SOTIRIS MONACHOGIOS FOLIO OF WORKS
CU R R I C U L U M VIT AE EDUCATION 10.2010 10.2016
Department of Architecture, University of Patras, Patras, Greece
09.2006 06.2008
1st Lyceum of Alimos, Alimos, Athens, Greece
Diploma in Architecture [5-year professional degree] G.P.A. : 8.81/10 [summa cum laude] G.P.A. : 18.7/20
WORKING EXPERIENCE 09.2017 -
AUDO Architecture Urban Design Office
12.2016 11.2017
Greek Navy, Lighthouse Service, Piraeus, Greece
05.2017 07.2017
Mold Architects, Athens, Greece
12.2016 01.2017
Patronis Architects, Athens, Greece
07.2015 09.2015
314 Architecture Studio, Athens, Greece
07.2014 09.2014
Mold Architects, Serifos, Greece
Junior Architect // Participation in designing hotel complexes and private residences // Design concept, Drawings, 3D modeling, rendering, building prototypes, implementation studies Architect // Restoration and conservation of Greek Lighthouses // Drawings, 3D modeling, inspection on site Freelance Architect // Design of private residence // Drawings, post processing Freelance Architect // Architectural Competition // Design concept, drawings, renderings, post processing Intern Architect // Architectural Competition // Design concept, drawings, renderings, post processing Intern Architect // Participation in the first stages of an open theater design // Design concept, 3D modeling, post processing
WORKSHOPS 27.05.2017 28.05.2017
Impossible Place: Critical Design and Urban Spaces
22.09.2014 01.10.2014
Architectural Association Visiting School
A workshop focusing on analytical tools and strategic models that promote a critical reflection on the present and an array of possible heterogeneous futures centered around the city of Athens. A workshop where the fields of productive design and simulation technologies were explored. An interactive / moving architectural prototype that collects data from the city of Patras and is shaped accordingly was designed and built in 1:1 scale.
ARCHITECTURAL COMPETITIONS 2017
The New Cyprus Museum In collaboration with: Patronis Architects
2015
Casablanca Bombing Rooms In collaboration with: 314 Architecture Studio
2015
Dear Architecture In collaboration with: Akis Polykandriotis
2014
D3: Housing Tomorrow 2014 In collaboration with: V. Chaeropoulou, R. Charalamboudi, C. Loizou, A. Polykandriotis // Supervisor: Ioannis Patronis
2013
Tokyo Replay Center In collaboration with: I. Giannakopoulos, A. Polykandriotis // Supervisor: Ioannis Patronis
ACADEMIC ESSAYS 2015
Detail: Unveiling the Architectural Consistency Diploma Research Thesis // in Collaboration with: Akis Polykandriotis // Supervisor: Athanasios K. Spanomaridis
EXHIBITIONS 2018
Exhibition of the winning Diploma Thesis 2016 projects held by: greekarchitects [gradreview.gr] // location: Ianos bookstore, Athens, Greece
2014
D3 Housing Tomorrow 2014 the exhibition featured 22 international projects submitted to the 2014 competition // location: Gerald D. Hines College of Architecture, University of Houston, USA
2014
Imagine the City two entries. Exhibition with proposals of urban, architectural and visual interventions concerning the city, and more specifically the coastal zone of Patras // location: Agora Argyri, Patras, Greece
PUBLICATIONS Diploma Thesis: Junctions on the City gradreview.gr [the Greek Architects’ diploma and research thesis website] // GRAD review: architects and designers in Greece [architectural magazine, issue #2]
Architectural Competition: Casablanca Bombing Rooms 314architecturestudio.com [architectural office website] // archisearch.gr
Architectural Association Visiting School archisearch.gr // conversations.aaschool.ac.uk [AA website] // greece.aaschool.ac.uk [AA Greece VS website] // ek-mag.com // elculture.gr // suckerpunchdaily.com
Architectural Competition: D3 Housing Tomorrow 2014 arch.upatras.gr [Patras School of Architecture official website] // d3space.org [competition host’s website] // printed version of the distinctive submissions
5th Semester Design Studio: Museum α2610 [Department’s Biannual News Bulletin]
DISTINCTIONS 2017
Diploma Thesis: Junctions on the City first prize, Diploma Thesis 2016 competition, held by gradreview.gr [a Greek Architects website]
2014
Architectural Competition: D3 Housing Tomorrow 2014 selected among 22 other international sumbissions
VOLUNTEERING 04.2017
Open House Athens 2017 volunteer guide at Athenian buildings
OTHER ACTIVITIES 05.2017
Jewelry Photoshoot official photographer of the Cement Chemistry jewelry and clothing lines of other fashion designers
2016 -
