M Y
P
o r t f o l i o
H a r r y Varnavas
C
o
n
t
e
x
t
1 - ART
2 - ARCHITECTURE
_2.1 Sketches
_2.2 Diagrams
_2.3 Models
_2.4 Drawings
_2.5 Technical Drawings
_2.6 3D Renderings
_2.7 Nomad - MobiLab -
_2.8 Nodal - Slice Vertical Life -
_2.9 Budapest, Dark Days Chilly Nights - Fiatal -
_2.10 Aia Competition
_2.11 Dissertation - A Divided City; Less
than a
Half
more than a
Whole -
A
r one
t
S PA C E . S K E T C H E S B l ack a n d W h i te S ketches , S o f t P aste l s , A 5 pa g e s i z e , 2 0 0 9
S PA C E . S K E T C H E S W a r m a n d C o l d C o l o u r s S ketches , S o f t P aste l s ( f i r st tw o ) & A c r y l i c ( l ast ) , A 5 & A 4 pa g e S i z e , 2 0 0 9
S P A C E . FIN A L P I E C E TOP: Cold Colours B O T T OM : W a r m C o l o u r s M A T E RI A L S : O i l P aste l s S IZ E : A 2 pa g e s i z e YEAR: 2009
S P A C E . FIN A L P I E C E T O P & L E F T: B l ack a n d W h i te M A T E RI A L S : A c r y l i cs S IZ E : A 2 pa g e s i z e YEAR: 2009
S OLDI E R S IN C OR P OR A T E D IN A RMY - i n sta l l at i o n M A T E RI A L S : M i x M e d i a S IZ E : 3 0 0 x 4 5 0 x 1 3 0 YEAR: 2008
mm
S H E LL S . S K E T C H E S M A T E RI A L S : M i x M e d i a S IZ E : 7 0 x 5 0 m m YEAR: 2008
S H E LL S . S K E T C H E S M A T E RI A L S : M i x M e d i a S IZ E : 7 0 x 5 0 m m YEAR: 2008
S H E LL S T O P : S he l l . S ketch , B l ack I n k a n d P o l y st y r e n e , 3 2 0 x 2 1 0 m m , 2 0 0 8 B O T T OM : S he l l . F i n a l P i ece M A T E RI A L S : A c r y l i cs a n d ca r d b o a r d S IZ E : A 1 pa g e s i z e YEAR: 2008
B L A C K B OX I n d i v i d u a l P s y ch o l o g i ca l W o r l d i n the A r m y M A T E RI A L S : M i x M e d i a S IZ E : 3 0 0 x 4 5 0 x 4 5 0 YEAR: 2008
mm
S E LF
P OR T R A I T . B A S E D FR A N C I E S B A C ON
ON
T O P : S t u d y T ech n i cs , A c r y l i cs a n d S o f t P aste l s , A 2 pa g e s i z e , 2 0 0 9 RIG H T: F i n a l P i ece M A T E RI A L S : M i x M e d i a S IZ E : 8 4 1 x 5 9 4 m m YEAR: 2009
on
C a n v as
L A DY IN P A S S ION T O P : S t u d y P r i n ts , L i n o l e u m i n k P r i n ts , 5 9 4 x 4 2 0 m m , 2007 RIG H T: F i n a l P i ece M A T E RI A L S : L i n o l e u m S IZ E : 5 9 4 x 4 2 0 m m YEAR: 2007
ink
R E M A P P ING OF NI C O S I A T O P : S ketch I d ea , A 4 C r a y o n M a r ke r s RIG H T: F i n a l P i ece M A T E RI A L S : M i x M e d i a S IZ E : 1 5 0 0 x 1 0 0 0 x 7 0 YEAR: 2009
pa g e
mm
size,
1
2 3 4
5
H UM A N S K IN A S A S H E LL 1: Human Body “ H u m a n S k i n as a S he l l “ M A T E RI A L S : P ap i e r M ache S IZ E : 6 0 0 x 4 5 0 x 4 0 0 m m YEAR: 2009
-
Final
P i eces
2: Human Body . S c u l pt u r e d “Human Body, forms” M A T E RI A L S : C l a y a n d M eta l W i r e S IZ E : 1 0 0 x 1 0 0 x 5 0 m m YEAR: 2009
I d eas
3: Human Body . S c u l pt u r e d “Human Body, forms” M A T E RI A L S : C l a y a n d M eta l W i r e S IZ E : 1 0 0 x 1 8 0 x 5 0 m m YEAR: 2009
I d eas
4: Human Body . S c u l pt u r e d “Human Body, forms” M A T E RI A L S : C l a y a n d M eta l W i r e S IZ E : 1 0 0 x 1 8 0 x 5 0 m m YEAR: 2009
I d eas
5: Human Body . S c u l pt u r e d “Human Body, pregnant” M A T E RI A L S : C l a y a n d M eta l W i r e S IZ E : 2 0 0 x 1 8 0 x 1 0 0 m m YEAR: 2009
I d eas
“ H u m a n B o d y, f o r m s ” 2 : H u m a n B o d y . S c u l pt u r e d I d eas M A T E RI A L S : C l a y a n d M eta l W i r e S IZ E : 1 0 0 x 1 0 0 x 5 0 m m YEAR: 2009
“ H u m a n B o d y, f o r m s ” 3 : H u m a n B o d y . S c u l pt u r e d I d eas M A T E RI A L S : C l a y a n d M eta l W i r e S IZ E : 1 0 0 x 1 8 0 x 5 0 m m YEAR: 2009
“ H u m a n B o d y, f o r m s ” 3 : H u m a n B o d y . S c u l pt u r e d I d eas M A T E RI A L S : C l a y a n d M eta l W i r e S IZ E : 1 0 0 x 1 8 0 x 5 0 m m YEAR: 2009
“ H u m a n B o d y, p r e g n a n t ” 5 : H u m a n B o d y . S c u l pt u r e d I d eas M A T E RI A L S : C l a y a n d M eta l W i r e S IZ E : 2 0 0 x 1 8 0 x 1 0 0 m m YEAR: 2009
Human Skin as shell . sketches M A T E RI A L S : S o f t P aste l s , M a r ke r s S IZ E : 2 0 0 x 3 0 0 x 1 0 0 m m YEAR: 2009
and
Pen
Human Skin as shell . Final Piece “ H u m a n B o d y, f o r m s a n d s k i n ” M A T E RI A L S : P ap i e r M ache S IZ E : 1 0 0 x 5 0 x 4 0 0 m m YEAR: 2009
E A S A ’ s W OR K S H O P P RO J E C T C IN E M A S H E L T E R TOP: Individual Small
on
S ca l e M o d e l s
B O T T OM : C i n e m a S i tt i n g S he l te r M A T E RI A L S : P l ast i c B o a r d S IZ E : 4 4 0 0 x 3 2 0 0 x 3 0 0 0 m m YEAR: 2009 GROU P P RO J E C T
Architecture two
