PORTFOLIO THEODORA SKILLO
PROJECT CATALOGUE
1. [PAINTING, SCULPTURE, ARCHITECTURE] 4-11 Memory on Eleutherias square [ongoing diploma thesis] Thessaloniki
2. [ABSTRACT] 12-21 Maze
3. [ARCHITECTURE] 22-29 Public centre for physical and mental exercise Stavrupoli, Thessaloniki
4. [ARCHITECTURE] 30-37 University square redevelopment
Campus of Aristotle University of Thessaloniki
5. [RESEARCH] 38-43 Τhe imprint of memory on space How Αbsence becomes space
6. [PHOTOGRAPHY] 44-51 Product photography- Analogue photography
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Project: Research on Eleutherias Square spatial memory - Holocaust memorial museum
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year: January 2023-today
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Tutor: Object-e [D. Gourdoukis]
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individual project: T. Skillo
The diploma thesis examines the collective memory in tht space o Eleutherias square in Thessaloniki, Greece. The square exists many years now and has been a space of urban collective dynamic. I focus on the memory o the Holocaust, more spesifically I take a picture where the Nazis gathered all man
Jews to send them to work without their will. This event is considered the start o Thessaloniki’s Holocaust. Also, archaeologists have now discovered remains of the Byzantine Wall of Thessaloniki. 6
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models made with plaster molding
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work made with acrylic paint on canvas
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Project: Maze
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year: 2020
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Tutor: Α. Kalfopoulos
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individual project: T. Skillo
made by T. Skillo 14
Photo of Jupiter’s surface/ the Great Red Spot 15
I’M A POEM WITHOUT WORDS.
A TRUTH THAT HAS FORGOTEN WHAT SEPARATES IT FROM THE LIE
HIDING, SHOWING UP, HIDING AGAIN
FILLED WITH OPEN AND CLOSED DOORS
I’M A DEADEND AND A POSSIBILITY ALL AT ONCE
made by T. Skillo 17
made by T. Skillo
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moon’s surface, photo by NASA
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And as I was going up it started to become clearer.
I didn’t see any other doors.
Neither open nor closed.
Only open roads and a choice.
Which was all mine.
made by T. Skillo 21
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Project: Public centre for physical and mental exercise
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Site: 14.485 m2
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Year: 2020
Team: T. Skillo, L. Mertiri Tutor: Α. Kalfopoulos
The proposal is located in the area of Stavroupoli (West Thessaloniki) on a plot of 14,485 m2. The region is characterized by a lack of public welfare infrastructure. More specifically, there is a lack of public libraries and gyms, but there is an outdoor swimming pool that only operates during the summer months.
Taking into account data from researches about the love of reading and training in the Greek area, we coclude the important necessity of public training and reading structures.
made by L. Mertiri 24
Based on these data, a building program was synthesized which serves the needs of the residents in the field of exercise. The complexity of the building program is treated in this proposal with an intention of intergrating different forms of exercise to create an architectural hybrid.
On this basis, a library-reading room, a gym (with a small refreshment room and an independent court on the first floor), a swimming pool consisting of a competitive and a therapeutic pool, and finally a cafeteria in direct contact with outdoor green space are planned recreation and rest.
made by L. Mertiri 25
ground floor plan
made by T. Skillo 26
first floor plan
made by T. Skillo 27
Section a-a’
made by T. Skillo
Section b-b’
made by T. Skillo
Section c-c’
made by T. Skillo
10m. 5m.
10μ. 5μ.
10m. 5m.
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• Project: University square redevelopment • Year: 2019
• Site: 9.960 m2
• Team: T. Skillo, Ε. Telli, H. Μatrozu, S. Celiker • Tutors: H. Hristodulu, Α. Vitopulu
made by T. Skillo
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THE SQUARE TODAY
Chemistry Square is a crossroad of schools and an elongated front to the city. However, it is a dormant and awkward part of the campus which is only used as a crossing point during the day, as opposed to the evening hours when it becomes deserted, dangerous and unsafe. This feeling is not limited to the boundaries of the square but even outside the square it creates an uneasy zone.
OPPORTUNITIES
The square is on the northwestern boundary of the campus with its boundaries being clear and distinct (high railings and dense plantings that prevent pedestrian sight lines to the plaza). Through the abolition of enclosure and introversion, an open public space can be created which, on the one hand, enhances communication and interaction between the schools and, on the other, connects the campus with the urban fabric of the city.
