement for various groups of people at different times. This fact has made the island as haunted, in the Venetian consciousness. Our proposal attempts to suggest a life scenario that responds on the one hand to modern housing needs, but also stems from local data. To weaken the ‘haunted’, ‘abandoned’, ‘deserted’ designations attributed to the island, we are looking at the entire Venice lagoon as a place and using its own features to create the new character of Poveglia that will make it as a place of life. One of the dominant features of the lagoon and life in Venice was and is fishing activity. Venice itself is famous for its intense tourism, which has grown in recent years and has turned it into a place of short visit. Thus, in the present work, we propose the creation of a fishing settlement as the individuals of this population group can truly benefit from proximity to water. By establishing families of fishermen in line with the functions that surround the habitat and which require the existence of other individuals, we seek a population mix that will keep the island alive. Another feature is the promotion of fishing activity across the globe by creating the conditions and infrastructure for the development of fisheries tourism to the standards of agrotourism. This form of tourism does not conflict with the lives of fishermen but is part of it and is a form of education for visitors to the island. The engravings that organize the composition are analyzed in the main entrance movement, which takes place in the southern part of the island, on the Lido side, and forms a zone where the harbor and the main square are located.

Synthetic gestures diagram

The square is defined by the pre-existing building and two new ones, while on the west side it is complemented by a sloping level, which obviously drives traffic to the lagoon. In the northern part of the island the residential area is divided into 3 building blocks with some public uses on the ground floor. The two parts of the island are united by an axis that crosses the island and through which one can access the full range of the complexities of uses.

σχολή ιχθυοκαλλιέργειας & αλλιείας ψαραγορά & εστιατόρια

General Masterplan of the proposal

3-d

presentation of the proposal

χώροι πολιτισμού: θέατρο εκθεσιακός χώρος

εφήμερες κατοικίες

χώροι γραφείων καρνάγια

+18.00

κάτοψη δώματος

κάτοψη 1ου ορόφου 1.400 τ.μ.

±0.00

κάτοψη ισογείου2.070τ.μ.

+18.00 +13.40 +9.60 +5.80

±0.00

ανατολική όψη

Designs of he public building

Designs of he public space of the proposal.

Ground Plan_scale_1:500

Τυπολογία A: 2 ατόμων, 70 τ.μ. κλίμακα: 1.200

Τυπολογία B: 4 ατόμων, 140 τ.μ. κλίμακα: 1.200

Τομή Α-Α΄ κλίμακα:1.500

Τομή Β-Β΄ κλίμακα:1.500

+9.40

+6.20

+3.00

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βόρεια όψη τύπου ΙΙ

Τυπολογία Γ: 3 ατόμων, 120 τ.μ. κλίμακα:1.200

Τυπολογία Δ: 1-2 ατόμων, 55 τ.μ. κλίμακα:1.200 εφήμερη κατοίκηση

+7.00

+4.00

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νότια όψη τύπου Ι

βόρεια όψη τύπου Ι

Housing typologies_scale 1:200

“Excavating Eleusina’s public space” in collaboration with Bebi Ilia, Tsiarta Agathi supervisors: Kourkoulas A., Chaniotou E. urban landscape design, 2018

The city of Eleusis is in constant search for its identity due to the complexity caused by its various historical phases. Its topography consists of a collage of residues - be they industrial or archaeological- that creates unique contrasts in the city’s narrative. This peculiarity of the city is mainly due to the extensive excavation activity which began in 1860, revealing new places in the city such as the sanctuary of Demetrios and the citadel of Eleusis. These sites, as well as the largest archaeological part of the city, although belonging to it, are enclosed and excluded from it, without substantially belonging to the public area of the city. In this proposal, wanting to emphasize the importance of the excavation process for Eleusis and the particularity of the excavation of archaeological sites from the public space of the city, we use the “archaeologist’s tool” - excavation to create a variety of public spaces of a different character. Through the excavation process, we propose the formation of orthodox public spaces, under the city blocks. The design of these containers is based on the convertibility and flexibility that we consider to be a public space in Elefsina, so that depending on each use, the spaces can be adapted and remodeled appropriately. We suggest designing the containers for free public use resulting from the excavations of squares. This excavation has come to reveal different historical phases at similar excavation depths that define the different uses of public space. We compose some typologies that are repeatedly placed in the three building blocks, in different correlations, composing a colorful relief carpet in the city of Eleusis.