Photographic exhibitions & publications participation in four exhibitions [one of which international], one first prize in a competition, one publication in a book of photographic content
SKILLS & DEXTERITIES
LANGUAGES
HOBBIES
Autocad, Maya, Revit, Rhinoceros, Grasshopper, Sketchup, Adobe Photoshop, Adobe Illustrator, Adobe InDesign, Adobe Premiere, Adobe Lightroom, V-Ray Render Machine, Mental Ray Render Machine, Microsoft Office, ECDL expert level, Hand Drawing
Greek
I seek to travel, to wander in the cities, to expose myself to diversity. When there is no time and financial capacity, I try to read my own city as if I were a tourist myself.
mother tongue
English
C2/ Fluent
German
B1/ Basic level
Italian
Basic level
I dedicate time to electric and classical guitar, aspiring to constantly improve on the performing and composing part. I ocasionally participate in music bands.
CONTACT INFORMATION Sotiris Monachogios Address: Papadiamanti 6, Alimos, Greece Email: sotiris.monachogios@gmail.com Mobile: [+30] 6976633073
TABLE OF CONTENTS
Junctions on the City // Diploma Thesis // Fall 2016
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Detail: Unveiling the Architectural Consistency // Research Thesis // Spring 2015
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Chrysalis // Architectural Competition // Summer 2015
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Aethyr // Architectural Workshop // Fall 2014
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Vital Vessels // Architectural Competition // Winter 2014
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The New Cyprus Museum // Architectural Competition // Winter 2017
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109° Residence // Residence // Summer 2017
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JUNCTIONS ON THE CITY Diploma Thesis // Fall 2016 // Grade 10/10 Architectural and Urban Design In collaboration with: Evangelos Polykandriotis Supervisor: Prof. Athanasios K. Spanomaridis
This thesis approaches the interlocution of multiple programs as a system with the city of Athens, recognizing the urban fabric as topography. This arrangement gets tied with the conurbation through a walkway. The proposal concerns the connection / junction between the Attiki and Larissa train stations and it aims at reestablishing the city relation to its infrastructure, nature, communal space, memory, reservation, restoration and topography, as read in multiple scales [city, program, detail]. Attiki station is a junction of two urban railway lines, namely line one and two. Larissa station connects line two with the national and suburban railway. They both play an important role in the proposed system. While the city is experiencing the loss of its center, its limits and its cohesion, networks and infrastructures are particularly important, while time unifies its composite parts. This introverted structure gets differentiated from the city in three ways: verticality [section], in detailing and materiality. The existing train infrastructures are the project’s starting point. Another type of infrastructure, an intangible one, the internet, is the basis for the creation of a co-working space at the middle of the main circulation path. In between those three there are more programs, located so that the existing urban conditions indicate [Garden, WWII Bunker, Trolley Depot, Section Museum].
The project gets briefly explained in Greek by its name [“Αρθρώσεις επί της πόλης”] since the word “επί” refers to “above” and “against” at the same time, because of the opposing nature between the proposal and the city embracing it. The main circulation path gets folded while passing through the city. Columns emerging from cityscape support the walkway and the programs. As for the structural detail of the connection, this meeting point seems to be vanished by the sunlight falling, as if the column is not bearing any load. Concerning the materiality contradiction, the walkway’s structural scaffolding is made of steel and its surface is of epdm rubber, a soft material that along with steel gets differentiated from concrete, the typical material of the Athenian city. The main entrances to the system can be achieved through the train station complexes at the two ends of it [Attikis and Larissis]. This is where the main load of visitors comes from and departs. Furthermore, there are secondary entry points [stairs and elevators] at various spots adjacent to the walkway. The pedestrian should make use of the main circulation path in order to approach any of the programs.