S ketches Sketches play a huge role in the process for the creation of my design. Usually I use lines, free hand direction and movements, to create spaces on the paper. Colours sometimes indicate light transmissions, circulation and movement. Usually, I think through sketches for the development of my architectural design. Each time creating a sketch, there is a chronological relation with the previous one. Also, through this expression on sketches the psychological phase that the artist is sometimes understandable. At the same time sketch provides a new way of thinking in the design. Technics, materiality, style and media and the meaning of them are given only by the creator.
2.1
D iagrams Diagrams become the method to communicate, research and make architectural design and ideas, in our century. Sometimes diagrams may have given as sketches. Significance and futures of architectural though are been presented through diagrams. Is preferable to my to work with diagrams in my work in order to show the thoughts upon the ideal space, on how it will work with its shape; through light and circulation, as well as with the surrounding environment. Finally, diagrams are used in order to make understandable for the viewer the happenings of the idea designed.
Central Dartford
2.2
Existing Program: LAKE New Internvention: KAYAKING
New Programm: HORSE RIDING
Programs
designed for
bringing people closer to the circular square
Existing Programm: FOOTBALL TRAINING New Intervention: FACILITY AREA FOR CEREMONIES
South Dartford
Main IDEA- New Square Existing Public Spaces Football area Horse Riding area Kayaking area
M
o d e l s Sculpturing could be a way of presenting conceptual models for an idea that I have in mind. Ideas most of time in order to be experimented in an aesthetic way, they can pass through this individual process of model making. Except from the sketch modelling process, the sculpture art is been used from an architect, for the formation of three dimensional real life samples of the final idea. This is an essential tool for presenting the idea. Imagination, materials, textures, colours and light are the main elements to create a physical model. A way of creating a model vary in the perception that we have for a space. In addition to the materials used, technology helps as well for the production of the model.
2.3
D rawings The starting point of architecture to exist in real life is the drawing. Drawings vary from century to century since our cosmos develops and evolute. Through history we have seen the exploration of architects’ creative way to approach drawings of a project not as just lines. In our days, drawings are not any more just a way of “giving” the idea but also a way for a creative design. Through CAD software, drawings are produced and in some cases mix media is such a way for a drawing to became a piece of art. Achievements that never end for me, are the developing of my personal techniques and skills upon the drawings. The exploration on different architects and arts’ works, have given me the boost to create my personal and individual identity upon the presentation of my drawings and thoughts behind my design.
2.4
T echnical Drawings
“Technical Drawing deals with the representation of plans throughout all phases of a project” (Basics Technical Drawing, 2007). In technical drawings as well as in CAD drawings, different line types are used to represent individual elements, spaces. In addition, the exposure of materials used for the real life building is shown, so that their use can be more understandable and visualised. Moreover, the placement and the construction should be presented in a clear and neat way so the builder would be able to read them. The scale used, depends on the real life scale and the position of the site.
2.5 Insitute Firied Marble for Exterior Spaces and Surfaces.
Insitute Reinforced Concrete.
You may find it in the industry as “Snow White Travertine Marble“
The Slabs are Polished from the inner side. Therefore, the sunlight is reflected on the Marble or in Concrete in some cases; thus there is more light intensity which passes at the space underneath slabs.
Holes on the wall provide the different lighting for you standing by; this is due to sun’s movement. As wel the shape of the wall helps for the flow in the space.
Reinforced Insituted Organic Concrete. Slabs constructed from a coloured Precast Insitu Concrete. The material consists of a slab of reinforced concrete, into which 10 to 30 percent sod is integrated. The varying percentage affects the vegetative impression, without reducing the mechanical properties of resistance. By using the humidity stored in the concrete, the material stores water, which it emits during dry periods. It represents a previous living surface which returns a natural element to public urban life. Those Consist -> 100mm Precast Concrete Slabs Size: 50x300x900mm 3mm Insulation Paint so no microorganisms may grow on the surface of it and to prevent them from eating the grass - green area.