REDESIGN-PROPOSAL
The redesign of the square intends to dynamically address the problems of this public space in specific ways: - Perimeter placementδραστηριοτήτων-χρήσεων of activities-uses in order to haveμε theσκοπό appropriate infrastructure to activate the -Περιμετρική τοποθέτηση να υπάρχει η κατάλληλη space socially. At the top of the square there is a platform with fitness facilities and an exhibition area. υποδομή ώστε να ενεργοποιηθεί κοινωνικά ο χώρος. Στο πάνω μέρος της πλατείας υπάρχουν At the bottom there is an open-air market and facilities that function as spaces for outdoor and indoor μια πλατφόρμα με γυμναστηριακές εγκαταστάσεις και ένας εκθεσιακός χώρος. Στο κάτω reading.ένα υπαίθριο μάρκετ και εγκαταστάσεις που λειτουργούν ώς χωροι για μέρος υπάρχει υπαίθριο και στεγασμένο διάβασμα. - Addressing by placing low planting around the perimeter and retaining existing -Αντιμετώπιση τηςoverheating υπερθέρμανσης τοποθετώντας περιμετρικά χαμηλή φύτευση και high planting to achieve air cooling through the evaporative cooling mechanism. Also, a gently sloping συγκρατώντας την υπάρχουσα υψηλή φύτευση, έτσι ώστε να επιτυγχάνεται δροσισμόςpond του has του beenμηχανισμού placed in the free central space which provides necessary evaporative cooling in the αέρα μέσω εξατμισοδιαπνοής. Επίσης,the στον ελεύθερο κεντρικό χώρο έχει summer τοποθετηθεί μιαseason. ήπιας κλίσης λίμνη η οποία προσφέρει τον απαραίτ -Κατάργηση υλικών ορίων, σύνδεση με τη vπόλη μέσω σχε - Elimination of material boundaries, connection to the city through design openness, material consistency with the pavements and, in a general context, adoption of an outward-looking design logic so as to be an attraction for the city. ασ τικής
GOALS
The purpose of the redesign is to activate this public space, to connect the disconnected schools, and to attract the interest of the city. Thus, this public space will be used not only by students but also by citizens, thus creating a dynamic and multifunctional space. 33
made by S. Celiker section α-ά
outdoor gym
gallery space
reading spaces
section β-β΄ market
urban gym urban equipment
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20m
15m
made by E. Teli urban gym
35m
15m
reading spaces
made by E. Teli
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made by S. Celiker
• Research: Τhe imprint of memory on space • Year: 2022-2023 •
Individual project: T. Skillo
• Tutor: C. Gyioka
Τhe imprint of memory on space How Αbsence becomes space
In the base of these analytic info
Museum in Berlin by Danie
museum that looks like a mem
I. INTRODUCTION, pages 12-18
is a countermemorial museum
Abstract This research thesis starts by analyzing the different theories and approaches of collective memory. It will be analyzed in the base of three approaches. First, the individualist approach in which collective memory is the collected memories of individuals exclusively, thereore it doesn’t exist in supra-individual level. Secondly, the collectivistic approach in which theories start from it being an exclusively
Lastly, I chose two examples o
very different in a way that o
one is an individual project. B
same subject, the remembran
the Nazis. The first is Peter E Murdered Jews of Europe and Stumbling Stones.
supra-individual process , but furthermore in other studies it accepts the collected memories as a part of collective memory. Then, the third approach is about the neurological procedures that produce ways in which we relate past events with the present ones.
The problematic
The problematic that emerged
D. Libeskind’s proposal is how t nature cannot be represented.
Furthermore, to proceed in the field of memorialization in Berlin, I analyze two types of museums from the second half of 20th century and after, these types are the forms of collective memory inside the urban landscape. The memorial and countermemorial museums. First, the memorial museum is based on the politics of regret , it’s aim is to cope with the negative past. Secondly, the countermemorial museum is based on politics of nostalgia. 40
mnemonic space. How matter its the many lives that no longer
deal with this question with c
structure and substitute abse
through the architectural voi
A reference will be made to t
Adolf Hitler and his party. T
ormation I examine the Jewish
panels set up by the US Holocaust Memorial Museum. The
el Libeskind. A controversial
Nazi regime is estimated1 to have been responsible for the
morial museum when in fact it
murder of 6 million Jews, 7 million Soviet citizens, 3 million
m.
Soviet prisoners of war, approximately 1.8 million non-Jewish Polish citizens, 312,000 Serb citizens, up to 250,000 deaths
of memorials in Berlin that are
of disabled persons living in institutions, up to 250. 250,000
one is official while the other
deaths of Roma (Gypsies), about 1,900 deaths of Jehovah’s
But their content concerns the
Witnesses, at least 70,000 deaths of repeat offenders and so-
nce of the murder of Jews by
called «incommunicadoes», hundreds of possibly thousands
Eisenmann’s Memorial to the
of homosexuals and an unspecified number of German
the second is Gunter Demnig’s
political dissidents and resistance fighters in the territories occupied by the Axis forces2. Adding up the above data yields a total of 17,383,900 murders by the Nazi regime. The following text will theoretically frame the issue of
d from the extensive analysis of
to represent an event that by its How absence is embodied in a
memory, the museum and the memorial and through the example of D. Libeskind the central core of the paper will begin to emerge.
self can take form and represent exist. D. Libeskind chooses to
certain symbolic gestures that
ence. Absence takes substance
IV. CONCLUTIONS, pages 120-121
Στο σχεδιαστικό έργο του D. Libeskind μπορούν να εμφανι-
id, empty space, nothingness.