Municipality of Athens, Greece [outline] and site [point]
Railway, metro, ISAP and bus lines across Athens
COLUMN TYPOLOGY Concerning the way that the proposal is supported, there stands a circular metal pipe that gets intervened between the concrete column of the city and the proposal, creating the necessary distance between the two connecting elements. Four laminates in the interior of the pipe get the load connected with the column. The light penetrates the joint and turns it invisible.
ISAP Metro Line 1 National and Suburban Railway
The column then acquires another function, other from its structural one. It gets denatured into something new, leaving the previous function behind. The column turns into circulation, sitting area, power supplier [working area], reception area, piping [restroom], absence [interior atrium] and nature.
Metro Line 2
Attiki Station
Pedion Tou Areos Park Athens Municipal Library Larissa/Athina Station
Omonoia Square
site prior to intervention
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bearing load [main typology]
circulation
sitting area
power supply working area
reception area
piping rest room
absence interior atrium
nature
One of the largest train stations in Greece, Larissa / Athina Station, is turned into a central point of public activities. View from the train platforms // Above: canopies, circulation and the Garden
The key elements of gothic cathedral, longitudinal and vertical axis, are translated as the basic elements of the train station // a row of columns is placed on the platforms stressing the longitudinal axis // slight distance between rows stresses the vertical axis // the height of the column is five times the height of a human
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The gothic cathedral, center and symbol of the medieval world, can be compared as an urban junction with the train station [national, suburban and electric railway or subway] of the contemporary city. Scale, incorporeality, infinite space, verticality and the longitudinal axis of the cathedral are characteristics that are imbued into the two train stations [Larissis, Attikis]. During the design of the two stations, the act of transition from and to the train, litany is being accentuated, in correspondence with the cathedral. Here lies the one end of the path. As is the case in Attikis station, applied are the above-mentioned characteristics of the cathedral. Different typologies of columns and programs create openings on the ceiling. On the ground floor one can find the points of entry, information desks, customer services, waiting areas, ticket offices, luggage storage. Public programs and commercial premises are on the first floor of the train station. The old Larissa Station stays intact concerning its shell, while its facilities are turned into vertical circulation and auxiliary spaces.
Ascending to the Garden, one can have a view of the man-made and rational nature
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In an increasingly urbanized world, it is interesting to note that local urban planning seeks to define a new theoretical framework for the relationship between city and nature. The second nature, the one deliberately or not created through the action of culture [John Dixon Hunt], the one that includes everything outside the wild [Cicero] is cut and canned. The Garden is organized in an absolute, logical shape, the square. The position of this program is set to create a dialectical relationship with the Municipal Library of Athens that is facing it. The main walkway embraces the program, getting the wanderer at the point where a panoramic view of the rational nature is feasible. A firm structural grid holds the whole structure stiff. On top of the supporting columns stand planted olive trees. Cubic pots contain the olive trees. Pots that stand over the train rails remain empty, as there is no column to be translated into nature.
co-working space is the meeting point between the two train stations [Attiki station - Larissa station]
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Co-working space is based on the immaterial infrastructure of the internet. This area includes the basic amenities [electricity, internet, toilet and furniture] so that they can accommodate all kinds of activities: meetings, work, study, discussion, production of ideas. Office intensity and rat race is often a reason to search for a more suitable place to work. Coworking brings people near each other who might have vastly different skillsets or solutions to problems. The internet is an infrastructure that is indispensable to the contemporary version of working and keeps this program running. The path forms the building and its slabs are derived from its parts. This space is for people or groups who want to work under the same roof. Different typologies of columns and programs create openings on the ceiling. Co-working space hovers above the railway tracks of the national and suburban railway. The provisions in this collective workplace are the extremely essential ones and result from the denaturations of the support column: power supplied desks, sitting areas, reception desks, interior atria and sanitary facilities.