Precast Reinforced Insituted Concrete. Slabs constructed from Precast Reinforced Insituted Concrete. Those Consist -> 100mm Precast Concrete 30mm Insulation so no microorganisms may grow on the surface of it as well due to the type of the soil , where in Dartford is wet 270mm Reinforced Concrete for Support.
Snow White Fired Marble, with antic finish. Providing Different Textures by using this type of Marble on different shaped floor slabs. This material is placed exactly with the same technique used for the Concrete Slabs.
3Drenderings Using various software and the right technology, three dimensional visuals are becoming assets for presenting an architectural project. The 3D model is becoming the sample of the ideal design project, where the exploration and test of materialities can be applied on the it. Thus in some cases, materials and textures for the real life project can be chosen as soon as they are tested on the 3D model.
2.6
Mobi l
a b
-nomad
In this project I have been requested to create a movable, inflatable and small dwelling for a nomad
person. Researching in areas of interests such as sociology and environment I ended up designing for an environmental scientist. Placing an environmental scientist to inhabit it as long as he needs in order to protests for the environmental pollution happening in different cities and environments; the pollution and the disaster upon the culture, buildings, from the toxic rain, the ‘geo’, water and the air pollution.
Moving forward to the design part of the inflatable structure, I started with a sphere as the ideal skin
and I ended up to the bubbly reshaped ‘sphere’; inspired mostly by Kengo Kuma’s ‘Floating Tea house’ inflatable project, Buckminster Fuller and from the PTW Architects, and ARUP for their structure of the Beijing Olympic Aquatic Stadium.
The idea of using the ETFE material is applied in such a way that offers colour changes due to the sur-
roundings; outside it reflects the sky therefore the outer skin is tinted in blue colour and the sun passes through the skin and lights up the lab. It’s a double skin layer. Outer skin’s material will be extra think and resistible to climatic changes. The bubble legs are made from High Hypalon material, mostly found in inflatable boats.
The movable structure stands on four mobilized legs with advanced technology of folding inwards and
outwards. Those will have the ability to change their heights along the surface been placed on, in order for the laboratory to be at a straight horizontal position. The whole inflatable structure will be carried on a small rectangular shaped “carried car” lead up by the motorbike of the used. As the structure inflates the whole dwelling will be unfolded and lifted off the ground. Bed, toilet, shower, ‘office’ and sink, those are all going to be part of the inside skin; therefore all in one and common.
2.7
As soon as the first phase of the inflation finishes the second one is to place the tools needed by the
scientist in the dwelling. Additional fixing will be needed for combining the solid materials together.
On top of the outside skin, there will be sewn a ‘Power film Unfolded SolarPanel’, for sustainable energy
used. Also, the water filtering system is a benefit for sustainable leaving for my nomad. The whole ‘electrical system’ will be storage and work in the “carrying car” underneath the dwelling. Tubes and wires needed to be fixed on the machines (i.e. air pump and water filter), passing through the gap of the outside and inside skin of the inflatable.
As soon as all fixings are on position; water funnel, filters and airspeed controls will be placed on the
outer skin. Then the scientist can easily make tests and take samples, producing and publishing the results of pollution at the surrounding human populations.
1. Testing Tubes 2. Tubes 3. Testing tubes’s Stand 4. Microscope 5. Water filter 6. Air funnel 7. Solar Panels’ Batteries and Energy Generator 8. Knife 9. Fork 10. Spoon 11. Tooth Paste 12. Pen 13. Tooth Brush 14. Books 15. Needle 16. Laptop 17. Printer/Fax 18. Shampoo 19. Food 20. Cup 21. Hand-drill/Geo-drill 22. Latex Gloves 23. Camera 24. Soap 25. Plates
E x p l o d e d A x o n o m et r i c
Plan D
S-02
Plan B
S-02
Scale 1:12
S-DETAIL
S-DETAIL
Scale 1:12
Plans
2.8
life
S
V trical lice -nodal-
Creating something completely unlike form the existing environment and Barbican’s brutal design, was a way to start the design of this project. Slices of walls are falling vertical on the top of the School in the middle of Bardbican. A multi-functional breathing building project is created. Cubes were inserted horizontally in these walls, in different positions, some fixed stable and others with the moving ability depending on the season. Sliding walls are becoming one part with the actual cabins/housing, education spaces (spacial forces campus are on site) or exhibition spaces (special forces campus are not on site). Some of the parallel walls are wider in length. The middle space created between them had help for the circulation and the access system to be occurred. The building has two phases: A) Summer time. Exhibitions running in the cube houses. When there is no special forces campus on site and thus the interior of cubes is formed -i.e. folding walls- in such a way to create an exhibition space. Cubes are moved inwards or outwards in order to have the right circulation and access in the whole of the building. B) Winter Time. Special forces campus is on site and the cubes are used for lecture classes and three of them are moved inwards or outward the sliding walls, for a better circulation, to provide access in order for these facilities to work. Soldiers are staying on the walls textured in such a way for climbing. The wired metal structured is used as showering for soldiers, with the use of canvas on sides for privacy. The steam would be spread to the atmosphere, creating a cloudy effect at that point of the building. With my conceptual models and by providing an abstract design, I started playing with different forms and shapes, always having in mind the artificial sunlight. Different lightweight materials used for the walls to allow sunlight pass through them. Also timber and carbon fibber, made cubes, not to cause extra weight on the walls.