The ground floor of the building blocks is released, removing any building volume and marking t The tool of the archaeologist is transformed into the tool of the architect with which we handle t space. As we dig the earth, its stratigraphy, that is, the overlapping layers of the historical phases Based on this stratigraphy, we define the depth of excavation of the pots created. The different de excavation takes on a different color, which indicates its depth each time.

the excavating cannabis: we create 17x17 m squares, including 3m wide corridors. the public free space of the city. The cannabis excavation is creating â&#x20AC;&#x153;containersâ&#x20AC;? of free public of the city, is revealed. epths of the excavation are imprinted with corresponding shades creating a color chart. Thus, each

Model of the proposal from white cement, scale 1:200

“Vibrating Optics” *public building of a dance school in collaboration with Travlos Giorgos, Papaioanou Angelina supervisors: Tsiraki Sofia, Efesiou Eleni 2017-2018

The starting point of the composition was the gradation of privacy in the dancer’s life, which allows him to go through the internal process of preparing the exhibition and promoting himself and the event. A

This creates three levels of privacy: ForegroundBackstage-Stage-which we use to rate the privacy and interconnectedness of spaces in the school itself. The requested “public dance school” is coming and being challenged: the public space provided is for the ground floor outdoor and semi-outdoor space, while the school acquires its requested privacy in the storeyed spaces. Rehearsals and classrooms, as well as the school’s library, are directly related to the visuals created around the patio. Depending on the projection we want the space to have - like the rehearsal room - it also gets a projected position relative to the public space of the patio so that it can be observed and observed. The aim is to create a vibrating cluster that will be antithetical and interconnected with the dancer’s movement. A pulsating set is created, a composition of uneven levels allowing diagonal and varying degrees of views and experiences. The dancer’s life is detached from the public domain and he is given the necessary isolation and oversight. ΚΑΤΟΨΗ Γ ΟΡΟΦΟΥ ΣΤΑΘΜΗ +14.04μ. ΚΛΙΜΑΚΑ: 1:200

Axonometric view

Sketches on the idea

Section A’’-A’._Scale 1:200 Γ

Floor Plan+1_Scale 1:200

ΤΟΜΗ Α-Α

ΟΨΗ ΟΔΟΣ Β ΚΑΤΟΨΗ Β ΥΠ ΣΤΑΘΜΗ -8.0 ΚΛΙΜΑΚΑ: 1:

Front view Vitonos Str._Scale 1:200 Γ

BΒ

ΚΑΤΟΨΗ Α ΥΠ ΣΤΑΘΜΗ -4.00

ΚΛΙΜΑΚΑ: 1:2

ΚΑΤΟΨΗ Α ΟΡΟΦΟΥ ΣΤΑΘΜΗ +4.50μ. ΚΛΙΜΑΚΑ: 1:200

ΚΑΤΟΨΗ ΙΣΟΓ ΣΤΑΘΜΗ 0.0 ΚΛΙΜΑΚΑ: 1:

Floor Plan-1_Scale 1:200

ΑΡΧΙΤΕΚΤΟΝΙΚΟΣ ΣΧΕΔΙΑΣΜΟΣ 7 - ΣΧΟΛΗ ΧΟΡΟΥ ΣΤΗΝ ΠΕΡΙΟΧΗ ΤΟΥ ΚΕΡΑΜΕΙΚΟΥ ΕΠΙΒΛΕΠΟΥΣΑ: Σ. ΤΣΙΡΑΚΗ & Ε. ΕΦΕΣΙΟΥ ΣΠΟΥΔΑΣΤΙΚΗ ΟΜΑΔΑ: ΑΝΤΖΕΛΙΝΑ ΠΑΠΑΙΩΑΝΝΟΥ - ΣΕΜΕΛΗ-ΔΗΜΗΤΡΑ ΣΧΟΙΝΑ- ΓΕΩΡΓΙΟΣ ΤΡΑΥΛΟΣ

Sketches of the idea

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Section B’’-B’_Scale 1:50 2Γ

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μεταλλική διατομή UPN 560x150mm μεταλλική διατομή IPE 600X220mm

μεταλλική διατομή HEB 300X300mm

2x τσιμεντοσανίδα πάχους 12,5 mm

μεταλλικός φορέας ψευδοροφής 60mm X 30mm

1 2

αεραγωγοί εξαερισμού φ20 mm

τραπεζοειδής λαμαρίνα πάχους 1mm

οπλισμένο σκυρόδεμα 200mm υγρομόνωση

10 φράγμα υδρατμών 11 θερμομόνωση πάχους 80mm ελαφρομπετόν 100mm

13 βιομηχανικό δάπεδο πάχους 50 mm 14 μεταλλική υδροροή φ10 mm 15 νεροσταλάκτης 16 κούφωμα αλουμινίου 17 μεταλλικό κιγκλίδωμα 18 ρύσεις 19 απορροή