WWII underground bunker // The main circulation coming from the south is visible in brick-red rubber, crossing the old lab and heading to the transportation square
In the basement of the old trolley service station lies unearthed a WWII war bunker. Indestructible from time and with several remnants of the era, such as anti-tank doors, megaphones, wrecked carriers, and volumes of the government’s newspaper from 1927 onwards.
A trench is created around the bunker, as an excavation that brings the find to light. The bunker is not a foreign body to its surroundings but still exists in the environment that was born, as the columns of the building in which it was located are preserved.
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This is where the trolleys are deposited and fixed // The main circulation splits the depot in two, creating a pathway and a many-purpose gallery
The trolley depot is one of the three in Athens [it hosts 1.4% of network vehicles]. The building retains its structural skeleton and is divided into two sections, the existing workspace and a public space that the walkway passes through. New banks for installations are created and some pre-existent cavings are transformed into meeting points and benches. Part of the Trolley Depot gets trimmed by the Section Museum, so that it reveals itself to the public.
View from Attiki station // Section Museum creates a cut to the upper and lower city, unveiling its components
Section Museum is a process of revealing the city’s structures on the vertical axis. On the rise there is extroversion and observation of the city, while in the underground the observer looks inward, the city’s vitals. The Museum has the ability to adjust its height and depth depending on city extensions. There is a spatial scaffolding that holds the walkway, allowing trains, people pass through it. Starting from the ground level and going upwards, there is a gentler walkway to the upper city. The whole trip to the top of the museum is an observatory to the structure of the conurbation. The path to the lower levels is steeper. It is an observatory towards the interior of the city, unveiling its constitutional parts to the wanderer. The main circulation path connects the transportation square and Attiki station with the Trolley Depot
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The Transportation Square lies in between the two train platforms of Attiki Station [metro lines 1 and 2]
The vertical and longitudinal axes are some of the driving design intentions of Attiki and Larissa stations.
Attiki Station is imbued with the elements of the cathedral. Between the two train platforms there is an intermediate plane created. This is the concourse level, the so called transportation square. This space acts as a connection between the metro lines 1 and 2 platforms. Furthermore, it is the other end/ starting point of the walkway.
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1 : 1000 scale prototype
Ludwig Mies van der Rohe
Santiago Calatrava
Louis Isadore Kahn
Peter Zumthor
Tadao Ando
Zaha Hadid
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DETAIL: UNVEILING THE ARCHITECTURAL CONSISTENCY Research Thesis // Spring 2015 // Grade 10/10 Hardcopy Publication, 22x22cm, 95 pages In collaboration with: Evangelos Polykandriotis Supervisor: Prof. Athanasios K. Spanomaridis
Unveiling the Architectural Consistency: A recent stimulus from the 2014 Biennale gives rise to the introduction of the theme of architecture as language in order to discover the meaning of “grammar”. The unifying role of the detail helps the emergence of its importance as grammar. The lexical and etymological analysis of the word is a starting point for the revelation of a new compreension, leading to the study of the “truth” in the detail, the meanings and intentions that flow from it.
The study of the Part and the Whole as relations emerge through the detail. The theory of perception illuminates the in-terpretation of these relations from the perspective of the observer. Through the method of elimination takes place a distinction between the detail of the construction and that of the excitement (sensation). Finally, with the help of selected examples, the detail illustrates the consistency and intentions, the technical truth, the narrative, the relations of form and meaning, the absence, the light, the organization, the continuity. Details move us.