D es i g n
m o d e l m at r i x
A
B
C
3
S ketch M o d e l s I te r at i o n s
different
“Wired�
M at r i x
m o d e l m at r i x
sketches f o r the ca r b o n
f i be r u se o n s l abs a n d wa l l s
F i n a l D es i g n M o d e l
S-6
S-8
North Elevation
N
10 9 8
S-1
S-1
2
1
5
4
3
8
7
6
11
10
9
14
13
12
17
16
15
7 17 x 0.168 = 2.864 6
5
S-2 4 3 2
10 x 0.050 = 0.500
S-2
34
33
32
31
30
29
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27
26
25
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1 2
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S-3
34 x 0.111 = 3.763
20 x 0.150 = 3.000
18
17
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14
9
8
7
6
5
4
3
11
10
13
12
12
13 x 0.077 = 1.000
2
10
16 x 0.113 = 1.800
18 x 0.139 = 2.500
1
12
9
8
7
18
17
6
5
4
16
15
14
3
2
11
10
13
1
18 x 0.139 = 2.500
12
9
8
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18
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6
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2
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10
13
1
36 x 0.142 = 5.100
12
36
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34
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9
8
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26
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6
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S-3
10
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S-4
S-4
18 x 0.139 = 2.500
2
1
6
5
4
3
9
8
7
13
12
11
10
16
15
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20
19
18
17
20 x 0.150 = 3.000
1
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3
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11
10
9
13
12
2
13 x 0.077 = 1.000
1
4
3
6
5
9
8
7
11
10
13
12
13 x 0.077 = 1.000
79 78 77 76 75 74
S-5
S-5
73 72 71 70 69 68
West Elevation
67
East Elevation
66 65 64 63 62 61 60 59 58 57 56 55 54 53 52 51 50 49 48 47 46 45 44 43
S-8
42
41
40 39 38 37 36 35 34 33 32 31 30 29 28 27 26 25 24 23 22 21 20 19 18 17 16 15 79 x 0.148 = 11.698
14 13 12 11 10 9 8 7 6 5 4 3 2
S-6
1
South Elevation
S-6
S-8
North Elevation
N
10 9 8
S-1
S-1
4
3
2
1
7
6
5
9
8
12
11
10
16
15
14
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7 17 x 0.168 = 2.864 6
5
S-2 4 3 2
10 x 0.050 = 0.500
S-2
4
3
2
33
32
31
30
29
28
27
26
25
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1
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34
S-3
1
7
6
5
11
10
9
8
15
14
13
12
18
17
16
20
19
3
2
20 x 0.150 = 3.000
1
5
4
7
6
10
9
8
12
11
34 x 0.111 = 3.763
18
17
16
15
14
13
12
9
8
7
6
5
4
3
2
11
10
13
13 x 0.077 = 1.000
1
2
1
16 x 0.113 = 1.800
18 x 0.139 = 2.500
10
18
17
16
15
14
13
12
9
8
7
6
5
4
3
2
11
1
18 x 0.139 = 2.500
10
18
17
16
15
14
13
12
9
8
7
6
5
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3
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11
1
36 x 0.142 = 5.100
10
36
35
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30
29
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25
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21
20
9
8
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1
11
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18
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1
S-3
S-4
S-4
18 x 0.139 = 2.500
4
3
2
1
7
6
5
11
10
9
8
15
14
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12
18
17
16
20
19
3
2
20 x 0.150 = 3.000
1
5
4
7
6
10
9
8
12
11
13
3
2
13 x 0.077 = 1.000
1
5
4
7
6
10
9
8
12
11
13
13 x 0.077 = 1.000
79 78 77 76 75 74
S-5
S-5
73 72 71 70 69 68
East Elevation
66 65 64 63 62 61 60 59 58 57 56 55 54 53 52 51 50 49 48 47 46 45 44 43
S-8
42
41
40 39 38 37 36 35 34 33 32 31 30 29 28 27 26 25 24 23 22 21 20 19 18 17 16
14 13 12 11 10
79 x 0.148 = 11.698
15
9 8 7 6 5 4 3 2 1
S-6
West Elevation
67
South Elevation
TOP: Floor Plans, P hase A ( E x h i b i t i o n spaces u se d , a n d C u bes L i v e d b y the ca r e takes o f the b u i l d i n g ) B O T T OM : C a r b o n F i be r S t r i ps ’ shape P l a n s , P hase B ( I n hab i tat i o n a n d l i v i n g f r o m s o l d i e r s )
D E T A IL S ect i o n
F
i a t a l -budapest;
2.9
d a r k d ay s , c h i l ly n i g h t s -
Water, the element that gives you life, can also keep you young. It is a multifunctional element that can generate a better quality of life. At the beginning of our life cycle the human embryo is enclosed within water. Our needs and life processes are “controlled” by this element, which is found in all that surrounds our cosmos. Seas, rivers, lakes and rain. Due to its pureness water is also difficult to appreciate. It is an element that we take for granted. Budapest is a city built on several water springs and water caves. Water has always been used on citizens and visitors of this city, for treatment purposes such as the treatment of skin diseases and rheumatism. Therefore water has to be provided for users in a way that respects, recognises and understands its abilities. The journeys played out in this project create spaces in which to experience two forms of water, gas and liquid, through our five senses. Water is pumped from underground and then naturally filtered to produce drinking water. Also, the same pumped water is boiled and evaporated. Salts are collected and then taken by the guest for personal use or they are used for cosmetics and skin care at the baths. The routes formed through the external environment of the building clarify the various forms of consumption of the spring water. The baths are designed to provide moments of socialization and different treatments. Volumes getting in or going out of the baths and cuts providing the space with light, from the top ceiling; are techniques to create a monumental atmosphere. The waterfall runs from the top of the Glass Box (Water Monument) through the whole of exterior and interior of the building. This creates the gas form (steam) through changes in temperature. Consequently water becomes the connection between the two properties of the building project and the steam created fills the ‘Monument’ (Glass Box) creating an exosphere for the visitor to hear, see, touch, taste, smell the purity of water. Materials, colors, textures and multi-level changes, have been incorporated with nature, in an ethical manner in this project. Using nature and providing this experience of the water cycle and the baths operates through our five senses. The user lives and acts within nature while water’s cleanliness and purity surrounds him.