19 18 20 12 10 9 8 7 5

15 4

20 στοιχείο οπλισμένου σκυροδέματος 120mm x 200mm 21 στοιχείο οπλισμένου σκυροδέματος 120mm x 250mm 22 σκελετός στήριξης γυψοσανίδας 50mm x 70mm 23 φεγγίτης 24 πλήρωση ξηράς δόμισης πάχους 120mm 25 2X γυψοσανίδα πάχους 12,5mm 26 τοίχος οπλισμένου σκυροδέματος πάχους 300mm 27 μεταλλική γωνία 28 στοιχείο οπλισμένου σκυροδέματος 29 πλάκες πεζοδρομίου 30 μεταλλικός σύνδεσμος

23 31 υπόστρωμα ανάπτυξης 32 διηθητικό φύλο

33 σύστημα αποστράγγισης 34 προστατευτική στρώση

35 κοιλοδοκός 40x40mm

36 πλέγμα COR-TEN

37 μεταλλικό πλέγμα 38 μεταλλική διατομή UPN 600x200mm

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Shortened section B’’-B’_Scale 1:20

“INTERACTION.” *interaction within a dipole in collaboration with Aliki Karanikola organized by Hellenic Institute for Architecture: student competition for the coastal signal for Thessaloniki seafront. 2017

The present composition took place as a partici pation in the Hellenic Student Competition “The Paralympic Sign” concerning the design of information and information construction in NEA BEACH Thessaloniki, organized by EIA. The purpose of the competition is a construction that will serve as an information point for events and events that are held permanently, periodically or for a limited time in the New Beach. The construction is to be located in two parts of the New Beach, while the materials required for the construction are mainly Aluminum and Wood. Through the duality of construction and the duality of materials required, it emerges the synthetic philosophy of the proposition that the complementarity of the different materials to be used but also of the spatial model are fundamental demands of construction. Thus, we have the composition of a spatial model where when it is split into two complementary parts it results in the two requested information spaces being placed diametrically opposite to each other.

In addition to the theoretical model, complementarity applies to both the structure of the wooden structure and the structure of the aluminum beams that create an information exhibition inspired by the New Beach Gardens. Finally, in order to integrate the exhibition’s information into the design and also to have an interactive character with visitors and passersby, the spatial organization of the construction is organized through the New Beach Gardens which are divided into three sections constituting the structure of the information exhibition with which are paired with three interactive games that are directly inspired by the gardens. A major differentiation of our proposal from those of the competition I consider its lack of recognition as a landmark mainly on a morphological level in the sense of inviting visitors through a highly symbolic character, certainly related to the prize entries.

μ ε δρ γα λου ετκξανδρ ου κώμ ήποαεςλνα ηήπο μν ςήμης τη κ ήπο ς μ ε γα λου α λ ε ξανδρ ου

ήπο ς του κήχου ήπο ήπο τωνς ρτου ό δ ων νερκού ήπο ςκ ήπο τ ης μου σ ικκςής ε γ α λ ο υ α λ ε ξαν δρ ο υ

Η φιλοσοφία της πρότασης ήταν η δημιουργία μίας συνολικής κατασκευής η οποία όταν αποσπάται στα δύο μέρη της να φτιάχνει δύο ίδιους χώρους. Αρχή της παραλίας, σηματοδότητς της αρχής της ειναι το πανέλο των Events. Στην ολοκληρωμένη κατασκευή τα πανέλα αυτά δημιουργούν δύο πιο αυστηρά όρια. Εσωκλείουμε στη κατασκευή τα πανέλα παρουσίασης και τα διαδραστικά παιχνίδια των κήπων.