στούν πολλές ομοιότητες με το κτιριολογικό ζήτημα. Ξεκινό-
the excessive losses caused by
1979, παρατηρείται έντονο το στοιχείο του κατακερματισμού
The data is collected from the
ντας απο τα Micromegas, 10 σχέδια που δημιουργήθηκαν το και της έκρηξης. Υπάρχει η αίσθηση του χώρου και του βά-
θους. Φαίνεται σαν να αποτελούνται τα σχέδια απο όγκους και μορφές οι οποίες έσπασαν και ανακατεύτηκαν ώστε να δημιουργήσουν ένα συμπικνωμένο σύνολο απο θραυσματα όγκων, διαφορετικών μεταξύ τους. Τα Chamberworks απο την άλλη, 28 σχέδια του 1983, φαίνεται να μοιάζουν με τα Micromegas μόνο ώς προς τη πολυπλοκότητα και τη συμπικνωμένη και άναρχη παρουσίαση τους στο χαρτί. Όμως δεν παρατηρουνται ούτε όγκοι ούτε βάθος. Μπορούμε να πούμε οτι απο τα Micromegas μέχρι τα Chamberworks διαμεσολάβησε μια έντονα αφαιρετική διαδικασία η οποία αφαίρεσε απο τους όγκους των Micromegas τόσο την επιφάνεια όσο και το βάθος. Έπειτα, έχοντας παρατηρήσει τα χαρακτηριστικά των δύο αυτών έργων, μπορούμε να πούμε οτι το Εβραϊκό Μουσείο, έργο που σχεδιαστηκε το 1988, 5 χρόνια μετά τα Chamberworks και 9 χρόνια μετά τα Micromegas, αποτελεί σύνθεση αυτών των δύο έργων. Το Εβραϊκό Μουσείο το οποίο συντείθεται απο μια ίσια αλλα άυλη γραμμή ( η οποία προεκτείνεται ως το άπειρο) και μια κατακερματισμένη απτή γραμμή, αποτελεί τη σύνθεση των κατακερματισμένων όγκων των Micromegas αλλα και τη γραμμή των Chamberworks η οποία όμως δεν δημιουργεί χώρο. Η άυλη γραμμή του μουσείου παίρνει υπόσταση μόνο στα σημεία τομής με την κατακερματισμένη. Η υποστασιοποίηση αυτής είναι το κενό. Ένα κενό το οποίο πρέπει να βιωθεί απο τον επισκέπτη κατά τον Libeskind.
The spatial gestures of loss
The representation of loss thro of the museum’s composition,
and most important being that
that the visitor encounters and Leaves» (instalation Shalkhet)
faces with open mouths. Then choose between 3 axes. All of
character and all of them cu
symbolic management of spac
observed both in the axis of m
Holocaust. The Holocaust tow
an attempt to convey the expe
of the Holocaust) to the visitor
temperature, the sounds, the tr
as to be experienced and emo
Thus, abstraction and symb
pervasive in the Jewish Museu
austere and infectious charact
Linking collective memory a
The examples discussed relat
memory. In order to link Chapt
analyses approaches to collect
commemoration in Berlin foun
management
ough the void is the central axis which has 5 voids, the largest
t of memory. It is the first gap
d in it the installation «Fallen ) has been placed. 10.000 metal
n, the visitor will be asked to them have a strong symbolic
ulminate in a final work. The
ce by D. Libeskind is strongly
migration and in the axis of the
wer and the garden of exile are
erience (both of migration and
r. The light, the gradients, the
rees, all are used in such a way
otionally stimulate the visitor.
bolism are gestures that are
um and give it its particularly
B, it is sufficient to define which collective memory they use. Thus, starting with the example of the Jewish Museum in Berlin, we would say that it is about the collective approach to collective memory. Museums from the second half of the 20th century onwards have been state-run projects and are an attempt to reconcile and manage their negative past. The exhibits inside constitute institutionally sanctioned prosthetic memory and aim to form a certain sense of collective identity. In the same category is the Memorial to the Murdered Jews of Europe, a concentrated and purely state-run memorial which is concerned with shaping a particular national orientation towards the negative past. We will not concern ourselves with whether or not they achieve these objectives. Then, the example of the Stumbling stones is a particular case of an individual project that is neither concerned nor influenced by state intentions and objectives. It has therefore
ter.
nothing to do with the above-mentioned institutionalised
and monument/museum
As I mention in chap. III, in the paragraph Stumbling stones,
te to specific types of collective
ter II of Part A, i.e. the one that
tive memory, with the cases of
nd in Chapters II and III of Part
collective memory which aims to create a national identity. instead of representing a ready-made reading of German history, they try to make people think. Thus, they are more concerned with the processes that take place in each individual. They are therefore concerned with the individual approach to collective memory.
Analogue photography, CAMERA: Nikon 501, FILM ROLL: kodak colorplus
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Analogue photography, CAMERA: Canon T50, FILM ROLL: kodak gold 47
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SHOULDERBAG_ white-red bag / λευκή-κοκκινη τσάντα (πλεκτό σε δίχτυ)
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