P S r o S
g r a
u r r o u n d i n g m
rIVEr DanuBE
musEums
Site Analysis
HIstorIcal BuIlDInGs
BrIDGEs
Empty Block on paulay utca numBEr 23
SI TE
NUMBER: 13 NAME: USE: a) Cucire Atlet b) Konyresbalt Finance c) Saldo Information Center
NUMBER: 15 NAME: USE: Empty
NUMBER: 17 NAME: Haute Couture Academy USE: Empty
NUMBER: 19 NAME: Zarva USE: Gerine Muhehy
NUMBER: 21 NAME: USE: Empty
u
t c a
n a l y S i S
P
NUMBER: 26-25 NAME: USE: Empty
a d E
i t e
NUMBER: 27 NAME: Tempelfit USE: Fitness/Gym
NUMBER: 29 NAME: JALMEZEK’ USE: EMPTY
E
t r e e t
a u l a y
E
P
It
i t e
s
S
S o S i t i o n
COUNTRY : Hungary
CITY : Budapest
POSITION : 23’ Paulay Ede Utca
DIMENSIONS : 32m x 64m
AREA : 2048 m2
: S
tHErmal BatHs anD spas
sItE
TOP: Sketch Models BOTTOM: Concept Sketches
TOP: Building on site BOTTOM: Street View Elevation
In this project, I am creating spaces for experiencing two forms of water; gas and liquid, through the five senses. There are two journeys and a connection vein between them. Firstly, I would like to take you through the journey of the spring water purification and the extraction of salt, and then through the baths. -Ref. 1:200 Plans Water cycle journey: The visitor enters from the main entrance, from the street. He then buys his ticket from the ticket selling point/reception. There he is asked if he would like to go to the baths or take the tour of the water cycle plus visiting the water monument (the glass box). He is being provided with a waterproofing jacket since he will go to an open space, the first floor. In addition he will be visiting the water monument where inside it is full of steam and there is the waterfall, which runs through the box from top to bottom. Taking the escalators, he will arrive at the top floor, where the experience of the purification and the extraction of salts from the underground spring water are taking place. The huge water tank (number 2) is the permanent storage for the pumped water. From that point the pumped water splits into two other tanks, so in the first the natural filtration (3) and in the second the water evaporation, process are taking place (8). Natural filtration tank works as follows; the water is pumped on top of the tank, which is opened. Two thirds of the volume of the tank is pumped with water. Find sand, course sand, pebbles and the coffee filter are the different layers that the water has to pass through in order to get naturally filtered. The water is not drinkable yet. From there is pumped in the water tank (9) where it gets fully cleaned by manually add-in of chlorine. Therefore, through the water fountains of the water tank on the side, the visitor can have some of the drinkable spring water. In addition if he wants to take at home the drinking water produced on site; there is the shop selling bottles, next to the water tank. Now, the extraction and the collection of salts for the skin and other health uses, is been achieved through the evaporation process. From the water tank (2) the water is pumped in the water tank (8), with depth of 200mm, which is the optimum level to be filled with water. Then the evaporation process takes place with the heating of the floor of the water tank using under floor heating panels. The evaporated water is stored on the slide lifted glass roof collection point (4) and from the top it runs through and pumped into the water tank (9) Finally, the guest is collecting salts, by buying the salts jar from the shop next to the drinking water tank. He then enters the water tank (8) and collects manually as much salt as the jar can fill. The visitor does this process manually in order to get closer to the experience and the nature. The baths journey: The visitor enters from the main entrance, where he can buy his ticket from the ticket selling point/reception. There he is asked if he would like to go to the baths or take the tour of the water cycle plus visiting the water monument. Walking through the main corridor on the left is the canteen, where the visitor can buy water etc moving towards the corridor on his left he will find the changing rooms, and where there is no empty space for him to change, he can go to the next floor where there are more changing rooms. Changed and ready to go to the baths he can go to the toilets, where the open space is becoming one with a mirror panel acting as the separation for gents and ladies area. In addition the toilets have the form of the oxygen capsules. Going out of the toilets on the right he will find the staircase leading to the baths. The visitor will then change level, going down, going to a cave. The long plastic freezer curtain that he has just passed through is used in order to keep the steam inside the baths area, and therefore it will go out only through the waterfall cone point which is the biggest and the main opening in that space. Then as he moves forward he has to pass under a huge water shower / waterfall, to get showered before entering the baths. Entering the baths he will notice that there are the solid volumes of concrete where the different colors and textures of it are used in order to create and add more at this monumental atmosphere. There are four different baths in terms of temperature that he can go. Waterfalls are becoming part of the sloped walls and water runs on their surface, direction ends in the smaller baths. Moments of socialization such as the chessboard, different sitting points can provide him with the feeling of happiness. The pressured waterfall will give him a great natural massage while being inside the main bath. Different temperature sauna rooms exist, where from the wood floor decking he can see and hear the boiling water underneath his feet, providing him with hot steam. Massage rooms, are covered with a glass sloping ceiling roof so when his is inside a clean air space he can see outside of the ceiling which is becoming semi-transparent due to the steam of the baths. Finally, as he reaches the far end of the baths he can stand there watching the waterfall coming from the glass box being on the first floor. The waterfall running through the water monument/glass box and through the baths area, acts as the connection vein through the baths and the water purification salts process. An element which gives you life, it is part of our life and with out it we cannot live. Water, a multi used element for a better quality of life. Materials, colors, textures and multi level changes, are being incorporated with nature, in an ethical use in this project. Using nature and providing this experience of the water cycle and the baths; through our five senses. Therefore, the guest lives and acts within nature while water’s cleanliness and purity surrounds him.