MAIN BIBLIOGRAPHY Alberti, Leon Battista [1986], The Ten Books of Architecture, New York: Dover Publications // Banham, Reyner [1970], Theory and Design in the First Machine Age, New York: Praeger Publishers // Bizley, Graham [2010], Architecture in Detail II, Oxford: Elsevier // Blaser, Werner [1999], Mies van der Rohe, Farnsworth House: weekend house, Basel: Birkhauser // Bloomer, Kent [2000], The Nature of Ornament, Rhythm and Metamorphosis in Architecture, New York: W.W. Norton & Company // Bormann, Karl [2006], Plato, translation by G. I. Kalogerakos, Athens: Kardamitsa // Dal Co, Francesco [1995], Tadao Ando Complete Works, σελ461, London: Phaidon // Dochantschi, Markus [2004], Zaha Hadid Space for Art, Baden: Lars Müller Publishers // Ford, R. Edward [1998], The Details of Modern Architecture, volume 2: 1928 to 1988, Cambridge, MA: MIT Press // Ford, R. Edward [2011], The Architectural Detail, New York: Princeton Archi-tectural Press // Frampton, Kenneth [1995], Studies in Tectonic Culture, The Poetics of Con-struction in Nineteenth and Twentieth Century Architecture, Cambridge, MA: MIT Press // Hadid, Zaha [2009], The Complete Zaha Hadid, London: Thames & Hudson // Hays, K. Michael [1998], Architecture Theory since 1968, Cambridge, ΜΑ: The MIT Press // Heidegger, Martin [1978], Sein und Zeit, G. Tzavaras, Athens: Dodoni // Heidegger, Martin [1986], Der Ursprung des Kunstwerkes, G. Tzavaras, Athens: Dodoni Hunter, Matthew [2012], Tadao Ando: Conversations with Students, New York: Princeton Architectural Press // Le Corbusier [2005], Vers Une Architecture, P. Tournikiotis, Athens: Ekkremes // Mc Carter, Robert [2005], Louis Kahn, New York: Phaidon Press Limited // Murphy, Richard [1990], Carlo Scarpa and the Castelvecchio, London: Butter-worth-Heinemann // Norberg-Schulz, Christian [1977], Intentions in Architecture, Cambridge, ΜΑ: The MIT Press // Norberg-Schulz, Christian [1980], Kahn, Heidegger and the Language of Ar-chitecture, London: Academy Editions // Scruton, Roger [1979], The Aesthetics of Architecture, London: Methuen and Co. // Vandenberg, Maritz [2005], Farnsworth House: Ludwig Mies van der Rohe, [Β’, Architecture in Detail], New York: Phaidon // Vesely Dalibor [2004], Architecture in the Age of Divided Representation: the Question of Creativity on the Shadow of Production, Cambridge, ΜΑ: The MIT Press // Zumthor, Peter [2006], Peter Zumthor, Thinking Architecture, Basel: Birkhäuser // Zumthor, Peter, Binet, Hélène [1999], Peter Zumthor Works: Buildings and Projects 1979-1997, Basel: Birkhauser
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CHRYSALIS Architectural Competition // Summer 2015 Public Library Team member of: 314 Architecture Studio Design Concept, Drawings, Renderings, Post Processing
The design proposal concerns the Architecture Competition for the “Casablanca Bombing Rooms” on a highly charged site due to a bombing act in 2003. The project highlights the need for alteration and public communication and uses knowledge as the key feature. “Chrysalis” aims to make a gradual transition from unawareness to knowledge as an attempt of elimination of any act of violence. This transition is achieved through a movement that emerges from darkness, penetrates a water layer as a sign of purification and results to the light. The visitor follows a narrated promenade on a rising helix ramp that begins from the exhibition area underground and goes on as a journey of knowledge. The ramp is wrapped by a cloth shell producing an aerial and organic form leaving a humble imprint to the city of Casablanca. The light materiality contributes to that direction. The promenade is interrupted by several intermediate levels. A second cloth shell surrounds the levels creating semioutdoor spaces that host the conference room, the classrooms, the administration offices. The public space, that includes the main library, is transferred to the upper levels (agora) where people gather, study, communicate and interact with each other.