∆ΙΑ∆ΡΑΣΗ *διάδραση μέσα σε ένα δίπολο

Oικοδομικές λεπτομέρειες συνθετικής σημασίας Λ.1. Κλίμακα 1:10 Στη Λεπτομέρεια αυτή φαίνεται λογική της δομής στο κατασκευαστικό συστήματα. Η ιδέα ήταν να η μορφή του δομικού συστήματος να δύναται να εμπεριέχει τις κατασκευές που απαιτούνται για τις ανάγκες του περιπτέρου. Οι κατασκευές των διαδραστικών παιχνιδιών και οι πινακίδες στηρίζοντα και βγαίνουν μέσα από τον φέροντα οργανισμό. Λ.2. Κλίμακα 1:10 Στο σχέδιο φαίνεται η λογική που δημιούργησε τη μορφή της σύνθετης διατομής των δοκαριών και της μορφής των υποστυλωμάτων στην κατασκευή. Δημιουργήθηκε ένα κατασυεής α’ . Με την ίδια λογική δημιουργείται το υποστύλωμα το οποίο στη συμπληρωματική του μορφή να απαρτίζεται από δύο μονάδες που ακούμπάνε πλάτη. Εκμεταλλευόμαστε το χώρο που δημιουργείται μεταξύ της λάμας και του ξύλινου δοκαριού τοποθετώντας τα καλώδια των ηλεκτρολογικών εγκαταστάσεων μέσα σε αυτό το χώρο Λ.4. Κλίμακα 1:10 Στο σχέδιο φαίνεται η λεπτομέρεια που δημιούργησε τη μορφή του στεγάστρου στην ολοκληρωμένη οντότητα κατασκευή α-β. Το σύνολο των τεγίδων δημιουργόυν μία μεγαλύτερη επιφάνεια πανέλου, ενώ το σύνολο με τα ηλιακά πανέλα και τι μπαταρίες της κατασκυεής α’ έρχονται και κάθονται πάνω από το χώρο που δημιουργείται από τις οριζόντιες τεγίδες της κατασκευής β Λ.5. Κλίμακα 1:10 Στο σχέδιο αυτό φαίνεται ο τρόποςπου δένουν οι κατακόρυφες τεγίδες μεταξύ τους ερχόμενες πάνω στο θεμέλιο. Και στη συνέχεια φαίνεται ο τρόπος σύνδεσης του παγκακιού στις κατακόρυφες τεγίδες. Ουσιαστικά το παγκάκι αποτελεί μέρος του φέροντος οργανισμού της κατασκευής. 1. Πανέλο εναποθέτησης πληροφορίων από διάτρητη λαµαρίνα perforated αλουµίνιου 2. ∆οκάρι από ανωδιώµενο αλουµίνιο διατοµής 0.075x0.01m. 3. Ξύλινο δοκάρι διατοµής 0.075x 0.04m 4. Μεταλλικός σύνδεσµος ξύλινου και αλουµινένιου δοκαριού, λειτουργεί και ως φορέας των καλωδιώσεων του ηλεκτρολογικού εξοπλισµού 5. Κατακόρυφα ξύλινα καδρόνια διατοµής 0.03x0.07m. 6. Βέργες αλουµινίου Ø 0.06. λειτουργούν ως σύνδεσµοι των ξύλινων καδρονιών.

α’ 6. 5.

4. 3. 2. 1.

Λ. 1

κλίμακα 1:10

1. ∆οκάρι απο ανωδιόµενο αλουµίνιο διατοµής 0.075x0.05m 2. Ξύλινο δοκάρι διατοµής 0.075x0.04m. 3. Αλουµινένιο υποστύλωµα σύνθετης διατοµής 4. ∆ιατοµή σύνθετου δοκαριού της κατασκευής α-β 5. Σύνθετο υποστύλωµα της κατασκευής α-β

α’ 1. 2.

β’ α-β 4. 5.

Λ. 2

κλίμακα 1:10

1. Οριζόντιο πανέλο προστασίας από τον ήλιο κατασκευασµένη από διάτρητη λαµαρίνα perforated αλουµίνιου. 2. Μεταλλικός σύνδεσµος ξύλινου και αλουµινένιου δοκαριού, λειτουργεί και ως φορέας των καλωδιώσεων του ηλεκτρολογικού εξοπλισµού. 3. Φωτοβολταικό πανέλο οριζόντιας τοποθέτησης µε γενικές διαστάσεις 0.50χ 0.35m. 4. Μπαταρία βαθιάς εκφόρτωσης τοποθετηµένο κάτω από το φωτοβολταικό πανέλο. 5. Ξύλινο δοκάρι διατοµής 0.075x0.04m. 6. ∆οκάρι απο ανωδιόµενο αλουµίνιο διατοµής 0.075x0.05m

7. Αλουµινένιο υποστύλωµα σύνθετης διατοµής µε διαστάστεις γενικού σχήµατος 0.08x0.08m. 8. Κατακόρυφο πανέλο εναπόθεσης πληροφοριών από διάτρητη λαµαρίνα perforated αλουµίνιου.

α’

5. 6.

Διάγραμμα Στροφής. Το σκεπτικό σχεδιασμόυ της μονάδας ήταν η δημιουργία της κατασκευή α’ η οποία διαφέρει αλλά και ταυτίζεται με τη κατασκευή β’. Ο χώρος είναι σχεδιασμένος να λειτουργεί και προς τις δύο μεγάλες του πλευρές.Έτσι σχεδιάσαμε έναν χώρο, αλλά αυτός δύναται να λειτουργήσει και στη περιστροφική του θέση. Η ένωση των κατασκευών α’ και β’ είναι δυνατή λόγω της δομικής και χωρικής συμπληρωματικότητας που αναφέρουμε.