Detail Atmospheric Section
Small Atmospheric Sections
Process Models
Final Model
Exterior and Interior Views
Water Purification
Baths | Spas
Water Monument
Aia Competition American Institute of Architects (AIA), UK students charrette competition at AA Winning team of UCA consisted of: Harry Varnavas (Lead Architect), Frazer Day, Sam Edwards, Andrew Woolford, Sarah Hussain, Yvonne Jackson, Pharsisi Kanchanamai and Lucy Smith. - One day workshop competition attended by many leading schools of architecture in the UK We came up with a dynamic design which at the same time gave the idea of a ‘living building.’ This provided the viewer with the experience of living within a movable space. Ramps were positioned and the shapes of the new exhibition spaces were created. The sliding ceilings and the changes in height added to the concept of experiencing the walkthrough. For more: http://www.aiauk.org/student-charrette/ http://ucreative.ac.uk/article/35815/UCA-architecture-team-wins-UK-competition#.UECD_o7tpME http://cantarch.com/?p=1760
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D i s s e r tat i o n A Divided City; More than a Half, Less than a Whole A Case Study Proposition Upon the Buffer Zone Area within the Old City of Nicosia, Cyprus’s Capital Proposing, Alternatives C+D Nicosia is the capital of the Republic of Cyprus and the last divided capital in the European Union. The division of the island is the result of the Turkish invasion in 1974 and the occupation of the northern 37% of the island’s territory. The “Green Line” is the line which is dividing the island in the free part of the Republic of Cyprus to the south and its land which is forcefully held by the Turkish army to the north. “Buffer Zone” is the width of the Green Line, which is accessible in some cases and under permit from the United Nations Peace Force by civilians but not by any army personnel; both the Green Line and the Buffer Zone are controlled by United Nations. Within Old Town Nicosia (the part of Nicosia within the Venetian Walls) the Green Line runs approximately one and a half kilometers in length starting from the vicinity of the Paphos Gate (Porta San Domenico) till the vicinity of Ammochostos Gate (Porta Guiliana). The Buffer zone takes up to about 10% of the total area of the walled city (Nicosia Master Plan 2008:15). The first division on city occurred in 1963; due to the intercommunal problems between the two communities of the island, the Greek-Cypriot and the Turkish-Cypriot, the United Nations Forces in Cyprus (UNFICYP) placed a “splitting line” with in the old city of Nicosia. This line of division did not change substantially during the invasion of 1974, and till now is dividing the capital city. Its invasion imposed extensions along the east and west eventually divide the whole of the island into the free and occupied zones.
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Studying the Old city of Nicosia, one can realize its architectural and historical value. Being a city that was under many invaders and rulers, over time it came to be a city of rich multicultural heritage. Despite its division Nicosia and especially its free part, has managed to become a sophisticated and cosmopolitan city rich in history, culture and architecture, combining its historical past with the amenities of a modern life. The same is not unfortunately true of its occupied side which has been populated mainly by Turkish settlers brought by Turkey from Anatolia who have kept that part in a pathetically deteriorated state, much worse than the state it was before 1963. A city’s identity is however gained and strengthened only if is read as a whole and not when divided into different parts such as those of social, political or ethnic sectors. In the case of Berlin, the wall that was dividing the city has been demolished after years of existence and it has been replaced with a variety of real estate and landscape projects. This is a conscious attempt not only to erase the dividing line or wall, but more importantly to weave together, to mend and to unify the separated parts. A most interesting proposal has been put forward for the border wall that exists between Israel and Palestine. Labbeus Woods had suggested a wall game in order to change the function of the boundaries and borders, where he is proposing the partial use of the wall as a two-sided playing field. “Each side has a team of builders, architects, artists, and performers, who make a construction on their side of the wall, using it as sole support. In other words, the new constructions cannot rest in any way directly on the ground, but only on the wall. They are cantilever constructions. As such, the cantilever on one side must be balanced by the cantilever on the other side, or else the wall will fall to one side or the other, and the Game will be over … The Wall Game is clearly designed to engage a new generation of Palestinian and Israeli players … Because it is only a game, with neither territory nor lives at stake, winning and losing take on new meanings. As in any game, there is always next time to recoup pride and prestige, and thus the imperative to learn not only from failure, but also from success. The winning team in any single game can be assured that the next time it plays, the opposing side will have learned not only their techniques, but also devised new tactics of their own. Neither victory nor