The circulation is enabled through a helix ramp that rises from the underground and goes on for eternity. The helix ramp is wrapped with a cloth shell as a reference to the contour of the minaret and the islamic architectural vocabulary. The building works in an energy efficient way due to a geothermic system that uses the stable temperature and the thermal capacity of the subsoil. A water tank in a depth of 10m into the subsoil works as a cold capacitor keeping a stable 16oC temperature. A turbine is placed above the water tank and revolves in a slow rate. Due to the sub-pressure in the surface of the water that occurs from the turbine, the air frigidity is propelled through the building. Finally the warm air escapes from the top of the building resulting to an air renewal and thus a natural air circulation.
the formation process // eight star Ιslamic pattern
upper level
the helix ramp - library
entrance
geothermical water tank
transition from unawareness to knowledge
A ramp from the pedestrian walkway on the east side of the site develops around the water tank leading the visitor to the exhibition space on the lowest level. Then a spiral ramp penetrates the whole building leading to intermediate levels and finally to the upper level. On both sides of the spiral ramp the visitors can find the library with books surrounding them Immediate access to the floors of the building is achieved with two elevators [platforms]
view from nearby rooftops
typical floor plans
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Chrysalis aims to set the basis for public communication. Through this procedure spring the essence of alteration, initiating a transition from unawareness towards kbowledge. Like the butterfly emerges from the chrysalis. The combination of the light materials and the aerial form creates a rather humble imprint to the city of Casablanca.
The exchibition space is conceived as a spiritual interaction. The relation with the water is perceived visually and also acoustically. The visitor can experience the memory of acts of violence through interactive screens that trigger a journey of knowledge in the upcoming library. Τhe library evolves on the helix ramp as a journey of knowledge. It begins from the exhibition space underground, ending at the upper level. The whole installation of the library is hang from the structural frame. The public space that includes the main libray is transfered to the upper levels (agora) where people gather, study, communicate and interact with each other. Concerning the liquid element, a turbine revolves in a slow rate and the cold air is propelled through the building. An inner and an outer cloth shell filter the heat that enters. The warm air gets conducted through the roof opening.
the helix ramp / library
section
the exhibition space
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AETHYR Workshop // Fall 2014 Construction of a 1:1 scale interactive prototype Architectural Association Visiting School Greece Design Concept, Drawings, Arduino Electronics, Construction
Aethyr is the result of digital simulations coupled with physical programming and fabrication techniques. Reaching its goal to design and fabricate an interactive/kinetic architectural prototype in 1:1 scale, the prototype is influenced by the urban characteristics of the city of Patras, specifically daily weather data, and the local features of human presence, calculated through density and distance values. The prototype is comprised of rigid and soft parts acting as a transformable installation, suspended in space at the University of Patras. Fabricated with kite fabric and steel-plate pieces, the prototype is positioned 3.5 meters high in space, allowing people to walk, work and talk underneath it. Animated with Arduino electronics, it reacts to external stimuli created by the human presence, as well as live stream of urban data for the local weather. The interaction becomes two-fold and allows for an additional level of interplay. The form of the prototype emerges from a set of design explorations which are focused on natural movements. Such formations include attractive forces, repulsive forces and spiral forces. The fabrication was completed with the use of digital machines, consequent of a series of digital simulations. It occupies an area of 7
meters long by 4 meters wide. The movement affects the shape of the model in its’ vertical direction enabling to grow in thickness from 0.5 to 1 meter. As part of the user experience and interaction, a series of flickering LED lights are installed in order to alter the perception of the piece itself as well as the area it inhabits. One of the main proposals that influenced Aethyr was a team project named Deformative Quake, which was completed during the workshop and alongside with others influenced Aethyr’s conception. A model created could be perceived as a view to the city’s history regarding the area’s seismic activities. Located close to one of Greece’s most active seismic areas, Patras has a long history of earthquakes, which have been documented and archived. Deformative Quake was making use of these data in different ways to affect the prototype’s transformation.
Collecting data from the area around the city of Patras, Deformative Quake resperents and interacts according to nearby earthquakes. An inflatable fabric enclosed in an exoskeleton depicts the earthquakes’ magnitude.
Starting from simple center points later translated into spheres, a 1:50 scale prototype was fabricated. Deformative Quake’s analytical process and interaction methods were passed on the final project as seen on the opposite page. Aethyr shared many of Deformative Quake’s characteristics, being inflatable, transformable and interactive regarding environmental stimuli.