53758

β’

α’

α-β

β’

Διαγράμματα διαδραστικών παιχνιδιών

Διάγραμμα Κίνησης. Το περίπτερο έχει σχεδιαστεί ωστε να προξενεί το ενδιαφέρον και κατ’επέκταση τη κυκλοφορία σε άξονες κάθετους και παράλληλους του θαλάσσιου μετώπου. Συγκεκριμένα τα διαδραστικά παιχνίδια που παρουσιάζουν τις ομαδοποιημένες κατηγορίες των κήπων δημιουργούν μία δραστηριότητα γύρω από τα αντίστοιχα πανέλα. Στα ίδια πλαίσια το πανέλο που παρουσιάζει τα δρώμενα μέσα στη πόλη λειτουργεί ως πόλος έλξης του κόσμου. Θεωρούμε πως το περίπτερο θα λειτουργεί συμπληρωματικά στην ήδη υπάρχουσα κοινωνική κατάσταση της παραλίας και θα λειτουργεί ως ένας υπαίθριος χώρος καθιστικού που επίσης θα προσελκύει τη κίνηση του κόσμου.

Διάγραμμα φέροντος οργανισμού. Ο φέρον οργανισμός έχει μορφή, που εξηγείται στις λεπτομέρειες, τέτοια ώστε να ενσωματώνει τις διαδραστικές κατασκευές και τους δρόμους των καλωδιώσεων του ηλεκτρολογικού εξοπλισμού. Στο διάγραμμα φαίνεται ο άξονας πάνω στον οποίο τοποθετόυνται τα ηλιακά πανέλα. Τοποθετούμε τις μπαταρίες αποθήκευσης ενέργειας σε χώρο κάτω από αυτά. Τα καλώδια που τροφοδοτούν τον φωτισμό της κατασκευής οργανώνονται εξ’ολοκλήρου ενσωματωμένα στο φέροντα οργανισμό.

Βασικό αντικείµενο της παρούσας πρότασης αποτέλεσε η διαδραστικότητα µέσω της οποίας θέλουµε να µεταδώσουµε την πληροφορία είτε αυτή πρόκειται για εφήµερη, είτε για µόνιµη. Η εφήµερη πληροφορία που αφορά τις εκδηλώσεις, τοποθετείται στην µία στενή πλευρά του περιπτέρου αποτελώντας έναν πόλο έλξης και οριοθετώντας µία αρχή και ένα τέλος εσωκλείοντας την Νέα Παραλία Θεσσαλονίκης. Τα πανέλα της σταθερής πληροφόρησης-οι Κήποι, έρχονται να τοποθετηθούν εσωτερικά του περιπτέρου και να αποτελέσουν ενότητες σύµφωνα µε τα παιχνίδια διάδρασης. Η συµπληρωµατικότητα των δύο κατασκευών του τοποθετούνται έρχεται να αποτελέσει την επίλυση του δοµικού, χωρικού και κατασκευαστικού συστήµατος και να προσδώσει την διαφοροποίηση των δύο κατασκευών.

Τα διαδραστικά παιχνίδια έρχονται να μεταδώσουν ενεργητικά την πληροφορία βάζοντας το χρήση στη διαδικασία διάδρασης με αυτά. Χάρην ολοκληρωμένης παρουσίασης των κήπων, τους χωρίζουμε σε τρεις ενότητες. Συνοπτικά οι κατασκευές όπως και οι κήποι αντίστοιχα παίζουν με το φως, τον ήχο και τη περιοδικότητα. Έτσι κάθε μία αντιπροσωπεύεται με ένα παιχνίδι. Τα παιχνίδια αυτά ενσωματώνονται στον φέροντα οργανισμό, συγκεκριμένα τοποθετούνται στο κενό που δημιουργείται μεταξύ των δύο σειρών καδρόνια στα πανέλα. Η πρώτη διαδραστική κατασκευή που αφορά το φως είναι ένα καλειδοσκόπιο. Αυτή εμφανίζει στην εκάστοτε πλευρά του πανέλου μία αλλοιωμένη, παιχνιδιάρικη εικόνα του περιβάλλοντος, με τη βοήθεια καθρεφτών που υπάρχουν μέσα στη κατασκευή. Με την αλλαγή του ύψους που κοιτάζει κανείς μέσα στη κατασκευή αλλάζει αντίστοιχα και η εικόνα πρόσληψης του περιβάλλοντος. Ακολουθεί η διαδραστική κατασκευή με το περιβάλλον που αντανακλά τη περιοδικότητα και αυτή είναι ένας εναλλακτικός τύπος ανεμοδείκτη. Συγκεκριμένα δημιουργούμε από ανοδειωμένο αλουμίνιο μία επιφάνεια η οποία στο εσωτερικό της αποτελείται από μικόρτεροα ορθογωνικά τμήματα τα οποία κινούνται με τη φορά του ανέμου. Η τρίτη κατασκευή αφορά τον ήχο. Τοποθετούμε στις δύο αντιδιαμετρικές σχισμές του πανέλου κώνους. Οι σειρές κώνων από τις δύο πλευρές ενώνονται μεταξύ τους με καλωδίωση, υλικό που επιτρέπει τη μεταφορά του ήχου από τον έναν στον άλλον. Έτσι στέκονται δύο άτομα εκατέρωθεν των πανέλων προσπαθώντας να εντοπίσουν από ποιον κώνο θα επικοινωνήσουν.