defeat is ever final.” Therefore, it is understandable that the formulation and the implementation of new revitalization schemes in the gap of “no-man’s-lands” and on boundaries created by border walls are very desirable in order to give a new positive meaning to dividing walls or lines. Like in the case of the proposed project of architecture student Edwing Aguelo, where he studied the border between Mexico and the US. As he stated “The US-Mexico border is not usually thought of in its below grade condition, but the continual illicit digging of tunnels, for the smuggling of drugs and individuals, by increasingly well-organized and sophisticated groups, has been cause for the deployment of combative strategies ranging from “tunnel teams” (Border Patrol Tunnel Unit) to concrete plugs. While monitoring technologies such as motion sensors are effective in the case of sewage infrastructure, clandestine tunnels are most effectively filled with concrete” (Isoarch, Accessed on:9.11.2011). Interested in locating, excavating and envisioning three underground border systems he examines the sort of worlds that might be found if “we could have a totalizing view of the underground” (Isoarch, Accessed on:9.11.2011). Although he is dealing with the underground in relation with the over ground, it is reasonable that he manifests the aesthetic provision of the tunnels and underground with the existing fence wall. Ronald Rael stated that he “rather attempts to play the legislative hand that has been dealt at the border by attempting to increase security, while putting the 40,000 acres of fallow territory to work, creating solar energy, hot water, saving lives, etc” (Isoarch, Accessed on:9.11.2011). Additionally, another proposal idea for that border was to use the void space of the borders, the fence to become a socialization space to bring citizens from both countries (the idea of the “Burrito Wall”), in addition to use the heat from the sun to heat up the water, providing schools and hospitals with it, so that the buffer zone between the two fences could be used as a solar collection park with environmental friendly construction (Isoarch, Accessed on:9.11.2011) “Ariadne’s Threat” is a myth which is actually implementing the use of a map and the approach to follow a given path by entering and exiting from the same point. I am proposing to use the same method for approaching the entrance and the exit of my project. Circulation and access are very important issues for any city and are thus given the necessary attention in my proposed project. In Park de la Villlette, Rem Koolhaas introduces a vague space between the historical city and the plankton of the Balieu, by offering a maximum length of borders with adjustment programs. He produces a 2D structured grid in application of 3D programs, providing them with access using only one main pathway/strip running along the whole string of programs. In the “Exodus of a Voluntary Prisoner”, he is proposing a project where he divides the city in two parts. The ‘Good Half’ and the ‘Bad half’; citizens of the ‘Bad Half’ will travel along to the ‘Good Half’ and this will result in the doubling of the population of the ‘Good Half’ of the City (OMA, Accessed on:5.11.2011). He strongly gives this need for the exodus, of/to his occupier of the place, the prisoner. Therefore, he exacerbates the problem of the division on the city and thus the sociological part in our life. Providing people with chance for an exodus to ‘somewhere’ is a vital part of the circulation within a city; this freedom to choose where you as a citizen would like to go and “exit from it”, fills you with a romantic and hallucinogenic experience, but at the same time the “wall is used to protect its inhabitants from exposure to the mental exhaust of the rest of the world? Utopia vs Distopia” (OMA, Accessed on:5.11.2011). The proposed project is an attempt to rejoin, by filling in and by giving new use and new life to the void that exist in the porous borders between the free, Greek-Cypriot site and the occupied area of the island of Cyprus. The ‘gap’ is formed conceivable by the line of various derelict buildings and houses along the two sides of the road. The road as well as the abandoned spaces on either side of it have been ‘inhabited’ and ‘used’ only by the United Nations Peacekeepers and by nature itself for the last 48 years. The space of Buffer Zone should be revitalized to be used by any citizen of the Republic of Cyprus regardless of ethnicity or religion, as well as by any foreign visitor or tourist. A liner Green Park will be over laid to follow the path of the old dividing street. New uses should be introduced into the gaps of open spaces and of the restored buildings on either side. Paths, pathways overhead as well as access ramps should work like stiches mending the once torn city fabric. The introduced new uses should emphasize and enhance the multicultural character of the reunified city and invite the interaction and cooperation of the various ethnic communities. This project when finalized should be a living reminder of the transformation of an old borderline to a reunification zone, a living landmark of peace and progress.