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Aethyr hanging over the lecture hall, Patras School of Architecture
1:50 scale prototype manufactured for an exhibition of AA students work
people interacting with Aethyr // section cutting through the two out of three turbine sets
interior of Aethyr with fabric folds and LED stripes programmed with Arduino electronics
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VITAL VESSELS Architectural Competition // Winter 2014 Dwelling of the Future In collaboration with: V. Chaeropoulou, R. Charalamboudi, C. Loizou, E. Polykandriotis Supervisor: Prof. I. Patronis
As of 2013, there are 24 megacities in existence, each of which has a population excess of 20 million inhabitants. Two of these are located around the Pearl River Delta. The delta has become one of the leading economic regions and a major manufacturing center of China and the world. Guangzhou is key to national transportation, serving as hub and trading port as it concentrates all political, economic, educational, scientific, technological, cultural and social functions. Its dynamic growth process does not only transform urban economies and population structures but also the urban morphology and Guangzhou’s cityscape with more and more people living in a high building density or in high rise. Based on daily routine, a large amount of people travel from home to work and vice versa, shifting through different levels reaching the city’s other end, entering their office building in daytime and returning home by nightfall. This is a reality for any society based on a modern megacity. While people enter the building, a large amount of variable weight is gathered causing a downwards, gravitational force. The building with the largest amount of weight retreats into its shell, or vessel because of this input force. By the same time, the applied force is transmitted through the pistons infrastructure and an output counter force boosts up the second building. This action often takes
place more than twice a day, depending on the inhabitants’ needs. Utilizing Pascal’s Law, or the principle of transmission of fluid-pressure, we achieve the multiplication of our input force (gravitational force of human weight). Therefore, taking advantage of the buildings’ vertical movement, water is boosted via kinetic energy through the underground infrastructure in order to produce electricity by using water turbines. This energy is saved in order to be consumed for the community’s needs, achieving a sustainable housing system.
Work and housing are placed in each one of the two vessels. The vessel which act like infrastructure stand still, containing and protecting the two buildings. This system is designed to withstand the worst weather forecasts to come in the future (maximum sea level rise of 60m) and provide autonomy and sustainable protection. An adaptive vertical community with variations of private, open and closed public spaces is formed. There is an stimated sea-level rise of about sixty meters above the current state. Our system fully consorted with today condition and possible future condition, located by the Pearl River Delta bank. Having a span of about forty floors between each pair of them, this is the main insertion of green in our vertical community. It is used as a gap, twice in the housing skyscraper and four times in the office skyscraper because of its height. It mainly contributes for social gathering, being used as a multifunctional place.
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Specially designed glass frames, reinforced with a metallic structure that contain the skyscrapers and hang the exterior blades.
The mechanism that produces and saves energy from the water’s flow, as explained and applied by the Pascal’s primitive. Various other public uses, such as Health care/ hospitals, courts, malls, schools, entertainment etc. Regardless of the uses, the space and, as a consequence, people are equally allocated between the two skyscrapers. Adding to the building’s outside appearance, the blades work as cantilevers of each one of the buildings, regardless of their position in the vessels. There is a particular way to approach our system from the rest of the urban fabric. In case of a severe weather disaster (floods, storms, sea level rise) the system maintains its autonomy and every-day life remains unaffected. Furthermore, this circulation connects the two skyscrapers with each other, so that people can move easily between them. This is an intrusion of water in the skyscraper, carving the building and climbing between the floors and public spaces. The skyscraper structure is balanced in between the vessels’ inner walls. It perfectly seals and separates the water managing to constrain its pressure in order to achieve Pascal’s Principle.