7. 8.

Τομή α-α

Λ. 3

κλίμακα 1:20

κλίμακα 1:10

Κάτοψη θεωρητική συμπληρωματικής κατασκευής κλίμακα 1:20

1. α’ Φωτοβολταικό πανέλο οριζόντιας τοποθέτησης µε γενικές διαστάσεις 0.50χ 0.35m. 2. Φωτοβολταικό πανέλο οριζόντιας τοποθέτησης µε γενικές διαστάσεις 0.50χ 0.35m. 3. β’ Οριζόντιο πανέλο προστασίας από τον ήλιο κατασκευασµένη από διάτρητη λαµαρίνα perforated αλουµίνιου. 4. ∆ιατοµή σύνθετου δοκαριού της κατασκευής α-β 5. Βέργες αλουµινίου Ø 0.06. Λειτουργούν ως σύνδεσµοι των ξύλινων καδρονιών.

1. 4. 5.

Λ. 4

κλίμακα 1:10

2. 3. 4. 1. Παγκάκι, µέρος του φέροντος οργανισµού. Αποτελούµενο από ξύλινα καδρόνια διατοµής 0.03x0.07 2. Ξύλινα καδρόνια ενίσχυσης της κατασκευής του παγκακιού 3.Βέργα αλουµινίου Ø 0.06. Λειτουργούν ως σύνδεσµοι των ξύλινων καδρονιών. 4. Κατακόρυφα ξύλινα καδρόνια διατοµής 0.03x0.07m 5. Θήκη πρόσδεσης των κατακόρυφων καδρονιών από αλουµίνιο 6. Σύνδεσµοι από χάλυβα. θεµελιώνουν τη κατασκευή στο έδαφος.

5. 6.

Λ. 5

κλίμακα 1:10

Παρατίθεται η κάτοψη της μονάδας, της κατασκευής που τοποτεθετείται στο σημείο επέμβασης και η κάτοψης της θεωρητικής συμπληρωματικής κατασκευής. Η συμπληρωματικότητα αφορά το δομικό σύστημα και τη χωρική οργάνωση του περιπτέρου. Και στις δύο περιπτώσεις ο χώρος είναι περιήγητικός, ενώ τα διαδραστικά παιχνίδια δίνουν μία διάσταση εξερεύνησης. Λόγω της θέσης των τοποθεσιών των δύο κατασκευών σχεδιάσαμε το περίπτερο ως έναν πόλο έλξης για το κόσμο που κινείται στη παραλία. Η κατασκευή αποκτάει τη σημασία υπάιθριου καθιστικού ενσωματώνοντας τη δυνατότητα διάδρασης για μετάδοση της πληροφορίας.

Κάτοψη

κλίμακα 1:20

â&#x20AC;&#x153;EXPO loud out.â&#x20AC;? *tutor proposal, EASA 2018 in collaboration with Aliki, Ilia, Leda, Eleni, Papam 2018

The task of the workshop was to activate the former industrial port of Rijeka in Croatia. The port is separated from the city by the river Rijeka. The facade of the harbor building we choose to intervene is located just above the river boundary with a view of the city and at the same time being the main view of the harbor towards the city. Our proposal concerns scaffolding that comes in and activates both the facade of the building and its interior. The versatility and flexibility of these constructions give us different usage scenarios that will be exploited by the residents after the workshop. The stage is mainly aimed at a theatrical group that will now have its own stage towards the city, while the Veranda Hall will be a public seating area for the port residents.

Plans of the proposal & the various senarios

2.5000

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2.5000

“The Archaeological Territory as Ground of Fragments: Ιmmanent fragments and the Urban Stratigraphy”

supervisor: Nikolaos-Ion Terzoglo master thesis dissertation, June 202

The present work deals with the problematic implementation of the processes of conservation and preservation of monuments which are treated with a centralized and individual approach without including the archeological landscape to which they belong, as well as their correlation with the city. This has resulted in the treatment of the monuments as monuments-objects and their cutting off from the public space of the city. In order to redefine our relationshi p with monuments, it is necessary to overturn the role that historical remains play in shaping the public space in the city, in order to integrate the archeological site into it. Thus, I choose the archeological site that surrounds the monument -the archeological “landscape”-”, which is the intermediate space between the public freely accessible area of the modern city and the archeological monument. It can be a place of transition that will incorporate the monument into the public space of the city and will not enclose it. In order to support the dual existence of this intermediate space -archaeological landscapethere must be multi ple narratives that will in-

corporate the past elements into the modernlife of the city. The main role in the design of these narratives is played by the scattered archeological members-fragments which I claim belong to both the monument and the archeological landscape in which they are located, playing an interconnected relationshi p -a communication space- between a monument, archeological site and city. With the reassembly of the members in the meeting sections of the monument, we have their detachment from the landscape and essentially its dismantling. Therefore, I will consider whether the “fragments” of monuments scattered in the archeological site can be redefined as members of the archaeological landscape and the city and not necessarily the monument. By abolishing the given notion that all members who identify with their original location in the monument belong to and are repositioned in it, the design of the archeological landscape and our relationshi p with antiquities can be redefined. By designing these sections in the landscape, narratives and interpretations are created and redefined, related to both the past and the present of the modern city.