Even in the unfortunate possibility of the continuation of the existing political condition this proposal should be a monument to the people’s wish to live together in the same city as peaceful and cooperating neighbors. PROPOSAL PROJECT: As in the case of Lebbeus Woods, I am taking the idea of the wall game (Lebbeus Woods, Accessed on: 2.11.2011) and I am providing a ‘game in that space’. Installing a steel structure out of metal bars, beams and columns, in different positions (horizontal, vertical and in different angles), along the rout of the buffer zone enclosed by the buildings. This will support the overhead ramps and pathways along the street line as well as to and from the buildings on either side; the restoration and reuse of these buildings could be partial or complete and could be an ongoing process. Recreating memories and creating new acquaintances and inter-communal experiences: The proposed project will try to recreate memories through inter-communal socialization and with the aid of the restoration of the existing old and historical buildings will offer new spaces for this to happen. The walkthrough will create new memories and new experiences for the new generation of both communities since they will co-exist in that space and at the same time it will bring memories from the past at the old generation by visiting those old buildings and by being there, together again. Socialization and Path Game: In order to provide socialization into that space and bring again the life to it, I am introducing a game of different routes and pathways along the installation, passing through and within it. Those paths are acting as the thread of Areadne. Routes have been placed contrarily so the visitor can choose which route or path will take. Additionally, the whole idea is to create a park in that space using these paths. Paths are going to be constructed from wood and they will be placed within the steel skeleton structure – installation. Therefore, the Gap of the porous border will be filled with a new fabric like a web, holding together the parts from both sides. Exodus and Entrance: As in the case of Areadne’s Thread, where the entrance and the exit were starting from the same point, I am applying this characteristic at my proposal project. Consequently, I am placing the entrance and the exit point to be at the Famagusta Gate and this will prompt the visitor after using those routes for a walkthrough to come back where he or she was at the beginning of the journey. Mirrors and Reflections: By placing mirror panels at the position of the barrels and sand bags, I am trying to introduce this reflection as the continuity of the streets which is lost by the placement of the borders and the barriers. Nature factor: Left to Nature alone for so many years, buildings and open spaces were only inhabited by it. Therefore, there should be a restoration of the buildings, to bring them to a good condition. Alternative A-> Leave everything as it is; no management upon nature’s way imposed; just place the installation game of paths along the road to give and fill this porous line of the Green (Division) Line. Leave the nature to continue on its trace upon buildings. This will act as though the derelict architecture is to be the exhibited ‘thing’ and the ‘monument’ of the space. This could be a proposal for phase A, where the border would be opened for just a part of the year if not permanently. In addition, a central building which is not used by none of the communities for any protection of the border and soldiers, would be used as a museum so there will be an exhibition of images, stories of how that space and the city used to be before the division. Reusing and restoring the architectural value: Alternative B-> Apply the installation; restore the buildings for applying other uses and programs, keep their cultural and architectural profiles the same. The buildings along the buffer zone could be used as lecture spaces, exhibition spaces, cafes, bars, restaurants, theatres, cinemas and museums. Alternative C-> Apply the installation, restoring the buildings; used those buildings for the Arts Departments of the Universities of both communities as well as for the UNESCO School for Restoration. Alternative D -> The installation continues above the street, as though it is taking the form of the building. Entrances to the buildings could be placed through the balconies, connected with the routs and the steel structure. Building usage programs will be as in alternative C. A central building which is not used by none of the communities for any protection of the border and soldiers, would be used as a museum so there will be an exhibition of images, stories of how that space and the city used to be before the division; the installation will run around it and within the building.
In the desirable event of the elimination of the borders and the reunification of the city, the situation stays the same as above but there will be a proper use and connection of the roads and streets, to lead somewhere. There will be a normal flow of people to use the streets and move along them, but they will pass under the installation, this will improve the feeling of the importance of the area that used to be a buffer zone and a dividing line that has, through history, evolved to an open-air civic monument dedicated to the reunification of the city. “The city appears to you as a whole where no desire is lost and of which you are a part, and since it enjoys everything A DiviDeD ity; More thAn A hAlve, less thAn A Whole you do not enjoy, you can do nothing but inhabit this desire and be C content.” ‘Invisible Cities’ (Calvino, 1997)
A Case Study Proposition Upon The Buffer Zone A Old City Of Nicosia, The Capi
Words: 2558 Bibliography: Books · Calvino, I. (1974) Invisible Cities. VINTAGE CALVINO, 1974 · Nicosia Master Plan (2008) Nicosia: The Unknown Heritage along the Buffer zone
University f Internet Resources: Canterbury Sch · Isoarch (Year, 2008), Borderwall as Architecture, http://borderwallasarchitecture.blogspot.com/2008/12/practice-in-excaBA (H vating-and-envisioning.html (Accessed on: 9/11/2011) · (no author’s name) (Year, 2010), Envisioning the border by Edwin Agudelo, http://thefunambulist.net/2010/12/16/studentsenvisioning-the-border-by-edwin-agudelo/ (Accessed on: 9/11/2011) · Lebbeus Woods (Year, 2009), Wall Games, http://lebbeuswoods.wordpress.com/2009/11/09/wall-games/ (Accessed on: 2.11.2011) · (no author’s name - OMA) (Year, 2011), On the Border… or Once upon “a line”, http://dprbcn.wordpress.com/2011/01/05/ on-the-border/ (Accessed on:11.5.2011)
HARRY VARNAVAS -DISSERTATION | BA (HONS) ARCHITECTURE | CSA
UN’s Maps of Nicosia and Cyprus
A DIVISION, Maps from both communities’ sides
The Buffer Zone - Area Controlled by the UN patrols
Roads and Streets sliced due to the Implementation of the Buffer Zone on the City
Buildings halfway through the Buffer Zone
Natural factor along the Buffer Zone
Programs in the Ditch, such as: Tennis and Football courts, parks or
Nature Along the Ditch
parking facilities
STUDY OF CITY’S CHARACTERISTICS
Halfway though the Buffer Zone inhabited Houses. This House is Inhabited only on the first floor. On the ground floor only the stair to move to the upper level is used.
Annie’s House The house of an old Greek-Cypriot lady who was denying to leave it in the buffer zone. Therefore, United Nations gave her a pass (and since the house was closer to the free part) by offering her an open path to travel. Couple of years ago Mrs Annie died, the path is now closed and her house is left to the hands of time.
The closest ‘watchtower’ distance between the Turkish and the Greek-Cypriot Soldier. Due to fights between the soldiers and due to their position , they are now closed.
Characteristics Found by Walking Along the Buffer Zone
Alternative C Alternative D
PROPOSAL
Process Outcome for the Steel Bars
3D Models of the Proposal Installation - Route Game
Sketches - THE PROPOSAL IDEA
Plaster Model of the Old City (1:500) , Gap indicating the Buffer Zone