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THE NEW CYPRUS MUSEUM Architectural Competition |Winter 2017 Archaeological Museum Team Member of: Patronis Architects Late Design Concept, Drawings, Renderings, Post Processing
The design concept is developed from an understanding of the unique urban dynamics of the site, resulting in subtle volumetric gestures that invite the Garden’s ground level into the heart of the building, reinforcing the public character of the institution. The design looks to emphasize the following effect: it is not a building within a park but an “environmental shield” placed at the new Garden’s edge. The building’s North elevation extends tilted, floating low above the ground, while a system of louvers provide shade and protection from sun beams. Spaces enclaved under this environmental Shelter culminating with a gracious roofline will become a contemporary form of public space – one where city, gardens and exhibition rooms become part of an experiential whole. The site of the New Cyprus Museum is situated within the wider area of the cultural quarter. Its proximity to the Venetian Walls provides a cultural and natural setting, which can be utilized for activities and relaxation. Main design parameter is that all free areas surrounding the new building will be transformed into a new (green) “Park of Antiquities” as an extension of Nicosia Municipal Garden. This new “Park of Antiquities” will facilitate mostly the public’s access towards the new Museum through two pedestrian pathways: East reaching the site from area around the Venetian Walls and the existing Museum and North from the Nicosia Municipal Garden. The landscape
formation of the new “Park of Antiquities” will allow visitors to take a Historical stroll through this new green park and enjoy some of the finest art (or even copies if security reasons appear). The discovering of new gardens with intriguing visual sights of artifacts will lead ultimately to the Museum’s entrance. The Park’s overall use will be enhanced with the addition of open air activities as part of the education museum programs: especially for kids, a mockup of an archaeological excavation is situated close to historical stone building. In that way the latter building combined with the mockup dig will be become a center of understanding archaeological excavations and the process of recording archaeological remains. The final part of this historical stroll will be an environmentally shielded exterior atrium. This area will be the Central Court of public circulation of the new Museum creating welcoming, pleasant, spacious, comfortable spaces, while at the same time it will likely to become one of the most popular, and busiest, meeting places in Nicosia.
The exterior atrium. This is the Museum’s Central Court of public circulation creating welcoming, pleasant, and comfortable spaces, to be one of the most popular and busy meeting points of Nicosia.
view from foyer ramp
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molding of the environmental shelter
conceptual and volumetric diagram
vertical section
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109° RESIDENCE Residence // Summer 2017 Team Member of: Iliana Kerestetzi and MOLD Architects Drawings, Renderings, Post Processing
109 residence is a 1.200m2 residence divided into 2 independent houses (Maine House / Guest house). The residence, located on the top of the hill, in a plot of land of 12.500m2 exploits to the utmost the unique natural features of the landscape: The breathtaking sea view and the pine tree forest that surrounds the plot . The basic geometry is an arch with an 109 degrees angle, that embraces the hill and opens the house to the wide range of the spectacular view: from Hydra and Spetses in the East to the pine forest of Korakia dfdfdfd and the ffff beach in the West. The spaces are placed in series and tangentially to the arc, and each of them is framing different “moments” of the view. When crossing the building, the continuous rotation of images can be compared to the cinematic term “traveling” the circular movement of the camera that scans the landscape. The residence functions as a “magnet”, drawing to it the elements of nature: the sea and the forest Towards the South, the water penetrates the glazing of the facade, while northwards, , the forest flows in from the gaps between the spaces, in the form of small private gardens.
The linear element of the infinity pool, on which the house essentially floats, further enhances the sense of the proximity to the sea. This stunning pool of 100m is directly accessible from every venue. The living spaces (living room dinning room) are through both to the North and the South providing the perfect connection with nature in all its manifestations. The house is divided into 2 levels. At the center of the arc, the residence is one-storey, while at the edges of the arc, due to the natural relief of the hill, a second ground floor is revealed, and when heading again towards the center, the space disappears under the ground and converts to the basement space with the secondary uses. On the main level (+00) lplaced on a natural plateau at the highest point of the hill, there are the dwelling areas, the master bedroom, the overflow pool and the landscaped (1.300sqm) surrounding area with open-air seating areas, kitchen dinning areas, bbq bar and an outdoor amphitheater. At level -300) the remaining bedrooms of the residences, 2 playrooms, and underground auxiliary spaces are located.
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