ou 20

“The Athens’ 80s erotic zones“ *exploring social sex and sexuality in collaboration with Anastasia Naki, Brikou Maria supervisors: Tournikiotis P., Tsiambaos K. theory and history, 2017

κThe ‘80s are recorded as the beginning of social, political and cultural changes for Greek society, changes and values that have been transformed to survive to this day. Thus, in the context of modernization, emanci pation and liberation of the individual, the 1980s contribute to the emergence and constitution of new social identities and their claims in the public space of the city. In the present work, we sought, through a deci phering of the social context and the way society and politics interact, to depict the social identities of the decade so as to give them a spatial expression mainly in the way in which they express their sexuality in public space and specifically the center of Athens. This behavior comes to create centrality, to influence and be influenced by the public space of the city. We could define the content of the city as a set of forms, eroticism and enjoyment, elements that contribute to the user’s experiential perception, which cannot be imprinted on paper. Thus, an attempt is made to analyze the space according to experiential experiences ranging from cruising to public sex, looking for points that exemplify the erotic side of the city and places where this eroticism develops in order to re-read the city’s public space.

So, by studying the City of Athens for its gender identity and the way it spatially influences the sexual behavior of its users, through mapping we have identified the resulting meeting places, as well as their connection as it is co-ordinated in space and in time.

Τι τη θέλεις την απελευθέρωση; Μετά δεν θα πηδιέται κανείς» Κώστας Ταχτσής “The erotic disorder that turns us into voyages, a place filled with the intoxicating air of perfect freedom” Peter S. Beagl

χ Map of Athens’ Erotic activity

χάρτης εντοπισμου ερωτικής δραστηριότητας

χάρτης εντοπισμου ερωτική δραστηριότητα χάρτης εντοπισμου ερωτικής δραστηριότητας

aleko’s island

χάρτης εντοπισμου ερωτικής δραστηριότητας

decadance

barbarella aleko’s island decadance

ΥΠΟΜΝΗΜΑ: aleko’s island decadance πορνεία

cruising

decadance

ΥΠΟΜΝΗΜΑ: barbarella πορνεία

public sex

ΥΠΟΜΝΗΜΑ:

autokinisi

ομοφυλόφιλα ζευγάρια-αντρες barbarella

cruising

πορνεία

ομοφυλόφιλα ζευγάρια-γυναίκες public sex

cruising

ετερόφιλα ζευγάρια

πορνεία

public sex

trans

ομοφυλόφιλα ζευγάρια-γυναίκες

cruising

ομοφυλόφιλα ζευγάρια-αντρες

autokinisi

ετερόφιλα ζευγάρια

ομοφυλόφιλα ζευγάρια-γυναίκες

trans

ΥΠΟΜΝΗΜΑ:

public sex

ετερόφιλα ζευγάρια ομοφυλόφιλα ζευγάρια-αντρες

autokinisi

ομοφυλόφιλα ζευγάρια-αντρες

Αποσπάσματα υλικού από έντυπο τύπο της εποχής.

“The compulsion of the blank space”. *the case of the Parnitha sanatorium in colaboration with Vanessa Damouli, Chrysa Maltezou supervisor: Nikolaos-Ion Terzoglou design theory, 2016

In the present work, we are interested in exploring typologies of the [Blank] (Keno) as we perceive them in relation to space and the weather conditions that influence and potentially shape it. As an example of our study we analyzed the Parnitha sanatorium, which was in a dilapidated state with free but unorganized access for the public. The accesses are now sealed. With the tool of design planning we diagrammatically depicted the relationshi p of the building with the natural setting, in relation to the movement of man and the weather phenomena before and after the demolition, in order to develop our reasoning. Through the study of the movement in the building of the Sanatorium in relation to the natural phenomena during its operation as a Sanatorium and its present ruinous condition we have noticed the difference of the movements and the behavior of the visitor.στον In conclusion, the original absolute Modern linear structure of the building, with its hierarchical logical coherence and rational conception, comes to transform and give way to chaos of diversity and complexity. The change of motion and the resulting ambiguity transforms the building and gives it a different dimension that gives us different and multi ple experiences.

The wandering of the ruins is mainly focused on exploring the building driven by instinctive and impulsive tendencies that come to give us spatial qualities and experiences that we can utilize as tools of synthesis for the creation of new architectures in the future. This work was carried out in parallel with the composition of “Pulsed Optics”, and in the context of motion research it influenced it at a synthetic level, both in terms of complexity and in terms of space flow and the diffusion of motion.

«The architecture emerges at the meeting point of the internal and external forces of use and space». Robert Venturi «We don’t have to stay in the woods for long to feel that we are going “deeper” into a vast world. Soon if we do not know where we are going we do not know where we are.» Gaston Bachelard

ΓρGround floor plan_before abandonment ΓρGround floor plan_after abandonment

â&#x20AC;&#x153;The Athensâ&#x20AC;&#x2122; coastline of the building structureâ&#x20AC;&#x153;

*deepening in the area of Perama in collaboration with Aliki Karanikola supervisor: Papa Nina art class, 2017

The main subject of the work is the city of Athens and the Nature-City di pole which was the driving link for us from which we wanted to find elements of Nature in the City. Personally it is one of my first quests to identify the physical and artificial element at the level of structure and public space in the city. The need to connect the city with the sea in this work has a more conceptual and metaphorical approach. Once again the elements of spontaneous behavior and development act as basic criteria for observing and interpreting the city. Initially, our search focused on exploring the urban environment as it relates to the natural environment. The rules and enforcement of certain behaviors within the City contrast with the animalistic and spontaneous we have instinctively developed. They usually alternate with each other to create some sort of equilibrium, and several times override each other resulting in disturbance of the equilibrium and the creation of situations where spontaneous reactions reshape the effect. Athens in parts, because of its spontaneous - dynamic - development, also points us to non-anthropogenic natural landscapes. Its structure is morphologically broken down into three extensions: to the ground, to the sky and its wide spread. In these extensions it would be interesting to identify the different levels of structure created by the constant repetition of the residential building. These extensions contrast our natural with the artificial environment in a relationshi p that is one continuation of the other and at the same time part of it.

This Di pole - whether it is behavioral or structural patterns - we thought it would be more understandable if we looked at it within its limits. It is exactly where Nature meets the City, on the borders of Athens. Athens is a city that has spread centrally around the Acropolis and Lycabettus Hills, extending its boundaries over time. Eventually its growth stopped at the foot of the surrounding mountains, the Aigaleo Mountains, Ymittos and Penteli. The shape of these boundaries, their configuration, the way Athens spread, the interaction of the two elements that make up our boundaries gave us a relationshi p to the built environment of Athens that could be associated with the water element. How this flows into the Basin creates boundaries that are consistent with the terrain and altitude curves that exist before. For this reason, the urban environment has been restored to the water element in order to investigate what is happening at the structural level, how the city is spreading in relation to the natural element, what its layout is to the terrain. The examples of the boundaries we chose to consider came from their layout, we made sure to find examples from all four boundaries of Athens and then from urban-natural environment relationshi ps that could be paralleled with specific water-land relationshi ps: the lake, the cape , the cliff, the bay, the harbor and the seashore. In general, we would say that the artificial environment comes at times to subdue and other to subdue the natural and together to co-shape this new state of the city of Athens.

Having examined the above spatial and geographical cases of urban building boundaries, we find that the only area that the structured tissue has spread along the elevation curves and parallel to the sea is that of Perama. Wanting to examine the behavior of the bi polar nature-city in this area, we tried to examine this behavior of the urban fabric that is spreading in a completely natural way. Looking back at the beginning of the creation of the area, we will find that the first establishment was a refugee from Asia, who, without any urban planning, settled and built the settlement with arbitrary dwellings - self-contained. The area was never included in any city plan, and as a settlement it continued to spread arbitrarily. The absence of a plan, therefore, allowed the inhabitants to act spontaneously and to create a system of balance between them so that they could live together, just as they would in a natural environment.

This â&#x20AC;&#x153;natureâ&#x20AC;? creates a chaotic situation in which apartment buildings stand uneasy between shacks and ground floor self-catering. The streets have the impression that they arise from the possible gaps between the buildings. Even the orientation towards the sea is not given, but it is met on a case by case basis. However, elements of the sea are evident on a smaller scale, indicating to us the relation of the inhabitants to the sea. For example, there are decorations in the neighborhoods that refer to an island settlement. In other cases the constructions adopt coastal design morphologies. One romantic aspect is that these are the characteristics that have been transferred by the residents, who are mostly engaged in sea-related work.

Panepistimioupoli_ The Cape

Chaidari _ The Cliff

Penteli_ The Lake

Cosco_ The Port

Careas_ The Bay

Perama_ The Coast Line

The

END.

June 2020